{"id":669,"date":"2017-09-21T03:44:40","date_gmt":"2017-09-21T10:44:40","guid":{"rendered":"http:\/\/brouzils.org\/programs\/?p=669"},"modified":"2022-07-05T04:20:49","modified_gmt":"2022-07-05T11:20:49","slug":"studium-i-ii","status":"publish","type":"post","link":"http:\/\/www.brouzils.org\/programs\/studium-i-ii\/","title":{"rendered":"Studium I-II: Greek and Latin Literature in translation."},"content":{"rendered":"<p><strong> I. Ancient Literature: Epic literature in English translation.<\/strong><\/p>\n<p><u>Number of hours in the 10-week session :<\/u><\/p>\n<p>40 hours, divided as follows:<\/p>\n<p>-25 hours of lectures\/discussions<\/p>\n<p>-15 hours of tutorials<\/p>\n<p>15h30-17h.30 Mon and Friday, plus two hours of comp\/rhetoric\/week.<\/p>\n<p>&nbsp;<\/p>\n<p><u>Course Objectives: <\/u><\/p>\n<p>\u00b7 Analysis of richness of the origins, language, imagery, scope, structure and function of epic literature.<\/p>\n<p>Topics:<\/p>\n<p>\u00b7 Function of Greek tragedy as a public event \u2013 a \u2018liturgy\u2019. Connection to rites of Dionysus.<\/p>\n<p>\u00b7 Thematic and formal aspects: Mimesis and catharsis, Aristotelian unities, etc.<\/p>\n<p>\u00b7 How did the Greeks view these epics? Aristotle <a href=\"http:\/\/www.literary-articles.com\/2013\/12\/aristotles-definition-of-epic-in.html\" target=\"_blank\" rel=\"noopener noreferrer\">explains<\/a>.<\/p>\n<p>\u00b7 Homer and foundational myth; Hesiod and creation myth.<\/p>\n<p style=\"padding-left: 30px;\">Know the gods: <a href=\"http:\/\/messagenetcommresearch.com\/myths\/bios\/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greek and Roman<\/a>.<\/p>\n<p>\u00b7 Homeric religion and the religious values of tragedies<\/p>\n<p>\u00b7 Comedy vs Tragedy: a comparative study.<\/p>\n<p><u>Method<\/u> :<\/p>\n<p>-Close readings of texts, with prescribed homework reading from week to week.<\/p>\n<p>-Analysis in class.<\/p>\n<p><span style=\"text-decoration: underline;\">Resources<\/span>:<\/p>\n<p>-Cultural prehistory: <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2019\/11\/HEB-1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Introduction to Intellectual and Cultural History<\/a> (HE Barnes, chaps 1 and 2; pdf)<\/p>\n<p>&#8211;<a href=\"http:\/\/www.perseus.tufts.edu\/hopper\/collection?collection=Perseus%3Acollection%3AGreco-Roman\" target=\"_blank\" rel=\"noopener noreferrer\">Library of Greco-Roman texts<\/a> (Tufts\/Perseus; alt translations and, supplemental reading\/lectures and additional texts below on this page)<\/p>\n<p><strong>Bibliography :<\/strong><\/p>\n<ul>\n<li>Robert Fowler, <a href=\"https:\/\/books.google.fr\/books?id=Ch1DAwAAQBAJ&amp;printsec=frontcover&amp;hl=fr&amp;source=gbs_ge_summary_r&amp;cad=0#v=onepage&amp;q&amp;f=false\" target=\"_blank\" rel=\"noopener noreferrer\">The Cambridge Companion<\/a> to Homer (2004) (partial)<\/li>\n<li>E. Easterling, The Cambridge Companion to Greek Tragedy 1997 (full text available from instructor)<\/li>\n<li>H. Evelyn-White. <a href=\"https:\/\/www.bartleby.com\/241\/601.html\" target=\"_blank\" rel=\"noopener\">Hesiod, Homeric Hymns, Epic Cycle, Homerica<\/a>. 1922 ed. The pre-Homeric myths of the Ancient Greeks.<\/li>\n<li>Homer, <em><a href=\"https:\/\/classicalwisdom.com\/greek_books\/iliad-by-homer-book-i\/\" target=\"_blank\" rel=\"noopener noreferrer\">The Iliad<\/a> <\/em>(Butler)<\/li>\n<li>Homer, <a href=\"http:\/\/classics.mit.edu\/Homer\/odyssey.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Odyssey<\/a> (Butler trans, via MIT)<\/li>\n<li>Apollonius,<a href=\"http:\/\/www.brouzils.org\/programs\/wp-content\/uploads\/2020\/08\/The-Argonautica-of-Apollonius-Hunter-trans.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"> Argonautica<\/a> (Hunter trans)<\/li>\n<li>Hesiod: <a href=\"http:\/\/www.perseus.tufts.edu\/hopper\/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D1\" target=\"_blank\" rel=\"noopener noreferrer\">Theogony <\/a>(Tufts, Perseus); <a href=\"https:\/\/chs.harvard.edu\/CHS\/article\/display\/5290\" target=\"_blank\" rel=\"noopener noreferrer\">Works and Days<\/a> (Harvard)<\/li>\n<li>Euripides, <em><a href=\"http:\/\/classics.mit.edu\/Euripides\/medea.html\" target=\"_blank\" rel=\"noopener noreferrer\">Medea and other plays<\/a><\/em>\u00a0(MIT).<\/li>\n<li>Sophocles, <em><a href=\"https:\/\/ebooks.adelaide.edu.au\/s\/sophocles\/s5o\/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Three Theban Plays<\/a> (Storr): <a href=\"http:\/\/www.marcellodibello.com\/PHI234\/resources\/Sophocles-antigone.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Antigone<\/a>; Oedipus the King; Oedipus at Colonus, <\/em>(<del>Penguin Classics, 2000<\/del>) (Fainlight, Lippman; JHU)<\/li>\n<li>Aeschylus: <em><a href=\"http:\/\/gutenberg.net.au\/ebooks07\/0700021h.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Oresteia<\/a>: Agamemnon; The Libation Bearers; The Eumenides, <\/em>(Penguin Classics, 2000). Full <a href=\"http:\/\/gutenberg.net.au\/ebooks07\/0700021h.html\" target=\"_blank\" rel=\"noopener noreferrer\">Morshead translation<\/a>; GCW Warr <a href=\"https:\/\/archive.org\/details\/oresteiaofaeschy00aesciala\/page\/n7\" target=\"_blank\" rel=\"noopener noreferrer\">commentary<\/a>.<\/li>\n<li>Aristophanes: <em><a href=\"http:\/\/www.gutenberg.org\/ebooks\/author\/965?sort_order=title\" target=\"_blank\" rel=\"noopener noreferrer\">The Birds, Lysistrata<\/a> and other plays\u00a0<\/em><\/li>\n<li>Sister Miriam Joseph, <a href=\"https:\/\/books.google.fr\/books?id=lg0a-RJcn4gC&amp;printsec=frontcover#v=onepage&amp;q&amp;f=false\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The Trivium: The Liberal Arts of Logic, Grammar, and Rhetoric<\/em><\/a>, 2002.<\/li>\n<li>Gilbert Murray, <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2019\/10\/History_of_Ancent_Greek_Literature_-trm_Mur.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">History of Ancient Greek Literature.<\/a><\/li>\n<li>Paul Veyne, <a href=\"http:\/\/www.brouzils.org\/programs\/wp-content\/uploads\/2020\/08\/Veyne-Did-the-Greeks-Believe-in-Their-Myths.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Did the Greeks believe in their myths? An essay on the constitutive imagination <\/em><\/a>(full text, pdf)<\/li>\n<li>D. Lateiner: &#8216;<a href=\"http:\/\/digitalcommons.colby.edu\/cgi\/viewcontent.cgi?article=3363&amp;context=cq\" target=\"_blank\" rel=\"noopener noreferrer\">The Grief of Zeus<\/a>&#8216; in Book 16.<\/li>\n<li>Terence: <a href=\"http:\/\/www.gutenberg.org\/files\/22695\/22695-h\/22695-h.htm#adelphi\">Comedies<\/a> (Riley trans)<\/li>\n<li>Cicero: <a href=\"http:\/\/www.forumromanum.org\/literature\/cicero\/arche.html\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Archia<\/a> (Yonge), <a href=\"https:\/\/archive.org\/details\/letterstoatticus01ciceuoft\" target=\"_blank\" rel=\"noopener noreferrer\">Letters to Atticus<\/a> (Winstedt)<\/li>\n<li>Livy: <a href=\"http:\/\/web.archive.org\/web\/20080926121037\/http:\/\/etext.lib.virginia.edu\/toc\/modeng\/public\/Liv1His.html\" target=\"_blank\" rel=\"noopener noreferrer\">Books 1 and 2<\/a> (UVa) <a href=\"http:\/\/mcadams.posc.mu.edu\/txt\/ah\/Livy\/Livy01.html\" target=\"_blank\" rel=\"noopener noreferrer\">Book 1<\/a> (Roberts)<\/li>\n<\/ul>\n<p><strong>Content Timeline (Post-Parietal)<\/strong><\/p>\n<p><strong>THE CLASSICAL PERIOD (1200 BCE &#8211; 455 CE)<\/strong><\/p>\n<p>1. HOMERIC or HEROIC PERIOD (1200-800 BCE) Greek legends are passed along orally, including Homer&#8217;s The Iliad and The Odyssey. This is a chaotic period of warrior-prince wandering sea-traders, and fierce pirates.<\/p>\n<p>2. CLASSICAL GREEK PERIOD (800-200 BCE) Greek writers and philosophers such as Gorgias, Aesop. Plato, Socrates, Aristotle, Euripides, and Sophocles. The fifth century (499-400 BCE) in particular is renowned as The Golden Age of Greece. This is the sophisticated period of the polis, or individual City-State, and early democracy. Some of the world&#8217;s finest art, poetry, drama, architecture, and philosophy originate in Athens.