Treasury of Olympus
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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. -
Provided by the Internet Classics Archive. See Bottom for Copyright
Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away. -
Excerpts from Iliad Six (Hector Is the Oldest Son of Troy's King Priam, And
EXCERPTS FROM HOMER Excerpts from Iliad Six (Hector is the oldest son of Troy’s King Priam, and the chief defender of the city. He leaves battle temporarily to return to the city.) Focus questions: 1. What are the main roles of women in this section – i.e., what are the actions of the Trojan women, Theano, Hecuba (the queen, Hector’s mother) and Andromache? 2. How do women’s roles support the survival of the city – or do they? 3. In what ways do women contribute to or detract from a man’s honor? 4. Hector and Andromache’s relationship is perfect in Greek terms – how do they relate to one another? What is the balance of “power”? What roles does each play in the family? Now when Hector reached the Scaean gates and the oak tree, the wives and daughters of the Trojans came running towards him to ask after their sons, brothers, kinsmen, and husbands: he told them to set about praying to the gods, and many were made sorrowful as they heard him. Presently he reached the splendid palace of King Priam, adorned with colonnades of hewn stone. In it there were fifty bedchambers- all of hewn stone- built near one another, where the sons of Priam slept, each with his wedded wife. Opposite these, on the other side the courtyard, there were twelve upper rooms also of hewn stone for Priam's daughters, built near one another, where his sons-in-law slept with their wives. When Hector got there, his fond mother came up to him with Laodice the fairest of her daughters. -
Inventory of Dual Forms in the Iliad
Carolin Hahnemann, Professor of Classics, Kenyon College, Gambier, OH 43022, USA [email protected] INVENTORY OF DUAL FORMS IN THE ILIAD This table follows the text of West’s Teubner edition; only occasionally does it record a dual reading reported in the critical apparatus. Since my primary interests concerns the different types of referents that take dual forms, in the fourth column after the name of the speaker (in capital letters) I distinguish the following types: Abstract Concepts Measure Objects Bodypart Nature Animal Persons Within the last group I have tentatively sought to establish the following subgroups: Sexual Couple Parent and Child Sibling Pair Equals in Action General Collective Many entries contain additional notes. Regarding these it is important to know that I started to add the label “formula” only late; hence it is very often missing. By “necessary dual” I mean forms for which no plural alternative exists such as the numeral. I can see two kinds of additional information that would help to provide a more well-rounded picture of the use of the dual in the Iliad. (1) Morphological analysis of each dual form would show the spread of dual forms according to part of speech as well as case, gender and declension for nouns and person, tense, mood, voice for verbs. (2) Tracking of the sequence of dual and plural per passage would give a sense of high versus low incidence of dual forms and also show whether dual forms gravitate toward are particular position within the passage such as its beginning or end. It is my hope that the table may prove useful to other scholars and will gladly provide microsoft versions for anybody who would like to adapt or build on the existing material as part of his or her own investigation (see email address in header). -
Wulf: Libretto
WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield. -
Fulminante-2012-Ethnicity-Chapter
