DOCSLIB.ORG

The Rise of the Greek Epic Author(S): M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Rise of the Greek Epic Author(s): M. L. West Reviewed work(s): Source: The Journal of Hellenic Studies, Vol. 108 (1988), pp. 151-172 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/632637 . Accessed: 04/07/2012 06:05 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Society for the Promotion of Hellenic Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org Journal of Hellenic Studies cviii (1988) 15I-I72 THE RISE OF THE GREEKEPIC MY title is familiar as that of a book, and my subject may be thought to call for one. I hope in due course to explore the genesis of the Homeric poems in that format, and what I have to say here may take its place there in a maturer form (wiser, fatter). For the moment I offer merely a provisional attempt to trace out the stages by which the epic tradition developed, stopping short of any discussion of the Iliad and Odyssey themselves. Any such attempt necessarily involves a certain amount of rehearsal of familiar arguments, and, if it is to be plausible, a fair measure of concurrence in familiar conclusions. But conclusions that are familiar are sometimes also controversial, and can be strengthened against their assailants by a fresh discussion; and I have certain doctrines of my own that are best presented in the context of a broad synthesis.1 To speakof the rise of the Greekepic presupposesthat it did not always exist, at least not in the majesticform in which we see it in the Homeric poems. We know from the Russianbyliny, the South Slavic epic songs, and other casesthat oral traditionsof heroic poetry can persistfor many centuries.2 Almost everyone accepts that the Greek epic tradition goes back at least to late Mycenaean times. In fact, as will be seen, there is reason to assume its existence as early as the fifteenth century, and before that an ancient tradition of poetry, which may have been in some sense heroic, going back to an Indo-European setting. In one sense, then, the rise of the Greek epic will have to be dated no later than the middle of the second millennium. On the other hand it is scarcely to be supposed that the Homeric epics are simply late examples of something that had existed in much the same state for seven or eight hundred years. This is surely a tradition that, however old its roots, burst spectacularly into flower within the last few generations before Homer. It is an Ionian tradition, but it can be shown that the Ionians had not always had it. From about 750 we can see that this Ionian epic began to be widely known. It created a great impression on the Greeks of the mainland, as something to which they had nothing corresponding. It aroused in them an interest in the heroic past which had not been evident before. Bronze Age graves began to be treated with reverence, to be brought offerings, and in some cases to be identified as the graves of particular heroes of legend. Relics of Mycenaean buildings, often secular, became the sites of new shrines. Heroic scenes began to appear in art.3 There can be no doubt that the diffusion of epic poetry of the Homeric type was responsible for this new consciousness of the past. It is reflected too in poetry of other genres. Hesiod, in his mythical scheme of metallic races of men, has to find room for the heroes who fought at Thebes and Troy (Op. I56-73); he cannot mention Aulis without adding 'where the Achaeans once gathered their great army against Troy of the fair women' (Op. 65 I-3); his catalogue of rivers includes a group of Trojan ones that he must have learned of from epic about Troy (Th. 340-5). Alcman refers to Ajax and Memnon (PMG 68-9), Paris (7ob, 77) and other Trojans (52, 71), Odysseus, Circe and the Sirens (8o),4 and perhaps Helen and Nestor (IOI i). Alcaeus and Sappho show an obsessive preoccupation with the saga of Troy, and in the case of one brief fragment it is evident that Alcaeus had the Iliad in mind.5 I wish to thank three referees, TC)V EyCb eiC5o T'a 4 I wonder, however, whether this hexameter frag- ovo6pacraou yp&pco, for their expert comments and ment should not be attributed rather to the Kirka of criticisms. Alexander Aetolus (Powell, CollectaneaAlexandrina 1 To some extent I shall be using the same canvas as 122). 