HUMANITIES INSTITUTE ANCİENT GREEK LİTERATURE Buckner B Trawick , Ph.D
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
On Translating Homer's Iliad
On Translating Homer’s Iliad Caroline Alexander Abstract: This reflective essay explores the considerations facing a translator of Homer’s work; in par- ticular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which re- main the gold standard by which any Homeric translation is measured today. I attempt to walk the reader Downloaded from http://direct.mit.edu/daed/article-pdf/145/2/50/1830900/daed_a_00375.pdf by guest on 24 September 2021 through the process of rendering a modern translation in accordance with Arnold’s principles. “I t has more than once been suggested to me that I should translate Homer. That is a task for which I have neither the time nor the courage.”1 So begins Matthew Arnold’s classic essay “On Translating Ho- mer,” the North Star by which all subsequent trans- lators of Homer have steered, and the gold stan- dard by which all translations of Homer are judged. A reader will find Arnold’s principles referenced, directly or indirectly, in the introduction to most modern translations–Richmond Lattimore’s, Rob- ert Fagles’s, Robert Fitzgerald’s, and more recently Peter Green’s. Additionally, Arnold’s discussion of these principles serves as a primer of sorts for poets and writers of any stripe, not only those audacious enough to translate Homer. While the title of his essay implies that it is about translating the works of Homer, Arnold has little to CAROLINE ALEXANDER is the au- thor of The War That Killed Achil- say about the Odyssey, and he dedicates his attention les: The True Story of Homer’s Iliad to the Iliad. -
Pause in Homeric Prosody
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/2066/140838 Please be advised that this information was generated on 2021-09-26 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. -
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. -
Calliope Teacher's Guide
Calliope Teacher’s Guide November 2011: Homer’s Odyssey Teacher’s guide prepared by E. Renee Heiss A Love Turns Deadly Page 3 Comprehension 1. What did Aphrodite promise to give Paris so he would choose her as the fairest? 2. What did Aphrodite do that caused the Greeks to wage war with the Trojans? 3. What changed during the 10th year of the war? The Bard Tells All Page 6 Compare and Contrast Compare the Iliad and the Odyssey by completing the chart. Iliad Odyssey Number of lines Number of chapters Types of letters for chapter names Style of rhyme Types of words Dialect “I’ll Bring Him Home” Page 11 Share Odysseus got help from Athena to get home. Share with your group how someone helped you when you least expected it. What the Bones Say Page 13 Draw Archaeologists discovered beautiful paintings on the walls of Nestor’s palace. Draw what you would paint on your wall if you could show later generations what life is like right now. Rescued by a Maiden Page 16 Poetry Homer wrote a poem about how Nausicaa rescued Odysseus. Use the dactylic hexameter to create your own poem about a rescue. Each line must have 12-17 syllables, have six repeating feet, and must rhyme. Example: I ran into the woods one day and lost the trail Then looked around at trees and grass and quail An Ancient Stronghold Page 19 Definitions Define the terms found in this article: Magnetic projection Luwian hieroglyphs Fun with Words Page 22 Etymology Research ten words that have Greek origin. -
Dactylic Hexameter Verse
Dactylic Hexameter Verse Ancient verse was composed in lines of long or short syllables in different combinations. Dactylic hexameter consists of lines made from six (hexa) feet, each foot containing either a long syllable followed by two short syllables (a dactyl: – ˇ ˇ) or two long syllables (a spondee: – –). The first four feet may either be dactyls or spondees. The fifth foot is normally (but not always) a dactyl. The sixth foot is an anceps, i.e., either a long-long (– –) or long-short (– ˇ). A line of dactylic hexameter will follow this pattern: I. Quantity Determined by Nature. Each foot of poetry thus consists of long and/or short syllables. If the syllable contains a short vowel or a long vowel, its quantity is said to be determined by its “nature” — it is short or long simply because it contains a short or long syllable. Thus: 1. A short syllable contains a short quantity vowel. 2. A long syllable contains a long quantity vowel 3. A long syllable may also contain a diphthong. Here are some general rules to assist in determining the nature of syllables: • A final -o, -i, or -u is usually long by nature. But: the final -i in tibi and mihi may be either short or long as the meter requires. (The first -i- in both words is always short.) • A final -as, -es, or -os is usually long by nature. • A final -a or -is is often short by nature. But: -a in the first declension ablative singular is always long, as is -is in the first and second declensions ablative / dative plural. -
Illinois Classical Studies, Volume I
r m LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 880 v.l Classics The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN DEC la 76 199^ hwvi (JCTl2«n Mil TO JUL 08 1938 SFP 1 3 19 '9 mi 1 4 15'^1), ^JUL s 5 ^f FES 2 i U84 JAIIZ2 m 3 1939 L161 — O-1096 ILLINOIS CLASSICAL STUDIES, VOLUME I ILLINOIS CLASSICAL STUDIES VOLUME I 1976 Miroslav Marcovich, Editor UNIVERSITY OF ILLINOIS PRESS Urbana Chicago London [976 by the Board of Trustees of the University of Illinois Manufactured in the United States of America ISBN: 0-252-00516-3 •r or CLASSICS Preface Illinois Classical Studies (ICS) is a serial publication of the Classics Depart- ments of the University of Illinois at Urbana-Champaign and Chicago Circle which contains the results of original research dealing with classical antiquity and with its impact upon Western culture. ICS welcomes scholarly contributions dealing with any topic or aspect of Greek and/or Roman literature, language, history, art, culture, philosophy, religion, and the like, as well as with their transmission from antiquity through Byzantium or Western Europe to our time. ICS is not limited to contributions coming from Illinois. It is open to classicists of any flag or school of thought. In fact, of sixteen contributors to Volume I (1976), six are from Urbana, two from Chicago, six from the rest of the country, and two from Europe. -
Introduction to Dactylic Hexameter Updated Version: This Page Is an Archive
Introduction to Dactylic Hexameter Updated version: http://www.skidmore.edu/academics/classics/courses/metrica/ This page is an archive. Introduction to the Dactylic Hexameter Preface. What follows is not a complete discussion of hexameter verse, but a utilitarian guide to the first principles of recitation. As such, some liberties have been taken for the sake of clarity; but with these principles in mind, students should be able to approach with some confidence the daunting prospect of reading Latin epic aloud. The Tradition of the Dactylic Hexameter. Before plunging into the technical details, a few introductory words are in order. Greek and Latin poems follow certain rhythmic schemes, or meters, which are sometimes highly defined and very strict, sometimes less so. Epic poetry from Homer on was recited in a particular meter called the dactylic hexameter. It is fair to say that the dactylic hexameter defines epic. That is, it is impossible to conceive of an epic poem not composed in hexameters; and the hexameter rhythms, when heard, signal that the poem being recited is an epic of some sort. (It is true that in Homer's era, epics were more sung than recited, to the accompaniment of a lyre. This was not the practice in Vergil's day, when the spoken word was preferred.) Fingers. The word dactylos is Greek for "finger" (and for "toe" as well, which picks up on the notion of feet, below). The dactyl is therefore a snippet of rhythm that resembles, at least aurally, a finger. It has a rhythmic shape consisting of one long syllable (noted as ), which represents the long bone, or phalanx, of the finger, plus two short syllables ( ), which represent the two short phalanges. -
Introduction to the Iliad
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 8-2012 Introduction to the Iliad Erwin F. Cook Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Cook, E. (2012). Introduction to the Iliad. In E. McCrorie (Trans.), Iliad (pp. xvii-lxii). Johns Hopkins University Press. This Contribution to Book is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Introduction The Iliad as oral poetry Edward McCrorie’s translation of the Iliad is a remarkable achievement, not least for its attention to the rhythms and sounds as well as the sense of the Greek original.1 This is especially welcome because meter is a key to understanding the poem. Unlike English meters, which are based on accent, those of Greek verse are based on the length of the syllables, while the accents are voiced independently. The verses of Greek epic are composed of six feet. Each foot begins with a long syllable, marked as —, followed by two short syllables, ˘˘, or another long syllable. For example, the phrase “queenly Hera” is scanned in Greek as “pōtnĭă Hērē.” In most Homeric verses, a word ends in the third foot, causing a break known as a “caesura,” which may occur after the first syllable (b), or in between two short syllables (c). -
A Bibliographical Guide to Teaching the Homeric Epics in College Courses Kostas Myrsiades West Chester University of Pennsylvania, [email protected]
West Chester University Digital Commons @ West Chester University English Faculty Publications English Fall 1976 A Bibliographical Guide to Teaching the Homeric Epics in College Courses Kostas Myrsiades West Chester University of Pennsylvania, [email protected] Follow this and additional works at: http://digitalcommons.wcupa.edu/eng_facpub Part of the Classical Literature and Philology Commons Recommended Citation Myrsiades, K. (1976). A Bibliographical Guide to Teaching the Homeric Epics in College Courses. College Literature, 3(3), 237-259. Retrieved from http://digitalcommons.wcupa.edu/eng_facpub/23 This Article is brought to you for free and open access by the English at Digital Commons @ West Chester University. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ West Chester University. For more information, please contact [email protected]. 