- LANDSCAPE, ETHNICITY AND IDENTITY LANDSCAPE, ETHNICITY AND IDENTITY IN THE ARCHAIC MEDITERRANEAN AREA LANDSCAPE, ETHNICITY AND IDENTITY The main concern of this volume is the multi-layered IN THE ARCHAIC MEDITERRANEAN AREA concept of ethnicity. Contributors examine and contextualise contrasting definitions of ethnicity and identity as implicit in two perspectives, one from the classical tradition and another from the prehistoric and anthropological tradition. They look at the role of textual sources in reconstructing ethnicity and introduce fresh and innovative archaeological data, either from fieldwork or from new combinations of old data. Finally, in contrast to many traditional approaches to this subject, they examine the relative and interacting AREA MEDITERRANEAN ARCHAIC THE IN role of natural and cultural features in the landscape in the construction of ethnicity. The volume is headed by the contribution of Andrea Carandini whose work challenges the conceptions of many in the combination of text and archaeology. He begins by examining the mythology surrounding the founding of Rome, taking into consideration the recent archaeological evidence from the Palatine and the Forum. Here primacy is given to construction of place and mythological descent. Anthony Snodgrass, Robin Osborne, Tim Cornell and Christopher Smith offer replies to his arguments. Overall, the nineteen papers presented here show that a modern interdisciplinary and international archaeology that combines material data and textual evidence – critically – can provide a powerful lesson for the full understanding of the ideologies of ancient and modern societies G. G. C IFANI AND S. S TODDART EDITED BY ABRIELE IFANI AND IMON TODDART s G C S S Oxbow Books WITH THE SUPPORT OF SKYLAR NEIL www.oxbowbooks.com This pdf of your paper in Landscape, Ethnicity and Identity belongs to the publishers Oxbow Books and it is their copyright. -
The Tale of Troy
THE TALE OF TROY WITH THE PUBLISHERS' COMPLIMENTS. THE TALE OF TROY DONE INTO ENGLISH BY AUBREY STEWART, M.A. LATE FELLOW OF TRINITY COLLEGE, CAMBRIDGE. ^London MACMILLAN AND CO. AND NEW YORK 1886 D CONTENTS CHAP. PAGE i. How Paris carried off Helen . i ii. How the Heroes gathered at Aulis 13 in. How Achilles quarrelled with Agamemnon . 27 iv. How Paris fought Menelaus . 45 v. How Hector fought Ajax . .61 vi. How Hector tried to burn the Ships 87 vii. How Patroclus lost the Arms of Achilles . .109 vni. How Achilles slew Hector . .129 ix. How the Greeksfought the Amazons 147 x. How Paris slew Achilles . .167 xi. How Philoctetes slew Paris . 193 xn. How the Greeks took Troy . .215 HOW PARIS CARRIED OFF HELEN B CHAPTER I g earned off upon a time there lived a king ONCEand queen, named Tyndareus and Leda. Their home was Sparta, in the plea- sant vale of Laconia, beside the river Eurotas. They had four children, and these were so beautiful that men doubted whether they were indeed born of mortal parents. Their two sons were named Castor and Polydeuces. As they grew up, Castor became a famous horseman, and Polydeuces was the best boxer of his time. Their elder daughter, Clytem- nestra, was wedded to Agamemnon the son of Atreus, king of Mycenae, who was the greatest prince of his age throughout all the land of Hellas. Her sister Helen was the The Tale of Troy CHAP. loveliest woman ever seen upon earth, and every prince in Hellas wooed her for his bride; yet was her beauty fated to bring sorrow and destruction upon all who looked upon her. -
Homer the Iliad
1 Homer The Iliad Translated by Ian Johnston Open access: http://johnstoniatexts.x10host.com/homer/iliadtofc.html 2010 [Selections] CONTENTS I THE QUARREL BY THE SHIPS 2 II AGAMEMNON'S DREAM AND THE CATALOGUE OF SHIPS 5 III PARIS, MENELAUS, AND HELEN 6 IV THE ARMIES CLASH 6 V DIOMEDES GOES TO BATTLE 6 VI HECTOR AND ANDROMACHE 6 VII HECTOR AND AJAX 6 VIII THE TROJANS HAVE SUCCESS 6 IX PEACE OFFERINGS TO ACHILLES 6 X A NIGHT RAID 10 XI THE ACHAEANS FACE DISASTER 10 XII THE FIGHT AT THE BARRICADE 11 XIII THE TROJANS ATTACK THE SHIPS 11 XIV ZEUS DECEIVED 11 XV THE BATTLE AT THE SHIPS 11 XVI PATROCLUS FIGHTS AND DIES 11 XVII THE FIGHT OVER PATROCLUS 12 XVIII THE ARMS OF ACHILLES 12 XIX ACHILLES AND AGAMEMNON 16 XX ACHILLES RETURNS TO BATTLE 16 XXI ACHILLES FIGHTS THE RIVER 17 XXII THE DEATH OF HECTOR 17 XXIII THE FUNERAL GAMES FOR PATROCLUS 20 XXIV ACHILLES AND PRIAM 20 I THE QUARREL BY THE SHIPS [The invocation to the Muse; Agamemnon insults