5 in an earlier essay, 'Greek poetry 2000-700 BC', CQ Fr. 44.6-8 PladEr[p'iovop]ac&8ov 9Ka?rI v&[iS' xxiii (I973) 179-92. wITrepTrav] I vU,p9[cv evv]aAiav. & 8i yovoov [a&ap,va 2 H. M. and N. K. Chadwick, The Growth of Aios] | iKTrEv[' dyacn]TCo TEKEOSpiviv [&arUaTpnprv.] literature (Cambridge I932-40) ii I2 f.; C. M. Bowra, (end of poem). This not only corresponds to events in Heroicpoetry (London 1952) 372 if. Iliad i but implies the whole framework of the epic: 3 A. M. Snodgrass, The Dark Age of Greece(Edin- Zeus' response to Thetis' prayer, granting the Trojans burgh I97I) 192-4, 397 f.; Archaic Greece (London increasingsuccess in battle until the Greeksare forced to I980) 38-40, 68-78; J. N. Coldstream,JHS xcvi (I976) plead with Achilles for his assistance. I draw attention to 8-17; Geometric Greece (London 1977) 341-57. this because it is in my opinion the earliest text that I52 M. L. WEST Fromthe middleof the eighthcentury, then, Greecewas captivatedby a genreof heroic poetry that had achieveda new splendourfrom the effortsof Ionianbards. Here again is somethingthat may claimto be regardedas the riseof the Greekepic. The objectof inquiryis thereforea complexone. The taskis to try to defineand describe, so faras the evidencepermits, the phasesthrough which the epic traditionpassed in the courseof its long development. INDO-EUROPEANPRAISE POETRY aksiti sravah, sravo ... aksitam=K\EFos a&iqplTov.With that famous equation of a Rigvedic with a Homeric formula, Adalbert Kuhn in i853 opened the door to a new path in the comparativephilologist's garden of delights.In the yearsthat followedhe madea few more discoveriesof the samesort, and also established a strikingcorrespondence of contentand style between certain Germanicincantations for sprainsand broken limbs and one in the Atharvaveda.The conceptof an Indo-Europeanpoetic language was beginningto emerge.6 Scholarshave continued to add to these phraseologicaland stylistic comparisonsbetween differentIE poetictraditions, especially between the Greekand Vedic, and their findings now makea not inconsiderablecollection.7 Antoine Meillet in 1923successfully got on to thetrack of IE metreand prosody, and this too hasproved a fruitfulline of research.8Studies of IE social institutions,religion, and mythology have also made intermittent headway, despite the special difficultiesthat arise in thesefields. Philologists imbued with the ideathat 'Indo-European' is a purelylinguistic term reserved for theirown use,and that it cannotmeaningfully be appliedto anything other than hypothetical,unspeakable language, nowadays find themselvesa beleagueredspecies. In generalit is concededthat, as it is certainthat an IE parentlanguage existed,it is equallycertain that theremust have been a historicalpeople who spokeit, and furthermore that this people must have had social forms, poetry, mythology, and so forth, reflexesof which it is legitimateto seekamong their heirs' effects. Effortsto correlatethe archaeologicaldata of prehistoricEurope with the progressof the IE peoples towards their historicalresidences have not so far succeededin evoking any agreement, either about these peoples' starting-point or about their movements in the fourth and third millennia, though certain models have emerged as the most plausible.9It is generally accepted that the story began somewhere in easternEurope or the west Asiatic steppe. So far as southern Greeceis concerned,there is something approachinga consensusthat the first arrivalof'Greek'- speakersin substantialnumbers is signalledby the destructionsand changesat the end of the EH clearly attests knowledge of our Iliad (as distinct from Slavonic Papers iii (I952) 21-66'Selected Writingsiv unidentified epic about the Trojan War). Correspond- (1966) 414-63; C. Watkins, Celtica vi (1963) I94-249; ing evidence from art does not go back before about 630 G. B. Pighi, Studi di ritmica e metrica (Torino 1970); M. (K. FriisJohansen,The Iliadin earlyGreek art [Copenha- L. West, Glotta li (I973) 161-87, cf. my Greek Metre gen 1967]). (Oxford I982) I-4; G. Nagy, Comparative studies in 6 See Riidiger Schmitt, Dichtungund Dichtersprache in Greekand Indicmeter (Cambridge Mass. I974). indogermanischerZeit (Wiesbaden 1967) 6 if., and in the 9 See e.g. V. Gordon Childe, The Aryans (London introduction to the collection of articles edited by him I926); Prehistoric migrations in Europe (Oslo I950) 146- under the title IndogermanischeDichtersprache (Darm- 51; P. Bosch-Gimpera, El problemaindoeuropeo (Mexico stadt 2 1968) f. 1960); G. Devoto, Origini 1962) 7 indeuropee (Florence Besides the works of Schmitt just cited see M. 71-156; M. Gimbutas, American Anthropologist lxv Durante, Sulla preistoriadella tradizionepoetica greca ii (I963) 815-36; S. Piggott, Ancient Europe (Edinburgh (Rome 1976); E. Campanile, Ricerchedi culturapoetica I965) 78-97; various papers in R. W. Ehrich (ed.), indoeuropea(Pisa I977). (Cited hereafter as 'Durante', Chronologiesin Old Worldarchaeology (Chicago 1965) 'Campanile'.) and in G.
Recommended publications
  • The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century

