Mark W. Edwards

This book concerns the way we read--or rather, imagine we are listening to--ancient Greek and Latin poetry. Through clear and penetrating analysis Mark Edwards shows how an understanding of the effects of word order and meter is vital for appreciating the meaning of classical poetry, composed for listening audiences. The first of four chapters examines Homer's emphasis of certain words by their positioning; a passage from the Iliad is analyzed, and a poem of Tennyson illustrates English parallels. The second considers Homer's techniques of disguising the break in the narrative when changing a scene's location or characters, to maintain his audience's attention. In the third we learn, partly through an English translation matching the rhythm, how Aeschylus chose and adapted meters to arouse listeners' emotions. The final chapter examines how Latin poets, particularly Propertius, infused their language with ambiguities and multiple meanings. An appendix examines the use of classical meters by twentieth-century American and English poets. Based on the author's Martin Classical Lectures at Oberlin College in 1998, this book will enrich the appreciation of classicists and their students for the immense possibilities of the languages they read, translate, and teach. Since the Greek and Latin quotations are translated into English, it will also be welcomed by non-classicists as an aid to understanding the enormous influence of ancient Greek and Latin poetry on modern Western literature.

Listening to Greek and Latin Poetry

Sound, Sense, and Rhythm

Homer: Poet of the "Iliad" is the perfect companion both for readers deepening their appreciation of the poem and its form and for those encountering Homer's work for the first time. Mark Edwards combines the advantages of a general introduction and a detailed commentary to make the insights of recent Homeric scholarship accessible to students and general readers as well as to classicists. Since interpretation of the epic requires an understanding of the ancient oral tradition and its conventions, Edwards offers a comprehensive analysis of the poetics of the Iliad and the Odyssey. He also discusses essential elements of Homeric society -- its religion, history, and social values -- to clarify the style and substance of the poetry. In the second half of the book, Edwards's scene-by-scene explication of ten major books of the Iliad leads the reader to a greater perception of Homer's mastery and manipulation of convention.

Poet of the Iliad

Homer

John Bryan Hainsworth

Richard Janko

Nicholas James Richardson

This, the fourth volume in the six-volume Commentary on The Iliad being prepared under the General Editorship of Professor G. S. Kirk, covers Books 13-16, including the Battle for the Ships, the Deception of Zeus and the Death of Patroklos. Three introductory essays discuss the role of Homer's gods in his poetry; the origins and development of the epic diction; and the transmission of the text, from the bard's lips to our own manuscripts. It is now widely recognised that the first masterpiece of Western literature is an oral poem; Professor Janko's detailed commentary aims to show how this recognition can clarify many linguistic and textual problems, entailing a radical reassessment of the work of Homer's Alexandrian editors. The commentary also explores the poet's subtle creativity in adapting traditional materials, whether formulae, typical scenes, mythology or imagery, so as best to move, inspire and entertain his audience, ancient and modern alike. Discussion of the poem's literary qualities and structure is, where possible, kept separate from that of more technical matters.

The Iliad: A Commentary: Volume 4, Books 13-16

The Iliad: A Commentary

Professor Markw W Edwards

G. S. Kirk

This Commentary will be an essential reference work for all students of Greek literature.

Mark W. Edwards

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