1992
English Book xiii, 409 p. : ill. ; 22 cm.
Oxford [England] : New York : Clarendon Press ; Oxford University Press, ISBN: 0198148976 0198149751 (pbk)
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Find Items About: Ancient Greek music / (2)
Title: Ancient Greek music /
Author(s): West, M. L. 1937- (Martin Litchfield),
Publication: Oxford [England] : Clarendon Press ; New York : Oxford University Press,
Year: 1992
Description: xiii, 409 p. : ill. ; 22 cm.
Language: English
Standard No: ISBN: 0198148976; 0198149751 (pbk); LCCN: 91-5170
SUBJECT(S)
Descriptor: Music, Greek and Roman -- History and criticism.
Identifier: Music; Greece
Note(s): Includes bibliographical references and index.
Class Descriptors: LC: ML169; Dewey: 780/.938
Responsibility: M.L. West.
Document Type: Book
Entry: 19910930
Update: 20010531
Accession No: OCLC: 24630119
Database: WorldCat
The New Grove dictionary of music and musicians /
George Grove, Sir; Stanley Sadie
1980
English Book 20 v. : ill. ; 26 cm.
London : Washington, D.C. : Macmillan Publishers ; Grove's Dictionaries of Music, ISBN: 0333231112 1561591742 (pbk.)
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Find Items About: The New Grove dictionary of music and musicians / (5); Grove, George, (max: 15)
Title: The New Grove dictionary of music and musicians /
Author(s): Grove, George,; Sir,; 1820-1900, ; ed.; Grove's dictionary of music and musicians.; Sadie, Stanley.
Publication: London : Macmillan Publishers ; Washington, D.C. : Grove's Dictionaries of Music,
Year: 1980
Description: 20 v. : ill. ; 26 cm.
Language: English
Standard No: ISBN: 0333231112; 1561591742 (pbk.); LCCN: 79-26207
SUBJECT(S)
Descriptor: Music -- Encyclopedias.
Music -- Bio-bibliography.
Musique -- Dictionnaires anglais.
Musique -- Bibliographie.
Musica (Dic Enciclopedias)
Identifier: Music - Encyclopaedias.; Music.
Note(s): Includes bibliographies.
Class Descriptors: LC: ML100; Dewey: 780/.3
Responsibility: edited by Stanley Sadie.
Material Type: Biography (bio)
Document Type: Book
Entry: 19791022
Update: 20020808
Accession No: OCLC: 5676891
Database: WorldCat
10 i ora, to proi. Exo erthei sto mathima, alla den yparxei kaneis akoma, oute kai o Stelios. Tin aithousa tou tin exei katalabei o synadelfos tou, ligaki agxothika mipos mperdepsa tis meres, telika irthe. Ta paidia den emfanistikan, den exoun akoma kanei tis epiloges tous. Etsi, eykairia gia apokleistikotita. Otan mou eipate na xekiniso apo ton Homero, ennoeite genika gia to xoro, giati to thema mou einai oi asemnoi xoroi. I erotisi. Den mporeis na diakrineis to skotadi ean den xereis ti mera... An o Homeros anaferei kapoion xoro os sobaro, iero, simainei oti tha eprepe na yparxei kai to antibaro tou. Tis leptomereies tis apantisis os pros ayto den tis thymamai tora aytousies, alla symfonousan me ayta pou mou eixes idi pei. Gia tos pos prepei na gnorizeis basika pragmata gia ton Homero, tin poiisi tou, tin epoxi tou (geometriki, pou synepagetai kai antistoixi eikonografia), tous xorous pou anaferei (den einai kai toses polles oi anafores tou). Mou milise kai pali gia tos pos tha prepei na psaxo, gia ti methodo, mia kai den eimai homeristria, diabazo aytous pou exoun asxolithei bathia me ton Homero. Xekino apo kapoia basika, OCD, Growe, West, kai blepo ti lene aytoi gia ton Homero kai xoro, mazeuo stis katreles tis sxetikes parapompes me ta xoria kai tis bibliografikes anafores, ystera brisko ta sxetika keimena, ta fototypo kai ftiaxno ena proto arxeio. Siga siga emploutizo to arxeio mou, exetazontas parallila tin eikonografia tis epoxis, kai otan kapoia stigmi exo oloklirosei tin ereyna kai sygkentrosei to yliko xekinao ti synthesi enos protou dokimiou, to grapsimo boitha kai sti skepsi, prepei na tolmiseis na ekfraseis ti gnomi sou. An ston Homero de breis polla, tha mporouses na proxoriseis kai ston Hesiodo, i kai ligo argotera se Terpandro, Archilocho, kathos malista teleytaia ypostirizetai oti mporei na itan kai progenesteroi tou Homerou. Kapoioi homerikoi ymnoi mporoun episis na mas boithisoun. Syzitisame diafora pragmata, pio polu diladi aytos milise, alla itan kala. Gia paradeigma mou eipe gia ti lyra pou den anaferetai me ayti tin onomasia ston Homero, alla argotera (apo poion ?). Pos par’ola ayta yparxei mia pinakida Grammikis B apo Thiba pou xronologeitai gyro sto 1200 p.X. kai anaferei ti lexi lyra... Ayta me aformi ton problimatismo sxetika me ta stoixeia pou yparxoun ston Homero kai ti syndesi tous me tin mykenaiki periodo, tous skoteinous xrounous pou epontai i kai tin idia tin epoxi tou... Sxetika me to homeriko zitima o Poelman dexetai oti I Odysseia den einai tou Homerou alla kapoiou pou thelise na ton mimithei. Episimane episis tin prosoxi pou xreiazetai stin "anagnosi” tis eikonografias, gia to romantismo tis Lawler kai tin epirroi tis stous epomenous meletites... Eidika gia tin geometriki periodo oi arxaiologoi ypostirizoun oti oi parastaseis den einai antiprosopeytikes tis pragmatikotitas alla stoxos tou kallitexni itan perissotero i kosmisi, to gemisma tou aggeiou, opote i ermineia tous apaitei mati kritiko... Polla ta exo akousei kai apo sena, san na epikoinoneite. Prin koitaxa ton Webster « The Greek Chorus », exei sxedon ena kefalaio afieromeno ston Homero, exei kai ermineia gia tous padded dancers! Diaforetiki apo to gnosto arthro ton “akleiton”. Tous sysxetizei me giortes gonimotitas, me theo Dionyso kai Artemi... Perissoteres leptomereies ayrio, xekinontas apo West kai Webster (giati oxi ?).
http://www.sikyon.com/Sicyon/smusic_eg.html
Music - Dance
Musical activity in Sikyon is lost in time and one can say that the innovations they made in the art are greater than any other.
According to the Sikyonian Anagraphe (a recording document of history especially art) the innovation of singing with a kithara was attributed to Amphion of Sikyon, as for the solo kithara playing to Lysander of Sikyon who was also the inventor of chorus and changing one instrument with another during the performance of music and various musical aulos tones that could be played with kithara.
The first orchestra playing (enaulon kitharisin) originated here by the pupils of Epigonos, who were performing with aulos, kithara, epigonion, singing, etc. Epigonos, an immigrant from Ambrakia who lived at Sikyon and opened a school of music, was also the inventor of Epigonion (epi gonatos) a kind of kithara with forty strings that was placed and played at one's knees. Another innovator was Ibykos who made the musical instrument Sambyke. The above mentioned artists lived more or less at the times of Kleisthenes, beginning of the 6th century BC.
At the same time lived the famous Pythokritos of Sikyon, an Olympic victor in aulos (flute) who won six consecutive victories in the Pythian games from 574 - 554 BC. A slab at Olympia that was erected in his honor, has the inscription:
"This is the monument of the flute-player Pythocritos, the son of Kallinicos".
The great innovations of Sikyon in music were parallel with dance innovations. A local dance known as Aleter was a sober kind of dance. Another dance, the one Hippokleides danced at the feast given by Kleisthenes and lost the hand of his daughter Agariste, was the comic and uncontrolled Kordax.
The dances which involved the throwing of a ball, as for example the one mentioned by Homer in his Odyssey, that has Nausika dancing with other girls with a ball, was a Sikyonian innovation. Sikyon had schools teaching dancing (chorodidaskaleia).
Book 1
Book 2
Book 3
Book 4
Book 5
Book 6
Book 7
Book 8
Book 9
Book 10
Book 11
Book 12
Book 13
Book 14
Book 15
Book 16
Book 17
Book 18
Book 19
Book 20
Book 21
Book 22
Book 23
Book 24
Homer, Odyssey
Editions and translations: Greek | English | English (ed. Samuel Butler)
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[250] But come now, all ye that are the best dancers of the Phaeacians, make sport, that the stranger may tell his friends on reaching home how far we surpass others in seamanship and in fleetness of foot, and in the dance and in song. And let one go straightway [255] and fetch for Demodocus the clear-toned lyre which lies somewhere in our halls.”
So spoke Alcinous the godlike, and the herald rose to fetch the hollow lyre from the palace of the king. Then stood up masters of the lists, nine in all, men chosen from out the people, who in their gatherings were wont to order all things aright. [260] They levelled a place for the dance, and marked out a fair wide ring, and the herald came near, bearing the clear-toned lyre for Demodocus. He then moved into the midst, and around him stood boys in the first bloom of youth, well skilled in the dance, and they smote the goodly dancing floor with their feet. And Odysseus [265] gazed at the twinklings of their feet and marvelled in spirit.
But the minstrel struck the chords in prelude to his sweet lay and sang of the love of Ares and Aphrodite of the fair crown, how first they lay together in the house of Hephaestus secretly; and Ares gave her many gifts, and shamed the bed [270] of the lord Hephaestus. But straightway one came to him with tidings, even Helius, who had marked them as they lay together in love. And when Hephaestus heard the grievous tale, he went his way to his smithy, pondering evil in the deep of his heart, and set on the anvil block the great anvil and forged bonds [275] which might not be broken or loosed, that the lovers might bide fast where they were. But when he had fashioned the snare in his wrath against Ares, he went to his chamber where lay his bed, and everywhere round about the bed-posts he spread the bonds, and many too were hung from above, from the roof-beams, [280] fine as spiders' webs, so that no one even of the blessed gods could see them, so exceeding craftily were they fashioned. But when he had spread all his snare about the couch, he made as though he would go to Lemnos, that well-built citadel, which is in his eyes far the dearest of all lands. [285] And no blind watch did Ares of the golden rein keep, when he saw Hephaestus, famed for his handicraft, departing, but he went his way to the house of famous Hephaestus, eager for the love of Cytherea of the fair crown. Now she had but newly come from the presence of her father, the mighty son of Cronos, [290] and had sat her down. And Ares came into the house and clasped her hand and spoke and addressed her:
“Come, love, let us to bed and take our joy, couched together. For Hephaestus is no longer here in the land, but has now gone, I ween, to Lemnos, to visit the Sintians of savage speech.”
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There are a total of 19 comments on and cross references to this page.
Further comments from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
book 8 (general note)
book 8, line 250 (general note)
book 8, line 260: choros
book 8, line 260: agôn
book 8, line 260: kalos
book 8, line 270: aphar
book 8, line 275: authi menoien
book 8, line 280: ta &#ch2026; idoito
book 8, line 280: oude
book 8, line 285: alaoskopięn
book 8, line 285: chrusęnios
Cross references from Strabo, Geography:
10, 3, 21
Cross references from Strabo, Geography:
10, 3, 21
Cross references from Raphael Kühner, Friedrich Blass, Ausführliche Grammatik der Griechischen Sprache (ed. Ildar Ibraguimov):
72 [Bewegliche Konsonanten im Auslaute.]
187 [Dialekte.]
Cross references from Sir Richard Jebb, Commentary on Sophocles: Electra:
* [251-471]
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [HYMN TO APOLLO]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
1, 326 [Book 1 (a)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
19, 404 [Book 19 (T)]
13, 36 [Book 13 (N)]
6, 205 [Book 6 (Z)]
1, 71 [Book 1 (A)]
10, 286 [Book 10 (K)]
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Preferred URL for linking to this page: http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=Hom.+Od.+8.250
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1919.
OCLC: 22584673
ISBN: 0674995619, 0674995627
Würzburg L 507
Collection: Martin von Wagner Museum, University of Würzburg
Summary: Side A: warrior leaving home (extispicy)
Side B: Komos: two men and a woman in a procession
Lid: chariot race
Ware: Attic Red Figure Shape: Amphora
Painter: Attributed to the Kleophrades Painter Potter:
Context: From Vulci Region: Etruria
Date: ca. 500 B.C. Period: Late Archaic
Dimensions: H. 0.633 m.
Decoration Description:
Side A: A scene of departure of an hoplite with extispicy (omen-taking by examining the entrails of animals). The hoplite is standing towards the left, taking the omen; in front of him is a nude boy who presents the entrails. This group is framed by secondary figures: a Scythian and a woman (the hoplite's wife?). The hoplite in the center of the picture has just taken with his right hand part of the entrails which the boy is holding. On either side the Scythian and the woman raise a hand in astonishment. The hoplite is the tallest figure. His helmet breaks the frame above, a palmette frieze. He is completely armed and carries a long spear. The boy standing before him at left wears a red wreath on his hair. Behind the boy stands the Scythian warrior. The Scythian wears a tricot with a large circular neck-opening and decorated with horizontal stripes. He has a high-crowned cap with neck flap and two cheek-flaps on one side and he wears shoes. A gorytos (a combination of quiver and a bow-case) is hanging from his belt and a battle axe is in his right hand. He has a pointed beard, which is both short and thin (this "van Dyke" beard is distinctly different from the full beards of the Greek on side B).
Between the hoplite and the woman at right is a dog looking upwards at the woman. The dog is seen from the back, a very unusual depiction for the time. The woman, in chiton and himation, has her hair gathered up and wears a diadem on her head. She is carrying a cup (phiale) in her left hand.
The picture is framed by palmette friezes.
Side B: Two men and a woman to the right in an scene of komos. Two men and a woman, all nude and carrying drinking vases and musical instruments, seem to come from a drinking party or symposium. The woman at right is leading the procession. She advances to the right; her body is drawn in a frontal position, and she is turns her head back to the left to face the men. She is dark-haired and wears a red ivy wreath and a collar around her neck. She is carrying a flute on either hand and is using one of them to ward off the man behind her, in a suggestive fashion. This man in the middle carries a lyre in his left hand and a large skyphos in his right. He is also dark-haired and bearded and wears a taenia (a red fillet) on his head. The leftmost man seems to move to the left, but he is turning the whole body to the right, coming behind the other man. He has black hair, but a blond beard and wears a fillet on his head. He is carrying a large pointed amphora in his left hand; in his right hand he holds a kylix by the handle, as if to throw the contents in a game of kottabos. The men look drunk in their gestures. The anatomy of the woman is not realistic; the lines over the pubis are masculine and the disposition of her breasts is impossible.
Lid: Chariot race. Three chariots are running on a track represented by winning-post decorated with bands. The feeling of speed is extraordinary. One of the horses has broken out from one of the chariots and is galloping alone behind it with floating bridles.
Inscriptions:
The inscriptions on both sides make no sense
Collection History:
From the Feoli Collection
Shape Description:
Belly amphora with lid
Sources Used:
Vos 1963, 118, n. 331; Simon 1975, 133; Boardman 1979, fig. 129.
Latacz, J., Homer: der erste Dichter des Abendlands, München & Zürich, 2e druk 1989, Abschnitt ‘Bibliographien und Forschungsberichte,’ p. 203
Daarnaast zijn nuttig voor het vinden van literatuur:
Powell, B.B. & I. Morris (edd.), A New Companion to Homer, Leiden 1997
Foley, M., Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography, New York & London 1985
Holoka, J.P., ‘Homeric Studies 1978-1983,’ CW 83, 1990, 393-461; 84, 1990, 89-156
Clark, M.E., ‘Neoanalysis: A Bibliographical Review,’ CW 79, 1986, 379-94
Packard D.W. & T. Meyers, A Bibliography of Homeric Scholarship. Preliminary Edition 1930-1970, Malibu 1974
Voor een eerste oriëntatie op de recente literatuur over een bepaald onderwerp zijn zeer behulpzaam:
Latacz, J. (ed.), Homer: Die Dichtung und ihre Deutung, WdF 634, Darmstadt 1991, Abschnitt ‘Bibliographie,’ pp. 553-576
Hieronder vindt men een overzicht van de belangrijkste edities en commentaren en een keuze uit de secundaire literatuur, gerangschikt naar onderwerp (stand april 1997).
I. Tekstuitgaven
Monro D.B. & T.W. Allen, Homeri Opera, 5 voll., Oxford 1902-12 (OCT; 1-2 Ilias, 3-4 Odyssea, 5 Hymni Homerici)
Ludwich, A., Homeri Ilias, 2 voll., Leipzig 1902-7 (herdrukt 1995)
Allen, T.W., Homeri Ilias, 3 voll., Oxford 1931 (editio maior)
Mazon, P., Homčre, L’Iliade, 4 voll., Paris 1937-8 (ed. & tr.)
