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Journal articles on the topic 'The Iliad'

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Published: 4 June 2021

Last updated: 25 April 2022

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1

Shapovalova, A. A. "Klein, L. (2019). The Iliad: An epic and history. St. Petersburg: Eurasia. (In Russ.)." Voprosy literatury, no. 6 (December 28, 2020): 280–83. http://dx.doi.org/10.31425/0042-8795-2020-6-280-283.

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The Iliad: An Epic and History [‘Iliada’: epos i istoriya] is the last book by L. Klein, a prominent Russian historian, archaeologist, philologist, and the founder of theoretical archaeology. The book was originally conceived as the third part of a larger research project, The Iliad Deciphered [Rasshifrovannaya ‘Iliada’]. The Iliad: An Epic and History includes important additions to The Iliad’s Anatomy [Anatomiya ‘Iliady’], with references to its tables and maps, as well as to Disembodied Heroes [Besplotnye geroi]. Klein analyzes how frequently epithets were used with city names and names of the heroes, as well as morphemes of frequently used and key words in terms of their age and geography. Based on the results of this analysis, he divides the Iliad into parts and proceeds to describe them in detail. Klein also elaborates on the images of the heroes and their origins in local cults. A large part of the work is devoted to analysis of the Catalogue of Ships. Thanks to the findings provided by the book the readers get a comprehensive view of the overall textual structure of the Iliad.

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2

McCoskey, Denise E. "Reading Cynthia and Sexual Difference in the Poems of Propertius." Ramus 28, no. 1 (1999): 16–39. http://dx.doi.org/10.1017/s0048671x00001806.

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‘she is always and never the same’(advertising slogan for ‘Contradiction’, a ‘fragrance for women’ by Calvin Klein, 1999)In the first poem of his second book, Propertius presents an emphatic declaration of his status as a love poet, slyly incorporating a detailed recusatio to Maecenas, who he claims has requested that he compose epic instead. Later in the poem, Propertius' preference for elegy over epic seems to be echoed by the predilections of his lover Cynthia, who, as Propertius insists, finds the entire Iliad distasteful. According to Propertius, Cynthia's aversion to the poem emerges from a very specific source: the epic's primary female protagonist, Helen. For, as Propertius recalls it, Cynthia disapproves of the whole epic precisely because she finds fault with its ‘leuis’ heroine: si memini, solet ilia leuis culpare puellas,/et totam ex Helena non probat Iliada (‘If I remember, she is accustomed to castigate mutable women and does not approve of the whole Iliad because of Helen’, 2.1.49f.).

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3

Farrell, Alan F., Homer, Stanley Lombardo, and Sheila Murnaghan. "Iliad." Journal of Military History 61, no. 3 (July 1997): 602. http://dx.doi.org/10.2307/2954038.

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4

Rose, Peter W., and Martin Mueller. "The Iliad." Classical World 79, no. 4 (1986): 291. http://dx.doi.org/10.2307/4349893.

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5

Laba, Jacqueline, and Jonathan Shay. "Vietnam "Iliad"." English Journal 86, no. 3 (March 1997): 106. http://dx.doi.org/10.2307/820662.

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6

deForest Lord, George, Martin Mueller, Tom Winnifrith, Penelope Murray, and K. W. Gransden. "The Iliad." Modern Language Review 82, no. 1 (January 1987): 153. http://dx.doi.org/10.2307/3729920.

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7

Jacobson, Howard. "Iliad 7.293ff." Classical Quarterly 47, no. 1 (May 1997): 292. http://dx.doi.org/10.1093/cq/47.1.292.

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Wordplay involving names is routine in Homer. Less common, but not rare, is wordplay that does not have anything to do with names. Thus, at Iliad 1.290f. there is a play on ; at 24.611 an implicit play on (people)/ (stone); at Odyssey 12.45–46 a possible play on .

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8

Janko, Richard. "WEST’s Iliad." Classical Review 50, no. 1 (April 2000): 1–4. http://dx.doi.org/10.1093/cr/50.1.1.

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9

Russo, Joseph. "ILIAD I." Classical Review 53, no. 1 (April 2003): 1–3. http://dx.doi.org/10.1093/cr/53.1.1.

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10

Chappell, Mike. "The Iliad." Classical Review 55, no. 1 (March 2005): 3–4. http://dx.doi.org/10.1093/clrevj/bni002.

