tag:blogger.com,1999:blog-37595577726275367362024-03-18T04:26:42.947-07:00The Homer MultitextCasey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.comBlogger149125tag:blogger.com,1999:blog-3759557772627536736.post-37721671485565113522018-10-20T22:39:00.001-07:002018-10-21T19:23:37.946-07:00Access to HMT Facsimiles<div dir="ltr" style="text-align: left;" trbidi="on">
The Homer Multitext is producing <a href="https://github.com/homermultitext/hmt-archive">complex data</a>. The complexity is irreducible, since it is our mission to publish digital editions mapped to their manuscript folios, with Iliadic texts associated with commentaries.<br />
<br />
This complex data is published as <a href="https://github.com/homermultitext/hmt-archive/tree/master/releases-cex">a single CEX file, a plain-text serialization of the current state of the HMT.</a> That data is also exposed via a <a href="http://beta.hpcc.uh.edu/hmt/hmt-microservice/">web service,</a> and an <a href="http://www.homermultitext.org/hmt-digital/">integrated web-application</a>. For more straightforward access, we have published <a href="https://homermultitext.github.io/facsimiles/">a facsimile view of the data</a>.<br />
<br />
This post is to announce the <a href="http://www.homermultitext.org/facsimile/index.html">Homer Multitext Facsimile Index </a>application, allowing users to access HMT data based on Iliadic citations, <i>e.g.</i> 2.100 (individual passages), or 2.1-2.10 (ranges of passages).<br />
<br />
Because traditional citations assumed an audience of (clever, intuitive) human readers, some traditional practices do not translate to a computational environment. For example "1.1-10" is not a valid, that is, unambiguous citation. Does it mean "from 1.1 to 1.10" or "from Book 1, Line 1, through all of Book 10"? The unimaginative machine will assume the latter. So with this app, and with CITE data generally, users must be verbose and specific: 1.1-1.10, with [book].[line] on both sides of the hyphen.<br />
<div style="text-align: left;">
</div>
<ul style="text-align: left;">
<li><a href="http://www.homermultitext.org/facsimile/index.html" style="background-color: #f4cccc;">H<b>omer Multitext Facsimile Index</b></a></li>
</ul>
<br />
<div style="text-align: left;">
<br /></div>
<div>
As with all expressions of HMT data, this application was build with the<a href="http://cite-architecture.github.io/"><span id="goog_1288746345"></span> CITE Architecture code libraries in Scala and Scala-JS<span id="goog_1288746346"></span></a>.</div>
</div>
Christopher W. Blackwellhttp://www.blogger.com/profile/05166294569909760943noreply@blogger.com23tag:blogger.com,1999:blog-3759557772627536736.post-41198733488116254392018-07-19T08:45:00.000-07:002018-07-19T08:45:27.103-07:00<h1 id="The-Homer-Multitext-Microservice">The Homer Multitext Microservice</h1>
<p>The <em>Homer Multitext</em> produces integrated data on Greek Epic poetry, its language, its evolution over time, the traditions of scholarship surrounding it, and the physical artifacts, manuscripts and papyri, that are our only evidence. For a concise explanation of what the <em>HMT</em> publishes, please see <a href="https://github.com/homermultitext/hmt-archive/blob/master/overview.md">https://github.com/homermultitext/hmt-archive/blob/master/overview.md</a>.</p>
<p>At the same time, we Project Architects of the <em>HMT</em>, Neel Smith and Christopher Blackwell, are interested in making this data as widely accessible as possible. The data is released in <a href="https://cite-architecture.github.io/citedx/CEX-spec-3.0.1/">CEX Format</a>, a plain-text serialization of <a href="http://cite-architecture.github.io/about/">data organized according to defined abstract data models</a>. We have developed <a href="https://github.com/cite-architecture">code libraries in Scala</a> implementing these abstract data models. These libraries provide the greatest flexibility in manipulating, locating, aggregating, and transforming the data of the <em>Homer Mulititext</em>.</p>
<p>For users who may not want to write code directly, we have provided <a href="http://www.homermultitext.org/hmt-digital/">an online application offering a graphical user interface</a> for interacting with <em>HMT</em> data using the Cite Architecture’s Scala libraries.</p>
<p><strong>For those who might want to write their own applications</strong> that interact with the <em>HMT</em> data, we provide a <strong>collection of microservices</strong>.</p>
<p>The examples below demonstrate the Scala Cite Services (Akka) application, SCS-Akka, running at <code>beta.hpcc.uh.edu/scs/</code>, and (as of July 19, 2018) serving data from the <a href="https://github.com/homermultitext/hmt-archive"><strong>2018g Release</strong> of the Homer Multitext Data</a>.</p>
<p>The service accepts requests via HTTP, and returns JSON expressions of CITE objects. We have published <a href="https://github.com/cite-architecture/CITE-JSON">a library in Scala for de-marshalling those JSON expressions into CITE data objects</a>.</p>
<p>The <a href="http://www.homermultitext.org/hmt-digital/">CiteApp web-based application for the <em>Homer Multitext</em></a> gets its data from this service, and indeed the web-application and the microservice were developed jointly.</p>
<p>This collection of microservices is serving current data from the <a href="http://www.homermultitext.org">Homer Multitext</a>, edited by Casey Dué and Mary Ebbott, a project of the <a href="http://www.chs.harvard.edu">Center for Hellenic Studies of Harvard University</a>.</p>
<p>For more information on this service, please see <a href="https://github.com/cite-architecture/scs-akka">https://github.com/cite-architecture/scs-akka</a>.</p>
<p>For information on the CITE Architecture, please see <a href="https://cite-architecture.github.io">https://cite-architecture.github.io</a>.</p>
<p>Report bugs by filing issues on <a href="https://github.com/cite-architecture/scs-akka">GitHub</a>.</p>
<h2 id="Texts">Texts</h2>
<h3 id="About-the-Service%E2%80%99s-Catalog">About the Service’s Catalog</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/libraryinfo">http://beta.hpcc.uh.edu/scs/libraryinfo</a></li>
</ul>
<h3 id="See-the-Text-Catalog">See the Text Catalog</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts">http://beta.hpcc.uh.edu/scs/texts</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/textcatalog">http://beta.hpcc.uh.edu/scs/textcatalog</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/textcatalog/urn:cts:greekLit:tlg0012.tlg001:">http://beta.hpcc.uh.edu/scs/textcatalog/urn:cts:greekLit:tlg0012.tlg001:</a></li>
</ul>
<h3 id="Get-the-First-Valid-Reference-in-a-text">Get the First Valid Reference in a text</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/firsturn/urn:cts:greekLit:tlg0012.tlg001.msA:">http://beta.hpcc.uh.edu/scs/texts/firsturn/urn:cts:greekLit:tlg0012.tlg001.msA:</a></li>
</ul>
<h3 id="Get-Valid-References">Get Valid References</h3>
<p>All references for a version of a text:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001.msA:">http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001.msA:</a></li>
</ul>
<p>Valid references for parts of a text:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001.msA:2">http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001.msA:2</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001.msA:2-3">http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001.msA:2-3</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001:1">http://beta.hpcc.uh.edu/scs/texts/reff/urn:cts:greekLit:tlg0012.tlg001:1</a></li>
</ul>
<h3 id="Get-Passages">Get Passages</h3>
<p>Passages for a specific version of a text:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.1">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.1</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.1-1.25">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.1-1.25</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:2">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:2</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:2-3">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:2-3</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.600-2">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.600-2</a></li>
</ul>
<p>Passages for <em>all</em> versions of a text:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001:1.1">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001:1.1</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001:2.1-2.5">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001:2.1-2.5</a></li>
</ul>
<h3 id="NGrams">NGrams</h3>
<p>NGrams in works present in the library:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urn:cts:greekLit:tlg5026.msA.va_dipl:?n=3">http://beta.hpcc.uh.edu/scs/texts/ngram/urn:cts:greekLit:tlg5026.msA.va_dipl:?n=3</a> (3-grams in the Venetus A Main Scholia)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urn:cts:greekLit:tlg5026.msA.va_dipl:?n=3&t=20">http://beta.hpcc.uh.edu/scs/texts/ngram/urn:cts:greekLit:tlg5026.msA.va_dipl:?n=3&t=20</a> ( occuring more than <code>t</code> times)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urn:cts:greekLit:tlg5026.msA.va_dipl:?n=3&s=%CE%96%CE%B7%CE%BD%CF%8C%CE%B4%CE%BF%CF%84%CE%BF%CF%82">http://beta.hpcc.uh.edu/scs/texts/ngram/urn:cts:greekLit:tlg5026.msA.va_dipl:?n=3&s=Ζηνόδοτος</a> (Filter for string, <code>s=Ζηνόδοτος</code>.)</li>
</ul>
<p>Find citations to NGrams:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urns?ng=%E1%BD%85%CF%84%CE%B9+%CE%96%CE%B7%CE%BD%CF%8C%CE%B4%CE%BF%CF%84%CE%BF%CF%82+%CE%B3%CF%81%CE%AC%CF%86%CE%B5%CE%B9">http://beta.hpcc.uh.edu/scs/texts/ngram/urns?ng=ὅτι+Ζηνόδοτος+γράφει</a> (find URNs for a given N-gram in the entire library)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urns/urn:cts:greekLit:tlg0012.tlg001.msA:?ng=%CF%80%CF%81%CE%BF%CF%83%CE%AD%CF%86%CE%B7+%CF%80%CF%8C%CE%B4%CE%B1%CF%82+%E1%BD%A0%CE%BA%E1%BD%BA%CF%82">http://beta.hpcc.uh.edu/scs/texts/ngram/urns/urn:cts:greekLit:tlg0012.tlg001.msA:?ng=προσέφη+πόδας+ὠκὺς</a> (find URNs for a given N-gram in one text)</li>
</ul>
<p>Returning a Corpus of Passages containing an NGram:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urns/tocorpus?ng=%E1%BD%85%CF%84%CE%B9+%CE%96%CE%B7%CE%BD%CF%8C%CE%B4%CE%BF%CF%84%CE%BF%CF%82+%CE%B3%CF%81%CE%AC%CF%86%CE%B5%CE%B9">http://beta.hpcc.uh.edu/scs/texts/ngram/urns/tocorpus?ng=ὅτι+Ζηνόδοτος+γράφει</a> (find URNs for a given N-gram in the entire library)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/ngram/urns/tocorpus/urn:cts:greekLit:tlg0012.tlg001.msA:?ng=%CF%80%CF%81%CE%BF%CF%83%CE%AD%CF%86%CE%B7+%CF%80%CF%8C%CE%B4%CE%B1%CF%82+%E1%BD%A0%CE%BA%E1%BD%BA%CF%82">http://beta.hpcc.uh.edu/scs/texts/ngram/urns/tocorpus/urn:cts:greekLit:tlg0012.tlg001.msA:?ng=προσέφη+πόδας+ὠκὺς</a> (find URNs for a given N-gram in one text)</li>
</ul>
<h3 id="String-Searches">String Searches</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/find?s=%E1%BC%84%CE%BD%CE%B1%CE%BE+%E1%BC%80%CE%BD%CE%B4%CF%81%E1%BF%B6%CE%BD+%E1%BC%88%CE%B3%CE%B1%CE%BC%CE%AD%CE%BC%CE%BD%CF%89%CE%BD">http://beta.hpcc.uh.edu/scs/texts/find?s=ἄναξ+ἀνδρῶν+Ἀγαμέμνων</a>l</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/find?s=%CE%B3%CF%81%CE%AC%CF%86%CE%B5%CE%B9">http://beta.hpcc.uh.edu/scs/texts/find?s=γράφει</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/find?s=%E1%BD%85%CF%84%CE%B9&s=%CE%B3%CF%81%CE%AC%CF%86%CE%B5%CE%B9">http://beta.hpcc.uh.edu/scs/texts/find?s=ὅτι&s=γράφει</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/find/urn:cts:greekLit:tlg0012.tlg001.msA:?s=%E1%BC%88%CE%B3%CE%B1">http://beta.hpcc.uh.edu/scs/texts/find/urn:cts:greekLit:tlg0012.tlg001.msA:?s=Ἀγα</a></li>
</ul>
<h3 id="Token-Searches">Token Searches</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/token?t=%E1%BC%88%CE%B3%CE%B1%CE%BC%CE%AD%CE%BC%CE%BD%CF%89%CE%BD">http://beta.hpcc.uh.edu/scs/texts/token?t=Ἀγαμέμνων</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/token/urn:cts:greekLit:tlg0012.tlg001.msA:?t=%E1%BC%88%CE%B3%CE%B1%CE%BC%CE%AD%CE%BC%CE%BD%CF%89%CE%BD">http://beta.hpcc.uh.edu/scs/texts/token/urn:cts:greekLit:tlg0012.tlg001.msA:?t=Ἀγαμέμνων</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/tokens?t=%CF%80%CF%8C%CE%B4%CE%B1%CF%82&t=%E1%BD%A0%CE%BA%E1%BD%BA%CF%82">http://beta.hpcc.uh.edu/scs/texts/tokens?t=πόδας&t=ὠκὺς</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/tokens/urn:cts:greekLit:tlg0012.tlg001.msA:?t=%CF%80%CF%8C%CE%B4%CE%B1%CF%82&t=%E1%BD%A0%CE%BA%E1%BD%BA%CF%82">http://beta.hpcc.uh.edu/scs/texts/tokens/urn:cts:greekLit:tlg0012.tlg001.msA:?t=πόδας&t=ὠκὺς</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/tokens?dist=3&t=%E1%BD%85%CF%84%CE%B9&t=%CE%B3%CF%81%CE%AC%CF%86%CE%B5%CE%B9">http://beta.hpcc.uh.edu/scs/texts/tokens?dist=3&t=ὅτι&t=γράφει</a> (Two tokens within <code>dist=3</code> of each other)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/tokens?dist=2&t=%E1%BD%85%CF%84%CE%B9&t=%CE%B3%CF%81%CE%AC%CF%86%CE%B5%CE%B9">http://beta.hpcc.uh.edu/scs/texts/tokens?dist=3&t=ὅτι&t=γράφει</a> (Two tokens within <code>dist=2</code> of each other, should return no passages)</li>
</ul>
<h2 id="Collections-of-Objects">Collections of Objects</h2>
<h3 id="Catalog">Catalog</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/collections/">http://beta.hpcc.uh.edu/scs/collections/</a> (all collections)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/collections/urn:cite2:hmt:msA.v1:">http://beta.hpcc.uh.edu/scs/collections/urn:cite2:hmt:msA.v1:</a> (filter by URN)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/collections/reff/urn:cite2:hmt:msA.v1:">http://beta.hpcc.uh.edu/scs/collections/reff/urn:cite2:hmt:msA.v1:</a> (filter by URN, just URNs)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/collections/hasobject/urn:cite2:hmt:msA.v1:1r">http://beta.hpcc.uh.edu/scs/collections/hasobject/urn:cite2:hmt:msA.v1:1r</a> (check for an object; should return <code>true</code>)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/collections/hasobject/urn:cite2:hmt:msA.v1:NOTOBJECT">http://beta.hpcc.uh.edu/scs/collections/hasobject/urn:cite2:hmt:msA.v1:NOTOBJECT</a> (check for an object; should return <code>false</code>)</li>
