Showing posts with label Greek. Show all posts
Showing posts with label Greek. Show all posts

Monday, 4 February 2013

great feedback

English: Chick pea and Silene vulgaris stew. (...
English: Chick pea and Silene vulgaris stew. (Potaje de garbanzos y collejas) (Photo credit: Wikipedia)
I gave a paper on Memorial yesterday; excellent response comments and discussion later on.  I may have to rethink Asius the chickpea.  Well, I do have to rethink him.  When I'm writing up the paper I think I may just leave him out and use one of the other 100+ examples where Oswald turns the subject of a simile, in the Iliad, into the object in Memorial, or vice versa; and discuss as well, of course, why this matters.  (Because that's what she's doing in the entire poem: the objects become subjects, over and over, and that's the whole point.)

Spent an hour this evening cutting and pasting the paper into Scrivener.  But I do need to go through my notes and consider what else needs to go into the final paper. That's this week's task. Well, after I do a few administrative things I was supposed to do last week, but I was writing this paper ...
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Friday, 5 October 2012

Patroclus' aristeia, not

Ulysses (with a pilos) and Greek warriors arou...
Ulysses (with a pilos) and Greek warriors around the body of Patroclus. Detail of a silver oinochoe dedicated ,by Q. Domitius Tutus, made in Italy, first half of the 1st century AD. From the Berthouville treasure. (Photo credit: Wikipedia)
Homer now gives us 200 lines of Greeks slaughtering Trojans.  First every Greek leader kills his own Trojan, a kind of bring-your-own-(dead)-Trojan buffet; then Patroclus starts slaughtering them wholesale.  We get descriptions of how each one died as long as they're being killed by different Greek chieftains, but when Patroclus steps in we just get a list of names of the Trojans he slaughters.  Oswald gives us nothing but a list of 21 names; we aren't told who killed each one and she doesn't differentiate between the ones killed by other Greeks and the list of those killed by Patroclus.  The list ends with the name of Sarpedon's charioteer, Thrasymelos, which in Homer is preceded by the lengthy discussion between Zeus and Hera about the coming death of Zeus' son Sarpedon, which Zeus would like to avoid (and which is important because he is Zeus' son).

The importance of the slaughter in Homer is that the tide of battle has now turned back, and the Greeks are winning again; and that Patroclus may be primarily important as Achilles' close friend and companion, but he is a formidable warrior in his own right.  Since he's going to die soon he needs to be given weight and importance of his own, and this aggregation of deaths gives him that.  Even the Trojans killed by the other Greeks redound to Patroclus' credit because they occur after his arming scene and because his appearance has heartened the Greeks to go back on the attack.  Oswald elides the foreshadowing of the death of Sarpedon, which gives weight to all the deaths, and to the death of Thrasymelos, because here as elsewhere she lets individual deaths stand on their own.

After this list Oswald gives us this simile:

Like hawk wings cut through a sheet of starlings
Like wing-scissors open and close
Through a billow of jackdaws
This comes from a simile that actually shows up fairly close to this scene in Homer.  After Patroclus kills Sarpedon, a Trojan kills a Greek (whom we've never heard of before) over his body, and Patroclus, enraged at his sudden new BFF's death, returns to the Sarpedon's corpse:
"And he went straight through the fore-fighters like a hawk
swiftly, who terrifies the jackdaws and starlings;
so you, horse-driving Patroklos, drove off the Lykians and Trojans,
and your heart was angered for your companion."
I initially thought that Oswald was using the simile exactly the same way, and even about the same person (Patroclus), but actually not quite.  In Homer, the hawk is the subject.  In Oswald, the hawk doesn't appear; only the hawk wings, the hawk's effect, like scissors, cutting through a sheet of starlings, a billow of jackdaws.  Homer's hawk is Patroclus; Oswald's hawk is death, impersonal; the starlings and jackdaws are the living beings here.