<\/p>\n<p>3. CLASSICAL ROMAN PERIOD (200 BCE-455 CE) Greece&#8217;s culture gives way to Roman power when Rome conquers Greece in 146 CE. The Roman Republic was traditionally founded in 509 BCE, but it is limited in size until later. Playwrights of this time include Plautus and Terence. After nearly 500 years as a Republic, Rome slides into dictatorship under Julius Caesar and finally into a monarchial empire under Caesar Augustus in 27 CE. This later period is known as the Roman Imperial period. Roman writers include Ovid, Horace, and Virgil. Roman philosophers include Marcus Aurelius and Lucretius. Roman rhetoricians include Cicero and Quintilian.<\/p>\n<p>4. PATRISTIC PERIOD (c. 70 CE-455 CE) Early Christian writings appear such as Saint Augustine, Tertullian, Saint Cyprian, Saint Ambrose, Saint Jerome, Boethius. This is the period in which Saint Jerome first compiles the Bible, when Christianity spread across Europe, and the Western Roman Empire suffered its dying convulsions. In this period, barbarians attack Rome in 410 CE and the city finally falls to them completely in 455 CE. In the East, the Empire continues for another millennium.<\/p>\n<hr \/>\n<p style=\"text-align: center;\"><strong>Understanding the nature of epic &#8216;literature&#8217;. <\/strong><\/p>\n<p>Types: foundational epic and creation epic.<strong><br \/>\n<\/strong><\/p>\n<p>\u21d2<em>Read<\/em> <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2019\/09\/Epic_as_Genre-Ford.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Epic: Genres and Characteristics<\/a> (Ford, Princeton).<\/p>\n<p><em><strong>Parietal &#8216;literature&#8217;:<\/strong> The epics attributed to Homer are a mere 2500-3000 years old. Were there prehistoric &#8220;epics&#8221;?<\/em><\/p>\n<p>Maybe. A cave+a fire+a hunting tale recited aloud might = an epic of sorts. In the Orthodox tradition, icons are &#8216;written&#8217; not painted.<\/p>\n<p>Is that true in the cases of these parietal &#8216;epics&#8217;? Some <a href=\"https:\/\/www.metmuseum.org\/toah\/hd\/lasc\/hd_lasc.htm\" target=\"_blank\" rel=\"noopener noreferrer\">notes<\/a> from The Met.<\/p>\n<p>A 2019 <a href=\"https:\/\/www.nature.com\/articles\/s41586-019-1806-y\" target=\"_blank\" rel=\"noopener noreferrer\">survey in Nature magazine<\/a>:<\/p>\n<p style=\"padding-left: 40px;\"><em>Humans seem to have an adaptive predisposition for inventing, telling and consuming stories. Prehistoric cave art provides the most direct insight that we have into the earliest storytelling, in the form of narrative compositions or \u2018scenes\u2019<a id=\"ref-link-section-d97076e448\" title=\"Davidson, I. in Making Scenes: Global Perspectives on Scenes in Rock Art (eds Davidson, I. &amp; Nowell, A.) (Berghahn, in the press).\" href=\"https:\/\/www.nature.com\/articles\/s41586-019-1806-y#ref-CR5\" data-track=\"click\" data-track-action=\"reference anchor\" data-track-label=\"link\" data-test=\"citation-ref\" aria-label=\"Reference 5\"><\/a> that feature clear figurative depictions of sets of figures in spatial proximity to each other, and from which one can infer actions taking place among the figures.<\/em> \u2014 from &#8220;Earliest hunting scene in prehistoric art&#8221;: Aubert, M., Lebe, R., Oktaviana, A.A.\u00a0<i>et al.<\/i> <i>Nature<\/i>\u00a0(2019) doi:10.1038\/s41586-019-1806-y<\/p>\n<p>And cave symbols from <a href=\"https:\/\/www.independent.co.uk\/news\/science\/archaeology\/oldest-drawing-ever-south-africa-blombos-cave-art-hashtag-rock-ochre-a8534696.html\">70,000 years ago<\/a>.<\/p>\n<p><em>Cave of Forgotten Dreams<\/em> (W. Herzog) on DVD from instructor.<\/p>\n<p>Prehistoric art to language: Alison George, <em>New Scientist<\/em>: <a href=\"https:\/\/www.newscientist.com\/article\/mg23230990-700-in-search-of-the-very-first-coded-symbols\/\" target=\"_blank\" rel=\"noopener noreferrer\">In search of the very first coded symbols.<\/a><\/p>\n<p>&#8216;Battling rhinos&#8217; and other examples of prehistoric art, without much relevant context (<a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2018\/12\/Thurman-First-Impressions-The-New-Yorker.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Judith Thurmond, <em>New Yorker<\/em><\/a>). [pdf]<\/p>\n<p>Pictographic material from 12,000 BC, from <a href=\"https:\/\/news.artnet.com\/art-world\/turkey-worlds-oldest-writing-pictograph-319107\" target=\"_blank\" rel=\"noopener noreferrer\">Artnet<\/a>.<\/p>\n<p>Genevieve von Petzinger in <a href=\"https:\/\/www.wired.co.uk\/article\/cave-art-emoji\" target=\"_blank\" rel=\"noopener noreferrer\">Wired<\/a> magazine.<\/p>\n<p><iframe loading=\"lazy\" title=\"Why are these 32 symbols found in caves all over Europe | Genevieve von Petzinger\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/hJnEQCMA5Sg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>\u21d2 Read her thesis in pdf <a href=\"https:\/\/dspace.library.uvic.ca\/bitstream\/handle\/1828\/1402\/G_von_Petzinger_MA_thesis.pdf?sequence=1\" target=\"_blank\" rel=\"noopener noreferrer\">here<\/a>.<\/p>\n<p>Cave art and myth:<\/p>\n<p><iframe loading=\"lazy\" title=\"Bernie Taylor - Cave Art and the Origin of Myth\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/zE2CilLTUus?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>An interpretation of cave paintings as &#8220;pictures&#8221;, non-literary art:<\/p>\n<p><iframe loading=\"lazy\" title=\"In Our Time: S23\/02 Cave Art (Sept 24 2020)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/2f5EPl3mX0k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<hr \/>\n<p style=\"text-align: center;\"><strong>2. <\/strong><strong>Epic literature in translation<\/strong><\/p>\n<p>\u00b7 An introduction to the epic literary mode of expression beginning with &#8220;paleoliterature&#8221; to Gilgamesh, through the ancient Greeks, then through Roman Literature. Items here marked with an asterisk should be read <em>before<\/em> the first class meeting.<\/p>\n<p><em>Greek Literature:<\/em> The <a href=\"http:\/\/new.brouzils.org\/programs\/greek-literature-britannica-11\/\" target=\"_blank\" rel=\"noopener noreferrer\">general introduction<\/a> to this topic by Richard Claverhouse Jebb, taken from the pages of the <em>Britannica<\/em> 11, and edited for student use, will be found <a href=\"http:\/\/new.brouzils.org\/programs\/greek-literature-britannica-11\/\" target=\"_blank\" rel=\"noopener noreferrer\">here<\/a>. *<\/p>\n<p><em>Latin Literature<\/em>: The <a href=\"http:\/\/new.brouzils.org\/programs\/general-introduction-to-latin-literature\/\" target=\"_blank\" rel=\"noopener noreferrer\">general introduction<\/a> to this topic, also from the Britannica, is <a href=\"http:\/\/new.brouzils.org\/programs\/general-introduction-to-latin-literature\/\" target=\"_blank\" rel=\"noopener noreferrer\">here<\/a>. *<\/p>\n<p>Themes, motifs and style in Homer, with discussions of Aeschylus, Sophocles, Euripides, Aristophanes et al.<\/p>\n<div id=\"mntl-sc-block_1-0\" class=\"comp mntl-sc-block mntl-sc-block-html\">\n<p style=\"padding-left: 40px;\">Epic poetry, related to heroic poetry, is a narrative art form common to many ancient and modern societies. In some traditional circles, the term epic poetry is restricted to the Greek poet Homer&#8217;s works\u00a0<em>The Iliad<\/em>\u00a0and\u00a0<em>The Odyssey<\/em>\u00a0and, sometimes grudgingly, the Roman poet Virgil&#8217;s\u00a0<em>The Aeneid<\/em>. However, beginning with the Greek philosopher Aristotle who collected &#8220;barbarian epic poems,&#8221; other scholars have recognized that similarly structured forms of poetry occur in many other cultures.<\/p>\n<p style=\"padding-left: 40px;\">Two related forms of <a href=\"https:\/\/www.thoughtco.com\/narrative-poetry-definition-examples-4580441\" data-component=\"link\" data-source=\"inlineLink\" data-type=\"internalLink\" data-ordinal=\"1\">narrative poetry<\/a> of this era are &#8220;trickster tales&#8221; that report activities of very clever disrupter beings, human and god-like both; and &#8220;heroic epics,&#8221; in which the heroes are ruling class, kings and the like. In epic poetry, the hero is an extraordinary but also an ordinary human being and although he may be flawed, he is always brave and valorous.<\/p>\n<\/div>\n<h3 id=\"mntl-sc-block_1-0-4\" class=\"comp mntl-sc-block mntl-sc-block-heading\" style=\"padding-left: 40px;\"><span class=\"mntl-sc-block-heading__text\">Characteristics of Epic Poetry*\u00a0<\/span><\/h3>\n<div id=\"mntl-sc-block_1-0-5\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">The characteristics of the Greek tradition of epic poetry are long-established and summarized below. Almost all of these characteristics can be found in epic poetry from societies well outside of the Greek or Roman world.<\/p>\n<\/div>\n<div id=\"mntl-sc-block_1-0-7\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">The\u00a0<strong>content<\/strong>\u00a0of an epic poem always includes the glorious deeds of heroes (<em>Klea andron<\/em> in Greek), but not just those types of things\u2014for example, the <em>Iliad<\/em> included cattle raids as well as contests.<\/p>\n<p style=\"padding-left: 40px;\">This <a href=\"https:\/\/simple.wikipedia.org\/wiki\/Epic_poetry\" target=\"_blank\" rel=\"noopener noreferrer\">wiki entry<\/a> proposes seven basic characteristics:<\/p>\n<ol class=\"ol1\">\n<li class=\"li1\"><span class=\"s2\">The hero is outstanding. He (as a rule, a male protagonist) might be important, and historically or legendarily significant.<\/span><\/li>\n<li class=\"li1\"><span class=\"s2\">The setting is large. It covers many nations, or the known world.<\/span><\/li>\n<li class=\"li1\"><span class=\"s2\">The action is made of deeds of great valour or requiring superhuman courage. \u00a0<\/span><\/li>\n<li class=\"li1\"><span class=\"s2\">Supernatural forces\u2014gods, angels, demons\u2014insert themselves in the action.<\/span><\/li>\n<li class=\"li1\"><span class=\"s2\">It is written in a very special style (verse as opposed to prose).<\/span><\/li>\n<li class=\"li1\"><span class=\"s2\">The poet tries to remain objective.<\/span><\/li>\n<li class=\"li2\"><span class=\"s5\">Epic poems are believed to be supernatural and real by the hero and other principal characters. They often feature a transformative descent into an underworld.<\/span><\/li>\n<\/ol>\n<\/div>\n<h3 id=\"mntl-sc-block_1-0-9\" class=\"comp mntl-sc-block mntl-sc-block-heading\" style=\"padding-left: 40px;\"><span class=\"mntl-sc-block-heading__text\">All About the Hero *<\/span><\/h3>\n<div id=\"mntl-sc-block_1-0-10\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">There is always an underlying\u00a0<strong>ethos<\/strong> that says that to be a hero is to always be the best person he (or she, but mainly he) can be, pre-eminent beyond all others, primarily physical and displayed in battle. In Greek epic tales, intellect is plain common sense, there are never tactical tricks or strategic ploys, but instead, the hero succeeds because of great valor, and the brave man never retreats.<\/p>\n<\/div>\n<div id=\"mntl-sc-block_1-0-12\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">Homer&#8217;s greatest poems are about the &#8220;<strong>heroic age<\/strong>&#8220;, about the men who fought at Thebes and Troy (a. 1275\u20131175 BCE), events that took place about 400 years before Homer wrote the <em>Iliad<\/em> and the <em>Odyssey<\/em>. Other cultures&#8217; epic poems involve a similarly distant historic\/legendary past.<\/p>\n<\/div>\n<div id=\"mntl-sc-block_1-0-13\" class=\"comp mntl-sc-block mntl-sc-block-adslot mntl-block\" style=\"padding-left: 40px;\">The <strong>powers of the heroes<\/strong>\u00a0of epic poetry are human-based: the heroes are normal human beings who are cast on a large scale, and although gods are everywhere, they only act to support or in some cases thwart the hero. The tale has a\u00a0<strong>believed historicity<\/strong>, which is to say the narrator is assumed to be the mouthpiece of the goddesses of poetry, the Muses, with no clear line between history and fantasy.<\/div>\n<h3 id=\"mntl-sc-block_1-0-16\" class=\"comp mntl-sc-block mntl-sc-block-heading\" style=\"padding-left: 40px;\"><span class=\"mntl-sc-block-heading__text\">Narrator and Function<\/span><\/h3>\n<div id=\"mntl-sc-block_1-0-17\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">The tales are told in a\u00a0<strong>mannerly composition<\/strong>: they are often formulaic in structure, with repeated conventions and phrases. Epic poetry is\u00a0<strong>performed<\/strong>, either the bard sings or chants the poem and he is often accompanied by others who act out the scenes. In Greek and Latin epic poetry, the meter is strictly dactylic hexameter; and the normal assumption is that epic poetry is\u00a0<strong>long<\/strong>, taking hours or even days to perform.<\/p>\n<\/div>\n<div id=\"mntl-sc-block_1-0-19\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">The narrator has both\u00a0<strong>objectivity and formality<\/strong>, he is seen by the audience as a pure narrator, who speaks in the third person and the past tense. The poet is thus the custodian of the past. In Greek society, the poets were itinerant who traveled throughout the region performing at festivals, rites of passage like funerals or weddings, or other ceremonies.<\/p>\n<\/div>\n<div id=\"mntl-sc-block_1-0-21\" class=\"comp mntl-sc-block mntl-sc-block-html\" style=\"padding-left: 40px;\">\n<p style=\"padding-left: 40px;\">The poem has a\u00a0<strong>social function<\/strong>, to please or entertain or educate and inspire an audience. It is both serious and moral in tone but it doesn&#8217;t preach. <span style=\"font-size: 8pt;\">Source: <\/span><span style=\"font-size: 8pt;\">Hatto AT, editor. 1980.\u00a0<\/span><em style=\"font-size: 8pt;\">Traditions of Heroic and Epic Poetry<\/em><span style=\"font-size: 8pt;\">. London: Modern Humanities Research Association.<\/span><\/p>\n<\/div>\n<blockquote><p><em> Homer narrated the deeds of men and women: the gods, though present, represent an enrichment and augmentation of the human action, not the epics\u2019 principal focus. A mixed mode of narrative and quoted speech or dialogue allowed the actors themselves to express their thoughts and emotions, set against the action, background information, and occasional authorial comments of the narrative. The narrative is selective: not the Trojan War, but the wrath of Achilles, covering a short period tightly focused on his withdrawal from the war, the ruin it caused for both sides, and his return to battle and to humanity; not the adventures of the returning Greeks, but the sufferings of one man, Odysseus, until his reunion with his wife and son. The epics also pose essential questions concerning the meaning of human life and achievement, the place of suffering and death, and the morality of action. \u2014 from <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2019\/12\/how_history_was_written_in_the_year_of_h.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">A Companion to Western Historical Thought<\/a> (Kramer and Maza), chapter 2.<\/em><\/p><\/blockquote>\n<div id=\"mntl-sc-block_1-0-25\" class=\"comp mntl-sc-block mntl-sc-block-adslot mntl-block\" style=\"padding-left: 40px;\">\n<div>\n<hr \/>\n<\/div>\n<\/div>\n<p style=\"text-align: center;\"><strong>The ancient world in context<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"Kenneth Harl - Orientation and Introduction to the Ancient World\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/0EKk_pjr2hw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p style=\"text-align: center;\"><strong>Pre-Homeric Literature: lectures and texts<\/strong><\/p>\n<p><strong>Gilgamesh<\/strong>: <a href=\"http:\/\/www.online-literature.com\/anonymous\/gilgamesh\/\" target=\"_blank\" rel=\"noopener noreferrer\">Full-text <\/a>version<\/p>\n<p>Lecture: Prof Andrew George (SOAS)\u2014Introduction to <em>Gilgamesh<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"The Epic of Gilgamesh, Lecture by Andrew George\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Rd7MrGy_tEg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>\u21d2 <em>Read<\/em> this <a href=\"http:\/\/www.gutenberg.org\/files\/11000\/11000-h\/11000-h.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Introduction<\/a> to the Yale version by Morris Jastrow<\/p>\n<hr \/>\n<p><strong>3. Homer\u2014Background:<\/strong><\/p>\n<p>The world before the war in Troy and the end of the &#8216;Heroic&#8217; Age, one of Hesiod&#8217;s five &#8216;ages&#8217;:<\/p>\n<p style=\"font-weight: 400; padding-left: 40px;\">The Five Ages of Man According to Hesiod&#8217;s <a href=\"https:\/\/chs.harvard.edu\/CHS\/article\/display\/5290\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Works and Days<\/em><\/a> (see ML pp. 81-83)<\/p>\n<ol>\n<li style=\"list-style-type: none;\">\n<ol>\n<li>Golden Age: mortals who live as gods, free from pain, sorrow and trouble<\/li>\n<li>Silver Age: where &#8220;a child was a child for 100 years&#8221;; men were foolish, and committed crimes against each other<\/li>\n<li>Bronze Age: men were violent and warlike, and destroyed each other<\/li>\n<li>Age of Heroes: men were demigods, but always engaged in war<\/li>\n<li>Iron Age: the worst &#8211; men are constantly beset by troubles, grow old quickly , and are always opposing one another (source: washington.edu)<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p style=\"font-weight: 400; padding-left: 40px;\"><span style=\"font-size: 10pt;\">Cf. Ovid\u2019s Four Ages at <a href=\"http:\/\/classics.mit.edu\/Ovid\/metam.html\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Met<\/em>. pp. 3-8<\/a> (briefly mentioned in ML p. 81)<\/span><\/p>\n<p><a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/coillapsemap.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-771\" src=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/coillapsemap.jpg\" alt=\"\" width=\"720\" height=\"540\" srcset=\"http:\/\/www.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/coillapsemap.jpg 720w, http:\/\/www.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/coillapsemap-300x225.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\" \/><\/a><\/p>\n<p>The Luwians and the Late Bronze Age Collapse:<\/p>\n<p><iframe loading=\"lazy\" title=\"Luwians, Anatolia and the Bronze Age Collapse ~ Dr. Zangger\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/71w6kWWlr-0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Paul MM Cooper:<\/p>\n<p><iframe loading=\"lazy\" title=\"2. The Bronze Age Collapse - Mediterranean Apocalypse\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/B965f8AcNbw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>More on the Bronze Age Collapse:<\/p>\n<p><iframe loading=\"lazy\" title=\"Hunger and the Late Bronze Age Collapse (Sea Peoples)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/_AeRe3wpft0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Also:<\/p>\n<p><iframe loading=\"lazy\" title=\"Homer, the Trojan War &amp; the Late Bronze Age Collapse\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/xTyMVwSvKV8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Eric Kline on <a href=\"https:\/\/youtu.be\/bRcu-ysocX4\">the Bronze-Age Collapse<\/a> (ca 1200BC)<\/p>\n<p><strong>Introductory comments:<br \/>\n<\/strong><\/p>\n<p>The <a href=\"https:\/\/blog.britishmuseum.org\/the-myth-of-the-trojan-war\/\" target=\"_blank\" rel=\"noopener noreferrer\">British Museum Trojan War page<\/a>: The &#8216;myth&#8217; of the Trojan War and <a href=\"https:\/\/blog.britishmuseum.org\/the-search-for-the-lost-city-of-troy\/\" target=\"_blank\" rel=\"noopener noreferrer\">The Search for Troy.<\/a><\/p>\n<blockquote><p>The story of the ancient city of Troy, and of the great war that was fought over it, has been told for some 3,000 years. Spread by travelling storytellers, it was cast into powerful words by the Greek poet Homer as early as the eighth to seventh century BC \u2013 and into powerful images by ancient Greek and Roman artists. Just as it enraptured audiences in the past, it still speaks to us today and it\u2019s easy to see why. It\u2019s a story that has it all \u2013 love and loss, courage and passion, violence and vengeance, triumph and tragedy \u2013 on a truly epic scale.<\/p>\n<p>Spanning several decades, the tale is set in Greece\u2019s mythical past. At its heart is the powerful city of Troy on the western coast of Anatolia (modern-day Turkey), besieged for 10 years by the Greeks, who sailed across the Aegean Sea to take revenge for a grave insult \u2013 the abduction of a woman. This ancient world war features a stellar cast of characters. Even the gods are involved.<\/p>\n<p>But this isn\u2019t a straightforward tale of right and wrong. Its heroes \u2013 and none more so than the great Achilles \u2013 are complex, with heroic strength but human weaknesses and in the end it is unclear who, if anyone, really wins.<\/p><\/blockquote>\n<hr \/>\n<p><strong>Meeting 4:<\/strong><\/p>\n<p><strong>Homer\u2014Intro lecture:<\/strong><\/p>\n<p><em>Theatre of Epidavros, Argolis, Greece<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/ci6.googleusercontent.com\/proxy\/QlICKehc58HDuquPZyXPrAskpEq7BbOXsFzJqpFAu_UUCsFgtqXufBafRvFnXl5QdPI4Sx7YCmvcfykqsGn-EqkVYKYXpMejIY64IzI9SPfAGiQT5CPQL5aSCJ6dDlj8FeF-2QCCN9EJIV3dSzTt_gkYVA=s0-d-e1-ft#https:\/\/static.iterable.com\/40bd9518025f4054bd691f353eefaddb\/20-11-20-11-23_futurist_pallisd.png\" alt=\"@pallisd on Instagram\" \/><\/p>\n<p>Why Homer Matters: Hay Festival lecture by Adam Nicholson:<\/p>\n<p><iframe loading=\"lazy\" title=\"Why Homer Matters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/NhXTEETdkmk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Texts:<\/strong><\/p>\n<p style=\"padding-left: 30px;\"><a href=\"https:\/\/classicalwisdom.com\/greek_books\/iliad-by-homer-book-i\/\" target=\"_blank\" rel=\"noopener noreferrer\">The Iliad<\/a> (Butler trans) (<a href=\"http:\/\/classics.mit.edu\/Homer\/iliad.mb.txt\" target=\"_blank\" rel=\"noopener noreferrer\">txt<\/a> ver)<\/p>\n<p style=\"padding-left: 40px;\">Reading Homer aloud (CHS);<\/p>\n<p><iframe loading=\"lazy\" title=\"Reading Homer aloud: pronunciation, rhythm, enjambments\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/H5OjtwsKkdk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p style=\"padding-left: 60px;\"><a href=\"https:\/\/www.youtube.com\/watch?v=QFAjkf6tk60\" target=\"_blank\" rel=\"noopener noreferrer\">S Lombardo<\/a> reading his translation:<\/p>\n<p><iframe loading=\"lazy\" title=\"Professor Stanley Lombardo reads from his translation of the Iliad\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/QFAjkf6tk60?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>The rhythm of the Iliad:<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/MPl3ci3V63Y\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Manuscript history:<\/strong> The story of Venetus A:<\/p>\n<p><iframe loading=\"lazy\" title=\"Imaging the Iliad: A Digital Renaissance (Full Documentary)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ri6X1Dz4Ycg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u21d2 Critical background:<\/strong><\/p>\n<p style=\"padding-left: 30px;\"><em>Readings:<\/em><\/p>\n<p style=\"padding-left: 30px;\">Nagy: On <a href=\"http:\/\/chs.harvard.edu\/CHS\/article\/display\/5978\" target=\"_blank\" rel=\"noopener noreferrer\">Metonymy<\/a> and The Ancient Greek Hero in 24 Hours<\/p>\n<p style=\"padding-left: 30px;\">Friedrich Nietzsche: <a href=\"http:\/\/nietzsche.holtof.com\/Nietzsche_various\/homers_competition.htm\" target=\"_blank\" rel=\"noopener noreferrer\">On Competition<\/a>. Word of the day: <a href=\"https:\/\/www.merriam-webster.com\/dictionary\/agon\" target=\"_blank\" rel=\"noopener noreferrer\"><em>agon<\/em><\/a>. (Related notes <a href=\"http:\/\/www.troynovant.com\/Franson\/Nietzsche\/Homers-Contest.html\" target=\"_blank\" rel=\"noopener noreferrer\">here<\/a>.)<\/p>\n<p style=\"padding-left: 30px;\">Homer as historian:<\/p>\n<p style=\"padding-left: 70px;\">S. Freud and the &#8216;<a href=\"https:\/\/bura.brunel.ac.uk\/bitstream\/2438\/4749\/1\/Fulltext.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Question of Homer<\/a>&#8216; by D. Nobus.<\/p>\n<p style=\"padding-left: 70px;\">Giambattista Vico&#8217;s &#8216;<a href=\"https:\/\/chs.harvard.edu\/CHS\/article\/display\/6393.steven-m-berry-vico-s-prescient-evolutionary-model-for-homer\" target=\"_blank\" rel=\"noopener noreferrer\">oral-evolutionary theory<\/a>&#8216; of Homeric authorship. (link; <em>reading<\/em>: Book III)<\/p>\n<p style=\"padding-left: 30px;\">E. Hall: <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2017\/05\/EHall_reception.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Reception of Ancient Greek Literature and Western Identity<\/a> (pdf)<\/p>\n<p style=\"padding-left: 30px;\">S. Weil: <a href=\"http:\/\/biblio3.url.edu.gt\/SinParedes\/08\/Weil-Poem-LM.