<li><a href="http://beta.hpcc.uh.edu/collections/labelmap">http://beta.hpcc.uh.edu/collections/labelmap</a> (returns a map of Cite2Urn -> String, the label of each citable object)</li>
</ul>
<h3 id="Objects">Objects</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:">http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:</a> (all objects for version <code>v1</code> of collection <code>urn:cite2:hmt:msA:</code>)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/prevurn/urn:cite2:hmt:msA.v1:2v">http://beta.hpcc.uh.edu/scs/objects/prevurn/urn:cite2:hmt:msA.v1:2v</a> (get the URN of the previous object in an ordered collection)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/nexturn/urn:cite2:hmt:msA.v1:1r">http://beta.hpcc.uh.edu/scs/objects/nexturn/urn:cite2:hmt:msA.v1:1r</a> (get the URN of the next object in an ordered collection)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:12r-13v">http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:12r-13v</a> (a range of objects in an ordered versioned collection)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:12r-13v?dse=true">http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:12r-13v?dse=true</a> (a range of objects in an ordered versioned collection, <strong>with</strong> all DSE records associated with those objects <em>and properties of those objects</em> [see below])</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/paged/urn:cite2:hmt:msA.v1:?offset=1&limit=10">http://beta.hpcc.uh.edu/scs/objects/paged/urn:cite2:hmt:msA.v1:?offset=1&limit=10</a> (paged viewing of objects in an ordered collection)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/paged/urn:cite2:hmt:msA.v1:?offset=11&limit=10">http://beta.hpcc.uh.edu/scs/objects/paged/urn:cite2:hmt:msA.v1:?offset=11&limit=10</a> (paged viewing of objects in an ordered collection)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/paged/urn:cite2:hmt:msA.v1:">http://beta.hpcc.uh.edu/scs/objects/paged/urn:cite2:hmt:msA.v1:</a> (paged viewing, with default values, <code>offset=1</code>, <code>limit=10</code>, of objects in an ordered collection)</li>
</ul>
<p>Get objects from multiple collections:</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/collections/objects?urn:cite2:cite:datamodels.v1:&urn=urn:cite2:hmt:msA.v1:&urn=urn:cite2:hmt:compimg.v1:">http://beta.hpcc.uh.edu/scs/collections/objects?urn:cite2:cite:datamodels.v1:&urn=urn:cite2:hmt:msA.v1:&urn=urn:cite2:hmt:compimg.v1:</a></li>
</ul>
<h3 id="Finding-Objects">Finding Objects</h3>
<p>urn-match</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r">http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r</a> (search all property-values for a URN)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r&dse=true">http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r&dse=true</a> (search all property-values for a URN, <strong>with</strong> DSE records for the returned objecs.)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r&offset=0&limit=3">http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r&offset=0&limit=3</a> (search all property-values for a URN; <code>offset=0</code> start at the first result; <code>limit=3</code> return only three results; these optional parameters apply to all searching requests and allow paged access to results)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/urnmatch/urn:cite2:hmt:va_dse.v1:?find=urn:cite2:hmt:msA.v1:12r">http://beta.hpcc.uh.edu/scs/objects/find/urnmatch/urn:cite2:hmt:va_dse.v1:?find=urn:cite2:hmt:msA.v1:12r</a> (limit to a specified collection)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/urnmatch/urn:cite2:hmt:va_dse.v1:?find=urn:cite2:hmt:msA.v1:12r&parameterurn=urn:cite2:hmt:va_dse.v1.surface:">http://beta.hpcc.uh.edu/scs/objects/find/urnmatch/urn:cite2:hmt:va_dse.v1:?find=urn:cite2:hmt:msA.v1:12r&parameterurn=urn:cite2:hmt:va_dse.v1.surface:</a> (limit to a specified collection and a specified property)</li>
</ul>
<p>regexmatch</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/regexmatch?find=[0-9]{2}">http://beta.hpcc.uh.edu/scs/objects/find/regexmatch?find=[0-9]{2}</a> (use regular expressions to search property values)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/regexmatch/urn:cite2:hmt:compimg.v1:?find=[0-9]{2}">http://beta.hpcc.uh.edu/scs/objects/find/regexmatch/urn:cite2:hmt:compimg.v1:?find=[0-9]{2}</a> (use regular expressions to search property values)</li>
</ul>
<p>stringcontains</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/stringcontains?find=folio+320">http://beta.hpcc.uh.edu/scs/objects/find/stringcontains?find=folio+320</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/stringcontains/urn:cite2:hmt:vaimg.2017a:?find=folio+321">http://beta.hpcc.uh.edu/scs/objects/find/stringcontains/urn:cite2:hmt:vaimg.2017a:?find=folio+321</a></li>
</ul>
<p>valueequals</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.rv:&value=recto">http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.rv:&value=recto</a></li>
<li><p><a href="http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.rv:&value=verso">http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.rv:&value=verso</a></p></li>
<li><p><a href="http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.sequence:&value=3">http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.sequence:&value=3</a></p></li>
<li><p><a href="http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.image:&value=urn:cite2:hmt:vaimg.2017a:VA002RN_0003">http://beta.hpcc.uh.edu/scs/objects/find/valueequals?propertyurn=urn:cite2:hmt:msA.v1.image:&value=urn:cite2:hmt:vaimg.2017a:VA002RN_0003</a></p></li>
</ul>
<p>numeric less-than</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lt">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lt</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lt&propertyurn=urn:cite2:hmt:msA.v1.sequence:">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lt&propertyurn=urn:cite2:hmt:msA.v1.sequence:</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=lt">http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=lt</a></li>
</ul>
<p>numeric less-than-or-equal</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lteq">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lteq</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lteq&propertyurn=urn:cite2:hmt:msA.v1.sequence:">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=lteq&propertyurn=urn:cite2:hmt:msA.v1.sequence:</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=lteq">http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=lteq</a></li>
</ul>
<p>numeric equals</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=eq">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=eq</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=eq&propertyurn=urn:cite2:hmt:msA.v1.sequence:">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=eq&propertyurn=urn:cite2:hmt:msA.v1.sequence:</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=eq">http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=eq</a></li>
</ul>
<p>numeric greater-than</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gt">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gt</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gt&propertyurn=urn:cite2:hmt:msA.v1.sequence:">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gt&propertyurn=urn:cite2:hmt:msA.v1.sequence:</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=gt">http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=gt</a></li>
</ul>
<p>numeric greater-than-or-equal</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gteq">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gteq</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gteq&propertyurn=urn:cite2:hmt:msA.v1.sequence:">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=5&op=gteq&propertyurn=urn:cite2:hmt:msA.v1.sequence:</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=gteq">http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=5&op=gteq</a></li>
</ul>
<p>numeric within</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=4&op=within&n2=6">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=4&op=within&n2=6</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=4&op=within&n2=6&propertyurn=urn:cite2:hmt:msA.v1.sequence::">http://beta.hpcc.uh.edu/scs/objects/find/numeric?n1=4&op=within&n2=6&propertyurn=urn:cite2:hmt:msA.v1.sequence::</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=4&op=within&n2=6">http://beta.hpcc.uh.edu/scs/objects/find/numeric/urn:cite2:hmt:msA.v1:?n1=4&op=within&n2=6</a></li>
</ul>
<h3 id="Data-Models">Data Models</h3>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/datamodels">http://beta.hpcc.uh.edu/scs/datamodels</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/collectionsformodel/urn:cite2:cite:datamodels.v1:imagemodel">http://beta.hpcc.uh.edu/scs/collectionsformodel/urn:cite2:cite:datamodels.v1:imagemodel</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/modelsforcollection/urn:cite2:hmt:vaimg.2017a:">http://beta.hpcc.uh.edu/scs/modelsforcollection/urn:cite2:hmt:vaimg.2017a:</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/modelapplies?modelurn=urn:cite2:cite:datamodels.v1:binaryimg&collurn=urn:cite2:hmt:binaryimg.v1:">http://beta.hpcc.uh.edu/scs/modelapplies?modelurn=urn:cite2:cite:datamodels.v1:binaryimg&collurn=urn:cite2:hmt:binaryimg.v1:</a></li>
</ul>
<h3 id="Images">Images</h3>
<p>Basic Image Retrieval</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013">http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013</a> (resolve to image)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093">http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093</a> (resolve to image)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013?resolveImage=false">http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013?resolveImage=false</a> (return URL to image)</li>
<li><a href="http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093?resolveImage=false">http://beta.hpcc.uh.edu/scs/image/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093?resolveImage=false</a> (return URL to image)</li>
</ul>
<p>Defining a width</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/image/200/urn:cite2:hmt:vaimg.2017a:VA012RN_0013">http://beta.hpcc.uh.edu/scs/image/200/urn:cite2:hmt:vaimg.2017a:VA012RN_0013</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/image/200/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093">http://beta.hpcc.uh.edu/scs/image/200/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093</a></li>
</ul>
<p>Defining MaxWidth and MaxHeight</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/image/500/500/urn:cite2:hmt:vaimg.2017a:VA012RN_0013">http://beta.hpcc.uh.edu/scs/image/500/500/urn:cite2:hmt:vaimg.2017a:VA012RN_0013</a></li>
<li><a href="http://beta.hpcc.uh.edu/scs/image/500/500/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093">http://beta.hpcc.uh.edu/scs/image/500/500/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093</a></li>
</ul>
<p>Embedding</p>
<ul>
<li><img src="https://beta.hpcc.uh.edu/scs/image/500/500/urn:cite2:hmt:vaimg.2017a:VA012RN_0013" alt="12-recto"></li>
<li><img src="https://beta.hpcc.uh.edu/scs/image/500/500/urn:cite2:hmt:vaimg.2017a:VA012RN_0013@0.04506,0.2196,0.1344,0.10093" alt="12-recto-detail"></li>
</ul>
<h3 id="Relations">Relations</h3>
<p>CITE Relations are associations of URN to URN, with the relationship specified by a Cite2 URN.</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/relations/urn:cts:greekLit:tlg0012.tlg001:1.1">http://beta.hpcc.uh.edu/scs/relations/urn:cts:greekLit:tlg0012.tlg001:1.1</a> Get all relations for a URN.</li>
<li><a href="http://beta.hpcc.uh.edu/scs/relations/urn:cts:greekLit:tlg0012.tlg001:1.1?filter=urn:cite2:cite:verbs.v1:commentsOn">http://beta.hpcc.uh.edu/scs/relations/urn:cts:greekLit:tlg0012.tlg001:1.1?filter=urn:cite2:cite:verbs.v1:commentsOn</a> Get all relations, filtered by a relation-URN.</li>
</ul>
<h3 id="Commentary-Data-Model">Commentary Data Model</h3>
<p>If a library includes CiteRelations and implements the Commentary datamodel, comments associated with passages of text can (optionally) be attached to replies for a corpus of texts.</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001:1.1?commentary=true">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001:1.1?commentary=true</a></li>
</ul>
<h3 id="Documented-Scholarly-Editions-%28DSE%29-Data-Model">Documented Scholarly Editions (DSE) Data Model</h3>
<p>The DSE Data model consists of a CITE Collection of objects, each documenting a three-way relationship between (a) a text-bearing artifact, (b) a documentary image (ideally with a region-of-interest defined), and © a citable passage of text.</p>
<ul>
<li><a href="http://beta.hpcc.uh.edu/scs/dse/recordsforsurface/urn:cite2:hmt:msA.v1:12r">http://beta.hpcc.uh.edu/scs/dse/recordsforsurface/urn:cite2:hmt:msA.v1:12r</a> Get all DSE Records associated with a Text Bearing Artifact.</li>
<li><a href="http://beta.hpcc.uh.edu/scs/dse/recordsforimage/urn:cite2:hmt:vaimg.2017a:VA012RN_0013">http://beta.hpcc.uh.edu/scs/dse/recordsforimage/urn:cite2:hmt:vaimg.2017a:VA012RN_0013</a>Get all DSE Records associated with a Citable Image.</li>
<li><a href="http://beta.hpcc.uh.edu/scs/dse/recordsfortext/urn:cts:greekLit:tlg0012.tlg001.msA:1.1">http://beta.hpcc.uh.edu/scs/dse/recordsfortext/urn:cts:greekLit:tlg0012.tlg001.msA:1.1</a> Get all DSE Records associated with a passage of text.</li>
