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Ancient Epic Poetry: Homer, Apollonius, Virgil with a by Charles Rowan Beye

By Charles Rowan Beye

Charles Rowan Beye's seriously acclaimed interpretive advent to the epic poetry and poets of historical Greece, Rome, and Assyria is the following reprinted in an extended moment variation with a brand new preface, new bankruptcy on Gilgamesh, and an Appendix of extra interpreting 1993-2005. for hundreds of years the beginnings of the literary heritage of the West have been outlined by means of the Hebrew Bible what most folks name the previous testomony and Homer's epic poems, the Iliad and Odyssey. those texts have been as soon as naively alleged to have happen in fabulous isolation both as a miracle of divine production or the spontaneous combustion of the 'Greek genius'. The strong circulation of phrases down over the millennia to our personal time are such a lot of generations of offspring nonetheless someway beholden to their preliminary begetters.

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Extra resources for Ancient Epic Poetry: Homer, Apollonius, Virgil with a Chapter on the Gilgamesh Poems

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173) w h en A thena chides O d ysseu s (w ho is part of the mob scene as the m en rush to the ships) w ith a similar rhetorical question. The verbal parallels as w ell as the sim ilarity in situation raise real questions for the reader about the relationship of the tw o poem s— but only for a reader, a reader w h o has copies of the tw o poem s for study. This historical truth seem s to rule out the Oral Poetry · 33 possibility of there being any consciously m eaningful relation betw een the tw o poem s.

C onsider 26 ■Ancient Epic Poetry the possibilities for verse construction w h en the infinitive can be ren­ dered ëmënài, èmmënâi, or êinaï (and w h en the poet som etim es neglects to observe the rules). Epic poetry is thought to have been chanted, although the poet calls out to the M use to sing. C h an ted G reek, how ever, m ust have been distinctly musical because of the pitch accent. A ncien t G reek poetic rhythm s w ere not prim arily accented w ith stress beats, as is generally true o f English poetry.

Hun dred s of years after the poem s seem to have taken shape. References to them , allusion to them in lyric poem s and vase paintings go back to the archaic age. Beyond that, scholars em ploy educated gu essw ork to try to establish som e kind of historical context for the poem s. Because of the presum ed length of time of their gestation or evolution, the poem s seem to describe a w orld of their o w n m aking more than a context identifiable from other sources. It is not unlike the blurred countryside that appears to the passenger peering from the w in d o w of the high­ speed railw ay train from Paris to Lyons.

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