Title the Iliad of Homer : Book Two
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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. -
Thinking Comparatively About Greek Mythology IV, Reconstructing He#Rakle#S Backward in Time
Thinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.08.15. "hinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/thinking-comparatively- about-greek-mythology-iv-reconstructing-herakles-backward-in- time/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42179409 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 Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
Title Page Diss
Pre-Modern Iberian Fragments in the Present: Studies in Philology, Time, Representation and Value By Heather Marie Bamford A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Jesús Rodríguez-Velasco, Co-Chair Professor José Rabasa, Co-Chair Professor Hans Ulrich Gumbrecht Professor Ignacio Navarrete Professor David Hult Fall 2010 1 Abstract Pre-Modern Iberian Fragments in the Present: Studies in Philology, Time, Representation, and Value by Heather Marie Bamford Doctor of Philosophy in Hispanic Literatures and Languages University of California, Berkeley Professors Jesús Rodríguez-Velasco and José Rabasa, Co-Chairs This dissertation examines the uses of medieval and early-modern Iberian cultural objects in the present. It draws on the notion of fragment and actual fragmentary testimonies to study how pre- modern Iberian things and texts are reconstituted and used for various projects of personal, institutional, national and transnational reconstitution in the present. The corpus objects are necessarily diverse in chronological scope, with examples from the medieval, early-modern and modern periods, and touch upon works of many genres: chivalric romance, royal and personal correspondence, early-modern and modern historiography, Hispano-Arabic and Hispano-Hebrew lyric, inscriptions, pre-modern and modern biographies and 21st century book exhibitions. The dissertation proposes that Iberian fragments are engaged in various forms of reconstitution or production in the present and, at the same time, are held as timeless, unchanging entities that have the capability to allow users to connect with something genuinely old, truly Spanish and, indeed, eternal. -
An Analysis of Heracles As a Tragic Hero in the Trachiniae and the Heracles
The Suffering Heracles: An Analysis of Heracles as a Tragic Hero in The Trachiniae and the Heracles by Daniel Rom Thesis presented for the Master’s Degree in Ancient Cultures in the Faculty of Arts and Social Sciences, at Stellenbosch University Supervisor: Prof. Annemaré Kotzé March 2016 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract This thesis is an examination of the portrayals of the Ancient Greek mythological hero Heracles in two fifth century BCE tragic plays: The Trachiniae by Sophocles, and the Heracles by Euripides. Based on existing research that was examined, this thesis echoes the claim made by several sources that there is a conceptual link between both these plays in terms of how they treat Heracles as a character on stage. Fundamentally, this claim is that these two plays portray Heracles as a suffering, tragic figure in a way that other theatre portrayals of him up until the fifth century BCE had failed to do in such a notable manner. This thesis links this claim with a another point raised in modern scholarship: specifically, that Heracles‟ character and development as a mythical hero in the Ancient Greek world had given him a distinct position as a demi-god, and this in turn affected how he was approached as a character on stage. -
Download the Bow Classroom Ideas
Walker Books Classroom Ideas The Bow *Notes may be downloaded and printed for regular classroom use only. Author: Catherine Mayo Ph +61 2 9517 9577 Walker Books Australia Fax +61 2 9517 9997 ISBN: 9781925081015 Locked Bag 22 ARRP: $17.95 Newtown, N.S.W., 2042 NZRRP: $19.99 These notes were created by Robin Harding. June 2014 For enquiries please contact: [email protected] Notes © 2014 Walker Books Australia Pty. Ltd. All Rights Reserved Outline: “There’s only one arrow, but you only have to shoot one man. I know you won’t miss.” War is coming to Bronze Age Greece. It’s time to skill up. Odysseus’s challenges are mounting. Can he find his grandfather’s hidden gold? Find the strength to string and shoot the Great Bow of Eurytos, which no man has done for generations? Toughest of all, can he persuade a girl to love him? Win some … lose some. Author Information: Catherine Mayo grew up in Auckland and was a compulsive reader and dreamer. With academics in her DNA (her dad was a research scientist and her grandfather a professor of philosophy) it was taken for granted she would follow the same path. She studied many things at Auckland University – history, philosophy, geology, French, music, performance violin and art history – before life took an unexpected turn and she began an apprenticeship in violin- making and restoration. About 10 years ago she started writing, urged on by the stories and dreams that filled her head since she was a child. She has since won several prizes in short story competitions. -
Treasury of Olympus
IONIA Treasury of Olympus A Supplement for ZENOBIA by Günter D'Hoogh Written by Günter D'Hoogh © 2004 Additional material and assistance from Paul Elliott. Illustrations by Paul Elliott Acknowledgements It was a pleasure working on this project, being a history teacher it’s a fantastic feeling that it’s quite well possible to merge history and roleplaying together. I hope that the reader as much enjoys playing it as I enjoyed writing this little “Campaign Guide”. I especially want to thank Paul Elliott, the creator of the wonderful ZENOBIA. He has been my mentor, my great help and especially a very good friend who encouraged me when the spirit was low. Thanks Paul for letting me take part in your great adventure, for the editting work, for the maps and drawings, and for the fine articles you wrote in this book! I really hope we’ll see each other someday face-to-face my friend! Günter D’Hoogh 2 THE CONTENTS I INTRODUCTION II THE WORLD OF IONIA III CHARACTER CREATION IV GODS OF OLYMPUS V THE THESSALIAN WITCH VI MONSTERS & WILD ANIMALS VII PHILOSOPHY VIII TREASURES IX LABYRINTHS OF IONIA 3 I INTRODUCTION Ionia is a sleepy mountainous land steeped in history, a land of ancient cities that are home to philosophers, academics, poets and playwrights. Lost and forgotten beneath Ionia are the artefacts and treasures of the Olympian gods, harkening back to the Age of Heroes when Zeus, Ares and Athena walked the earth in disguise, when heroes like Achilles fought with magical invulnerability, when witches like Medea ruled secret enchanted islands. -
