Download A Commentary on Homer's Odyssey, Volume 1: Introduction and by Alfred Heubeck, Stephanie West, J. B. Hainsworth PDF

By Alfred Heubeck, Stephanie West, J. B. Hainsworth

This 1st ebook of a statement compiled by way of a world group of students comprises an advent discussing prior study at the Odyssey, its relation to the Iliad, the epic dialect, and the transmission of the textual content.

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Extra info for A Commentary on Homer's Odyssey, Volume 1: Introduction and Books I-VIII

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7 Orthography: J. La Roche, Die homerische Textkritik im Altertum (Leipzig, 1866), has an invaluable account o f the paradosis. ) For other special accents see also Schwyzer, Grammatik, 384-5. g. g. ). But we can detect, or suspect, these only when the tradition fluctuates. For contraction, diectasis, and similar phenomena belong generally to the first stage, the first stabilization o f the text: only radical and unacceptable rewriting can eliminate them. The form of the Kunstsprache found in the Odyssey may be defined first in relation to certain linguistic developments which are guaran­ teed by metre, then in relation to other early hexameter poetry.

Tells how the poet was given not a 6ppuy(, but a aKrjmpov. In the epic the oxrjTTTpov is the insignia o f the orator; we meet it later as the staff o f the unaccompanied reciter o f verse, the patpw B os. Hesiod, accordingly was dubbed the first rhapsode (Nicocles, FGrH 376 F 8). It is permissible, when the lyre is discarded, to infer a change in the mode o f performance of hexameter poetry, and therefore, in a tradition where composition and performance had been identical, in the mode o f its recreation.

L. ) The Boeotian retained initial f until a remarkably late date: East Ionic lost it before the earliest documentation 28 T H E EPI C D I A L E C T fo r an editor o f Homer these facts have two important im plica­ tions First, he is strongly counselled not to correct the transmitted text in the face o f a unanimous tradition. No doubt aoiSot sometimes accepted a faulty but traditional rhythm for later generations to correct, but poets as much as rhapsodes must be granted a feeling for metre and the ability to use all the resources of Kunstsprache and vernacular to ‘correct’ it.

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