Thiel, H. van, Homeri Ilias, Hildesheim 1996
Ludwich, A., Homeri Odyssea, 2 voll., Leipzig 1889-91
Mühl, P.von der, Homeri Odyssea, Basel 1946 (Teubner)
Thiel, H. van, Homeri Odyssea, Hildesheim 1991
Bérard, V., L’Odyssée, Paris (Budé, 1955-6
Allen, T.W., W.R.Halliday & E.E.Sikes, The Homeric Hymns, Oxford 21936 (Amsterdam 21963)
Voor het handschriftenmateriaal zijn alle latere edities schatplichtig aan Ludwich. Het meeste materiaal bieden voor de Ilias (de editio maior)van Allen en West, voor de Odyssee de uitgave van Ludwich. Geciteerd wordt Homerus meestal naar de OCT van Allen, soms ook naar de edities van Mazon (Ilias) en Von der Mühll (Odyssee). De uitgave van de laatste bezit een sterk selectief maar tevens zeer informatief appparaat. De uitgaven van Van Thiel zijn gebaseerd op enigszins andere principes dan de andere. Van Thiel heeft een tiental belangrijke handschriften als uitgangspunt genomen en al het andere materiaal naar het tweede plan verwezen. De resulterende tekst (sinds kort referentietekst van het Lexikon des frühgriechischen Epos, vgl. IV), is uitstekend, maar het apparaat is wel erg selectief.
II. Scholia, antieke commentaren
Voor de Ilias ABT-scholia Erbse, H., Scholia Graeca in Homeri Iliadem, 5 voll., Berlin 1969-77
D-scholia Laskaris, J., SxŇlia palaiĺ t´n pănu dok€mvn e?w tŘn ŃOmĆrou ÉIliăda, Roma 1517
scholia minora DeMarco, V., Roma 1946; Henrichs, A., ZPE 7, 1971, 97ff, 229ff; 8, 1971, 1ff; 12, 1973, 17ff
Eustathius Valk, M. van der, Eustathii Commentarii ad Homeri Iliadem pertinentes, 4 voll., Leiden 1971-87
Een nieuwe uitgave van de D-scholia is een desideratum; voor een de?nitieve editie van de scholia minora is het nog te vroeg: er duiken nog steeds papyri met Ilias-scholia op. Deze twee categorieën scholia zijn het best te raadplegen via het Lexikon des frühgriechischen Epos (zie onder IV), paragraaf Sx. Voor de antieke kritiek zie verder onder XII.
Enige secundaire literatuur:
Baar, J., Index zu den Iliasscholien. Die wichtigeren Ausdrücke der grammatischen, rhetorischen und ästhetischen Textkritik, Baden-Baden 1961
Erbse, H., Beiträge zur Überlieferung der Homerscholien, München 1960
Lührs, D., Untersuchungen zu den Athetesen Aristarchs und zu ihrer Behandlung im Corpus der exegetischen Scholien, Hildesheim 1992
Voor de Odyssee
W. Dindorf, Scholia Graeca in Homeri Odysseam, Oxford 1855
J. Barnes, Homeri Odyssea et in eandem … scholia, Cambridge 1711
III. Commentaren
Voor de Ilias is in eerste instantie is te raadplegen:
Kirk, G.S. e.a., The Iliad. A Commentary, 6 voll., Cambridge 1985-93. (vol 1 (boeken 1-4) G.S. Kirk; vol. 2 (5-8) G.S. Kirk; vol. 3 (9-12) J.B. Hainsworth; vol. 4 (13-16) R. Janko; vol. 5 (17-20) M.W. Edwards; vol. 6 (21-24) N.J. Richardson) [comm. met veel aandacht voor compositie, formulaire dictie, etc.; geen tekst]
Verder zijn voorhanden:
Ameis, K.F. & C. Hentze, Homers Ilias für den Schulgebrauch erklärt, 8 voll., Leipzig & Berlin (Bd. 1 bearbeitet von P. Cauer; herdruk Amsterdam 1965); idd., Anhang zu Homers Ilias, 2 voll., Leipzig & Berlin 21897 [in naam een schoolcommentaar, maar in de praktijk veel meer dan dat; schromelijk onderschat door Angelsaksische commentatoren.
Leaf, W., The Iliad, edited with apparatus criticus, prolegomena, notes, and appendices, 2 voll., London 21900-2 (herdruk Amsterdam 1960) [nogal verouderd en sterk ‘analytisch’ gekleurd)
Willcock, M.M., A Commentary on Homer’s Iliad, 2 voll., London 1970-84
Leaf, W. & M.A. Bay?eld, The Iliad, edited with general and grammatical introduction, commentary, and indices, 2 voll., London 1895 [niet meer echt bruikbaar]
Hooker, J.T., Homer, Iliad III, Bristol 1979 [schoolcomm.]
Wilson, C.H., Homer, Iliad Books VIII & IX, Warminster 1996
Grif?n, J., Homer, Iliad IX, Oxford 1995
Macleod, C.W., Homer, Iliad Book XXIV, Cambridge 1982
Voor de Odyssee is in eerste instantie is te raadplegen:
Heubeck, A., S. West & J.B. Hainsworth (edd.), A Commentary on Homer’s Odyssey, 3 voll., Oxford 1988-90 [de pendant van Kirk e.a., eerder met tekst en Italiaanse vertaling verschenen als Omero, Odissea, 6 voll., Roma 1981-6]
Verder zijn voorhanden:
Ameis, K.F. & C. Hentze, Homers Odyssee für den Schulgebrauch erklärt, 4 voll., Leipzig & Berlin (Bdd. 2 & 4 bearbeitet von P. Cauer; herdruk Amsterdam 1964); idd., Anhang zu Homers Odyssee, ib. 41890 [zie onder Ilias]
Stanford, W.B., The Odyssey of Homer, edited with general and grammatical introduction, commentary, and indices, 2 voll., London 1947-8 [schooluitgave]
Jones, P.V., Odyssey I-II. A Commentary, Warminster 1991 [vertaling, commentaar bij de vertaling]
Garvie, A.F., Homer, Odyssey VI-VIII, Cambridge 1994
Rutherford, R.B., Homer, Odyssey Books XIX and XX, Cambridge 1992 [‘literair’ geslaagd, taalkundig minder]
IV. Index, Concordanties, Lexica
Gehring, A., Index Homericus mit Appendix Hymnorum vocabula continens, Leipzig 1891-5; 2. Ausgabe eingeleitet, durchgesehen und erweitert von U. Fleischer, Hildesheim 1970 [geeft alle plaatsen waar een woord voorkomt; verba composita staan onder het grondwerkwoord]
Mehler, J., Woordenboek op Homerus, 1930 [informatief en betrouwbaar; zeer geschikt voor de eerste orientatie]
Snell, B. e.a. (edd.), Lexikon des frühgriechischen Epos, Göttingen 1955— [afgekort LfgrE; woordenboek (tevens index) op Homerus, Hesiodus, Homerische Hymnen en de epische fragmenten; volledig maar ontoegankelijk en van wisselende kwaliteit; verschenen A t/m N (half)]
Ebeling, H., Lexicon Homericum, 2 voll., Leipzig 1880-5 (Hildesheim 21963) [te raadplegen voor wat nog niet door LfgrE wordt gedekt.]
Prendergast, G.L., A complete Concordance to the Iliad of Homer, Oxford 1875 (new edition, completely revised and enlarged by B. Marzullo, Darmstadt 1962) [zeer frequente woorden, zoals partikels, ontbreken]
Dunbar, H., A Complete Concordance to the Odyssey of Homer, Oxford 1880 (new edition, completely revised and enlarged by B.Marzullo, Darmstadt 1962) [cf. Prendergast]
Tebben, J.R., Homer-Konkordanz. A Computer Concordance to the Homeric Hymns, Hildesheim 1977
Schmidt, C.E., Parallel-Homer oder Index aller homerischen Iterati in lexikalischer Ordnung, Göttingen 1885 [bewijst goede diensten bij het identi?ceren van parallellen — evenals de (verder niet meer aan te bevelen) Homeruseditie van Van Leeuwen en Mendes da Costa (Leiden 1895-7) die iterata in de marge vermeldt (zij het niet alle)]
Kamptz, H. von, Homerische Personennamen, Göttingen 1982
Kumpf, M.M., Four Indices of Homeric Hapax Legomena (together with Statistical Data), Hildesheim 1984
V. Vertalingen
Roy van Zuydewijn, H.J. de, Homerus, Ilias. De wrok van Achilles, ’s Gravenhage 1980 (en herdrukken)
M. Schwartz, Homerus, Ilias (vele drukken)
E.V. Rieu, Homer, The Iliad, Penguin 1946
W. Schadewaldt, Homer, Ilias, Frankfurt am Main 1975
R. Hampe, Homer, Ilias, Stuttgart (Reclam) 1979
VI. Inleidingen en overzichten
Er zijn zeer vele inleidingen, die allemaal hun specifieke voor- en nadelen hebben. Kort, verstandig en leesbaar is:
Rutherford, R., Homer, Greece & Rome New Surveys in the Classics 26, Oxford 1996
Veel uitgebreider is, maar van wisselende kwaliteit, is:
Powell, B.B. & I. Morris (edd.), A New Companion to Homer, Leiden 1997
Bruikbaar is ook de inleiding in deel I van de Odyssee-commentaar van Heubeck e.a. (de uitgebreide inleidingen in de 6 delen van Kirk e.a., The Iliad: A Commentary zijn weinig gebalanceerd en sterk gekleurd door de opvattingen van de verschillende auteurs; kritisch te gebruiken). Verder zijn nog aan te bevelen:
Camps, W.A., An Introduction to Homer, Oxford 1980
Edwards, M.W., Homer, Poet of the Iliad, Baltimore & London 1987
Griffin, J., Homer, Oxford 1980
Latacz, J., Homer: Der erste Dichter des Abendlands, München & Zürich, 2e druk 1989
Mühll, P. von der, ‘Homers Ilias: Einleitung,’ MH 52, 1995, 77-89 & 192-202
Silk, M.S., Homer, The Iliad, Cambridge 1987
Minder bruikbaar dan wel enigszins verouderd zijn:
Bowra, C.M.,Tradition and Design in the Iliad, Oxford 1930
Codino, F., Einführung in Homer, Berlin 1970 (= Introduzione a Omero, Torino 1965)
Hainsworth, B., Homer, G&R Survey 3, Oxford 1969
Kirk, G.S., The Songs of Homer, Cambridge 1962
Mueller, M., The Iliad, London 1984
Schein, S.L., The Mortal Hero. An Introduction to Homer’s Iliad, Berkeley 1984 [alleen literair]
Trypanis, C.A., The Homeric Epics, Warminster 1977
Vivante, P., Homer, New Haven & London 1985
Wace, A.J.B. & F.H. Stubbings (edd.), A Companion to Homer, London 1962
Voor een wat gedetailleerder overzicht over de ‘Homerforschung’ raadplege men bijvoorbeeld
Bremer, J.M., I.J.F. de Jong & J. Kalff (edd.), Homer: Beyond Oral Poetry. Recent Trends in Homeric Interpretation, Amsterdam 1987
Dodds, E.R., ‘Homer’ in Fifty Years (and Twelve) of Classical Scholarship, ed. M. Platnauer, Oxford 21968 (11954), 1-17; 31-5; Appendix 38-42 (= G.S. Kirk [ed.], The Language and Background of Homer, Cambridge 1964, 1-21)
Latacz, J., Homer: Tradition und Neuerung, WdF 463, Darmstadt 1979
Latacz, J., Zweihundert Jahre Homerforschung: Rückblick und Ausblick, Stuttgart 1991
Latacz, J. (ed.), Homer: Die Dichtung und ihre Deutung, WdF 634, Darmstadt 1991
Lesky, A., ‘Homeros,’ RE Suppl. XI, Stuttgart 1967 [RE-artikel, ook afzonderlijk uitgegeven; biedt een goed overzicht over de oudere ‘Forschung’]
Mazon, P. e.a., Introduction ŕ l’Iliade, Paris (Budé) 1959 [inleiding inzake tekst en tekstgeschiedenis; zie voor deze materie ook Kirk, pp. 305vv.]
VII. Taaleigen
Grammatica’s e.d.
Chantraine, P., Grammaire Homérique: 1. Phonétique et morphologie, Paris 31958; 2. Syntaxe, Paris 1963
Monro, D.B., A grammar of the Homeric Dialect, Oxford 21891 (repr. Hildesheim 1974) [wat verouderd]
Risch, E., Wortbildung der homerischen Sprache, Berlin 21973
Chantraine, P., Dictionaire étymologique de la langue grecque, Paris 1968-80
Frisk, H., Griechisches etymologisches Wörterbuch, Heidelberg 1954-73
Algemeen
Erbse, H., ‘Zur Orthographie Homers,’ Glotta 72, 1994, 82-97
Bakker, E.J., Linguistics and Formulas in Homer: Scalarity and the Description of the Particle per, Amsterdam & Philadelphia 1988, Ch. 5: ‘Formulas and Metrics,’ 151-204. (rev. Hainsworth, Kratylos 37, 1992, 195)
Boel, G.de, Goal Accusative and Object Accusative in Homer. A Contribution to the Theory of Transitivity, Brussel 1988
Hermann, E., Sprachwissenschaftlicher Kommentar zu ausgewählten Stücken aus Homer, Heidelberg 1914 (herdruk Darmstadt 1965)
Heubeck, A., Kleine Schriften zur griechischen Sprache und Literatur, Erlangen 1984
Ho?nger, M.H., Études sur le vocabulaire du grec archaďque, Leiden 1981
Janko, R., Homer, Hesiod and the Hymns: Diachronic Development in Epic Diction, Cambridge 1982
Kirk, G.S., The Language and Background of Homer, Cambridge 1964
Leeuwen, J. van, Enchiridium dictionis epicae, Leiden 1918
Leumann, M., Homerische Wörter, Basel 1965
Meister, K., Die homerische Kunstsprache, Leipzig 1921 (herdruk Darmstadt 1966)
Palmer, L.R., ‘The Language of Homer’ in A Companion to Homer, 75-178
Patzer, H., Sprache und dichtung im homerischen Epos, Stuttgart 1994Hainsworth, J.B., ‘The Epic Dialect,’ in Heubeck e.a., A Commentary on Homer’s Odyssey, vol. 1, Oxford 1988, 24-32
Ruijgh, C.J., Autour de ‘TE épique’: Études sur la syntaxe grecque, Amsterdam 1971Heitsch, E., Epische Kunstsprache und homerische Chronologie, Heidelberg 1968
Shipp, G.P., Studies in the Language of Homer, Cambridge 21972
Slings, S.R., ‘Een tandje lager: aanzetten voor een orale grammatica van Homerus,’ Lampas 27, 1994, 411-27
Wackernagel, J., Sprachliche Untersuchungen zu Homer, Göttingen 21970 (11916)
Witte, K., ‘Zur homerischen Sprache,’ Glotta 1-5, 1909-14)
Dialect & Homerus
Buck, C.D., The Greek Dialects, Chicago 1955
Ruijgh, C.J., L’élément achéen dans la langue épique, Assen 1957
Ruijgh, C.J., ‘Le Mycénien et Homčre,’ in A. Mopurgo-Davies & Y. Duhoux (edd.), Linear B: Proceedings of the Mycenaean Colloquium of the VIIIth Congress of IFSCS, Louvain 1985
Slings, S.R., ‘Geschiedenis van het Ionisch,’ Hermeneus 66, 1994, 80-8
Strunk, K., Die sogenannten Äolismen der homerischen Sprache, Köln 1957
Wathelet, P.W., Les Traits éoliens dans la langue de l’épopée grecque, Roma 1970
Risch, E., ‘Die Gliederung der griechischen Dialekte in neuer Sicht,’ MH 12, 1955, 61-76;
Porzig, W., ‘Sprachgeogra?sche Untersuchungen zu den altgriechischen Dialekten,’ IF 61, 1954, 147-69;
Schmitt, R., Einführung in die griechischen Dialekte, 1977, 124-33
Kirk, G.S., The Songs of Homer, 1962 [spec. 142-56, 192-210]
Palmer, L.R., ‘The Language of Homer’ in A Companion to Homer, 1962, 75-178 [verdedigt (met enkele persoonlijke parti-pris) de traditionele visie]
Woordveldonderzoek
Jahn, T., Zum Wortfeld ‘Seele-Geist’ in der Sprache Homers, München 1987
Kloss, G., Untersuchungen zum Wortfeld ‘Verlangen—Begehren’ im frühgriechischen Epos, Hypomnemata 105, Göttingen 1994
Latacz, J., Zum Wortfeld ‘Freude’ in der Sprache Homers, Heidelberg 1966
Mawet, F.M., Recherches sur les oppositions fonctionnelles dans le vocabulaire homérique de la douleur, Bruxelles 1979
Trümpy, H., Kriegerische Fachausdrücke im griechischen Epos, Basel 1950
VIII. ‘Homerische Kwestie’ (Analyse, Unitarisme en Neo-Analyse)
Algemeen
Davison, J.A., ‘The Homeric Question,’ in A Companion to Homer (zie VI.8), 234-66
Edwards, M.W., ‘Neo-Analysis and Beyond,’ ClAnt. 9, 1990, 311-25
Heubeck, A., Die homerische Frage, Erträge der Forschung 27, Darmstadt 1974
Jensen, M.S., The Homeric Question and the Oral-Formulaic Theory, Copenhagen 1980
Analyse
Mühll, P. v.d., Kritisches Hypomnema zur Ilias, Basel 1952
Wilamowitz-Moellendorf, U. von, Die Ilias und Homer, Berlin 1916 (herdruk 1966)
Unitarisme
Schadewaldt, W., Iliasstudien, Leipzig 21943 (11938) (repr. Hildesheim 1966)
Scott, J.A., The Unity of Homer, Berkeley 1921
Neo-Analyse
Danek, G., Studien zur Dolonie, Wien 1988
Dihle, A., Homer-Probleme, Opladen 1970, hfdst. I: ‘Ilias und Aithiopis,’ 9-44 [contra]
Dowden, K., ‘Homer’s Sense of Text,’ JHS 116, 1996, 47-61
Kakridis, J.Th., Homeric Researches, Lund 1949
Kullmann, W., Die Quellen der Ilias, Wiesbaden 1960
Kullmann, W., ‘Zur Methode der Neoanalyse in der Homerforschung,’ WS 15, 1981, 5-42
Kullmann, W., ‘Oral Poetry Theory and Neoanalysis in Homeric Research,’ GRBS 25, 1984, 307-23
Pestalozzi, H., Die Achilleis als Quelle der Ilias, Zürich 1945
Schadewaldt, W., Von Homers Welt und Werk, Stuttgart 41965, 155-202
Schoeck, G., Ilias und Aithiopis, Zürich 1961
Thiel, H. van, Iliaden und Ilias, Basel 1982
Thiel, H. van, Odysseen, Basel 1988
Arend, W.A., Die typischen Szenen bei Homer, Berlin 1933 (herdruk 1975)
Armstrong, J.L., ‘The Arming Motive in the Iliad,’ AJPh 19, 1958, 337-54
Bakker, E.J., Linguistics and Formulas in Homer: Scalarity and Description of the Particle per, Amsterdam 1988
Bakker, E.J., ‘Homerus als orale poëzie: De recente ontwikkelingen,’ Lampas 23, 1990, 384-405
Bakker, E.J., Poetry in Speech: Orality and Homeric Discourse, Ithaca 1997
Bakker, E.J. & F. Fabricotti, ‘Peripheral and Nuclear Semantics in Homeric Diction: The Case of Dative Expressions for "Spear",’ Mnem. 1991
Combellack, F.M., ‘Milman Parry and Homeric Artistry,’ CompLit. 11, 1959, 193-208
Combellack, F.M., ‘Some Formulary Illogicalities in Homer,’ TAPhA 96, 1965, 41-56
Danek, G., PolĘmhtiw ÉOdusseĘw und Tale budalina,’ WS 104, 1991, 23-51. (Hom. vs. Slav. epiek)
Danek, G., ‘Die Apologoi der Odyssee und "Apologoi" im serbokroatischen Heimkehrlied,’ WS 109, 1996, 5-30
Dee, J.H., The Epithetic Phrases for the Homeric Gods (Epitheta deorum apud Homerum): a Repertory of the Descriptive Expressions for the Divinities of the Iliad and the Odyssey, New York & London 1994
Devlieghere, L., Vertellen als Homerus. Over formuletechniek en mondelinge traditie, Leuven 1976
Di Benedetto, V., Nel laboratorio di Omero, Torino 1994 (rev. Wilcock, CR 46, 1996, 213-14)
Dirlmeier, F., Das serbokroatische Heldenlied und Homer, Heidelberg 1971
Edwards, M.W., ‘Type-Scenes and Homeric Hospitality,’ TAPhA 105, 1975, 51-72
Edwards, A.T., ‘Kl°ow ęfyiton and Oral Theory,’ CQ 38, 1988, 25-30
Erbse, H., ‘Milman Parry und Homer,’ Hermes 122, 1994, 257ff
Foley, M., Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography, New York & London 1985
Foley, J.M., Traditional Oral Epic: The Odyssey, Beowulf, and the Serbo-Croatian Return Song, Berkeley 1993
Fenik, B., Typical Battle Scenes in the Iliad, Hermes Einzelschr. 21, Wiesbaden 1968
Fenik, B. (ed.), Homer: Tradition and Invention, Leiden 1978
Finkelberg, M., ‘Formulaic and Non-Formulaic Elements in Homer,’ CPh 84, 1989, 179-97
Finnegan, R., Oral Poetry: Its Nature, Signi?cance and Social Context, Cambridge 1977
Hainsworth, J.B., ‘Structure and Content in Epic Formulae: The Question of the Unique Expression,’ CQ 14, 1964, 155-64
Hainsworth, J.B., The Flexibility of the Homeric Formula, Oxford 1968
Hainsworth, J.B. (ed.), Traditions of Heroic Poetry, II, London 1989
Heubeck, A., Der Odyssee-Dichter und die Ilias, Erlangen 1954
Hoekstra, A., Homeric Modi?cations of Formulaic Prototypes: Studies in the Development of Greek Epic Diction, Amsterdam 1965
Ingalls, W.B., ‘Formular Density in the Similes of the Iliad,’ TAPhA 109, 1979, 87-109
Jensen, M.S., The Homeric Question and the Oral-Formulaic Theory, Copenhagen 1980
Kirk, G.S., Homer and the Oral Tradition, Cambridge 1976
Kirk, G.S., Verse-Structure and Sentence-Structure in Homer: Studies in Some Technical Aspects of Homeric Style,’ YCS 20, 1966, 73-152
Kullmann, W. & M. Reichel (edd.), Der Übergang von der Mündlichkeit zur Literatur bei den Griechen, Tübingen 1990
Latacz, J. (ed.), Homer: Tradition und Neuerung, Wege der Forschung 463, Darmstadt 1979
Létoublon, F. (ed.), Hommage ŕ Milman Parry, Amsterdam 1996
Lord, A.B., The Singer of Tales, Cambridge (Mass., 1960
Lord, A.B., Epic singers and Oral Tradition, Ithaca & London 1991
Machacek, G., ‘The Occasional Contextual Appropriateness of Formulaic Diction in the Homeric Poems,’ AJPh 115, 1994, 321-36
Minton, W.W., ‘The Fallacy of the Structural Formula,’ TAPhA 96, 1965, 241-53
Nagler, M.N., ‘Towards a Generative View of the Oral Formula,’ TAPhA 96, 1967, 269-311
Nagler, M., Spontaneity and Tradition, Berkeley 1974
Nagy, G., Poetry as Performance: Homer and Beyond, Cambridge 1996
Notopoulos, J.A., ‘The Homeric Hymns as Oral Poetry,’ AJPh 83, 1962, 337-68
Ong, W.J., Orality and Literacy: The Technologizing of the World, London & New York 1982
Paraskevaides, H.A., The Use of Synonyms in Homeric Formulaic Diction, Amsterdam 1984
Parry, A., The Language of Achilles and Other Papers, Oxford 1989
Parry, M., The Making of Homeric Verse: The Collected Papers of M. Parry, ed. A. Parry, Oxford 1971
Parry, M., L’épithčte traditionelle dans Homčre: Essay sur un problčme de style homérique, Paris 1928
Parry, M., ‘Studies in the Epic Technique of Oral Verse-Making,’ HSCPh 41, 1930, 73-147
Powell, B.B., Homer and the Origin of the Greek Alphabet, Cambridge 1996
Russo, J.A., ‘A Closer Look at Homeric Formulas,’ TAPhA 94, 1963, 235-47
Russo, J.A., ‘The Structural Formula in Homeric Verse,’ YCS 20, 1966, 219-40
Sacks, R., The Traditional Phrase in Homer: Two Studies in Form, Meaning and Interpretation, Leiden 1987
Sale, W.M., ‘The Trojans, Statistics and Milman Parry,’ GRBS 30, 1989, 341-410
Sbardella, L., ‘Le variatio formulare nella dizione epica,’ QUCC 47, 1994, 21-45
Stolz B.A. & R.S. Shannon (edd.), Oral Literature and the Formula, Ann Arbor 1976
Thomas, Rosalind, Literacy and Orality in Ancient Greece, Cambridge 1992
Usener, K., Beobachtungen zum Verhältnis der Odyssee zur Ilias, Tübingen 1990
Visser, E., Homerische Versi?kationstechnik: Versuch einer Rekonstruktion, Frankfurt 1987
Visser, E., ‘Formulae or Single Words? Towards a New Theory on Homeric Verse-Making,’ WüJbb. 14, 1988, 21-37
Andersen, O., ‘The Making of the Past in the Iliad,’ HSCPh 93, 1990, 24-45
Austin, N., Archery at the Dark of the Moon: Poetic Problems in Homer’s Odyssey, Berkeley-Los Angeles 1975
Bannert, H., Formen des Wiederholens bei Homer, WS Beiheft 13, Wien 1988
Bassett, S.E., ‘The Three Threads of the Plot in the Iliad,’ TAPhA 53, 1922, 52-62
Becker, A.S., The Shield of Achilles and the Poetics of Ekphrasis, Lanham 1995
Bremer, J.M., I.J.F. de Jong & J. Kalff (edd.), Homer: Beyond Oral Poetry. Recent Trends in Homeric Interpretation, Amsterdam 1987
Collins, L., Studies in Characterization in the Iliad, Frankfurt/M. 1988
Crotty, K., The Poetics of Supplication: Homer’s Iliad and Odyssey, Ithaca (N.Y., 1994
Dalby, A., ‘The Iliad, the Odyssey and their Audiences,’ CQ 89, 1995, 269-79
Duckworth, G.E., Foreshadowing and Suspense in the Epics of Homer, Apollonius and Vergil, New York 1966
Edwards, M.W., Homer, Poet of the Iliad, Baltimore & London 1987
Edwards, M.W., ‘The Conventions of a Homeric Funeral,’ in J.H.Betts (ed.), Sudies in Honour of T.B.L. Webster, Bristol 1986, I.84-92
Erbse, H.E., Untersuchungen zur Funktion der Götter im homerischen Epos, Berlin 1986
Erbse, H., ‘Über Götter und Menschen in der Ilias Homers,’ Hermes 124, 1996, 1-16
Fehling, D., Die Wiederholungs?guren und ihr Gebrauch bei den Griechen vor Gorgias, Berlin 1969
Fenik, B., Homer and the Nibelungenlied: Comparative Studies in Epic Style, Cambridge (Mass., 1986
Finkelberg, M., ‘Odysseus and the Genus hero,’ G&R 42, 1995, 38-48
Finkelberg, M., ‘Patterns of Human Error in Homer,’ JHS 115, 1995, 15-28
Dubielzig, U., ‘Der vollendete Siegeslauf des Achilleus in der Ilias,’ A&A 42, 1996, 1-16
Erbse, H., ‘Über Götter und Menschen in der Ilias Homers,’ Hermes 124, 1996, 1-16
Hainsworth, J.B., The Idea of Epic, Berkeley 1991 (rev. King, CJ 88, 1992-3, 281-5)
Higbie, C., Heroes’ Names, Homeric Identities, New York & London 1995
Fränkel, H., ‘Eine Eigenheit der frühgriechischen Literatur,’ NGG 1924, 63-127 (= id., Wege und Formen des frühgriechischen Denkens, 1960, 40-96)
Gaisser, J.H., ‘A Structural Analysis of Digressions in the Iliad and the Odyssey,’ HSCPh 73, 1969, 27-31
Grif?n, J., ‘Words and Speakers in Homer,’ JHS 106, 1986, 36-57
Groningen, B.A. van, La composition littéraire archaique grecque: procédés et réalisations, Amsterdam 1958
Hainsworth, J.B., The Idea of Epic, Berkeley 1991 (rev. King, CJ 88, 1992-3, 281-5)
Heffernan, J.A.W., Museum of Worlds: The Poetics of Ecphrasis from Homer to Ashberry, Chicago 1993
Jones, P.V., ‘The Independant Heroes of the Iliad,’ JHS 116, 1996, 108-18
Jong, I.J.F. de, ‘A Homeric Mirror-Story,’ Arethusa 18, 1985, 5-22
Jong, I.F.J. de, Narrators and Focalizers: The Presentation of the Story in the Iliad, Amsterdam 1987
Jong, I.J.F. de, ‘De literaire interpretatie van de Odyssee: enkel recente publikaties,’ Lampas 27, 1994, 378-91
Jong, I.J.F. de, ‘Homerische verteltechniek: de ontmoeting tussen Hermes en Priamus in Ilias 23,’ Lampas 23, 1990, 70-83
Jong, I.J.F. de, ‘Studies in Homeric Denomination,’ Mnem. 46, 1993, 289-306
Kahane, A., The Interpretation of Order: A Study in the Poetics of Homeric Repetition, Oxford 1994
Katz Anhalt, E., ‘Barrier and Transcedence: the Door and the Eagle in Iliad 24.314-21,’ CQ 89, 1995, 280-95
Krischer, T., Formale Konventionen der homerischen Epik, München 1971
Kullmann, W., 'Gods and Men in the Iliad and the Odyssey,’ HSCPh 89, 1985, 1-25
Latacz, J., ‘Der Planungswille Homers im Aufbau der Ilias,’ Die Alten Sprachen im Unterricht 28, 1981, 6-16
Lohmann, D., Die Komposition der Reden in der Ilias, Berlin 1970
Lowenstamm, S., The Scepter and the Spear, Lanham (Illin.) 1993
Lynn-George, M., ‘Structures of Care in the Iliad,’ CQ 46, 1996, 1-26
Macleod, C., ‘Homer on Poetry and the Poetry of Homer,’ in id., Collected Essays, Oxford 1983, 1-15
Martin, R.P., The Language of Heroes: Speech and Performance in the Iliad, Ithaca (NY) 1989
Mayer, K., ‘Helen and the DiÚw boulĆ,’ AJPh 117, 1996, 1-16
Mühll, P. von der, ‘Homers Ilias: Einleitung,’ MH 52, 1995, 192-202
Nicolai, W., Kleine und große Darstellungseinheiten in der Ilias, Heidelberg 1973
Nicolai, W., ‘Rezeptionssteuerung in der Ilias,’ Philologus 127, 1983, 1-12
Notopoulos, J.A., ‘Parataxis in Homer: A New Approach to Homeric Literary Criticism,’ TAPhA 80, 1949, 1-23
Otterlo, W.A.A. van, De ringcompositie als opbouwprincipe in de epische gedichten van Homerus, Amsterdam 1948 (vgl. Meded. KNAW 7 [1944] 131-76)
Pedrick, V., ‘The Muse Corrects: The Opening of the Odyssey,’ YCS 29, 1992, 39-62
Reece, S., The Stranger’s Welcome: Oral Theory and the Aesthetics of the Homeric Hospitality Scene, Ann Arbor 1993
Rengakos, A., 1995), ‘Zeit und Gleichzeitigkeit in den homerischen Epen,’ A&A 41, 1995, 1-33
Richardson, S., The Homeric Narrator, Nashville 1990
Rutherford, R.B., ‘From the Iliad to the Odyssey,’ BICS 38, 1991-3, 37-54
Schadewaldt, W., Der Aufbau der Ilias: Strukturen und Konzeptionen, Frankfurt am Main 1975
Scheid-Tissinier, É., Les usages du don chez Homčre: vocabulaire et pratiques, Nancy 1994
Schein, S.L., Reading the Odyssey: Selected Interpretive Essays, Princeton 1996
Schmitz, T., ‘Ist die Odyssee spannend? Anmerkungen zur Erzähltechnik des homerischen Epos,’ Phil. 138, 1994, 3—23
Segal, Ch., Singers, Heroes and Gods in the Odyssey, Ithaca and London 1994 (rev. de Jong, Lampas 27, 1994, 378-91; Voelke, MH 52, 1995, 231)
Segal, C., The Theme of the Mutilation of the Corpse in the Iliad, Leiden 1971
Seibel, A., ‘Widerstreit und Ergänzung: Thersites und Odysseus als rivalisierende Demagogen in der Ilias (B 190-264),’ Hermes 123, 1995, 385-97
Shive, D.M., Naming Achilles, New York & Oxford 1987
Sicking, C.M.J., ‘De Ilias: Auteursintentie en compositie,’ Lampas 5, 1972, 406-43
Sicking, C.M.J., ‘Heeft de Ilias een moraal?,’ Lampas 5, 1972, 444-64.Strasburger, G., Die kleinen Kämpfer der Ilias, Frankfurt 1954
Stanly, K., The Shield of Homer: Narrative Structures in the Iliad, Princeton 1993
Strasburger, G., Die kleinen Kämpfer de Ilias, Frankfurt 1954
Stroud, T.A. & E. Robertson, ‘Aristotle’s Poetics and the Plot of the Iliad,’ CW 89, 1995-6, 179-96
Taplin, O., Homeric Soundings: The Shaping of the Iliad, Oxford 1992 (Pb. 1995)
Thalmann, W.G., Conventions of Form and Thought in Early Greek Poetry, Baltimore 1984
Thornton, A., Homer’s Iliad: Its Composition and the Motive of Supplication, Hypomn. 81, Göttingen 1984
Vivante, P., The Epithets in Homer: A Study in Poetic Values, New Haven & London 1982
Wolford, S.L., The Choice of Achilles: The Ideology of Figure in the Epic, Stanford UP 1992
Zielinski, T., Die Behandlung geleichzeitiger Erreignisse im antiken Epos, Leipzig 1901
Vergelijkingen
Basset, A., ‘The function of Homeric simile’, TAPhA 52, 1921), 132-47
Beye, C.R., ‘Repeated Similes in the Homeric Poems,’ in K. Rigsby (ed.), Studies Presented to Sterling Dow on His Eightieth Birthday, 1984, 7-13
Beye, C.R., ‘Repeated Similes in the homeric Poems,’ in K. Rigsby (ed.), Studies Presented to Sterling Dow on his Eightieth Birthday, 1984, 7-13
Broennimann, C.S., Thematical Patterns in the Argonautica of Apollonius Rhodius: a Study in the Imagery of Similes, diss. Urbana (Illinois, 1989
Clausing, A., Kritik und Exegese der homerischen Gleichnisse im Altertum, Parchim 1913
Coffey, M., ‘The function of Homeric Simile’, AJPh 78, 1957), 113-32
Drögemüller, H.-P., Die Gleichnisse im hellenistischen Epos, diss. Hamburg 1956
Edwards, M.W., ‘Similes’ in G.S. Kirk (ed.), The Iliad: A Commentary, vol. 5 (books 17-20), Cambridge 1991, 24-41
Faerber, H., Zur dichterischen Kunst des Apollonios Rhodios: die Gleichnisse, Berlin 1932
Fränkel, H., Die homerischen Gleichnisse, Göttingen 1921 (2. Ausgabe, mit einem Nachwort und einem Literaturverzeichnis von E. Heitsch, ib. 1977)
Friedrich, R., ‘On the compositional use of similes in the Odyssey’, AJPh 102, 1981), 120-37
Friedrich, W.H., ‘Von homerischen Gleichnissen und ihren Schicksalen’, A&A 28, 1982), 102-30
Gonda, J., Remarks on Similes in Sanskrit Literature, Leiden 1949
Hubbard, Th.K., ‘Antithetical Simile Pairs in Homer,’ Grazer Beiträge 10, 1981, 59-67
Hunter, R.L., The Argonautica of Apollonius Rhodius: Literary Studies, Cambridge 1993, 129-38
Ingalls, W.B., ‘Formular Density in the Similes of the Iliad,’ TAPhA 109, 1979, 87-109
Jachmann, G., Der homerische Schiffskatalog, ‘Excursus III’ (reactie op Fränkel, Gleichnisse), 269-326
Jong, I.F.J.de, ‘Fokalisation und die homerischen Gleichnisse,’ Mnem. 38, 1985, 257-70 [vgl. id. 1987 onder verteltechnieken]
Kamerbeek, J.C., ‘Problematiek van de vergelijkingen in Homerus’ Ilias,’ Forum der Letteren 3, 1963, 33-47
Knight, V.H., The Renewal of Epic: Responses to Homer in the Argonautica of Apollonius Rhodius, Leiden 1995, 17-20
Lee, D., The Similes of the Iliad and Odyssey Compared, Melbourne 1966
Lonsdale, S.H., Creatures of Speech: Lion, Herding and Hunting Similes in the Iliad, Stuttgart 1990
Lyne, R.O.A.M., Words and the Poet: Characteristic Techniques of Style in Vergil’s Aeneid, Oxford 1989 (esp. 63-7)
McCall, M., Ancient Rhetorical Theories of Simile and Comparison, Cambridge (Mass.) 1969
Moulton, C., Similes in the Homeric poems, Hypomnemata 1949, Göttingen 1977
Muellner, L., ‘The Simile of the Cranes and Pygmies,’ HSCPh 1988, 59-100
Nimis, S.A., Narrative Semiotics in the Epic Tradition: the Simile, Bloomington 1987, 23-95
Noppen, J.-P. van & E. Hols, Metaphor II: a Classified Bibliography of Publications 1985-1990, Amsterdam & Philadelphia 1990
Noppen, J.-P. van, S. de Knop & R. Jongen, Metaphor: a Bibliography of post-1970 Publications, Amsterdam & Philadelphia 1985
Ritoók, Z., ‘Exemplum und Gleichnis,’ WS 107/8, 1994/5, I.45-9
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Homer, Hesiod, and the Hymns :
diachronic development in epic diction /
Richard Janko
1982
English Book xvi, 322 p. ; 23 cm.
Cambridge [Eng.] ; New York : Cambridge University Press, ISBN: 0521238692
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Title: Homer, Hesiod, and the Hymns :
diachronic development in epic diction /
Author(s): Janko, Richard, 1955-
Publication: Cambridge [Eng.] ; New York : Cambridge University Press,
Year: 1982
Description: xvi, 322 p. ; 23 cm.
Language: English
Series: Cambridge classical studies;
Standard No: ISBN: 0521238692; LCCN: 81-7666
SUBJECT(S)
Descriptor: Epic poetry, Greek -- History and criticism.
Greek language -- Semantics, Historical.
Hymns, Greek -- History and criticism.
Named Person: Hesiod -- Literary style.
Homer -- Literary style.
Title Subject: Homeric hymns.
Note(s): Includes indexes./ Includes bibliographical references (p. 280-296)./ Dissertation: Revision of Thesis (Ph. D.)--University of Cambridge.
Class Descriptors: LC: PA3105; Dewey: 883/.01/09
Responsibility: Richard Janko.
Material Type: Thesis/dissertation (deg)
Document Type: Book
Entry: 19810507
Update: 20031225
Accession No: OCLC: 7551551
Database: WorldCat
NOTES
1 Bielohlawek (1924-5) showed that the radical meaning of [molpi] is ‘play’, still seen in Il. 13.233:
(cf. 17.255) [kinon melpithra genoito]. Elsewhere in Homer the word had become quite protean,
variously comprising ‘dance’, ‘song’, or ‘song and dance’, with or without the [forminx] . By the Archaic
period [molpi], means specifically ‘song’ (where stringed music is often implicit). Of the the many
Homeric passages, those which bear most closely on the present problem are Od. 1.152:[molpi t' orhisthis te]
, of Phemius’ impending performance; 21.430 [molpi kai formiggi] .
THE LANGUAGE OF MUSICAL TECHNIQUE
IN GREEK EPIC DICTION
John Curtis Franklin
The American School of Classical Studies at Athens
"According to Greek tradition, the first treatise ‘On music’ ( ) was that of Lasus of
Hermione, the eminent musician and musicologist of the late sixth century (Mart. Cap. 9.936; Suda s.v.
). Prior to this, of course, Greece enjoyed a flourishing and highly refined musical culture, both in
the melic poetry of the Archaic period and the epic tradition which reached its last great flowering with the
Ionic or ‘Homeric’ school. Clearly the practitioners of these earlier styles were able to communicate to each
other, and to the their students, the essentials of their (cf. West 1992a: 218). Therefore, prior to
Lasus—or whoever was first to write on the subject—there existed in oral tradition a ‘technical’ musical
vocabulary. Some of these words may have persisted, changed or unchanged, into the Classical and later
periods (two ready examples are the string names and , since these superlatives, known to
Homer, dropped from ordinary speech at an early date: see West 1981: 120). Naturally, this continuity
would have been most evident in the earliest written works; unfortunately, no treatises have survived from
the two centuries which separate Lasus from the (substantially extant) Elementa Harmonica of Aristoxenus
in the late fourth century. In this paper I shall attempt to illuminate this lost language with evidence drawn
from archaic Greek poetry, and especially epic diction. The material I shall discuss is largely indirect, of
course, since none of the poems purports to be a technical treatise. And yet the poets appear to have
employed ‘fragments’ of their professional vocabulary in the not-infrequent passages which have music as
their theme.
It is not surprising that this material is most concentrated in the Homeric Hymn to Hermes, where the
lyre and its music—the proper domain of the poet himself—are a main point of contention between Apollo
and his new-born brother. A brief consideration of this struggle is needed to establish the quasi-technical
character of the passages from which my detailed evidence is drawn.
Apollo is amusingly portrayed as a jealous older sibling who is threatened by a new addition to his
family. For Hermes, with the theft of Apollo’s cattle, his precocious musicianship, and insistent demands
for prophetic knowledge, is aggressively grabbing at his brother’s toys. In this way the poet exploits
Hermes’ traditional role as divine thief—a charge leveled by the resentful Apollo as he grudgingly admires
the sound of the new tortoiseshell lyre ( , 446). Sibling rivalry among divinities is necessarily a
theogonic struggle: the birth of a god requires a new allotment of power, and Apollo must now make room
for an interloper. This theme is brought to the fore when Hermes, to demonstrate his invention, sings a
theogony (426-434). As the infant delights in the new plaything, his song within a song is a query to the
powers that be: Hermes ponders his place within the wide world, knowing that a new line must be added to
the poets’ list of allotments, for he is latest and last ‘according to age’ ( ).
Apollo, of course, has had his own domain prior to Hermes’ birth, and according to the poem’s internal
chronology this included music. In response to his brother’s prodigious musicality, Apollo himself asserts
(somewhat petulantly, one might imagine) that he is already an attendant of the Muses (450 sqq.):
For I too am a follower of the Muses of Olympus,
To whom the splendid path of song and choruses are dear,
And flowering lyre-play and the lovely rumble of auloi."[...]
REFERENCES
T. W. Allen/W. R. Halliday/E. E. Sikes, The Homeric Hymns 2 (Oxford, 1936).
A. Barker, Greek Musical Writings. 2 volumes (Cambridge, 1984-1989).
A. Baumeister, Hymni Homerici (Leipzig, 1860).
K. Bielohlawek, ‘ und ’, Wiener Studien (1924-5), 1-17 and 125-43.
T. V. Buttery, ‘ in Aristophanes and “ ”’, Greek, Roman and Byzantine Studies 18 (1977),
5-23.
F. Cŕssola, Inni Omerici (Milan, 1975).
G. Dumézil, ‘“Suite” per Voce e Apollo’, in D. Restani (ed.), Musica e mito nella Grecia antica (Bologna,
1995), 137-145.
M. W. Edwards, The Iliad: A Commentary. Volume v: books 17-20 (Cambridge, 1991).
J. C. Franklin, ‘Harmony in Greek and Indo-Iranian Cosmology’, The Journal of Indo-European Studies
30.1/2 (2002a), 1-25.
—‘Musical Syncretism in the Greek Orientalizing Period’, in E. Hickmann and R. Eichmann (ed.),
Archäologie früher Klangerzeugung und Tonordnungen. Serie Studien zur Musikarchäologie, Orient-Archäologie
(Deutsches Archäologisches Institut Berlin, Orient-Abteilung ( 2002b), 441-451.
A. Gemoll, Die Homerischen Hymnen (Leipzig, 1886).
K. von Jan, Musici scriptores Graeci: Aristoteles, Euclides, Nicomachus, Bacchius, Gaudentius, Alypius
(Leipzig, 1895).
R. Janko, Homer, Hesiod and the Hymns (Cambridge, 1982).
F. R. Levin, The Harmonics of Nicomachus and the Pythagorean Tradition. American Classical Studies no.
1 (University Park, Pennsylvania, 1975).
A. B. Lord, Epic Singers and Oral Tradition (Ithaca and London, 1991).
— The Singer of Tales (Cambridge, Mass., 1960).
M. Maas/J. Snyder, Stringed Instruments of Ancient Greece (New Haven and London, 1989).
T. J. Mathiesen, Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages (Lincoln
and London, 1999).
D. Pralon, ‘Ce que dit Démodocus’, in F. Letoublon (ed.), Hommage ŕ Milman Parry: le style formulaire
de l’épopée homérique et la théorie de l’oralité poétique (Amsterdam, 1997).
D. Sansone, Aeschylean Metaphors for Intellectual Activity. Hermes Einzelschr. 35 (1975).
M. L. West, Ancient Greek Music (Oxford, 1992a).
— ‘Analecta Musica’, Zeitschrift für Papyrologie und Epigraphik 92 (1992b), 1-54.
— ‘The Singing of Homer’, Journal of Hellenic Studies 101 (1981), 113-129.
R. Westphal, Harmonik und Melopöie der Griechen (Lepizig, 1867).
S.E. Dunn
Review-Discussion of The Oxford Classical Dictionary: Third Edition on CD-ROM
Oxford: Oxford University Press 2000. Windows CD-ROM. Ł40.00+VAT. ISBN 0-19-268767-0
Although, broadly, information technology is a force with which the traditional humanities are still coming to terms, in many areas it is rapidly becoming a routine source of reference. As the pool of online resources grows bigger and bigger, so the resources become more diverse. We can, at the touch of a button, access the catalogue of any university library in the country (http://www.niss.ac.uk/lis/opacs.html), search the British Library (http://opac97.bl.uk), or even look for a job (www.jobs.ac.uk). Also available are some of the biggest names in the reference literature. The Oxford English Dictionary (www.oed.com), for example, has now been joined on CD-ROM, although not (yet) the internet, by the new third edition of the Oxford Classical Dictionary. The OCD has been a cornerstone of classical studies in the English speaking world since the first edition of 1949. The newly released third edition, edited by Simon Hornblower and Antony Spawforth, promises to continue this tradition into the 21st century. However, the general philosophy of the third edition, and its release on CD, raise specific academic issues, as well as general questions about the role - and possibilities - of new media and 'weightless technology' in the traditional humanities.
The first question: why? Apart from the obvious reasons of bulk volume and convenience (although these in themselves hold some merit), why take a standard reference work like the Oxford Classical Dictionary and put it on CD at all? With its 'Research Desk', its 'Gallery', its 'Binders', with its icons with labels like 'Context' and 'Highlight', and its 'Search Filters' and 'Full Text Searching', is this not vastly overcomplicating what should be a straightforward case of going to a shelf and looking up an entry from an alphabetical list? Or do the advantages of quick reference and slim-line packaging outweigh the relative complexities of using a computer rather than a book?
The answer depends on who you are and what you are looking for. For somebody new to classical studies, or for a classical researcher seeking information outside their own field, enhanced search facilities and a compact format may have much to recommend them. In theory, the provision of such facilities with a work as established and reputable as the OCD could produce great benefits. On the other hand, the process of starting up the computer, inserting the CD, waiting for it to initialise, selecting the appropriate menu and scroll bar, and only then being able to look up an article, is likely to prove very cumbersome and unnecessary for a scholar in the field who knows exactly where to go and what to look for anyway. The general reader is therefore the yardstick by which the digital OCD should be judged.
Accordingly, the package is clearly designed with user-friendliness at the forefront. Like most CD-based software packages, installation is very straightforward, as is the initial main menu, offering you 'Books', 'Search', 'Gallery', 'Binders', 'Library', and access to an online Bookstore. You select the OCD from the 'Books' menu, and there it is - a scroll-down menu with the headwords of all 6,250 entries in alphabetical listing. Scroll down, and select or type in your subject, and it appears in a view pane on the right, in just the form it would in the paper book. Cross references are given in the form of hyperlinks to other headwords. Clicking on one (as on the internet) takes you directly to the relevant article: this a fast and convenient device. The 'Binders' facility is also very useful, being similar to folders on a normal computer desktop environment. It is possible to save individual articles into different binders: for example, one could save 'Mycenaean Language', 'Mycenaean Civilization' and 'Minoan Civilization' into a single binder and entitle it 'Aegean Prehistory'. This allows researchers immediate access to all entries that are relevant to different areas of their work. They would then be able to make written annotations 'in the margin' while avoiding the wrath of their librarian, by making on-screen notes which are stored with the article under its heading.
One clear advantage - indeed, the main advantage - the CD-ROM version has over its paper counterpart is the search facility. This has basic and advanced provision for search by title, keyword or author. A simple 'full text' search will look through the entire text of the dictionary for a particular word, and display the results in descending order of the frequency of the word in an article. The results can also be displayed in alphabetical order. This is particularly useful for one researching a topic with a large number of articles in which the keyword appears. A full text search of the word 'Homer', for example, yields 477 headwords. An alphabetical search allows the user to find any article containing the word immediately and cross-refer to it. For example, it enables one interested in 'ball games' in Homer to go instantly to the relevant references (in this case, Odyssey 6, 100 and 8, 370) by selecting the headword 'ball games' from the list generated by a search using 'Homer'. On the other hand, a more general researcher may want only the most relevant articles, as defined by the number of occurrences of the word in the article (although, for large subject areas, an alphabetical list of secondary references is generated after the initial list). Thus, a 'by score' search using the word 'goths' generates a list with 'goths' at the top and 'St Saba' at the bottom (of the initial list). These two search facilities offer a flexible and powerful research tool. The more advanced search options, however, are not as useful. There is, for example, a tool to search a pre-selected passage of highlighted text, but it is not always possible to highlight certain passages, and no explanation is given for this. The 'search by title' option, which allows the user to search the headwords and titles of the dictionary, seems superfluous, given that it is far easier to browse the alphabetical list of entries.
A further feature, provided by the Versabook format which powers the digital OCD, has a 'Talking Book' function in its 'Library Page.' This facility 'reads out' any article in a kind of flat, digitised drawl of indeterminate accent. The pronunciation needs some adaptation for work in the classical field - for example, it pronounces 'Mycenaean' 'Missananian', and 'Philip II' 'Philip eeh-eeh' - and it is rather difficult to comprehend at first. But, once you get used to the inflection and pronunciation, it is quite easily understandable, and will be welcomed by users with visual impairments.
Finally, another advantage of the digital version which will be appreciated especially by the general reader and the specialist looking for references outside his or her area, is the facility to identify immediately the full name of the author of the article. Whereas, in the paper version, identifying a person represented by an unfamiliar set of initials would involve looking in a separate list arranged in order of surname initial, in the digital version one simply holds the mouse pointer over the initials of the author, and their name and institution pops out in an on-screen box.
It is an inconvenience that the CD has to be physically in the drive in order for the program to function. If the program is being used in conjunction with another CD-ROM (for example, the digital Oxford English Dictionary which, likewise, has to be physically in the computer to function), you are constantly swapping between CDs. The program has to be shut down when the CD is removed and restarted when it is replaced. Cumbersome this may be, but it is understandable, given that it prevents, or at least strongly discourages, the software piracy to which enterprises such as this are so vulnerable.
Overall, all well and good. The digital format of the OCD CD-ROM is user-friendly, easily accessible to the non-, or at least semi-computer-literate user, easy in cross-referencing, possible to annotate, simple to search for any angle, keyword or headword, and nicely laid out. At least for a general reader, these will be incentives to invest. But what of the content? Hornblower and Spawforth have made a number of significant changes to the 1970 second edition of N.G.L. Hammond and H.H. Scullard which need discussion.
In their preface, Hornblower and Spawforth 'reject the sharp distinction made in the Preface to the second edition between "classical" and "archaeological".' They have sought to recognise the increasingly interdisciplinary nature of classical studies since 1970, while retaining the emphasis on the factual record, which has always formed the heart of the OCD's usefulness. In practice, this has taken the form of more 'thematic' entries, focusing on more general and theoretical aspects of classical antiquity. For example, in the new edition are P. Cartledge and D. Konstan's entry on 'Marxism and classical antiquity', A. Richlin's entry on 'sexuality', and J.T. Vallance's article on 'anthropology.' Such new entries seek to reflect the growing diversity of the classical field, while retaining the 'core' entries, which will remain the main point of factual reference for workers in more traditional areas. On this latter point, the editors indicate, in particular, H.T. Wade-Gery's article on Thucydides, the only article to remain unchanged since the first edition of 1949, but which has been supplemented in the third edition with articles by S. Hornblower, A.W. Gomme and P.J. Rhodes updating the reader on research since 1970.
The blurring of the line between the purely 'classical' and 'archaeological' is not just a disciplinary issue, it is also chronological. In his OCD definition of 'archaeology, classical', A. Snodgrass defines 'the archaeology of early Greece - at any rate down to the late bronze age - as lying outside the scope of classical archaeology.' For Italy, 'classical archaeology' does not begin before the iron age. This leads inevitably to a rather confusing debate, centring on terminology. Should a topic not defined as 'classically archaeological' have any place at all in a 'classical dictionary'? Can this definition extend to the prehistory of the Aegean and Italy? In the third edition, there are good treatments (to name the main entries) of 'Mycenaean Civilisation', 'Mycenae' and 'Tiryns' (O.T. Dickinson), 'Pylos' (O.T. Dickinson and S. Hornblower), 'Mycenaean Language' (J. Chadwick) and, on the Cretan side, 'Minoan Civilisation' (J. Bennet); 'Minoan scripts' refers the reader to J. Chadwick's 'Pre-alphabetic scripts (Greece)'. This inclusion of the archaeology of early Greece, particularly the mainland, shows a trend which is to be welcomed. Minoan studies, however, remain underrepresented. The entry for 'Cnossus' describes a 'town on Crete [which] flourished from the 9th to the 6th cent', apparently disregarding the middle and late bronze age floruit of eight to five centuries before that. It is true that, given that there is no entry for Cnossus in the second edition,[1] this is a clear improvement. In the third edition, however, there are still no entries for the major Minoan palatial centres of Malia, Phaistos and Zakro.
The editors of the third edition have dispensed with the cross-referencing tool used in the second, by which 'names, etc. which are not titles of entries in the dictionary' are listed in the back. This twenty page list of names, directing the reader to relevant topics that are listed as headwords, is regarded by Hornblower and Spawforth as 'useful in theory [but] not much used in practice.' For example, a researcher wishing to look up 'Polyphontes' would be directed, via this list, to 'Messenia'. It seems fair to say that this tool does have limited use in practice, and a good case can be made for its redundancy, especially given the new powers of search and cross-reference provided by the CD-ROM version. Instead, 'signpost' references are given in the list of headwords. For example, the word 'generals' appears in the list of headwords, but it directs the user to the articles on 'dux', 'imperator', 'strategoi' etc. This is a useful innovation for the OCD, incorporating two lengthy alphabetical lists into one.
Finally, a simple yet obvious improvement is in the arrangement of Roman proper names in the general alphabetical listing. Instead of being listed by cognomen, the nomen is used as the keyword. The example used by the editors in their preface amply illustrates the sense of this. In the second edition the brothers of the gens Aemilia - Paullus and Lepidus - appear under P and L, rather than A. In the third edition, all the Aemilii are listed under A, their names descending in alphabetical order of cognomen. In the transliteration of names, especially Greek, tradition has been adhered to: the standard Latinised version is used throughout, avoiding confusion.
In conclusion, the aim of this third OCD on CD-ROM is plain: to increase accessibility to the general reader through the twin means of the CD-ROM format and the philosophy governing its content. In this, the third edition may be judged a success. The standardised system of menus and scroll bars, the help and tutorial facilities, and the large, simple to use toolbar, as well as the general user-friendliness of the package ensures that it can be easily used by those not well-versed in computing. On the content side, the new, more 'thematic' and generalised entries will appeal to the wider readership, as well as to scholars from outside the discipline and to interdisciplinary classicists working outside their specialised field. The powerful and flexible search facilities add to this appeal, as will features such as the ready identification of names and institutions of authors and the 'signpost' entries. This is to be welcomed, particularly for the possibilities it offers outside higher education, such as in schools. On the other hand, it is difficult to envisage many classicists whose work is all or nearly all contained within a single 'traditional' area investing in the CD-ROM. For people who know what they are looking for from the start, using the paper version will be far less effort. However, because it has the potential to carry the information to a wider audience, while retaining its traditional factual aspects, the CD-ROM version is a very positive step in the OCD's development. At the same time, sub-disciplines not previously classified as 'classical', but which are nonetheless relevant to classical studies, are being included. May this combination be maintained and developed in the fourth edition.
Koitaxa to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon”, pou epontai tis mycenaikis katastrofis (teli 13ou), alla akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous Ymnous kai sta poiimata tou Epikou Kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta epika poiimata einai ysterotera ton Homerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Homero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”. Parathetei kai bibliografia. Tora epilego na metafero mono mia reference:
R. Janko
1982 “Homer, Hesiod and the Hymns”
Sxetika me tous Homerikous Ymnous koitaxa kai tin Istoria tou Ellenikou Ethnous tis Ekdotikis Athinon, Arxaikos Politismos, Tomos B: 173
“Os Homerikoi Ymnoi I “Prooimia” mas paradothikan 33 poiimeta, pou exymnoun poikilous theous kai exoun syntethei se epiko metro kai glossa. I gnomi oti ena dyo apo ayta einai erga tou idiou tou Homerou paramenei amfiboli. Oposdipote merikoi anikoun ston 7o ai. p.X., alloi stin klasiki kai alloi stin ellinistiki periodo. Kai I ektasi tous poikillei: oi tesseris pou dinoun diexodika epeisodia tis zois ton theon apotelountai apo 400 os 600 peripou stixous, oi ypoloipoi, kata kanona aples epikliseis theon, periorizontai se 40 os 3 exametrous.
O oros “prooimia” faneronei ti leitourgiki tous simasia, prin apo mia apaggelia, p.x., mias perikopis tis Odysseias, oi rapsodoi synithizan na epikalountai mia theotita. Kai itan sto xeri tous na parembaloun ena syntomo mytho sxetika me ton epikaloumeno theo, oste o Ymnos, parallila me ton prooimiako tou xaraktira, na kerdisei aythypostati axia.
O poiitis tou Ymnou sti Dimitra (7os ai. p.X.) prepei na gnorize ti mystiriaki latreia tis Dimitras kai tis Koris stin Eleysina. Dinei to mytho tis arpagis tis Persefonis, apo tin ora pou I kori mazeyei louloudia sto libadi, ligo prin arpaxthei apo ton theo tou Kato Kosmou, os tin ikanopoiitiki lysi sto telos(...) Sosta xaraktirisan to poiima ieri istoria tou eleysinikakou latreytikou xorou. Polla episodeia tis Dimitras sto palati tou Keleou epinoithikan gia na exigisoun os “aitia” orismenes leptomereies tis eleysinias latreias...”
Bibliografia generale sui Misteri Eleusini
a cura di Giorgio Samorini
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BATTEGAZZORE M. ANTONIO, 1977/78, Eraclito e il ciceone eleusino," Maia vol. 29/30, pp. 3-12.
BATTEGAZZORE M. ANTONIO, 1982, La "silente bevanda" della "parola" (a proposito di Marcovich e di una fatua quaestio eraclitea), Sandalion (Sassari, Sardinia), vol. 5, pp. 5-40.
BERG W., 1974, Eleusinian and Mediterranean Harvest Myths, Fabula, vol. 15, pp. 202-211.
BERNOCCO SECONDO, 1880, I misteri eleusini, Loescher, Torino, 128 pp.
BIANCHI UGO, Saggezza olimpica e mistica eleusina nell'Inno Omerico a Demetra, Studi e Materiali di Storia delle Religioni, vol. 35, pp. 161-193.
BOARDMAN J., 1975, Herakles, Peisistratus and Eleusis, Journal of Hellenic Studies, vol. 95, pp. 1-12.
BOYANCÉ PIERRE, 1962, Sur les mystčres d'Éleusis. A propos d'un livre récent, Revue d'Études Grecques, vol. 75, pp. 460-482.
BOYANCÉ P., 1975, Éleusis et Orphée, Revue d' Études Grecques, vol. 88, pp. 195-202.
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CHIRASSI-COLOMBO ILEANA, 1968, Elementi di culture precereali nei miti e riti greci, Edizioni dell'Ateneo, Roma, 212 pp.
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CLINTON K., 1988, Sacrifice at the Eleusinian Mysteries, in: R. Hägg, N. Marinatos & G.C. Nordquist (Eds.), Early Greek Cult Practice, Stockholm, pp. 69-80.
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NILSSON P. MARTIN, 1935, Die eleusinisichen Gottheiten, Archiv für Religionswissenschaft, vol. 32, pp. 79-141.
NILSSON P. MARTIN, Die eleusinischen Kulte der attischen Demen und das neue Sakralgestz aus Paiania, Eranos Jahrbuch, vol. 40, pp. 70-76.
NOAK FERDINAND, 1927, Eleusis, die baugeschichtliche Entwicklung des Heilgtumes, Walter de Gruyter & Co. Verlag, Berlin & Lepzig, 334 pp. + 44 Tafeln.
OLENDER M., 1985, Aspects de Baubô. Textes et contextes antiques, Revue d'Histoire des Religions, vol. 102, pp. 3-55.
OLIVIERI ALESSANDRO, 1930, Una scena dei Demi di Eupoli, Atti R. Accademia Archeologia, Lettere e Belle Arti, Napoli n.s., vol. 1, pp. 101-110.
OTTO W. FRIEDRICH, 1939, Der Sinn der eleusinischen Mysterien, Eranos Jahrbuch, vol. 7, pp. 99-106 (ristampato in italiano in: AA.VV. 1995. I culti misterici. Como, Red, pp. 9-33).
PADGUG R.A., 1972, Eleusis and the Union of Attika, Greek, Roman, Byzantine Studies, vol. 13, pp. 135-150.
PERSSON A., 1922, Der Ursprung der eleusinischen Mysterien, Archiv für Religionswissenschaft, vol. 21, pp. 287-309.
PESTALOZZA UGO, 1949, Ortaggi, frutti e paste nei Misteri Eleusini (a proposito di un passo trascurato del Protrepticňs di Clemente d'Alessandria), Rendiconti Istituto Lombardo, Cl. Lettere, Scienze Morali e Storiche, vol. 82, pp. 167-188.
PETTAZZONI RAFFAELE, 1924, I Misteri, Zanichelli, Bologna, 248 pp. (ristampa 1997, Cosenza, Lionello Giordano).
PICARD CHARLES, 1927, "L'épisode de Baubô dans les Mystčres d'Éleusis" Revue d'Histoire des Religions, vol. 95, pp. 220-255.
PICARD CHARLES, 1929, L'Éleusinisme et la disgrâce des Danaďdes, Revue d'Histoire des Religions, vol. 100, pp. 48-84.
PICARD CHARLES, 1931, Trois bas-reliefs "éleusiniennes", Bulletin Correspondance Héllenique, vol. 55, pp. 11-42.
PICARD CHARLES, 1933, Les Bűchers sacrés d'Éleusis, Revue d' Histoire des Religions, vol. 197, pp. 137-1564.
PICARD CHARLES, 1942, Les "deux déesses" et l'enfant divin ŕ l'époque minoenne, Revue Archéologique, vol. 20, pp. 83-86.
PICARD CHARLES, 1951, La patčre d'Aquileia et l'Éleusinisme a Rome aux débuts de l'époque impériale, Antiquitée Classique, vol. 20, pp. 351-381.
PICARD CHARLES, 1958, Le prétendu "baptčme d'initiation" éleusinien et le formulaire des mystčres des Deux-déesses, Revue Histoire Religions, vol. 154, pp. 129-145.
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"A tizedik napon Keleosz király és Metaneira királyné szolgálói találtak a fáradt idegen asszonynak vélt istennőre és az uralkodópár elé vezették, akik pedig megtették őt dajkának csecsemő gyermekük, Démophoón mellett. Borral kínálták, ám Démétér szívesebben fogadta azt a mentával ízesített árpalevet – kükeónt -, amelyet az öreg szolgáló, Baubó készített számára. (A Halálistennővel illetve a ???Bábakalács-Anyóval” azonosított nőalak vallástörténeti értelmezését lásd C.Picard: L’épisode de Baubo dans les Mystéres de’Eléusis, RHR 95.1927). Eközben a királyi pár sánta leánya, Iambé pajzán tréfákkal igyekezett megnevettetni a vendéget, utóbbi elemnek viszont a történet hangulati árnyalásának feladatán túlmutató ezoterikus jelentősége van. Világszerte elterjedt egyes rituális cselekvéssorozatokban a numinozitás kirobbanásig feszülésének lélektani csúcspontján obszcén, sértő vagy egyszerűen szándékosan profanizáló motívumok közbeiktatása: Hérodotosz (II.60.) közlése szerint a bubasztiszi Básztet ünnepén a Níluson hajózó nők ruhájukat emelgetve tárják fel a parton állók felé mezítelen nemiszervüket, táncolnak, zúgattyút forgatnak illetve sértéseket kiáltoznak az éppen a közelben lévő város asszonyaira; a Nagy Misztériumok alkalmával az Eleusziszba indulók Athén legtiszteletreméltóbb polgárairól szavaltak gúnyverseket és tágabb értelemben ugyanehhez a motívumkörhöz tartozik mind a Mardukot megszemélyesítő babilóni király arculütése és megalázása a babilóni akítu-ünnepen, mind a római triumphus ???respice post te, hominum te esse memento” hübriszhárító rítusa. A numinózus ???