237 A BIBLIOGRAPHICAL GUIDE TO TEACHING THE HOMERIC EPICS IN COLLEGE COURSES Kostas Myrsiades This guide has been prepared especially, although not exclusively, for those who teach the Homeric epics in colleges and universities but are not specialists in classical languages and literatures. It represents a wide spectrum of important scholarly and critical materials. For expedi ency in reference and utilization, these materials have been divided into three categories?with selected bibliographies of Homeric criticism since 1970 added to the last two categories: I. Translations: Homer composed oral poetry which was recited in Greek. Since most of our efforts to teach his works in this country are in English, it is necessary to know something about the variety and efficacy of Homeric translations. At least fifty translations of The Odyssey and as many of The Iliad have appeared in English since the Renaissance. -
Scansion Rules, Rhyme Drools [Aka the Latin Meter Handout]
Scansion Rules, Rhyme Drools [aka The Latin Meter Handout] As you may have heard, Roman poetry was written according to rhythm, not rhyme. The rhythm of poetry was not a matter of personal taste. Instead, Roman poets would mimic the styles and rules of Greek poetry that had been developed centuries earlier. There were many styles or systems for arranging the words so that the syllables fit the meter. Here, you will mainly learn about Dactylic Hexameter, the meter of epic stories like Homer’s Iliad and Odyssey, Vergil’s Aeneid and Ovid’s Metamorphoses. This handy worksheet is intended as a primer to give your scansion a good foundation. A line is either correctly scanned or incorrectly scanned (sorry, creative people, scansion doesn’t have much wiggle room). Roman poets were creative about a lot of things, but they would NEVER have published something that scanned incorrectly. If your scansion derails, go back to the basics to find out why. Don’t assume the error is in the Latin because it seldom is. Dactylic Hexameter Means: • A dactyl is a finger. Look how there is a long part followed by two short parts on an average finger (if your finger doesn’t look like this go find a Greek or Roman finger). Ironically, the word dactyl is being used to describe a poetic ‘foot’ which is an arrangement of a long syllable followed by two short syllables (or, a long syllable followed by another long syllable…but please read on). • Each line of dactylic (fingerlike) hexameter (measured into 6) consists of 6 ‘feet’ as you can see in the illustration below. -
A Critical Edition of Derek Walcott's Omeros Part 1
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/46005 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. A Critical Edition of Omeros - Part 1 (Critical Introduction) D Barnard English and Comparative Literary Studies, Warwick University 0867693 A Critical Edition of Derek Walcott’s Omeros Part 1 – Critical Introduction by Donald Edwin Barnard A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English and Comparative Literary Studies University of Warwick Department of English and Comparative Literary Studies February 2012 Final version February 2012 A Critical Edition of Omeros - Part 1 (Critical Introduction) D Barnard English and Comparative Literary Studies, Warwick University 0867693 Table of Contents Part 1 – Critical Introduction 1. Introduction 1 2. Narrative 2.1 Themes 4 2.2 Achille, Hector and Helen 5 2.3 Philoctete and Ma Kilman 6 2.4 Dennis and Maud Plunkett 7 2.5 The Narrator 8 2.6 Structure 9 2.7 Timelines 10 2.8 Epic Features 12 2.9 Myth-making 18 3. Settings 3.1 Walcott’s Geography 21 3.2 Gros Îlet, St Lucia, the Caribbean 22 3.3 Africa 27 3.4 North America 29 3.5 Europe 31 4. -
On Translating Greek Lyric Poetry
Studies in English Volume 5 Article 9 1964 On Translating Greek Lyric Poetry Lucy Turnbull University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the Classical Literature and Philology Commons Recommended Citation Turnbull, Lucy (1964) "On Translating Greek Lyric Poetry," Studies in English: Vol. 5 , Article 9. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol5/iss1/9 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Turnbull: On Translating Greek Lyric Poetry ON TRANSLATING GREEK LYRIC POETRY by Lucy Turnbull When the Romans in their eastward expansion conquered the Greek world, they took as spoils not only famous works of art and the treasures of many cities, but also the Greek language and li terature. Greek scholars and rhetoricians came to Rome as teach ers; the Greek language became the second tongue of educated Romans; and a familiarity with Greek literature became the hall mark of a cultured man. In a few generations, in fact, the Romans found that "Captured Greece has taken her rude conqueror cap tive.”1 Ever since that time, men of other nations have been read ing Greek poetry with delight and attempting to share their pleas ure by translating it for their countrymen—not always with entire success. Those who have tried translations into English have had a particularly difficult task. Translators in any language expect to meet certain obstacles, such as the frequent lack of an exact equi valent in one language for a word or idiom in the other, and the fact that such a word, even if found, may have very different ov ertones and associations in the different languages.