AN inquiry into the use of paradeigma in the Iliad must begin with Niobe. At 24. 602 Achilles introduces Niobe in order to encourage Priam to have some food. The dead body of the best of Priam's sons has now been placed on the wagon ready for its journey back to Troy. Achilles says , ‘Now let us eat. For even Niobe ate food, and she had lost twelve children. Apollo and Artemis killed them all; they lay nine days in (...) their blood and there was no one to bury them, because Zeus had turned the people into stone. On the tenth day the gods buried them. But she managed to eat some food, when she was tired of weeping. And now among the mountains, although turned into stone, she still broods over her sorrows. But come, let us also eat. You can weep for your son again later’. (shrink)

In this groundbreaking study, Jean Pierre-Vernant delineates a compelling new vision of ancient Greece. Myth and Society in Ancient Greece takes us far from the calm and familiar images of Polykleitos and the Parthenon to reveal a fundamentally other culture one of slavery, of masks and death, of scapegoats, of ritual hunting and ecstasies.Vernant's provocative discussion of various institutions and practices including war, marriage, and sacrifice details the complex intersection of the religious, social, and political structures of ancient Greece. The (...) book concludes with Vernant's authoritative genealogy of the study of myth from antiquity to structuralism and beyond.Jean Pierre-Vernant is Professor Emeritus of Comparative Study of Ancient Religions at the Collège de France in Paris. Janet Lloyd is a translator and writer living in England. Distributed for Zone Books. (shrink)

In this groundbreaking study, Jean Pierre-Vernant delineates a compelling new vision of ancient Greece. Myth and Society in Ancient Greece takes us far from the calm and familiar images of Polykleitos and the Parthenon to reveal a fundamentally other culture one of slavery, of masks and death, of scapegoats, of ritual hunting and ecstasies.Vernant's provocative discussion of various institutions and practices including war, marriage, and sacrifice details the complex intersection of the religious, social, and political structures of ancient Greece. The (...) book concludes with Vernant's authoritative genealogy of the study of myth from antiquity to structuralism and beyond.Jean Pierre-Vernant is Professor Emeritus of Comparative Study of Ancient Religions at the Collège de France in Paris. Janet Lloyd is a translator and writer living in England. Distributed for Zone Books. (shrink)

The Iliad is rich in references to stories that have only incidental relevance to the main narrative. These digressions, as they are often called, have usually been assumed to reflect a wealth of pre-Homeric legend, some of which must a have been embodied in poetry. The older Analysts tended to explain the digressions in terms of interpolation. Whether regarded as genuinely Homeric or as interpolated these myths were considered as something existing in an external tradition. More recent scholars have been (...) prepared to admit that Homer may invent from time to time. For example, Sir Maurice Bowra observes that ‘the poet seems sometimes to invent a detail which looks as if it referred to some story outside his immediate subject but is in fact an invention brought to serve a passing need’. (shrink)

AN inquiry into the use of paradeigma in theIliadmust begin with Niobe. At 24. 602 Achilles introduces Niobe in order to encourage Priam to have some food. The dead body of the best of Priam's sons has now been placed on the wagon ready for its journey back to Troy. Achilles says, ‘Now let us eat. For even Niobe ate food, and she had losttwelvechildren. Apollo and Artemis killed them all; they lay nine days in their blood and there was (...) no one to bury them, because Zeus had turned the people into stone. On the tenth day the gods buried them. But she managed to eat some food, when she was tired of weeping. And now among the mountains, although turned into stone, she still broods over her sorrows. But come, let us also eat. You can weep for your son again later’. (shrink)

One of the most striking features of theIliadis that the gods are constantly present as an audience. Not only are they shown intervening and responding to human action, but repeatedly they are explicitly said to be watching. It will here be argued that this is much more than a ‘divine apparatus’, that it stands in a peculiar and identifiable relation to real religion, and that it is of the greatest importance both for theIliadand for later Greek poetry.

In this work, published here as a single volume, the authors present a disturbing and decidedly non-classical reading of Greek tragedy that insists on its radical discontinuity with our own outlook and with our social, aesthetic, and psychological categories.

One of the most striking features of the Iliad is that the gods are constantly present as an audience. Not only are they shown intervening and responding to human action, but repeatedly they are explicitly said to be watching. It will here be argued that this is much more than a ‘divine apparatus’, that it stands in a peculiar and identifiable relation to real religion, and that it is of the greatest importance both for the Iliad and for later Greek (...) poetry. (shrink)