Hour 23. The living word II: Socrates in Plato’s Phaedo The meaning of theōriā 23§1. My abbreviated translation of the noun theōriā is ‘sacred journey’. This noun is related to the noun theōros, referring to a person who is officially delegated to embark on such a sacred journey. I will translate this noun as ‘sacred delegate’. And I will translate the corresponding verb theōreîn this way: ‘to journey as a… Read more
Hour 24. The Hero as savior The meaning of sōzein and sōtēr 24§1. The key word for this hour is the verb sōzein, meaning ‘save (someone)’. Derived from this verb is the noun sōtēr, which means ‘savior’ in the sense of ‘one who brings (someone) back to safety’ or, mystically, ‘one who brings (someone) back to life’. We have already seen in Pausanias 8.44.4 (Hour 11 Text L) the feminine… Read more
Core Vocabulary of Key Greek Words Depending on context, adjectives in -os (masculine), may be given with other endings: -ē (feminine), -on (neuter), -oi (masculine plural), -ai (feminine plural), -a (neuter plural). agathos ‘good, noble’ agōn, plural agōnes ‘coming together; competition (antagonism); ordeal (agony). agorā, plural agorai ‘public assembly, place of public assembly’ aidōs ‘shame, sense of shame; sense of respect for others; honorableness’ ainos ‘authoritative utterance for and by… Read more
References Abbreviations ABV: Beazley, J. 1956. Attic Black-Figure Vase Painters. Oxford. BA: Nagy, G. 1999. The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry. Rev. ed. with new intro. Baltimore (available online). CPG: Leutsch, E. L. von, and F. G. Schneidewin, eds. 1839–1851. Corpus Paroemiographorum Graecorum. Göttingen. DELG: Chantraine, P. 2009. Dictionnaire étymologique de la langue grecque: histoire des mots. Ed. J. Taillardat, O. Masson, and J.-L. Perpillou. With a… Read more
Introduction to the Second Edition by Stephen Mitchell and Gregory Nagy This new edition of The Singer of Tales marks the fortieth anniversary of the original publication of Albert B. Lord’s book (1960). The words of Lord, as well as the original pagination, have been preserved unchanged. Important new features, however, have been added. The first of these features involves the principal evidence that Lord… Read more
Preface by Harry Levin The term “literature,” presupposing the use of letters, assumes that verbal works of imagination are transmitted by means of writing and reading. The expression “oral literature” is obviously a contradiction in terms. Yet we live at a time when literacy itself has become so diluted that it can scarcely be invoked as an esthetic criterion. The Word as spoken… Read more
Foreword This book is about Homer. He is our Singer of Tales. Yet, in a larger sense, he represents all singers of tales from time immemorial and unrecorded to the present. Our book is about these other singers as well. Each of them, even the most mediocre, is as much a part of the tradition of oral epic singing as is Homer, its most talented representative. Among… Read more
Abbreviations Frequently Used in the Notes AJA: American Journal of Archaeology HSCP: Harvard Studies in Classical Philology AJP: American Journal of Philology Parry: The Milman Parry Collection in the Harvard College Library TAPhA: Transactions and Proceedings of the American Philological Association Parry and Lord: Serbocroation Heroic Songs Pauly-Wissowa: Real-Encyclopädie der Classichen Altertumswissenschaft Lord: Serbocroation and Bulgarian texts collected by the… Read more
Chapter 1. Introduction [In this on-line version, the page-numbers of the printed version are indicated within braces (“{” and “}”). For example, “{69|70}” indicates where p. 69 of the printed version ends and p. 70 begins. These indications will be useful to readers who need to look up references made elsewhere to the printed version of this book.] In the early thirties of this century, when… Read more
Chapter 2. Singers: Performance and Training Were we to seek to understand why a literary poet wrote what he did in a particular poem in a particular manner and form, we should not focus our attention on the moment when he or someone else read or recited his poem to a particular audience or even on any moment when we ourselves read the poem in quiet solitude. Read more