    The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century

    The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica.
  • Meter of Classical Arabic Poetry

    Meter of Classical Arabic Poetry

    Pegs, Cords, and Ghuls: Meter of Classical Arabic Poetry Hazel Scott Haverford College Department of Linguistics, Swarthmore College Fall 2009 There are many reasons to read poetry, filled with heroics and folly, sweeping metaphors and engaging rhymes. It can reveal much about a shared cultural history and the depths of the human soul; for linguists, it also provides insights into the nature of language itself. As a particular subset of a language, poetry is one case study for understanding the use of a language and the underlying rules that govern it. This paper explores the metrical system of classical Arabic poetry and its theoretical representations. The prevailing classification is from the 8th century C.E., based on the work of the scholar al-Khaliil, and I evaluate modern attempts to situate the meters within a more universal theory. I analyze the meter of two early Arabic poems, and observe the descriptive accuracy of al-Khaliil’s system, and then provide an analysis of the major alternative accounts. By incorporating linguistic concepts such as binarity and prosodic constraints, the newer models improve on the general accessibility of their theories with greater explanatory potential. The use of this analysis to identify and account for the four most commonly used meters, for example, highlights the significance of these models over al-Khaliil’s basic enumerations. The study is situated within a discussion of cultural history and the modern application of these meters, and a reflection on the oral nature of these poems. The opportunities created for easier cross-linguistic comparisons are crucial for a broader understanding of poetry, enhanced by Arabic’s complex levels of metrical patterns, and with conclusions that can inform wider linguistic study.* Introduction Classical Arabic poetry is traditionally characterized by its use of one of the sixteen * I would like to thank my advisor, Professor K.
  • The Hellenic Saga Gaia (Earth)

    The Hellenic Saga Gaia (Earth)

    The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10.
  • Ibycus Pmgf 287: Love and Disgrace Ἔρος Αὖτέ Με Κυανέοισιν Ὑπὸ Βλεφάροις Τακέρ' Ὄµ

    Ibycus Pmgf 287: Love and Disgrace Ἔρος Αὖτέ Με Κυανέοισιν Ὑπὸ Βλεφάροις Τακέρ' Ὄµ

    IBYCUS PMGF 287: LOVE AND DISGRACE Ἔρος αὖτέ µε κυανέοισιν ὑπὸ βλεφάροις τακέρ’ ὄµµασι δερκόµενος κηλήµασι παντοδαποῖς ἐς ἄπει- ρα δίκτυα Κύπριδος ἐσβάλλει· 5 ἦ µὰν τροµέω νιν ἐπερχόµενον, ὥστε φερέζυγος ἵππος ἀεθλοφόρος ποτὶ γήρᾳ ἀέκων σὺν ὄχεσφι θοοῖς ἐς ἅµιλλαν ἔβα. Judging from the source which has preserved this fragment for us and from its overall structure, which I will analyze below, I believe that these lines of Ibycus constitute in all probability a complete poem1. This provides us the opportunity for a thorough interpretation and evaluation, an opportu- nity which has not, in my opinion, been adequately exploited by scholars so far. The intricacy and dexterity of Ibycus’ poetic art in this particular speci- men of his work has gone largely unnoticed. As will be seen by the ensuing analysis, there is not even a single word in these seven verses which has a superfluous or merely ornamental function; on the contrary, it is carefully chosen, put and invested with a particular significance that contributes ef- fectively to the production of the implicit meaning that the poet imparts to his creation. And this meaning mostly concerns the unavoidable danger of facing disgrace in one’s efforts of erotic conquest. The first remark to be made is that Ibycus’ poem is comprised by two distinct images, which are however implicitly linked2; an initial connection is established by the correlation between the phrase Ἔρος αὖτέ µε and the adjective φερέζυγος: the subjugation of the horse, which comes to represent the poetic persona that Ibycus here adopts, denotes precisely that the speaker is constantly under the influence of Eros, that he finds himself repeatedly falling in love.

