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Demodokos' Song of Ares and Aphrodite in Homer's Odyssey

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  • The Rhythm of the Gods' Voice. the Suggestion of Divine Presence
    T he Rhythm of the Gods’ Voice. The Suggestion of Divine Presence through Prosody* E l ritmo de la voz de los dioses. La sugerencia de la presencia divina a través de la prosodia Ronald Blankenborg Radboud University Nijmegen [email protected] Abstract Resumen I n this article, I draw attention to the E ste estudio se centra en la meticulosidad gods’ pickiness in the audible flow of de los dioses en el flujo audible de sus expre- their utterances, a prosodic characteris- siones, una característica prosódica del habla tic of speech that evokes the presence of que evoca la presencia divina. La poesía hexa- the divine. Hexametric poetry itself is the métrica es en sí misma el lenguaje de la per- * I want to thank the anonymous reviewers and the editors of ARYS for their suggestions and com- ments. https://doi.org/10.20318/arys.2020.5310 - Arys, 18, 2020 [123-154] issn 1575-166x 124 Ronald Blankenborg language of permanency, as evidenced by manencia, como pone de manifiesto la litera- wisdom literature, funereal and dedicatory tura sapiencial y las inscripciones funerarias inscriptions: epic poetry is the embedded y dedicatorias: la poesía épica es el lenguaje direct speech of a goddess. Outside hex- directo integrado de una diosa. Más allá de ametric poetry, the gods’ special speech la poesía hexamétrica, el habla especial de los is primarily expressed through prosodic dioses es principalmente expresado mediante means, notably through a shift in rhythmic recursos prosódicos, especialmente a través profile. Such a shift deliberately captures, de un cambio en el perfil rítmico.
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  • 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.
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  • Cronus, and the Other Know…? Titans to Become the King of the Gods
    Mount Olympus The ancient Greeks believed in many There were some very powerful different gods and goddesses. The most gods who did not actually live powerful 12 lived on the top of Mount on Mount Olympus, such as Olympus. This is where meetings were Hades, god of the underworld. held and arguments were settled. Zeus Zeus was the most powerful of all the gods. He was god of the sky and the King of Mount Olympus. He was married to the queen of the gods, Hera. His temper affected the weather, and when he was angry he threw thunderbolts. Did You Zeus defeated his father, Cronus, and the other Know…? Titans to become the King of the Gods. Poseidon Poseidon was the god of the sea. He was the most powerful god except for his brother, Zeus. He lived in a beautiful palace under the sea and caused earthquakes when he was angry. Sailors would pray to Poseidon for safe passage across the seas before a voyage. Did You He rode a chariot pulled by seahorses. Know…? Hades Hades was the brother of Zeus and the god of the dead. He ruled the underworld, where people went when they died. Hades had a helmet that could make him invisible. Hades had a three-headed dog called Cerberus which guarded the Underworld. Did You He was also the god of wealth because of the Know…? precious metals mined from the earth. Hestia Hestia was the sister of Zeus. She was the goddess of the hearth and the home. Hestia was deeply honoured by ancient Greek women, who would present their newborn children to hearths to receive her blessing.
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  • 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.
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  • 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.
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  • Greek and Roman Perceptions of the Afterlife in Homer's
    McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife.
