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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.
As Homer remains an indispensable figure in the canons of world literature, interpreting the Homeric text is a challenging and high stakes enterprise. There are untold numbers of variations, imitations, alternate translations, and adaptations of the Iliad and Odyssey, making it difficult to establish what, exactly, the epics were. Gregory Nagy's essays have one central aim: to show how the text and language of Homer derive from an oral poetic system. In Homeric studies, there has been an ongoing debate centering on different ways to establish the text of Homer and the different ways to appreciate the poetry created in the language of Homer. Gregory Nagy, a lifelong Homer scholar, takes a stand in the midst of this debate. He presents an overview of millennia of scholarly engagement with Homer's poetry, shows the different editorial principles that have been applied to the texts, and evaluates their impact.
Examines the Odyssey as well as the Iliad.
This book contains a collection of twenty-one essays in honour of Professor Franco Montanari by eminent specialists on Homer, ancient Homeric scholarship, and the reception of the Homeric Epics in both ancient and modern times. It covers a wide range of important subjects, including neoanalysis and oral poetry, the Doloneia, the Homeric scholia, the theoretical premises of Aristarchean scholarship, and Homer in Sappho, Pindar, Comedy, Plato, and Hellenistic Poetry. As a whole, the contributions demonstrate the vitality of modern scholarship on Homeric poetry.
A Reading Course in Homeric Greek, Book One, Third Edition is a revised edition of the well respected text by Frs. Schoder and Horrigan. This text provides an introduction to Ancient Greek language as found in the Greek of Homer. Covering 120 lessons, readings from Homer begin after the first 10 lessons in the book. Honor work, appendices, and vocabularies are included, along with review exercises for each chapter with answers.
This collection includes thirty scholarly essays on Homer and Greek epic poetry published by Margalit Finkelberg over the past three decades. The topics discussed reflect the author’s research interests and represent the main directions of her contribution to Homeric studies: Homer's language and diction, archaic Greek epic tradition, Homer's world and values, transmission and reception of the Homeric poems. The book gives special emphasis to some of the central issues in contemporary Homeric scholarship, such as oral-formulaic theory and the role of the individual poet; Neoanalysis and the character of the relationship between Homer and the tradition about the Trojan War; the multi-layered texture of the Homeric poems; the Homeric Question; the canonic status of the Iliad and the Odyssey in antiquity and modernity. All the articles are revised and updated. The book addresses both scholars and advanced students of Classics, as well as non-specialists interested in the Homeric poems and their journey through centuries.
At the centre of the commentary on Book 19 of the Iliad is the interpretation of speeches and events at the assembly of the Achaean army. It is here that the argument between Achilles and Agamemnon was settled, thus enabling the Achaeans to take the field in the decisive battle against Hector and the Trojans.
The epic poems the Iliad and the Odyssey, attributed to Homer, are among the oldest surviving works of literature derived from oral performance. Deeply embedded in these works is the notion that they were intended to be heard: there is something musical about Homer's use of language and a vivid quality to his images that transcends the written page to create a theatrical experience for the listener. Indeed, it is precisely the theatrical quality of the poems that would inspire later interpreters to cast the Odyssey and the Iliad in a host of other media-novels, plays, poems, paintings, and even that most elaborate of all art forms, opera, exemplified by no less a work than Monteverdi's Il ritorno di Ulisse in patria. In Performing Homer: The Voyage of Ulysses from Epic to Opera, scholars in classics, drama, Italian literature, art history, and musicology explore the journey of Homer's Odyssey from ancient to modern times. The book traces the reception of the Odyssey though the Italian humanist sources—from Dante, Petrarch, and Ariosto—to the treatment of the tale not only by Monteverdi but also such composers as Elizabeth Jacquet de la Guerre, Gluck, and Alessandro Scarlatti, and the dramatic and poetic traditions thereafter by such modern writers as Derek Walcott and Margaret Atwood.
Homer the Preclassic considers the development of the Homeric poems-in particular the Iliad and Odyssey-during the time when they were still part of the oral tradition. Gregory Nagy traces the evolution of rival “Homers” and the different versions of Homeric poetry in this pretextual period, reconstructed over a time frame extending back from the sixth century BCE to the Bronze Age. Accurate in their linguistic detail and surprising in their implications, Nagy's insights conjure the Greeks' nostalgia for the imagined “epic space” of Troy and for the resonances and distortions this mythic past provided to the various Greek constituencies for whom the Homeric poems were so central and definitive.