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Thursday, 30 August 2012

Myth on the Map

Fresco on canvas mounted on board
Fresco on canvas mounted on board (Photo credit: Wikipedia)
Spent my productive time today looking over Myth on the Map.  I see that two months ago I was wildly optimistic about getting onto a new author: Homer, perhaps, or Pausanias, this summer.  But it is now the end of the summer, and I have spent all the grant money, and we still aren't finished Apollodorus. I don't believe we will ever finish Apollodorus, so there's no point even beginning to wonder what author we should do next. This depresses me.

On the other hand mapping Apollodorus is not such a bad project.  I am unlikely to get any more money from the university for this project, but at least Apollodorus on the Map will be a useful website.
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Saturday, 25 August 2012

three balls in the air

Jacques-Louis David - Homer Reciting his Verse...
Jacques-Louis David - Homer Reciting his Verses to the Greeks - WGA06120 (Photo credit: Wikipedia)
First, Myth on the Map.  Spent an hour today in conversation trying to disentangle when we should, and when we shouldn't, indicate group membership in the xml coding.  I don't think like a computer programmer at all and this made my head hurt.

Second, sacrificial virgins.  Agreed that we would go over our notes and meet on Tuesday and decide if we actually want to write this paper, since we both have things we are supposed to be doing and will get more credit for doing. But this would be fun. But.

Third, Oswald p. 56, on the deaths of 2 Greeks and 2 Trojans, in a list  (though she doesn't identify them by group affiliation, which was particularly striking to me as I'd just spent the morning thinking about groups in Homer; in Homer, the group is the whole point; in Oswald, each individual death is the whole point).  She then has a simile which she's pulled from Iliad 12, the battle at the walls where the Trojans and Greeks are flinging boulders at each other:

"As the flakes that fall thick upon a winter's day, when Zeus is minded to snow and to display these his arrows to humankind - he lulls the wind to rest, and snows hour after hour till he has buried the tops of the high mountains, the headlands that jut into the sea, the grassy plains, and the tilled fields of men; the snow lies deep upon the forelands, and havens of the gray sea, but the waves as they come rolling in stay it that it can come no further, though all else is wrapped as with a mantle so heavy are the heavens with snow - even thus thickly did the stones fall on one side and on the other, some thrown at the Trojans, and some by the Trojans at the Achaeans; and the whole wall was in an uproar." 
(Perseus website translation).

Oswald's translation is much prettier, and repurposes, this time from active to passive.  In Homer, the stones thrown by the Greeks and Trojans at each other fall as thickly as snow in a blizzard.  In Oswald, after another list of bodies, it's the deaths; the bodies falling so thickly and fast that they obscure the landscape, the trees, the fields, the harbours and beaches, and are obliterated in the sea.

And it has indeed occurred to me that I would make much faster progress on any one project if I had only one project.







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Monday, 11 June 2012

Myth on the Map

English: Map of Homeric Greece with English la...
English: Map of Homeric Greece with English labels Česky: Mapa homérského Řecka s anglickými popisky (Photo credit: Wikipedia)
Organizational day for the website project, "Myth on the Map".  I have enough money to get a functioning website up with 2 works mapped, Apollodorus and the Catalog of Ships. Question: should I then map the rest of the Iliad, or map a test book of Pausanias?  If so, which book?  Not sure yet.  Would link to the project but it doesn't appear to be working yet. The plan is, at any rate, to finish Apollodorus and the Catalog by the end of the summer, and have a map which, when one searches for stuff, finds it and displays it.

Tweaked the outline for the "sacrificial virgins" conference paper, and resolved another Oswald simile: a list of five (dead) Greeks, followed by the simile of the eagle attacking the geese by the river.  In Homer, it's about Hector, who's the eagle.  In Oswald, the geese are named but the eagle is not; the attacker is impersonal; the war.

THE WAR! RAHR! (Source)
(Okay, so I am foolishly reminded of Loki, leaping from the upper level upon Thor. "There is only - THE WAR! RAHR!" The only truly awful line in the Avengers...)
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Wednesday, 6 June 2012

a death scene today: Ilioneus

Ilioneus Statue (1850s copy after ancient gree...
Ilioneus Statue (1850s copy after ancient greec original) (Photo credit: Wikipedia)
For a look at her translation practice here's Oswald 52-53, on the death of Ilioneus:


Ilioneus an only child ran out of luck
He always wore that well-off look
His parents had a sheep farm
They didn't think he would die
But a spear stuck through his eye
He sat down backwards
Trying to snatch back the light
With stretched out hands

I've bolded the parts that appear in the Greek.  Here's the Greek, with a literal translation - the bolded parts, in Greek, are translated by Oswald:

ὃ δ’ οὔτασεν Ἰλιονῆα
υἱὸν Φόρβαντος πολυμήλου, τόν ῥα μάλιστα
Ἑρμείας Τρώων ἐφίλει καὶ κτῆσιν ὄπασσε·
τῷ δ’ ἄρ’ ὑπὸ μήτηρ μοῦνον τέκεν Ἰλιονῆα.
τὸν τόθ’ ὑπ’ ὀφρύος οὖτα κατ’ ὀφθαλμοῖο θέμεθλα,
ἐκ δ’ ὦσε γλήνην· δόρυ δ’ ὀφθαλμοῖο διὰ πρὸ
καὶ διὰ ἰνίου ἦλθεν, ὃ δ’ ἕζετο χεῖρε πετάσσας
ἄμφω· 

"And he (Peneleos, a Greek) wounded Ilioneus, the son of Phorbas of the plentiful flocks, whom especially among the Trojans Hermes loved and granted possessions; to him his mother bore the single (child) Ilioneus.  Him then he wounded under the eyebrow down through the base of the eye, and drove out his eyeball; and the spear went first through the eye and through the nape of the neck, and he sat down, stretching out both his hands."

Cool things: 
  1. switching object to subject (Ilioneus is the object of the Greek, in the accusative until the last phrase, but is the subject in Oswald). 
  2. switching personal to impersonal: in the Iliad the important thing is who killed him (Peneleos); in Oswald that's elided, and the spear killed him by itself.  A move Oswald frequently makes, because "who killed him" is not important to Memorial as it is to the Iliad.
  3. "μοῦνον" = "an only child".
  4. "μάλιστα Ἑρμείας Τρώων ἐφίλει καὶ κτῆσιν ὄπασσε" (Hermes loved him and gave him stuff, the most of all the Trojans) = "he always wore that well-off look", but also.
  5. "ran out of luck" - also a reference to Hermes, because a ἑρμαῖον is a "lucky find", a "thing sent by Hermes".  So Hermes loved his father, but eventually, he, or his father, ran out of Hermes.
  6. ὃ δ’ ἕζετο χεῖρε πετάσσας ἄμφω gets amplified with "trying to snatch back the light", which then leads to the simile, which actually is fascinating, but this is enough for today.
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Promachus dies

Similes
Similes (Photo credit: teotwawki)
This was pretty straightforward.  I hunted around for stuff on Homeric similes; turns out others have noticed the similes in Homer.  Quite a few.  Wilamowitz among them.  Fortunately I'm not writing about the similes in Homer, hah, because if I were I'd be reading for 3 years before I could write a word.  I read Taplin's review of Moulton's book on similes (Homeric Similes, 1977, certainly much has been written since, but it was the first thing that came to hand). (See, for a very cursory list, my rapidly growing "Secondary Literature" page.  This is not, I need hardly say, a list of works I have already read.  It is aspirational.)

Moulton assumes that when he sees subtlety in Homer it's because it's there, not because it accidentally accreted into the poem.  I'm inclined to agree but again I am not writing about that, I am so very grateful to say; I am writing about Oswald, and I can certainly argue that subtlety in Memorial is "part of the poem and not there by coincidence" (Taplin, 184).  I have to admit though that Memorial's reading of the Iliad highlights a great deal of subtlety in the original text; I suspect that's by design too.
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Thursday, 31 May 2012

Antilochus, the Iliad's Mary Sue

Antilochus. Side A from an Attic red-figure ne...
Antilochus. Side A from an Attic red-figure neck-amphora, ca. 470 BC. (Photo credit: Wikipedia)
Oswald lists seven deaths that, in Homer, are given in 120 lines of hard fighting: Oinomaos, Askalaphos, Aphareus, Thoon, Antilochus, Deipuros, and Peisander.  Except one of these things is not like the others: Antilochus doesn't actually die here.  This is the second time she's killed Antilochus, quietly embedding him in a list of dead warriors,  when in fact Antilochus killed someone else in this passage (who isn't listed among the dead).  And here she's done it again: Adamas, son of Asios (who has just died), attacks Antilochus, but Poseidon likes Antilochus and saves him.  Adamas ducks in behind his friends but Meriones follows him and kills him particularly painfully (spear in the gut, midway between the navel and the privates, and he writhes around painfully until Meriones pulls out the spear and he dies).  Oswald skips all this and lists Antilochus among the dead.

The first time Oswald did this I thought it was a mistake, but this isn't a mistake.  Why does she keep killing off Antilochus?  He doesn't even die in the Iliad.  (He's killed later, by Memnon, or possibly by Paris at the same time as Achilles, or according to Hyginus Hector kills him, which would be a surprise to Homer, because Antilochus is still alive in the next book of the Iliad to put in a mediocre performance in the funeral games for Patroclus).  And everyone likes him, and he's Achilles' good buddy, and everyone likes his dad, and he's always up to fight some Trojans, bouncy and courageous and gay,  he is, in fact, the Mary Sue of the Iliad, the one that has puzzlingly been made way, way too likeable, as if Homer (or the entirety of the oral tradition really really liked him and thought the rest of us should too for no obvious reason.

But she keeps killing him off.  As if we should get in our mourning for Antilochus now, because he keeps being mentioned, but he doesn't get a proper death scene in the Iliad, but the fact is he is going to die before he makes it home, so let's mourn him in advance, as the only Greek warrior that everybody really likes, and she wants to remind us that he doesn't make it either?

Or, I don't know.  I wonder if Antilochus' inclusion in Memorial might be my way into writing about the poem.  It's odd in so many ways.  I could talk about the ways.
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Wednesday, 30 May 2012

Alcathous' beating heart


Poseidon holding a trident. Corinthian plaque,...
Poseidon holding a trident. Corinthian plaque, 550–525 BC. From Penteskouphia. (Photo credit: Wikipedia)
Going through Oswald's translation of Alcathous' death scene line by line, the amazing thing is how much it retains of Homer, while giving us a very different version.  It begins "Somebody's husband somebody's daughter's husband" - Homer's begins "γαμβρὸς δ’ ἦν Ἀγχίσαο,/ πρεσβυτάτην δ’ ὤπυιε θυγατρῶν Ἱπποδάμειαν" "son-in-law of Anchises, he married the eldest of his daughters, Hippodamia" - and throughout, Oswald retains most of the Greek version, but what she leaves out is instructive: first, leaves out the first line (that Alcathous was the dear son of Aisyetes - usually she does give the parents, especially the mother, but this is not the mother); and throughout, leaves out the names of his wife, his father-in-law, the man who killed him (Idomeneus) and the god that charmed him so he couldn't move when Idomeneus attacked (Poseidon).

In place of this, Oswald says rather he was frozen with fear.  She then turns a simile into narrative: where Homer says he stood fixed "like a pillar or a high leafy tree", Oswald says
Like a pillar like a stunted tree
He couldn't bend his stones
He couldn't walk his roots
And so he dies, the spear swaying, ("tick tick tick" says Oswald), for a while, in his still-beating heart.

And then the simile, drawn from the beginning of book 13, where Poseidon enters the battle to ginger up the Greeks, and having given strength to the Aiantes he flies off "like a swift-winged hawk set out to fly, that having been raised up over a high rock destitute even of goats, rushes to pursue another bird of the plain" - to go ginger up some more Greeks.  And the next one he comes to is Idomeneus, who is the one who kills Alcathous, explicitly with Poseidon's help.  

Oswald's version:
Like a knife-winged hawk
Balanced on a cliff with no foothold
Not even a goat can climb there
Like when he lifts his blades and begins
That faultless fall
Through the birds of the valley 
And here as elsewhere it's perfectly clear she's going from the Greek, because no translation mentions goats; that comes from the Greek "αἰγίλιπος", "destitute even of goats" is what it actually means but it's usually translated as "sheer"; and "knife-winged and 'lifts his blades"" where translations have "swift-winged", because Oswald is not reading ὠκύπτερος, the Oxford text, but the variant ὀξύπτερος. 

This simile is wonderfully used: it is Poseidon who has fallen like a hawk knife-winged on poor Alcathous; at the same time it is Alcathous who is poised, about ("tick tick tick") to begin his fall.

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Monday, 28 May 2012

undefeated (I think)

English: Historic reconstruction of the landsc...
English: Historic reconstruction of the landscape of Troy from Vol.2 of Alexander Popes The Iliad of Homer (Photo credit: Wikipedia)
Like a stone 
Stands by a grave and says nothing

This is the first simile that I cannot locate in the Iliad.  It's too short for me to get a grip on it using Perseus, and I just don't have that encyclopedic knowledge of the Iliad that would enable me to fish it out of my own brain.  There are two stones marking a grave in the funeral games for Patroclos but they don't say nothing.  I mean, they do say nothing, but they aren't mentioned as saying nothing.

Sad now.  So far I've been batting 100%.

Several more Trojans have died, and one Greek.  Interesting simile that reveals, on close examination, that Homer knew all about Heisenberg and certainty deriving from collapsing wave formations (Bk 14).

ETA: must be Achilles' horses, standing still as a gravestone and weeping for their charioteer, because that's the only simile in the Iliad that is about gravestones.   Which makes it very interesting, because the horses are standing stock still and weeping, in Homer.  Here, it's the sea: Amphimachos has just died, who's descended from Poseidon, and you'd think Poseidon could do something, but the sea (says Oswald) just "lifted and flattened, lifted and flattened".  Doing, apparently, nothing, like a stone.  But actually Poseidon (in Homer) is very upset at Amphimachos' death; can't do anything about his death, but goes and riles up Idomeneus and other Greek warrios to go kill a lot of Trojans as a result.  So the sea/Poseidon seems to be doing nothing, but is doing a lot; and the horses seem to simply be standing there silently, but in fact they're mourning.

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Tuesday, 22 May 2012

more Trojans die

Achilles between Diomedes and Odysseus at Scyros.
Achilles between Diomedes and Odysseus at Scyros. (Photo credit: Wikipedia)
Agastraphus, (Agastrophus in Homer), Thoon, Ennomus, Chersidamas, Charops, Socus.  


Again, we aren't told which side these men are on (they're all Trojans), or who killed them ( Diomedes killed the first one, was shot in the foot by Paris and withdrew, wounded; Odysseus, surrounded by Trojans, kills the rest, fighting desperately).  Oswald is only concerned with the deaths.


Agastraphus gets no simile, and the next three are given in a list;  they get more of a description in Homer, especially Chersidamas, whom Odysseus stabs under his shield as he leaps down from his chariot, and he falls in the dust (ἐν κονίῃσι), clutching the earth with his hand.  Oswald uses a simile to supply this bit of narrative, taking it from Book 23, Patroclos' funeral games, when Epeios strikes Euryalos so hard that he leaps up like a fish thrown out of the water by the north wind, that lands on the shore: 

" Like a fish in the wind
Jumps right out of its knowledge
And lands on the sand"    (Oswald p. 42) 

Marvellous translations as usual; for example,  Odysseus taunting the dead Socus "φθῆ σε τέλος θανάτοιο κιχήμενον, οὐδ’ ὑπάλυξας.", "The end of death got ahead of you, and you didn't evade it" turns into 
"poor Socus
Trying to get away from his own ending
Ran out his last moments in fear of the next ones". (Oswald p. 43)
Nicely encapsulates Socus running away (he was caught in the back by Odysseus' spear), trying to evade the ending that caught him anyway.


There follows a very interesting interaction between narrative and simile, and I'm struggling with it.  In Homer Odysseus taunts Socus that birds will strip his flesh, beating their wings around him, and his parents will never close his eyes for him in death.  Oswald describes the birds eating him mouthful by mouthful, and then this simile:
"Like when the wind comes ruffling at last to sailors adrift
Trying to manage the broken springs of their muscles
And lever and lift those well-rubbed oars
Making tiny dents in the ocean"(Oswald p. 43)
My first reaction is, what does this have to do with anything?  The simile comes from the beginning of Book 7, where the brothers Hector and Paris re-enter the battle, as welcome to the weary Trojans as a fresh breeze to sailors worn-out with rowing.   To add to the confusion, in context, the ruffling wind seems to refer most immediately to the vultures, gathering to strip their dead flesh.  Oswald has here done what she frequently does, and flipped the simile around, so what was subject becomes object and what was object becomes - something else entirely.  I think it goes something like this:




simile

in Iliad

in Memorial

breeze the two Trojan brothers, Hector and Paris the fluttering ("ruffling") of the birds around the dead Socus (and Charops)
weary with rowingweary with fightingweary with fighting (or running from death?)
sailorsTrojan warriorsthe two Trojan brothers, Charops and Socus



So two Trojan brothers as subject, longed-for helpers,  become two Trojan brothers as object, helpless dead; the weariness of fighting is increased and the activity is futile ("making tiny", i.e. futile, "dents in the ocean"), and the helping breeze becomes the ruffling feathers of the vultures around the bodies; the end of death is welcome.  Except not, because Socus was running, and the breeze doesn't help the sailors, though it does, I suppose, end their labour.

Inclined to wonder if I'm over-thinking.  I am assuming, for one thing, that every time Oswald uses a simile from elsewhere in the Iliad,  we can reasonably consider as significant both its present and its previous context and referents; she has placed the simile where it makes sense in her poem, but has also chosen it from a context that also casts light on its meaning in its present position.  Perhaps however she just picks similes that make sense where she puts them, and doesn't much care where they come from.  Or perhaps she doesn't always care.  I'm dubious about that, though; the context seems significant far too often.  I think the problem I'm having here is that it doesn't make a lot of sense to me in its present context in Memorial.  Well, mark for later consideration.


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Sunday, 20 May 2012

Hippodamos and Hypeirochos

Diomedes and Athena attacking Ares
Diomedes and Athena attacking Ares (Photo credit: Wikipedia)
We are in the middle of Hector's interrupted aristeia.  He has killed a list of people, and now the Greeks are regrouping, or at least Diomedes and Odysseus are. Odysseus kills these two.

Homer gives one line for both: "Ἱππόδαμον δὈδυσεὺς καὶ Ὑπείροχον ἐξενάριξεν" - "and Odysseus stripped Hippodamos and Hypeirochos" - and only half a sentence at that, with the other half taken up by Diomedes.  Oswald gives each of the dead a line ("And Hippodamos died ... And Hypeirochos died ...".  She doesn't say who killed them or which side they were on, and each one gets his own simile, but (unusually) not repeated.

The similes are interesting.  One is drawn from the break in Diomedes' aristeia, Iliad 5.596-600, where Diomedes, after he's been wounded by Pandaros, sees Hector coming with Ares beside him and like any sensible man, is brought up short - like a man crossing a plain who stops and steps back at the bank of a foaming river.  The second is drawn from Achilles' fight with the river Scamander, Iliad 21.281-283:  he's calling on the gods as the river chases him and threatens to overwhelm him (Oswald has already used the simile just previous to this one, about a man gardening and loosening a stream). He complains that he wishes he was going to get killed by a hero instead of being swept away in a river like a swineherd's boy trying to cross in a storm.

Diomedes and Achilles escape their rivers, metaphoric and real; Hippodamos and Hypeirochos do not.
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