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In Hexametrical Genres from Homer to Theocritus, Christopher Faraone discusses a number of short hexametrical genres such as oracles, incantations and laments that do not easily fit the generic models provided by the extant poetry of Hesiod and Homer. In the process, he gives us new insight into their ritual performance, their early history, and how poets from Homer to Theocritus embedded or imitated these genres to enrich their own hexametrical poems--by playing with and sometimes overturning the generic expectations of their audiences or readers. Christopher Faraone combines literary and ritual studies to produce a rich and detailed picture of hexametrical genres performed publicly for gods, such as hymns or laments for Adonis, or other that were performed more privately, such as epithalamia, oracles, or incantations. This volume deals primarily with the recovery of lost or under-appreciated hexametrical genres, which are often left out of modern taxonomies of archaic hexametrical poetry, either because they survive only in fragments or because the earliest evidence for them dates to the classical period.
Wonder and wonders constituted a central theme in ancient Greek culture. In this book, Jessica Lightfoot provides the first full-length examination of its significance from Homer to the Hellenistic period. She demonstrates that wonder was an important term of aesthetic response and occupied a central position in concepts of what philosophy and literature are and do. She also argues that it became a means of expressing the manner in which the realms of the human and the divine interrelate with one another; and that it was central to the articulation of the ways in which the relationships between self and other, near and far, and familiar and unfamiliar were conceived. The book provides a much-needed starting point for re-assessments of the impact of wonder as a literary critical and cultural concept both in antiquity and in later periods. This title is available as Open Access on Cambridge Core.
Brill's Companion to Theocritus offers an up-to-date guide to a thorough understanding of Theocritus’ literary output. Exploring his corpus from a variety of novel perspectives, it presents a detailed account of the intricacy of Theocritus’ poetic art.
Poetry is supposed to be untranslatable. But many poems in English are also translations: Pope's Iliad, Pound's Cathay, and Dryden's Aeneis are only the most obvious examples. The Poetry of Translation explodes this paradox, launching a new theoretical approach to translation, and developing it through readings of English poem-translations, both major and neglected, from Chaucer and Petrarch to Homer and Logue. The word 'translation' includes within itself a picture: of something being carried across. This image gives a misleading idea of goes on in any translation; and poets have been quick to dislodge it with other metaphors. Poetry translation can be a process of opening; of pursuing desire, or succumbing to passion; of taking a view, or zooming in; of dying, metamorphosing, or bringing to life. These are the dominant metaphors that have jostled the idea of 'carrying across' in the history of poetry translation into English; and they form the spine of Reynolds's discussion. Where do these metaphors originate? Wide-ranging literary historical trends play their part; but a more important factor is what goes on in the poem that is being translated. Dryden thinks of himself as 'opening' Virgil's Aeneid because he thinks Virgil's Aeneid opens fate into world history; Pound tries to being Propertius to life because death and rebirth are central to Propertius's poems. In this way, translation can continue the creativity of its originals. The Poetry of Translation puts the translation of poetry back at the heart of English literature, allowing the many great poem-translations to be read anew.
Widely revered as the father of Western literature, Homer was the author of the Iliad and the Odyssey, the epic poems which immortalised such names as Achilles, Cyclops, Menelaus, and Helen of Troy. In this vivid introduction, Elton Barker and Joel Christensen celebrate the complexity, innovation, and sheer excitement of Homer’s two great works. Investigating the controversy surrounding the man behind the myths, they ask who Homer was and whether he even existed. Making parallels between Homeric hexameter and rap, and between his battle scenes and The Lord of the Rings, the authors highlight how his hugely influential epics deal with ageless questions that still confront us today. Perfect for new readers of the great poet and full of insights that will delight Homeric experts, this book will inspire you to discover – or rediscover – his masterpieces first-hand.
From its ancient incarnation as a song to recent translations in modern languages, Homeric epic remains an abiding source of inspiration for both scholars and artists that transcends temporal and linguistic boundaries. The Cambridge Guide to Homer examines the influence and meaning of Homeric poetry from its earliest form as ancient Greek song to its current status in world literature, presenting the information in a synthetic manner that allows the reader to gain an understanding of the different strands of Homeric studies. The volume is structured around three main themes: Homeric Song and Text; the Homeric World, and Homer in the World. Each section starts with a series of 'macropedia' essays arranged thematically that are accompanied by shorter complementary 'micropedia' articles. The Cambridge Guide to Homer thus traces the many routes taken by Homeric epic in the ancient world and its continuing relevance in different periods and cultures.
Invaluable guide to ancient Greek literature and literary theory through the representation of poetry and the figure of the poet.