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By John Miles Foley
"For people who find themselves attracted to Greek and Roman epic, the ebook is a treasure-house of best suited variety.... The editor and the writer either deserve compliment for a really advantageous volume." (Journal of the Royal Asiatic Society)
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"For those who find themselves drawn to Greek and Roman epic, the e-book is a treasure-house of ideal type. .. . The editor and the writer either deserve compliment for a truly wonderful quantity. " (Journal of the Royal Asiatic Society)
"Blackwell's significant other to old Epic does simply what the name indicates: it accompanies readers on trips of exploration during this large (in each feel) box. simply as importantly, the significant other will convey new readers why they may are looking to immerse themselves in those poems. .. . the various highlights during this significant other display the price of asking students to write down for non-specialists. That activity offers a stimulus for brand new degrees of concentration and readability; even principles and fabrics which may be ordinary turn into clean back after they are offered in such succinct distillations. " (Bryn Mawr Classical overview)
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Extra info for A Companion to Ancient Epic
To put it negatively, we should not define ‘‘genre’’ or ‘‘epic’’ simply as an ideal Platonic form for static contemplation. Definitions need to be dynamic aids to learning and social integration. Modern handbooks of literary terms, in defining ‘‘epic,’’ inevitably mention features of content, such as a cosmic scale; a serious purpose; a setting in the distant past; the presence of heroic and supernatural characters; and plots pivoting on wars or quests. The presence or absence of any such features should not be decisive, however, in defining a genre.
Just as the Odyssey can be seen as expanding itself by way of the poetry of shamanic quest, the Iliad can be observed complicating its plot through the inclusion of a quest and trickster figure, Odysseus. Such a lateral, relational approach might even lead us at this point to formulate a further definition of genre: a set of allowable intertexts (oral or written), embracing all those compositions that communicate through consistent mutual allusivity. ) If the Iliad cannot be fully appreciated without the figures, themes, or diction of other Trojan War sagas, in whatever form these existed, these others qualify for inclusion in the genre.
Homeric Hymns: Clay 1989; Muellner 1996; Martin 2000. intertextuality in epic: Martin 1984, 2001. ˆ thoi as ‘‘tales’’: Edmunds 1997. mu Orphic poetry: West 1983; Martin 2001. other Greek epics: Huxley 1969. rhapsodes, text fixation: Nagy 1996b, 1996c, 2002. ˆ thos and epos: Martin 1989. semantics of mu shamanism: Dodds 1951. 3 ‘‘Epic’’ cross-culturally African traditions: Stone 1988; Belcher 1999. Egyptian epic: Slyomovics 1987; Reynolds 1995, 1999. epic and myth: Dume´zil 1968, 1971, 1973. genres of discourse: Martin 1984; Todorov 1990.
A Companion to Ancient Epic by John Miles Foley