Document Resume Ed 047 563 Fl 002 036 Author Title Institution Pub Date
DOCUMENT RESUME ED 047 563 FL 002 036 AUTHOR Willcock, M. M. TITLE The Present State of Homeric Studies. INSTITUTION Joint Association of Classical Teachers, Oxford (England). PUB DATE 67 NOTE 11p. JOURNAL CIT Didaskalos; v2 n2 p59-69 1967 EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS Classical Literature, *Epics, *Greek, *Greek Literature, Historical Reviews, Humanism, Literature Reviews, Oral Reading, *Poetry, *Surveys, World Literature IDENTIFIEIAS *Homer, Iliad, Odyssey ABSTRACT A personal point of view concerning various aspects of Homerica characterizes this brief state-of-the-art report. Commentary is directed to:(1) first readers; (2) the Parry-Lord approach to the study of the "Iliad" and the "Odyssey" as representatives of a type of oral, formulaic, poetry;(3) analysts, unitarians, and neo-analysts; (4) recent publications by British scholars;(5) archaeology and history; (6) language and meter; and (7) the "Odyssey". (RL) fromDidaskalos; v2 n2 p59-69 1967 The present state of Homeric studies teN 1111 m.M. WILL COCK U.S. DEPARTMENT OF MOH. EDUCATION d WELFARE Nft OFFICE OF EDUCATION ".74P THIS DOCUMENT HAS BUN REPRODUCED EAACTLYAS RECEIVED ROM THE VIcV4 OD OPoivs PERSON OR ORGANIZAME eRI43!!th!!!!r:!I . V.1.14TI OF EDUCATION Ca STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE Um, POSITION OR POLICY. A select reading-list of Homerica, with a running com- Introduction mentary, cannot fail to be invidious. There is little chance that one person can fairly survey the vast fieldAll that I can offer is my own view-point, more literary than archaeological or linguistic. As to the limits of the survey, I have endeavoured to go far enough back in each separate aspect to clarify the present situation. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
Groovy Greeks
Welcome to the Teachers’ Pack for GROOVY GREEKS GROOVY GREEKS takes you an exciting adventure through Greek civilisation starting with the Mycenaeans as we journey to Troy to see the Trojan horse. We discover the differences between growing up in Sparta and Athens and how the two cities dominated the country. We take part in a Greek play and join competitors in the first ever Olympic games. We learn about slaves, discover democracy and meet great philosophers and thinkers. We enter a Greek hospital to test ancient medicine and meet Hippocrates. The Greek gods Zeus, Poseidon and Athena compete for our attention and we enter the world of myth to confront the Minotaur of Crete. When the Persians invade we face them at Thermopylae and take to the seas to shatter their ships at Salamis. This two hour show is a fantastic journey into Ancient Greece in a gripping and awesome production to help you cover the new history curriculum. The following sections will help you cover the period with your students. We would be delighted to receive your feedback on this pack and we look forward to seeing you at the show! [email protected] The Trojan Horse The story of the wooden horse and the destruction of the city of Troy, first appears in the poet Homer’s work ‘The Iliad ’which was probably written several hundred years after the siege was supposed to have happened. Historians have debated its authenticity for years, but true or not it remains one of the most famous Ancient Greek legends. The Greek Prince Paris, son of King Priam of Troy, had fallen in love with the most beautiful woman in the world, Helen. -
Ancient Narrative Volume 2
The Satyrica of Petronius as a Roman Palimpsest GOTTSKÁLK JENSSON Reykjavík Roman literature is possibly the most palimpsestuous of literatures.1 So much so that lovers of Roman letters have had to fight off the unwanted comparison with Roman plastic arts where, as is well known, there are no originals. A series of famous names will emphasise the obvious: Plautus, Terence, Varro, Cicero, Lucretius, Catullus, Virgil, Livy, Horace, Ovid, Seneca, Statius and Apuleius. These (and many more) were borrowers, reworkers, rewriters. But we try not to hold it against them. When the stuff of Roman literature is Greek (and often, too, when it is Roman) the method of writing is translation, trans- formation, and imitation. By the same process that Roman literature grew out of Greek literature, much of Western literature grew out of Latin literature. In fact, ever since the Romantics, we have been extremely reluctant to admit to this influence, to any influence in fact, instead fantasizing about ‘originality’, or what one theorist sees as a longing for a freedom from paternal influence.2 Of course, demanding originality from Roman literature is to apply later esthetics to earlier art, but the anachronism doesn’t usually bother Petronian scholars. Few Roman writers have been more fantasized about in this manner than the elusive author of the Satyrica. We shall see in the central part of this paper that the modern ‘Petronius’ was invented in the late 19th century under ideological pressure. Although we rarely admit to this, we know nothing about ————— 1 I use the term ‘palimpsest’ as a broad term to denote a text derived from a previous text through transformation or imitation. -
An Iliad by Lisa Peterson and Denis O’Hare Based on Homer’S the Iliad, Translated by Robert Fagles
AN ILIAD BY LISA PETERSON AND DENIS O’HARE BASED ON HOMER’S THE ILIAD, TRANSLATED BY ROBERT FAGLES DRAMATISTS PLAY SERVICE INC. AN ILIAD Copyright © 2013, Lisa Peterson and Denis O’Hare All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of AN ILIAD is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Authors’ agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for AN ILIAD are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.