  • 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.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.
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts

    The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts

    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
  • The Status of Vultures in Greece

    The Status of Vultures in Greece

    ICBP Technical Publication No. 5, 1985 THE STATUS OF VULTURES IN GREECE GEORGE I. HANDRINOS do Hellenic Ornithological Society, Kyniskas 9, Athens 502, Greece ABSTRACT This paper gives the present status of the various vulture species in Greece. From the late 1950s onwards, dramatic declines have occurred in all species, and for the Black Vulture the chances of survival are slim. INTRODUCTION Greece, as a typical Mediterranean country with favourable conditions, still harbours the biggest vulture population of all Eastern Europe and, apart from the Caucasus and Spain, is the last stronghold of these birds on the whole continent. Vultures were well known to the ancient Greeks. They are mentioned fre- quently in the ancient literature, even by Homer, whilst Aristotle was the first to describe some of them in his "Physics' . Indeed, it seems that they were very common at that time, and this is not surprising: the Eastern Mediterranean, and especially Greece, has been inhabited by man and his livestock for many thousands of years. Gradually vultures not only changed their diet from wild to domestic animals, but also quickly learned to co-exist with man and even to thrive in large numbers, taking profit from his pastoral activities. Thus they became a characteristic part of the Greek landscape and a valuable element in its ecology. This situation probably remained the same for many centuries up to the late 1700s, when man's devastating impact on nature increased alarmingly. It still prevails and has grown further since the 1950s. In 1965, Prof. K. Voous stated that the present population of raptors in Europe is only 1 percent of the numbers that existed 150 years ago (Bijleveld 1974).
  • The Coinage of Akragas C

    The Coinage of Akragas C

    ACTA UNIVERSITATIS UPSALIENSIS Studia Numismatica Upsaliensia 6:1 STUDIA NUMISMATICA UPSALIENSIA 6:1 The Coinage of Akragas c. 510–406 BC Text and Plates ULLA WESTERMARK I STUDIA NUMISMATICA UPSALIENSIA Editors: Harald Nilsson, Hendrik Mäkeler and Ragnar Hedlund 1. Uppsala University Coin Cabinet. Anglo-Saxon and later British Coins. By Elsa Lindberger. 2006. 2. Münzkabinett der Universität Uppsala. Deutsche Münzen der Wikingerzeit sowie des hohen und späten Mittelalters. By Peter Berghaus and Hendrik Mäkeler. 2006. 3. Uppsala universitets myntkabinett. Svenska vikingatida och medeltida mynt präglade på fastlandet. By Jonas Rundberg and Kjell Holmberg. 2008. 4. Opus mixtum. Uppsatser kring Uppsala universitets myntkabinett. 2009. 5. ”…achieved nothing worthy of memory”. Coinage and authority in the Roman empire c. AD 260–295. By Ragnar Hedlund. 2008. 6:1–2. The Coinage of Akragas c. 510–406 BC. By Ulla Westermark. 2018 7. Musik på medaljer, mynt och jetonger i Nils Uno Fornanders samling. By Eva Wiséhn. 2015. 8. Erik Wallers samling av medicinhistoriska medaljer. By Harald Nilsson. 2013. © Ulla Westermark, 2018 Database right Uppsala University ISSN 1652-7232 ISBN 978-91-513-0269-0 urn:nbn:se:uu:diva-345876 (http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-345876) Typeset in Times New Roman by Elin Klingstedt and Magnus Wijk, Uppsala Printed in Sweden on acid-free paper by DanagårdLiTHO AB, Ödeshög 2018 Distributor: Uppsala University Library, Box 510, SE-751 20 Uppsala www.uu.se, [email protected] The publication of this volume has been assisted by generous grants from Uppsala University, Uppsala Sven Svenssons stiftelse för numismatik, Stockholm Gunnar Ekströms stiftelse för numismatisk forskning, Stockholm Faith and Fred Sandstrom, Haverford, PA, USA CONTENTS FOREWORDS .........................................................................................
  • Thucydides Sparta

