By Steve Kershaw
The ebook leads the reader via those vivid tales, from the origins of the gods via to the homecomings of the Trojan heroes. the entire general narratives are right here, in addition to a few much less everyday characters and motifs. as well as the stories, the publication explains key concerns coming up from the narratives, and discusses the myths and their wider relevance.This long-overdue ebook crystallises 3 key components of curiosity: the character of the stories; the tales themselves; and the way they've got and can be interpreted. For the 1st time, it brings jointly points of Greek mythology in basic terms often on hand in disparate types - particularly children's books and educational works. there'll be a lot the following that's attention-grabbing, miraculous, and weird in addition to frequent. specialists and non-experts, adults, scholars and schoolchildren alike will achieve leisure and perception from this interesting and demanding quantity.
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Extra resources for A Brief Guide to the Greek Myths
The word kleos expresses not only the idea of prestige as conveyed by the translation ‘glory’ but also the idea of a medium that confers this prestige (BA 1§§2–4). And this medium of kleos is not only epic, as represented by the Homeric Iliad, but also lyric, as best represented in the historical period by the poet Pindar. 61–3; PH 6§3). 47). This epithet expresses the idea that the medium of kleos is a metaphorical flower that will never stop blossoming. 56a–62; PH 7§6). 54–60; BA 10§11). 58–59, 60–62).
What appears to be the most deeply personal experience of Sappho is at the same time the most widely shared communal experience of the people of Lesbos. Comparable examples can be found in other forms of song in the repertoire of Sappho. One such form is the hymenaeus or ‘wedding song’. Most revealing in this regard is the standard word that we translate as ‘bride’ – numph¯e (pronounced numpha in the poetic dialect of Lesbos, as in Sappho F 116). This word, as we can see from its Homeric usage, means not only ‘bride’ but also ‘goddess’ – in the sense of a local goddess as worshipped in the rituals of a given locale.
It remains to ask about the god with whom Achilles is identified in epic and with whom Hector and Andromache are identified in lyric. For this god, epic and lyric are undifferentiated, just as the kleos aphthiton of Achilles as warrior in epic is undifferentiated from the kleos aphthiton of Hector and Andromache as bridegroom and bride in lyric. This god is Apollo. At the moment of his death, the hero Achilles is destined to confront not only the god Ares as the generic divine antagonist of warriors but also the god Apollo as his own personal divine antagonist.
A Brief Guide to the Greek Myths by Steve Kershaw