Epiphany in the Homeric Hymn to Demeter and the Odyssey Erwin F
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Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
Homer and Collective Memory: the End of the Odyssey
Homer and Collective Memory: The End of the Odyssey This paper will approach the end of the Odyssey (starting at 24.412) by using the interpretive tools that research on collective memory has presented to us. This approach ultimately will enable us to better understand the self-awareness of the Odyssey. Building on the work of Maurice Halbwachs and Pierre Nora, research in practically every discipline of the humanities has directed its attention to the role collective memory plays in the shaping of how all kinds of sociological groups perceive themselves and their surroundings in terms of how they perceive their past, how they assess their present situation and what plans they are making for their future. This theoretical approach is also applied in Classics - not limited to, but especially in ancient history. Studies in classical literature should also avail themselves more of the tools that researchers have developed for the study of the role and the behavior of collective memories. The key for this paper will be Od. 24.484f. Zeus promises Athena that the gods will make the people of Ithaca forget that brothers and children were slain. Then, Zeus claims, people will be friends again. At the moment of this prophecy, Ithaca is at the verge of civil war. Eupeithes is trying to gather an alliance for the sake of punishing Odysseus for having lost so many comrades while he was away and for having killed all of the suitors who were members of noble families. Not all of the citizens of Ithaca want to join Eupeithes since Halitherses in particular reminds the Ithacans of the guilt of the suitors. -
Names of Botanical Genera Inspired by Mythology
Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art. -
The Limits of Communication Between Mortals and Immortals in the Homeric Hymns
Body Language: The Limits of Communication between Mortals and Immortals in the Homeric Hymns. Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Bridget Susan Buchholz, M.A. Graduate Program in Greek and Latin The Ohio State University 2009 Dissertation Committee: Sarah Iles Johnston Fritz Graf Carolina López-Ruiz Copyright by Bridget Susan Buchholz 2009 Abstract This project explores issues of communication as represented in the Homeric Hymns. Drawing on a cognitive model, which provides certain parameters and expectations for the representations of the gods, in particular, for the physical representations their bodies, I examine the anthropomorphic representation of the gods. I show how the narratives of the Homeric Hymns represent communication as based upon false assumptions between the mortals and immortals about the body. I argue that two methods are used to create and maintain the commonality between mortal bodies and immortal bodies; the allocation of skills among many gods and the transference of displays of power to tools used by the gods. However, despite these techniques, the texts represent communication based upon assumptions about the body as unsuccessful. Next, I analyze the instances in which the assumed body of the god is recognized by mortals, within a narrative. This recognition is not based upon physical attributes, but upon the spoken self identification by the god. Finally, I demonstrate how successful communication occurs, within the text, after the god has been recognized. Successful communication is represented as occurring in the presence of ritual references. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
The Odyssey Homer Translated Lv Robert Fitzç’Erald
I The Odyssey Homer Translated lv Robert Fitzç’erald PART 1 FAR FROM HOME “I Am Odysseus” Odysseus is in the banquet hail of Alcinous (l-sin’o-s, King of Phaeacia (fë-a’sha), who helps him on his way after all his comrades have been killed and his last vessel de stroyed. Odysseus tells the story of his adventures thus far. ‘I am Laertes’ son, Odysseus. [aertes Ia Men hold me formidable for guile in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca 4 Ithaca ith’. k) ,in island oft under Mount Neion’s wind-blown robe of leaves, the west e ast it C reece. in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I (I 488 An Epic Poem I shall not see on earth a place more dear, though I have been detained long by Calypso,’ 12. Calypso k1ip’sö). loveliest among goddesses, who held me in her smooth caves, to be her heart’s delight, as Circe of Aeaea, the enchantress, 15 15. Circe (sür’së) of Aeaea e’e-). desired me, and detained me in her hail. But in my heart I never gave consent. Where shall a man find sweetness to surpass his OWfl home and his parents? In far lands he shall not, though he find a house of gold. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Collins Magic in the Ancient Greek World.Pdf