    Thucydides Sparta

    102528_Prelims.qxp_Layout 1 27/11/2020 09:26 Page iii THUCYDIDES AND PROOFSSPARTA edited by Anton Powell† and Paula Debnar Contributors Jean Ducat, Thomas J. Figueira, Maria Fragoulaki, Emily Greenwood, Polly Low, Ellen Millender The Classical Press of Wales 102528_Prelims.qxp_Layout 1 27/11/2020 09:26 Page iv First published in 2020 by The Classical Press of Wales 15 Rosehill Terrace, Swansea SA1 6JN [email protected] www.classicalpressofwales.co.uk Distributor in North America. E-book distributor world-wide ISD, 70 Enterprise Drive, Suite 2, Bristol, CT 06010, USA Tel: +1 (860) 584-6546 Fax: +1 (860) 516-4873 www.isdistribution.com © 2020 All rights reserved.PROOFS 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, without the prior permission of the publisher. ISBN hard-back 978-1-910589-75-5; ebook 978-1-910589-99-1 A catalogue record for this book is available from the British Library. Typeset by Louise Jones, and printed and bound in the UK by Gomer Press, Llandysul, Ceredigion, Wales ––––––––––––––––– The Classical Press of Wales, an independent venture, was founded in 1993, initially to support the work of classicists and ancient historians in Wales and their collaborators from further afield. It now publishes work initiated by scholars internationally, and welcomes contributions from all parts of the world. The symbol of the Press is the Red Kite. This bird, once widespread in Britain, was reduced by 1905 to some five individuals confined to a small area known as ‘The Desert of Wales’ – the upper Tywi valley.
  • Homeric Greek: a Book for Beginners Homeric Greek: a Book for Beginners

    Homeric Greek: a Book for Beginners Homeric Greek: a Book for Beginners

    The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Homeric Greek: A Book for Beginners Homeric Greek: A Book for Beginners. By Clyde Pharr, Ph.D. (Yale), Professor of Greek in South-Western Presbyterian University. One vol. Octavo. Pp. xlii + 391. Two maps, ten plates, and numerous woodcuts. Boston, New York, Chicago: D. C. Heath and Co.; London: G. G. Harrap and Co. 8s. 6d. net. Frank Carter The Classical Review / Volume 36 / Issue 1-2 / February 1922, pp 24 - 25 DOI: 10.1017/S0009840X00015778, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00015778 How to cite this article: Frank Carter (1922). The Classical Review, 36, pp 24-25 doi:10.1017/S0009840X00015778 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 130.126.162.126 on 14 Mar 2015 THE CLASSICAL REVIEW that the pre-Doric tradition was based stone, and hence, on his view, a later on thicker timber than the pre-Ionic; addition. This reasoning ignores the and it is unfortunate that he entirely fact that all the chief carved members gnores Thermon. Moreover, in his both of ' Ceres ' and of the ' Basilica' anxiety to discredit the features of are of this softer stone; it also ignores Doric which suggest wooden originals, Koldewey's demonstration that the he overrates the evidence for the archaic structure of this frieze is on that canti- omission of triglyphs. He writes lever principle, which is repeated in the (p.
  • Astrocladistics of the Jovian Trojan Swarms

    Astrocladistics of the Jovian Trojan Swarms

    MNRAS 000,1–26 (2020) Preprint 23 March 2021 Compiled using MNRAS LATEX style file v3.0 Astrocladistics of the Jovian Trojan Swarms Timothy R. Holt,1,2¢ Jonathan Horner,1 David Nesvorný,2 Rachel King,1 Marcel Popescu,3 Brad D. Carter,1 and Christopher C. E. Tylor,1 1Centre for Astrophysics, University of Southern Queensland, Toowoomba, QLD, Australia 2Department of Space Studies, Southwest Research Institute, Boulder, CO. USA. 3Astronomical Institute of the Romanian Academy, Bucharest, Romania. Accepted XXX. Received YYY; in original form ZZZ ABSTRACT The Jovian Trojans are two swarms of small objects that share Jupiter’s orbit, clustered around the leading and trailing Lagrange points, L4 and L5. In this work, we investigate the Jovian Trojan population using the technique of astrocladistics, an adaptation of the ‘tree of life’ approach used in biology. We combine colour data from WISE, SDSS, Gaia DR2 and MOVIS surveys with knowledge of the physical and orbital characteristics of the Trojans, to generate a classification tree composed of clans with distinctive characteristics. We identify 48 clans, indicating groups of objects that possibly share a common origin. Amongst these are several that contain members of the known collisional families, though our work identifies subtleties in that classification that bear future investigation. Our clans are often broken into subclans, and most can be grouped into 10 superclans, reflecting the hierarchical nature of the population. Outcomes from this project include the identification of several high priority objects for additional observations and as well as providing context for the objects to be visited by the forthcoming Lucy mission.