DOCSLIB.ORG

Appeal and Value in the Homeric Epics from the Archaic Through the Classical Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appeal and Value in the Homeric Epics from the Archaic Through the Classical Period HEROES AT THE GATES: APPEAL AND VALUE IN THE HOMERIC EPICS FROM THE ARCHAIC THROUGH THE CLASSICAL PERIOD A thesis submitted in fulfillment of the requirements for the degree of MASTERS IN CLASSICAL CIVILISATIONS of RHODES UNIVERSITY by PETA ANN FOX April 2011 ABSTRACT This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis ii and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world. iii HEROES AT THE GATES: APPEAL AND VALUE IN THE HOMERIC EPICS FROM THE ARCHAIC THROUGH THE CLASSICAL PERIOD Archelaos of Priene, Hellenistic relief depicting the apotheosis of Homer iv CONTENTS Introduction 1 1 The Polis 20 2 Ἰσονοµία 40 3 ∆αίµονι ἶσος 76 4 Οἱ ἄριστοι 113 5 Ποιµήν λαῶν 130 Conclusion 170 Bibliography 177 v Introduction ‘The master of masters’ On a late Hellenistic relief by Archelaos of Priene (page iv),1 the enthroned figure of Homer is honoured by the personifications of Φύσις (Nature), Ἀρετή (Virtue), Μνήµη (Memory), Πίστις (Fidelity) and Σοφία (Wisdom), and crowned by Χρόνος (Time) and Οἰκουµένη (World) as the founding cultural authority of the ancient world. While the lower tier depicts Homer and his ‘children’ – not only the Iliad and the Odyssey, but also History, Poetry, Tragedy and Comedy – the upper tier is given over to a depiction of Zeus and his children, Apollo and the nine Muses; “the clear iconic parallelism between Homer and Zeus, the ‘father of gods and men’, points to the two key origins of all human culture.”2 This relief is representative not only of the relationship between Homer and subsequent Greek literature – Homer was, as Hunter puts it, “the ‘source’ from which all subsequent writers were irrigated, the fountain-head of both subject and style”3 – but also of the role that Homer came to play in the lives of his fellow countrymen. The Homeric poems were so widely diffused and so highly regarded throughout the Greek-speaking world that, even if he were only slightly educated, “a Greek was likely to have learned great stretches of each of the two poems by heart”.4 Homeric poetry became a source of instruction to the Greeks, and in particular an instrument of education. In Xenophon’s Symposium, for example, Niceratus, a fifth-century Athenian, expresses just this view: ‘My father was anxious to see me develop into a good man, ἀνήρ ἀγαθός, and as a means to this end he compelled me to memorise all of Homer; and so even now I can repeat the whole Iliad and Odyssey by heart.’5 He states the benefits consequent on this upbringing: ἐκ τούτου δὲ ὁ Νικήρατος, Ἀκούοιτ' ἄν, ἔφη, καὶ ἐµοῦ ἃ ἔσεσθε βελτίονες, ἂν ἐµοὶ συνῆτε. ἴστε γὰρ δήπου ὅτι 1 British Museum BM2191. Photo: copyright, British Museum. 2 Hunter (2004) 235, 237. 3 ibid. 235. 4 Finley (1982) 12. 5 Xen. Symposium 3.5.5-3.6.1; Todd [trans.]. 1 Ὅµηρος ὁ σοφώτατος πεποίηκε σχεδὸν περὶ πάντων τῶν ἀνθρωπίνων. ὅστις ἂν οὖν ὑµῶν βούληται ἢ οἰκονοµικὸς ἢ δηµηγορικὸς ἢ στρατηγικὸς γενέσθαι ἢ ὅµοιος Ἀχιλλεῖ ἢ Αἴαντι ἢ Νέστορι ἢ Ὀδυσσεῖ, ἐµὲ θεραπευέτω. ἐγὼ γὰρ ταῦτα πάντα ἐπίσταµαι.6 You may now hear me tell wherein you will be improved by associating with me. You know, doubtless, that the sage Homer has written about practically everything pertaining to man. Any one of you, therefore, who wishes to acquire the art of the householder, the political leader, or the general, or to become like Achilleus or Ajax or Nestor or Odysseus, should seek my favour, for I understand all these things.7 The Homeric poems were so well-known, moreover, that they became a common reference point among the Greeks – something which they could all understand and to which they could all relate. In