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Iliad or the Poem of Force<\/a> (pdf)<\/p>\n<p style=\"padding-left: 30px;\">Christopher Benfey: <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2018\/10\/A-Tale-of-Two-Iliads-by-Christopher-Benfey-The-New-York-Review-of-Books.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">A Tale of Two Iliads<\/a> (pdf; subject: Weil and Bespaloff)<\/p>\n<p>A <a href=\"https:\/\/www.thoughtco.com\/kleos-meaning-for-ancient-greeks-119379\">short note on <em>kleos <\/em><\/a>via ThoughtCo.<\/p>\n<p style=\"padding-left: 40px;\">Vocabulary: <em>Kleos<\/em> (eternal glory, fame), <em>nostos<\/em> (homecoming, heroic return), <em>Ponos<\/em> (toil, ordeal, pain) <em>aidos<\/em> (shame), <em>agon<\/em> (contest, ordeal).<\/p>\n<p style=\"padding-left: 80px;\" align=\"left\"><em><span style=\"font-family: Palatino; font-size: medium;\">Depending on context, adjectives in -os (masc.), may be given with other endings:<\/span><\/em><\/p>\n<p><center style=\"padding-left: 80px;\"><em><span style=\"font-family: Palatino; font-size: medium;\">-\u00ea\u00a0(fem.),-on\u00a0(neut.),-oi\u00a0(masc. pl.),-ai\u00a0(fem. pl.),\u00a0-a (neut. pl.).<\/span><\/em><\/center><\/p>\n<hr style=\"padding-left: 80px;\" \/>\n<ol>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">agathos good, noble<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">ag\u00f4n, pl. ag\u00f4nes coming together; contest; agony; ordeal; trial<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">agor\u00e2, pl. agorai public assembly, place of public assembly<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">aid\u00f4s shame, sense of shame; sense of respect for others; honorableness<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">ainos authoritative utterance for and by a social group; praise; fable; ainigma riddle<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">aitios responsible, guilty; aiti\u00e2 responsibility, guilt; cause, case<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">akhos grief, public expression of grief by way of lamentation or keening<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">al\u00eath\u00eas (adjective) true, true things; al\u00eatheia (noun) truth<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">aret\u00ea striving for a noble goal, for high ideals; noble goal, high ideals<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">aristos best,\u00a0superlative of agathos; aristeia: designates the hero&#8217;s great epic moments that demonstrate his being aristos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">at\u00ea, pl. atai\u00a0veering, aberration, derangement; disaster; punishment for disaster<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">\u00e2thlos (aethlos) contest, ordeal; \u00e2thl\u00eat\u00eas athlete<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">bi\u00e2 (bi\u00ea in the language of Homeric poetry)\u00a0force, violence<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">daim\u00f4n, pl. daimones supernatural force (= unspecified god or hero) intervening in human life; eudaim\u00f4ni\u00e2 state of being blessed with a good daim\u00f4n<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">d\u00eamos, pl. d\u00eamoi\u00a0district, population of a district; community<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">dik\u00ea, pl. dikai judgment (short-range); justice (long-range);\u00a0dikaios just<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">ekhthros enemy [within the community], non-philos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">epos,\u00a0pl. epea utterance, poetic utterance<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">eris\u00a0strife, conflict<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">esthlos genuine, good, noble; synonym of agathos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">genos stock (&#8220;breeding&#8221;); generating [of something or someone]; generation<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">h\u00ear\u00f4s, pl. h\u00ear\u00f4es hero<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">h\u00easukhos serene;\u00a0h\u00easukhi\u00e2 state of being\u00a0h\u00easukhos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">hieros sacred, holy<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">h\u00f4r\u00e2, pl. h\u00f4rai season, seasonality; time; timeliness<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">hubris outrage (etc.)<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">kakos bad, evil, base, worthless, ignoble; kakot\u00eas state of being kakos; debasement<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">kerdos,\u00a0pl.\u00a0kerdea\u00a0gain, profit; desire for gain; craft employed for gain; craftiness<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">kharis, pl. kharites reciprocity, give-and-take, reciprocal relationship; initiation of reciprocal relationship; the pleasure or beauty derived from reciprocity, from a reciprocal relationship; gratification; grace, gracefulness; favor, favorableness<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">khoros chorus = group of singers\/dancers<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">kleos, pl. klea glory, fame (especially as conferred by poetry); that which is heard<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">koros being satiated; being insatiable<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">kosmos arrangement, order, law and order, the social order, the universal order<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">kr\u00een\u00f4 sort out, separate, decide, judge<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">lussa rage, fury, frenzy. This word id related to lukos wolf, so the image is one of wolf-like rage.<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">mantis seer, prophet<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">m\u00eanis supernatural anger<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">menos power, life-force, activation (divinely infused into cosmic forces, like fire and wind, or into heroes); a partial synonym of th\u00fbmos; a partial synonym of m\u00eanis<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">m\u00eatis artifice, stratagem, cunning intelligence. A second meaning, used in the episode of Odysseus and the Cyclops, is nobody.<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">moira, pl. moirai\u00a0plot of land; portion; lot in life, fate, destiny<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">m\u00fbthos special speech; special utterance; myth<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">nemesis the process whereby everyone gets what he or she deserves<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">nomos, pl. nomoi local custom; customary law; law<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">noos: designates realm of consciousness, of rational functions; intuition, perception; principle\u00a0that reintegrates th\u00fbmos (or\u00a0menos) and psukh\u00ea after death<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">nostos return, homecoming; song about homecoming; return to light and life<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">oikos house, abode; resting place of cult hero; family line; verb oike\u00f4 have an abode<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">olbios blessed, blissful; fortunate&#8217;; olbos bliss (pictured as material security)<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">paskh\u00f4 suffer, experience, be treated [badly or well]; pathos suffering, experience<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">penthos grief, public expression of grief by way of lamentation or keening<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">philos friend (noun); dear, near-and-dear, belonging to self (adjective); philot\u00eas or phili\u00e2 the state of being\u00a0philos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">phr\u00ean, pl. phrenes: physical localization of\u00a0the\u00a0th\u00fbmos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">polis city, city-state<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">ponos ordeal, labor, pain<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">pontos sea (crossing)<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">psukh\u00ea, pl. psukhai: synonym of th\u00fbmos (or\u00a0menos) at the moment of death; essence of life while one is alive; conveyor of identity while one is dead<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">s\u00eama,\u00a0pl. s\u00eamata sign, signal, symbol; tomb&#8217;; s\u00eamain\u00f4 (verb) indicate, use a s\u00eama<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">sophos skilled, skilled in understanding special language;\u00a0sophi\u00e2\u00a0being\u00a0sophos<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">s\u00f4phr\u00f4n balanced, with equilibrium, moderate; s\u00f4phrosun\u00ea being s\u00f4phr\u00f4n<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">s\u00f4t\u00ear savior (either bringing to safety or, mystically, bringing back to life); s\u00f4t\u00eari\u00e2 safety, salvation; s\u00f4z\u00f4 (verb) save; be a s\u00f4t\u00ear (for someone)<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">stasis division in a group; strife; division [= part of an organization, like a chorus]<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">telos coming full circle, rounding out, fulfillment, completion, ending, end; successfully passing through an ordeal; ritual, rite<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">themis, pl. themistes something divinely ordained<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">therap\u00f4n, pl. therapontes attendant, minister; ritual substitute<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">th\u00fbmos: designates realm of consciousness, of rational and emotional functions<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">t\u00eem\u00ea, pl. t\u00eemai honor; honor paid to a supernatural force by way of cult<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">turannos, pl. turannoi (Lydian word for king): king (from the viewpoint of most Greek dynasties); unconstitutional ruler (from the viewpoint of Greek democracy)<\/span><\/em><\/li>\n<li><em><span style=\"font-family: Palatino; font-size: medium;\">xenos, pl. xenoi stranger who should be treated like a guest by a host, or like a host by a guest; xeni\u00e2 reciprocal relationship between xenoi; when the rules of xeni\u00e2 do not work, a xenos risks defaulting to the status of simply a stranger. (source: GH Gutchess)<\/span><\/em><\/li>\n<\/ol>\n<p style=\"padding-left: 80px;\">Iliad, Odyssey, general notes (Douglas Frame):<\/p>\n<p><iframe loading=\"lazy\" title=\"Discussion with Classicist Douglas Frame\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/KOqfxsKcKy8?start=140&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Historical background:<\/strong><\/p>\n<p>Mira and Troy: <a href=\"https:\/\/www.livescience.com\/60629-ancient-inscription-trojan-prince-sea-people.html\">https:\/\/www.livescience.com\/60629-ancient-inscription-trojan-prince-sea-people.html<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Greece and Asia in the Late Bronze Age: The Historical Background of Homer&#039;s Iliad\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/x96tC9zDr2w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"Great Battles: Was there a Trojan War? Recent Excavations at Troy\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Eud9KQo6FkQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<hr \/>\n<p>Topic: How the Greeks thought and believed (continued)<\/p>\n<p><iframe loading=\"lazy\" title=\"&quot;The Contemporary Relevance of the Iliad&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/XD0FEcK9smE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen title=\"\"The Contemporary Relevance of the Iliad\"\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Background: <\/strong><em><a href=\"http:\/\/www.gutenberg.org\/files\/30250\/30250-h\/30250-h.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Five Stages of Greek Religion<\/a><\/em> by Gilbert Murray (esp Ch 2)<\/p>\n<p>\u21d2 Auerbach<\/p>\n<p><a href=\"http:\/\/complit.utoronto.ca\/wp-content\/uploads\/COL1000H_Erich-Auerbach_Odysseuss-Scar.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Auerbach <\/a>on mimesis<\/p>\n<p><a href=\"http:\/\/www.newyorker.com\/magazine\/2013\/12\/09\/the-book-of-books\" target=\"_blank\" rel=\"noopener noreferrer\">Auerbach and mimesis<\/a> (Arthur Krystal)<\/p>\n<p>\u21d2 Veyne:<\/p>\n<ul>\n<li>Paul Veyne, <a href=\"https:\/\/books.google.fr\/books?id=EpbZLRPGgBsC&amp;source=gbs_book_other_versions\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Did the Greeks believe in their myths? An essay on the constitutive imagination<\/em><\/a> (Introduction and selected chapters \u2014 full text available from instructor)<\/li>\n<\/ul>\n<p><strong><a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2016\/09\/Wiebe-on-Veyne.pdf\">Wiebe on Paul Veyne<\/a> <\/strong><\/p>\n<p><strong>Music<\/strong><\/p>\n<p>The Hurrian Hymn (ca 1400 BC): <a href=\"https:\/\/www.bbc.co.uk\/programmes\/w3cszml2\" target=\"_blank\" rel=\"noopener\">BBC comment<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"The Oldest (Known) Song of All Time\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/KElPnD-dbkk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Readings and supplemental: <a href=\"https:\/\/aeon.co\/ideas\/can-we-know-what-music-sounded-like-in-ancient-greece\" target=\"_blank\" rel=\"noopener noreferrer\">Music in Ancient Greece<\/a> (via Aeon); &#8216;<a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/\u2018Sights-and-Sounds-of-Ancient-Ritual\u2019-Review-Art-Meant-to-Excite-the-Soul-WSJ.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Sights an sounds of ancient ritual<\/a>&#8216; (via <em>Wall St Journal<\/em>, pdf); the soundtrack to Greek theatre \u2014 <em>aulos<\/em> and <em>kithara<\/em>. First,\u00a0 the <em>aulos<\/em>:<\/p>\n<p><iframe loading=\"lazy\" title=\"The Aulos\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Ik8cS_60aSI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"Stefan Hagel plays the Hellenistic Aulos\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/OcHWvl16mpg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&#8230;and the <em>kithara<\/em>:<\/p>\n<p><iframe loading=\"lazy\" title=\"The Ancient Greek Kithara\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/6adj7Xoo9Us?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>An ensemble:<\/p>\n<p><iframe loading=\"lazy\" title=\"Rediscovering Ancient Greek Music (2017)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/4hOK7bU0S1Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"LyrAvlos - ANCIENT GREEK MUSICAL INSTRUMENTS ENSEMBLE\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/b4jx2-QJ5ss?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&#8216;<a href=\"https:\/\/archive.archaeology.org\/0807\/abstracts\/urkesh.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hurrian<\/a> Hymn no. 6&#8242;: The &#8216;oldest&#8217; known melody (1400BC):<\/p>\n<p><iframe loading=\"lazy\" title=\"The Oldest Known Melody (Hurrian Hymn no.6 - c.1400 B.C.)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/QpxN2VXPMLc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>For more on archaeomusicology: <a href=\"http:\/\/www.emaproject.eu\" target=\"_blank\" rel=\"noopener noreferrer\">www.emaproject.eu<\/a>, Michael Levy&#8217;s <a href=\"http:\/\/www.ancientlyre.com\/index\" target=\"_blank\" rel=\"noopener noreferrer\">ancient lyre blog<\/a>, <a href=\"http:\/\/royalholloway.academia.edu\/RichardDumbrill\/Books\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Dumbrill&#8217;s academia.edu<\/a> page.<\/p>\n<hr \/>\n<p>The Topography and Geography of Troy (film lecture)<\/p>\n<hr \/>\n<p>Go to<strong> Iliad in outline <\/strong><a href=\"http:\/\/new.brouzils.org\/programs\/iliad-in-outline\/\" target=\"_blank\" rel=\"noopener noreferrer\">here<\/a><strong>.<\/strong><\/p>\n<hr \/>\n<p style=\"text-align: center;\"><strong>Introduction to the Odyssey<\/strong><\/p>\n<p>Background <em>readings<\/em>:<\/p>\n<p>Dimock: <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/Dimock_nameof_1956.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Name of Odysseus<\/a> (pdf): What&#8217;s in it?<\/p>\n<p>Fried:\u00a0\u00a0 <a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/Fried_boarsrhapsodes_2005.