As the topic of this study embraces and entwines what is routinely divided into two separate categories, "nature" and "culture", the birds in the Iliad challenge modern scientific division and in some ways, our thinking. They are simultaneously birds, signs and symbols. The investigation aims at determining the various species of the birds in the Iliad as far as this is possible with the help of ornithological methods and tries through semiotics and hermeneutics to ascertain the symbolic.
With her virtuoso translation, classicist and bestselling author Caroline Alexander brings to life Homer’s timeless epic of the Trojan War Composed around 730 B.C., Homer’s Iliad recounts the events of a few momentous weeks in the protracted ten-year war between the invading Achaeans, or Greeks, and the Trojans in their besieged city of Ilion. From the explosive confrontation between Achilles, the greatest warrior at Troy, and Agamemnon, the inept leader of the Greeks, through to its tragic conclusion, The Iliad explores the abiding, blighting facts of war. Soldier and civilian, victor and vanquished, hero and coward, men, women, young, old—The Iliad evokes in poignant, searing detail the fate of every life ravaged by the Trojan War. And, as told by Homer, this ancient tale of a particular Bronze Age conflict becomes a sublime and sweeping evocation of the destruction of war throughout the ages. Carved close to the original Greek, acclaimed classicist Caroline Alexander’s new translation is swift and lean, with the driving cadence of its source—a translation epic in scale and yet devastating in its precision and power.
By focusing on the story of Hector, James M. Redfield presents an imaginative perspective not only on the Iliad but also on the whole of Homeric culture. In an expansive discussion informed by a reinterpretation of Aristotle's Poetics and a reflection on the human meaning of narrative art, the analysis of Hector leads to an inquiry into the fundamental features of Homeric culture and of culture generally in its relation to nature. Through Hector, as the "true tragic hero of the poem," the events and themes of the Iliad are understood and the function of tragedy within culture is examined. Redfield's work represents a significant application of anthropological perspectives to Homeric poetry. Originally published in 1975 (University of Chicago Press), this revised edition includes a new preface and concluding chapter by the author.
Birds played an important role in the ancient world: as indicators of time, weather, and seasons; as a resource for hunting, medicine, and farming; as pets and entertainment; as omens and messengers of the gods. Jeremy Mynott explores the similarities and surprising differences between ancient perceptions of the natural world and our own.
The ancient Greek lyric poet Simonides of Keos was the first poet in the Western tradition to take money for poetic composition. From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose "economies" of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking commonalities. In Carson's view Simonides and Celan share a similar mentality or disposition toward the world, language and the work of the poet. Economy of the Unlost begins by showing how each of the two poets stands in a state of alienation between two worlds. In Simonides' case, the gift economy of fifth-century b.c. Greece was giving way to one based on money and commodities, while Celan's life spanned pre- and post-Holocaust worlds, and he himself, writing in German, became estranged from his native language. Carson goes on to consider various aspects of the two poets' techniques for coming to grips with the invisible through the visible world. A focus on the genre of the epitaph grants insights into the kinds of exchange the poets envision between the living and the dead. Assessing the impact on Simonidean composition of the material fact of inscription on stone, Carson suggests that a need for brevity influenced the exactitude and clarity of Simonides' style, and proposes a comparison with Celan's interest in the "negative design" of printmaking: both poets, though in different ways, employ a kind of negative image making, cutting away all that is superfluous. This book's juxtaposition of the two poets illuminates their differences--Simonides' fundamental faith in the power of the word, Celan's ultimate despair--as well as their similarities; it provides fertile ground for the virtuosic interplay of Carson's scholarship and her poetic sensibility.