<li><a href="http://beta.hpcc.uh.edu/scs/dse/recordsfortext/urn:cts:greekLit:tlg0012.tlg001.msA:1.1-1.3">http://beta.hpcc.uh.edu/scs/dse/recordsfortext/urn:cts:greekLit:tlg0012.tlg001.msA:1.1-1.3</a> Get all DSE Records associated with a passage of text expressed by a range-URN.</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:12r-13v?dse=true">http://beta.hpcc.uh.edu/scs/objects/urn:cite2:hmt:msA.v1:12r-13v?dse=true</a> (a range of objects in an ordered versioned collection, <strong>with</strong> all DSE records associated with those objects <em>and properties of those objects</em> [see below])</li>
<li><a href="http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r&dse=true&offset=0&limit=3">http://beta.hpcc.uh.edu/scs/objects/find/urnmatch?find=urn:cite2:hmt:msA.v1:12r&dse=true&offset=0&limit=3</a> Search all property-values for a URN, <strong>with</strong> DSE records for the returned objecs. If <code>offset</code> and <code>limit</code> are not used to constrain the returned results, the list of DSEs might be huge, and cause the request to timeout.</li>
<li><a href="http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.1-1.5?dse=true">http://beta.hpcc.uh.edu/scs/texts/urn:cts:greekLit:tlg0012.tlg001.msA:1.1-1.5?dse=true</a> Load a corpus of text, <strong>with</strong> DSE records, if any, for each citable node.</li>
</ul>
<p>(The <code>dse=true</code> parameter is valid for all object-searching, as well as for retrieval of individual objects or ranges of objects.)</p>Christopher W. Blackwellhttp://www.blogger.com/profile/05166294569909760943noreply@blogger.com6tag:blogger.com,1999:blog-3759557772627536736.post-45771005290540036612018-05-30T03:28:00.001-07:002018-05-30T03:28:18.294-07:00Homer Multitext 2018d Data Release<div dir="ltr" style="text-align: left;" trbidi="on">
We are pleased to announce the <strong>2018d</strong> release of Homer Multitext data. This is the fourth release of 2018. With each release, we try to improve our automated validation and machine-assisted verification, and to improve integration of this data through refinements to the data models.<br />
<br />
This is the work of <a href="https://github.com/homermultitext/hmt-archive/blob/master/contributors/2018.md">over 170 editors</a>.<br />
<br />
A <a href="https://github.com/homermultitext/hmt-archive/blob/master/overview.md">guide to understanding HomerMultitext data</a> is online.<br />
<br />
All current data is on the <a href="https://github.com/homermultitext/hmt-archive">project’s GitHub site</a>. The current release, 2018d, is in the <a href="https://github.com/homermultitext/hmt-archive/tree/master/releases-cex"><code>releases-cex</code> subdirectory</a>.<br />
<br />
The work of the Homer Multitext is focused on scholarly data. At the same time, we are interested in providing useful access to this data in as many ways as possible. With the 2018d release, we are also pleased to provide these new tools:<br />
<ul>
<li>An <a href="http://www.homermultitext.org/cite-app/">online, integrated web applicatation</a> for exploring HMT data.</li>
<li>A <a href="http://beta.hpcc.uh.edu/hmt/hmt-microservice/">service</a> that can deliver data in JSON format, as responses to <code>http</code> requests.</li>
<li>A <a href="https://github.com/homermultitext/hmt-reader/archive/master.zip">downloadable, double-clickable web application</a> preconfigured for reading and exploring the textual content of the HMT 2018d release.</li>
</ul>
</div>
Christopher W. Blackwellhttp://www.blogger.com/profile/05166294569909760943noreply@blogger.com33tag:blogger.com,1999:blog-3759557772627536736.post-31269289106174155392018-01-04T13:44:00.002-08:002018-01-04T13:45:31.164-08:00Publishing the Homer Multitext project archiveThe Homer Multitext project (HMT) is changing its publication practice in 2018. All of our work in progress remains available from publicly visible repositories hosted on github, but we are adopting a new format for integrating material from our working archive into publishable units.<br />
<br />
Our goals have always been first to specify a model for all HMT data structures independent of any publication format, and then to select a format that fully captures the semantics of the model. In choosing a format for publication, we prefer one that, while completely expressing the model, is as simple as possible. It should be intellegible both to human readers and to software, and readily usable by the widest possible range of digital tools.<br />
<br />
Beginning in 2014, we adopted the <a href="https://www.w3.org/TR/turtle/">TTL serialization format</a> of the <a href="https://www.w3.org/TR/rdf11-concepts/">Resource Description Framework</a> (RDF) to integrate textual editions, data about physical artifacts like manuscripts, and documentary images into a single publishable file. RDF was designed to facilitate dynamic exchange and automated linking of resources on the world wide web, and is widely used for that purpose in the digital humanities community today. As a format for disseminating stable releases of HMT content, it is not ideal, however. RDF can be quite verbose: to represent a single citable node of text in one of our editions, for example, requirs more than a half dozen separate RDF statements. It is often not immediately intellegible to human readers, and although the RDF model can be implemented in multiple formats (JSON and XML, in addittion to TTL), RDF data can only be practically used with software specifically aimed at RDF processing.<br />
<br />
This month, we are releaseing our first published data sets in the <a href="https://cite-architecture.github.io/citedx/CEX-spec-3.0.1/">CITE Exchange format</a> (CEX). To quote the CEX specification, CEX is "a plain-text, line-oriented data format for serializing citable content following the models of the CITE Architecture." CEX makes it possible to represent any of the fundamental models of the HMT archive — texts, citable collections of objects, and the complex relations among these objects that our archival data sets encode — as simple tabular structures in labelled blocks of a plain text file you can inspect with any text editor. All blocks in a CEX file are optional, so we can equally easily publish a single updated body of material — a new set of photographs of a manuscript, or a newly edited section of a text — or an entire compilation of our current archive in a single plain-text file. Because each CEX block is a table represented as lines of delimited text, generic tools from spreadsheets, databases, or ancient command-line utilities like `sed` and `grep` can be directly applied to CEX data, in addition to specialized code libraries we have developed that understand the semantics of citation with URNs. (See <a href="https://cite-architecture.github.io/">https://cite-architecture.github.io/</a> for more information about the cross-platform code libraries.)<br />
<br />
As a result, over the coming weeks you will see a series of short announcements of releases as we test and release one portion of our archive at a time.<br />
<br />
Happy New Year, with complex data in simple formats!<br />
<div>
<br /></div>
Neel Smithhttp://www.blogger.com/profile/10590621399352493304noreply@blogger.com28tag:blogger.com,1999:blog-3759557772627536736.post-45895426511424663852017-06-06T10:13:00.000-07:002017-06-06T10:17:35.692-07:00Summer 2017: Iliad 20, Multiformity, and Tradition<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://commons.wikimedia.org/wiki/File:DeathOfAchilles_Rumpf_ChalkidischeVasen_colorized_in_the_manner_of_the_inscriptions_painter.png" target="_blank"><img border="0" data-original-height="516" data-original-width="1600" height="204" src="https://3.bp.blogspot.com/-8As-Z5nTd4s/WTbf9siUfnI/AAAAAAAABrY/LBL1rbwXGnAe6Hya8tD5CSVQPiyfi0ZngCLcB/s640/DeathOfAchilles_Rumpf_ChalkidischeVasen_colorized_in_the_manner_of_the_inscriptions_painter.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://commons.wikimedia.org/wiki/File:DeathOfAchilles_Rumpf_ChalkidischeVasen_colorized_in_the_manner_of_the_inscriptions_painter.png" target="_blank">Ajax (Aias) fights Glaukos over the dead body of Achilles, while Paris and Aeneas look on. Source: Wikimedia Commons. </a></td></tr>
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How many ways are there to tell the story of Troy? A passage from <i>Iliad</i> 20 makes me wonder just how flexible the Homeric tradition might be. At the beginning of book 20, Zeus calls the gods to an assembly. He tells them that they may now join the battle taking place before the walls of Troy on whatever side they wish, something that he had expressly forbidden the gods to do at the beginning of book 8. The reason he has changed his mind, he explains, is that Achilles is now preparing to return to battle for the first time since his withdrawal in book 1, and he is afraid that the Trojans will not be able to withstand him even for a little while:<br />
<blockquote class="tr_bq">
καὶ δέ τέ μιν καὶ πρόσθεν ὑποτρομέεσκον ὁρῶντες·<br />
νῦν δ᾽ ὅτε δὴ καὶ θυμὸν ἑταίρου χώεται αἰνῶς<br />
δείδω μὴ καὶ τεῖχος ὑπερ μόρον ἐξαλαπάξῃ. (<i>Iliad</i> 20.28-30)<br />
<br />
Even before now they would tremble before him when they saw him.<br />
And now when he is terribly angry in his heart because of [the death of] his companion<br />
I fear lest the wall [of Troy] will be sacked beyond [i.e., contrary to] fate.</blockquote>
Apollo, the god of prophesy and the one besides Zeus most often associated with seeing into the future, likewise fears that the Trojan walls will come down too soon at Achilles’ hands: μέμβλετο γάρ οἱ τεῖχος ἐϋδμήτοιο πόληος/μὴ Δαναοὶ πέρσειαν ὑπὲρ μόρον ἤματι κείνῳ (“For he was concerned about the wall of the well-built city, lest the Danaans destroy it on that day beyond fate” <i>Iliad</i> 21.516–517). Zeus’ and Apollo’s fear in these passages is remarkable, and begs questions that anyone who has read the <i>Iliad</i> with undergraduates will be familiar with. If the walls of Troy are destined to fall at a particular moment, how could they fall before that? Is fate something that can be changed? Is Zeus subject to fate or can Zeus alter it? But we could could also reframe these questions in terms of narrative. If the <i>Iliad</i> tells a traditional story, shouldn’t Zeus and Apollo know how the story ends? Would it really be possible to change the story now, and have Troy fall while Achilles is still alive, and indeed at his hands?<br />
<br />
In his 1979 book <i>The Best of the Achaeans</i>, Gregory Nagy argued that the first song of Demodokos in <i>Odyssey</i> 8, in which the Phaeacian bard narrates a quarrel between Odysseus and Achilles, is in fact a compressed reference to an epic tradition in which Achilles and Odysseus quarreled over whether Troy would be taken by cunning [<i>mētis</i>] or by force [<i>biē</i>]. Nagy reads the scholia preserved in the manuscripts at <i>Odyssey</i> 8.75 and 77 as likewise pointing to such a tradition, which is otherwise not attested in our surviving sources (Nagy 1979:46). Might we find here in the fears of Zeus and Apollo another glimpse of these two rival possibilities for the fall of Troy? If so, we have to wonder if the Iliadic tradition is indeed so multiform, so flexible, that such a radically different ending could be possible. Is there (or was there) an alternative epic universe, in which Achilles really did take Troy by force? And if not, why does Zeus entertain the idea?<br />
<br />
As it turns out, ancient commentators on the <i>Iliad</i> were concerned about these same questions. And so the scholia in the margins of the so-called Townley manuscript (<a href="http://www.bl.uk/manuscripts/Viewer.aspx?ref=burney_ms_86_fs220v" target="_blank">Burney 86, folio 220v</a>) record for us a fascinating variation on these verses from book 20:<br />
<blockquote class="tr_bq">
τινὲς γράφουσιν ἀντὶ τοῦ <δείδω, μὴ καὶ τεῖχος> <br />
<br />
οὐ μέντοι μοῖρ’ ἐστὶν ἔτι ζῳοῦ Ἀχιλῆος<br />
Ἰλίου ἐκπέρσαι εὖ ναιόμενον πτολίεθρον.<br />
πέρσει δουράτεός <θ’> ἵππος καὶ μῆτις Ἐπειοῦ. <br />
<br />
πῶς γὰρ ὁ εἰδὼς “μοῖράν τ’ ἀμμορίην τε” [= <i>Odyssey</i> 20.76] νῦν διστάζει; <br />
<br />
Some write instead of “I fear lest the wall”<br />
<br />
It is not fated, however, with Achilles still alive<br />
to sack the well-inhabited citadel of Ilium.<br />
A wooden horse will destroy it and the craftiness [<i>mētis</i>] of Epeios.<br />
<br />
For how is he [= Zeus], knowing “what is fated and not fated” [= <i>Odyssey</i> 20.76], now in doubt?</blockquote>
These alternative verses make clear that Troy is not going to fall at the hands of Achilles, but rather as a result of the <i>mētis</i> of the wooden horse. Problem solved. But the commentator, in seeking to solve a narratological, mythological, and indeed existential problem, now presents us with a textual one. What is the source of these verses that “some write,” and how do we reconcile them with our received text?<br />
<br />
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***</div>
<br />
<i>Iliad</i> 20 is a book that seems fixated on the danger of things happening at the wrong time, i.e. "beyond fate." In verses that were athetized (that is, deemed "not Homeric") by Aristrachus, Poseidon stated:<br />
<blockquote class="tr_bq">
πάντες δ᾽ Οὐλύμποιο κατήλθομεν ἀντιόωντες<br />
τῆσδε μάχης, ἵνα μή τι μετὰ Τρώεσσι πάθῃσι<br />
σήμερον: ὕστερον αὖτε τὰ πείσεται ἅσσά οἱ αἶσα<br />
γιγνομένῳ ἐπένησε λίνῳ ὅτε μιν τέκε μήτηρ. (20.125–128)<br />
<br />
We all have come down from Olympus to participate<br />
in this battle, in order that he not suffer anything among the Trojans<br />
today. Later he will suffer in turn whatever things fate<br />
spun for him with her thread as he was born, when his mother gave birth to him. </blockquote>
Poseidon seems to be suggesting that without their intervention, Achilles might have had died too soon. These verses still today bear Aristarchus' editorial condemnation: <a href="http://www.homermultitext.org/hmt-digital/facs?urn=urn:cite:hmt:msA.262r" target="_blank">they are marked with the <i>obelos</i> in the Venetus A manuscript of the <i>Iliad</i></a>.<br />
<br />
Later in the book, the two great heroes of Greek and Roman epic tradition, Achilles and Aeneas, come face to face on the battlefield, and once again, Poseidon is concerned that the mythological and poetic tradition will go awry: <br />
<blockquote class="tr_bq">
ἔνθά κεν Αἰνείας μὲν ἐπεσσύμενον βάλε πέτρῳ<br />
ἢ κόρυθ᾽ ἠὲ σάκος, τό οἱ ἤρκεσε λυγρὸν ὄλεθρον,<br />
τὸν δέ κε Πηλεΐδης σχεδὸν ἄορι θυμὸν ἀπηύρα,<br />
εἰ μὴ ἄρ᾽ ὀξὺ νόησε Ποσειδάων ἐνοσίχθων:<br />
αὐτίκα δ᾽ ἀθανάτοισι θεοῖς μετὰ μῦθον ἔειπεν:<br />
ὢ πόποι ἦ μοι ἄχος μεγαλήτορος Αἰνείαο,<br />
ὃς τάχα Πηλεΐωνι δαμεὶς Ἄϊδος δὲ κάτεισι<br />
πειθόμενος μύθοισιν Ἀπόλλωνος ἑκάτοιο<br />
νήπιος, οὐδέ τί οἱ χραισμήσει λυγρὸν ὄλεθρον.<br />
ἀλλὰ τί ἢ νῦν οὗτος ἀναίτιος ἄλγεα πάσχει<br />
μὰψ ἕνεκ᾽ ἀλλοτρίων ἀχέων, κεχαρισμένα δ᾽ αἰεὶ<br />
δῶρα θεοῖσι δίδωσι τοὶ οὐρανὸν εὐρὺν ἔχουσιν;<br />
ἀλλ᾽ ἄγεθ᾽ ἡμεῖς πέρ μιν ὑπὲκ θανάτου ἀγάγωμεν,<br />
μή πως καὶ Κρονίδης κεχολώσεται, αἴ κεν Ἀχιλλεὺς<br />
τόνδε κατακτείνῃ: μόριμον δέ οἵ ἐστ᾽ ἀλέασθαι,<br />
ὄφρα μὴ ἄσπερμος γενεὴ καὶ ἄφαντος ὄληται<br />
Δαρδάνου, ὃν Κρονίδης περὶ πάντων φίλατο παίδων<br />
οἳ ἕθεν ἐξεγένοντο γυναικῶν τε θνητάων.<br />
ἤδη γὰρ Πριάμου γενεὴν ἔχθηρε Κρονίων:<br />
νῦν δὲ δὴ Αἰνείαο βίη Τρώεσσιν ἀνάξει<br />
καὶ παίδων παῖδες, τοί κεν μετόπισθε γένωνται. (<i>Iliad</i> 20.288-308) </blockquote>
<blockquote class="tr_bq">
Aeneas would then have struck Achilles as he was springing towards him, either on the helmet, or on the shield that covered him, and Achilles would have closed with him and dispatched him with his sword, had not Poseidon lord of the earthquake been quick to mark, and said forthwith to the immortals, “Alas, I feel grief for great Aeneas, who will now go down to the house of Hades, vanquished by the son of Peleus. Fool that he was to give ear to the counsel of Apollo. Apollo will never save him from destruction. Why should this man have grief when he is guiltless, to no purpose, and in another's quarrel? Has he not at all times offered acceptable sacrifice to the gods that dwell in heaven? Let us then snatch him from death's jaws, lest the son of Kronos be angry should Achilles slay him. It is fated, moreover, that he should escape, and that the race of Dardanos, whom Zeus loved above all the sons born to him of mortal women, shall not perish utterly without seed or sign. For now indeed has Zeus hated the blood of Priam, while Aeneas shall reign over the Trojans, he and his children's children that shall be born hereafter.” (translation adapted from that of Samuel Butler)</blockquote>
It is clear that Aeneas cannot be allowed to die at this moment. So much of the poetic tradition will be ruined if he does! The passage reminds me of another in <i>Odyssey</i> 8, where Odysseus specifically requests that Demodokos sing the song of the sack of Troy by means of the wooden horse. Odysseus says to Demodokos:<br />
<blockquote class="tr_bq">
αἴ κεν δή μοι ταῦτα κατὰ μοῖραν καταλέξῃς,<br />
αὐτίκ᾽ ἐγὼ πᾶσιν μυθήσομαι ἀνθρώποισιν,<br />
ὡς ἄρα τοι πρόφρων θεὸς ὤπασε θέσπιν ἀοιδήν. (<i>Odyssey</i> 8.496-498)<br />
<br />
If you relate these things to me in accordance with destiny<br />
Straightaway I will speak words before all men,<br />
saying how a god readily bestowed upon you a wondrous song. </blockquote>
Odysseus’ words imply that there is a correct or authoritative way to perform this song, <i>but also that other singers might perform it differently</i>. Here again we find competing epic traditions evaluated in terms of fate or destiny (<i>moira</i>). What is “fated” is the traditional and hence authoritative version of the story. What is tradition for the external audience of the epic and even for the internal audience, the Phaeacians, is in fact, for Odysseus, his own life experiences, which took place only ten years prior to the current occasion of performance. He is therefore uniquely qualified to judge the authoritativeness of the current performance. His reaction, namely his tears, reveals to us that Demodokos has succeeded.<br />
<br />
<div style="text-align: center;">
***</div>
<br />
It is the nexus of multiformity and tradition in <i>Iliad</i> 20 that we will explore at this year's undergraduate summer seminar at the Center for Hellenic Studies. As we will see, the mythological and narratological questions being grappled with by the scholars of Alexandria and the later authors whose comments survive in the scholia of our medieval manuscripts can sometimes have profound implications for the textual transmission of the <i>Iliad</i> and <i>Odyssey</i>. The scholion on <i>Iliad</i> 20.30 with which I began is a perfect example of the interdependence of the two. In this one comment, not only can we possibly catch a glimpse of a now lost epic tradition in which Achilles and Odysseus contend to be the sacker of Troy and the “best of the Achaeans,” we also learn about three verses that do not survive in our medieval manuscripts of the poem. All we are told, in the typically compressed way of the scholia, is that some (presumably editors) write these verses (presumably in their editions). They are not a seamless replacement for <i>Iliad</i> 20.30, however. If we replaced 20.30 with the verses that “some write,” we would get this:<br />
<blockquote class="tr_bq">
20.28 καὶ δέ τέ μιν καὶ πρόσθεν ὑποτρομέεσκον ὁρῶντες·<br />
20.29 νῦν δ᾽ ὅτε δὴ καὶ θυμὸν ἑταίρου χώεται αἰνῶς<br />
20.30a οὐ μέντοι μοῖρ’ ἐστὶν ἔτι ζῳοῦ Ἀχιλῆος<br />
20.30b Ἰλίου ἐκπέρσαι εὖ ναιόμενον πτολίεθρον.<br />
20.30c πέρσει δουράτεός <θ’> ἵππος καὶ μῆτις Ἐπειοῦ. <br />
<br />
Even before now they would tremble before him when they saw him.<br />
And now when he is terribly angry in his heart because of [the death of] his companion…<br />
It is not fated, however, with Achilles still alive<br />
to sack the well-inhabited citadel of Ilium.<br />
A wooden horse will destroy it and the craftiness [<i>mētis</i>] of Epeios.</blockquote>
If we assume an ellipsis here (as sometimes occurs, as at <i>Iliad</i> 1.135-136), we can make it work, but it is more likely that the scholia here are quoting from an edition where the entire passage was substantially different from what we find in the medieval manuscripts of the <i>Iliad</i>. But these verses are in no way objectionable beyond the fact that they don’t survive elsewhere. There is nothing “un-Homeric” about them, they are simply an attested multiform of the verses transmitted by our medieval manuscripts. <br />
<br />
When we understand the <i>Iliad</i> and <i>Odyssey</i> to have been composed in a dynamic process of composition-in-performance over many centuries, we have no reason to necessarily privilege one formulaic variation over another, even if one is well attested in our medieval manuscripts and one is known only from another source. Both are at least potentially authentically generated performance multiforms, and both have something to teach us about the compositional process and the poetics of the system in which they were generated. Not all surviving multiforms would have been known to all singers at all times and in all places, but each has the potential to reveal something about the poetics of the tradition in the time and place in which that multiform is attested.<br />
<br />
But just how fluid, how multiform, was the Greek epic tradition? If the tradition was, as I have claimed in my research, quite fluid in its early phases, why do our medieval manuscripts present us with a relatively uniform text? How do we get from a creative and vibrant oral epic song tradition like that which Albert Lord describes in <i>The Singer of Tales</i> to the seemingly fixed text of the more than 500 manuscripts of the <i>Iliad</i> that survive from medieval times? Conversely, when we accept that earlier forms of the <i>Iliad</i> were mulitform, what poetic possibilities open up for us?<br />
<br />
Aristarchus athetized at least seven passages of three verses or more in book 20 alone. Each athetesis gives us insight into an editor who was struggling to account for a mythological and poetic tradition that was multiform and at times contradictory. But where he wanted to take away, we will take back. Building on the work of earlier scholars who have demonstrated why we should expect the <i>Iliad</i> to be multiform (especially Lord 1960 and Nagy 1996), our seminar will explore two basic questions: First, what kinds of multiformity are attested in our surviving sources? And secondly, what are the implications of multiformity for our interpretation of the reception and transmission of Homeric poetry? These questions and our preliminary answers to them have emerged from fifteen years of collaborative work and discussion. I have often joked that the aim of the Homer Multitext is to “unedit” the <i>Iliad</i>. But the joke is serious in that a central goal of the project is to present the historical witnesses of the <i>Iliad</i> unmediated by the interventions of editors seeking to reconstruct an hypothesized “original.” Only in this way can we gain a clear picture of the multiformity with which the <i>Iliad</i> has been transmitted to us. In our experience, it can be incredibly difficult, sometimes impossible, to ascertain what our historical sources actually transmit if one relies on existing publications of the scholia in print or the cryptic reporting of an <i>apparatus criticus</i>. The Homer Multitext allows each document to be viewed and considered on its own terms.<br />
<br />
This summer, as we do every summer, we'll remove the bindings so to speak from the medieval manuscripts and fully examine their contents, study surviving papyrus fragments in all their multiform messiness, and try to visualize without judgment the <i>Iliad</i> known to Plato and Aeschines. The attested multiforms of the <i>Iliad</i> give us an opportunity to know and appreciate a wider range of performance traditions for this remarkable poem than most of us have been taught to do. Although our attested multiforms derive from the later stages of the evolution of the poem, even so I submit that they give us a glimpse of the very long history of the text, access to even earlier Iliads, and a greater awareness of the mechanisms by which such a poem could be composed in performance.<br />
<br />
Works cited<br />
<br />
Lord, A. B. The Singer of Tales. Cambridge, MA, 1960.<br />
Nagy, G. <i>The Best of the Achaeans</i>. Baltimore, 1979.<br />
–––. <i>Poetry as Performance</i>. Cambridge, 1996.<br />
<br />
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Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com13tag:blogger.com,1999:blog-3759557772627536736.post-13688291062068786632016-07-01T14:18:00.000-07:002016-07-01T14:19:36.581-07:00Poetry in Stone: The Poetics of Iliad 24<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Statue of Niobe and her youngest daughter from the Uffizi Gallery in Florence</td></tr>
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This year's Homer Multitext summer seminar has focused on book 24 of the Homeric <i>Iliad</i>, with teams of faculty and students creating a complete edition of the text and scholia of the <a href="http://www.homermultitext.org/manuscripts-papyri/venetusA.html" target="_blank">Venetus A manuscript</a> for that book. An additional goal for the seminar has been to explore the poetics of the book from an oralist perspective, which is to say, we wanted to explore how the fact that the <i>Iliad</i> is a work composed within an oral tradition affects our understanding of the poetry of <i>Iliad</i> 24. Olga Levaniouk from the University of Washington and Casey Dué from the University of Houston led the discussion. Among the topics we discussed were how to interpret the simile in which Priam is compared (as he arrives within the tent of Achilles, to the astonishment of all) to an exiled murderer, and its resonance in the wider epic tradition. Olga showed that Achilles' father Peleus has a history of taking in such figures, and in some traditions was such a figure himself. For a traditional audience familiar with Peleus' backstory, the simile reveals Achilles to be like his father by taking Priam in and treating him with dignity in <i>Iliad</i> 24.<br />
<br />
Olga also showed how Achilles' telling of the story of Niobe ("Even Niobe remembered food..." 24.602) comments on the nature of poetic tradition. Building on <a href="http://chs.harvard.edu/CHS/article/display/3241" target="_blank">the arguments of Gregory Nagy in <i>Homer the Classic</i></a>, in which he discusses petrification as a metaphor for the notional unchangeability of epic poetry, Olga discussed how Niobe's transformation into a weeping rock is a metaphor for the still living nature of the poetic tradition even after it has achieved the status of "monument" (or stone).<br />
<br />
Niobe will weep for all time, her sorrow is eternal. So too will Achilles be mourned for all time, as we learn in <i>Odyssey</i> 24, not only by his immortal mother and her sisters, but also by the Muses, and by extension, the audience of epic poetry. But even though Achilles' death is constantly foreshadowed in the <i>Iliad</i>, the poem ends not with his own glorious death, laments for that death, and his funeral, but with Hektor's, his greatest enemy. As Casey Dué has written, the laments of Andromache and the other women of the <i>Iliad</i> therefore have a dual function. On the level of narrative they are laments for the dead, the warrior husbands and sons who inevitably fall in battle. They protest the cruel fate of the women left behind, and narrate the very personal sorrows of each woman in war. The grief expressed by these women is raw and real. But for the audience of ancient epic the laments for these husbands and sons are also the prototypical laments of heroes, who, for them, continue to be lamented and mourned on a seasonally recurring basis. The poetry of epic collapses the boundaries between the two forms of song.<br />
<br />
In the <i>Iliad</i>, grief spreads quickly from individual to community. As each lament comes to a close, the immediately surrounding community of mourners antiphonally responds with their own cries and tears. It is not insignificant then that the final lament of the <i>Iliad</i> and indeed the final lines of the poem, sung by Helen (who is the cause of the war), ends not with the antiphonal wailing of the women (as at <i>Iliad</i> 6.499, 19.301, 22.515, and 24.746), but of the people: “So she spoke lamenting, and the people wailed in response” (<i>Iliad</i> 24.776).<br />
<br />
The <i>Iliad</i> looks at humanity without ethnic or any other distinctions that make people want to kill each other. It is not a poem that is anti-war: war was a fundamental and even sacred part of Greek culture. But it is poem that can transcend ethnicity and lament the death of heroes in battle, whether they are Greek or Trojan, and it can even lament the death of the greatest Greek hero of them all, Achilles, by lamenting the death of his greatest enemy. It is a poem that can view Achilles through the eyes of his victims, through the sorrow that he generates, and at the same time experience and appreciate his own never-ending sorrow.<br />
<div>
<br /></div>
Dué, C. 2007. “Learning Lessons From The Trojan War: Briseis and the Theme of Force.” <i>College Literature</i> 34: 229-262.<br />
<br />
<a href="http://chs.harvard.edu/CHS/article/display/3472" target="_blank">Nagy, G. 2008. <i>Homer the Classic</i>. Washington, DC</a>.</div>
Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com2tag:blogger.com,1999:blog-3759557772627536736.post-52834819512104221552016-06-22T07:41:00.001-07:002016-06-22T13:06:57.958-07:00Summer Seminar 2016 set to begin next week<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Priam supplicates Achilles for the return of the body of Hector.<br />
Athenian red-figure vase, ca. 500-450 BCE. Vienna, Kunsthistorisches Museum 3710.<br />
Image courtesy of the <a href="http://etc.usf.edu/clipart/" target="_blank">Florida Center for Instructional Technology</a></td></tr>
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The annual Homer Multitext Summer Seminar begins next week at the <a href="http://chs.harvard.edu/" target="_blank">Center for Hellenic Studies</a> in Washington, DC. This year students and faculty from Brandeis University, the College of the Holy Cross, Furman University, Gustavus Adolphus College, the University of Houston, Leiden University in the Netherlands, Trinity University in San Antonio, the University of Washington, and Washington and Lee University will come together to learn about the theoretical underpinnings of the <a href="http://www.homermultitext.org/" target="_blank">Homer Multitext</a> and to create a complete edition of book 24 of the <i>Iliad</i>. You read that right—we are closing in on <a href="http://www.homermultitext.org/manuscripts-papyri/VenA-Introduction-2014.html" target="_blank">a complete edition of the entire Venetus A manuscript of the <i>Iliad</i></a>, a project funded by the <a href="http://www.neh.gov/" target="_blank">National Endowment for the Humanities</a> that has been over a decade in the making.<br />
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In addition to our editorial work, we will seek to gain a better understanding of the poetics of <i>Iliad</i> 24, and how a <a href="http://www.homermultitext.org/about.html" target="_blank">multitextual approach to Homeric epic</a> enhances our understanding of those poetics. Stay tuned for more about our discussion next week.</div>
Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com31tag:blogger.com,1999:blog-3759557772627536736.post-57929794431224393462016-03-07T10:35:00.000-08:002016-03-07T10:35:05.745-08:00Escorialensis Ω.I.12 introduction posted - scholars wanted!<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xsGKBKeovrg/TVrIEy49_6I/AAAAAAAABOs/XVPWr1O7VsU/s1600/E4_188r-356_smaller.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-xsGKBKeovrg/TVrIEy49_6I/AAAAAAAABOs/XVPWr1O7VsU/s400/E4_188r-356_smaller.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Folio 188 <i>recto</i> of Escorialensis Ω.I.12</td></tr>
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Escorialensis Ω.I.12 (= Allen E4; West F), an eleventh-century CE manuscript of the <i>Iliad</i> now housed in the <a href="http://rbme.patrimonionacional.es/" target="_blank">library of the Escorial in Spain</a>, is not a manuscript that has received much scholarly attention, despite its antiquity and despite the fact that the layout and the organization of its text and scholia set it apart from the other tenth- and eleventh-century manuscripts of the <i>Iliad</i> with scholia. And yet these distinctions immediately raise many fascinating questions about the manuscript’s history and sources. Where was this manuscript constructed? Why was it acquired for Philip’s library, in addition to the <i>Iliad</i> manuscript known as Escorialensis Υ.I.1? Are the two manuscripts related in any way, or is it simply a coincidence that they were both for sale in Venice in 1572 and both were purchased for Philip’s library? Is the unusual layout of Escorialensis Ω.I.12 reflective of a separate channel of transmission for its text and scholia? What kind of scholia does it contain and how do they relate to those of other manuscripts?<br />
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A preliminary exploration of this manuscript is <a href="http://www.homermultitext.org/manuscripts-papyri/omega-1-12.html" target="_blank">now available on the Homer Multitext site</a>. This introduction is meant to be an invitation to others to study the manuscript in more depth using the <a href="http://www.homermultitext.org/hmt-image-archive/E4/" target="_blank">high-resolution images we acquired in 2010</a>. We encourage you to build on this work, and let us know about any publications or presentations that result. </div>
Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com29tag:blogger.com,1999:blog-3759557772627536736.post-84515550742375296532015-08-27T13:38:00.000-07:002015-08-27T13:38:45.329-07:00Beyond crowd sourcingHow do you coordinate contributions from a hundred editors and ensure the quality of the resulting archive? That's a challenge we face thanks to the success of the past several years of summer seminars at CHS.<br />
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The solution we've designed enables scattered teams using virtual machines to work in a collaborative work flow and document their progress in publicly visible github repositories. The nuts and bolts of the process are <a href="http://homermultitext.github.io/hmt-docs/">increasingly thoroughly documented</a> (special thanks to project manager Stephanie Lindeborg and the summer 2015 team at Holy Cross for their invaluable contributions). While this challenge applies to any collaborative digital project, the HMT approach seems to stand apart from other digital projects, so I've posted a long <a href="http://homermultitext.github.io/2015/08/27/validation/">overview of the technical design of our validation and verification system</a> on the HMT github site.<br />
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The important conclusions: while a single book of the Iliad can easily surpass 10,000 words of text in a manuscript like the Venetus A, the HMT project's validation system ensures that every word can be tracked to a region of interest on an image, and that both text and image are connected to a specific page of the manuscript by a syntactically valid URN that cites an object that really exists in the HMT archive. Every word of every text is tested against rigorous criteria that are specific to the type of the word. Automated validation and computer-assisted human verification put the HMT archive on a solid foundation.<br />
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<br />Neel Smithhttp://www.blogger.com/profile/10590621399352493304noreply@blogger.com2tag:blogger.com,1999:blog-3759557772627536736.post-6341314413499678232015-07-31T06:26:00.002-07:002015-08-28T07:17:41.594-07:00Resolving a Century-Old Problem of a Scholion’s Lemma<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-H9V24DlXFtw/Vbt1A0P4R4I/AAAAAAAAASU/XpBKrl3YLl4/s1600/Aegis.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-H9V24DlXFtw/Vbt1A0P4R4I/AAAAAAAAASU/XpBKrl3YLl4/s320/Aegis.png" width="176" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Athena wearing Zeus's aegis, one of the topics of this scholion</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<i>This post comes from the team of editors creating the HMT editions of Iliad 15 and Iliad 18 in the Venetus A manuscript during the Holy Cross Summer Research program in the Humanities, Arts, and Social Sciences: Brian Clark '15, Claude Hanley '18, Stephanie Neville '17, Charlie Schufreider '17, Alex Simrell '16, and Melody Wauke '17. Their perceptive solution to the problem of this particular scholion and its lemma demonstrates their masterful familiarity with the Venetus A manuscript and the practices of its scribe. — Mary Ebbott</i><br />
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Among the many potentially befuddling characteristics of the Venetus A manuscript, one thing that is usually fairly straightforward is the connection made to the <i>Iliad</i> text by a scholion’s lemma, an excerpted word or phrase from the <i>Iliad</i> text at the beginning of a scholion which cues the reader as to what lines the scholion will be commenting on. While some scholia have no explicit lemma, these scholia usually indicate clearly what <i>Iliad</i> lines are being commented on based on their content. When a scholion’s lemma has no clear connection to the <i>Iliad</i> text, however, editors are thrown for a loop.
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We find such a case at the beginning of <i>Iliad</i> 15, after a newly awakened Zeus sends Iris to order Poseidon to stop his assault on the Trojans. Chafing against the assumed supremacy of his brother, Poseidon angrily reminds Iris that, being a son of Kronos, he has equal authority over the actions of the battlefield as Zeus. Still, Poseidon yields and Zeus then orders Apollo to rouse Hector to arms.<br />
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The lemma in question begins the third main scholion on folio 194 verso of the Venetus A.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-T0OSpxCYnEw/VbtzLjxzVfI/AAAAAAAAASI/tocPeUxLzus/s1600/scholion.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="46" src="http://2.bp.blogspot.com/-T0OSpxCYnEw/VbtzLjxzVfI/AAAAAAAAASI/tocPeUxLzus/s400/scholion.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of Venetus A 194v: <a href="http://www.homermultitext.org/hmt-digital/images?request=GetIIPMooViewer&urn=urn:cite:hmt:vaimg.VA194VN-0696" target="_blank">see zoomable version here</a></td></tr>
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Like other lemmata, it is written in the same semi-uncial lettering different from the rest of the scholion. Additionally it is set apart from the rest of the scholion by some sort of punctuation, in this case a colon. It reads:<br />
<blockquote class="tr_bq">
Κρόνος χρησμὸν λαβὼν:</blockquote>
This string of words does not appear anywhere on the page. Discrepancy between a lemma and text does happen elsewhere in the Venetus A. Often the differing words in the lemmata actually suggest an apparent multiformity. However, for a lemma to differ so greatly that the discrepancy goes beyond spelling differences or word order is certainly unusual. The Holy Cross team examined the content of the scholion to see if any explanation of multiformity existed, but no such discussion followed:<br />
<blockquote class="tr_bq">
ὅτι ὀ ΐδιος αὐτὸν τῆς βασιλείας μεταστήσει υἱὸς, τὰ γεννώμενα κατέπινεν Ῥέα δὲ τεκοῦσα Δία, Κρόνῳ μὲν αὐτοῦ λίθον σπαργανώσασα ἔδωκε καταπιεῖν· τὸ δὲ παιδίον εἰς Κρήτην διακομίσασα, ἔδωκε τρέφειν Θέμοδι καὶ Ἀμαλθίᾳ ἡ ἢν αἴξ, ταύτην οἱ Τιτᾶνες ὁποτ ἂν ἐθεάσαντο ἐφοβοῦντο· αὕτη δὲ τοὺς αὑτῆς μαζοὺς ὑπέχουσα ἔτρεφε τὸ παιδίον. αὐξηθεὶς δὲ ὁ Ζεὺς μετέστησε τῆς βασιλείας τὸν πατέρα. πολεμούντων δὲ αὐτὸν τῶν Τιτάνων, Θέμις συνεβούλευσε, τῷ τῆς Ἀμαλθίας δέρματι σκεπαστηρίῳ χρήσασθαι εἶναι γὰρ αὐτὴν ἀεί φόβητρον, πεισθεὶς δὲ ὁ Ζεῦς ἐποίησεν καὶ τοὺς Τιτᾶνας ἐνίκησεν· ἐντεῦθεν αὐτὸν φησὶν αἰγήοχον προσαγορευθῆναι<br />
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ὅτι [Because] his own son will remove him [Kronos] from his dominion, he [Kronos] gulped down his begotten children. But Rhea, after giving birth to Zeus, wrapped a stone in swaddling clothes and then gave it to Kronos to devour. As for the child, she sent him to Crete to be raised by Themis and Amalthia, who was a goat and one whom, whenever the Titans laid eyes on her, was feared. Nursing him at her breast Amalthia raised the child, and once he had grown Zeus stripped his father of his kingdom. But when the Titans were making war with him, Themis advised him to make use of Amalthia’s hide as a shield. For she advised that Amalthia was always terrifying. Persuaded Zeus did so and conquered the Titans. For this reason he says that he was addressed as “aegis-bearing.”</blockquote>
So not only does the scholion concerning Zeus’s upbringing shed no light on the multiformity of the text, but the scholion’s first word, ὅτι, only confuses matters further. ὅτι is typically used at the beginning of scholia to correlate with Aristarchean critical marks, such that they mean, “[the critical mark was placed there] because.” So not only does the lemma not exist, but the scholion supposedly corresponds with some Aristarchean critical mark that also does not exist, and the content is not typical of the kind of editorial comments Aristarchus makes, either.<br />
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Our team at Holy Cross was not the first editorial team to struggle with this scholion. Both Erbse and Dindorf recognized the peculiarity of the scholion, and having analyzed the content, concluded that the scribe had made a mistake in placing this scholion here and decided that he meant to comment on line 229 of book 15: <br />
<blockquote class="tr_bq">
ἀλλὰ σύ γ᾽ ἐν χείρεσσι λάβ᾽ αἰγίδα θυσσανόεσσαν, (15.229)</blockquote>
On the one hand this conclusion makes some sense. That line contains mention of the aegis, it contains some form of the word λαμβάνω, a word from the lemma, and the name Kronos, another word in the lemma, appears just four lines above. While it would still be a stretch, it is perhaps understandable how there might exist some multiform which included our given lemma in the around this part of the text. The problem with this interpretation is that line 15.229 appears on folio 195v, two folios later from where the scholion actually appears. Such a “mistake” seems extremely unlikely for the scribe of the Venetus A who, on every other account, scrupulously connects scholia with their textual counterparts on the same physical page.<br />
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Assuming that the scribe did not make that egregious error, some other explanation is required. Our Holy Cross team decided to look at the surrounding scholia to look for positioning clues. The main scholia are ordered sequentially with the line they comment on. So a scholion on line 2 will succeed a scholion on line 1 while immediately preceding a scholion on line 3. In this case, our scholion of interest is sandwiched by two grammatical scholia on line 15.187. Since a single line can have multiple scholia, it is only logical that our scholion in question must also comment on the line. An examination of the line 15.187 reveals that such a conclusion is not too far-fetched:<br />
<blockquote class="tr_bq">
τρεῖς γάρ τ᾽ ἐκ Κρόνου εἰμὲν ἀδελφεοὶ οὓς τέκετο Ῥέα (15.187)</blockquote>
While the text and lemma do not match, the poetic line is connected to the scholion’s content: namely, it is about one child of Kronos and Rhea. It seems safe to say that the scholion is simply providing an expanded mythological background to the story of Kronos’s children. <br />
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How then must we take this ghost lemma? It has every indication of being a lemma in that it is written in the same lettering that is used for lemmata and is set apart from the rest of the scholion by a colon. The solution then is to concede that the scribe did make a mistake or, at least, that some scribe at some point in the manuscript tradition made a mistake. One must concede that Κρόνος χρησμὸν λαβὼν is not a lemma after all, but merely the beginning of the scholion mistakenly written as a lemma. If one removes the colon after λαβὼν, first sentence of the scholion reads: <br />
<blockquote class="tr_bq">
Κρόνος χρησμὸν λαβὼν ὅτι ὀ ΐδιος αὐτὸν τῆς βασιλείας μεταστήσει υἱὸς, τὰ γεννώμενα κατέπινεν<br />
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Kronos, having received an oracle that his own son will remove him from his dominion, gulped down his begotten children.</blockquote>
No longer does one have to infer from context who the father is whose dominion is being stripped away, nor does one have to supply a subject for κατέπινεν. Both cases are elucidated by the clearly nominative form Κρόνος. Most importantly the ὅτι which likely threw off Erbse and Dindorf given its usual formulaic structure in the scholia serves instead here as just a marker of indirect speech, “that,” rather than an indicator of critical marks. And with that conclusion our diplomatic edition was able to not only keep true to the manuscript’s layout, unlike Erbse and Dindorf, but also make sense of something that had baffled some of the brightest Homeric scholars.Mary Ebbotthttp://www.blogger.com/profile/12023866039225910709noreply@blogger.com2tag:blogger.com,1999:blog-3759557772627536736.post-53563501102542754392015-07-30T12:50:00.001-07:002015-07-30T12:50:24.474-07:00Dingbats and Doohickeys in the Venetus A<i>This post was written by Brian Clark (Holy Cross '15) and Alex Simrell (Holy Cross '16). In it they observe the practices of the Venetus A scribe when he has too much material for his usual layout of certain types of scholia on the same page, and they draw some preliminary conclusions from those observations. Their work was accomplished during the Holy Cross Summer Research program in the Humanities, Arts, and Social Sciences and was supported by the Center for Hellenic Studies. — Mary Ebbott</i><br />
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During our work on <i>Iliad</i> 18 this summer, our team found evidence that supports the theory that the scribe of the Venetus A intentionally wrote certain types of comments into specific predetermined regions on the folio. Certain folios still bear the marks that divide up the page into these different areas. Generally, a folio has the text of the poem, surrounded by five categories of scholia: main, intermarginal, interior, interlinear, and exterior. We do not yet fully understand the function of each different group, but we now know that the placement of these groups matter. Perhaps the position on the folio indicates something about the source material for the comment.<br /><br />Sometimes, when dealing with a very dense page, the scribe was forced to break his rules about the placement of scholia. For example, folio 248v, which covers <i>Iliad</i> 18.480–18.504, is highly packed with comments about the astrological bodies found on the shield of Achilles.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/--VD1wpM4aGo/Vbp4d4u85JI/AAAAAAAAARQ/UqEdvkqTOG4/s1600/248v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/--VD1wpM4aGo/Vbp4d4u85JI/AAAAAAAAARQ/UqEdvkqTOG4/s400/248v.jpg" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Folio 248v of the Venetus A manuscript: <a href="http://www.homermultitext.org/hmt-digital/images?request=GetIIPMooViewer&urn=urn:cite:hmt:vaimg.VA248VN-0750" target="_blank">view it in detail in the Homer Mulitext manuscript browser</a></td></tr>
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In the exterior margin, there are three scholia which are not written in the usual hand of the exterior scholia (you can see a typical exterior scholion above these three). Additionally, these scholia have distinctive connecting signs that connect the scholia to the interior margin.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-BwzVlYtNPDg/Vbp5ygBvwHI/AAAAAAAAARY/FZDK0GAYLEg/s1600/exteriorMargin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/-BwzVlYtNPDg/Vbp5ygBvwHI/AAAAAAAAARY/FZDK0GAYLEg/s400/exteriorMargin.jpg" width="122" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exterior margin detail of 248v: <a href="http://www.homermultitext.org/hmt-digital/images?request=GetIIPMooViewer&urn=urn:cite:hmt:vaimg.VA248VN-0750@0.124,0.4005,0.119,0.3005" target="_blank">see zoomable version here</a></td></tr>
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The presence of these connecting signs—dingbats or doohickeys, if you will—are common in other manuscripts, such as the Venetus B, and are similar to the numbered footnotes in the Upsilon 1.1 [<a href="http://homermultitext.blogspot.com/2012/03/linking-poetry-and-scholia-in-medieval.html" target="_blank">see this earlier post for more on how the Venertus B and Upsilon 1.1. link their scholia to the poetry</a>]. 248v is not the first instance of these connecting signs in the Venetus A, but it is just now that we are able to draw conclusions based on our observations over the years.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-aFkY2asNSQ8/Vbp7aL5Gm6I/AAAAAAAAARk/mcZv5na0pfk/s1600/interiorMargin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://3.bp.blogspot.com/-aFkY2asNSQ8/Vbp7aL5Gm6I/AAAAAAAAARk/mcZv5na0pfk/s320/interiorMargin.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of interior margin of 248v: <a href="http://www.homermultitext.org/hmt-digital/images?request=GetIIPMooViewer&urn=urn:cite:hmt:vaimg.VA248VN-0750@0.841,0.5327,0.13,0.1397" target="_blank">see zoomable version here</a></td></tr>
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The use of these signs supports the claim that the scribe intentionally laid out this manuscript with a desire to place certain scholia in specific regions of the folio. By adding these signs, the scribe is guiding the reader not to take these three scholia as exteriors, but rather to read them as part of the interior scholia. On this crowded folio, there is not enough room in the interior margin for the scribe to write all of the interior scholia where they belong. As a result, he was forced to write these three scholia outside of their intended location.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-QZ1pJoYx1Uc/Vbp78tt-syI/AAAAAAAAARs/UvkpetjP0HU/s1600/bottomSwatch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="111" src="http://4.bp.blogspot.com/-QZ1pJoYx1Uc/Vbp78tt-syI/AAAAAAAAARs/UvkpetjP0HU/s400/bottomSwatch.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of 248v showing both exterior and interior margins of 248v: <a href="http://www.homermultitext.org/hmt-digital/images?request=GetIIPMooViewer&urn=urn:cite:hmt:vaimg.VA248VN-0750@0.059,0.5169,0.912,0.1781" target="_blank">see zoomable version here</a></td></tr>
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The first two connecting signs are clearly in the interior margin, and you can see how filling that space with those two comments would have made the margin far too crowded. The last one, however, is written in the interlinear position, above the word ἀρωγοί. Still, we feel that this last scholion is meant to be an interior scholion. The space where the scribe would have placed this connecting sign is taken up by another scholion, thereby forcing him to move the sign to the interlinear position. One could theorize that he trusts his reader to recognize this scholion as an interior, rather than as an interlinear, due to the length and content of the comment.<br /><br />Another argument for these seemingly exterior scholia to be taken as interior scholia is the nature of their comments. In addition to the different scribal hand used for the exterior scholia, these comments generally lack any introductory or explanatory material. Typical exteriors are comprised of just a few words, while these three scholia offer a more complete explanation of the comment.<br /><br />Further, the signs do not link the scholia to a specific word in the <i>Iliad</i> line. For example the second scholion, which comments on <i>Iliad</i> 18.499 (ἀνδρὸς ἀποφθιμένου· ὃ μὲν εὔχετο πάντ᾽ ἀποδοῦναι), reads<br />
<blockquote class="tr_bq">
παρα Ζηνοδότῳ "αποκταμενου" καὶ ἐν ταῖς πλείσταις καὶ ἔστιν οὐκ απιθανος ἡ γραφή ⁑<br />
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Zenodotus writes the word "αποκταμενου" [instead of the word "ἀποφθιμένου"] and this is the reading in most editions. This is not an untrustworthy reading</blockquote>
As you can see, this comment is not about the word directly next to the connecting sign (that is, ἀποδοῦναι), but instead it provides a multiform for the second word of the line, ἀποφθιμένου.<br /><br />Not only does a folio like this help us better understand the practices of a medieval scribe, but it also is another example of the benefits of a diplomatic digital edition that is linked to citable evidence. A printed edition can say that these scholia are “out of place,” but cannot accurately show the function of these connecting signs. Our editions preserve the original placement of these scholia while assigning them intelligent labels based on the evidence of the scribe’s normal practices.<br />
Mary Ebbotthttp://www.blogger.com/profile/12023866039225910709noreply@blogger.com1tag:blogger.com,1999:blog-3759557772627536736.post-24338926463951789832015-06-29T18:06:00.000-07:002015-06-30T15:20:19.643-07:00Good men are always exceedingly prone to tears<div dir="ltr" style="text-align: left;" trbidi="on">
In this morning's Homer Multitext seminar we began exploring the scholia that accompany <i>Iliad</i> 19 in the Venetus A manuscript. In my <a href="http://homermultitext.blogspot.com/2015/06/achilles-and-captive-womans-lament-in.html" target="_blank">previous post</a>, I wrote about the poetics of the captive woman's lament in Homer, and the ways in which a traditional audience might understand Achilles' mourning for Patroklos as it is described in 19.4-6. In that post I was concerned to show how Achilles may have conjured for a traditional audience the image of the lamenting and soon to be captive woman who has fallen over the body of her husband slain in battle, as in the simile of <i>Odyssey</i> 8.521-531, in which Odysseus, weeping in response to the third song of Demodokos, is compared to just such a woman (see also <a href="http://classical-inquiries.chs.harvard.edu/an-unnamed-womans-lament-as-a-signal-of-epic-sorrow/" target="_blank">here</a> and <a href="http://chs.harvard.edu/CHS/article/display/1267#nt-id64390768_TOP" target="_blank">here</a>). <a href="http://chs.harvard.edu/CHS/article/display/4212" target="_blank">As I have written about in my 2006 book</a>, <i>The Captive Woman's Lament in Greek Tragedy</i>, the sorrow of both Achilles and Odysseus is compared to that of captive women, their own victims in war, in both the <i>Iliad</i> and the <i>Odyssey</i>. I was very intrigued therefore to find that the scholia of the Venetus A discuss Achilles' crying in this passage. Here is what the A scholia have to say <a href="http://www.homermultitext.org/hmt-digital/facs?urn=urn:cite:hmt:msA.251v" target="_blank">at <i>Iliad</i> 19.4</a>:<br />
<blockquote class="tr_bq">
κλαίοντα λιγέως πάντας τοὺς ἥρωας ἁπλότητος χάριν εὐχερῶς ἐπὶ δάκρυα ἄγει. Ἀγαμέμνονα· Πάτροκλον Ὀδυσσέα ἐφ' οὗ καὶ τὴν παραβολὴν τῆς χήρας ἔλαβεν. ἀεὶ δὲ ἀριδάκρυες ἀνέρες ἐσθλοί· </blockquote>
<blockquote class="tr_bq">
"lamenting with piercing cries" [Homer] leads all the heroes, because of their sincerity, to tears easily: Agamemnon, Patroklos, Odysseus, to whom he makes the comparison of the widow. And good men are always exceedingly prone to tears.</blockquote>
The comment refers explicitly to the simile of <i>Odyssey</i> 8, giving further support to the idea that the kind of weeping being attributed to Achilles at the beginning of book 19 is like that of generic captive woman of <i>Odyssey</i> 8, or of Briseis, whose lamentation for Patroklos later in <i>Iliad</i> 19 is described with similar formulaic language that explicitly invokes the death of her husband.<br />
<br />
Just as intriguing to me is the comment that comes next: "And good men are always exceedingly prone to tears." Though it is not marked off in any special way in the Venetus A, the sentence clearly comes from a tradition of proverbs, as we find for example in the work of the Roman sophist Zenobius (1.14) and quite a few other authors:<br />
<blockquote class="tr_bq">
Ἀγαθοὶ δ' ἀριδάκρυες ἄνδρες: ἐπὶ τῶν σφόδρα πρὸς ἔλεον ῥεπόντων. </blockquote>
<blockquote class="tr_bq">
Good men are exceedingly prone to tears: [used] in reference to those exceedingly inclined towards pity.</blockquote>
The A scholion is slightly different from what we find in the authors of the proverb tradition; there we find the more Homeric sounding ἀνέρες ἐσθλοί in place of Ἀγαθοὶ... ἄνδρες.<br />
<br />
This same proverb is also adduced in <a href="http://www.homermultitext.org/hmt-digital/facs?urn=urn:cite:hmt:msB.12v" target="_blank">the B scholia at <i>Iliad</i> 1.349</a>, which similarly discusses the propensity of heroes to cry. (The note in B is considerably longer than the one in A, but they overlap in many respects.) In <i>Iliad</i> 1.349 Achilles weeps after the two heralds of Agamemnon take away Briseis:<br />
<blockquote class="tr_bq">
ἣ δ᾽ ἀέκουσ᾽ ἅμα τοῖσι γυνὴ κίεν: αὐτὰρ Ἀχιλλεὺς<br />
δακρύσας ἑτάρων ἄφαρ ἕζετο νόσφι λιασθεί </blockquote>
<blockquote class="tr_bq">
The woman [= Briseis] went together with them, unwilling. Meanwhile Achilles<br />
wept and straightaway sat apart from his companions, withdrawn</blockquote>
In the Venetus B scholion on this passage, the passage from <i>Odyssey</i> 8 is actually quoted, and the phrase ἀεὶ δ' ἀριδάκρυες ἀνέρες ἐσθλοί (with the same wording as in A) is explicitly called a παροιμία, a proverb:<br />
<blockquote class="tr_bq">
ἕτοιμον τὸ ἡρωϊκὸν πρὸς δάκρυα· καὶ Ὀδυσσεὺς· ὡς δὲ γυνὴ κλαίῃσι [= <i>Odyssey</i> 8.523]· καὶ ἡ παροιμία· ἀεὶ δ’ ἀριδάκρυες ἀνέρες ἐσθλοί· ἄλλως τε καὶ φιλότιμος ὢν ἀνιᾶται τῇ ὕβρει· παλαιᾶς τε γὰρ συνηθείας στέρεται· καὶ τοῦ γυναίου ἀκουσίως ἀπαλλάττεται· ἄκρως δὲ ἐρῶντα χαρακτηρίζει· οὗτοι γὰρ ταῖς ἐρημίαις ἥδονται, ἵνα τῷ πάθει σχολάζωσι· τὸ δὲ νόσφι, ὅπως μὴ γνώριμον τοῖς ἑτέροις ᾖ τὸ πρὸς τὴν μητέρα ἐντύχημα. τὸ δὲ ἄφαρ δηλοῖ καὶ τὸ ἔπειτα :~ </blockquote>
<blockquote class="tr_bq">
The heroic nature is prone to tears. [For example,] Odysseus: “As when a woman weeps” [= <i>Odyssey</i> 8.523]. And [there is] the proverb: “Good men are always exceedingly prone to tears.” And otherwise being a lover of honor he is grieved by the <i>hubris</i> [i.e. of Agamemnon] and also he is deprived of his former intimacy [i.e., with Briseis]. And he is removed from the woman unwillingly. And [Homer] characterizes him as desiring her passionately. For these take pleasure in solitary places, in order that they have a respite from suffering. And the “νόσφι” [= “apart’], in order that the meeting with his mother not be known to his companions. And the “ἄφαρ” means “ἔπειτα.”</blockquote>
Variations on this same scholion can also be found here in the Townley manuscript (<a href="http://www.bl.uk/manuscripts/Viewer.aspx?ref=burney_ms_86_f007v" target="_blank">Burney 86</a>), the Υ.1.1, and the Ω.1.12. The Townley scholion reads as follows:<br />
<blockquote class="tr_bq">
δακρύσας ἑτάρων· ἕτοιμον τὸ ἡρωϊκὸν πρὸς δάκρυα· καὶ Ὀδυσσεὺς· ὡς δὲ γυνὴ κλαίῃσι [= <i>Odyssey</i> 8.523]· καὶ ἡ παροιμία·· ἀεὶ δ’ ἀριδάκρυες ἀνέρες ἐσθλοί· Ἀγαμέμνων· ἥτε κατ' αἰγίλιπος πέτρης [= <i>Iliad</i> 9.15]· ἄλλως τε καὶ φιλότιμος ὢν· ἀνιᾶται τῇ ὕβρει· παλαιᾶς τε συνηθείας στέρεται· ἴσως δὲ καὶ τὸ γύναιον ἀκουσίως ἀπαλλαττόμενον ἐλεεῖ· ἄκρως δὲ ἐρῶντα χαρακτηρίζει· οὗτοι γὰρ ταῖς ἐρημίαις ἥδονται, ἵν' οὕτω τῷ πάθει σχολάζωσιν· ὑπὸ μηδενὸς ὀχλούμενοι :~</blockquote>
<blockquote class="tr_bq">
δακρύσας ἑτάρων The heroic nature is prone to tears. [For example,] Odysseus: “As when a woman weeps” [= <i>Odyssey</i> 8.523]. And [there is] the proverb: “Good men are always exceedingly prone to tears.” Agamemnon: “which down from a steep rock” [= <i>Iliad</i> 9.15]. And otherwise being a lover of honor he is grieved by the <i>hubris</i> [i.e. of Agamemnon] and also he is deprived of his former intimacy [i.e., with Briseis]. And perhaps he feels pity for the woman being removed unwillingly. And [Homer] characterizes him as desiring her passionately. For these take pleasure in solitary places, in order that they have a respite from suffering in this way, being disturbed by no one.</blockquote>
This version of the note contains an additional example (Agamemnon, who is also listed in the Venetus A scholion) and an additional citation of the text to go with it (<i>Iliad</i> 9.15) as well as other variations of syntax and an additional clause at the end not found in B. It also lacks the comment on νόσφι found at the end of the B scholion.<br />
<br />
Finally, we also find the proverb in the <a href="http://www.e-codices.unifr.ch/en/list/one/bge/gr0044" target="_blank">Genavensis 44</a> scholia at 1.349, according to the edition of Nicole, in two forms, both of which are closer to the version of Zenobius than they are to what we find in other manuscripts of the <i>Iliad</i>:<br />
<blockquote class="tr_bq">
ἔστι γὰρ παροιμία ἣ λέγει· «ἀγαθοὶ δ' ἀριδάκρυες ἄνδρες,» ἤτοι· «οἱ ἀγαθοὶ ἄνδρες οὐκ ἀδάκρυες. </blockquote>
<blockquote class="tr_bq">
For there is a proverb which says "Good men are exceedingly prone to tears" or "The good men are not without tears."</blockquote>
It is fascinating to find the proverb and the larger comment in which it is embedded in all six of the oldest manuscripts of the <i>Iliad</i> with scholia, and to note that the comment varies considerably in wording and length from manuscript to manuscript. Even the proverb - the type of saying that might be expected to resist change - is seemingly multiform. As Neel Smith observed in our seminar session today, it is clear that our scholia in the various manuscripts do not go back to a single source that was faithfully excerpted, but have been drawn from a variety of scholarly reference works from which the scribes made selections, expanding and compressing as they had space and inclination. In other posts on this blog Mary Ebbott and I have argued that we should be thinking of these scribes as editors, not copyists, and this one note provides a perfect example of why we should see them this way.<br />
<br />
The content of the scholion is fascinating as well. Greek heroes lament like captive women and they are ἐσθλοί. They cause suffering and they experience suffering, and it is their suffering that unites them with their female victims. For more on the weeping of Achilles, I highly recommend the work of H. Monsacré, <i>Les larmes d'Achille. Le héros, la femme et la souffrance dans la poésie d'Homère </i>(1984).<br />
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Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-13071593374630311712015-06-26T15:16:00.002-07:002015-06-29T12:58:12.521-07:00Achilles and the captive woman's lament in Iliad 19<div dir="ltr" style="text-align: left;" trbidi="on">
This year at the Homer Multitext Summer Seminar the student-faculty teams are creating an edition of book 19 of the <i>Iliad</i> in the Venetus A, as well exploring <a href="http://homermultitext.blogspot.com/2015/05/variations-on-briseis-special-homeric.html" target="_blank">the poetics of this particular book</a>, which happens to feature a lament by Achilles' concubine Briseis, the only words she speaks in the poem. In one of our sessions Mary Ebbott and I spoke with the students about lament as a traditional genre of song, primarily performed in Ancient Greece by women, that has been incorporated into and infuses the epic poetry of the <i>Iliad</i>. We wanted to show the students how oral traditional poetry not only works differently, but also is received differently by its audience. We began by exploring two passages. The first comes immediately after the third song of Demodokos in <i>Odyssey</i> 8, in which Demodokos sings about Odysseus raging through the streets like Ares during the sack of Troy:<br />
<br />
ταῦτ’ ἄρ’ ἀοιδὸς ἄειδε περικλυτός· αὐτὰρ Ὀδυσσεὺς<br />
τήκετο, δάκρυ δ’ ἔδευεν ὑπὸ βλεφάροισι παρειάς.<br />
ὡς δὲ γυνὴ κλαίῃσι φίλον πόσιν ἀμφιπεσοῦσα,<br />
ὅς τε ἑῆς πρόσθεν πόλιος λαῶν τε πέσῃσιν,<br />
ἄστεϊ καὶ τεκέεσσιν ἀμύνων νηλεὲς ἦμαρ·<br />
ἡ μὲν τὸν θνῄσκοντα καὶ ἀσπαίροντα ἰδοῦσα<br />
ἀμφ' αὐτᾠ χυμένη λίγα κωκύει· οἱ δέ τ’ ὄπισθε<br />
κόπτοντες δούρεσσι μετάφρενον ἠδὲ καὶ ὤμους<br />
εἴρερον εἰσανάγουσι, πόνον τ’ ἐχέμεν καὶ ὀϊζύν·<br />
τῆς δ’ ἐλεεινοτάτῳ ἄχεϊ φθινύθουσι παρειαί·<br />
ὣς Ὀδυσεὺς ἐλεεινὸν ὑπ' ὀφρύσι δάκρυον εἶβεν.<br />
<br />
The renowned singer sang these things. But Odysseus<br />
melted, and wet the cheeks below his eyelids with a tear.<br />
As when a woman laments, falling over the body of her dear husband<br />
who fell before his city and people,<br />
attempting to ward off the pitiless day for his city and children,<br />
and she, seeing him dying and gasping,<br />
falling around him wails with piercing cries, but men from behind<br />
beating her back and shoulders with their spears<br />
force her to be a slave and have toil and misery,<br />
and with the most pitiful grief her cheeks waste away,<br />
So Odysseus shed a pitiful tear beneath his brows. (<i>Odyssey</i> 8.521-531)<br />
<br />
The simile is so striking because the generic woman of the simile, who has fallen over the body of her husband slain in battle, and who will soon be captive slave, could easily be one of Odysseus’ own victims in the Trojan War. Although the woman does not actually speak, the formulaic language of the simile has powerful associations with the lamentation of captive women elsewhere in epic, with the result that <a href="http://classical-inquiries.chs.harvard.edu/an-unnamed-womans-lament-as-a-signal-of-epic-sorrow/" target="_blank">the listener can easily conjure her song</a>.<br />
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In the second passage, Achilles makes the connection between heroic <i>kleos</i> and the grief of women explicit:<br />
<br />
νῦν δὲ κλέος ἐσθλὸν ἀροίμην,<br />
καί τινα Τρωϊάδων καὶ Δαρδανίδων βαθυκόλπων<br />
ἀμφοτέρῃσιν χερσὶ παρειάων ἁπαλάων<br />
δάκρυ’ ὀμορξαμένην ἁδινὸν στοναχῆσαι ἐφείην,<br />
γνοῖεν δ’ ὡς δὴ δηρὸν ἐγὼ πολέμοιο πέπαυμαι·<br />
<br />
But now may I win good <i>kleos</i>,<br />
and may I cause some one of the deep-girdled Trojan and Dardanian women<br />
to wipe the tears from their delicate cheeks with both hands<br />
and lament unceasingly.<br />
And they may know that too long I have held back from battle. (<i>Iliad</i> 18.121-125)<br />
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<div>
Some of the most beautiful passages of the <i>Iliad</i> are not generic, however, but feature the first person laments of such figures as Andromache, Hecuba, Helen, and Briseis. John Foley has shown, for example, that Andromache's speech to Hektor in <i>Iliad</i> 6 conforms in every way to the structure and content of women's laments for the dead in the Greek tradition (Foley 1999: 188–98; see <a href="http://chs.harvard.edu/CHS/article/display/1271#nt-id69931696_TOP" target="_blank">Dué 2002, chapter 4</a> and <a href="http://homermultitext.blogspot.com/2012/03/hektors-variation-on-lament-by-briseis.html" target="_blank">my earlier blog post</a>). Briseis' lament for Patroklos in <i>Iliad</i> 19 echoes many of the same structure and themes and even particular phrases that we find in Andromache's speech:</div>
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Βρισηῒς δ' ἄρ' ἔπειτ' ἰκέλη χρυσέῃ Ἀφροδίτῃ</div>
<div>
ὡς ἴδε Πάτροκλον δεδαϊγμένον ὀξέϊ χαλκᾠ,</div>
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ἀμφ' αὐτᾠ χυμένη λίγ' ἐκώκυε, χερσὶ δ' ἄμυσσε</div>
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στήθεά τ' ἠδ' ἁπαλὴν δειρὴν ἰδὲ καλὰ πρόσωπα.</div>
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εἶπε δ' ἄρα κλαίουσα γυνὴ ἐϊκυῖα θεῇσι·</div>
<div>
<br /></div>
<div>
(I) Πάτροκλέ μοι δειλῇ πλεῖστον κεχαρισμένε θυμᾠ</div>
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ζωὸν μέν σε ἔλειπον ἐγὼ κλισίηθεν ἰοῦσα,</div>
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νῦν δέ σε τεθνηῶτα κιχάνομαι ὄρχαμε λαῶν</div>
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ἂψ ἀνιοῦσ'· </div>
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<br /></div>
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(II) ὥς μοι δέχεται κακὸν ἐκ κακοῦ αἰεί.</div>
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ἄνδρα μὲν ᾧ ἔδοσάν με πατὴρ καὶ πότνια μήτηρ</div>
<div>
εἶδον πρὸ πτόλιος δεδαϊγμένον ὀξέϊ χαλκᾠ,</div>
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τρεῖς τε κασιγνήτους, τούς μοι μία γείνατο μήτηρ,</div>
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κηδείους, οἳ πάντες ὀλέθριον ἦμαρ ἐπέσπον.</div>
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οὐδὲ μὲν οὐδέ μ' ἔασκες, ὅτ' ἄνδρ' ἐμὸν ὠκὺς Ἀχιλλεὺς</div>
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ἔκτεινεν, πέρσεν δὲ πόλιν θείοιο Μύνητος,</div>
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κλαίειν, ἀλλά μ' ἔφασκες Ἀχιλλῆος θείοιο</div>
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κουριδίην ἄλοχον θήσειν, ἄξειν τ' ἐνὶ νηυσὶν</div>
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ἐς Φθίην, δαίσειν δὲ γάμον μετὰ Μυρμιδόνεσσι.</div>
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(III) τώ σ' ἄμοτον κλαίω τεθνηότα μείλιχον αἰεί.</div>
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ὣς ἔφατο κλαίουσ', ἐπὶ δὲ στενάχοντο γυναῖκες</div>