ünneprontás” metafizikája és metapszichológiája megérne egy teljes vallástörténeti elemzést, mi magunk mindenesetre feltételezzük, hogy az apotropaikus illetve termékenységvarázsló célnál mélyebb szerkezetű archetipikus jelenségnek tartható és valószínűsíthető eredete az aratási-és újévünnepek során a tüzek kioltásával, az erőszakoskodások és orgiák legalizálásával, a halottak visszatérésével rendszeresen felidézett primordiális differenciálatlanság iránti nosztalgia iniciatív jelentősége lehet. Visszatérve az eleusziszi mítoszhoz, Keleosz és Metaneira legidősebb fia, Abász azonban a kükeón misztériumának félreértésével tesz tanúbizonyságot tudatlanságáról, amelyről tudjuk, hogy egyenlő az egzisztenciális értelemben felfogott halállal, így az extatikus arckifejezéssel ivó Démétére gúnyos megjegyzéssel illető királyfit az Istennő egy megsemmisítő pillantásával azonnal gyíkká változtatja. Manerószhoz (akiről viszont előző fejezetünkben megállapítottuk, hogy a Linosz-Litüerszész-Hülasz-Adonisz archetípushoz tartozik) hasonlóan tehát Abász is az esszenciálisan szakrális illetve a lényegében profán találkozásából adódó ???kisülés” coincidentia oppositorumának áldozatává válik; sértése ugyanis metafizikailag más, mint Iambé iniciatív obszcenitása. Ám Démétér elszégyelli magát a királyfi visszavonhatatlan balsorsa miatt és elhatározza, hogy kárpótlásul fejedelmien ajándékozza meg a kis Démophoónt: a plutarkhoszi Ízisz-beszámolóból már ismert – számtalan sámánikus párhuzammal rendelkező – tűzvarázslattal akarja halhatatlanná tenni. A Gilgames-féle ???iniciatív kudarc” illetve az ősi eredetmagyarázó mítoszokban oly jellemző ???hogyan vesztette el az ember a halhatatlanságot”-történetek archetípusának megfelelően azonban a rémült királyné megszakítja a műveletet, a gyermek pedig azonnal meghal. A fotikus rítusok általi immortalizáció jól ismert jelenség misztérium-és extázistechnikákban, a beavatás csúcspontján az adeptusok gyakran fényeffektusokat tapasztalnak, illetve magasfokú hő felszabadulását érzik. Sztrabón (XV.1.73.) és Cassius Dio (LIV.9, 10.) forrásaiból ismerjük egy Zarmarosz vagy Zarmanokhegasz nevű bráhmana történetét, aki Augustus idején, Kr.e.20-ban kérte beavatását Eleusziszban, majd miután részt vett az epopteián, tűzbe lépve elhamvasztotta magát. Eliade feltételezi, hogy ???egyes müsztészeket elhamvasztottak azon a teraszon, ahol a templom Kr.e.1110-700 között állt”. Tény, hogy Keleosz királyt ettől kezdve nevezték – nyilván avatási nevén - Düszaulésznek, mivel két fiát kellett elsiratnia; a név az ún. orphikus verzióban is szerepel, amely szerint Düszaulész egy szegény parasztember volt, aki nyomorúságos viskóban élt feleségével, Baubóval (!), mivel Démétér még nem ismertette meg az emberiséggel a búzát. Az eleusziszi változat szerint az Istennő Abász és Démophoón tragédiája után az elkeseredett szülőknek megígéri, hogy Triptolemoszt, az egyik még életben maradt herceget a halhatatlansággal egyenértékű ajándékkal látja el. Ez a királyfi ugyanis szemtanúja volt Koré elrablásának bátyjaival, a juhász Eumolposszal és a már említett kondás Eubuleusszal együtt (vö. a ???pásztorok” misztériumkultuszokban világszerte jellegzetes ???hírvivő” szerepével). Mikor Démétér tudomást szerzett a gaztett körülményeiről, Hekaté kíséretében felkereste a mindent látó Hélioszt, aki bevallotta, hogy Hádész rabolta el Korét Zeusz hallgatólagos beleegyezésével. Démétér elhatározta, soha többé nem tér vissza az Olümposzra, a növényeknek pedig megtiltja, hogy növekedjenek és gyümölcsöt hozzanak. Az emberiséget az éhenhalás veszélye fenyegette, ezért Zeusz Irisszel majd Hermésszel megüzente Hádésznek Koré visszaadásának parancsát, Démétérnek pedig azt, hogy visszakapja leányát, ha az még nem evett a gránátalmából, a halottak eledeléből. E motívumnak - amely a ???Halál Almája” globálisan elterjedt archetipikus képzetköréhez tartozik – mitológiai alaprétege nem más, mint a primordiális-aranykori Hegy vagy Sziget, ahol az axis mundiként funkcionáló Világfán az individuális végzet szimbólumaként felfogott Gyümölcsök sarjadnak. Utóbbiak az ???örök ifjúság” illetve a ???halhatatlanság” ígérete mellett a halottakhoz tartozás, ebből adódóan pedig a belső látás, a Tudás misztériumának felidézésével is kecsegtetik az ebbe a szupraracionális világba kerülőket. A Halál Almája, mint a Halhatatlanság Almája nem jelent feloldhatatlan paradoxont, ahogyan az sem, hogy az elrejtett hüperboreikus Szigetet, ahol a csodálatos Fa áll, számos mítikus képzetrendszer a halottak lakóhelyével azonosítja, illetve az Alvilágba helyezi, ahol a Sziget aranykori királya a Halottak Uralkodójaként lép fel. Ezt a prototipikus jelenséget észleljük a ???messze Északon” elhelyezkedő Boldogok Szigete, a kelta Avallon (a nevet az ???Apollón” etimológiájával illetve az ???almát” jelentő kelta szóval hozzák kapcsolatba) és az egyiptomi Amenti esetében, ahol a Kezdetek mítikus őskirályai, Kronosz, Donn és Ozirisz uralkodnak. A titokzatos alma ott függ a Heszperiszek őrizte nyugati Sziget fáján, csakúgy, mint az iráni Voroukasa-tó szigetén álló Gaokerena-fán (Vidévdát XX.4.); a trobriandi melanézek szerint Tuma szigetén a halottak elöregedett bőrüket levetve erőtől duzzadó ifjakként örök gyönyörűségeket élvezve léteznek tovább (Malinowski:La vie sexuelle des savages du Nord-Ouest de la Mélanésie, 409.), a malakkai szemang pigmeusok szerint a csodás Belet-szigeten a halottak kemoittá válva fogyaszthatnak a primordiális Mapik-fa gyümölcséből (Skeat-Blagden: Pagan Races of the Malay Peninsula, II.207-231). Koré veszélyes gránátalmája szerepel a prehellén eredetű Héra és a kánaáni Astarté kezében csakúgy, mint a bibliai Tudás Fáján, ahol a hettita Hepat, a hurri Khubat és a hellén Hébé megfelelőjeként fellépő Minden Élők Anyja nyújtja át a kherubok lángpallosa által őrzött Nyugati Paradicsomba lépő őskirály szellemének. A helyi tradíció egyébként magát Eleusziszt is Elüszionnal, a Boldogok Birodalmával azonosította (A.B.Cook: Zeus, II.36.). Visszatérve a misztériumok eredetmagyarázó mítoszához, Hádész kertésze, Aszkalaphosz tanúsította, hogy Koré alvilági tartózkodása során már megevett hét gránátalmamagot, aminek következtében örök időkre a Homály szférájához kötötte egzisztenciáját. Démétéren erre még nagyobb szomorúság lett úrrá, s megesküdött, hogy nem fogja átka alól feloldozni a világot, Rheia Anya azonban rábeszélte, egyezzen bele a Zeusz által felkínált alkuba: Koré az év három hónapját a Tartaroszban tölti, mint Hádész felesége és az Alvilág Királynője, Perszephoné (???pusztulást hozó”), a fennmaradt kilencet pedig Démétérrel. Az Istennő erre végre megengedte a növényeknek, hogy sarjadjanak, ám mielőtt visszatért volna az Olümposzra, beavatta misztériumaiba Keleoszt, ennek fiait, Triptolemoszt és Eumolposzt valamint Pherai királyát, Dioklészt, az árulkodó Aszkalaphosz kertészt pedig belökte egy gödörbe, ahol egy szikla alá szorulva kínlódott, amíg Héraklész ki nem szabadította onnan, Démétér azonban rövid fülű bagollyá (aszkalaphosszá) változtatta. Triptolemosznak vetőmagot, faekét és egy kígyó vontatta szekeret ajándékozott, hogy megtaníthassa az emberiséget a földművelésre – ismét a misztériumok Istenének és Istennőjének kultúrhéroszi szerepkörével találkozunk, - Phütaloszra pedig az Attikában létfenntartó jelentőségű fügefanevelés tudományát bízta."
Bácsfi Diána
Bibliográfia
Aufstieg und Niedergang der Römischen Welt. Geschichte und Kultur Roms in Spiegel der Neueren Forschung. Herausgegeben von H.Temporini und W.Haase. Band II.17.1-21. Berlin-New York, 1986
M.Brillant: Les Mystéres d’Éleusis, Paris, 1920
W.Burkert: Homo Necans, Berlin, 1972
A.Dieterich: Mutter Erde, 1925
M.Eliade: Naissances mystiques. Essais sur quelques types d’initiation, Paris, 1959
M.Eliade: Histoire des croyances et des idées religieuses I., Paris, 1976
P.Foucart: Les Mystéres d’Éleusis, Paris, 1914
K.Kerényi: Eleusis: Archetypal Image of Mother and Daughter, London, 1967
O.Kern: Die griechische Mysterien der classischen Zeit, 1927
G.E.Mylonas: Eleusis and the Eleusinian Mysteries, Princeton, 1961
G.E.Mylonas: The Hymn to Demeter and her Sanctuary at Eleusis, St-Louis, 1942
M.P.Nilsson: Minoan-Mycenaean Religion and its Survival in Greek Religion, Lund, 1927
M.P.Nilsson: Greek Folk Religion, New York, 1940
A.D.Nock: Conversion. The Old and the New in Religion from Alexander the Great to Augustine of Hippo. Oxford, 1933
W.F.Otto: Der Sinn der eleusinischen Mysterien, Eranos-Jahrbuch 9, 1939
C.Picard: Les religions préhelléniques, Paris, 1948
M.Rostovtzeff: The Social and Economic History of the Hellenistic World. Vol.1-2. Oxford, Clarendon Press, 1986, 7th ed.
H.R.Willoughby: Pagan Regeneration. A Study of Mystery Initiation in the Graeco-
Roman World, Chicago, 1929
"Eltöltötte a tisztelet és a csodálat, a sápadt
Félelem is Metaneirát, és átadta a széket.
Csakhogy bőkezü Démétér, tavasz, ősz úrnője,
Nem volt hajlandó ragyogó székére leülni,
Állt csak hallgatagon, gyönyörű szemeit lesütötte;
Végre a gondos Iambé vitt oda egy faragott szép
széket, a székre ezüstös gyapjat vetve, eléje.
Arra leült és arca elé tartotta a fátylat,
Hallgatagon, hosszan bánkódva, a széken ekép ült
És senkit se köszöntött sem szóval, se jelekkel,
Ámde mosolytalan ült ott étlen-szomjan az úrnő,
Mert szépleplű leánya miatt vágyódva kesergett;
Végül a gondos Iambé volt, aki felviditotta,
Sok tréfájával s játékkal a szent istennőt,
És mosolyát, nevetését csalta ki, kedvrederítvén,
Mint ahogyan később is szokta csitítni haragját."
Démétérhez
"Széphaju Démétért, kegyes istennőt dalolom most,
Őt s széplábú leányát, kit Hádés ragadott el,
Mert neki adta a messzetekintő mennyköves isten.
Távol aranykardú, széptermésű anyjától
Játszott Ókeanos mélykeblű leányaival, szép
Csokrot gyűjtve: a rózsát, sáfrányt, szép violákat,
Ékes nőszirmot s jácintot a lágyfüvü réten
A nárciszt, mit cselből termett Hádés örömére
Gaia a széparcú lánynak, Zeus rendeletére;
Bámulatos fényben ragyogott a virág, az örökké
Élőknek s a halandóknak ránézni csodás volt,
Mert a virág gyökeréből száz bimbó feje sarjadt,
Édesen illatozott, nevetett az egész levegőég
És az egész föld is meg a tenger sósvizü habja.
Elbámult a leány s a kecses játékszer után nyúlt
Két karral - s a sokösvényű föld Nysa mezőjén
Megnyílt s ott termett a leánynál nagy Polydegmón
Isten, örök paripáin, soknevü sarja Kronosnak.
S vitte magával a védekező és sírva kiáltó
Lányt aranyos szekerén; éles hangon kiabált ő,
Apját híva, a legmagasabb Kronidést, a legelsőt.
Nem hallotta meg isten sem, sem földi halandó,
Hogy sikitott a leány, sem a dústermésü olajfák,
Csak barlangjából Persaios lánya, a gyengéd
Gondolatú Hekaté, kit fényes fátyola díszít,
S Hélios úr, Hyperíón fényes gyermeke volt, ki
Meghallotta az apját hívó lányt. De Kroníón
Távol a többi olymposiaktól ült nagyon ékes
Szentélyben s szép áldozatot fogadott el a néptől.
És a leányt, bár védekezett, Zeus rendeletére
Zeus testvére a nagy Polysémantór Polydegmón
Vitte örök paripáin, soknevű sarja Kronosnak.
Míg csak látta a földet az istennő, meg az égbolt
Csillagait s a halakkal telt habzóvizü tengert
És a napot, még addig hitte, hogy egykor látja
Anyját és az örökké élő isteni népet,
Bár búsult, a reménység elbűvölte a lelkét.
Zúgtak a hegycsúcsok meg a tenger mélye az éles
Isteni hangtól, s meghallá azt anyja, az úrnő.
Éles kín szoritotta szivét el s drága kezével
Ambrosziás fürtjén szétmarcangolta a fátylat,
Kék köpenyét mindkét válláról földrevetette
S úgy sietett el, mint a madár, kikutatni leányát
Tengeren és földön, s az igazságot neki meg nem
Mondta sem isten, sem rövidéletü földi halandó,
S biztos hírrel a jósmadarak közül egy se közelgett.
Hosszú kilenc napon át kószált a mezőkön az úrnő,
Déó, két lobogó fáklyát hordozva kezében.
Ambrósziát s édes nektárt nem ivott ezalatt, mert
Búba merült, s fürdővel sem hintette be testét.
Még hevesebb kín szállt a nagy istennő kebelébe,
Szörnyebb, s meggyűlölte sötétfelhős Kroniónt és
A nagy olymposi istengyűlést messzekerülve
Emberi városokat s szántókat látogatott meg
És elváltoztatta alakját hosszú időre,
Látva sem ismert rá egy férfi se, sem mélykeblű
Asszony, mígcsak a bölcs Keleos házába nem ért el;
Illatozó nagy Eleusisnek volt ő a királya,
Bánatosan kedves szívében az út közelében
Lányok kútjánál, hol a városi nők merítettek,
Árnyékos helyen ült egy olajfa tövében az úrnő,
Mint egy vénasszony, ki sosem szült gyermeket és kit
Meg nem ajándékoz koszorúszerető Aphrodité,
Mint kik dajkálják az igazságos fejedelmek
Gyermekeit, vagy visszhangzó házukra ügyelnek.
Lányai meglátták az eleusisi nagy Keleosnak,
Vízért jöttek, hogy miután könnyen meritik ki,
Érckorsóban az apjuk szép házába vigyék el,
Istennőkre hasonló négy viruló fiatal lány:
Kallidiké és Kleisidiké, meg a bájteli Démó
S Kallithoé a legelső. Nem tudták, ki az asszony;
Mert a halandónak nehezen tűnik fel az isten.
Mellé állva ekép szóltak szárnyas szavaikkal:
"Honnan jössz, te anyó, ki vagy a régenszületettek
Közt, mért mégy el a város mellett s nem közelítsz a
Házakhoz? Hol az éppen ilyenkorú asszonyok élnek
Árnyas termekben, meg a későbbszületettek,
Ők szóval s tettel segítőid lesznek ezentúl."
Így szóltak, s a nagy istennő így mondta a választ:
"Kedves gyermekeim, bárkik legyetek ti a nők közt,
Íme köszöntlek s közlök mindent, mert hiszen illik
Kérdéstekre a tiszta valót elmondani nektek.
Dós a nevem, mert édesanyám nevezett el eképen.
Most a vizek széles hátán érkeztem idáig
Krétából, kelletlenül: elhurcoltak erővel
Onnan a tengeri rablók. Ők azután Thorikosba
Értek fürge hajójukkal, hol a nők csapatostól
Léptek a szárazföldre s a rablók is velük együtt,
Majd a hajó orrán lakomát készíteni kezdtek;
Csakhogy nem vágyott édes lakomára a lelkem;
Én a sötét földön szép csendben fölkerekedtem
S elszöktem dölyfös gazdáim elől, nehogy aztán
Kit nem vettek meg, pénzért el is adjanak engem.
Így érkeztem e földre bolyongva, s nem tudom azt sem,
Hogy milyen ország ez s kik lakják ezt a vidéket.
Nektek az égilakók, kik olymposi házban időznek,
Hitvest adjanak és sok gyermeket, éppen olyant, mint
Kívánják a szülők, ó lányok, s szánjatok engem
És hogy megtudjam, mondjátok meg nekem azt is,
Kedveseim, ki fogadna be engem, hogy neki otthon
Házában szivesen dolgozzam, férfi, vagy asszony.
Mindent elvégzek, mi az ilyenkorú nő feladatja;
Kis csecsemő gyerekét szépen ringatva karomban
Dajkálnám, házára ügyelnék és nyoszolyáját
Megvetném jólépült háza zugában az úrnak
S oktatnám a cselédséget munkára a házban."
Eltöltötte a tisztelet és a csodálat, a sápadt
Félelem is Metaneirát, és átadta a széket.
Csakhogy bőkezü Démétér, tavasz, ősz úrnője,
Nem volt hajlandó ragyogó székére leülni,
Állt csak hallgatagon, gyönyörű szemeit lesütötte;
Végre a gondos Iambé vitt oda egy faragott szép
széket, a székre ezüstös gyapjat vetve, eléje.
Arra leült és arca elé tartotta a fátylat,
Hallgatagon, hosszan bánkódva, a széken ekép ült
És senkit se köszöntött sem szóval, se jelekkel,
Ámde mosolytalan ült ott étlen-szomjan az úrnő,
Mert szépleplű leánya miatt vágyódva kesergett;
Végül a gondos Iambé volt, aki felviditotta,
Sok tréfájával s játékkal a szent istennőt,
És mosolyát, nevetését csalta ki, kedvrederítvén,
Mint ahogyan később is szokta csitítni haragját.
Majd Metaneira adott neki édes bort a szinigtelt
Csészében, hanem ő ki nem itta, mivel neki - így szólt -
Nem szabad inni vörösbort; kérte, hogy összekeverve
Adjon lágy mentát, vizet és lisztet s Metaneira
Összevegyítvén adta, ahogy rendelte az úrnő,
S ezt átvette a nagy Déó, italáldozatául.
Köztük először ekép szólt szépleplű Metaneira:
"Üdvözlégy, asszony, nem származhatsz te silánytól,
Csak nemes őstől, mert a szemedben látszik a kellem
S méltóság, az igazságos fejedelmek erénye.
Ám mindazt, mit az istenek adnak, földi halandók
Tűrjük, bár kínlódva, nyakunkat nyomja igájuk.
Most, miután idejöttél, úgy fogsz élni, ahogy mi.
Dajkáld gyermekemet, kit későn adtak az égből,
Hisz már nem vártam, s akiért annyit könyörögtem.
Ezt a fiút ha te fölneveled, míg ifju legény lesz,
Rádnézvén irigyelhet téged mindegyik asszony,
Munkádért oly nagy fizetést fogok adni tenéked."
Néki felelve ekép szólt szépkoszorús Démétér:
"Üdvözlégy te is, asszony, az istenek adjanak üdvöt;
Gyermekedet mint kívánod, szívesen nevelem föl
Keblemen, és dajkája hibájából, fogadom, hogy
Nem fog néki varázsfű ártani, vagy megigézés,
Mert a Farontónál sokkal jobb szert tudok én és
Ártalmas megigézés ellen drága varázsszert."
Szólt, s a fiúcskát illatozó kebelére ölelte
Isteni karjával, s megörült szívében az anyja.
Így ő Démophoónt, Keleos ragyogó gyerekét, kit
Szépleplű Metaneira hozott a világra, nevelte
Termeiben; s a fiú mint isten nőtt a kezében.
Mert nem evett ételt, nem táplálták anyatejjel,
Nappal a szépkoszorús Démétér ambrósziával
Kente meg őt, minthogyha egy isten gyermeke volna,
Rájalehelt édes szájjal s őrizte a keblén,
Éjszaka meg tűzben tartotta, akárcsak a fáklyát;
Anyjának s apjának meg nem mondta; csodásan
S gyorsan nőtt és mint egy olymposi, éppen olyan lett.
És bizony így lett volna örökké ifjú a gyermek,
Hogyha a szépleplű Metaneira az éj folyamán nem
Leskelt volna be illatozó hálóterméből
Balgatagon; s felsírt, mindkét combjára ütött, mert
Aggódott a fiáért s elbúsult szive mélyén;
Följajdulva kesergett és szárnyas szavakat szólt:
"Gyermekem, ó jaj, tűzbe merít meg téged az asszony,
Démophoónom, s gyászbaborít engem, siralomba."
Így szólt jajszóval; hallotta az isteni úrnő,
Szépkoszorús Démétér s megharagudva, a féltett
Kis csecsemőt, kit túl a reményen szültek a házban,
Isteni kézzel lángokból kiragadva, a földre
Dobta magától, rettentően őrjöngve szivében,
Szépleplű Metaneirához szólt nyomban eképen:
"Ó ti halandók, balgák vagytok s esztelenek, mert
Nem látjátok a jó sorsot, sem a rosszat előre;
Most is balgatagon mit tettél? Búbamerülhetsz.
Istenek esküvevője, a Styx szomorú vize hallja,
Hogy fiad istenné vált volna, örök fiatallá
Általam és tisztelték volna a földön örökké,
S most nincs mód, hogy a Kéreket és a halált kikerülje;
Ám tisztelni örökké fogják mégis, amiért én
Térden tartottam s a karomban aludta az álmát.
Fölserdül, miután körben fordulnak az évek,
És az eleusisiak majd akkor küzdeni fognak
Egymással minden napon át örökös hadizajban.
Én ama tisztelt Démétér vagyok, isteni nép és
Földi halandók legkegyesb nagy megsegitője.
Rajta tehát, építsen nagy szentélyt s vele oltárt
Nékem egész néped meredek falnál, hol a város
Végződik, dombháton, a Kallichoron közelében.
S megtanitom szertartásomra a népet, azért, hogy
Jól végezve, kiengesztelhessétek a szívem.
És a nagy istennőhöz egész éjjel könyörögtek,
Rettegtek sápadtan; alig ragyogott fel a hajnal,
Mindent őszintén elmondtak erős Keleosnak,
Mit csak istennő rendelt, koszorús Démétér.
Ő az egész népet gyűlésbe hívatta azonnal,
Elrendelte: a széphaju Démétérnek a szentélyt
Épitsék föl az oltárral, hol a dombra visz ösvény.
Meghallotta a nép s rögtön végezte parancsát,
Épített nagyban. S a gyerek, mint isten, aként nőtt.
És amikor befejezték, elvégezve a munkát,
Mindegyikük hazament. De a szőkehajú Démétér
Ott ült messze, magában, a boldog olymposiaktól,
Egyhelyben, szépleplű leánya után keseregve.
Szörnyű esztendőt támasztott akkor a mindent
Tápláló földön, rettentőt: a gabonának
Szépkoszorús Démétér elrejtette vetését;
Görbe ekéket hasztalanul vonszoltak az ökrök,
Hasztalanul hullt földbe az árpavetés, a fehérlő.
S elpusztítja talán gyökerestől az emberi fajtát
Gyötrő éhséggel s megfosztja az áldozatoktól
És az ajándéktól az olymposi ház urait mind,
Hogyha a nagy Zeus nem veszi észre s meg nem előzi.
Ő az aranyszárnyú Írist küldötte először:
Széphajú, szépalakú Démétért hívja közéjük.
Így szólt Zeus, a sötétfelhős Kronión; a parancsra
Íris a távolságot gyorsan szelte keresztül,
Szentélyébe az illatozó városnak elért és
Démétért, a sötétköpenyűt, ott ülve találta,
És megszólította ekép, szárnyas szavakat szólt:
"Démétér, az örökké bölcs Zeus hív haza téged,
Hogy jőjj már az örökkéélő isteni néphez.
Rajta tehát, a szavam Zeustól jön, kárba ne vesszen."
Így kérlelte, de szívét meg nem győzte szavával.
Akkor a boldog olymposi népet sorban egyenként
Küldte le Zeus; egymást felváltva siettek a földre,
Hívták őt, sok drága ajándékot fölajánlva
És oly tiszteletet köztük, mit majd maga választ.
Senki se volt képes megváltoztatni a tervét,
Oly haragos volt, visszavetette keményen a szót is
És azt mondta, hogy addig az illatozó nagy Olympost
Meg nem nézi s a földből nem sarjasztja a termést,
Míg széparcú leányát meg nem látja szemével.
Meghallotta a messzetekintő mennydörgő Zeus
És elküldte aranyvesszőjű Argeiphontést
Mély Erebosba, hogy ott Hádést meggyőzze hizelgő
Szókkal, a szent lányt, Persephoneiát éji homályból
Hozza a napfényre s hozzájuk föl, hogy az anyja
Megláthassa szemével s szűnjék meg haragudni.
Kedves kislányát karjában tartva az úrnő,
Cselt sejtett a szivében, rögtön, félt iszonyúan
És szünetet tartván a becézésben, kérdezte:
"Ettél-e valamit, kislányom, vagy nem, amíg lent
Voltál, mondd meg, mindketten hadd tudjuk a titkot.
Mert, ha nem, akkor visszajöhetsz te a gyűlöletestől,
Vélem s édesapád, a sötétfelhőjü Kroníón
Mellett itt élhetsz, tisztelve az égilakóktól;
Ámde, ha ettél, újra le kell menned, le a mélybe
S egyharmadrészt töltesz az évből éji homályban,
Kettőt mellettem, meg a többi nagy égilakókkal.
És ha a föld kivirul jóillatu tarka virággal
Szép tavaszon, feljössz akkor te az éji homályból
És a nagy égilakók s a halandók újra csodálnak.
Mondd, mily csellel csalt le magához erős Polydegmón?
Persephoné, a nagyon szép, választ adva ekép szólt:
"Édesanyám, semmit sem hallgatok el teelőtted:
Hogy Hermés, a szerencsehozó, gyors hírnök, apámtól
Jött, Kronidéstől, tőle s a többi nagy égilakótól
S kért: Erebosból jöjjek föl, hogy láss a szemeddel
S fölhagyj szörnyü haraggal, dühhel az égiek ellen,
Rögtön örömmel pattantam föl, csakhogy a férjem
Édes gránátalmamagot tett titkon a számba
S kényszeritett rá, hogy nyeljem le, pedig nem akartam,
Most elmondom: apám, Kronidés bölcs terve szerint mint
Hurcolt el s mint vitt le a föld mélyébe magával,
Úgy, ahogyan kérdeztél sorban, mindre felelve.
Mindnyájan játszottunk akkor a szépfüvü réten,
Leukippé, Phainó, vele Élektré meg Ianthé,
Kalliroé, Melité, Iaché és véle Rhodeia,
Mélobosis, Tyché s a virágarc, Ókyroé is,
Khryséis s Ianeira, Akastéé, Admété is,
Plútó és Rhodopé, vágy ébresztője Kalypsó,
Drága Galaxauré, vele Styx és Úranié is,
És nyilas Artemis és Pallas, csata serkentője,
Játszottunk s a kezünkkel téptük a drága virágot,
Szép sáfrányt, jácintot s nőszirmot, vele együtt
Bimbózó rózsát liliommal, látni csodás volt,
S nárciszt, mely sáfránysárgán nőtt akkor a széles
Földből; nyúltam utána örömmel, a föld pedig ekkor
Megnyílt s ott termett a hatalmas nagy Polydegmón,
Megragadott s hurcolt aranyos szekeren le a földbe,
Bár ellenkeztem s éles hangon kiabáltam,
Hát igy történt, bánatosan közlöm veled ezt mind."
Akkor az istennők az egész napon át egyetértőn
Egymás szívét és lelkét hosszan viditották,
Egymást általölelve; a sóhajok abbamaradtak.
És a kapott örömöt mindkettőjük viszonozta.
Aztán hozzájuk ragyogófátylas Hekaté jött
S Démétér szent lányát többször is általölelte;
Ettől kezdve kiséri s jár vele mindig az úrnő.
Hozzájuk követet küldött el a messzetekintő
Mennydörgő Zeus, szépfürtű Rheiát: vigye vissza
Démétért, a sötétköpenyűt hozzájuk; amit csak
Választ köztük, a tiszteletet megigérte előre.
Elrendelte: a körbefutó évből a leány csak
Egyharmadrészt töltsön a ködlő éji homályban,
Kettőt anyjánál meg a többi nagy égilakónál.
Így szólt. Nem vonakodva fogadta szivébe az úrnő
Zeus üzenetjét és az Olymposról lesietve
Ráros síkságára szaladt; termő búzaföld volt
Az nemrég, de bizony nem termett most, hanem árván
És leveletlen nyúlt el, mert a fehér gabonát a
Széplábú Démétér elrejtette. De ettől
Kezdve megint hullámozhat sok hosszú kalásza,
Hogyha tavasz jön, lent a barázdák telve lehetnek
Terméssel s kévékbe lehet majd kötni kalászuk.
Ott ért földre először a meddő nagy levegőből.
Egymást boldog örömmel látja a két istennő.
S akkor ekép szólalt meg a fényesfátyolú Rheia:
"Jőjj, lányom, hisz a messzetekintő mennydörgő Zeus
Hív el az isteni néphez s mind megigérte, amit csak
El nem enyészők közt választasz a tiszteletedre,
S elrendelte: a körbefutó évből a leány csak
Egyharmadrészt töltsön a ködlő éji homályban
És kettőt nálad meg a többi nagy égilakónál.
Mondta, hogy így lesz és bólintott rá a fejével,
Jőjj hát, lányom, tedd meg, amit mond és ne neheztelj
Annyira féktelenül a sötétfelhős Kroniónra.
S életadó termést sarjassz föl a földilakóknak."
Szólt, és szépkoszorús Démétér nem vonakodva,
Dús szántóföldön termést érlelt meg azonnal
És az egész széles föld megtelt a drága virággal
És levelekkel. S ő elment az igaz vezetőkhöz:
Gyorsparipájú Diokléshez meg Triptolemoshoz,
Eumolposhoz, a nép vezetőjéhez: Keleoshoz,
És föltárta a szent szertartást mindegyiküknek.
Triptolemosnak, a város többi urának is éppúgy,
Melyről nem szabad ejteni szót, se pedig tudakolni,
Sem terjeszteni, mert nem tűri a szent hit a hangot.
Boldog a földi halandók közt, aki látta e titkot,
Ámde ki nem részes szent titkában, sohasem lesz
Íly boldog még holta után sem az éji homályban.
És miután mindent megmondott nékik az úrnő,
Ment az olymposi isteni néphez lánya is, ő is.
Ott élnek villámszerető Zeus oldala mellett,
Kedvesek és szentek; boldog nagyon az, kit ez úrnők
Jóakarón kedvelnek a földi halandó népből;
Annak a házához vendégül küldik azonnal
Plútost, őt, ki a földilakóknak kincseit adja.
Most pedig, illatozó nagy Eleusis népe fölött ki
Állsz és vízövezett Paroson, sziklás Antrónban
Úrnő vagy, tavasz és ősz asszonya, bőkezü Déó,
Nyujts te is és lányod, gyönyörűszép Persephoneia
Énekemért kegyesen sok szívviditó eleséget;
Énekelek mást is, de fogok még zengeni rólad
Searched all Perseus collections for "ai)sxrologi/a" 10 results
Aristotle, Nicomachean Ethics (ed. J. Bywater) bekker page 1128a, bekker line 20
Other versions: ed. H. Rackham, in English
tois men gar ęn geloion hę aischrologia, tois de mallon hę huponoia: (8.61)
Polybius, Histories book 8, chapter 11, section 8
Other versions: in English
pros de tęn kata tôn philôn aischrologian ouk an oimai dunęthęnai logon auton apodounai, sunchôręsai de dioti polu ti parepese tou kathękontos. (6.18)
New Testament (eds. Brooke Foss Westcott, Fenton John Anthony Hort) book Colossians, chapter 3, verse 7
Other versions: ed. Rainbow Missions, Inc., in English; ed. Saint Jerome, in Latin
nuni de apothesthe kai humeis ta panta, orgęn, thumon, kakian, blasphęmian, aischrologian ek tou stomatos humôn: (5.26)
Polybius, Histories book 12, chapter 13, section 3
Other versions: in English
ho d' hina pistos phanęi kata tęn aischrologian kai tęn holęn anaischuntian, kai proskatepseustai tandros, kômikon tina martura prosepispasamenos anônumon. (3.38)
Xenophon, Minor Works div1 Const. Lac., chapter 5, section 6
Other versions: in English
hôst' ekei hękista men hubrin, hękista de paroinian, hękista de aischrourgian kai aischrologian engignesthai. (3.12)
Epictetus, Works enc, chapter 33
Other versions: ed. George Long, in English; ed. Thomas Wentworth Higginson, in English
episphales de kai to eis aischrologian proelthein. (3.00)
Epictetus, Works disc, book 4, chapter 3
Other versions: ed. George Long, in English; ed. Thomas Wentworth Higginson, in English
oud' anti onou hippon, oud' anti probatou boun, oud' anti kermatos praxin kalęn, oud' anti psuchrologias hęsuchian hoian dei, oud' anti aischrologias aidô. (2.88)
Aristotle, Politics section 1336b
Other versions: in English
holôs men oun aischrologian ek tęs poleôs, hôsper allo ti, dei ton nomothetęn exorizein (ek tou gar eucherôs legein hotioun tôn aischrôn ginetai kai to poiein sunengus): (2.66)
Polybius, Histories book 31, chapter 6, section 3
Other versions: in English
meta de tauta paragenętheis autos eis tas Sardeis, apokathisas en tôi gumnasiôi peri dech' hęmeras diękoue tôn katęgorountôn, pasan epidechomenos aischrologian kai loidorian kata tou basileôs kai katholou pan helkôn pragma kai katęgorian, hate parestękôs anthrôpos tęi dianoiai kai philodoxôn en tęi pros Eumenęn diaphorai. (1.93)
Chrest.Wilck.: Grundzüge und Chrestomathie der Papyruskunde document 382
para Auręliou Sara[piônos .c 11 apo]
kômęs Philadelphias [g]r?[a]m?mat[ .c 13 ]
męnos Mesorę epagomenôn [.c 8] mou eis tous
gamous en tęi oikiai tęs hęmetera[s] a?d?[e]l?ph?ę?s? ouk oid' hopôs
Arios huios Agammônos apo tęs autęs kôm[ęs] Philadel-
phias kairotęręsamenos me exerchomenon e?p?i? [Ker]-
k?esôrous ek tęs oikias eboulęthę epeleusin moi poię-
sasthai meta xiphous echôn meth' heautou kai allous
tinas, hous dunęsetai hupobalein kai dunantai
hoi archephodoi tęs kômęs marturęsai kai hoi oi-
kountes en tęi oikiai, kai epelthôn pollas ai[s]chro-
logias eis prosôpon mou exeipôn. (1.58)
Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898)
I
Iambé
(Iambê). A Thracian servant-maid of Metanira, wife of Celeus, king of Eleusis, who succeeded by her tricks and jests in making Demeter (q.v.) smile when the goddess was full of distress at the loss of her daughter ( Apollod.i.5.1). She was the daughter of Pan and Echo. From Iambé, the metrical foot known as the iambus (˘¯) gets its name, as being light and adapted to playful themes. Such, at any rate, was the tradition, but the story of Iambé is of probably later date than the nomenclature of the verse.
Apollodorus, Library and Epitome (ed. Sir James George Frazer) book 1, chapter 5, section 1
Other versions: ed. Sir James George Frazer, in English
kai prôton men epi tęn ap' ekeinęs klętheisan Agelaston ekathise petran para to Kallichoron phrear kaloumenon, epeita pros Keleon elthousa ton basileuonta tote Eleusiniôn, endon ousôn gunaikôn, kai legousôn toutôn par' hautas kathezesthai, graia tis Iambę skôpsasa tęn theon epoięse meidiasai. (7.75)
Homeric Hymns (ed. Hugh G. Evelyn-White) card 184
Other versions: ed. Hugh G. Evelyn-White, in English
dęron d' aphthongos tetięmenę hęst' epi diphrou,
oude tin' out' epeď prosptusseto oute ti ergôi,
all' agelastos, apastos edętuos ęde potętos
hęsto pothôi minuthousa bathuzônoio thugatros,
prin g' hote dę chleuęis min Iambę kedn' eiduia
polla paraskôptous' etrepsato potnian hagnęn,
meidęsai gelasai te kai hilaon schein thumon:
(7.75)
Homeric Hymns (ed. Hugh G. Evelyn-White) card 184
Other versions: ed. Hugh G. Evelyn-White, in English
all' ou Dęmętęr hôręphoros, aglaodôros,
ęthelen hedriaasthai epi klismoio phaeinou,
all' akeous' anemimne kat' ommata kala balousa,
prin g' hote dę hoi ethęken Iambę kedn' eiduia
pękton hedos, kathuperthe d' ep' argupheon bale kôas.
(7.45)
Homeric Hymns (ed. Hugh G. Evelyn-White)
Eis Dęmętran
Editions and translations: Greek (ed. Hugh G. Evelyn-White) | English (ed. Hugh G. Evelyn-White)
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aipsa de dômath' hikonto diotrepheos Keleoio,
185
ban de di' aithousęs, entha sphisi potnia mętęr
hęsto para stathmon tegeos* puka poiętoio
paid' hupo kolpôi echousa, neon thalos: hai de par autęn
edramon: hę d' ar' ep' oudon ebę posi kai rha melathrou
kure karę*, plęsen de thuras selaos theioio.
