Achilles’ Heel: (Im)mortality in the Iliad

In this article for sixth-formers and school teachers, I explore the story of Achilles' heel and Homer's likely suppression of the myth in the Iliad. Homer's Iliad appears to acknowledge, but simultaneously reject, an alternative tradition in which Achilles was more than mortal, part of a broader downplaying of heroic invulnerability and immortality within the poem. The only way to achieve immortality in the Iliad is through the fame and glory provided by Homeric song

ゾク ジョジシ ノ カタリテ ニツイテ イリアス ノ バアイ

Although we can get the same result from the analysis of the structure of Homeric epic ILIAD as in the case of ODYSSEY, we should recognize the difference between the two epics. In this study the main stress falls on two points; the one, to make clear, where ILIAD structurally common to ODYSSEY, and where one is different from the another. The two times appearance of the same twelve themes in the same order (each song has another theme), this is common to them. If so, where is the difference? In the appearance of 12 themes (which form a circle) in 24 songs, there is a gap between them, common to each theme by one song, as follows. The first theme in ODYSSEY; country and house, that I have found there in song 1 and 13, as I have already pointed out in " Otsuma Journal of Comparative Culture 1", appears in ILIAD in song 12 and 24. To the contrary the last theme of twelve in ODYSSEY; sun god, appears in ILIAD in song 1 and 13

Oedipus of many pains: Strategies of contest in Homeric poetry

In this paper we analyse Oedipus’ appearance during Odysseus’ tale in book 11 of Homer’s Odyssey in order to outline and test a methodology for appreciating the poetic and thematic implications of moments when ‘extraneous’ narratives or traditions appear in the Homeric poems. Our analysis, which draws on oral-formulaic theory, is offered partly as a re-evaluation of standard scholarly approaches that tend to over-rely on the assumed pre-eminence of Homeric narratives over other traditions in their original contexts or approaches that reduce such moments to instances of allusions to or parallels with fixed texts. In conjunction with perspectives grounded in orality, we emphasise the agonistic character of Greek poetry to explore the ways in which Odysseus’ articulation of his Oedipus narrative exemplifies an attempt to appropriate and manipulate a rival tradition in the service of a particular narrative’s ends. We focus specifically on the resonance of the phrases algea polla and mega ergon used by Odysseus as a narrator to draw a web of interconnections throughout Homeric and Archaic Greek poetry. Such an approach, in turn, suggests to what extent the Homeric Oedipus passage speaks to the themes and concerns of Homeric poetry rather than some lost Oedipal epic tradition and illustrates the importance of recognizing the deeply competitive nature of Homeric narratives vis-à-vis other narrative traditions

THE ILIAD BY HOMER AND ALBANIAN POET NAIM FRASHËRI

The Albanian poet Naim Frasheri, showed his admiration and love for the history, culture, Greek literature and mythology even through translating one of the great Homeric epopee, "The Iliad". In 1896 he translates and publishes the first song of The Iliad by Homer, while in 1886 he tried to translate and publish it in Turkish. Translation of "The Iliad" by Homer was accompanied by an introduction and a postscript, in the form of a file printed in the printing house association of Bucharest. This is also confirmed by the Albanian scholar Dhimitër Shuteriqi who says, "Naim was passionate about Homer, whom he will imitate and adapt later into Albanian". A fact that stands also for one of his most important works "History of Skanderbeg" which, for its epic character is similar to the Homeric epopee, Iliad and Odyssey. The writer Naim Frasheri was among those Albanian poets who knew and valued deeply the Greek poet Homer, appreciated the high artistic values of his works, which due to the mythological character and the message they evoke, remain as the cornerstone of European and world literature. They became a source of inspiration and encouragement for the creativity of our poet. The linguistic, cultural and literary knowledge Naim had for the Greek antiquity, encouraged him to try himself in translation. With the translation of "The Iliad" by Homer he wanted to show to Albanians the heroism, bravery and sacrifices of the Greek people through the centuries, with the sole aim to strengthen his people’s conscience to fight for their freedom and independence. In this article we will see the importance of translation in the establishment of intercommunication bridges with different cultures and literatures, by conveying us at any time messages with universal values.Keywords: Iliad, Homer, greek literature, translation, Naim

'Always the foremost argive champion'? The representation of Neoptolemus in Quintus of Smyrna's posthomerica

Neoptolemus rather seldom figures in Ancient Greek literature. The Posthomerica of Quintus of Smyrna is one of the scarce examples in which the son of Achilles is staged as a hero on the battlefield. This paper investigates the representation of Neoptolemus as the successor of his father in the Trojan War. The vigorous youth who takes Achilles’ place as the principal Achaean champion is repeatedly recognised as latter’s heir. Various narrative techniques reinforce this profound assimilation, which proves crucial to determine Neoptolemus’ identity as a warrior. The image that is thus created of the young hero clearly enters into dialogue with the Homeric epics, in which the post-Achilles episode of the Trojan War is only indirectly treated. To complete what his father has left unfinished, Neoptolemus finds inspiration in his rich inheritance

Pindaric Kleos

Artykuł porusza kwestię funkcjonowania pojęcia sławy - kleos - w „Odach zwycięskich” Pindara. Pierwszym problemem jest stosunek pomiędzy kleos Pindara a kleos epickim, w szczególności Homeryckim. Staram się odpowiedzieć na pytanie, dlaczego Pindar w bardzo ograniczony sposób korzystał z motywów pochodzących z „Iliady” i „Odysei”, natomiast bardzo często sięgał do poezji cyklicznej. Przeprowadzam dokładną analizę ostatnich wersów trzeciej „Ody Pytyjskiej” w świetle Homeryckiej koncepcji kleos oraz bardzo archaicznej formuły poetyckiej kleos aphthiton. Następnie rozważam relację Pindara z wcześniejszymi poetami lirycznymi, głównie na podstawie fragmentów z Ibykosa 282a (S151), „Elegii Platejskiej” Symonidesa, krótko wspominając Stezychora. Staram się pokazać jak koncepcje kleos w tradycji poetyckiej wpłynęły na Pindara.This article discusses the issue of how kleos works in Pindar’s epinician odes. Firstly, it deals with the relationship between Pindaric and epic, and specifically, Homeric kleos. It tries to answer the question why Pindar was rather reluctant to extensively use the “Iliad” and the “Odyssey” in his odes and much preferred the cyclic poems. I am providing a close analysis of the closing line of the “Pythian 3” in view of Homeric concepts of kleos and a poetic formula of kleos aphthiton. Next, I am discussing Pindar’s relationship with earlier lyric poets, mainly on the basis of passages from Ibycus’ 282a (S151) and Simonides’ “The Platea Elegy”, also briefly mentioning Stesichorus. I am trying to display how their understanding of the mechanics of poetic kleos influenced Pindar

Polymetis freud: Some reflections on the psychoanalytic significance of Homer's odyssey

The official published version can be accessed from the link below

Horse and Herald: Posidippus' Equestrian Angelia

Posidippus’ epigrams for equestrian victors (the Hippika, AB 71–88) build on epinician convention by maintaining the central role of the herald’s proclamation— the angelia—in the representation of athletic achievement. In a few of these epigrams, however, Posidippus embeds the horse itself in postvictory rituals. For example, the horse brings the crown to the victor, replacing the figure of the herald who announced and crowned victors; or, in a narrative of the race’s aftermath, the horse, incredibly, chooses the victor. Posidippus’ horses, therefore, act as causal agents for the glory of their owners, and his detailed descriptions transform the horse from flesh-and-blood equine to everlasting (literary) monument. Les épigrammes de Posidippe sur les victoires équestres (les Hippiques, 71-88 A.-B.) s’appuient sur une convention poétique propre aux épinicies qui maintient le rôle de la proclamation du héraut – l’angelia – dans la représentation de la réussite athlétique. Cependant, dans quelques-unes de ces épigrammes, Posidippe intègre le cheval lui-même au rituel marquant la victoire. Par exemple, le cheval apporte la couronne au vainqueur en remplacement de la figure du héraut qui annonce et couronne les vainqueurs ; ou encore, dans le récit de l’après-course, le cheval choisit, de façon surprenante, le vainqueur. Les chevaux de Posidippe interviennent donc en tant qu’agents causaux dans la gloire de leur propriétaire. Ses descriptions détaillées transforment ainsi l’être de chair et de sang qu’est le cheval en un monument (littéraire) éternel.https://www.utpjournals.press/doi/full/10.3138/mous.16.3.00