Agamemnon led a ten-year-long struggle at Troy only to return home and die a pathetic death at his wife’s hands. Yet while Agamemnon’s story exerts an outsize influence—rivalled by few epic personalities—on the poetic narratives of the Iliad and Odyssey, scholars have not adequately considered his full portrait. What was Agamemnon like as a character for Homer and his audience? More fundamentally, how should we approach the topic of characterization itself, following the discoveries of Milman Parry, Albert Lord, and their successors?

Andrew Porter explains the expression of characterization in Homer’s works, from an oral-traditional point of view, and through the resonance of words, themes, and “back stories” from both the past and future. He analyzes Agamemnon’s character traits in the Iliad, including his qualities as a leader, against events such as his tragic homecoming narrative in the Odyssey. Porter’s findings demonstrate that there is a traditional depth of characterization embedded in the written pages of these once-oral epics, providing a shared connection between the ancient singer and his listeners.

Homer’s Iliad and Odyssey have fascinated listeners and readers for over twenty-five centuries. In this volume of original essays, collected to honor the distinguished career of Emily T. Vermeule, thirty-four leading experts in Homeric studies and related fields provide up-to-date, multidisciplinary accounts of the most current issues in the study of Homer.

The book is divided into three sections. The first section treats the Bronze Age setting of the poems (around 1200 B.C.), using archaeological evidence to reveal how poetic memory preserves, distorts, and invents the past. The second section explores the early Iron Age, in which the poems were written (c. 800-500 B.C.), using the strategies of comparative philology and mythology, literary theory, historical linguistics, anthropology, and iconography to determine how the poems took shape. The final section traces the use of Homer for literary and artistic inspiration by classical Greece and Rome.

In the early 1140s, the Bavarian princess Bertha von Sulzbach arrived in Constantinople to marry the Byzantine emperor Manuel Komnenos. Wanting to learn more about her new homeland, the future empress Eirene commissioned the grammarian Ioannes Tzetzes to compose a version of the Iliad as an introduction to Greek literature and culture. He drafted a lengthy dodecasyllable poem in twenty-four books, reflecting the divisions of the Iliad, that combined summaries of the events of the siege of Troy with allegorical interpretations. To make the Iliad relevant to his Christian audience, Tzetzes reinterpreted the pagan gods from various allegorical perspectives. As historical allegory (or euhemerism), the gods are simply ancient kings erroneously deified by the pagan poet; as astrological allegory, they become planets whose position and movement affect human life; as moral allegory Athena represents wisdom, Aphrodite desire.

As a didactic explanation of pagan ancient Greek culture to Orthodox Christians, the work is deeply rooted in the mid-twelfth-century circumstances of the cosmopolitan Comnenian court. As a critical reworking of the Iliad, it must also be seen as part of the millennia-long and increasingly global tradition of Homeric adaptation.

Homer’s Iliad and Odyssey were central to the educational system of Byzantium, yet the religion and culture of the Homeric epics—even the ancient Greek language itself—had become almost unrecognizable to Byzantine Greek readers coming to the texts nearly two millennia later. The scholar, poet, and teacher John Tzetzes (ca. 1110–1180) joined the extensive tradition of interpreting Homer by producing his Allegories of the Iliad, dedicated to the foreign-born empress Eirene. Tzetzes later composed the Allegories of the Odyssey, a more advanced verse commentary, to explain Odysseus’s journey and the pagan gods and marvels he encountered. Through historical allegory, the gods become ancient kings deified by the pagan poet; through astrological interpretation, they become planets whose positions and movements affect human life; through moral allegory Athena represents wisdom, Aphrodite desire. This edition presents the first translation of the Allegories of the Odyssey into any language.

Modern Homeric scholarship is distinguished by a dazzling diversity of approaches. That diversity is brilliantly displayed in this volume, in which nine well-known classicists approach the Homeric poems from the various perspectives of archaeology, economic history, philosophy, literary criticism, linguistics, and Byzantine history.

Several essays are primarily concerned with what the Homeric poems teach us about the past. Richard Hope Simpson, for example, reviews the controversy sparked by his and John F. Lazenby's 1970 argument that the Catalogue of Ships in the Iliad accurately reflects the geography of Mycenean Greece. Using archaeology as just one of his starting points, Gregory Nagy reflects upon the death and funeral of Sarpedon as described in the Iliad. Our understanding of the word áté is enhanced by E. D. Francis, who closely examines its prehistory.

Norman Austin's elegant and original discussion of tone in the Odyssey's Cyclops tale is animated by both psychoanalytic theory and his work with two practitioners of optometric visual training. Writing of Odysseus, James M. Redfield dubs that hero "the economic man" and links certain tensions in the Odyssey to the actual economic concerns of Greece in the late eighth century BC. Both Ann L. T. Bergren and Mabel L. Lang concern themselves with problems of narrative in the Homeric epics.

Like Hope Simpson, C. J. Rowe updates a controversy—in this instance, the many objections raised to Arthur Adkins' influential 1960 study of moral values in Homer. Gareth Morgan provides a fascinating glimpse of the Homeric scholarship of another day by focusing on the work of the astonishing John Tzetzes in twelfth-century Byzantium.

This volume brings together Seth Benardete’s studies of Hesiod, Homer, and Greek tragedy, eleven Platonic dialogues, and Aristotle’s Metaphysics.

The Argument of the Action spans four decades of Seth Benardete’s work, documenting its impressive range. Benardete’s philosophic reading of the poets and his poetic reading of the philosophers share a common ground, guided by the key he found in the Platonic dialogue: probing the meaning of speeches embedded in deeds, he uncovers the unifying intention of the work by tracing the way it unfolds through a movement of its own. Benardete’s original interpretations of the classics are the fruit of this discovery of the “argument of the action.”

The Art of Reading is the first—long overdue—collection of essays by the French classical philologist and humanist Jean Bollack to be published in English. As the scope of the collection demonstrates, Bollack felt at home thinking in depth about two things that seem starkly different to most other thinkers. We see on the one hand the classics of Greek poetry and philosophy, including the relatively obscure but in his hands illuminating re-readings of Greek philosophy by the doxographers. Then, on the other hand, there is modern, including contemporary, poetry. The author of monumental commentaries on the Oedipus Tyrannos of Sophocles and on the fragments of Empedocles, Bollack cultivated in himself and in a generation of students (academics and others) a way to read both sets of texts closely that is as uncompromising and demanding of the interpreter as it is of the reader of the interpretation. The results, which this wide-ranging but compact collection brings to mind, are designed to get beyond flat and clichéd approaches to familiar works and to awaken the reader anew to the aesthetics, the complexity, and the intelligence that careful reconstruction of the text can bring to light.

Audible Punctuation focuses on the pause in Homer’s Iliad and Odyssey, both as a compositional feature and as a performative aspect of delivery, arguing for the possibilities and limits of expressing phrases in performance. Ronald Blankenborg’s analysis of metrical, rhythmical, syntactical, and phonological phrasing shows that the text of the Homeric epic allows for different options for performative pause—a phonetic phenomenon evidenced by phonology.

From the ubiquitous compositional pauses in sense and metrical surface structure, Audible Punctuation selects the pauses that, under specific phonetic circumstances, double as rests of some duration during a performance. In this way, Blankenborg identifies those places in the verses that a performer of Homeric poetry was most likely to have used as opportunities to pause. The distribution of pauses over Homer’s hexameters proves to be irregular and unpredictable because phonological phrases and grammatical clauses differ considerably in the way they terminate. The mismatch of prosodic and other levels of phrasing draws attention to the need to reassess stylistic issues, notably enjambment.

At the distant beginning of Western civilization, according to European tradition, Greece stands as an insular, isolated, near-miracle of burgeoning culture. This book traverses the ancient world’s three great centers of cultural exchange—Babylonian Nineveh, Egyptian Memphis, and Iranian Persepolis—to situate classical Greece in its proper historical place, at the Western margin of a more comprehensive Near Eastern–Aegean cultural community that emerged in the Bronze Age and expanded westward in the first millennium B.C.

In concise and inviting fashion, Walter Burkert lays out the essential evidence for this ongoing reinterpretation of Greek culture. In particular, he points to the critical role of the development of writing in the ancient Near East, from the achievement of cuneiform in the Bronze Age to the rise of the alphabet after 1000 B.C. From the invention and diffusion of alphabetic writing, a series of cultural encounters between “Oriental” and Greek followed. Burkert details how the Assyrian influences of Phoenician and Anatolian intermediaries, the emerging fascination with Egypt, and the Persian conquests in Ionia make themselves felt in the poetry of Homer and his gods, in the mythic foundations of Greek cults, and in the first steps toward philosophy. A journey through the fluid borderlines of the Near East and Europe, with new and shifting perspectives on the cultural exchanges these produced, this book offers a clear view of the multicultural field upon which the Greek heritage that formed Western civilization first appeared.

Much as an ancient hymnist carries a familiar subject into new directions of song, the contributors to A Californian Hymn to Homer draw upon Homeric scholarship as inspiration for pursuing new ways of looking at texts, both within the Homeric tradition and outside it. This set of seven original essays, accompanied by a new translation of the Homeric “Hymn to Apollo,” considers topics that transcend traditional generic distinctions between epic and lyric, choral and individual, performed and literary. Treating subjects ranging from Aeschylus’ reception of Homeric anger to the representation of mantic performance within Early Islamic texts, the collection presents a selection of imaginative critical work done on the West Coast by scholars of antiquity.

Nalin Ranasinghe undertakes the monumentally brash assignment of accusing man and then offering his defense, precisely as Homer does of Odysseus in the Iliad. Odysseus is portrayed as a human being deserving of both. For this reason and Homer’s perceptive descriptions, Ranasinghe claims Homer’s epic is the cornerstone of Western civilization. The central insights herein compel Ranasinghe to admit the necessity of heeding its lessons today, of minding its characters and seeing them in action off the page and in our own world.

Predrag Cicovacki in his indispensable preface to the book, elucidates: “In Ranasinghe’s view, Odysseus is both the first recognizable human being and a model of curious and concupiscent human rationality that constantly strives toward the virtues of self-knowledge and moderation. Homer leads us to believe that the cosmos leans toward virtue, although its fundamental truths may be inherently unspeakable. This is the line of thought that Ranasinghe believes was further developed by Socrates, Plato, and Jesus, while being obscured by Aristotle, Augustine, and their followers. Homer’s later epic and his central insights are, according to Ranasinghe, the most fertile soil on which a humane civilization can grow and flourish.” 

Yet Ranasinghe ultimately says it best. “Homer must be read as the wisest Greeks did, not for fantastic tales of the Olympians but because his myths reveal eternal constants of the human state: the soul’s ruling passions and the possibility of knowing and educating these false gods. Wrestled with thus the Iliad becomes a cautionary tale, not one urging literal reading or mindless mimesis. It may always be that for the few who grasp Homer, many more will obey his gods or imitate his antiheroes; but the Odyssey hints that while its poet sees this potential for misuse, he is willing to take a noble risk and hope that eros can listen to and educate thumos. This faith is implicit in his tale of Achilles and the Trojan War. It is vital today that we see how the West’s end resembles its angry origins, as depicted in the Iliad. This is why Homer is said to be as fresh as the morning newspaper. His wisdom may outlive our literacy.” 

Ancient scholarship had many faces, but most have faded away over time. Demetrios of Scepsis is one of the more shadowy of these lost figures, best known for his commentary on the Trojan Catalogue in Book 2 of the Iliad. Alexandra Trachsel’s work represents the first treatment dedicated to Demetrios of Scepsis in over a century. Because of the incomplete transmission of Demetrios’s work, Trachsel necessarily focuses on the way later readers understood the ancient author’s engagement with the Homeric text. Indeed, modern scholars have access to Demetrios’s analysis of the Trojan Catalogue only through their readings.

Trachsel’s work offers a thorough analysis of the ancient and modern reactions to Demetrios’s research into the Homeric text and the Trojan landscape, and it revisits the ongoing debate about the setting for Homer’s Trojan poem. Trachsel also provides new evidence about the impressively wide range of other topics Demetrios’s work may have contained.

Eve of the Festival is a study of Homeric myth-making in the first and longest dialogue of Penelope and Odysseus (Odyssey 19). This study makes a case for seeing virtuoso myth-making as an essential part of this conversation, a register of communication important for the interaction between the two speakers. At the core of the book is a detailed examination of several myths in the dialogue in an attempt to understand what is being said and how. The dialogue as a whole is interpreted as an exchange of performances that have the eve of Apollo’s festival as their occasion and that amount to activating, and even enacting, the myth corresponding within the Odyssey to the ritual event of the festival.

What do we mean by “space” in the Iliad? The aim of this book is to offer a systematic and comprehensive presentation of the different types and functions of space in the earliest work of Greek literature. By adopting a twofold division between simple and embedded story space, the former pertaining to the actions of characters and the latter to their thoughts, Christos Tsagalis shows how character drawing and authority are deeply influenced by active spatial representation.

Similes and descriptive passages, in which space looms large, are also viewed in a new light as the author explores the relation between space designated in the similes and in the corresponding action of the main narrative. Given the importance in cognitive theory of the role of memory in an oral medium such as epic song, the book analyzes Homeric modes of visual memory, implicit knowledge, and mnemonic formats in order to better understand the composition and presentation of descriptive and ekphrastic passages, with special emphasis on the numerous prized objects and the monumental shield of Achilles.

In this book, Eric Havelock presents a challenging account of the development of the idea of justice in early Greece, and particularly of the way justice changed as Greek oral tradition gradually gave way to the written word in a literate society.

He begins by examining the educational functions of poets in preliterate Greece, showing how they conserved and transmitted the traditions of society, a thesis adumbrated in his earlier book Preface to Plato. Homer, he demonstrates, has much to say about justice, but since that idea is nowhere in the epics directly stated or expressed, it must be deduced from the speech and actions of the characters. Havelock’s careful reading of the Iliad and the Odyssey is original and revealing; it sheds light both on Homeric notions of justice and on the Archaic Greek society depicted in the poems.

As Havelock continues his inquiry from Hesiod to Aeschylus, his findings become more complex. The oral Greek world shades into a literate one. Words lose some kinds of meanings, gain others, and steadily become more suited to the conceptualization that Plato strove for and achieved. This evolution of language itself, Havelock shows, was one of the principal accomplishments of the Greek world.

Lucidly written and forcefully argued, this book is a major contribution to our knowledge of ancient Greece—its politics, philosophy, and literature, from Homer to Plato.

This book is about the Homeric figure Nestor. This study is important because it reveals a level of deliberate irony in the Homeric poems that has hitherto not been suspected, and because Nestor’s role in the poems, which is built on this irony, is a key to the circumstances of the poems’ composition.

Nestor’s stories about the past, especially his own youth, often lack purpose on the surface of the poems, but with a slight shift of focus they provide a deep commentary on the present action of both poems. Nestor’s Homeric epithet, hippota, “the horseman,” permits the necessary refocus. The combination of epithet and name, hippota Nestor, has Indo-European roots, as a comparison with Vedic Sanskrit shows. Interpreted in the context of the Indo-European twin myth, Nestor’s role clearly points beyond itself to the key question in Homeric studies: the circumstances of the poems’ composition.

Nestor has a special relation to Ionia, where the Homeric poems were composed, and through Ionia to early Athens. The relationship between the Ionian city of Miletus and early Athens is particularly important. In addition to the role of these cities, the location of Nestor’s city Pylos, an ancient conundrum, is sharply illuminated by this new interpretation of Nestor’s Homeric role.

Bernard Fenik analyzes the style of the Iliad and the Nibelungenlied, showing how the narratives work. In the process he sheds new light on the artistry of ancient and medieval epics. This in turn touches on the long-debated question of whether and to what extent they were orally composed.

In the Homeric poems, medieval German epics, and the Chanson de Roland, Fenik finds similarities in the shaping of episodes and scenes. His analysis of narrative structures reveals controlled composition even where the language is heavily formulaic and the action highly stylized. This level of artistic control does not in itself rule out oral composition but does force a redefinition of the terms in which that theory is applied.

Before they were written down, the poems attributed to Homer were performed orally, usually by rhapsodes (singers/reciters) who might have traveled from city to city or enjoyed a position in a wealthy household. Even after the Iliad and the Odyssey were committed to writing, rhapsodes performed the poems at festivals, often competing against each other. As they recited the epics, the rhapsodes spoke as both the narrator and the characters. These different acts—performing the poem and narrating and speaking in character within it—are seldom studied in tandem. Homer in Performance breaks new ground by bringing together all of the speakers involved in the performance of Homeric poetry: rhapsodes, narrators, and characters.

The first part of the book presents a detailed history of the rhapsodic performance of Homeric epic from the Archaic to the Roman Imperial periods and explores how performers might have shaped the poems. The second part investigates the Homeric narrators and characters as speakers and illuminates their interactions. The contributors include scholars versed in epigraphy, the history of art, linguistics, and performance studies, as well as those capable of working with sources from the ancient Near East and from modern Russia. This interdisciplinary approach makes the volume useful to a spectrum of readers, from undergraduates to veteran professors, in disciplines ranging from classical studies to folklore.

Homer the Classic is about the reception of Homeric poetry from the fifth through the first century BCE. The study of this reception is important for understanding not only the all-pervasive literary influence of ancient Greek epic traditions but also the various ways in which these traditions were used by individuals and states to promote their own cultural and political agenda. The aim of this book, which centers on ancient concepts of Homer as the author of a body of poetry that we know as the Iliad and the Odyssey, is not to reassess the oral poetic heritage of Homeric poetry but to show how it became a classic in the days of the Athenian empire and later.

This volume is one of two books stemming from six Sather Classical Lectures given in the spring semester of 2002 at the University of California at Berkeley while the author was teaching there as the Sather Professor.

The story of our ongoing fascination with Homer, the man and the myth.
 
Homer, the great poet of the Iliad and the Odyssey, is revered as a cultural icon of antiquity and a figure of lasting influence. But his identity is shrouded in questions about who he was, when he lived, and whether he was an actual person, a myth, or merely a shared idea. Rather than attempting to solve the mystery of this character, James I. Porter explores the sources of Homer’s mystique and their impact since the first recorded mentions of Homer in ancient Greece.
 
Homer: The Very Idea considers Homer not as a man, but as a cultural invention nearly as distinctive and important as the poems attributed to him, following the cultural history of an idea and of the obsession that is reborn every time Homer is imagined. Offering novel readings of texts and objects, the book follows the very idea of Homer from his earliest mentions to his most recent imaginings in literature, criticism, philosophy, visual art, and classical archaeology.
 

Homer's stories of Troy are part of the foundations of Western culture. What's less well known is that they also inspired Ottoman-Turkish cultural traditions. Yet even with all the historical and archaeological research into Homer and Troy, most scholars today rely heavily on Western sources, giving Ottoman work in the field short shrift. This book helps right that balance, exploring Ottoman-Turkish involvement and interest in the subject between 1870, when Heinrich Schliemann began his excavations in search of Troy on Ottoman soil, and the battle of Gallipoli in 1915, which gave the Turks their own version of the heroic epic of Troy.

Homeric Conversation is the first full-length study of conversation in the Homeric poems. Deborah Beck argues that conversation should be considered a traditional Homeric type scene, alongside recognized types such as arrival, sacrifice, battle, and hospitality. Drawing on both linguistics and previous work on type scenes and oral aesthetics, the book describes the typical conversational patterns that characterize a range of situations, including one-on-one conversation, formal assemblies, battlefield encounters, and laments. Departures from these typical patterns for conversation provide the basis for a wide-ranging, closely argued aesthetic analysis of repetition and variation in the Homeric epics.

The Iliad defines its poetic goal as preserving the kleos aphthiton, “fame unwithered,” (IX.413) of its hero, Achilles. But how are we to understand the status of the “unwithered” in the Iliad?

In Homeric Durability, Lorenzo F. Garcia, Jr., investigates the concept of time and temporality in Homeric epic by studying the semantics of “durability” and “decay”: namely, the ability of an entity to withstand the effects of time, and its eventual disintegration. Such objects—the ships of the Achaeans, the bodies of the dead, the walls of the Greeks and Trojans, and the tombs of the dead—all exist within time and possess a demonstrable “durability.” Even the gods themselves are temporal beings. Through a framework informed by phenomenology, psychology, and psychopathology, Garcia examines the temporal experience of Homer’s gods and argues that in moments of pain, sorrow, and shame, Homeric gods come to experience human temporality. If the gods themselves are defined by human temporal experience, Garcia argues, the epic tradition cannot but imagine its own temporal durability as limited: hence, one should understand kleos aphthiton as fame which has not yet decayed, rather than fame which will not decay.

Invocations, curiosities, and biographies connected with the famous Greek bard.

Performances of Greek epics customarily began with a hymn to a god or goddess—as Hesiod's Theogony and Works and Days do. A collection of thirty-three such poems has come down to us from antiquity under the title “Hymns of Homer.” This Loeb Classical Library volume contains, in addition to the Hymns, fragments of five comic poems that were connected with Homer’s name in or just after the Classical period (but are not today believed to be by the author of the Iliad and the Odyssey). Here too is a collection of ancient accounts of the poet’s life.

The Hymns range widely in length: two are over 500 lines long; several run only a half dozen lines. Among the longest are the hymn to Demeter, which tells the foundational story of the Eleusinian Mysteries; and to Hermes, distinctive in being amusing. The comic poems gathered as Homeric Apocrypha include Margites, the Battle of Frogs and Mice, and, for the first time in English, a fragment of a perhaps earlier poem of the same type called Battle of the Weasel and the Mice. The edition of Lives of Homer contains The Contest of Homer and Hesiod and nine other biographical accounts, translated into English for the first time.

Martin West’s faithful and pleasing translations are fully annotated; his freshly edited texts offer new solutions to a number of textual puzzles.

Responding to George Lakoff’s and Mark Johnson’s analysis of metaphor, William Brockliss explores the Homeric poets’ use of concrete concepts drawn from the Greek natural environment to aid their audiences’ understanding of abstract concepts. In particular, he considers Homeric images that associate flowers with the concepts of deception, disorder, and death, and examines the ways in which the poets engage with natural phenomena such as the brief, diverse blooms of the Greek spring.

Taken together, such Homeric images present a more pessimistic depiction of the human condition than we find in the vegetal imagery of other archaic Greek genres. While lyric poets drew on floral imagery to emphasize the beauty of the beloved, the Homeric poets used images of flowers to explore the potentially deceptive qualities of bodies adorned for seduction. Where the Hesiodic poets employed vegetal images to depict the stable structure of the cosmos, the Homeric poets set arboreal imagery of good order against floral images suggestive of challenges or changes to orderliness. And while the elegiac poets celebrated the brief “flower of youth,” the Homeric poets created floral images reminiscent of Hesiodic monsters, and thereby helped audiences to imagine the monstrous otherness of death.

A Choice Outstanding Academic Book

The "Homeric Question" has vexed Classicists for generations. Was the author of the Iliad and the Odyssey a single individual who created the poems at a particular moment in history? Or does the name "Homer" hide the shaping influence of the epic tradition during a long period of oral composition and transmission?

In this innovative investigation, Gregory Nagy applies the insights of comparative linguistics and anthropology to offer a new historical model for understanding how, when, where, and why the Iliad and the Odyssey were ultimately preserved as written texts that could be handed down over two millennia. His model draws on the comparative evidence provided by living oral epic traditions, in which each performance of a song often involves a recomposition of the narrative.

This evidence suggests that the written texts emerged from an evolutionary process in which composition, performance, and diffusion interacted to create the epics we know as the Iliad and the Odyssey. Sure to challenge orthodox views and provoke lively debate, Nagy's book will be essential reading for all students of oral traditions.

The Homeric Iliad and Odyssey are among the world's foremost epics. Yet, millennia after their composition, basic questions remain about them. Who was Homer—a real or an ideal poet? When were the poems composed—at a single point in time, or over centuries of composition and performance? And how were the poems committed to writing? These uncertainties have been known as The Homeric Question, and many scholars, including Gregory Nagy, have sought to solve it.

In Homeric Responses, Nagy presents a series of essays that further elaborate his theories regarding the oral composition and evolution of the Homeric epics. Building on his previous work in Homeric Questions and Poetry as Performance: Homer and Beyond and responding to some of his critics, he examines such issues as the importance of performance and the interaction between audience and poet in shaping the poetry; the role of the rhapsode (the performer of the poems) in the composition and transmission of the poetry; the "irreversible mistakes" and cross-references in the Iliad and Odyssey as evidences of artistic creativity; and the Iliadic description of the shield of Achilles as a pointer to the world outside the poem, the polis of the audience.

This is the long-awaited work on Homer's Odyssey by one of our foremost teachers and scholars of the classics--John H. Finley, Jr. Already, generations of students at Harvard have benefited from his knowledge and understanding of Homer's words and world. Now his thoughts on the Odyssey are woven together in this remarkable volume.

Finley begins by arguing the unity of design in the Odyssey, and shows the connection between the actions of three main characters: Telemachus' maturity brings Penelope to her long-delayed decision for remarriage, which, by producing the bow as marriage-test, gives the unknown Odysseus his means of success against the suitors.

Finley also suggests that the poem is a kind of half-divine comedy. About an older man's glad return, it contrasts to the Iliad's story of young man's death far from home. It is a comedy to the Iliad's tragedy and, like Shakespeare's Tempest, it brings the absent king to knowledge which, though initially unwelcome, proves his and others' happiness.

Throughout his book, Finley applies a lifetime's learning to a work that is universally recognized as one of the highest achievements of our civilization. At a time when Homer is in danger of being swallowed by specialists, it is important to recognize and uphold the poet's basic concern for life and myth and legend. Such sympathy combined with knowledge is Finley's fine achievement.

Homer’s Iliad and Odyssey are the only early Greek heroic epics to have survived the transition to writing, even though extant evidence indicates that they emerged from a thriving oral culture. Among the missing are the songs of Boeotian Thebes.

Homer’s Thebes examines moments in the Iliad and Odyssey where Theban characters and thematic engagements come to the fore. Rather than sifting through these appearances to reconstruct lost poems, Elton Barker and Joel Christensen argue that the Homeric poems borrow heroes from Thebes to address key ideas—about politics, time, and genre—that set out the unique superiority of these texts in performance. By using evidence from Hesiod and fragmentary sources attributed to Theban tradition, Barker and Christensen explore Homer’s appropriation of Theban motifs of strife and distribution to promote his tale of the sack of Troy and the returns home.

As Homer’s Thebes shows, this Theban material sheds light on the exceptionality of the Homeric epics through the notions of poetic rivalry and Panhellenism. Furthermore, by emphasizing a nonhierarchical model of “reading” the epics derived from oral-formulaic poetics, this book contributes to recent debates about allusion, neoanalysis, and intertextuality.

This edition, commentary, and accompanying essays focus on the tenth book of the Iliad, which has been doubted, ignored, and even scorned. Casey Dué and Mary Ebbott use approaches based on oral traditional poetics to illuminate many of the interpretive questions that strictly literary approaches find unsolvable. The introductory essays explain their textual and interpretive approaches and explicate the ambush theme within the whole Greek epic tradition. The critical texts (presented as a sequence of witnesses, including the tenth-century Venetus A manuscript and select papyri) highlight the individual witnesses and the variations they offer. The commentary demonstrates how the unconventional Iliad 10 shares in the oral traditional nature of the whole epic, even though its poetics are specific to its nocturnal ambush plot.

The epic tale of wrath and redemption.

Here is a new Loeb Classical Library edition of Homer’s stirring heroic account of the Trojan war and its passions. The eloquent and dramatic epic poem captures the terrible anger of Achilles, “the best of the Achaeans,” over a grave insult to his personal honor and relates its tragic result: a chain of consequences that proves devastating for the Greek forces besieging Troy, for noble Trojans, and for Achilles himself. The poet gives us compelling characterizations of his protagonists as well as a remarkable study of the heroic code in antiquity.

The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and Iliad. These texts have long stood in the Loeb Classical Library with a faithful and literate prose translation by A. T. Murray. William F. Wyatt has brought the Loeb’s Iliad up to date, with a rendering that retains Murray’s admirable style but is worded for today’s readers. The two-volume edition includes an Introduction, helpful notes, and an index.

The epic tale of wrath and redemption.

Here is a new Loeb Classical Library edition of Homer’s stirring heroic account of the Trojan war and its passions. The eloquent and dramatic epic poem captures the terrible anger of Achilles, “the best of the Achaeans,” over a grave insult to his personal honor and relates its tragic result: a chain of consequences that proves devastating for the Greek forces besieging Troy, for noble Trojans, and for Achilles himself. The poet gives us compelling characterizations of his protagonists as well as a remarkable study of the heroic code in antiquity.

The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and Iliad. These texts have long stood in the Loeb Classical Library with a faithful and literate prose translation by A. T. Murray. William F. Wyatt has brought the Loeb’s Iliad up to date, with a rendering that retains Murray’s admirable style but is worded for today’s readers. The two-volume edition includes an Introduction, helpful notes, and an index.

Descriptions of animal sacrifice in Homer offer us some of the most detailed accounts of this attempt at communication between man and gods. What is the significance of these scenes within the framework of the Iliad? This book explores the structural and thematic importance of animal sacrifice as an expression of the quarrel between Akhilleus and Agamemnon through the differing perspectives of the primary narrative and character speech. In the Iliad, animal sacrifice is incorporated into the primary narrative to bolster the royal authority of Agamemnon and further emphasize Akhilleus' isolation. The sacrifices embedded in character speech express frustration with the failure of reciprocity and the inability of sacrifice to influence the course of human events.

As scholars have remarked, the word kleos in the Iliad and the Odyssey alike refers to something more substantive and complex than “fame” or “glory.” Kleos distinctly supposes an oral narrative—principally an “oral history,” a “life story” or ultimately an “oral tradition.” When broken down into its twin constituents, “words” and “actions” or “deeds,” a hero’s kleos serves to define him as a fully gendered social being.

This book is a meditation on this concept as expressed and experienced in the adult society Telemachos find himself in. Kleos is the yardstick by which his psychological change was appreciated by Homer’s audiences. As this book shows through philological and interdisciplinary analysis, Prince Telemachos grows up in the course of the Telemachy and arguably even beyond (in book 24): his education, which is conceived largely as an apprenticeship on land and sea, admits him gradually if unevenly to a full-fledged adult kleos—a kleos that nonetheless necessarily remains minor in comparison to that of his father and other elders.

Graeme D. Bird examines a small group of early papyrus manuscripts of Homer’s Iliad, known as the Ptolemaic papyri, which, although fragmentary, are the oldest surviving physical evidence of the text of the Iliad, dating from the third to the first centuries BCE.

These papyri have been described as “eccentric” or even “wild” by some scholars. They differ significantly from the usual text of the Iliad, sometimes showing lines with different wording, at other times including so-called “interpolated” lines that are completely absent from our more familiar version.

Whereas some scholars denigrate these papyri because of their “eccentricity,” this book analyzes their unusual readings and shows that in fact they present authentic variations on the Homeric text, based on the variability characteristic of oral performance.

A landmark new translation of Homer’s most popular epic by distinguished author and classicist Daniel Mendelsohn.
 
In 1961, the University of Chicago Press published Richmond Lattimore's translation of Homer’s The Iliad. For more than sixty years, it has served to introduce readers to the ancient Greek world of gods and heroes and has been one of the most popular and respected versions of the work. Yet through all those decades, Chicago never published a companion translation of the best-known epic in the Western canon, The Odyssey—until now.
 
With his new Odyssey, celebrated author, critic, classicist, and translator Daniel Mendelsohn has created a rendering worthy of Chicago’s unparalleled reputation in classical literature. Widely known for his essays bringing classical literature and culture to mainstream audiences in the New Yorker and many other publications, Mendelsohn eschews the streamlining and modernizing approach of many recent translations, focusing instead on the epic’s formal qualities—meter, enjambment, alliteration, assonance—in order to bring it to life in all its archaic grandeur. In this line-for-line rendering, the long, six-beat line he uses, closer to the original than that of other recent translations, allows him to capture each Greek line without sacrificing the amplitude and shadings of the original.
 
The result is a magnificent feat of translation, one that conveys the poetics of the original while bringing to vivid life the gripping adventure, profound human insight, and powerful themes that make Homer’s work continue to resonate today. Supported by an extensive introduction, notes, and commentary, Mendelsohn’s Odyssey is poised to become the authoritative English-language version of this magnificent and enduringly influential masterpiece.  
 

The hero’s journey home from war.

Here is a new Loeb Classical Library edition of the resplendent epic tale of Odysseus’ long journey home from the Trojan War and the legendary temptations, delays, and perils he faced at every turn. Homer’s classic poem features Odysseus’ encounters with the beautiful nymph Calypso; the queenly but wily Circe; the Lotus-eaters, who fed his men their memory-stealing drug; the man-eating, one-eyed Cyclops; the Laestrygonian giants; the souls of the dead in Hades; the beguiling Sirens; the treacherous Scylla and Charybdis. Here, too, is the hero’s faithful wife, Penelope, weaving a shroud by day and unraveling it by night, in order to thwart the numerous suitors attempting to take Odysseus’ place.

