Select Bibliography
Select Bibliography Allen, T.W., ed. 1912. Homeri Opera V. Oxford. ———, ed. 1917. Homeri Opera III. 2nd ed. Oxford. ———, ed. 1919. Homeri Opera IV. 2nd ed. Oxford. Alpers, P. 1979. The Singer of… Read more
Chapters
Acknowledgements
Acknowledgements Rhythm Without Beat originally appeared in 2014 as a preliminary study to my thesis Audible Punctuation: Performative Pause in Homeric Prosody, which was defended in 2015. Rhythm Without Beat started from the notion of poetically effective enjambment, and questions the relevance of the verse as the… Read more
Introduction: Sense, Syntax and Prosody
Introduction: Sense, Syntax and Prosody What exactly did Homer leave behind? Was it a long series of hexameters? Yes and no. In writing, both the Iliad and the Odyssey appear as continuous repetitions of stichic verses. The epic narrative is cast in the hexametric mould: every single… Read more
1. The Unit of Homeric Discourse: Enjambment, Special Speech and Metrically Defined Grammatisation
1. The Unit of Homeric Discourse: Enjambment, Special Speech and Metrically Defined Grammatisation 1.0 Introduction For the modern reader, the punctuation of a text furthers comprehension of its contents. In spoken language, the person speaking may use differences in intonation, tempo and articulatory prominence to further… Read more
2. The Grammatical Clause in Homer
2. The Grammatical Clause in Homer 2.0 Introduction In chapter 1, I have discussed the problems concerning the various ways in which the syntax of Homeric discourse has been analysed by, among others, Chantraine, Bakker, and Clark. Discussing the descriptions of Homeric syntax also included dealing… Read more
3. Metrics and Phonology of Grammatical Clauses
3. Metrics and Phonology of Grammatical Clauses 3.0 Introduction The real compositional principle behind the verse-to-verse structure of both the Iliad and the Odyssey seems to be a progressive tendency that strings together a large and possibly infinite number of single-clause informational units. The progression results… Read more
4. Audible Punctuation in Prosody
4. Audible Punctuation in Prosody 4.0 Introduction In the preceding chapters I have shown that developing grammatisation in Homer results in grammatical clauses of variable size, strung together into a progressive tendency with the aid of extra-clausal transitional constituents. Parts of the grammatical… Read more
1. Mērionēs
Introduction In the Iliad, the relationship of Mērionēs and Idomeneus plays a peripheral role as compared to the central relationship of Akhilleus and Patroklos. As we shall see, the behavior of Mērionēs and Idomeneus towards one another is a variation on the theme of the heroic relationship of Akhilleus and… Read more
II. Etymology of Opaōn
1. Mērionēs a. Mērionēs as opaōn The word opaōn is found in the Iliad principally in the context of characterizing the relationship between Mērionēs and Idomeneus. Mērionēs is called the opaōn of Idomeneus four times: τοῖσι, δ᾽ ἐπ᾽ ᾽Ιδομενεὺς καὶ ὀπάων ᾽Ιδομενῆος Μηριόνης, ἀτάλαντος Ἐνυαλίῳ ἀνδρειφόντῃ … Η 165-66… Read more
III. The Formulaic Use of Opazō
II. Etymology of Opaōn We have introduced etymological considerations from time to time in the analysis up to this point. It may be helpful, however, to examine the etymology of opaōn more closely. Chantraine traces opaōn back within Greek to an attestation of the dative form in Linear B texts… Read more