Plato’s Apology, for example, Socrates – forced to choose between abandoning his moral principles and death – compares his own position to that of Achilleus, the most daring of Homer’s heroes. In his defence speech, he imagines that ‘someone’ had asked him whether he is not ashamed ‘at having followed a line of action which puts [him] in danger of the death-penalty’, and replies: φαῦλοι γὰρ ἂν τῷ γε σῷ λόγῳ εἶεν τῶν ἡµιθέων ὅσοι ἐν Τροίᾳ τετελευτήκασιν οἵ τε ἄλλοι καὶ ὁ τῆς Θέτιδος ὑός, ὃς τοσοῦτον τοῦ κινδύνου κατεφρόνησεν παρὰ τὸ αἰσχρόν τι ὑποµεῖναι ὥστε, ἐπειδὴ εἶπεν ἡ µήτηρ αὐτῷ προθυµουµένῳ Ἕκτορα ἀποκτεῖναι, θεὸς οὖσα, οὑτωσί πως, ὡς ἐγὼ οἶµαι· ’Ὦ παῖ, εἰ τιµωρήσεις Πατρόκλῳ τῷ ἑταίρῳ τὸν φόνον καὶ Ἕκτορα ἀποκτενεῖς, αὐτὸς ἀποθανῇ – αὐτίκα γάρ τοι,’ φησί, ‘µεθ' Ἕκτορα πότµος ἑτοῖµος’ – ὁ δὲ τοῦτο ἀκούσας τοῦ µὲν θανάτου καὶ τοῦ κινδύνου ὠλιγώρησε, πολὺ δὲ µᾶλ- λον δείσας τὸ ζῆν κακὸς ὢν καὶ τοῖς φίλοις µὴ τιµωρεῖν.8 On your view the heroes who died at Troy would be poor creatures, especially the son of Thetis. He, if you remember, made so light of danger in comparison with incurring dishonour that when his goddess mother warned him, eager as he was to kill Hektor, in some such words as these, I fancy, 6 Marchant’s 1921 edition of Xenophon’s Symposium. 7 Xen. Symposium 4.6.2-4.6.8; Todd [trans.]. 8 Burnet’s 1900 edition of Plato’s Apologia Socratis. 2 “My son, if you avenge your comrade Patroklos’ death and kill Hektor, you will die yourself; next after Hektor is thy fate prepared,” – when he heard this warning, he made light of his death and danger, being much more afraid of life with dishonour if he failed to avenge his friends.9 It is true that Socrates displayed a different kind of heroism – “the indomitable courage of the Nonconformist conscience – but he turned instinctively to Homer’s Achilleus for his example of a kindred spirit”.10 When Crito goes to visit Socrates in prison and urges him to escape before he is put to death, Socrates once again compares himself to Achilleus: he tells Crito that ‘a gloriously beautiful woman’ came to him in a dream and told him that his death would be a home-coming ‘to the pleasant land of Phthia’11 – the beloved fatherland to which Achilleus never returned. Naturally, Homer was not without his critics. Plato, the great moraliser of the Greeks and Homer’s most loyal and ardent adversary, complains in the Republic that there are Greeks who believe not only that Homer ‘educated Hellas’ but that he also ‘deserves to be taken up as an instructor in the management and culture of human affairs, and that a man ought to regulate the whole of his life by following this poet’.12 To those who hold this opinion, he concedes that ‘Homer is a supreme poet and the original tragedian’, but recommends that a proper society should bar all poetry with the sole exception of ‘hymns to the gods and encomia to the good… if you admit the entertaining Muse of lyric and epic poetry, then instead of law and the shared acceptance of reason as the best guide, the kings of your community will be pleasure and pain’.13 But Plato was no more successful in turning the Greeks against Homer than the philosopher Xenophanes had been a century earlier, when he claimed that ‘unto the gods are ascribed by Hesiod, like as by Homer, all of the acts which are counted by men disgraceful and shameful, thieving and wenching and dealing deceitfully one with another’;14 recognising, “long before Plato… the tremendous hold Homer had on the Greeks”.15 Judging by an anecdote preserved by Plutarch, it was precisely this disapproval of Homer that ultimately had such a harmful 9 Pl. Apology 28b3-28b5, 28b9-28d1; Tredennick [trans.]. 10 Luce (1975) 180. 11 Pl. Crito 44a10-44b2; Tredennick [trans.]. 12 Pl. Republic 606e; Waterfield [trans.]. 13 ibid. 607a. 14 Sext. Emp. Adv.