9781405132381_1_pre.qxd 30/10/2007 12:09 Page i Magic in the Ancient Greek World 9781405132381_1_pre.qxd 30/10/2007 12:09 Page ii Blackwell Ancient Religions Ancient religious practice and belief are at once fascinating and alien for twenty-first-century readers. There was no Bible, no creed, no fixed set of beliefs. Rather, ancient religion was characterized by extraordinary diversity in belief and ritual. This distance means that modern readers need a guide to ancient religious experience. Written by experts, the books in this series provide accessible introductions to this central aspect of the ancient world. Published Magic in the Ancient Greek World Derek Collins Religion in the Roman Empire James B. Rives Ancient Greek Religion Jon D. Mikalson Forthcoming Religion of the Roman Republic Christopher McDonough and Lora Holland Death, Burial and the Afterlife in Ancient Egypt Steven Snape Ancient Greek Divination Sarah Iles Johnston 9781405132381_1_pre.qxd 30/10/2007 12:09 Page iii Magic in the Ancient Greek World Derek Collins 9781405132381_1_pre.qxd 30/10/2007 12:09 Page iv © 2008 by Derek Collins blackwell publishing 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Derek Collins to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. -
Homeric Hymns
Ties that Bind: Samian Cult Connections in the Homeric Hymns Some of the poems transmitted in the surviving collection of Homeric Hymns seem to have descended from versions adapted for an audience on Samos. Evidence can be found in references to specifically Samian cult practices, especially to the Tonaia festival, made in these Hymns. Scholars have previously argued for Samian origins for individual Hymns: Burkert (1979) hypothesized that the long Hymn to Apollo was commissioned by the tyrant Polycrates for performance at his Delian and Pythian festival in the 520s, an idea that was further developed by Aloni (1989). Before that, Wilamowitz (1895) suggested that the fragmentary Homeric Hymn to Dionysus, which includes the myth of the binding of Hera by Hephaestus, may have arisen on the island, where the cult statue of the goddess was ritually bound every year as part of the Tonaia festival. This idea has since fallen into disfavor, principally because the historian Menodotus describes an aition for this ritual unrelated to the myth found in the Hymn. That story, transmitted by Athenaeus (15.672), traces the ritual back to an attempted abduction of the statue by Tyrrhenian pirates, an attempt that has to be abandoned when the icon becomes too heavy to move; superstitious Carians, discovering the statue on the beach, then bind it with willow branches to prevent another escape attempt, thus setting the pattern for the future ritual. Although this myth undermines the idea of a strong Samian connection for the Hymn to Dionysus, it is striking how many of its details are echoed in other Homeric Hymns. -
The World's Desire
The World's Desire H. Rider Haggard and Andrew Lang The World's Desire Table of Contents The World's Desire...................................................................................................................................................1 H. Rider Haggard and Andrew Lang.............................................................................................................1 i The World's Desire H. Rider Haggard and Andrew Lang To W. B. RICHMOND, A.R.A. PREFACE The period in which the story of The World's Desire is cast, was a period when, as Miss Braddon remarks of the age of the Plantagenets, "anything might happen." Recent discoveries, mainly by Dr. Schliemann and Mr. Flinders Petrie, have shown that there really was much intercourse between Heroic Greece, the Greece of the Achaeans, and the Egypt of the Ramessids. This connection, rumoured of in Greek legends, is attested by Egyptian relics found in the graves of Mycenae, and by very ancient Levantine pottery, found in contemporary sites in Egypt. Homer himself shows us Odysseus telling a feigned, but obviously not improbable, tale of an Achaean raid on Egypt. Meanwhile the sojourn of the Israelites, with their Exodus from the land of bondage, though not yet found to be recorded on the Egyptian monuments, was probably part of the great contemporary stir among the peoples. These events, which are only known through Hebrew texts, must have worn a very different aspect in the eyes of Egyptians, and of pre−historic Achaean observers, hostile in faith to the Children of Israel. The topic has since been treated in fiction by Dr. Ebers, in his Joshua. In such a twilight age, fancy has free play, but it is a curious fact that, in this romance, modern fancy has accidentally coincided with that of ancient Greece. -
The Muses' Song in the Homeric Hymn to Apollo
The Classical Quarterly 70.1 1–9 © The Author(s), 2020. Published by The Classical Association. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. 1 doi:10.1017/S000983882000049X THE VIEW FROM OLYMPUS: THE MUSES’ SONG IN THE HOMERIC HYMN TO APOLLO* Apollo travels from Pytho to Olympus, and the other gods greet his arrival (186–93): ἔνθεν δὲ πρὸϲ Ὄλυμπον ἀπὸ χθονὸϲ ὥϲ τε νόημα εἶϲι Διὸϲπρὸϲδῶμα θεῶν μεθ’ ὁμήγυριν ἄλλων⋅ αὐτίκα δ’ ἀθανάτοιϲι μέλει κίθαριϲ καὶἀοιδή. Μοῦϲαι μέν θ’ ἅμα πᾶϲαι ἀμειβόμεναι ὀπὶ καλῇ ὑμνεῦϲίν ῥαθεῶνδῶρ’ ἄμβροτα ἠδ’ ἀνθρώπων τλημοϲύναϲ, ὅϲ’ ἔχοντεϲ ὑπ’ ἀθανάτοιϲι θεοῖϲι ζώουϲ’ ἀφραδέεϲ καὶἀμήχανοι, οὐδὲ δύνανται εὑρέμεναι θανάτοιό τ’ ἄκοϲ καὶ γήραοϲ ἄλκαρ. From there he goes quick as a thought from the earth to Olympus, to the house of Zeus, in order to join the gathering of the other gods. Immediately the immortals concern themselves with lyre music and song. All the Muses together, responding with their beautiful voice, hymn the divine gifts of the gods and the endurance of men, all that they have from the immortal gods and yet live ignorant and helpless, unable to find a remedy for death and a defence against old age. Lines 189–93 describe a song of the Muses that expresses a divine view on the human con- dition. Scholars uniformly hold that the Olympians rejoice in hearing about how they them- selves inflict pain on mankind. -
UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming.