IL.1.5 of dogs, of all birds, and the will of Zeus was accomplished IL.1.4 of heroes, but gave their bodies to be the delicate feasting IL.1.3 hurled in their multitudes to the house of Hades strong souls IL.1.2 and its devastation, which put pains thousandfold upon the Achaians, IL.1.1 SING, goddess, the anger of Peleus' son Achilleus (Some browsers, though, may handle this a bit differently): In Lattimore's translation, the first 21 lines of Iliad, Book 1 are as follows, with examples of patronymics and epithet-phrases highlighted with underlining and italics respectively. (This is a very useful site, but perhaps somewhat hard to navigate.) Besides the print version, this translation (but not Lattimore's introduction) is available online through the Chicago Homer. Overall, Lattimore's translation (1951) gives a reasonably good view of the way Homeric repetition works. ![]() Accordingly, a consistently rhythmical poem can be fairly readily composed orally - and also more or less extemporaneously. In some way, they give the singer a chance to plug in a familiar phrase while he thinks ahead to how he will compose the next line or so. is that they are characteristic of orally composed poetry. With considerable oversimplification, Parry's explanation of these repeated phrases, etc. Also, there are some apparent duplications - typical of orally composed poetry -, such as the terms "Achaian", "Argive", and "Danaan", all referring to the Greeks fighting at Troy. The Oralist approach to Homer (initially developed by Milman Parry in the 1920's and '30's) works from the fact that numerous patronymics and other epithets and epithet phrases are frequently repeated in the Iliad and Odyssey. 37-40 - and Lattimore's translation preserves much more of the repetition which is found in the Homeric original. More or less the same facts about Homeric composition are also presented by Lattimore in his introduction, pp. ![]() lvi, of the potentially dissonant fact that Lombardo's translation "has played down the repetitive dimension of the Greek original. Homer and oral composition Homer and oral compositionįor discussion of oral composition, see Sheila Murnaghan in Lombardo, pp.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |