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"Kindness in words creates confidence. Kindness in thinking creates profoundness. Kindness in giving creates love."
- Lao-Tzu
(604 BC - 531 BC)
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ZIN Product Number: 10194304
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| | | |  | | | Product Details
 Format: Hardcover, 224 pages
Publisher: Princeton University Press
ISBN: 0691086664
Release Date: Jan 2, 1990
| |  | | | From The Publisher
Sound, Sense, and Rhythm concerns the way we read -- or rather, imagine we are listening to -- ancient Greek and Latin poetry. Through clear and penetrating analysis Mark Edwards shows how an understanding of the effects of word order and meter is vital for appreciating the meaning of classical poetry, composed for listening audiences.
The first of four chapters examines Homer's emphasis of certain words by their positioning; a passage from the Iliad is analyzed, and a poem of Tennyson illustrates English parallels. The second considers Homer's techniques of disguising the break in the narrative when changing a scene's location or characters, to maintain his audience's attention. In the third we learn, partly through an English translation matching the rhythm, how Aeschylus chose and adapted meters to arouse listeners' emotions. The final chapter examines how Latin poets, particularly Propertius, infused their language with ambiguities and multiple meanings. An appendix examines the use of classical meters by twentieth-century American and English poets.
Based on the author's Martin Classical Lectures at Oberlin College in 1998, this book will enrich the appreciation of classicists and their students for the immense possibilities of the languages they read, translate, and teach. Since the Greek and Latin quotations are translated into English, it will also be welcomed by non-classicists as an aid to understanding the enormous influence of ancient Greek and Latin poetry on modern Western literature.
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| | | |  | | | | Preface | | | Ch. 1 | Homer I: Poetry and Speech | 1 | | The Older Discoveries: Frankel and Parry | 2 | | The New Theories: Functional Grammar and the Grammar of Speech | 9 | | Homeric Style in Tennyson's Morte d'Arthur | 14 | | Homeric Style in the Duels of Achilles | 18 | | Ch. 2 | Homer II: Scenes and Summaries | 38 | | The Book Divisions | 39 | | The Paragraph Divisions | 47 | | Joining Episode to Episode | 53 | | Continuity and Oral Poetics | 58 | | Ch. 3 | Music and Meaning in Three Songs of Aeschylus | 62 | | The First Choral Song (Agamemnon 104-257) | 71 | | The Second Choral Song (Agamemnon 367-488) | 81 | | The Third Choral Song (Agamemnon 681-781) | 88 | | The Rest of the Agamemnon, and of the Trilogy | 95 | | Ch. 4 | Poetry in the Latin Language | 99 | | Latin Word Order | 99 | | Ambiguity in Latin Verse | 105 | | Properties 1.19 | 109 | | Afterword | 125 | | App. A | Tennyson's Morte d'Arthur | 129 | | App. B | Continuity in Mrs. Dalloway | 149 | | App. C | The Performance of Homeric Episodes | 151 | | App. D | Classical Meters in Modern English Verse | 166 | | References | 179 | | Index | 189 |
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| | | | | | Keywords
History and criticism, Greece, Rome, Oral communication, Classical poetry, Classical languages, Metrics and rhythmics, History and criticism, Greece, Rome, Oral communication, Classical poetry, Classical languages, Metrics and rhythmics, Classical languages, Metrics and rhythmics, Classical poetry, History and criticism, Oral communication, Classical Literature, Poetry, Literary Criticism, Ancient and Classical, Linguistics, Language Arts & Disciplines, Ancient, Classical & Medieval
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