‘The poet in the Iliad’ in The Author’s Voice in Classical and Late Antiquity, eds. A. (original) (raw)
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The Iliad, a large-scale composition*1
Philologia Antiqua, 2023
This paper details the structuring role of repetition in the Iliad: as already shown, the epic is composed as a narrative that advances with strong echoes between books 1 and 24. We ex- plore here other kinds of repetition: a comparison of a character in tears to a mountain waterfall (books 9 and 16), the ash spear, the only weapon of Achilles that Patroclus does not take (16), but that Achilles does (19), two very particular lines for the deaths of Patroclus and Hector (16 and 22), the “iron heart” of Achilles in Hector’s last words (22), and that of Priam in Hecuba’s and Achilles’ words (24). We explain why the greatest number of links highlights the importance of Patroclus, Hector and Achilles: they help integrate the Patrocleia into the overall scheme of Achilles’ anger. The ’reverberation’ of exempla and the counterfactual hypotheses show other types of echo from one book to another, alluding to a ‘mythological diffuse background’ of the epos, thus strongly united.
The question of Book Ten of the Iliad is well known and has been extensively studied. So let me therefore make it very clear from the start that I have absolutely no intention here of reviewing and reexamining all the studies, arguments and analyses dealing with the presence of the Doloneia in the construction of the Iliad as it has come down to us, the structural difficulties and problems of consistency it raises from a unitary point of view, the question of whether it belonged to the " original " plan of the poem, or of the time at which it may have been included and thus its character as an interpolation 1. So basically, my theme does not belong to the context of modern studies in Homeristics dedicated to the origin and formation of the poem Iliad as we know it. Here I will deal specifically with reconstructing what we know on the observations by the ancient scholars concerning Iliad Book Ten, trying to highlight the relevance and implications of this discussion for ancient criticism and the history of philology. Our starting point is the celebrated scholium contained in manuscript T (Townleianus) at the beginning of Book Ten, which I cite from the Erbse edition.
Review of "Virgil's Iliad: An Essay on Epic Narrative"
The Classical World, 1986
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Ares AIΔHΛOΣ: On the Text of Iliad 5.757 and 5.872
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European Literature 1 Fate and Free Will in Homer's The Iliad Homer's The Iliad is one of the most intriguing classical epic Greek poems known today. The Iliad was an oral tradition for four hundred years before finally being written down around seven hundred B.C. The poem is a beautifully written balancing act between two cultures, clashing in a time of unease between traditions of honor and Polis, (Troy) and the traditions of war, marriage, and fame, (Achaeans). The Bronze Age poem is also one of the best known tales of humanity, with its plot combining two aspects of ancient Greek society, actions of the Gods, (fate) and the actions of men, (choice). The Iliad is one of the most important pieces of historical literature for it's explanation of fate versus free will in human beliefs. The Iliad is often interpreted by many scholars as a representation of the spoils and shortcomings of ancient war, and by others as a criticism of war and humanity itself. Although the tale only covers the final weeks of a ten year war, those final moments convey the actions and consequences of human error in agonizing detail. The story is told in books, a written collection of a once ancient oral tradition, and has been passed down by word of mouth through generations of rhapsodes. Because of this tradition, The Iliad is undoubtedly important to ancient Greek history. No other texts in the Western world of literature convey so central a concept of
The Iliad, twenty centuries of translation : a critical view
The Iliad is about "klea andron", the glorious and terrible deeds of men in relation to other men, the raw content of the soul of man, but not of woman. It is a vast lagoon of dream fragments of the male unconscious, haunted with eternal shadows that compete, strut, fight, kill and rape, and above all seek the approval of other men. In this book, I have traced the history of the Iliad from papyrus, to parchment, to paper, to e-book. Next, I have looked critically into the first ten lines of Book 1 of the Iliad in the Latin, French, Greek (vernacular), and lastly English translations, beginning with the first translations of Hall, and Chapman. New translations of passages recovered from papyri and parchment, done by the present author, are included. Lastly, a theory of translation of poetry is attempted.