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The article discusses a book titled "Doing Justice to a Wronged Literature: Essays on Arabic Literature and Rhetoric of the 12th–18th Centuries in Honour of Thomas Bauer." The book includes seventeen articles that highlight the progress made in Mamluk and Ottoman literary studies, particularly in the study of Arabic literature of the Mamluk and Ottoman periods. The articles cover a range of topics, including the literature of the Ismaili community in Syria, the life and work of a little-known poet, the relationship between poetry and social history, and the use of Quranic quotations in poetry. The collection of articles provides valuable insights into Arabic literature and rhetoric during this time period. However, it is noted that the book focuses more on Mamluk literature and does not adequately cover Ottoman Arabic literature. [Extracted from the article]

In Virgil's third eclogue, the goatherd Menalcas responds to his challenger Damoetas by offering as his wager in their contest of song a pair of embossed cups, caelatum diuini opus Alcimedontis (Ecl. 3.37), decorated with a pattern of vine and ivy. In the middle of this design, he says, are two figures. One is the astronomer Conon, and the other—at this point Menalcas, afflicted with a sudden loss of memory, professes to have forgotten the name of the second figure, and breaks off into a question (Ecl. 3.40-2): quis fuit alter, | descripsit radio totum qui gentibus orbem, | tempora quae messor, quae curuus arator haberet? Various candidates for the identity of this second astronomer have been suggested, one of the most favoured being Eudoxus of Cnidus, whose Phaenomena had been versified by the Hellenistic poet Aratus. In 1930 it was proposed by Léon Herrmann that Menalcas in fact answers his own question in his reference to curuUS ARATor at Ecl. 3.42: the solution to Virgil's riddle is already written into the question, in the form of the anagram of Aratus concealed within these two words. Strictly speaking, Hermann notes only that ‘Arator au v. 42 évoque le nom d’Aratos’; he and later exponents of the theory tend to ignore the preceding ‘-us’—but there seems no reason to exclude it if an allusion to the Greek poet is to be seen in the two following syllables. [ABSTRACT FROM PUBLISHER]

It is a commonplace to link Homer with tragedy. Plato calls Homer the first tragedian, Aristotle praises the dramatic concentration of his plots, and pseudo-Plutarch claims that in Homer we find ‘all elements of tragedy: great and unexpected deeds, epiphanies of gods, and speeches full of thought and representing all kind of characters’. Likewise, modern critics write studies on Nature and Culture in the Iliad. The Tragedy of Hector, ‘Tragic Form and Feeling in the Iliad’, ‘Homeric Epic and the Tragic Moment’, and Homer and the Dual Mode of the Tragic. [ABSTRACT FROM AUTHOR]

This article discusses the early modern Acehnese epic tradition to demonstrate the emergence of an individualized Muslim ethics. From the late seventeenth century onwards, a protracted decline of Acehnese royal power initiated a process of political fragmentation as well as the gradual integration of rural areas in the globalizing economy. This shift coincided with the emergence of local religious teachers as a new and influential social group. Contingent upon these changes, the Acehnese epic tradition shifted from a dominant cosmological model based on ritual hierarchies to a paradigm of reflexive ethics based on individual responsibility to God. [ABSTRACT FROM PUBLISHER]

Roman epic shares many figures of speech with oratory. One such device is parenthesis, or interiectio, which Quintilian (lnst. 8.2.15) defines as when medio sermone aliquem inserant sensum ('they [i.e., the orators and historians] insert another thought in the middle of a sentence'). But Roman epic poets employ a rather specialized usage of the figure, in which oratio recta (direct speech) is interrupted, for example, Aeneid 6.406-7: 'at ramum hunc' (aperit ramum veste latebat) | 'agnoscas' ('but this branch' - she revealed the branch which was hidden in her clothes - 'you should recognize'). This device is similar to the stage directions found in modem play scripts, and distinct from such passages as Aeneid 2.204, where horresco referens ('I am terrified to report') is inserted into the narration. This article first defines so-called 'stage directions in parenthesis' (SDP), then surveys the occurrences in extant Roman epic, and finally examines each example to determine its impact on the speech in which it is embedded. Along the way, the article demonstrates that this figure, a product more of oratory and epic than of drama, by its very nature draws attention to itself, and so does more than simply provide narrative details. [ABSTRACT FROM AUTHOR]

The article discusses how Roman epic writers take advantage of stage directions in parenthesis (SDP). According to Quintilian, orators and historians use parenthesis, or interiectio, when they add another thought in the middle of a sentence. SDP interrupts direct speech. The article cites the use of SDP in the poem "Metamorphoses," by Ovid.

The article presents a critique of verse 2.291 of Homer's "Iliad." According to the author, the verse was problematic, but can be restored without the need for corrective intervention. He states that it expresses a general and logically acceptable judgment with a proverbial coloring. He claims that this judgment is documented with an example from the life of the sailors who were compared with the Archaeans.

