By Christos Tsagalis
The previous few many years have obvious the advance of recent serious tools with which the poetic and rhetorical dimensions of historic Greek texts could be evaluated. during this quantity, a world crew of amazing students comes jointly to check how quite a lot of old texts in several genres have been in a position to assert their authority and claims to fact, usually alluding to each other in sophisticated methods as they tried to undertaking their very own superiority. a sequence of illuminating new readings is accessible of either specific passages and full works within the mild of those new serious advances
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Extra resources for Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis
Similarly, in the case of the hexameter on Zeus’ sovereignty, the god is king because he corresponds to a unique principle of creative power over the plurality of existing things. A mention earlier in the poem of the river Ocean in a verse now lost to us receives the following commentary: “this verse (epos) was falsely composed; it is not evident to the majority, but transparent (eudēlon) for those who have the right knowledge, because Ocean is the air and because the air is Zeus”. From this, we learn that those who do not know (ou gignōskontes) are content with the appearances maintained by the customary language used by Orpheus to “signify” (sēmainei) his own opinion; because of his qualification, they continue to consider Ocean a river.
Bakker that are now afflicting him in his phrenes. (Il. 59-61) Forgetfulness resulting from the menos that comes with “remembering” is also a—in fact, the quintessential—poetic experience. In this regard, we are reminded of two memorable passages in the opening Hymn of the Hesiodic Theogony: τὰς ἐν Πιερίῃ Κρονίδῃ τέκε πατρὶ μιγεῖσα Μνημοσύνη, γουνοῖσιν ᾿Ελευθῆρος μεδέουσα, λησμοσύνην τε κακῶν ἄμπαυμά τε μερμηράων These in Pieria she bore to Cronus’ son laying with the Father, Mnemosyne, who rules the high grounds of Eleuther,
The other is Odysseus, who is accused by Agamemnon (Il. 146-153). 160-172). When Achilles refuses a second time, Odysseus addresses his mourning directly by bringing in the gastēr: γαστέρι δ᾿ οὔ πως ἔστι νέκυν πενθῆσαι ᾿Αχαιούς λίην γὰρ πολλοὶ καὶ ἐπήτριμοι ἤματα πάντα πίπτουσιν· πότε κέν τις ἀναπνεύσειε πόνοιο; ἀλλὰ χρὴ τὸν μὲν καταθάπτειν ὅς κε θάνῃσι νηλέα θυμὸν ἔχοντας ἐπ’ ἤματι δακρύσαντας· ὅσσοι δ’ ἂν πολέμοιο περὶ στυγεροῖο λίπωνται μεμνῆσθαι πόσιος καὶ ἐδητύος, ὄφρ’ ἔτι μᾶλλον ἀνδράσι δυσμενέεσσι μαχώμεθα νωλεμὲς αἰεὶ With
Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis by Christos Tsagalis