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  • Epigraphic Bulletin for Greek Religion 1998
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 14 | 2001 Varia Epigraphic Bulletin for Greek Religion 1998 Angelos Chaniotis and Joannis Mylonopoulos Electronic version URL: http://journals.openedition.org/kernos/779 DOI: 10.4000/kernos.779 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2001 Number of pages: 147-231 ISSN: 0776-3824 Electronic reference Angelos Chaniotis and Joannis Mylonopoulos, « Epigraphic Bulletin for Greek Religion 1998 », Kernos [Online], 14 | 2001, Online since 14 April 2011, connection on 16 September 2020. URL : http:// journals.openedition.org/kernos/779 Kernos Kernos, 14 (2001), p. 147-231. Epigraphie Bulletin for Greek Religion 1998 (EBGR 1998) In this issue we have covered a large part of the publications of 1998, making several additions to previous issues; we still have a long list of articles we should like to present (e.g., from the journal Horos), but this would have delayed the journal's publication substantially. A generous grant from the GISELA UND REINHOLD HXCKER STIFTUNG for our editorial work in 2001 will enable us in EBGR 1999 to close most of the gaps left in this and in earlier issues. In EBGR 1998 we have focused on new epigraphic finds, new interpretations of inscriptions, and epigraphic corpora, but we have also summarized a few archaeological studies which make extensive use of the epigraphic material; for the significant contribu­ tion of archaeology to the study of Greek religion the reader should consuIt the Chronique archéologique in Kernos. As in earlier issues we have not limited ourselves to epigraphy but have included a few references to important papyro­ logical sources (nOS 29, 134, 168, 181, 280, 300) and to the evidence provided by the documents in Linear B (nO 50).
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  • 1 Name 2 Zeus in Myth
    Zeus For other uses, see Zeus (disambiguation). Zeus (English pronunciation: /ˈzjuːs/[3] ZEWS); Ancient Greek Ζεύς Zeús, pronounced [zdeǔ̯s] in Classical Attic; Modern Greek: Δίας Días pronounced [ˈði.as]) is the god of sky and thunder and the ruler of the Olympians of Mount Olympus. The name Zeus is cognate with the first element of Roman Jupiter, and Zeus and Jupiter became closely identified with each other. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort The Chariot of Zeus, from an 1879 Stories from the Greek is Dione: according to the Iliad, he is the father of Tragedians by Alfred Church. Aphrodite by Dione.[4] He is known for his erotic es- capades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, the Proto-Indo-European god of the daytime sky, also [10][11] Persephone (by Demeter), Dionysus, Perseus, Heracles, called *Dyeus ph2tēr (“Sky Father”). The god is Helen of Troy, Minos, and the Muses (by Mnemosyne); known under this name in the Rigveda (Vedic San- by Hera, he is usually said to have fathered Ares, Hebe skrit Dyaus/Dyaus Pita), Latin (compare Jupiter, from and Hephaestus.[5] Iuppiter, deriving from the Proto-Indo-European voca- [12] tive *dyeu-ph2tēr), deriving from the root *dyeu- As Walter Burkert points out in his book, Greek Religion, (“to shine”, and in its many derivatives, “sky, heaven, “Even the gods who are not his natural children address [10] [6] god”).
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  • Homer and Hesiod
    University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 1-1-1997 Homer and Hesiod Ralph M. Rosen University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classical Literature and Philology Commons Recommended Citation Rosen, R. M. (1997). Homer and Hesiod. Retrieved from https://repository.upenn.edu/classics_papers/7 Postprint version. Published in A New Companion to Homer, edited by Barry Powell and Ian Morris, Mnemosyne: Bibliotheca classica Batava, Supplementum 163 (New York: Brill, 1997), pages 463-488. The author has asserted his right to include this material in ScholarlyCommons@Penn. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/7 For more information, please contact [email protected]. Homer and Hesiod Abstract One of the most frustrating aspects of Homeric studies is that so little literary material outside the Homeric corpus itself survives to enhance our understanding of the cultural landscape of the period. Recent scholarship suggests that a large and diverse poetic tradition lay behind the figure we refer to as "Homer," but little of it survives. Indeed we have little continuous written Greek for another century. The one exception is Hesiod, who composed two extant poems, the Theogony and Works and Days, and possibly several others, including the Shield of Heracles and the Catalogue of Women. As we shall see, while Hesiodic poetry was not occupied specifically with heroic themes, it was part of the same formal tradition of epic, sharing with Homer key metrical, dialectal, and dictional features.
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