Apollo; Apollo sends the plague onto the army; the quarrel between Achilles and Agamemnon; Calchas indicates what must be done to appease Apollo; Agamemnon takes Briseis from Achilles; Achilles prays to Thetis for revenge; Achilles meets Thetis; Chryseis is returned to her father; Thetis visits Zeus; the gods con-verse about the matter on Olympus; the banquet of the gods] Sing, Goddess, sing of the rage of Achilles, son of Peleus— that murderous anger which condemned Achaeans to countless agonies and threw many warrior souls deep into Hades, leaving their dead bodies carrion food for dogs and birds— all in fulfilment of the will of Zeus. -
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. -
The Role of Emotions in Modern Receptions of Homeric Epic
Tales for All Time: The Role of Emotions in Modern Receptions of Homeric Epic Karen Anne Possingham January 2021 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Karen Anne Possingham 2021 All Rights Reserved 1 This thesis is the original work of the author. Word count: 98,683. 2 Acknowledgements First of all, I would like to acknowledge that this research was supported by an Australian Government Research Training Program Scholarship. My primary supervisor, Elizabeth Minchin, the Best of the Homerists, whose inspiration, support, and dedication helped bring out the best in my work. My secondary supervisors Greta Hawes and Lucy Neave for their sound advice, scholarship and kind encouragement. To my children Nick and Alex, their partners Steph and Tiah, colleagues at ANU and friends for seeing the world through Homer with me for the last four and a half years. Finally, my husband Hugh for his continued patronage of the Arts and for his pithy and witty remarks on the content and progress of this thesis. 3 Abstract The poet we call Homer stands at the intersection of a long oral tradition and the emergence of literacy. The poems associated with his name have exercised a continuing appeal, across time; and yet they can also be unsettling, challenging our ideas of Ancient Greek values and expectations. This has had an impact on the reception of the poems from antiquity to the present day. I have argued in this thesis that, in the cases I have studied, Lorna Hardwick’s idea of ‘faultlines’ in Homeric epic can be adapted to examine the powerful, often contradictory, emotions portrayed in the Iliad and the Odyssey: namely personal and place attachment, grief, and the anger that can lead to acts of retribution or to acts of mercy that rely on the emotion of pity. -
Homer's Iliad: a Discussion Guide
Homer’s Iliad: A Discussion Guide By David Bruce SMASHWORDS EDITION Copyright 2013 by Bruce D. Bruce Thank you for downloading this book. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Smashwords.com to discover other works by this author. Thank you for your support. Preface The purpose of this book is educational. I have read, studied and taught Homer’s Iliad, and I wish to pass on what I have learned to other people who are interested in studying Homer’s Iliad. In particular, I think that the readers of this introduction to Homer’s Iliad will be bright high school seniors and college first-year students, as well as intelligent adults who simply wish to study the Iliad despite not being literature majors. This book uses a question-and-answer format. It poses, then answers, relevant questions about Homer, background information, and the Iliad. This book goes through the Iliad book by book. I recommend that you read the relevant section of the Iliad, then read my comments, then go back and re-read the relevant section of the Iliad. However, do what works for you. Teachers may find this book useful as a discussion guide for the epic poem. Teachers can have students read books from the epic poem, then teachers can ask students selected questions from this study guide. It helps to know something about Homer’s Odyssey, Virgil’s Aeneid, Greek and Roman mythology, and Ovid’s Metamorphoses, but this background reading is not strictly necessary. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.