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">On Auerbach<\/a> (see above), <em>Ansatzpunkt<\/em> and reading in context (pdf)<\/p>\n<p>Iterations of Homer&#8217;s <em>Odyssey<\/em>:<\/p>\n<p><a href=\"http:\/\/classics.mit.edu\/Homer\/odyssey.html\" target=\"_blank\" rel=\"noopener noreferrer\">Butler&#8217;s translation<\/a>, via MIT. <a href=\"http:\/\/www.perseus.tufts.edu\/hopper\/text.jsp?doc=Perseus:text:1999.01.0218\" target=\"_blank\" rel=\"noopener noreferrer\">Power and Nagy<\/a> (from Butler via Perseus\/Tufts U). General comment:<\/p>\n<p><iframe loading=\"lazy\" title=\"Odyssey 1.187\u2013193: Rattling around in enjambments\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/sUgRPSb1opk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>James Joyce&#8217;s version of <em><a href=\"https:\/\/www.gutenberg.org\/files\/4300\/4300-h\/4300-h.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Ulysses<\/a><\/em>.<\/p>\n<p>An adaptation for Americans (O Brother; clips below)<\/p>\n<p><iframe loading=\"lazy\" title=\"O Brother, Where Art Thou? (1\/10) Movie CLIP - Yours Truly (2000) HD\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/drvaZz3FWOI?list=PLFBA5D86EE319EC32\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Another way of repurposing Homer, this one by Derek Walcott (from &#8220;Omeros&#8221;):<\/p>\n<p><a href=\"https:\/\/youtu.be\/hQupJNRE3b0\">https:\/\/youtu.be\/hQupJNRE3b0<\/a><\/p>\n<p>&#8230;and of course see also notes on the <em>Aeneid<\/em>, below.<\/p>\n<hr \/>\n<p style=\"text-align: center;\"><strong>The Argonautica of Apollonius<\/strong><\/p>\n<p><em>Argonautica<\/em>:\u00a0<a href=\"http:\/\/www.ancient-literature.com\/greece_apollonius_argonautica.html\" target=\"_blank\" rel=\"noopener noreferrer\">synopsis and commentary<\/a><\/p>\n<p>Texts:<\/p>\n<p>The<a href=\"http:\/\/www.gutenberg.org\/files\/830\/830-h\/830-h.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u00a0Argonautica<\/a> of Apollonius Rhodius (Seaton trans)<\/p>\n<p><a href=\"http:\/\/www.brouzils.org\/programs\/wp-content\/uploads\/2020\/08\/The-Argonautica-of-Apollonius-Hunter-trans.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Hunter translation<\/a> (pdf)<\/p>\n<p><em>Reading<\/em>: West: &#8220;<a href=\"http:\/\/www.brouzils.org\/programs\/wp-content\/uploads\/2020\/08\/Odyssey-and-Argnautica-West.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Odyssey and Argonautica<\/a>&#8221; (Classical Quarterly)<\/p>\n<p style=\"padding-left: 40px;\">Background: <a href=\"http:\/\/www.gutenberg.org\/files\/830\/830-h\/830-h.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Argonautica<\/a>\u00a0of Appolonius Rodius (Link: etext from Gutenberg)<\/p>\n<p style=\"padding-left: 40px;\">APOLLONIUS RHODIUS was born about B.C. 235, in the reign of Ptolemy Euergetes, either at Alexandria, or at Naucratis. Strabo is in favour of the former, while Athenaeus and Elian declare for the latter place. He appears to have given himself up at an early age to literary pursuits, and his choice is scarcely to be wondered at when we reflect upon the age in which he lived and the literary atmosphere in which he found himself. We are not expressly told whether it was choice or necessity that led him to select the career he did, but from the fact that the leading poet of that day took the young aspirant in hand and instructed him in his art, we may fairly infer that Apollonius was a man of some standing and position in life. His studies, however, under his master Callimachus were not destined to do either pupil or teacher much credit; no doubt he obtained some technical skill in his art, but the tastes of Callimachus and Apollonius were so diametrically opposed that the two poets quarrelled, and allowed their professional jealousy to go to such lengths that Apollonius lampooned the style of his teacher, while Callimachus was weak enough to retaliate in a studied retort under the title of\u00a0 \u2018Ibis,\u2019 the character of which poem, though lost to us, may be gathered from Ovid\u2019s poem of the same name. Callimachus was the leading exponent of the strained and artificial poetry of his day.<\/p>\n<p style=\"padding-left: 40px;\">Apollonius, with more true artistic instinct, revolted from the want of reality characteristic of most of his contemporaries, and having a genuine admiration for the straightforward simplicity of the Epic age, set himself to imitate Homer. Naturally he made many enemies among the host of poetasters who took their cue from the animosity shown to him by the \u201cLaureate \u201d of the Alexandrine court. Hence, when the \u201cArgonautica\u201d appeared, it was at once condemned as violating the accepted canons of style and composition, and partly, perhaps, owing to certain youthful crudities which were afterwards corrected. Great was the chagrin of the young poet at the reception of his work, and fierce was his anger against Callimachus. The position of the latter, however, was unassailable, and so Apollonius, after a fruitless wordy warfare, determined to seek some new opening for his genius. Accordingly he bade farewell to ungrateful Alexandria, and retired to Rhodes, then the second great seat of literature, taking his poem with him. Possibly experience had taught him wherein his poem was deficient. At any rate, he revised the whole of it; and now, free from the cabals of jealous rivals, he received a fair verdict, and at once rose to fame. So popular, indeed, did he become on the reading of his poem, that the Rhodians, it is said, rewarded him with extraordinary honours, and conferred their franchise upon him. From this incident in his career he came to be called \u201cthe Rhodian,\u201d a name which has clung to him for ever. It was only natural that in his hour of triumph he should long to have his merit acknowledged in his native city-in Alexandria, the gathering place of the old world\u2019s declining literature and art. Thither, therefore, he came, with his honours upon him, and whether it was that Callimachus and his followers were out of favour, or whether the Alexandrines had relented towards their illused poet, certain it is that he attained to great celebrity, and was advanced to valuable posts of trust. Henceforth he could afford to rest upon his hardly-won laurels, his period of \u201d Sturm und Drang \u201d was over; he had passed through the fire, and it had done him no hurt-weighed in the balance he had not been found wanting. Of his life henceforth we learn but little, beyond what Suidas tells us as to his having become librarian in the vast royal museum at Alexandria, about B.c. 194. It may well be that this was so; for the Ptblemies, in whose reigns Apollonius lived and wrote, were monarchs not unlikely to bestow such an important literary post upon a man of marked ability and studious habits. Assuming that Suidas is correct in his statement, we find plenty of internal evidence in the poem to suggest that the writer must have been a man of vast erudition, or have had at his command extensive stores of knowledge from which to draw his materials. During this period of his life the poet was not idle. Imbued to some extent with the spirit of his age, he produced works at a great pace; epigrams, grammars, and the so-called\u00a0K\u03a4\u0399\u03a3\u0395\u0399\u03a3,\u00a0i.e. poems on the origin and foundation of towns, but all these are lost to us save a few mutilated fragments and stray lines preserved in other writers. In the library at Alexandria he remained until his death in B.C. 181, happy enough, no doubt, amongst the endless treasures of that vast repository of art and learning. Of his work that has come down to us, too little notice has been taken by English scholars; for though his style at times bears too evident traces of laboured study, the structure of his poem is simple and straightforward. The mind is not burdened by a multiplicity of episodes, the descriptions are singularly beautiful, and the similes, which are abundant and varied, show the hand of a master, who, if he did sometimes imitate, had at least something graceful of his own to add to what he borrowed, and not infrequently paid back his loan with interest. The work found numerous commentators in ancient times, to whom we are indebted for the Florentine and Parisian Scholia. Moreover, Apollonius was very popular among the Romans; so much so that his poem was translated by Publius Terentius Varro Atacinus, and was imitated by Valerius Flaccus and many others.