The Homeric Augment
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The Goddess Nike Article
MUSEUM FRIDAY FEATURE The Goddess Nike by Benton Kidd, Curator of Ancient Art nown as Nike to the Greeks (Latin: Victoria), the winged goddess of victory is familiar to many today, but she was far more than anotherK gratuitous, divine beauty. On the contrary, Nike played an integral role in ancient Greek culture, one which prided itself on the spirit of competition. While winning glory and fame is a persistent theme in Greek literature, actual contests of athletics, theater, poetry, art, music, military achievement—and even beauty— fueled the drive in ancient Greeks to achieve and win. One hymn lauds Nike as the one who confers the “mark of sweet renown,” concluding with “…you rule all things, divine goddess.” The widespread veneration of such a goddess is thus not unexpected, but she was not included among the august Olympians. In fact, her origins are likely to be earlier. In our previous discussion of the god Eros, we had occasion to mention Hesiod’s account of creation, known as the Theogony, or the “genesis of the gods.” Perhaps written about 700 BCE, this grand saga in poetry sweeps the reader back to an ancient era in which the Olympian gods engage in an epic battle with the Titans, a truculent race of primeval gods. Hesiod tells us that the battle raged for ten long years, and that the Olympian victory resulted in absolute supremacy over the universe. The Titans were imprisoned in Tartarus, a horrifying black abyss in the Underworld, reserved for punishing the vilest sinners. Some Titans, however, escaped this terrible fate. -
Sample Odyssey Passage
The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country. -
Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
Getting Acquainted with the Myths Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way. -
Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad. -
Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 10-2014 Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. (2014). Theban walls in Homeric epic. Trends in Classics, 6(2), 278-296. doi:10.1515/tc-2014-0015 This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. TC 2014; 6(2): 278–296 Corinne Pache Theban Walls in Homeric Epic DOI 10.1515/tc-2014-0015 Throughout the Iliad, the Greeks at Troy often refer to the wars at Thebes in their speeches, and several important warriors fighting on the Greek side at Troy also fought at Thebes and are related to Theban heroes who besieged the Boeotian city a generation earlier. The Theban wars thus stand in the shadow of the story of war at Troy, another city surrounded by walls supposed to be impregnable. In the Odyssey, the Theban connections are less central, but nevertheless significant as one of our few sources concerning the building of the Theban walls. In this essay, I analyze Theban traces in Homeric epic as they relate to city walls. Since nothing explicitly concerning walls remains in the extant fragments of the Theban Cycle, we must look to Homeric poetry for formulaic and thematic elements that can be connected with Theban epic. -
Lith. Mir̃ti / Latv. Mirt ‘To Die’ and Lith
YOKO YAMAZAKI Stockholm University, University of Zurich Fields of research: Baltic linguistics, historical linguistics, Indo-European comparative linguistics. DOI: doi.org/10.35321/all83-01 LITH. MIR̃TI / LATV. MIRT ‘TO DIE’ AND LITH. MIR̃ŠTI / LATV. MÌRST ‘TO FORGET’ IN EAST BALTIC1 Liet. miti / latv. mirt ‘mirti’ ir liet. mišti / latv. mrst ‘pamiršti’ rytų baltų kalbose ANNOTATION The verbs Lith. miti / Latv. mirt ‘to die’ and Lith. (-)mišti / Latv. (-)mrst ‘to forget’ share several features in historical morphology: both take sta-present stem, in spite of their Indo-European cognates in the *-ye/o- present stem; the root-aorist in the middle voice inflection can be reconstructed in PIE; and both are also semantically middle. However, they are contrastive in the past tense in Baltic, taking different preterit stems, i.e., Lith. mrė / Latv. miru(ē) and Lith. mišo / Latv. mrsu(ā). This article will investigate what led them to choose the different preterit stems by comparing their semantic and phonological properties, and will contribute to the reconstruction of the entire prehistory of the Baltic preterit system. In this article, it will be proposed that Lith. mrė / Latv. miru(ē) is probably descended from the older imperfect, while its aoristic nature led Lith. mišo / Latv. mrsu(ā) to inherit the older aorist stem, and this historical difference may be reflected in their different preterit stems. 1 This article presents some of the results of a project entitled The prehistory of the Baltic preterit system – diachronic changes and morphosemantics (reg. Nr. 2018-00473), financed by the Swedish Research Council (Vetenskapsrådet). I am thankful to generous financial support from the council, and to Dr. -
Myth, the Marvelous, the Exotic, and the Hero in the Roman D'alexandre
Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Paul Henri Rogers A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (French) Chapel Hill 2008 Approved by: Dr. Edward D. Montgomery Dr. Frank A. Domínguez Dr. Edward D. Kennedy Dr. Hassan Melehy Dr. Monica P. Rector © 2008 Paul Henri Rogers ALL RIGHTS RESERVED ii Abstract Paul Henri Rogers Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Under the direction of Dr. Edward D. Montgomery In the Roman d’Alexandre , Alexandre de Paris generates new myth by depicting Alexander the Great as willfully seeking to inscribe himself and his deeds within the extant mythical tradition, and as deliberately rivaling the divine authority. The contemporary literary tradition based on Quintus Curtius’s Gesta Alexandri Magni of which Alexandre de Paris may have been aware eliminates many of the marvelous episodes of the king’s life but focuses instead on Alexander’s conquests and drive to compete with the gods’ accomplishments. The depiction of his premature death within this work and the Roman raises the question of whether or not an individual can actively seek deification. Heroic figures are at the origin of divinity and myth, and the Roman d’Alexandre portrays Alexander as an essentially very human character who is nevertheless dispossessed of the powerful attributes normally associated with heroic protagonists. -
Indo-European Linguistics: an Introduction Indo-European Linguistics an Introduction
This page intentionally left blank Indo-European Linguistics The Indo-European language family comprises several hun- dred languages and dialects, including most of those spoken in Europe, and south, south-west and central Asia. Spoken by an estimated 3 billion people, it has the largest number of native speakers in the world today. This textbook provides an accessible introduction to the study of the Indo-European proto-language. It clearly sets out the methods for relating the languages to one another, presents an engaging discussion of the current debates and controversies concerning their clas- sification, and offers sample problems and suggestions for how to solve them. Complete with a comprehensive glossary, almost 100 tables in which language data and examples are clearly laid out, suggestions for further reading, discussion points and a range of exercises, this text will be an essential toolkit for all those studying historical linguistics, language typology and the Indo-European proto-language for the first time. james clackson is Senior Lecturer in the Faculty of Classics, University of Cambridge, and is Fellow and Direc- tor of Studies, Jesus College, University of Cambridge. His previous books include The Linguistic Relationship between Armenian and Greek (1994) and Indo-European Word For- mation (co-edited with Birgit Anette Olson, 2004). CAMBRIDGE TEXTBOOKS IN LINGUISTICS General editors: p. austin, j. bresnan, b. comrie, s. crain, w. dressler, c. ewen, r. lass, d. lightfoot, k. rice, i. roberts, s. romaine, n. v. smith Indo-European Linguistics An Introduction In this series: j. allwood, l.-g. anderson and o.¨ dahl Logic in Linguistics d. -
The Use and Absence of the Augment in the Forms Ἔδωκ(Ε)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography The use and absence of the augment in the forms ἔδωκ(ε)(ν) and δῶκ(ε)(ν) in the Odyssey, with a brief discussion on the origin of the augment (Filip De Decker, FWO Vlaanderen - Universiteit Gent). 1. Introduction. In Classical Greek prose the past tense is indicated by obligatorily adding a prefix ἐ- to the verb form. In Greek epic and lyric poetry and in the oldest Greek prose texts this prefix is not mandatory. Many studies have been dedicated to the problem of the origin and meaning of the augment, but no agreement has been reached so far. In addition, most studies have focused on the Iliad or have discussed only certain passages and chants. A study of an entire work or of a single root is still missing and so is a work comparing the use of the augment in the different languages that have the augment. In what follows, I will discuss the forms ἔδωκ(ε)(ν) and δῶκ(ε)(ν) in the Odyssey.1 2. The choice of this specific corpus. I chose the forms ἔδωκ(ε)(ν) and δῶκ(ε)(ν) in the Odyssey, for the following reasons: all these forms belong to a very common root and are thus attested in a variety of contexts; the forms are all active, so that the augment use could not be dependent on the choice of diathesis; as all forms are in the 3rd person singular, the difference in number cannot have been a criterion for (not) using the augment; in the past, it has been argued that aorists were more often augmented than imperfects and that younger aorists had more augments than older forms,2 but since all the forms are in the k-aorist, they all have the same tense and the same type of aorist; 1 This article is part of an ongoing investigation into the meaning, origin and use of the augment in Early Greek prose and poetry. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA.