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The Hymn to Hermes, while surely the most amusing of the so-called Homeric Hymns, also presents an array of challenging problems. In just 580 lines, the newborn god invents the lyre and sings a hymn to himself, travels from Cyllene to Pieria to steal Apollo´s cattle, organizes a feast at the river Alpheios where he serves the meat of two of the stolen animals, cunningly defends his innocence, and is finally reconciled to Apollo, to whom he gives the lyre in exchange for the cattle. This book provides the first detailed commentary devoted specifically to this unusual poem since Radermacher´s 1931 edition. The commentary pays special attention to linguistic, philological, and interpretive matters. It is preceded by a detailed introduction that addresses the Hymn´s ideas on poetry and music, the poem´s humour, the Hymn´s relation to other archaic hexameter literature both in thematic and technical aspects, the poem´s reception in later literature, its structure, the issue of its date and place of composition, and the question of its transmission. The critical text, based on F. Càssola´s edition, is equipped with an apparatus of formulaic parallels in archaic hexameter poetry as well as possible verbal echoes in later literature.

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An essential step in learning and using any language is the acquisition of a working vocabulary. Many methods have been devised to help with this acquisition, all of them stressing the fundamental importance of mastering the words most frequently used. The Owen and Goodspeed word-lists—in which Homeric terms are arranged according to frequency of usage, divided into categories according to parts of speech, and presented in an easy-to-use format—are particularly helpful.The word-lists are based in part upon Gehring’s famed Index Homericus and are designed to help the student learn Homeric words in a systematic way, thereby marking the reading of Homer a rewarding and natural experience.

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In 1882, D.B. Munro wrote that "a new Grammar of the Homeric dialect is sorely wanted". Monro's 2nd edition (1891), long out of print, is presented here in full, providing a comprehensive account of Homeric Greek grammar.

For many years, Homeric Greek has been a standard textbook for first-year Greek courses in college and preparatory schools. It offers students the exciting experience of learning to read a Homeric poem in the original language, while introducing them to the fundamentals of ancient Greek. This fourth edition addresses the needs of today’s teachers and students, while retaining those elements of the original book responsible for its longevity. Written and subsequently revised by Clyde Pharr, Homeric Greek was further revised by John Wright in 1985. Paula Debnar has revised the book once again by significantly expanding the introductory material in its first forty lessons. Notable features of this new edition include: · Clear definitions of grammatical terms and explanations of forms and syntax · Easy-to-read charts of grammatical paradigms · A new reference map of the Aegean region, including sites mentioned in the first book of the Iliad · An index of the book’s section on grammar · A larger, more attractive format for the entire text, including more legible Greek characters Ideally suited for classroom use but also accessible to independent learners, this fourth edition of Homeric Greek ensures continued life for a book that has stood the test of time.

Shipped from UK, please allow 10 to 21 business days for arrival. 1st PB Edition, Thames and Hudson 1979. Thick Royal 8vo. vii + 310pp. Very good clean tight sound square, no bookplate, small discreet inscription, no further marks of any kind. In very good laminated paperback with one very gentle crease to upper. 'A moving, scholarly and philosophical approach. I do not think that we shall ever look at a Greek statue or a vase painting with quite the same eye after reading it, for that eye will have been opened and will perceive what the artist really meant, what the vision was bneath the archaic smile.' Cyril Connolly, Sunday Times.

The Homeric Hymns have survived for two and a half millennia because of their captivating stories, beautiful language, and religious significance. Well before the advent of writing in Greece, they were performed by traveling bards at religious events, competitions, banquets, and festivals. Thirty-four poems that invoke and celebrate the gods of ancient Greece, the Homeric Hymns raise questions that humanity still struggles with—questions about our place among others and in the world."Homeric" because they were composed in the same meter, dialect, and style as Homer's Iliad and Odyssey, these "hymns" were created to be sung aloud. In this superb translation by Diane Rayor, which deftly combines accuracy and poetry, the ancient music of the hymns comes alive for the modern reader. Here is the birth of Apollo, god of prophecy, healing, and music and founder of Delphi, the most famous oracular shrine in ancient Greece. Here is Zeus, inflicting upon Aphrodite her own mighty power to cause gods to mate with humans, and here is Demeter rescuing her daughter Persephone from the underworld and initiating the rites of the Eleusinian Mysteries.With her introduction and notes, Rayor places the hymns in their historical and aesthetic context, providing all the information needed to read, interpret, and fully appreciate these literary windows on an ancient world. As introductions to the Greek gods, entrancing stories, exquisite poetry, and early literary records of key religious rituals and sites, The Homeric Hymns should be read by any student of mythology, classical literature, ancient religion, women in antiquity, or the Greek language.

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In a follow-up to his previous Homeric studies, noted classicist Paolo Vivante explores Homer's verse, highlighting rhythm rather than metre. Rhythmical qualities, he argues, constitute the force of the verse―for example, in the way the words take position and in the way each pause hints suspense, producing an immediate sense of time. Vivante's main concern is not with the techniques or rules of the verse-composition, but more philosophically with verse itself as a fundamental form of human expression. This study will be of interest to both students and scholars.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

A rich source for students of Greek mythology and literature, the Homeric hymns are also fine poetry. Attributed by the ancients to Homer, these prooimia, or preludes, were actually composed over centuries and used by poets to prepare for the singing or recitation of longer portions of the Homeric epics. In his acclaimed translations of the hymns, Apostolos Athanassakis preserves the essential simplicity of the original Greek, offering a straightforward, line-by-line translation that makes no attempts to masquerade or modernize. For this long-awaited new edition, Athanassakis enhances his classic work with a comprehensive index, careful and selective changes in the translations themselves, and numerous additions to the notes which will enrich the reader's experience of these ancient and influential poems.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Unread book in perfect condition.

Unread book in perfect condition.

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The study of Homeric imitations in Vergil has one of the longest traditions in Western culture, starting from the very moment the Aeneid was circulated. Homeric Effects in Vergil's Narrative is the first English translation of one of the most important and influential modern studies in this tradition. In this revised and expanded edition, Alessandro Barchiesi advances innovative approaches even as he recuperates significant earlier interpretations, from Servius to G. N. Knauer.Approaching Homeric allusions in the Aeneid as "narrative effects" rather than glimpses of the creative mind of the author at work, Homeric Effects in Vergil's Narrative demonstrates how these allusions generate hesitations and questions, as well as insights and guidance, and how they participate in the creation of narrative meaning. The book also examines how layers of competing interpretations in Homer are relevant to the Aeneid, revealing again the richness of the Homeric tradition as a component of meaning in the Aeneid. Finally, Homeric Effects in Vergil's Narrative goes beyond previous studies of the Aeneid by distinguishing between two forms of Homeric intertextuality: reusing a text as an individual model or as a generic matrix.For this edition, a new chapter has been added, and in a new afterword the author puts the book in the context of changes in the study of Latin literature and intertextuality.A masterful work of classical scholarship, Homeric Effects in Vergil's Narrative also has valuable insights for the wider study of imitation, allusion, intertextuality, epic, and literary theory.

Autenrieth's "Homeric Dictionary" has long been the best and most complete student's guide to the language and antiquities of Homer. All the 9,000 words used in the "Iliad" and "Odyssey" are listed with their grammatical forms. The illustrations depict details of life, from warfare and navigation to houses, costume and sacrificial rites. Everything needed for a basic understanding of the Homeric poems is provided in the briefest possible compass.

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The Iliad came into existence to be heard from start to finish. While this is generally accepted in theory, the poem has not been properly studied in light of what this means in practice. Many connections, which are not obvious when the poem is read, become prominent if it is approached as an oral and aural creation, particularly if the poem is divided into three segments, probably a product of three night-long sessions of performance. This book contends that the shapings that these soundings, or sample explorations, bring into focus extend from details of wording and theme to the entire moral, religious, and political significance of the Iliad.