<\/p>\n<p>Two two-part docs:<\/p>\n<p><iframe loading=\"lazy\" title=\"Ancient Georgian Kingdom of Colchis, Documentary Film, P 1\" src=\"https:\/\/www.youtube.com\/embed\/eHNVaIX6N2k?feature=oembed\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"Ancient Georgian Kingdom of Colchis, Documentary Film, P 2\" src=\"https:\/\/www.youtube.com\/embed\/orXI9Y82-6Y?feature=oembed\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"Jason, Medea, and the Argonauts (1\/2)\" src=\"https:\/\/www.youtube.com\/embed\/ERh_dpFyGi4?feature=oembed\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Jason, Medea, and the Argonauts (2\/2)\" src=\"https:\/\/www.youtube.com\/embed\/Wfoh6kiB_dM?feature=oembed\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p><a href=\"http:\/\/new.brouzils.org\/programs\/wp-content\/uploads\/2020\/02\/Why-Doesn%E2%80%99t-Ancient-Fiction-Talk-About-Feelings_.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u2018Feelings\u2019 in early literature<\/a>\u00a0(jpg)<\/p>\n<p><iframe loading=\"lazy\" title=\"Roll Call from Argonautika\" src=\"https:\/\/www.youtube.com\/embed\/JL-pgAg4Ogc?feature=oembed\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<hr \/>\n<p><em>Reading<\/em>\/lecture:\u00a0<a href=\"http:\/\/blog.oup.com\/2013\/11\/greek-and-roman-literary-influence\/\" target=\"_blank\" rel=\"noopener noreferrer\">Greeks and Romans: literary influence across languages and ethnicities<\/a>\u00a0(G.O. Hutchinson)<\/p>\n<p><em>Reading<\/em>\/lecture:\u00a0<a href=\"https:\/\/www.usu.edu\/markdamen\/ClasDram\/chapters\/081earlygkcom.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Early Greek Comedy and Satyr Plays<\/a>\u00a0(Mark Damen)<\/p>\n<p><em>Reading<\/em>:\u00a0<em>The Theatre<\/em>\u00a0etc., by Charles Hastings.\u00a0<a href=\"https:\/\/archive.org\/stream\/theatreitsdevel02hastgoog#page\/n55\/mode\/2up\" target=\"_blank\" rel=\"noopener noreferrer\">Through page 87<\/a>.<\/p>\n<hr \/>\n<p style=\"text-align: center;\"><strong>The Homeric Hymns<\/strong><\/p>\n<p>Introductory comments:<\/p>\n<p><iframe loading=\"lazy\" title=\"46. Greek and Roman Mythology. Introduction to the Homeric Hymns\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/AzNTfRr4SbA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"Homeric Hymns, Epic Fragments\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Yt1A2b6YiFg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Notes<\/strong>: (from U Cal Press &#8211; S Raynor book notes) The <i>Homeric Hymns<\/i> have survived for two and a half millennia because of their captivating stories, beautiful language, and religious significance. Well before the advent of writing in Greece, they were performed by traveling bards at religious events, competitions, banquets, and festivals. These thirty-four poems invoking and celebrating the gods of ancient Greece raise questions that humanity still struggles with\u2014questions about our place among others and in the world.<\/p>\n<p>Known as \u201cHomeric\u201d because they were composed in the same meter, dialect, and style as Homer\u2019s <i>Iliad<\/i> and <i>Odyssey<\/i>, these hymns were created to be sung aloud. In this superb translation by Diane J. Rayor, which deftly combines accuracy and poetry, the ancient music of the hymns comes alive for the modern reader. Here is the birth of Apollo, god of prophecy, healing, and music and founder of Delphi, the most famous oracular shrine in ancient Greece. Here is Zeus, inflicting upon Aphrodite her own mighty power to cause gods to mate with humans, and here is Demeter rescuing her daughter Persephone from the underworld and initiating the rites of the Eleusinian Mysteries.<\/p>\n<p>This updated edition incorporates twenty-eight new lines in the first <a href=\"http:\/\/www.perseus.tufts.edu\/hopper\/text.jsp?doc=Perseus:text:1999.01.0138:hymn=1\" target=\"_blank\" rel=\"noopener noreferrer\"><i>Hymn to Dionysos<\/i><\/a>, along with expanded notes, a new preface, and an enhanced bibliography. With her introduction and notes, Rayor places the hymns in their historical and aesthetic context, providing the information needed to read, interpret, and fully appreciate these literary windows on an ancient world. As introductions to the Greek gods, entrancing stories, exquisite poetry, and early literary records of key religious rituals and sites, the <i>Homeric Hymns<\/i> should be read by any student of mythology, classical literature, ancient religion, women in antiquity, or the Greek language.<\/p>\n<ol>\n<li><a href=\"https:\/\/chs.harvard.edu\/CHS\/article\/display\/6294.8-the-homeric-hymn-to-apollo-translated-by-rodney-merrill\" target=\"_blank\" rel=\"noopener noreferrer\">Homeric Hymn<\/a> to Apollo, with notes. (3)<\/li>\n<li><a href=\"https:\/\/chs.harvard.edu\/CHS\/article\/display\/5293\" target=\"_blank\" rel=\"noopener noreferrer\">Homeric Hymn<\/a> to Aphrodite\u00a0 (5)<\/li>\n<\/ol>\n<hr \/>\n<p style=\"text-align: center;\"><strong>Greek History-as-literature:<\/strong><\/p>\n<p><strong>Thucydides:<\/strong> <a href=\"\/\/brouzils.org\/programs\/wp-content\/uploads\/2017\/09\/460_-400_Thucydites_History_Of_The_Peloponnesian_War_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The Peloponnesian War <\/em><\/a>(pdf)<\/p>\n<p>Thucydides as literature of war: &#8220;<a href=\"https:\/\/www.the-tls.co.uk\/articles\/public\/thucydides-moral-chaos\/\" target=\"_blank\" rel=\"noopener noreferrer\">Thucydides&#8217; Moral Chaos<\/a>&#8221; (TLS)<\/p>\n<p><iframe loading=\"lazy\" title=\"In the Company of Scholars: &quot;How to Write a War: Thucydides and the Literature of WWI&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/oh56hbabyBQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen title=\"In the Company of Scholars: \"How to Write a War: Thucydides and the Literature of WWI\"\"><\/iframe><\/p>\n<p>Herodotus and Thucydides: &#8220;<a href=\"https:\/\/www.theguardian.com\/culture\/2009\/jan\/03\/herodotus-charlotte-higgins\">The rest is history<\/a>&#8221; (<em>Guardian<\/em>)<\/p>\n<p><strong>Herodotus: <\/strong><a href=\"https:\/\/archive.org\/details\/herodotus00swayrich\/page\/n5\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The Histories<\/em><\/a> (pdf)<strong><br \/>\n<\/strong><\/p>\n<p><a href=\"https:\/\/www.open.edu\/openlearn\/history-the-arts\/history\/classical-studies\/herodotus-the-histories#\" target=\"_blank\" rel=\"noopener noreferrer\">A mini-course on Herodotus<\/a> from Open University<\/p>\n<p>\u2192 <strong><a href=\"http:\/\/new.brouzils.org\/programs\/studium-greek-lit-tragedy\/\" target=\"_blank\" rel=\"noopener noreferrer\">Greek literature<\/a>: Aeschylus, Sophocles, Hesiod, et al.<br \/>\n<\/strong><\/p>\n<hr \/>\n<p style=\"text-align: center;\"><a href=\"http:\/\/new.brouzils.org\/programs\/studium\/\" target=\"_blank\" rel=\"noopener noreferrer\">Course portal<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I. Ancient Literature: Epic literature in English translation. Number of hours in the 10-week session : 40 hours, divided as follows: -25 hours of lectures\/discussions -15 hours of tutorials 15h30-17h.30 Mon and Friday, plus two hours of comp\/rhetoric\/week. &nbsp; Course Objectives: \u00b7 Analysis of richness of the origins, language, imagery, scope, structure and function of [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/posts\/669"}],"collection":[{"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/comments?post=669"}],"version-history":[{"count":113,"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/posts\/669\/revisions"}],"predecessor-version":[{"id":2199,"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/posts\/669\/revisions\/2199"}],"wp:attachment":[{"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/media?parent=669"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/categories?post=669"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.brouzils.org\/programs\/wp-json\/wp\/v2\/tags?post=669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}