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11

Willcock, M. M. "Iliad II." Classical Review 55, no. 1 (March 2005): 4–5. http://dx.doi.org/10.1093/clrevj/bni003.

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12

Haddock, Bruce A. "The Iliad." New Vico Studies 4 (1986): 185–86. http://dx.doi.org/10.5840/newvico1986430.

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13

Keller, Harold. "Iliad Drawings." Arion: A Journal of the Humanities and the Classics 24, no. 3 (2016): 75–86. http://dx.doi.org/10.1353/arn.2016.0014.

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14

Pearcy, Lee T., Homer, and Robert Fagles. "Homer: The Iliad." Classical World 85, no. 1 (1991): 52. http://dx.doi.org/10.2307/4350988.

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15

Homer and Translated by Peter Green. "Iliad, Book 24." Arion: A Journal of Humanities and the Classics 22, no. 3 (2015): 9. http://dx.doi.org/10.2307/arion.22.3.0009.

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16

Rutherford, Richard. "II - The Iliad." New Surveys in the Classics 41 (2011): 44–75. http://dx.doi.org/10.1017/s0017383512000393.

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The Iliad is not an Achilleid, although Achilles is the most important character in the epic. One of the most striking features of the poem is the way in which it embraces the action of the whole Trojan War by retrospective and prospective references, rather than by narrating the events in full. In this, as is evident from ancient testimony, the Iliad was markedly different from the ‘cyclic’ epics (see esp. Hor. Ars P. 136–7). The human characters refer to the abduction of Helen, the initial embassy to the Trojans, the mustering at Aulis, the earlier campaigns and clashes; the prophecies and comments of the gods, particularly Zeus and Thetis, anticipate the doom of Achilles and the ultimate fall of Troy, also grimly foreshadowed in other ways. In an important passage which seems to be deliberately reserved for a late stage in the poem, Homer himself looks back to the origin of the whole conflict, the judgement of Paris which aroused the implacable anger of Athena and Hera against Troy.

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17

West, M. L. "Iliad and Aethiopis." Classical Quarterly 53, no. 1 (May 2003): 1–14. http://dx.doi.org/10.1093/cq/53.1.1.

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18

Kovacs, David. "Iliad 1.282-284." Mnemosyne 70, no. 4 (June 16, 2017): 655–57. http://dx.doi.org/10.1163/1568525x-12342301.

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19

Tatum, James. "The Alexandrian Iliad." Arion: A Journal of the Humanities and the Classics 19, no. 3 (2011): 163–78. http://dx.doi.org/10.1353/arn.2011.0001.

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20

Brunner, Theodore. "P. Köln I. 25 Frr. k-o : Iliad or not Iliad ?" Chronique d'Egypte 63, no. 126 (July 1988): 305–7. http://dx.doi.org/10.1484/j.cde.2.308780.

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21

Geddes, A. G. "Homer in Translation." Greece and Rome 35, no. 1 (April 1988): 1–13. http://dx.doi.org/10.1017/s0017383500028710.

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In the first term of last year I had two classes with whom I was reading the Iliad. In the Classical Studies class we had to read and discuss the Iliad in Richmond Lattimore's English translation, and in the Greek IIA class we read Book I of the Iliad in Greek.

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22

ARAS, Tugce. "The Elements of 'Virtue' in The Iliad." International Journal of Languages, Literature and Linguistics 5, no. 3 (September 2019): 163–67. http://dx.doi.org/10.18178/ijlll.2019.5.3.221.

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23

Lukan, Blaž. "In search of lose wholeness: Phenomenological digression on Jernej Lorenci’s theatre." Maska 30, no. 175 (November 1, 2015): 26–43. http://dx.doi.org/10.1386/maska.30.175-176.26_1.

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The article discusses the characteristics of the theatre of director Jernej Lorenci from his directing of The Oresteia (2009) to The Illiad (2015). It defines Lorenci’s break with his former poetics in the directing of The Oresteia, and finds the new condensation of his directing procedures in The Iliad. In the discussed theatre period, Lorenci seeks the possible lapses, soft slips, the play of the alleged that only constitute the true reality, and is not interested in a well-made play. In his shows, Lorenci believes the man rather than the world; in fact, he acknowledges the world only insofar as it is reflected in the man and is projected out of him. His understanding of the man and his humanity perhaps compares to Agamben’s conception of the man as a being who is infinitely missing himself. The paper illustrates the mentioned thesis by analysing two of Lorenci’s figures from The Iliad.

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24

Harold Keller. "Iliad Drawings." Arion: A Journal of Humanities and the Classics 24, no. 3 (2017): 75. http://dx.doi.org/10.2307/arion.24.3.0075.

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25

Schofield, Malcolm. "Euboulia in the Iliad." Classical Quarterly 36, no. 1 (May 1986): 6–31. http://dx.doi.org/10.1017/s0009838800010508.

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The word euboulia, which means excellence in counsel or sound judgement, occurs in only three places in the authentic writings of Plato. The sophist Protagoras makes euboulia the focus of his whole enterprise (Prot. 318e–319a):What I teach a person is good judgement about his own affairs — how best he may manage his own household; and about the affairs of the city — how he may be most able to handle the business of the city both in action and in speech.Thrasymachus, too, thinks well of euboulia. Invited by Socrates to call injustice kakoetheia (vicious disposition — he has just identified justice as ‘an altogether noble good nature (euetheia)’, i.e. as simple-mindedness), he declines the sophistry and says (Rep. 348d): ‘No, I call it good judgement’. But Plato finds little occasion to introduce the concept in developing his own ethical and political philosophy. The one place where he mentions euboulia is in his defence of the thesis that his ideal city possesses the four cardinal virtues. He begins with wisdom, and justifies the ascription of wisdom to the city on the ground that it has euboulia (Rep. 428b) — which he goes on to identify with the knowledge required by the guardians: ‘with this a person does not deliberate on behalf of any of the elements in the city, but for the whole city itself — how it may best have dealings with itself and with the other cities’ (428c–d). It is normally rather dangerous to draw an inference from the absence or rarity of a word to the absence or rarity of the idea expressed by the word.

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26

Teffeteller, Annette. "ΑΥΤΟΣ ΑΠΟΥΡΑΣ, ILIAD 1.356." Classical Quarterly 40, no. 1 (May 1990): 16–20. http://dx.doi.org/10.1017/s000983880002677x.

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At Iliad 1.355–6, Achilles, calling upon his mother, reports the injury to his honour done him by Agamemnon:ἦ γάρ μ᾽ Ἀτρείδης εὐρὺ κρείων Ἀγαμέμνωνἠτίμησεν ⋯λὼν γ⋯ρ γέρας, αὐτ⋯ς ⋯πούρας.The formulaic line 356 is repeated by Thetis to Zeus at 507 and by Thersites to the assembled Achaeans at 2.240; the problematical phrase αὐτ⋯ς ⋯πούρας is repeated in a variant form with finite verb by Agamemnon at 19.89, αὐτ⋯ς ⋯πηύρων.

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27

Jones, P. V. "Iliad 24.649: Another Solution." Classical Quarterly 39, no. 1 (May 1989): 247–50. http://dx.doi.org/10.1017/s0009838800040623.

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J. T. Hooker argues that at Il. 24.649 ⋯πικερτομ⋯ων must mean ‘taunting’ and, since ‘taunting’ makes no sense, that ⋯πικερτομ⋯ων must have entered our Iliad at this point from a version of the Iliad slightly different from ours in which it did make sense. I wish to argue that ⋯πικερτομ⋯ων has a meaning different from ‘taunting’, which makes good sense of this, and every other, context.

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28

Whetter, K. S. "PITY IN THE ILIAD." Classical Review 52, no. 2 (September 2002): 235–36. http://dx.doi.org/10.1093/cr/52.2.235.

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29

Lateiner, Donald. "NARRATIVES WITHIN THE ILIAD." Classical Review 53, no. 1 (April 2003): 3–5. http://dx.doi.org/10.1093/cr/53.1.3.

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30

Buchan, Mark. "POLITICS IN THE ILIAD." Classical Review 53, no. 2 (October 2003): 275–76. http://dx.doi.org/10.1093/cr/53.2.275.

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31

Alexander, Caroline. "On Translating Homer's Iliad." Daedalus 145, no. 2 (April 2016): 50–58. http://dx.doi.org/10.1162/daed_a_00375.

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This reflective essay explores the considerations facing a translator of Homer's work; in particular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which remain the gold standard by which any Homeric translation is measured today. I attempt to walk the reader through the process of rendering a modern translation in accordance with Arnold's principles.

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32

Postlethwaite, N. "Thersites in the Iliad." Greece and Rome 35, no. 2 (October 1988): 123–36. http://dx.doi.org/10.1017/s0017383500033027.

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The character of Thersites, as presented by Homer in Iliad 2, has received an almost universally bad press, typical of which are the comments of F. A. Paley: ‘one of the turbulent and insolent malcontents in an army, who use their best efforts to misrepresent the authorities and to incite sedition in others’. Paley's view is typical both in the unsympathetic view it presents of Thersites and in its tendency to see him as representative of a whole genre of subversive and recalcitrant soldiery. My concern in this paper is to examine Thersites within the context of the Iliad alone, without any regard for his treatment by subsequent authors, and to attempt to explain his portrayal solely in terms of the dramatic situation at the beginning of the Iliad. My contention will be that the episode of Thersites is an important element in Homer's introductory purpose of presenting the backcloth against which the poem's theme, the menis is acted out.

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33

Rootenberg, J. D. "An odyssey through Iliad." JAMA: The Journal of the American Medical Association 263, no. 5 (February 2, 1990): 758–59. http://dx.doi.org/10.1001/jama.263.5.758.

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34

Tsagalis, Christos C. "The Meta–Narrative Moment: Rhesus’ Horses Revisited." Trends in Classics 12, no. 1 (June 25, 2020): 92–113. http://dx.doi.org/10.1515/tc-2020-0006.

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AbstractThis study offers a thorough re-examination of the claim that the Doloneia is a major interpolation in the Iliad, since the horses of Rhesus stolen by the two Achaean spies in Iliad 10 are not used by Diomedes to win the chariot race in the Funeral Games in honor of Patroclus in Iliad 23. It is argued that this claim is wrong. Diomedes wins with the semi-divine Trojan horses he has stolen from Aeneas in Iliad 5, i. e. with the best horses after Achilles’ divine horses which are not used in the chariot race. Aeneas’ horses are the only ones that can defeat Eumelus’ excellent mares, which have been called the second-best Achaean horses in Il. 2.763–764.

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35

Murray, Jeffrey. "Homer the South African." English Today 29, no. 1 (February 27, 2013): 58–61. http://dx.doi.org/10.1017/s0266078412000521.

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When reviewing a much-translated canonical text such as Homer's Iliad, it has become something of a topos to question the need for yet another translation of it. In the twenty-first century alone, Homer's Iliad has benefited from at least six published English translations already: Rodney Merrill (2007), Herbert Jordan (2008), Anthony Verity (2011), Stephen Mitchell (2011), Edward McCrorie (2012) and James Muirden (2012). Richard Whitaker adds his translation to the list with a slight variation on the standard Anglo-American English translations already available, presenting his readers instead with a ‘Southern African English’ version. With such a variety of Standard English prose and poetic translations already on offer, is there really a need for yet another Iliad? Will the novelty of its subtitle, as a ‘Southern African English’ Iliad, justify its publication, and what will prevent it from being judged merely as a postcolonial curiosity?

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36

Rutherford, Richard. "III - The Odyssey." New Surveys in the Classics 41 (2011): 76–102. http://dx.doi.org/10.1017/s001738351200040x.

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Although it is theoretically possible (and has been asserted) that the Iliad followed the Odyssey, or that the two poems were composed quite independently, with no influence from one to the other, majority opinion ancient and modern puts the Odyssey later, and assumes it to be in important respects a successor, even a sequel, to the Iliad. This position can be maintained in two main forms: those who believe in a single master-poet as the creator of both epics may assign the Iliad to Homer's youth, the Odyssey to his riper years (a position memorably expressed by Longinus); those who follow the ancient separatists can regard the Odyssey as a rival work, composed by a poet who immensely admired the Iliad but whose own poetic and moral concerns lay elsewhere. This view is now much more common. It may be difficult, however, in a tradition which involved so much use of conventional themes and formulaic material, to decide firmly in favour of common or separate authorship. Whichever view one prefers, the important point seems to be that the Odyssey is later, and that it is conceived as a poem on the same scale as the Iliad, but differing strikingly in content and ethos.

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37

Szlezák, Thomas Alexander. "Ilias and Odyssey: Two Epics, Two World Views." Peitho. Examina Antiqua 8, no. 1 (October 24, 2017): 39–52. http://dx.doi.org/10.14746/pea.2017.1.2.

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The different world views of the authors of the Iliad and the Odyssey are illustrated by selection of verses used by both poets. The role of the gods in the Odyssey precludes the tragic conception of human life that is characteristic of the Iliad.

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38

Rexine, John E., and Mark W. Edwards. "Homer: Poet of the Iliad." Classical World 82, no. 1 (1988): 56. http://dx.doi.org/10.2307/4350278.

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39

Ascher, Leona, and Paolo Vivante. "The Iliad: Action as Poetry." Classical World 85, no. 6 (1992): 721. http://dx.doi.org/10.2307/4351148.

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40

Knox, Ronald, and Joseph Russo. "Agamemnon's Test: "Iliad" 2.73-75." Classical Antiquity 8, no. 2 (October 1, 1989): 351–58. http://dx.doi.org/10.2307/25010913.

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41

James Tatum. "The Alexandrian Iliad." Arion: A Journal of Humanities and the Classics 19, no. 3 (2012): 163. http://dx.doi.org/10.2307/arion.19.3.0163.

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42

Heon Kim. "The Beauty(Kalos) in Iliad." Journal of Mediterranean Area Studies 19, no. 1 (February 2017): 25–51. http://dx.doi.org/10.18218/jmas.2017.19.1.25.

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43

Passmann, Kristina, and Mark W. Edwards. "Homer: Poet of the Iliad." Rocky Mountain Review of Language and Literature 43, no. 1/2 (1989): 94. http://dx.doi.org/10.2307/1347200.

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44

Kitts, Margo. "What's Religious about the Iliad?" Religion Compass 7, no. 7 (July 2013): 225–33. http://dx.doi.org/10.1111/rec3.12050.

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45

McLeod, W., and E. T. Owen. "The Story of The Iliad." Phoenix 45, no. 2 (1991): 185. http://dx.doi.org/10.2307/1088559.

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46

Golden, Leon. "To geloion in the Iliad." Harvard Studies in Classical Philology 93 (1990): 47. http://dx.doi.org/10.2307/311282.

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47

Connelly, Peter J. "The Ideology of Pope's Iliad." Comparative Literature 40, no. 4 (1988): 358. http://dx.doi.org/10.2307/1771194.

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48

Sowerby, Robin. "The Decorum of Pope's Iliad." Translation and Literature 13, no. 1 (March 2004): 49–79. http://dx.doi.org/10.3366/tal.2004.13.1.49.

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49

DAVIES, MALCOLM. "‘SELF-CONSOLATION' IN THE ILIAD." Classical Quarterly 56, no. 2 (December 2006): 582–87. http://dx.doi.org/10.1017/s0009838806000553.

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50

Phillips, Tom. "ILIAD 13.754: ΟΡΕΙ ΝΙΦΟΕΝΤΙ ΕΟΙΚΩΣ." Classical Quarterly 65, no. 2 (July 3, 2015): 439–43. http://dx.doi.org/10.1017/s0009838815000099.

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At Iliad 13.751-3, Hector heeds Polydamas' advice to rally the Trojans by gathering their best fighters together and debating their next move (13.736-47). The speech is followed by a simile that has puzzled some commentators, in which Hector is compared to a snowy mountain as he moves through the Trojan ranks. The passage runs as follows: ‘Πουλυδάμα σὺ μὲν αὐτοῦ ἐρύκακε πάντας ἀρίστους,αὐτὰρ ἐγὼ κεῖσ’ εἶμι καὶ ἀντιόω πολέμοιο·αἶψα δ’ ἐλεύσομαι αὖτις ἐπὴν εὖ τοῖς ἐπιτείλω.’ἦ ῥα, καὶ ὁρμήθη ὄρεϊ νιφόεντι ἐοικὼςκεκλήγων, διὰ δὲ Τρώων πέτετ’ ἠδ’ ἐπικούρων. 755οἳ δ’ ἐς Πανθοΐδην ἀγαπήνορα Πουλυδάμανταπάντες ἐπεσσεύοντ’, ἐπεὶ Ἕκτορος ἔκλυον αὐδήν.‘Polydamas, hold all the best men here, while I go there and face the battle. I shall swiftly come back again, when I have given my orders to the men.’ He spoke and rushed off appearing like a snowy mountain, crying out, and flew through the ranks of the Trojans and their allies, and they all rushed to the kindly-minded Polydamas, Panthoos’ son, when they heard Hector's voice.

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