Load more

Recommended publications
  • Durham Research Online
    Durham Research Online Deposited in DRO: 17 February 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Petrovic, Ivana (2006) 'Delusions of grandeur : Homer, Zeus and the Telchines in Callimachus Reply (Aitia Fr. 1) and Iambus 6.', Antike und Abendland., 52 . pp. 16-41. Further information on publisher's website: http://www.degruyter.com/view/j/anti.2006.52.issue- 1/9783110186345.16/9783110186345.16.xml?format=INT Publisher's copyright statement: The nal publication is available at www.degruyter.com Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk L IJ lVANA PETROVIC Delusions of Grandeur: Homer, Zeus and the Telchines in Callimachus' Reply (Aitia Fr. 1) and Iambus 6'' The visual representations of Homer were often modelled upon those of Zeus. Fur­ thermore, not only in the visual arts, but in poetry as well Homer was often in one way or another brought in connection with Zeus.
    [Show full text]
  • 6 X 10.Long New.P65
    Cambridge University Press 978-0-521-19449-5 - Homer between History and Fiction in Imperial Greek Literature Lawrence Kim Excerpt More information chapter 1 Introduction Imperial Homer, history, and fiction Near the beginning of his treatise Against Celsus, the third-century Christian scholar Origen conveys the difficulty of his project, a defense of the Gospels’ account of Jesus, by an analogy to Greek example: Before we begin the defence [of Jesus], we must say that an attempt to con- firm almost any story as having happened, even if it is true (psan ¬stor©an, kn lhqv § ...Þv gegenhmnhn), and to produce complete certainty about it, is one of the most difficult tasks and in some cases is impossible. Suppose, for example, that someone says the Trojan War never happened (m gegonnai), in particular because it is bound up with the impossible story (di t¼ dÅ- naton prospeplcqai l»gon) about a certain Achilles having had Thetis, a sea-goddess,ashismother...Howcouldwedefend[thehistoricityoftheTro- jan War] (kataskeusaimen), especially as we are embarrassed by the invention (Ëp¼ toÓ ...plsmatov) which for some unknown reason is woven alongside the opinion, which everybody believes, that there really was (perª toÓ lhqäv gegonnai) a war in Troy between the Greeks and the Trojans?1 It is probably no accident that Origen selects the Trojan War to illustrate the difficulty of substantiating “true” stories as fact. The war is poised at the chronological end of the ‘mythological’ era and the beginning of Greek history, and while the legends surrounding it are more human-centered and less fantastic than those concerning previous heroic generations, they still feature the divine apparatus and enough “invention” or “fiction” (plsma) to render problematic any simple correspondence to historical reality.2 The anxiety engendered by these problems is well expressed by Origen; like nearly all ancient authors he was caught in an uneasy negotiation between his firm belief in the reality of the Trojan War and a suspicion that the stories told about it were not completely accurate.
    [Show full text]
  • The Iliad of Homer by Homer
    The Project Gutenberg EBook of The Iliad of Homer by Homer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Iliad of Homer Author: Homer Release Date: September 2006 [Ebook 6130] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ILIAD OF HOMER*** The Iliad of Homer Translated by Alexander Pope, with notes by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. ix POPE'S PREFACE TO THE ILIAD OF HOMER . xlv BOOK I. .3 BOOK II. 41 BOOK III. 85 BOOK IV. 111 BOOK V. 137 BOOK VI. 181 BOOK VII. 209 BOOK VIII. 233 BOOK IX. 261 BOOK X. 295 BOOK XI. 319 BOOK XII. 355 BOOK XIII. 377 BOOK XIV. 415 BOOK XV. 441 BOOK XVI. 473 BOOK XVII. 513 BOOK XVIII. 545 BOOK XIX. 575 BOOK XX. 593 BOOK XXI. 615 BOOK XXII. 641 BOOK XXIII. 667 BOOK XXIV. 707 CONCLUDING NOTE. 747 Illustrations HOMER INVOKING THE MUSE. .6 MARS. 13 MINERVA REPRESSING THE FURY OF ACHILLES. 16 THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES. 23 THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER. 27 THETIS ENTREATING JUPITER TO HONOUR ACHILLES. 32 VULCAN. 35 JUPITER. 38 THE APOTHEOSIS OF HOMER. 39 JUPITER SENDING THE EVIL DREAM TO AGAMEMNON. 43 NEPTUNE. 66 VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS.