Great is the importance of names in literature. For modern audiences, good names are an important and enjoyable part of the experience of reading, and many authors have delighted their readers with new creations or especially apposite matches – one could cite examples as varied as J. K. Rowling (Malfoy, Dumbledore, Snape), Aldous Huxley (Tantamount, Burlap, Spandrill), Charles Dickens (Pickwick, Sweedlepipe, Honeythunder), Andrea Camilleri (Catarella, Montalbano, Boneti-Alderighi), or Franz Kafka (K.). [ABSTRACT FROM PUBLISHER]

The article discusses the transformation of native epic stories, poems, and works in Mali and Guinea by the region's elite, with information on changes to these works to match historical archives, political models, or national heritage. Topics include examples of different phases in the development of ideological histories; the various versions of political narratives; and the historical context of the publications and oral histories. The context of political history in the form of a national narrative is examined, with information on the narrative analysis of social and cultural values.

It is well known that the Mahābhārata sometimes contains narrative inconsistencies. In this article I consider a number of these, particularly certain cases in which one or more characters appear to be presented in an inconsistent manner. After considering possible explanations for the existence of such seeming discrepancies, I put forward the possibility that they are more apparent than real, and that the Mahābhārata was never intended to be read as a smooth-flowing temporal sequence. [ABSTRACT FROM AUTHOR]

This article reports on the seduction strategies of Achilles. It discusses that a close observation of the human weaknesses, the affections, and the least heroic aspects of the epic characters of the Flavian age illustrates the significance of the erotic dimension, which focuses the poet's interest in the emotional dynamics of Achilles intimate life.

Traditionally, the epic focused on the heroic deeds of great public figures, but the Romantics remade the genre into something more personal, making the poet himself the hero of their epics. The Romantic disillusionment with politics, flowing from the failure of the French Revolution, lies behind their revaluation of heroism. The turn to nature, which the Romantics present as immediate, turns out to be mediated by their political experience. Wordsworth's The Prelude and Byron's Childe Harold's Pilgrimage are good examples of the Romantic transformation of the epic and provide a case study in the relation of politics and literature, specifically the politics of literary form. [ABSTRACT FROM AUTHOR]

Hugues Salel's translation of the Iliad was intended for noble, warrior readers, a conclusion based largely on internal evidence, both from the physical book (including its woodcuts) and from the French rendering of Homer's epic. This article looks at the book's verbal and visual texts to understand how Salel's translation of the Iliad is shaped in anticipation of its contemporary reception. It examines a translation into the vernacular of one of antiquity's masterpieces, as well as what noble readers knew and wanted to know, and questions the purposes and processes of the production of illustrations and marginalia in the period. [ABSTRACT FROM AUTHOR]

The article focuses on the intertextuality of the story about Heracles and Sophocles that resulted to an irony or events. It discusses the different characters of Heracles from the stand point of the different writers, in the Greek mythology, Odyssey, a host of Greek thinkers, and in the different periods of history. It deeply examines the role of Heracles in Homeric narrative.

The article reports on the divine justice and cosmic order in early Greek epic. It presents an examination of the ethical and theological universe of the Homeric epics, and shows that the patterns of human and divine justice are to be found in the early Greek hexameter poetry. It also analyzes the presentation of the gods in the wider hexameter corpus of Hesiod, the Epic Cycle and the Homeric Hymns.

Focuses on the centrality of the destabilization of the gender hierarchies of conventional epic in the interrogation of the epic genre by Ovid. Characterization of an exponent of full-blown epic masculinity; Exemplification of the subversion of heroic masculinity by Ovid; Version of epic by Ovid.

Examines the role of supernatural powers in the epic action of the poem 'Liberata,' a subject largely ignored in Tasso criticism. Introduction of divine characters at several crucial moments by Tasso; Attempt to construct a Christian supernatural on the classical epic model; Importance of the divine action of the 'Liberata.'

The article author describes that classical author Parmenides' Epos consists of an introductory Proem, followed by The Way of Truth, and by The Way of Human Conjectures. In the Proem, Parmenides describes his own journey to the goddess - an experience of enrapture - and her welcome. It ends with a brief but invaluable abstract of her impending revelation. We possess the Proem complete. But it is The Way of Truth - the Truth revealed by the goddess - that created a sensation. Here the goddess reveals to Parmenides two things that are so monstrous that they cannot be accepted unless they are given a logical proof. And yet, for Parmenides the revelation of the goddess was true. It was a real revelation for him.

Criticizes the second book of the Greek epic poetry "Aeneid," by Virgil. Usage of the theme of deceptive gifts; Association between the Greek words "donum" and "dolus".

Criticizes the Theban episode in the epic "Metamorphoses," by Greek poet Ovid. Illustration of Ovid's fascination with the idea of rural cities; Manipulation of the contrasts between the city and country and civilization and savagery; Representation of the tension between man within the city and the natural world outside the walls.

Evaluates the character of Jason as the hero of the epic poem "Argonautica." Comparison between heroes of the archaic and Hellenistic epic; Scrutiny of the relations of Jason with the rest of the Argonauts; Resemblance of Jason with the great heroes of Homer.

Focuses on the link of the list of Helen's suitors in the epic poem "Catalogue of Women" attributed to Hesiod to the "Catalogue of Ships" in the book "Iliad 2." Description of Helen's suitor Ajax as exercising control over quite substantial territory; Representation of Athens and Salamis in the Catalogue of Ships; Characterization of Ajax in the Catalogue of Ships.

Examines the antiquity of K&Lamda;EOΣ AΦΘITON on the internal grounds of Homeric diction in the book "Iliad." Modification of the concrete nouns; Nonexistence of the systems of simplicity and extension for most of the Homeric diction; Jargons used for formulaic expression.

Focuses on the interpretation of the battles and heroes in the book "Iliad." Description of the three main components of fighting; Impact of army organization on the course of fighting; Emphasis on the prominence of hit and run tactics and of co-operative action.

Examines classical writings of poet, Claudian who was a pagan and who was able to hide his personal views at a largely Christian court interpreting his poem "Carmina Minora." Claudian's treatment of the traditional gods and goddesses which displays warmth and fondness beyond the requirements of epic and which reveals his true beliefs; Composition of the poem as an Easter card for Honorius displaying not religious convictions but an instinct for survival at a Christian court; Indications of classical literature.

Examines the Greek chronography in Roman epic citing the calendrical date of the Fall of Troy in the "Aeneid." Analysis of the fragment of Callisthenes and related passages in other Greek historical works; Controversies over the exact date of the fall of Troy; Link between the passage from the "Hellenica" quoted by the scholiast on Euripides and the related passage in "Roman Antiquities"; Indications of classical literature.

Examines the traditional presentation of the epic `Iliad' written by Homer. Placement of the twenty-three book divisions; Textual segments that lie between the book divisions; Weak sense of closure in scenes preceding segment markers.

The article analyzes Homer's epic poetry "Odyssey." The article argues that Homer's description of the world of Ithaca as it existed "before Odysseus ever left for Troy" is an Homeric invention. In Aristotle's "Poetics," he argues that Homer is superior to all other epic poets in his method of constructing an epic. The article provides an overview of Aristotle's description of the plot of "Odyssey." The article points out that Homer's decision to invert the epic opens up a larger range of possibilities for the poet than a telling in temporal order would allow.

The author writes a critique on M.L. West's account of the history of Greek epic in which Aeolic phases and other entities are assumed. The author notes that West's account combines linguistic features skillfully handled with an account of the thematic development of epic. Also, West specifies at what stages the various linguistic features entered the tradition. West stated that Aeolic phases are a residue left after Ionian poets had adapted an Aeolic poet language into their own dialect. The author points out that one should not conclude that the forms in question derived from an Aeolic epic or tradition of epic poetry.

The article focuses on classical Greek poet Homer's epic "Odyssey." It is observed that ancient critics examined this epic from philosophical and ethical points of view. It is noted that there was a tendency among them to look for ethical and moral enlightenment in the epic. It is commented that the Roman poet Horace's treatment of this epic is an example of this line of criticism. The author says that this approach has not been fully abandoned even in modern times, but it has become less prominent. It is noted that this morality-centric approach failed to do justice to the complex personality of Odysseus, the main character in the "Odyssey."

The article discusses one of the major issues of the book "Merit and Responsibility," (M&R) by A. W. H. Adkins, with regards to how the portrayal of moral evaluation on the tragic stage or in epic narrative be used as evidence for the history of Greek moral values. The author argues that the passage in M&R5 is inadequate as a statement about evaluative utterance. The author infers that some evaluative words in the book is only true only in certain senses which contributes nothing to the argument of M&R. The author implies that the utterance of an evaluative word can also constitute the solution of a problem is untrue. The author notes that the book's argument imposes a crippling constraint on investigation of the history of values.

Focuses on the incorporation of writing tablets into the epic literature tradition during the Homeric civilization. Association of the two groups of seven bronze hinges from Knossos and Pylos in Greece with the writing tablet found in the Late Bronze Age in Uluburun; Existence of Mycenaean writing tablets.

A re-examination of a textual quirk in the Mahābhārata. [ABSTRACT FROM AUTHOR]

A response by M.L. West to John Chadwick's comment on certain lines of argument in his article "The Rise of the Greek Epic" is presented. According to West, Chadwick's paper consists of a rehearsal of elementary facts and principles familiar to him and to everyone in the field. He points out that he and Chadwick differ in their assessments of the bearing of the facts and principles on his reconstruction of the main phases of the epic tradition. He argues against Chadwick's contention that the spelling conventions of the text of Homer cannot go as far back as the seventh century.

The article examines arguments depicting the number of books in Ovid's "Metamorphoses." The "Metamorphoses" forms half of a literary diptych, as Philip Hardie has pointed out, which represent Ovid's indirect answer to the challenge of Virgil's epic, which on the other hand depicts a Callimachean elegy on the central subject of the "Aeneid."

Examines the traditions inherent in Epic literature depicting pointless challenges to deities. Notion underlying those boastful challenges which is analogous to the speaker's assertion of his superiority to a mythological hero; Use of verbs denoting superiority for expressing hyperbolic comparison which corresponds to the formula attested in Plautus; Indications of the earliest presentations of hyperbolic mythological comparison in Greek literature.