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A Hermeneutical Profile of the Hypomnemata
CHAPTER 9 A Hermeneutical Profile of the Hypomnemata This chapter offers a hermeneutical profile of the hypomnemata. This profile is based on the exegetical resources as they were defined in the previous chapter. As we shall see, the notion of Homer as a conscious, individual author and teacher governs interpretations of the Iliad in the hypomnemata. The resourc- es the hypomnema exegetes apply to derive meaning from their base text tie in with this overarching perspective. 1 Perspectivisation The hypomnema commentators approached the Homeric epics as the works of a single, conscious author and teacher by the name of Homer. For these exegetes, “Homer” referred not just to a collection of literary compositions,1 but to a single, conscious author, who had a name, a biography, and a style.2 Homer not merely composed, but also wrote down the Iliad and the Odyssey.3 1 The extent of Homer’s literary production was discussed in antiquity. Aristotle, for instance, famously attributed the Margites to Homer. Others attributed the Homeric Hymns, or even poetry in general, to Homer. See Rudolf Pfeiffer, History of Classical Scholarship: From the Beginnings to the Hellenistic Age (Oxford: Clarendon, 1968), 73–74; Alexander Beecroft, Authorship and Cultural Identity in Early Greece and China: Patterns of Literary Circulation (Cambridge: Cambridge University Press, 2010), 61–105. 2 See Dirk M. Schenkeveld, “Aristarchus and ΟΜΗΡΟΣ ΦΙΛΟΤΕΧΝΟΣ: Some Fundamental Ideas of Aristarchus on Homer as a Poet,” Mnemosyne 23 (1970): 162–78; Gregory Nagy, “Early Greek Views of Poets and Poetry,” in The Cambridge History of Literary Criticism, ed. George A. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
ABSTRACT Hopkins's Homer: a Scholarly Edition of Gerard Manley
ABSTRACT Hopkins’s Homer: A Scholarly Edition of Gerard Manley Hopkins’s Dublin Notes on the Iliad Melinda Creech, Ph.D. Mentor: Joshua King, Ph.D. In a letter to his mother (13 January 1886), Gerard Manley Hopkins mentioned that he was “taking notes for one [a book] on Homer’s art.”(CW II 757). These notes on the Iliad, made while Hopkins was living in Dublin, on sixty-five pages of folded sheets of paper, are housed at Campion Hall, Oxford. In the Campion Hall manuscript, Hopkins makes this final statement: “After this I am going to make my notes mainly on my interleaved book. Feb. 12 ’86.” Those additional fifteen pages, interleaved into his copy of Homeri Ilias (1883), are housed at the Foley Library, Gonzaga University, Spokane, Washington. Taken together, the two sets of notes, consisting of 514 items and pertaining to fifty- seven pages in his edition of the Iliad, were written between November 1884 and ca. February 1886. A transcription of Hopkins’s notes, those housed at Campion Hall, and those housed at Gonzaga University, and a commentary on those notes comprises the bulk of the dissertation. These Dublin Notes on the Iliad, written by Hopkins during one of the darkest times of his life, when he was estranged from his country, his family, and his beloved Wales, provide a unique insight into the way he regarded the art of Homer’s poetry—the way Homer ordered the words, phrases, and lines that contributed to that poetry; the way that “stock” epithets were not stock at all, but expressed nuanced characteristics of the things and people they modified; the value Homer placed on the inscape of words, fitting each word into its place in the lines of dactylic hexameter—and the way Hopkins reflected his study of Homer in his own poetry, particularly the poetry he wrote and revised while living in Ireland. -
Theopompus' Homer
Haverford College Haverford Scholarship Faculty Publications Classics 2020 Theopompus’ Homer: Paraepic in Old and Middle Comedy Matthew C. Farmer Follow this and additional works at: https://scholarship.haverford.edu/classics_facpubs THEOPOMPUS’ HOMER: PARAEPIC IN OLD AND MIDDLE COMEDY MATTHEW C. FARMER T IS A STRIKING FACT that, out of the twenty titles preserved for the late fifth- and early fourth-century comic poet Theopompus, three directly reference I Homer’s Odyssey: Odysseus, Penelope, and Sirens. In one fragment (F 34) preserved without title but probably belonging to one of these plays, Odysseus himself is the speaking character; he quotes the text of the Odyssey, approv- ingly.1 Another fragment (F 31), evidently drawn from a comedy with a more contemporary focus, mocks a politician in a run of Homeric hexameters. Theo- pompus was, it seems, a comic poet with a strong interest in paraepic comedy, that is, in comedy that generates its humor by parodying, quoting, or referring to Homeric epic poetry. In composing paraepic comedy, Theopompus was operating within a long tra- dition. Among the earliest known Homeric parodies, Hipponax provides our first certain example, a fragment in which the poet invokes the muse and deploys Homeric language to mock a glutton (F 128). The Margites, a poem composed in a mixture of hexameters and trimeters recounting the story of a certain fool in marked Homeric language, may have been composed as early as the seventh cen- tury BCE, but was certainly known in Athens by the fifth or fourth.2 In the late -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr. -
Copyright by Thomas James Bolt 2019
Copyright by Thomas James Bolt 2019 The Dissertation Committee for Thomas James Bolt Certifies that this is the approved version of the following Dissertation: Delusions of Grandeur: Humor, Genre, and Aesthetics in the Poetry of Statius Committee: Pramit Chaudhuri, Supervisor Neil Coffee Ayelet Haimson Lushkov Alison Keith Andrew Riggsby Delusions of Grandeur: Humor, Genre, and Aesthetics in the Poetry of Statius by Thomas James Bolt Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2019 Dedication To my parents Acknowledgements I have been fortunate enough to have received support from many sources to whom I am forever grateful. First thanks must go to my supervisor, Pramit Chaudhuri. His patience, guidance, and keen eye for detail have been essential for the successful completion of this project. Each word in this dissertation has benefitted from his thoughtful consideration. He has consistently challenged me to think about literature in more creative and deeper ways, and this dissertation — to say nothing of my scholarly perspective as a whole — is much the better for it. I also thank Ayelet Haimson Lushkov. Apart from her characteristically insightful commentary on this project, I will always be thankful that she took me under her wing while I was a first-year graduate student and assured me that it was, in fact, okay to become a Latinist. Andrew Riggsby, Alison Keith, and Neil Coffee provided invaluable insights and feedback on this project. -
PSEUDO-HOMER, Batrachomyomachia (The Battle of Frogs and Mice); LIBANIUS of ANTIOCH, Select Letters; Anonymous Grammatical Treatise; ST
PSEUDO-HOMER, Batrachomyomachia (The Battle of Frogs and Mice); LIBANIUS OF ANTIOCH, Select Letters; Anonymous Grammatical Treatise; ST. BASIL OF CAESAREA, Address to Young Men on Reading Greek Literature In Greek and Latin, manuscript on paper Northern Italy (the Veneto?), c. 1440-1470 iii+38+iii folios on paper, assembled from independent four booklets, certainly with text lacking at the beginning of section three and the end of section four, the first text also ends impefectly (collation i12 ii6 [through f. 18v] iii4 [through f. 22v] iv6 [probably originally a quire of 8, now missing 1 and 8; through f. 28v] v10), no catchwords or signatures, layout varies: (1), ff. 1-18, paper folded in 8°, chain-distance 40 mm., watermarks similar to Piccard, 1980, Fabeltiere, nos. 600-607 (attested mostly in Ferrara, c. 1445-1465), ruling LEROY P2b 20D1, (justification 158 x 82 mm.), copied in two columns of 29 lines per page; (2), ff. 19-22, paper folded in 4°, chain-distance 35 mm., watermarks unclear, ruling LEROY 20D1 (?), (justification 132 x 92 mm.), 22 lines per page; (3), ff. 23-28, paper folded in 4°, chain-distance 36 mm., watermarks similar to Piccard, 1980, Fabeltiere, nos. 453-524 (attested mostly in Ferrara, c. 1400-1440), ruling 20D1 (?), (justification 143 x 853 mm.), 19 lines per page; (4), ff. 29-38 paper folded in 4°, chain-distance 31 mm., watermarks very similar to Online Piccard no. 150094 (attested in Malpaga, 1462), ruling LEROY P2b 20D1, (justification 153 x 85 mm), 28 lines per page, leaves frayed, some water stains. -
An Edition with Commentary of the Batrachomyomachia
An edition with commentary of the Batrachomyomachia Thesis submitted for the degree of Doctor of Philosophy at the University of Oxford Matthew Hosty St John’s College Michaelmas Term 2013 ii CONTENTS Abstract v Acknowledgements vii Note on abbreviations ix Introduction 1 I. Date and Authorship 1 II. Parody and Pastiche 23 III. Frogs and Mice 36 IV. Language and Style 51 V. Reception and Influence 82 VI. Text and Transmission 96 Text and apparatus criticus 117 Note on the apparatus 117 ΒΑΤΡΑΧΟΜΥΟΜΑΧΙΑ 119 Deleted lines 131 Translation 135 Commentary 145 Bibliography 357 Appendix A: images 367 Appendix B: lines omitted and retained in the principal MSS 369 iii iv An edition with commentary of the Batrachomyomachia Thesis submitted for the degree of Doctor of Philosophy Matthew Hosty, St John’s College, Oxford Michaelmas Term 2013 ABSTRACT The thesis consists of three main sections: the Introduction, the text (with apparatus), and the Commentary. The Introduction begins with a survey of the available evidence for the poem’s date and authorship, before moving on to consider its generic affiliations and influences, focusing on two particular areas: its links with the ill-defined genre of παρῳδία, and its relationship to animal-narratives elsewhere in ancient literature (particularly fable) and visual art. This is followed by a detailed analysis of the poem’s style and metre, a brief tour of its Nachleben up to the 13th century, and a summary of the notoriously tangled manuscript tradition. The text is new, and differs substantially from both that of Allen (in the OCT) and of West (the most recent English edition). -
IDH 2930 Syllabus Homeric Hymns and Homeric Kenneth Silverman 12
!1 IDH 2930 - (Un)Common Read (section 3419) The Homeric Hymns and Homerica: The Other Works of “Homer” meets Monday, Period 10 (5:10-6:00 pm) in Hume 011. Instructor: Kenneth Silverman e-mail: [email protected] office hours: 1:45- 2:45 pm, Monday (or, by appointment), Dauer Hall 125E Classics Department phone: (352) 392-2075 Textbooks: Diane J. Rayor, trans. The Homeric Hymns: A Translation, with Introduction and Notes. (Berkeley: University of California Press, 2014 [2004]). (ISBN-13: 978-0520282117) (required) Note on editions: you may also use the older edition of this same book, published in 2004. The page numbers are identical. All other required readings, outside of Rayor 2014, will be provided on the Canvas course site. Course description: Many undergraduate students will have read at least parts of the Iliad and the Odyssey, either in high school or college courses; or, otherwise, they will be familiar with these stories from movies and TV shows (such as Troy [2004], or a recent Netflix series, Troy: Fall of a City). They will be less likely to know the Homeric Hymns and “Homerica”– shorter works that at different points in antiquity and the Middle Ages were attributed to Homer, or at least were grouped in the same corpus with the Iliad and Odyssey. Yet these “minor” poems can be equally, if not more, informative about ancient Greek society than Homer’s major epics. As many of them were composed for religious occasions, they offer invaluable evidence for the use of music in ancient cult, as well as the ritual aspects of myth and storytelling. -
Homer and Oral Tradition: the Formula, Part II1
Oral Tradition, 3/1-2 (1988): 11-60 Homer and Oral Tradition: The Formula, Part II1 Mark W. Edwards §6. Studies of specifi c formulae This section deals with the usage and adaptation of individual formulae, and with the availability of formulae for particular concepts. It does not cover studies of the meaning of obscure words, or how much signifi cance a formulaic expression might retain in conventional usage (see §7), or the location of formulae within the verse (see §3). The discussion is arranged in four parts: name-epithet formulae; epithets; common-nouns and epithets; verbs. 1. Name-epithet formulae The fundamental work was Milman Parry’s fi rst monograph, published in 1928 (M. Parry 1971). Parry listed the commonest proper name and epithet formulae after the mid-verse caesura (10-13) and after the caesura in the fourth foot (15-16), and gave tables showing the formulae of different lengths for eleven major gods and heroes in the nominative case (39) and the genitive case (57). He also listed the proper name and epithet formulae for heroines (97f.), for the Greek race (101), for other peoples (99ff.), and for countries (106-9). Page 1959 lists formulae for Priam (241-42), Hector (248-51), Patroclus (286), Helen (287), Alexander/Paris (290f.), Aeneas (291), the Achaeans (242-48), the Trojans (251f.) and Ilium/Troy (292-94). Bowra 1960 examines the epithets for Troy and other cities to determine if the meanings are appropriate, his work including a listing of the formulae by metrical shape. He does not use the material to determine how far the formulaic system is complete, or list the metrical variants which preserve or violate economy. -
From Greek to the Greeks
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio istituzionale della ricerca - Università degli Studi di... Caterina Carpinato From Greek to the Greeks Homer (and Pseudo-Homer) in the Greco-Venetian Context between the Late Fifteenth and Early Sixteenth Century Abstract: In the years following the print revolution, Greek intellectuals adopted the new medium in order to convey the Greek literary heritage to a wider audi- ence. One of the first (if not actually the first) Greek literary texts to be printed was the Batrachomyomachia, published in Brescia in 1474: the poem was printed at least three times during the second half of the fifteenth century (1474, 1486, 1488) and the first decades of the sixteenth century. It was also published in a vernacular Greek version (1539?). In 1526 Nikolaos Loukanis published a poetical reworking of the Iliad in Greek that included a poem about the fall of Troy. The use and re-use of the Homeric heritage by Greeks who had settled in Venice is symptomatic of reflection on the use of the spoken language and of vernacular literature amongst Greek scholars in the West. Keywords: Greek language and culture in Venice, reception of classical Greek texts in contemporary spoken Greek In the year 1526 the doge of Venice was Andrea Gritti (1455–1538); Cardinal Pietro Bembo (1470–1547) had just published (1525) his Prose della volgar lingua, which introduced both a new conception of language and a linguistic comparison be- tween ancient and modern languages; the publisher Niccolò d’Aristotele, known as Zoppino,1 brought out a vernacular (Italian) edition of Lucian’s I piacevoli dia- loghi. -
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.