    [Show full text]
  • ATINER's Conference Paper Series MDT2016-1940
    ATINER CONFERENCE PAPER SERIES No: LNG2014-1176 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series MDT2016-1940 Portraits of Ancient Greek Poets in the 19th Century European Art Sibel Almelek İşman Assistant Professor Buca Faculty of Education Dokuz Eylul University - Izmir Turkey 1 ATINER CONFERENCE PAPER SERIES No: MDT2016-1940 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. This paper has been peer reviewed by at least two academic members of ATINER. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Almelek İşman, S. (2016). "Portraits of Ancient Greek Poets in the 19th Century European Art", Athens: ATINER'S Conference Paper Series, No: MDT2016-1940. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN: 2241-2891 23/08/2016 2 ATINER CONFERENCE PAPER SERIES No: MDT2016-1940 Portraits of Ancient Greek Poets in the 19th Century European Art Sibel Almelek İşman Assistant Professor Buca Faculty of Education Dokuz Eylul University - Izmir Turkey Abstract Many European artists of the 19th century depicted ancient Greek culture in their works.
    [Show full text]
  • Jean-Auguste-Dominique Ingres
    Jean-Auguste-Dominique Ingres Jean-Auguste-Dominique Ingres (pronounced: aah-n Gr-ah) was David's most famous student. And while this prolific and successful artist was indebted to his teacher, Ingres quickly turned away from him. For his inspiration, Ingres, like David in his youth, rejected the accepted formulas of his day and sought instead to learn directly from the ancient Greek as well as the Italian Renaissance interpretation of this antique ideal. In 1827, Ingres exhibitedApotheosis of Homer in the annual Salon. His grandest expression of the classical ideal, this nearly seventeen foot long canvas reworks Raphael's Vatican fresco, The School of Athens, 1509-11, and thus pays tribute to the genius Ingres most admired. As Raphael had done four hundred years earlier, Ingres brought together a pantheon of luminaries. Like secular sacra-conversaziones, the Raphael and the Ingres bring together figures that lived in different eras and places. But while Raphael celebrated the Roman Church's High Renaissance embrace of Greek intellectuals (philosophers, scientists, etc.), Ingres also includes artists (visual and literary). Set on a pedestal at the center of the Apotheosis of Homer, the archaic Greek poet is conceived of as the wellspring from which the later Western artistic tradition flows. The entire composition functions somewhat like a family tree. Homer is framed by both historical and allegorical figures and an Ionic temple that enforces the classical ideals of rational measure and balance. Nike, the winged Greek goddess of the running shoe (ahem, of victory) crowns Homer with a wreath of laurel, while below him sit personifications of his two epic poems, The Odyssey (in green and holding an oar) and The Illiad (in red and seated beside her sword).
    [Show full text]
  • The Return of Ulysses ‘Only Edith Hall Could Have Written This Richly Engaging and Distinctive Book
    the return of ulysses ‘Only Edith Hall could have written this richly engaging and distinctive book. She covers a breathtaking range of material, from the highest of high culture to the camp, cartoonish, and frankly weird; from Europe to the USA to Africa and the Far East; and from literature to film and opera. Throughout this tour of the huge variety of responses that there have been to the Odyssey, a powerful argument emerges about the appeal and longevity of the text which reveals all the critical and political flair that we have come to expect of this author. It is all conveyed with the infectious excitement and clarity of a brilliant performer. The Return of Ulysses represents a major contribution to how we assess the continuing influence of Homer in modern culture.’ — Simon Goldhill, Professor of Greek Literature and Culture, University of Cambridge ‘Edith Hall has written a book many have long been waiting for, a smart, sophisticated, and hugely entertaining cultural history of Homer’s Odyssey spanning nearly three millennia of its reception and influence within world culture. A marvel of collection, association, and analysis, the book yields new discoveries on every page. In no other treatment of the enduring figure of Odysseus does Dante rub shoulders with Dr Who, Adorno and Bakhtin with John Ford and Clint Eastwood. Hall is superb at digging into the depths of the Odyssean character to find what makes the polytropic Greek so internationally indestructible. A great delight to read, the book is lucid, appealingly written, fast, funny, and full of enlightening details.
