On the Fragment of Proclus' Abstract of the Epic Cycle Contained in the Codex Venetus of the Iliad Author(S): D
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(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
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. -
Collins Magic in the Ancient Greek World.Pdf
9781405132381_1_pre.qxd 30/10/2007 12:09 Page i Magic in the Ancient Greek World 9781405132381_1_pre.qxd 30/10/2007 12:09 Page ii Blackwell Ancient Religions Ancient religious practice and belief are at once fascinating and alien for twenty-first-century readers. There was no Bible, no creed, no fixed set of beliefs. Rather, ancient religion was characterized by extraordinary diversity in belief and ritual. This distance means that modern readers need a guide to ancient religious experience. Written by experts, the books in this series provide accessible introductions to this central aspect of the ancient world. Published Magic in the Ancient Greek World Derek Collins Religion in the Roman Empire James B. Rives Ancient Greek Religion Jon D. Mikalson Forthcoming Religion of the Roman Republic Christopher McDonough and Lora Holland Death, Burial and the Afterlife in Ancient Egypt Steven Snape Ancient Greek Divination Sarah Iles Johnston 9781405132381_1_pre.qxd 30/10/2007 12:09 Page iii Magic in the Ancient Greek World Derek Collins 9781405132381_1_pre.qxd 30/10/2007 12:09 Page iv © 2008 by Derek Collins blackwell publishing 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Derek Collins to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. -
Knights 1056 and Little Iliad F2
“Even a woman could carry”: Knights 1056 and Little Iliad F2 In their contest for the love of Demos, Paphlagon boasts of capturing hundreds of Spartan “ravenfish” (at Pylos) and the Sausage Seller replies, καί κε γυνὴ φέροι. That cryptic line goes unanswered and we would not guess its significance were it not for the scholia: it comes from the “Judgment of Arms” in the Little Iliad. On the advice of Nestor, the Achaeans sent out scouts to listen in on the Trojans, thus to discover which of the two contenders for Achilles’ legacy was the more deserving. They overheard two girls arguing over that very issue: one praised Ajax for rescuing the body of Achilles and (at Athena’s prompting) the other responded with the insult: Odysseus fought off the Trojans as Ajax made off with the body, and even a woman could carry a burden if she doesn’t have to fight for it. This version of the Judgment seems, as Martin West described it, “the silliest and most far-fetched,” assuming “[t]he second girl’s aphorism ... is decisive for the award of the arms to Odysseus” (2013: 176). But that way of deciding the issue would also be absurd to the ancient audience. This paper offers a new reconstruction of the episode in line with the workings of archaic justice. In Odyssey 11.547, Odysseus recalls that παῖδες Τρώων “gave judgment” in his favor; the scholiast on that line says it was athetized by Aristarchos as an interpolation from the epic cycle, and scholars have often supposed that it is essentially the same tale that figures in Little Iliad. -
How Archaeologists Found the Lost City of Troy
How archaeologists found the lost city of Troy This doomed city at the heart of the Trojan War was lost for thousands of years until a team of German archaeologists uncovered the ancient site. HEINRICH SCHLIEMANN, THE German archaeologist, was in Turkey in the late 19th century on an eccentric quest. He was excavating a tell—an artificial mound that covers long abandoned settlements. The site, known as Hisarlik, was familiar to only a few specialists. But as Schliemann dug, he was pinning his hopes on finding the ruins of the most famous city in classical literature: Troy. PHOTOGRAPH BY EOSGIS . C O M The trouble was that Troy might not even have existed. The acclaimed Greek poet Homer popularized the Trojans and their city in The Iliad and The Odyssey, the 8th-century B.C. epic poems. These works told the story of a 10-year war between Greece and Troy, fought by such timeless characters as the kings Priam and Agamemnon, the warriors brave Hector and mighty Achilles, and the survivors crafty Odysseus and loyal Aeneas. The poems tell of bloody battles, fantastic adventures, heroic deeds, and tragic consequences. But was Troy a real place? Schliemann set out to prove it was. (Homer's Iliad contains timeless lessons of war.) And he did. Hisarlik is now widely accepted as the setting for Homer’s epic tales. Studies have revealed that the 100-foot-high mound contains not just one, but nine Troys, each built over the ruins of the one before. Today archaeologists consider Troy VI—the sixth counting from the bottom up—to be the likeliest candidate for Homer’s Troy. -
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. -
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). -
A New Companion to the Greek Epic Cycle
Histos 10 (2016) cxvi–cxxiii REVIEW A NEW COMPANION TO THE GREEK EPIC CYCLE Marco Fantuzzi and Christos Tsagalis, edd., The Greek Epic Cycle and its Ancient Reception: A Companion. Cambridge: Cambridge University Press, 2015. Pp. xiii + 678. Hardback, $195.00. ISBN 978-1-107-01259-2. nough and too much has been written about the Epic Cycle’, wrote T. W. Allen in 1908, but more recent scholarship has not been dis- ‘E suaded from tackling the subject afresh. We now have three editions of the fragments and testimonia, by Bernabé, Davies, and West; the short but useful survey by Davies (1989) was followed by a more ambitious and heretical analysis by Burgess (2001); West has produced a commentary on the Trojan epics (with valuable prolegomena which look more widely), and Davies a typ- ically learned one on the less well-attested Theban series. But all these contri- butions are dwarfed by the book under review, containing a substantial intro- duction and thirty-two essays which occupy well over 600 pages, with a forty- five-page bibliography.1 This is not a volume in the Cambridge Companion series, but more advanced and in grander format.2 It is full of useful material, though inevitably there is a lot of repetition and despite its scale it cannot be regarded as comprehensive. Nevertheless, there is much food for thought. The book falls into three parts. Part I consists of ten general essays (‘Ap- proaches to the Epic Cycle’); part II contains eleven specific studies (one on ‘Theogony and Titanomachy’, plus an essay on each of the attested Theban and Trojan epics); part III deals with ancient reception, mostly in specific genres or authors. -
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. -
Greek Tragedy and the Epic Cycle: Narrative Tradition, Texts, Fragments
GREEK TRAGEDY AND THE EPIC CYCLE: NARRATIVE TRADITION, TEXTS, FRAGMENTS By Daniel Dooley A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2017 © Daniel Dooley All Rights Reserved Abstract This dissertation analyzes the pervasive influence of the Epic Cycle, a set of Greek poems that sought collectively to narrate all the major events of the Trojan War, upon Greek tragedy, primarily those tragedies that were produced in the fifth century B.C. This influence is most clearly discernible in the high proportion of tragedies by Aeschylus, Sophocles, and Euripides that tell stories relating to the Trojan War and do so in ways that reveal the tragedians’ engagement with non-Homeric epic. An introduction lays out the sources, argues that the earlier literary tradition in the form of specific texts played a major role in shaping the compositions of the tragedians, and distinguishes the nature of the relationship between tragedy and the Epic Cycle from the ways in which tragedy made use of the Homeric epics. There follow three chapters each dedicated to a different poem of the Trojan Cycle: the Cypria, which communicated to Euripides and others the cosmic origins of the war and offered the greatest variety of episodes; the Little Iliad, which highlighted Odysseus’ career as a military strategist and found special favor with Sophocles; and the Telegony, which completed the Cycle by describing the peculiar circumstances of Odysseus’ death, attributed to an even more bizarre cause in preserved verses by Aeschylus. These case studies are taken to be representative of Greek tragedy’s reception of the Epic Cycle as a whole; while the other Trojan epics (the Aethiopis, Iliupersis, and Nostoi) are not treated comprehensively, they enter into the discussion at various points.