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In this paper we will try to see how the Homeric epic, the Iliad and the Odyssey, penetrate the plot of Oedipus Rex. We will analyse the beginning of the play and the speech of the Second Messenger as proems; at the core we will establish that the questioning, the dialogic reconstruction that is created between Episodes II and III, is equivalent to the Theichoscopia (Iliad 3: ll. 161-244). Then, we will associate the epitome or ἀνακεφαλαίωσις (23: ll. 310-343) in the Odyssey with the speech of Oedipus in the Eisodos (ll. 1369-1415). [ABSTRACT FROM AUTHOR]

Background: Type 2 diabetes mellitus (T2DM) is often associated with mixed dyslipidaemia, where non-highdensity lipoprotein cholesterol (non-HDL-C) levels may more closely align with cardiovascular risk than low-density lipoprotein cholesterol (LDL-C). We describe the design and rationale of the ODYSSEY DM-DYSLIPIDEMIA study that assesses the efficacy and safety of alirocumab, a proprotein convertase subtilisin/kexin type 9 (PCSK9) inhibitor, versus lipid-lowering usual care in individuals with T2DM and mixed dyslipidaemia at high cardiovascular risk with non- HDL-C inadequately controlled despite maximally tolerated statin therapy. For the first time, atherogenic cholesterollowering with a PCSK9 inhibitor will be assessed with non-HDL-C as the primary endpoint with usual care as the comparator. Methods: DM-DYSLIPIDEMIA is a Phase 3b/4, randomised, open-label, parallel group, multinational study that planned to enrol 420 individuals. Main inclusion criteria were T2DM and mixed dyslipidaemia (non-HDL-C ≥100 mg/dl [≥2.59 mmol/l], and triglycerides ≥150 and <500 mg/dl [≥1.70 and <5.65 mmol/l]) with documented atherosclerotic cardiovascular disease or ≥1 additional cardiovascular risk factor. Participants were randomised (2:1) to alirocumab 75 mg every 2 weeks (Q2W) or lipid-lowering usual care on top of maximally tolerated statin (or no statin if intolerant). If randomised to usual care, investigators were able to add their pre-specified choice of one of the following to the patient's current statin regimen: ezetimibe, fenofibrate, omega-3 fatty acids or nicotinic acid, in accordance with local standard-of-care. Alirocumab-treated individuals with non-HDL-C ≥100 mg/dl at week 8 will undergo a blinded dose increase to 150 mg Q2W at week 12. The primary efficacy endpoint is non-HDL-C change from baseline to week 24 with alirocumab versus usual care; other lipid levels (including LDL-C), glycaemia-related measures, safety and tolerability will also be assessed. Alirocumab will be compared to fenofibrate in a secondary analysis. Results: Recruitment completed with 413 individuals randomised in 14 countries worldwide. Results of this trial are expected in the second quarter of 2017. Conclusions: ODYSSEY DM-DYSLIPIDEMIA will provide information on the efficacy and safety of alirocumab versus lipid-lowering usual care in individuals with T2DM and mixed dyslipidaemia at high cardiovascular risk using non-HDLC as the primary efficacy endpoint. [ABSTRACT FROM AUTHOR]

The German poet Barbara Köhler's 2007 poem-cycleNiemands Frau[Nobody's Wife] is more than a feminist response to Homer'sOdyssey. In shifting the focus from the escapades of the hero Odysseus to the web of women characters that populates Homer's epic poem – Nausicaa, Circe, the Sirens, Helen, Ino Leucothea, the shades of the dead women whom Odysseus meets in Hades, and “Nobody’s wife” Penelope – Köhler also undertakes a grammatical shift: from the masculine singular pronoun “er” to the polyvalent pronoun “sie” that denotes the feminine singular, the gender-unmarked plural and the formal “you.” “Sie” acts as the “quantum linguistic particle” that transports the reader from a world analogous to that conceived by Newtonian physics into a quantum universe of plural probabilities. Köhler's work explores the difference in power dynamics that results from this transformation, generating intriguing ways of reconceiving subjectivity, relationality, rationality, and authorship. Taken at their word, the poems open up a prospect of no longer insisting on the sovereign individual subject and his linear modes of narration, inheritance, calculation and grammatical proposition. [ABSTRACT FROM AUTHOR]

The aim of this paper is to present an outline of what Homer says about death in the Odyssey through a collation of the most significant concepts (thánatos, thanein, moira, kér, phónos). It distinguishes between dying, death and the way of dying as different rational realities, although they are intimately linked. In this way, the paper explores what Homer thought and what was thought at his time about death and the afterlife. In the end, some references made by the main characters of the Odyssey about dying and death are presented and it is suggested that death might not be the ultimate evil, but only one of the greatest and not the most frightening. [ABSTRACT FROM AUTHOR]

Anticlea figure in the Odyssey has a much smaller presence in the Homeric poem as in the Aeneid. Only we know by its shadow, speaking to Ulysses at rhapsody XI. And Anticlea in the Kazantzakis's Odyssey also has a minimal presence. With emotion evokes Odysseus in a dream in which the mother appears in moments of agony. But he does not speak; his son supposes that she says certain words. And near the end of his pilgrimage, at rhapsody XXIII, Odysseus briefly evokes his young mother, when she is nursing him. [ABSTRACT FROM AUTHOR]

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Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars & Humanitas is the property of Ars & Humanitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with the relevance of Hobbes's translations of Homer's Poems from the perspective of Political Thought. These translations, made by the philosopher in the last years of his life, have also been considered to be a sort of 'continuation of Leviathan by others means'. Starting from here, the article, based on a comparative lexical analysis of the original Greek and English texts, aims to highlight three of these 'means' Hobbes uses to disseminate his political theory in a period during which he could not write freely because of censorship. [ABSTRACT FROM AUTHOR]

Analysis of episodes of verbal violence that exists in four literary works of heroic character, dating from different periods and places: the Greek Odyssey, the Japanese Heikemonogatari, the Hispanic ballad of The Moorish king who challenges Valencia, and the epic of Gorba Dikko sung by the Djerma people of Niger. Important conclusions are drawn about the poetics of epics and of epic ballads.

The civilization of any nation covers all of its cultural elements, and the myths constitute their early cultural motifs. According to Jung, the myths are present in the collective unconscious of any nation while Vico believes that the scholars of any age would be able to discover the history through the study of myths. Due to their meta-historical nature, the ancient myths are good examples which meta-historically demonstrate the amazement, respect, and fallibility of early mankind to contemporary mankind. Meta-historical awareness of myths provides one with the opportunity to trace the origins of civilizations and facilitate mankind's progress. This article addresses the Greek myths as the most fundamental elements of modern Western civilization from a meta- historical perspective.

Los personajes de Homero parecen participar de la inmortalidad de la poesía homérica. Helena especialmente se nos muestra inmortal no sólo en la tradición literaria occidental, sino también en nuestra conciencia que la identifica con la perennidad de la belleza. Mientras los antiguos tuvieron a Helena por divinizada y, por lo tanto, ascendida a la inmortalidad, Kazantzakis, el poeta neogriego que retomó el viaje de odiseo, le da la muerte que no le dio Homero.Homer's characters seem to partake of the immortality of Homeric poetry. Especially Helen shows herself not only immortal in the Western literary tradition, but also in our consciousness that identifies with the survival of beauty. While the ancients thought Helen to have been deified and thus ascended to immortality, Kazantzakis, the modern Greek poet who resumed the journey of Odysseus, gives her the death that Homer gave not to her.

Este artículo prevé detectar las cualidades preponderantes atribuidas a oinos y a methy en los poemas homéricos; elaborar un registro, organizar un listado acotado; jerarquizar según parámetros como color, graduación, bouquet (aroma, sabor, fuerza, entre otras sensaciones), sopesar la ponderación implícita (positiva o negativa), observar la ubicación habitual en el hexámetro, cotejar con otros sustantivos a los que también acompañen dichos adjetivos (o participios con función adjetiva), examinar equivalentes latinos y, sin olvidar la consistencia cualitativa de la belleza propia del arte en general y de la epopeya en particular, brindar algunas razones por las que este corpus se ha empleado en ambos textos.The article attends to detect the prevailing qualities attributed to oinos and methy in the Homeric poems; to elaborate a record, to classify into a hierarchy depending on specific parameters such as color, gradation, bouquet (aroma, flavor, strength, among other sensations), to weigh the implicit consideration either positive or negative, to observe the common location in the hexameter, compare with further nouns which also accompany the above mentioned adjectives (or participles with adjective function), to examine Latin equivalents and, without avoiding the qualitative consistency of the own beauty of art, offer some reasons for which the studied corpus is applied in both texts.

This note argues for a previously unnoticed allusion in Terence's Andria to Odysseus and the Sirens, in a wish expressed by the play's old man that his son will escape the alluring clutches of the sex-labourer next door. [ABSTRACT FROM AUTHOR]

Recent scholarship addressing access to Homer’s epics during the Italian Renaissance has illuminated the unique importance of visual narratives for the dissemination and interpretation of material associated with the Trojan War and its heroes. This article looks at early fifteenth-century images deriving from the Odyssey that were painted for marriage chests (cassoni) in the popular Florentine workshop of Apollonio di Giovanni. Focusing on Apollonio’s subnarrative of Odysseus’ clash with the Cyclops Polyphemus (the Cyclopeia), I argue that Apollonio showcased this archetypal tale of a failed guest⁻host relationship to explore contemporary anxieties associated with marriage, an institution that figured prominently in the political and economic ambitions of fifteenth-century patriarchal families.

Estudio aborda, por una parte, la cuestión de sí la Odisea de Kazantzakis puede ser calificada de epopeya y si la epopeya es un género de otras épocas y realidades, y, por otra parte, en el supuesto que pueda calificarse de epopeya, qué rasgos especiales presenta como tal. Empezando por el análisis del "Prólogo", en el que se reemplaza la tradicional invocación a la Musa por una invocación al sol, se comprueban una serie de elementos que muestran una continuidad clara con los elementos correspondientes déla Odisea homérica. Especial importancia reviste el tema de la identidad de Odiseo, la cual, a especialmente a través de las dos primeras rapsodias, queda plenamente reafirmada. En la caracterización que hace la autora del poema moderno, es de destacar la conjunción en este texto de los elementos apolíneo y dionisíaco.This article studies the question of whether Kazantzakis' Odyssey can be called an epic and whether an epic is a genre of other times and realities, and, on the other hand, supposing it can, which special features it displays as such. Beginning with the analysis of the "Prologue", which replaces the traditional invocation to the Muse by an invocation to the sun, a series of elements which show a clear continuity with the corresponding elements of the Homeric Odyssey are studied. The theme of Odysseus' identity is specially important, because it is wholly reaífirmed in the first two rhapsodies. The characterization made by the author of the modern poem highlights the conjunction in this text of the Apollonian and Dionysian elements.

Odiseo llegó a Itaca en el texto de Homero y también en la Odisea moderna. En realidad, ya había llegado ya cuando se inicia el nuevo poema. Itaca conserva la simbología que tuvo en el texto homérico, pero adquiere un nuevo rol. En la isla, Odiseo reafirma su identidad: es el mismo héroe que participó en la guerra de Troya y después luchó contra adversidades y tentaciones durante diez años, sin perder la voluntad de retornar a la tierra y al hogar. Reconoce su territorio, sepulta a su padre, casa a su hijo. Pero, además, ahora es el punto de partida. Desde ella sale Odiseo en el nuevo viaje, acaso más largo que el antiguo y sin regreso. La isla amada sigue siendo la isla amada. Amándola, la deja el antiguo héroe. Y en su larguísima travesía hacia la muerte en los hielos antarticos, la recuerda no pocas veces.Odysseus reaches Ithaca in the Homeric text and also in the modern Odyssey. He had really reached there when the new poem begins. Ithaca preserves the symbology which had in the Homeric text, but it acquires a new role. In the island, Odysseus reaffirms his identity: he is the same hero who participated in theTrojan war, fought against adversities and temptation for ten years, without losing the will to return to his land and home. He recognizes his territory, buries his father and accompanies his son in the latter s wedding. Now it is also the point of departure: Odysseus sails from it in a new voyage, perhaps longer than the previous one and with no return. The beloved island remains as such. Loving it, the hero abandons it. In his very long voyage to death on he Antarctic ices he often remembers it.

En la Odisea las ocasiones de disfraz y ocultamiento, son frecuentes y prolongadas. Odiseo se disfraza a menudo y si consideramos el anonimato como una clase peculiar de disfraz, podemos considerarlo casi un estado habitual. Un procedimiento muy próximo al disfraz, aunque de naturaleza diferente, es la metamorfosis, fenómeno recurrente en el poema y en el mito griego. Los dioses se aplican a sí mismos transformaciones y tienen el poder de modificar a otros seres afectando su naturaleza corporal con cambios más radicales que el disfraz, que sólo encubre y distorsiona la forma exterior. Este trabajo explora el motivo de la metamorfosis en el poema, las categorías y tipos que abarca y el modo en que las operaciones metamórficas colaboran de modo directo o indirectamente con la construcción de los personajes humanos y divinos, y con el entramado de la acción.In the Odyssey there are frequent occasions for disguise and dissimulation. Considering anonymity a peculiar case of disguise, Ulysses often disguises himself, making this a distinctive part of his personality. Of a different nature, metamorphosis is also a common phenomenon in the poem and in Greek mythology. Gods transform themselves and have the power to modify other beings, affecting their corporal nature by radical transformations. We explore metamorphosis's categories and functions in the Odyssey, how it helps constructing divine and human characters and how it influences weaving the poem's action.

Este trabajo contribuye a establecer una perspectiva histórica de la singular línea de aparición que fue teniendo la obra del escritor griego fuera de Europa. Se destacan algunos episodios que tienen que ver con sus obras traducidas y Sudamérica.This article is a contribution to the establishing of a historical perspective of the singular line of appearance which the work of the Greek Writer had outside Europe. Several episodes which are related to the translations of his works and South America are highlighted.

La cuestión alimentaria ocupa un gran espacio en el discurso épico. Especialmente en Odisea se despliega como sistema semiótico asociado a las alternativas de la trama narrativa, al desarrollo de los temas y al destino de los personajes. Las escenas gastronómicas describen las diversas funciones de la comida y la bebida, constituyen una marca de humanidad, manifiestan las relaciones entre los actores y el estatus social de cada uno. F. Hartog propone una lectura del poema como antropología narrativa, marco en el cual el rubro gastronómico funciona como operador simbólico en la tarea odiseica de cartografiar el mundo.Food topics are important in the epic discourse. In the Odyssey these topics unfold as a semiotic system associated to the alternatives of the narration, the development of the issues and the fate of the characteres. Gastronomic scenes describe the diverse functions of food and beverages, constitute a sign of humanity and indicators of the relation between actors and their social status. F. Hartog proposes that the poem could be read as narrative anthropology. In this perspective the gastronomic issue functions as a symbolic operator in the odysseic task of surveying the world.

In this article the Iliad and Odyssey will be analyzed as a process of preservation of the memory, the culture and the Grecian past, pointing out their influence in the fields of politics, art, science and philosophy. Our analyses begin from the influence of the poetry tradition in the process and construction of the Grecian culture, having as base the regulatory and education role of poetry that the Greeks has exercised among themselves. To deal with this issue, it will be shown how, from Homer and Hesiod to Plato, the Grecian culture reveals the effects of poetry in the education and building of children in the fields of Ethic and Politics.

In this article I will focus on the transformation of mythic archetypes in Margaret Atwood’s collection of poetry You Are Happy. More specifically, I will analyze Atwood’s use of the character Circe (and, indirectly, Odysseus) in the section titled “Circe / Mud Poems.” My hypothesis is that Atwood’s revision of mythic archetypes can find an appropriate interpretation when it is read as a reflection on the colonial condition. For this reason, the treatment of the mythical archetypes will be explained referring to three key concepts in postcolonial studies: ambivalence, mimicry, and transculturation.

Margaret Atwood’s novella The Penelopiad (2005) seemingly celebrates Penelope’s agency in opposition to Homer’s myth in The Odyssey. However, the twelve murdered maids steal the book to suggest the possibility of what Janice Raymond calls gyn/affection, a female bonding based on the logic of emotion that, in Atwood’s revision, verges on Kristevan abjection, the sinister and the fantastic, and serves a cathartic effect not only in the maids but also in the reader. This essay aims to question the generally accepted empowerment of Atwood’s Penelope and celebrates the murdered maids as the locus of emotion, where marginal aspects of gender and class merge to weave a powerful metaphorical tapestry of popular and traditionally feminized literary genres that, in plunging into and embracing the semiotic realm, ultimately solidify into an eclectic but compact alternative tradition of women’s writing and myth-making.

A hallmark of the Odyssey's topography is its deterritorialization. Assuming that, in antiquity, sailing manuals had to reckon with the nautical and existential disorientation experienced on the high seas, these nautical expedients must have been reflected in Homer's epic. And in fact, technical manuals and poetical imagination, topos and tropus here translate into each other. But if the Odyssey is actually based upon those sailing manuals, then certainly not as a mere versification of their underlying sources. Rather, it discloses their 'poetic' character, viz. their creativity in determining and describing places within the 'placeless' sea. The Odyssey obviously has recourse to those manuals, but only in order to carry on the proto-cartographic operations of their writing. This principle of 'recursion' - harking back to a putative origin, in order to re-determine it in a self-referential way - also characterizes post-Homeric adaptations of the Odyssey. Whether in a Roman epic, or in medieval romance or in a modern novel - in any case, a new 'original' Odyssey is created to rely upon. But particularly in the highly reverberatory modern Odyssies, the charts are overstretched, the tools become dysfunctional, and explorations go methodically astray. The more complex modern world-description, the more fatal its shortcomings - as if Odysseus, at the edge of modern cartography, had returned to the state of deterritorialization that spurred his very first departure. [ABSTRACT FROM AUTHOR]

In this article, Sappho’sBrothers Poemis re-evaluated and analysed from various perspectives that have not been addressed sufficiently in scholarship so far. First, some questions of principle regarding the role of the brothers and the Sapphic speaker are discussed. Secondly, the poem’s communicative situation is examined, and different options for the identification of the person addressed as “you” are considered. Thirdly, it is demonstrated how the poem establishes an intertextual dialogue with the HomericOdysseyon various levels, and how this dialogue affects the general understanding of the poem. Finally, the commonly held view that the five transmitted stanzas do not represent the entire poem is challenged. The article concludes with some wider considerations about some of the most common assumptions regarding the nature and the fragmentary state of theBrothers Poem. [ABSTRACT FROM PUBLISHER]

The purpose of this paper is to outline a clear view of the Iliad and Odyssey data about the Sun, that could lead us beyond purely literary comments. The excursus identifies and analyzes those poems passages that may shed light on the Homeric world 'pre-scientific' knowledge about the Sun. We'll start from the Sun mentioned in the Achilles' Shield, the first description of the cosmos in Western literature. We will talk about his position in space, where it is mentioned after Earth, sea and sky, but immediately before the other stars and constellations. We will identify an important similarity in that order with the cuneiform texts from the ancient Near East. We will draw considerations on the nature of the Sun, through the epithets that accompany it and through the similarities in the Homeric text. We will emphasize the implications of the epithet αkμac, "tireless", and other expressions. We will talk about the description of his movements from dawn to the zenith and until dusk, and its use for orientation: there are formulas in the Homeric text, which employ the sun to indicate the East and the West. The Sun is also used in Homer to describe temporal transitions. We will focus on the relationship between Sun and Ocean, and we will see that the ocean can be understood as a deliberate metaphor of the horizon. We will also discuss about the Sun as ancestral force hierarchically inferior to the Olympians gods and about some of its anthropomorphic features: he sees and hears everything. Constantly monitors the facts about the gods and men, and as well as vision and hearing has even speech. He is also able to generate. We'll see how these qualities highlight the role of the Sun as the guarantor of the cosmic order. [ABSTRACT FROM AUTHOR]

Beinecke papyrus P.CtYBR inv. 5018 consists of a series of well-defined entries, each with three elements: (1) an ordinal number (surviving are '10th' through '15th'); (2) the lemma, no more than a phrase, apparently excerpted from an unknown prose text; (3) literary examples or verbatim quotations, presumably intended to illustrate the content of the lemma. Quoted are a passage from Odyssey 11 and two trimeter lines from an unknown tragedy or tragedies. The contents of the prose text from which the lemmata derive is not clear, but appears to regard poetics or poetic composition. [ABSTRACT FROM AUTHOR]

The Homeric Epic, Iliad, describes the Trojan War's events during a period of only seven days around Patroclus' death. These events are initiated after Athena's appearance as a shooting star. During this period, the poet describes in detail various physical phenomena, which attributed to the gods. Zeus' thunderbolts in a clear sky, 'divine' screams, a fallen thunder stone inducing odor of sulphur, sporadic yellow, red and dark clouds appearing out of nowhere, red droplets are falling from the sky, river Xanthus is flooding and turns into red, Hephaestus' 'flames' ignite fires, whereas seismic activity and raising of the sea level are recorded. The above phenomena can be explained as a consequence of the local weather's circumstances and landscape peculiarities, as well as due to the partial solar eclipse's manifestation, which occurred during the same period. We analysed all these descriptions in detail and we concluded that an intense astronomical phenomenon like a meteor shower including some fireball's explosions is indicated by the poet, in parallel with the Trojan War's combats. This is in accordance with the mythological account of a comet's appearance during Troy's fall, because meteor showers produced by the remnants of the comets, when they approach to the Sun. [ABSTRACT FROM AUTHOR]

Although The Communist Manifesto of 1848 was clearly not intended as a work of poetry, this article considers the merits of reading it according to the aesthetic criteria of epic poetry and of tragedy respectively. Following a brief treatment of the role of poetry in Karl Marx's evolution as a philosopher and critic, the article then speculates that the identification of certain poetic themes in the text can aid our understanding of the Manifesto's political meaning, particularly in light of the "dialectical Prometheanism" that played such a defining role in Marx's intellectual and political universe. [ABSTRACT FROM AUTHOR]

This paper contextualizes the proem of Works and days in the Greek archaic poetic traditions, specially the hexametric, and discusses its thematic structure and high poeticity, that is also verified in the proem of the Odyssey. This is another argument for its strong relation to traditional oral compositions and against readings that defend they were composed later that the rest of the poem. [ABSTRACT FROM AUTHOR]

My aim in this paper is to discuss how Zeus' "programmatic" speech in the beginning of the Odyssey (c, 32-43) was seen as a sign of the "new spirit" displayed by the poem and helped to enhance a relative chronology between the Iliad and the Odyssey. I will approach not only aspects of Homeric ethics but also of the literary historiography of Ancient Greece in order to show that the Odyssey does not present a new world view, and that classical philology, by continually focusing on this traditional distinction, prevents us from exploring more fruitful approaches. [ABSTRACT FROM AUTHOR]

Notwithstanding enormous differences between Homer's Odyssey and Patrick Modiano's postmodern La place de l'Etoile (Star Square), his Holocausthaunted novel of 1968, this comparative study shows the two to have surprisingly numerous substantial parallels in themes, moral reference, and narrative structure. The sharing of moral reference in spite of extensive dissimilarities is echoed in Emmanuel Lévinas's ethics: he grounded his philosophy in a fusion of Greek and Jewish thought much like the interpretive fusion at work in this comparison. Moreover, Lévinas's face of the stranger, his ethic's central image, harmonizes both with the kaleidoscopic face, central image of La place de l'Etoile, and with the protean persona of Odysseus the stranger. The tension between the similarities and the differences reflects the realist-constructivist debate about the nature of literary interpretation, as found in the tension between the article's playful, personal interpretation and Classical Reception Studies portraying the Odyssey as an overriding, impersonal intertext. These tensions allow the inference that Paul Ricoeur rightly posited semantically tense metaphor as a paradigm of literary criticism. The article also leads to an understanding both of Modiano's novel as a Holocaust-inflected updating of the Odyssey, and of both texts as interpretation-bound visions of what it means to be human. [ABSTRACT FROM AUTHOR]

Thomas Hobbes in the history of philosophy is remembered mostly by his particular theory of a state, represented in his capital work Leviathan. It is less known, however, that the philosopher from Malmesbury was interested in literature, studied classical poetry, and tried to write verses, as well. The aim of our work is to represent precisely that, little known part of his work. In so doing, first we show his work on translations of classical greek literature. Then we present his original works in verses. Using historical-problematic approach, both kinds of works we show in the light of the context of his life and special social circumstances of the time when he lived and worked. We also demonstrate the relationship between his verses and his philosophical thougt, where this relationship exist. Analysis of this works indicates, as well as the circumstances in which this works arose, that they were not artisticly motivated, but that they were the result of the author's whish to improve his classical languages, and that they were the point of relaxation, too. [ABSTRACT FROM AUTHOR]