The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and Iliad. These texts have long stood in the Loeb Classical Library with a faithful and literate prose translation by A. T. Murray. George Dimock has brought the Loeb’s Odyssey up to date, with a rendering that retains Murray’s admirable style but is worded for today’s readers. The two-volume edition includes a new introduction, notes, and index.

The hero’s journey home from war.

Here is a new Loeb Classical Library edition of the resplendent epic tale of Odysseus’ long journey home from the Trojan War and the legendary temptations, delays, and perils he faced at every turn. Homer’s classic poem features Odysseus’ encounters with the beautiful nymph Calypso; the queenly but wily Circe; the Lotus-eaters, who fed his men their memory-stealing drug; the man-eating, one-eyed Cyclops; the Laestrygonian giants; the souls of the dead in Hades; the beguiling Sirens; the treacherous Scylla and Charybdis. Here, too, is the hero’s faithful wife, Penelope, weaving a shroud by day and unraveling it by night, in order to thwart the numerous suitors attempting to take Odysseus’ place.

The works attributed to Homer include the two oldest and greatest European epic poems, the Odyssey and Iliad. These texts have long stood in the Loeb Classical Library with a faithful and literate prose translation by A. T. Murray. George Dimock has brought the Loeb’s Odyssey up to date, with a rendering that retains Murray’s admirable style but is worded for today’s readers. The two-volume edition includes a new introduction, notes, and index.

This book plumbs the virtues of the Homeric poems as scripts for solo performance. Despite academic focus on orality and on composition in performance, we have yet to fully appreciate the Iliad and Odyssey as the sophisticated scripts that they are. What is lost in the journey from the stage to the page?

Readers may be readily impressed by the vividness of the poems, but they may miss out on the strange presence or uncanniness that the performer evoked in ancient audience members such as Plato and Aristotle. This book focuses on the performer not simply as transparent mediator, but as one haunted by multiple stories and presences, who brings suppressed voices to the surface.

Performance is inextricable from all aspects of the poems, from image to structure to background story. Background stories previously neglected, even in some of the most familiar passages (such as Phoenix’s speech in Iliad 9) are brought to the surface, and passages readers tend to rush through (such as Odysseus’s encounter with Eumaeus) are shown to have some of the richest dramatic potential. Attending to performance enlivens isolated features in a given passage by showing how they work together.

Oral intertextuality is an innate feature of the web of myth, whose interrelated fabrics allow the audience of epic song to have access to an entire horizon of diverse variants of a story. The Oral Palimpsest argues that just as the erased text of a palimpsest still carries traces of its previous writing, so the Homeric tradition unfolds its awareness of alternative versions in the act of producing the signs of their erasure.

In this light, "Homer" reflects the concerted effort to create a Panhellenic canon of epic song, through which we can still retrieve the poikilia (roughly, "dappled, embroidered variation") of various interwoven fabrics belonging to recognizable song-traditions or even older Indo-European strata.

Weaving together literary and archaeological evidence, Emily Hauser illuminates the rich, intriguing lives of the real women behind Homer’s Iliad and Odyssey.
 
Achilles. Agamemnon. Odysseus. Hector. The lives of these and many other men in the greatest epics of ancient Greece have been pored over endlessly in the past three millennia. But these are not just tales about heroic men. There are scores of women as well—complex, fascinating women whose stories have gone unexplored for far too long.
 
In Penelope’s Bones, award-winning classicist and historian Emily Hauser pieces together compelling evidence from archaeological excavations and scientific discoveries to unearth the richly textured lives of women in Bronze Age Greece – the era of Homer’s heroes. Here, for the first time, we come to understand the everyday lives and experiences of the real women who stand behind the legends of Helen, Briseis, Cassandra, Aphrodite, Circe, Athena, Hera, Calypso, and Penelope. In this captivating journey through Homer’s world, Hauser explains era-defining discoveries, such as the excavation of Troy and the decipherment of Linear B tablets that uncover thousands of captive women and their children; more recent finds like the tomb of the Griffin Warrior at Pylos, whose tomb contents challenge traditional gender attributes; DNA evidence showing that groups of warriors buried near the Black Sea with their weapons and steeds were, in fact, Amazon-like female fighters; a prehistoric dye workshop on Crete that casts fresh light on “women’s work” of dyeing, spinning, and weaving textiles; and a superbly preserved shipwreck off the coast of Turkey whose contents tell of the economic and diplomatic networks crisscrossing the Bronze Age Mediterranean.
 
Essential reading for fans of Madeline Miller or Natalie Haynes, this riveting new history reveals the women of the Bronze Age Aegean as never before, offering a ground-breaking reassessment of the ancient world.

Epic is not only a nostalgic memory of a remote past, but also, as performance, a deliberate act in the present. In fact, as this book argues, memory is itself a deliberate act when it is turned into epic language. With numerous fresh linguistic observations the author shows that the epic narrator makes the epic past come to the present: epic is not only a verbal artifact that points to the past; it also is a performer's act of pointing at a past that has become present in and through language. Building on his earlier work, Egbert Bakker demonstrates the power of discourse analysis as an essential tool for elucidating the poetics of the Homeric tradition.

Laura Slatkin's influential and widely admired book, here published in a second edition together with six additional essays, explores the superficially minor role of Thetis in the Iliad. Highly charged allusions reverberate through the narrative and establish a constellation of themes that link the poem to other traditions. Slatkin uncovers alternative traditions about the power of Thetis and shows how an awareness of those myths brings a far greater understanding of Thetis's place in the thematic structure of the Iliad. The six additional essays included in this volume—some of them classics, some never before published—cover a broad range of topics in the study of the Greek Epic: the workings of genre in Hesiod and Homer; the poetics of exchange; and the nature of enmity and friendship. The volume also includes a study of the Hesiodic Catalog of Women and reflections on particular heroes, such as Diomedes and Odysseus.

“What is a Greek priest?” The volume, which has its origins in a symposium held at the Center for Hellenic Studies in Washington, D.C., focuses on the question through a variety of lenses: the visual representation of cult personnel, priests as ritual experts, variations of priesthood, ideal concepts and their transformation, and the role of manteis. Each chapter looks at how priests and religious officials used a potential authority to promote themselves and their posts, how they played a role in conserving, shaping and reviving cult activity, how they acted behind the curtain of polis institutions, and how they performed as mediators between men and gods. It becomes clear that Greek priests had many faces, and that the factors that determined their roles and activities are political as well as historical, religious as well as economic, idealistic as well as pragmatic, personal as well as communal.

Marcianus Graecus Z. 454 [= 822], known to Homeric scholars as the Venetus A, is the oldest complete text of the Iliad in existence, meticulously crafted during the tenth century ce. An impressive thousand years old and then some, its historical reach is far greater. The Venetus A preserves in its entirety a text that was composed within an oral tradition that can be shown to go back as far as the second millennium bce, and the writings in its margins preserve the scholarship of Ptolemaic scholars working in the second century bce and in the centuries following. Two thousand years later, technology offers a new opportunity to rediscover this scholarship and better understand the epic that is the foundation of Western literature. The high-resolution images of the manuscript that accompany these essays were acquired by a multinational team of scholars and conservators in May 2007.

The Iliad and the Odyssey are emotional powerhouses largely because of their extensive use of direct speech. Yet this characteristic of the Homeric epics has led scholars to underplay the poems’ use of non-direct speech, the importance of speech represented by characters, and the overall sophistication of Homeric narrative as measured by its approach to speech representation. In this pathfinding study by contrast, Deborah Beck undertakes the first systematic examination of all the speeches presented in the Homeric poems to show that Homeric speech presentation is a unified system that includes both direct quotation and non-direct modes of speech presentation.

Drawing on the fields of narratology and linguistics, Beck demonstrates that the Iliad and the Odyssey represent speech in a broader and more nuanced manner than has been perceived before, enabling us to reevaluate our understanding of supposedly “modern” techniques of speech representation and to refine our idea of where Homeric poetry belongs in the history of Western literature. She also broadens ideas of narratology by connecting them more strongly with relevant areas of linguistics, as she uses both to examine the full range of speech representational strategies in the Homeric poems. Through this in-depth analysis of how speech is represented in the Homeric poems, Beck seeks to make both the process of their composition and the resulting poems themselves seem more accessible, despite pervasive uncertainties about how and when the poems were put together.

Achilles—warrior and hero—by the protocols of Western culture, should never cry. And yet Homeric epic is full of his tears and those of his companions at Troy. This path-blazing study by Hélène Monsacré shows how later ideals of stoically inexpressive manhood run contrary to the poetic vision presented in the Iliad and Odyssey. The epic protagonists, as larger-than-life figures who transcend gender categories, are precisely the men most likely to weep.

Monsacré pursues the paradox of the tearful fighter through a series of lucid and detailed close readings, and examines all aspects of the interactions between men and women in the Homeric poems. Her illuminating analysis, first published in French in 1984, remains bold, fresh, and compelling for anyone touched—like Achilles—by a world of grief.

"What if truth were a woman?" asked Nietzsche. In ancient Greek thought, truth in language has a special relation to the female by virtue of her pre-eminent art-form—the one Freud believed was even invented by women—weaving. The essays in this book explore the implications of this nexus: language, the female, weaving, and the construction of truth.

The Homeric bard—male, to be sure—inherits from Indo-European culture the designation of his poetry as a weaving, the female's art. Like her tapestries, his "texts" can suspend, reverse, and re-order time. He can weave the content from one world into the interstices of another.

The male poet shares the ambiguous power of the female Muses whose speech he channels. "We can say false things like to real things, and whenever we wish, we can utter the truth."

Written Voices, Spoken Signs is a stimulating introduction to new perspectives on Homer and other traditional epics. Taking advantage of recent research on language and social exchange, the nine essays in this volume focus on performance and audience reception of oral poetry.

These innovative essays by leading scholars of Homer, oral poetics, and epic invite us to rethink some key concepts for an understanding of traditional epic poetry. Egbert Bakker examines the epic performer's use of time and tense in recounting a past that is alive. Tackling the question of full-length performance of the monumental Iliad, Andrew Ford considers the extent to which the work was perceived as a coherent whole in the archaic age. John Miles Foley addresses questions about spoken signs and the process of reference in epic discourse, and Ahuvia Kahane studies rhythm as a semantic factor in the Homeric performance. Richard Martin suggests a new range of performance functions for the Homeric simile. And Gregory Nagy establishes the importance of one feature of epic language, the ellipsis. These six essays centered on Homer engage with fundamental issues that are addressed by three essays primarily concerned with medieval epic: those by Franz Bäuml on the concept of fact; by Wulf Oesterreicher on types of orality; and by Ursula Schaefer on written and spoken media. In their Introduction the editors highlight the underlying approach and viewpoints of this collaborative volume.

This book makes the case that the plot of the Odyssey is represented within the narrative as a plan of Zeus, Dios boulē, that serves as a guide for the performing poet and as a hermeneutic for the audience. Through occasional participation in events and pervasive influence, the character of Zeus maintains thematic unity as the narrative moves through a mass of potential narrative paths for Odysseus that was already dense and conflicting at the time the Odyssey was taking shape. The “Zeus-centric” reading proposed here offers fresh perspectives on the tenor of interactions among the Odyssey’s characters, on the relationships among traditional accounts of Odysseus’s return, and on long-standing problems of interpretation.