    [Show full text]
  • Trojan Horse of Western History
    Anatoly V. Belyakov, Ph.D. Oleg A. Matveychev, Ph.D. Scientific readers: Victor V. Kondrashin, Doctor of Historical Sciences Vladimir B. Kulikov, Doctor of Philosophy Special thanks: This book was published thanks to the Russian philanthropists Artem Suetin and Gennadiy Chernushkin 1 Dedicated to children: Lidia, Maria, Elizaveta, Svetlana, Gleb, Platon. You must be kind, cultivate your talents and love the truth! 2 Table of contents Alternative Introduction ................................................................................. 5 Chapter 1. Mega-mall to megaron. Pilgramage to the land of Homer ............. 7 Chapter 2. The Adventurer Toppled Troy ...................................................... 22 Chapter 3. The War for Troy, twentieth century ............................................. 43 Chapter 4. They came back ignominiously ..................................................... 64 Chapter 5. The Poet who composed Greece ................................................... 87 In lieu of an afterword. Two hours of Turkish tea .......................................... 119 Authors of Antiquity ...................................................................................... 149 Bibliography selection ................................................................................... 151 3 4 Alternative Introduction We decided not to write a traditional foreword, but instead offer ten phrases with different answers to the question: what kind of book have we produced? Here are these ten phrases: 1. This book is
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/41379 Please be advised that this information was generated on 2021-09-25 and may be subject to change. “THE MAN WHO MADE THE SONG WAS BLIND” Representations of Homer in modern times I Eric Moormann Strange, but the man who made the song was blind; Yet, now I have considered it, I find That nothing strange; the tragedy began With Homer that was a blind man, And Helen has all living hearts betrayed. O may the moon and sunlight seem One inextricable beam, For if I triumph I must make men mad. (William Butler Yeats1) Homer is usually represented as a blind bearded man, with long hair, and with a curved back. These physical features of old age are mostly stressed clearly and may indicate that he is an ideal teacher of wisdom.2 When other people accompany him, the distinction between old and young, and physi­ cally weak and vigorous is mostly clearly visible. Visitors come to get instruction from the master. Since some time I am collecting representations of Homer from the Renaissance onwards, which yields a rather large amount of fascinating instances.3 In this contribution I focus on those in which Homer plays a central role as symbol of poetry, that means particularly scenes that take place on Parnassus and the like.4 1 W.B. Yeats, The Tower II, stanza 5, in The Tower from 1928, in which the blind poet Raftery features.
    [Show full text]
  • “O Dread and Silent Mount!” Week Ten: Romanticism
    ART HISTORY Journey Through a Thousand Years “O Dread and Silent Mount!” Week Ten: Romanticism Into the World of Mystery – “The Sleep of Reason” – “Monk by the Sea” – John Nash, The Brighton Pavilion - Francois Rude’s “La Marseillaise” and the “Arc of Triumph” – A Beginner’s Guide to the Pre-Raphaelites – “Apotheosis of Homer” – “Rain, Steam & Speed” Francesco Hayez, Crusaders Thirsting near Jerusalem Brett & Kate McKay: “Into the World of Mystery” From “The Basics of Art – The Romantic Period” Time Period: 1800-1860 Background: The Industrial Revolution got into swing in the latter part of the 18th century, starting in England and spreading to France and America. This revolution brought with it a new market economy, based on new technology—machine tools and machine power instead of human tools and animal power. Villages exploded into urban centers and people moved to them from farms and the countryside to take jobs in newly opened factories. With little to no regulations in place, these jobs could be brutal. Men, women, and children worked 14 hour shifts; where they had once told time by the sun, now they could go weeks without seeing the light of day. Rapid growth produced cities that were dirty and crowded, the working poor often lived in squalor, and smokestacks darkened the air with soot. While industrialization made consumer goods cheaper and increased the production of food, there were those who looked back on the past longingly, seeing it as a romantic period before people were commodified and nature blighted and destroyed. At the same time, there was a growing reaction against the philosophy of the Enlightenment, which emphasized science, empirical evidence, and rational thought above all.
    [Show full text]
  • Trojan Horse of Western History
    LBC 63.3(0)313.3 UDC 94(392) B43 Scientific readers: Victor V. Kondrashin, DSc, and Vladimir B. Kulikov, PhD. Special thanks to Russian philanthropists Artem Suetin and Gennadiy Chernushkin, who helped to publish this book. Anatoly V. Belyakov, PhD., Oleg A. Matveychev, PhD. B43 Trojan Horse of Western History. — St. Petersburg: Piter, 2015. — 256 p.: pic. ISBN 978-5-496-01658-2 What is this book about? This book is about an exciting journey to Troy, both ancient and modern. About the fact that the Trojans defeated the Greeks (not the other way around, as is commonly believed). And that the well-known Greek religion with its anthropomorphism was created artificially for political reasons. The authors assert that the information warfare, the falsification of history—is not an innovation, but the oldest essence of Western way of thinking. The book refutes the conventional wisdom that “history is written by the winners.” On the contrary, authors have shown: those who write history become winners. The book is written in bright, vivid and interesting manner for laymen. At the same time it is absolutely scientific and opposed fancy sensational historical fast food. This book is about the struggle for historical truth and justice, which roots us in the world, because without the truth we are orphans. 16+ (In accordance with the Federal Law of December 29, 2010 № 436-FZ.) LBC 63.3(0)313.3 UDC 94(392) All rights reserved. No part of this book may be reproduced in any form without permission in writing from the rightsowner. ISBN 978-5-496-01658-2 © Design of English edition, Piter Publishing House, LLC, 2015 Contents Alternative Introduction .
    [Show full text]
  • Pictorial Atlas to Homer's Iliad and Odyssey
    pre s HO R H. GREVEL & CO/S PUBLICATIONS. Cbc Stu&cnfs JFinc art library THE CLASSICAL PICTURE GALLERY FOR MANUAL OF ARCHEOLOGY : containing an 1892: Monthly Magazine of Reproductions from Introduction to Egyptian and Oriental Art, Greek, the Art Galleries of Europe. lan Art. With 114 Illustrations. By Twelve Plates, 4to. Annual Subscript er of the Councils of the Society for the "Judged by their price, the plates arc Httlt tudies. J Vol. Crown Svo, cloth. 6s. be of no little value IH those who take an intelligent interest in ancient typi and expressi ms, refres MSMORhVM and vRtvinv. LIOGRAPHY : being an In- Knowledge of the Book, Library C THE CLASSICAL PICTURE the Art of Cataloguing. With a II., and and for 1890 1891, containing 'erins. and a Latin-English and English- Itiographical Notices of the Artists, and lex of the Early Printing Centres. With Vol. 4to, cloth extra, gilt top. £1 is. Edition. By Walter T. Rogers, Inner . Crown Svo, cloth. $s. urious information."- Morning- Post. THE HUMAN FIGURE : its fects. By Ernst Krucke, Emeritus iOLOGY IN RELATION TO the University of Vienna, and formerly Maxime Collignon, late Member of the the Academy of Fine Arts at Berlin. Translated and Enlarged by Jane E. Revised by the Author. With Illusl 29 ' Myths of the Odyssey," " Introductory \V. Anderson, Edited by Prof Royal / With 140 Illustrations. Crown Svo, Crown 8vo, cloth. 71, 6(7. 6,/. " An exceedingly valuable work."—Timet. doing for Greek ivhidh Mrs. Jai THE STUDENT'S ATLAS OF ENT SCULPTURE. TOMY, for the Use of Seulpto By Pierre ROBCRT^OlMeS ier Francaise, of the Ecole Athens.
    [Show full text]
  • Jean-Auguste-Dominique Ingres
    Jean-Auguste-Dominique Ingres (1780-1867) Contents The Highlights The Envoys of Agamemnon (1801) Self Portrait (1804) Portrait of Mademoiselle Caroline Rivière (1805) Napoleon I on His Imperial Throne (1806) The Grande Baigneuse (1808) Oedipus and the Sphinx (1808) La Grande Odalisque (1814) Roger Freeing Angelica (1819) The Vow of Louis XIII (1824) The Apotheosis of Homer (1827) Portrait of Monsieur Bertin (1832) The Martyrdom of Saint Symphorian (1834) Odalisque with Slave (1839) The Illness of Antiochus (1840) Portrait of Comtesse d’Haussonville (1845) Portrait of the Princesse de Broglie (1853) The Source (1856) The Turkish Bath (1863) The Paintings The Complete Paintings Alphabetical List of Paintings The Drawings Selected Drawings The Biographies Jean Auguste Dominique Ingres by Emilia Francis Strong Dilke Ingres by A. J. Finberg The Delphi Classics Catalogue © Delphi Classics 2020 Version 1 Masters of Art Series Jean-Auguste-Dominique Ingres By Delphi Classics, 2020 COPYRIGHT Masters of Art - Jean-Auguste-Dominique Ingres First published in the United Kingdom in 2020 by Delphi Classics. © Delphi Classics, 2020. 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, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published. ISBN: 978 1 91348 732 4 Delphi Classics is an imprint of Delphi Publishing Ltd Hastings, East Sussex United Kingdom Contact: [email protected] www.delphiclassics.com Enjoying our Art series of eBooks? Then try our Classical Music series: A first of its kind in digital print, the Delphi Great Composers series allows digital readers to explore the works of the world’s greatest composers in comprehensive detail, with interactive links to popular streaming services.
    [Show full text]