190
tęn d' aidôs te sebas te ide chlôron deos heilen:
eixe de hoi klismoio* kai hedriaasthai anôgen.
all' ou Dęmętęr hôręphoros, aglaodôros,
ęthelen hedriaasthai epi klismoio phaeinou*,
all' akeous' anemimne kat' ommata kala balousa,
195
prin g' hote dę hoi ethęken Iambę* kedn' eiduia
pękton hedos, kathuperthe d' ep' argupheon bale kôas.
entha kathezomenę prokatescheto chersi kaluptręn:
dęron d' aphthongos tetięmenę hęst' epi diphrou,
oude tin' out' epeď prosptusseto oute ti ergôi,
200
all' agelastos, apastos* edętuos ęde potętos
hęsto pothôi minuthousa bathuzônoio thugatros,
prin g' hote dę chleuęis min Iambę kedn' eiduia
polla paraskôptous' etrepsato potnian hagnęn,
meidęsai gelasai te kai hilaon schein thumon*:
205
hę dę hoi kai epeita methusteron euaden orgais*.
tęi de depas Metaneira didou meliędeos oinou
plęsas': hę d' aneneus': ou gar themiton* hoi ephaske
pinein oinon eruthron: anôge d' ar' alphi kai hudôr
dounai mixasan piemen glęchôni tereinęi.
210
hę de kukeô teuxasa theai poren, hôs ekeleue:
dexamenę d' hosięs heneken* polupotnia Dęô
... tęisi de muthôn ęrchen euzônos Metaneira:
--------------------------------------------------------------------------------
There are a total of 27 comments on and cross references to this page.
Further comments from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
line 183: theas
line 187: huPo
line 189 (general note)
line 194 (general note)
line 199 (general note)
line 200: aGelastos
line 208 (general note)
line 211: Polupotnia
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [SECOND CENTURY A.D.]
* [SECOND CENTURY A.D.]
* [BIBLIOGRAPHY]
* [HYMN TO APOLLO]
* [HYMN TO HERMES]
* [HYMN TO APHRODITE]
* [HYMN TO APHRODITE]
* [HYMN TO APHRODITE]
* [HYMN TO APHRODITE]
* [BIBLIOGRAPHY]
Cross references from William Watson Goodwin, Syntax of the Moods and Tenses of the Greek Verb:
636 [prin with the Indicative.]
636 [prin with the Indicative.]
--------------------------------------------------------------------------------
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This text is based on the following book(s):
Anonymous. The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White. Homeric Hymns. Cambridge, MA.,Harvard University Press; London, William Heinemann Ltd. 1914.
OCLC: 41785942
ISBN: 0674990633
====
Homeric Hymns (ed. Hugh G. Evelyn-White)
To Demeter
Editions and translations: Greek (ed. Hugh G. Evelyn-White) | English (ed. Hugh G. Evelyn-White)
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Soon they came to the house of heaven-nurtured Celeus [185] and went through the portico to where their queenly mother sat by a pillar of the close-fitted roof, holding her son, a tender scion, in her bosom. And the girls ran to her. But the goddess walked to the threshold: and her head reached the roof and she filled the doorway with a heavenly radiance. [190] Then awe and reverence and pale fear took hold of Metaneira, and she rose up from her couch before Demeter, and bade her be seated. But Demeter, bringer of seasons and giver of perfect gifts, would not sit upon the bright couch, but stayed silent with lovely eyes cast down [195] until careful Iambe placed a jointed seat for her and threw over it a silvery fleece. Then she sat down and held her veil in her hands before her face. A long time she sat upon the stool1 without speaking because of her sorrow, and greeted no one by word or by sign, but rested, [200] never smiling, and tasting neither food nor drink, because she pined with longing for her deep-bosomed daughter, until careful Iambe --who pleased her moods in aftertime also --moved the holy lady with many a quip and jest to smile and laugh and cheer her heart. [205] Then Metaneira filled a cup with sweet wine and offered it to her; but she refused it, for she said it was not lawful for her to drink red wine, but bade them mix meal and water with soft mint and give her to drink. [210] And Metaneira mixed the draught and gave it to the goddess as she bade. So the great queen Deo received it to observe the sacrament2 ...
And of them all, well-girded Metaneira first began to speak:
1 Demeter chooses the lowlier seat, supposedly as being more suitable to her assumed condition, but really because in her sorrow she refuses all comforts.
2 An act of communion --the drinking of the potion (kukeôn) here described --was one of the most important pieces of ritual in the Eleusinian mysteries, as commemorating the sorrows of the goddess.
--------------------------------------------------------------------------------
There are a total of 4 comments on and cross references to this page.
Further comments from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
line 195: Iambę
line 200: aGelastos
line 200: apastos
line 205: orgais
Cross references from William Watson Goodwin, Syntax of the Moods and Tenses of the Greek Verb:
636 [prin with the Indicative.]
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=HH+2+184
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Anonymous. The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White. Homeric Hymns. Cambridge, MA.,Harvard University Press; London, William Heinemann Ltd. 1914.
OCLC: 41785942
ISBN: 0674990633
Apollodorus, Library and Epitome (ed. Sir James George Frazer)
Editions and translations: Greek (ed. Sir James George Frazer) | English (ed. Sir James George Frazer)
V. Pluto fell in love with Persephone and with the help of Zeus carried her off secretly.1 But Demeter went about seeking her all over the earth with torches by night and day, and learning from the people of Hermion that Pluto had carried her off,2 [p. 37] she was wroth with the gods and quitted heaven, and came in the likeness of a woman to Eleusis. And first she sat down on the rock which has been named Laughless after her, beside what is called the Well of the Fair Dances3 ; thereupon she made her way to Celeus, who at that time reigned over the Eleusinians. Some women were in the house, and when they bade her sit down beside them, a certain old crone, Iambe, joked the goddess and made her smile.4 For that reason they say that the women break jests at the Thesmophoria.5
But Metanira, wife of Celeus, had a child and Demeter received it to nurse, and wishing to make it immortal she set the babe of nights on the fire and stripped off its mortal flesh. But as Demophon -- for [p. 39] that was the child's name-- grew marvelously by day, Praxithea watched, and discovering him buried in the fire she cried out; wherefore the babe was consumed by the fire and the goddess revealed herself.6
1 This account of the rape of Persephone and Demeter's quest of her is based on the Homeric Hymn to Demeter. The opening passage, including the explanation of the Laughless Stone, is quoted verbally by Zenobius, (Cent. i.7) and the Scholiast on Aristoph. Kn. 785, but without mention of their authority. For other accounts of the rape of Persephone and Demeter's quest of her, see Diod. 5.4.1-3, Diod. 5.68.2; Cicero, In Verrem, Act. 2. lib. 4, cap. 48; Ovid, Fasti iv.419ff.; Ov. Met. 5.346ff.; Hyginus, Fab. 146; Lactantius Placidus on Statius, v.347; Scriptores rerum mythicarum Latini, ed. Bode, i. pp. 106-108 (Second Vatican Mythographer 93-100). All these writers agree in mentioning Sicily as the scene of the rape of Persephone; Cicero and Ovid identify the place with Enna (Henna), of which Cicero gives a vivid description. The author of the Homeric Hymn to Demeter says (HH Dem. 16ff.) that the earth yawned “in the Nysian plain,” but whether this was a real or a mythical place is doubtful. See T. W. Allen and E. E. Sikes, The Homeric Hymns, p. 4 (on Hymn i.8). It was probably the luxuriant fertility of Sicily, and particularly the abundance of its corn, which led later writers to place the scene of the rape in that island. In Ovid's version of the visit of Demeter to Eleusis (Ovid, Fasti iv.507ff.), Celeus is not the king of the place but a poor old peasant, who receives the disguised goddess in his humble cottage.
2 This visit paid by the mourning Demeter to Hermion, when she was searching for the lost Persephone, is not mentioned by the author of the Homeric Hymn to Demeter, nor, so far as I know, by any other ancient writer except Zenobius, Cent. i.7 and the Scholiast on Aristoph. Kn. 785, both of whom, however, merely copied Apollodorus without naming him. But compare Paus. 2.35.4-8, who mentions the sanctuary of Subterranean Demeter at Hermion, and describes the curious sacrificial ritual observed at it. At Hermion there was a chasm which was supposed to communicate with the infernal regions, and through which Herakles was said to have dragged up Cerberus (Paus. 2.35.10). The statement of Apollodorus in the present passage suggests that according to local tradition Pluto dragged down his bride to hell through the same chasm. So convinced were the good people of Hermion that they possessed a private entrance to the nether regions that they very thriftily abstained from the usual Greek practice of placing money in the mouths of their dead (Strab. 9.6.12). Apparently they thought that it would be a waste of money to pay Charon for ferrying them across to hell when they could get there for nothing from their own backdoor.
3 Compare HH Dem. 98ff., who says that Demeter, sad at heart, sat down by the wayside at the Maiden's Well, under the shadow of an olive tree. Later in the poem (HH. Dem. 270ff. Demeter directs the people of Eleusis to build her a temple and altar “above Callichorum“--that is, the Well of the Fair Dances. Apollodorus identifies the well beside which Demeter sat down with the Well of the Fair Dances. But from Paus. 1.38.6 we learn that the two wells were different and situated at some distance from each other, the Well of the Fair Dances being close to the Sanctuary of Demeter, and the Maiden's Well, or the Flowery Well, as Pausanias calls it, being outside Eleusis, on the road to Megara. In the course of the modern excavation of the sanctuary at Eleusis, the Well of the Fair Dances was discovered just outside the portal of the sacred precinct. It is carefully built of polygonal stones, and the mouth is surrounded by concentric circles, round which the women of Eleusis probably tripped in the dance. See Praktika tęs Archaiologikęs Hetairias, Athens, 1892, pp. 33ff. In antiquity solemn oaths were sworn by the water of the well (Alciphron iii.69).
4 As to the jesting of the old woman with Demeter, see HH Dem. 194-206; Scholiast on Nicander, Alex. 130, who calls Demeter's host Hippothoon, son of Poseidon.
5 The jests seem to have been obscene in form (Diod. 5.4.6), but they were probably serious in intention; for at the Thesmophoria rites were performed to ensure the fertility of the fields, and the lewd words of the women may have been thought to quicken the seed by sympathetic magic. See Scholia in Lucianum, ed. H. Rabe (Leipsig, 1906), pp. 275ff.; Spirits of the Corn and of the Wild, i.62ff., 116, ii.17ff.
6 See Frazer's Appendix to Apollodorus, “Putting Children on the Fire.”
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
Cross references from Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898):
iambe [Iambé]
Preferred URL for linking to this page: http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=Apollod.+1.5.1
This text is based on the following book(s):
Apollodorus. Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Includes Frazer's notes.
OCLC: 28280131
ISBN: 0674991354, 0674991362
=====
Apollodorus, Library and Epitome (ed. Sir James George Frazer)
Editions and translations: Greek (ed. Sir James George Frazer) | English (ed. Sir James George Frazer)
V. Ploutôn de Persephonęs erastheis Dios sunergountos hęrpasen autęn krupha. Dęmętęr de meta lampadôn nuktos te kai hęmeras kata pasan tęn gęn zętousa perięiei: mathousa de par' Hermioneôn hoti Ploutôn autęn hęrpasen, [p. 36] orgizomenę theois katelipen ouranon, eikastheisa de gunaiki hęken eis Eleusina. kai prôton men epi tęn ap' ekeinęs klętheisan Agelaston ekathise petran para to Kallichoron phrear kaloumenon, epeita pros Keleon elthousa ton basileuonta tote Eleusiniôn, endon ousôn gunaikôn, kai legousôn toutôn par' hautas kathezesthai, graia tis Iambę skôpsasa tęn theon epoięse meidiasai. dia touto en tois thesmophoriois tas gunaikas skôptein legousin.
ontos de tęi tou Keleou gunaiki Metaneirai paidiou, touto etrephen hę Dęmętęr paralabousa: boulomenę de auto athanaton poięsai, tas nuktas eis pur katetithei to brephos kai perięirei tas thnętas sarkas autou. kath' hęmeran de paradoxôs auxanomenou tou Dęmophôntos touto gar ęn [p. 38] onoma tôi paidi epetęręsen hę Praxithea, kai katalabousa eis pur enkekrummenon aneboęse: dioper to men brephos hupo tou puros anęlôthę, hę thea de hautęn exephęne.
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
* [HYMN TO DEMETER]
Cross references from Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898):
iambe [Iambé]
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=Apollod.+1.5.1
This text is based on the following book(s):
Apollodorus. Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Includes Frazer's notes.
OCLC: 28280131
ISBN: 0674991354, 0674991362
Homeric Hymns (ed. Hugh G. Evelyn-White)
To Demeter
Editions and translations: Greek (ed. Hugh G. Evelyn-White) | English (ed. Hugh G. Evelyn-White)
Soon they came to the house of heaven-nurtured Celeus [185] and went through the portico to where their queenly mother sat by a pillar of the close-fitted roof, holding her son, a tender scion, in her bosom. And the girls ran to her. But the goddess walked to the threshold: and her head reached the roof and she filled the doorway with a heavenly radiance. [190] Then awe and reverence and pale fear took hold of Metaneira, and she rose up from her couch before Demeter, and bade her be seated. But Demeter, bringer of seasons and giver of perfect gifts, would not sit upon the bright couch, but stayed silent with lovely eyes cast down [195] until careful Iambe placed a jointed seat for her and threw over it a silvery fleece. Then she sat down and held her veil in her hands before her face. A long time she sat upon the stool1 without speaking because of her sorrow, and greeted no one by word or by sign, but rested, [200] never smiling, and tasting neither food nor drink, because she pined with longing for her deep-bosomed daughter, until careful Iambe --who pleased her moods in aftertime also --moved the holy lady with many a quip and jest to smile and laugh and cheer her heart. [205] Then Metaneira filled a cup with sweet wine and offered it to her; but she refused it, for she said it was not lawful for her to drink red wine, but bade them mix meal and water with soft mint and give her to drink. [210] And Metaneira mixed the draught and gave it to the goddess as she bade. So the great queen Deo received it to observe the sacrament2 ...
And of them all, well-girded Metaneira first began to speak:
======
Homeric Hymns (ed. Hugh G. Evelyn-White)
Eis Dęmętran
Editions and translations: Greek (ed. Hugh G. Evelyn-White) | English (ed. Hugh G. Evelyn-White)
aipsa de dômath' hikonto diotrepheos Keleoio,
185
ban de di' aithousęs, entha sphisi potnia mętęr
hęsto para stathmon tegeos* puka poiętoio
paid' hupo kolpôi echousa, neon thalos: hai de par autęn
edramon: hę d' ar' ep' oudon ebę posi kai rha melathrou
kure karę*, plęsen de thuras selaos theioio.
190
tęn d' aidôs te sebas te ide chlôron deos heilen:
eixe de hoi klismoio* kai hedriaasthai anôgen.
all' ou Dęmętęr hôręphoros, aglaodôros,
ęthelen hedriaasthai epi klismoio phaeinou*,
all' akeous' anemimne kat' ommata kala balousa,
195
prin g' hote dę hoi ethęken Iambę* kedn' eiduia
pękton hedos, kathuperthe d' ep' argupheon bale kôas.
entha kathezomenę prokatescheto chersi kaluptręn:
dęron d' aphthongos tetięmenę hęst' epi diphrou,
oude tin' out' epeď prosptusseto oute ti ergôi,
200
all' agelastos, apastos* edętuos ęde potętos
hęsto pothôi minuthousa bathuzônoio thugatros,
prin g' hote dę chleuęis min Iambę kedn' eiduia
polla paraskôptous' etrepsato potnian hagnęn,
meidęsai gelasai te kai hilaon schein thumon*:
205
hę dę hoi kai epeita methusteron euaden orgais*.
tęi de depas Metaneira didou meliędeos oinou
plęsas': hę d' aneneus': ou gar themiton* hoi ephaske
pinein oinon eruthron: anôge d' ar' alphi kai hudôr
dounai mixasan piemen glęchôni tereinęi.
210
hę de kukeô teuxasa theai poren, hôs ekeleue:
dexamenę d' hosięs heneken* polupotnia Dęô
... tęisi de muthôn ęrchen euzônos Metaneira:
--------------------------------------------------------------------------------
There are a total of 27 comments on and cross references to this page.
Further comments from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
line 183: theas
line 187: huPo
line 189 (general note)
line 194 (general note)
line 199 (general note)
line 200: aGelastos
line 208 (general note)
line 211: Polupotnia
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [SECOND CENTURY A.D.]
* [SECOND CENTURY A.D.]
* [BIBLIOGRAPHY]
* [HYMN TO APOLLO]
* [HYMN TO HERMES]
* [HYMN TO APHRODITE]
* [HYMN TO APHRODITE]
* [HYMN TO APHRODITE]
* [HYMN TO APHRODITE]
* [BIBLIOGRAPHY]
Cross references from William Watson Goodwin, Syntax of the Moods and Tenses of the Greek Verb:
636 [prin with the Indicative.]
636 [prin with the Indicative.]
Preferred URL for linking to this page: http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=HH+2+184
This text is based on the following book(s):
Anonymous. The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White. Homeric Hymns. Cambridge, MA.,Harvard University Press; London, William Heinemann Ltd. 1914.
OCLC: 41785942
ISBN: 0674990633