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Πάτροκλον πρόφασιν, σφῶν δ' αὐτῶν κήδε' ἑκάστη. </div>
</div>
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<br /></div>
<div>
<div>
Then Briseis like golden Aphrodite,</div>
<div>
when she saw Patroklos torn by the sharp bronze,</div>
<div>
wailed with piercing cries, falling around him. And with her hands she struck</div>
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her breast and tender neck and beautiful face.</div>
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And then lamenting she spoke, a woman like the goddesses:</div>
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<br /></div>
<div>
(I) “Patroklos, most pleasing to my wretched heart,</div>
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I left you alive when I went from the hut.</div>
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But now returning home I find you dead, O leader of the people.</div>
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<br /></div>
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(II) So evil begets evil for me forever.</div>
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The husband to whom my father and mistress mother gave me</div>
<div>
I saw torn by the sharp bronze before the city,</div>
<div>
and my three brothers, whom one mother bore together with me,</div>
<div>
beloved ones, all of whom met their day of destruction.</div>
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Nor did you allow me, when swift Achilles killed my husband,</div>
<div>
and sacked the city of god-like Mynes,</div>
<div>
to weep, but you claimed that you would make me the</div>
<div>
wedded wife of god-like Achilles and that you would bring me in </div>
<div>
the ships </div>
<div>
to Phthia, and give me a wedding feast among the Myrmidons.</div>
<div>
<br /></div>
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(III) Therefore I weep for you now that you are dead ceaselessly, </div>
<div>
you who were kind always.”</div>
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<br /></div>
<div>
(Refrain) So she spoke lamenting, and the women wailed in response,</div>
<div>
with Patroklos as their pretext, but each woman for her own cares. (<i>Iliad</i> 19. 282-302)</div>
</div>
<div>
<br /></div>
<div>
In terms of narrative, Briseis’ widowed and captive status is quite personal. Lament is a powerful form of speech in which women can narrate their own life experiences, and this is the only place in the <i>Iliad</i> where we learn about Briseis’ life prior to her capture. But her lament gains a great deal of power from the fact that Briseis’ grief foreshadows the grief of every Trojan wife. When Briseis throws herself down on the body of Patroklos, she is already a captive woman—something that Andromache only imagines herself to be in <i>Iliad</i> 6.</div>
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<br /></div>
<div>
Such resonances and interconnections are made possible by the traditional diction and formulaic language in which the <i>Iliad</i> and <i>Odyssey</i> have been composed. The audience's familiarity with such language likewise allows them to receive these passages on a deeper level than would an audience hearing this passage for the first time. When Briseis falls over the body of Patroklos and and begins lamenting with piercing cries, a traditional audience can not only think of the generic husband of <i>Odyssey</i> 8, but also Briseis' first husband, whom she has already lamented, and look ahead to the death of her <i>current</i> would be husband, Achilles, whom she mourns here just as much as she does Patroklos. (<a href="http://homermultitext.blogspot.com/2012/03/hektors-variation-on-lament-by-briseis.html" target="_blank">See again my earlier blog post for Briseis' lament for Achilles in the <i>Posthomerica</i> of Quintus of Smyrna</a> as well as the <a href="http://chs.harvard.edu/CHS/article/display/1267" target="_blank">Introduction to Dué 2002</a>.)</div>
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<br /></div>
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We concluded this exploration of the poetics that underlie <i>Iliad</i> 19 by looking at the opening lines of the book, in which Thetis brings Achilles his new set of armor to wear into battle, where she and he know he will soon die. She finds him like this (<i>Iliad</i> 19.4-6):</div>
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<br /></div>
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<div>
εὗρε δὲ Πατρόκλῳ περικείμενον ὃν φίλον υἱὸν</div>
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κλαίοντα λιγέως: πολέες δ᾽ ἀμφ᾽ αὐτὸν ἑταῖροι</div>
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μύρονθ᾽</div>
</div>
<div>
<br /></div>
<div>
She found her dear son fallen about [the body] of Patroklos,</div>
<div>
lamenting with piercing cries. And his many companions around him</div>
<div>
were weeping</div>
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<br /></div>
<div>
We asked the students to consider how they might understand the passage differently in light of the poetics of the captive woman's lament that we had been exploring. In <i>Odyssey</i> 8, Odysseus' tears and grief are compared to those of a captive woman. Here in <i>Iliad</i> 19 Achilles physically embodies the actions, tears, and lamentation of such a woman while mourning his comrade. And just as the women antiphonally respond to Briseis as she concludes her lament (cf. the women of Andromache's household in <i>Iliad</i> 6.499 and the women of Troy at <i>Iliad</i> 22.515 and 24.746), so too do Achilles' comrades respond to him. In fact the A scholia on these lines gloss μύροντο (19.6) as ἐθρήνουν. When viewed in this way, the grief of Achilles reverberates with the grief of the many women whose husbands he has killed (and the husband he has yet to kill, Hektor), and we realize that Achilles' <i>kleos</i> comes at the cost of not only the unceasing lamentation of the women of Troy, but also his own never ending sorrow. </div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-kcxeIKF8sls/VY3OKsBjSxI/AAAAAAAABk4/7lrz1zDJIJs/s1600/Nikolay_Ge_002.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="332" src="http://4.bp.blogspot.com/-kcxeIKF8sls/VY3OKsBjSxI/AAAAAAAABk4/7lrz1zDJIJs/s400/Nikolay_Ge_002.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nikolai Ge, <i>Achilles Lamenting the Death of Patroclus</i> (1855)</td></tr>
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Works Cited</div>
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Dué, C. Homeric Variations on a Lament by Briseis. Lanham, MD, 2002.</div>
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Foley, J. M. <i>Homer’s Traditional Art</i>. University Park, 1999.</div>
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For more on the poetics of lament that underlie the <i>Iliad</i> and <i>Odyssey</i> and the unnamed woman of <i>Odyssey</i> 8 see G. Nagy, "<a href="http://classical-inquiries.chs.harvard.edu/an-unnamed-womans-lament-as-a-signal-of-epic-sorrow/" target="_blank">An unnamed woman’s lament as a signal of epic sorrow</a>."</div>
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Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com1tag:blogger.com,1999:blog-3759557772627536736.post-14899395057655616742015-06-04T11:33:00.000-07:002015-06-04T11:33:15.317-07:00First Week of Summer Research and First Presentation of Summer Research<div dir="ltr" style="text-align: left;" trbidi="on">
It is an exciting week here at the College of the Holy Cross, where students are beginning their first week of summer research working on Book 18 of Venetus A. Joining us this summer is a team of seven composed of Holy Cross alums, Brian Clark '15 and Stephanie Lindeborg '13, and current students, Claude Hanley '18, Stephanie Neville '17, Charlie Schufreider '17, Alex Simrell '16, and Melody Wauke '17.<br />
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Already the students have formally presented on their current and past work, when this morning, they were visited by representatives from Loyola Chicago's John Felice Rome Center, where Holy Cross sends their Classics study abroad students. Claude and Stephanie led off the presentation discussing some of their past work on the <i>Chronicle </i>of Jerome. Charlie and Melody shared their work on the HMT, talking first about their work on <i>Iliad </i>14 and then looking forward to their upcoming work on <i>Iliad</i> 18. Brian wrapped up the presentation by presenting on aspects of his senior thesis with the HMT and reflecting on how his study abroad experience related to his ability to conduct this research.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Dk_ou5pGvWk/VXCZVj9kU1I/AAAAAAAAAGA/vansnE3K72g/s1600/StudyAbroadPresentation.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://3.bp.blogspot.com/-Dk_ou5pGvWk/VXCZVj9kU1I/AAAAAAAAAGA/vansnE3K72g/s320/StudyAbroadPresentation.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left to right: Stephanie Neville, Melody Wauke, Brian Clark, <br />Claude Hanley, and Charlie Schufreider</td></tr>
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<br />We're looking forward to seeing what else this summer has in store for the HMT. Keep an eye out for future work from these great researchers and stay tuned for our upcoming summer seminar at the Center for Hellenic Studies!<br /><br /></div>
Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-3759557772627536736.post-29374268330483856672015-05-20T14:10:00.000-07:002015-05-20T14:11:25.743-07:00Variations on Briseis: Special Homeric Poetics Edition<div dir="ltr" style="text-align: left;" trbidi="on">
In June the <a href="http://chs.harvard.edu/" target="_blank">Center for Hellenic Studies</a> will once again host the Homer Multitext Summer Seminar. Each year the seminar introduces a new generation of student researchers to the principles that underly the <a href="http://www.homermultitext.org/" target="_blank">Homer Multitext</a> project via a particular book of the <i>Iliad</i>. By the end of the seminar the students will not only have created their own edition of the text and scholia for that book as represented in the Venetus A manuscript of the <i>Iliad</i>, they will also know a great deal about how the <i>Iliad</i> was composed and the poetics of a work that was composed in performance.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-I4ZIUQJFQHU/VVzrrTJNYzI/AAAAAAAABj4/kalE4tUEMf0/s1600/1201px-Akhilleus_embassy_Louvre_G146_n3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="272" src="http://2.bp.blogspot.com/-I4ZIUQJFQHU/VVzrrTJNYzI/AAAAAAAABj4/kalE4tUEMf0/s320/1201px-Akhilleus_embassy_Louvre_G146_n3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Attic red-figure skyphos (Louvre G 146) showing<br />
the taking of Briseis by Agamemnon</td></tr>
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This year's book is <i>Iliad</i> 19, which happens to feature the only words spoken in the poem by Briseis, the woman whose seizure by Agamemnon in book 1 initiates the entire plot of the <i>Iliad</i>. In my 2002 book, <i><a href="http://chs.harvard.edu/CHS/article/display/4311" target="_blank">Homeric Variations on a Lament by Briseis</a></i>, I used the character of Briseis as an entry point for discussing the multiformity of the epic tradition and how that affects our understanding of the poetics of the <i>Iliad</i>. Because Briseis only speaks ten verses in the <i>Iliad</i>, one might be tempted to think that she is not a traditional character, or to put it another way, that she does not have her own story. Briseis’ role in the <i>Iliad</i> is indeed enormously compressed from the standpoint of both the <i>Iliad</i> as a whole and the entire tradition of the Epic Cycle. In the <i>Iliad</i> she does not even have a name—her name means simply “daughter of Brises.” Yet elsewhere there are hints that her name was Hippodameia, and that she was part of another story—or other stories. She is named Hippodameia by the A scholia at 1.392 and in Dictys of Crete. Here is what the Venetus A scholia say about her:<br />
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κούρην Βρισῆος: ἐοικεν πατρωνυμικῶς τὰ ὀνόματα αὐτῶν σχηματίζειν ὁ ποιητὴς καὶ οὐ κυρίως ὡς γὰρ ἄλλοι ἀρχαῖοι ἱστοροῦσιν. ἡ μὲν Ἀστυνόμη ἐκαλεῖτο· ἡ δὲ Ἱπποδάμεια. ὁ δὲ τρόπος ἀντωνομασία </blockquote>
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It is likely that the poet forms their names patronymically and not precisely. For as the other <i>arkhaioi</i> [poets] tell it, the one [Chryseis] was called Astynome and the other [Briseis] was called Hippodameia. The trope is antonomasia [i.e., using one name for another]. </blockquote>
While it is not certain which poets or song traditions are meant by <i>arkhaioi</i> here, the work of Albert Henrichs has shown that the term <i>arkhaioi</i> in the scholia generally refers to Homer and earlier poets in contrast with more recent poets (<i>hoi neôteroi</i>), who include Hesiod, the archaic poets, the tragedians, and Alexandrian poets like Callimachus. The comment suggests then that in some early epic narratives Briseis had a personal name, and by extension, a story to go with it.<br />
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It is important to understand that the <i>Iliad</i> is a narrative about the anger of Achilles in the tenth year of the Trojan War. Much earlier as well as much later events are woven into a story that takes place in only a few days’ time. Even though at over 15,000 verses it might take as many as three days to perform, the <i>Iliad</i> is nevertheless a compression of the potentially full extent of epic poetry about Troy—what we might call the ultimate expansion of the <i>Iliad</i>. I suggest that one result of this compression is that the <i>Iliad</i> only gives us a glimpse of the figure of Briseis, whose role in the larger epic tradition must have been much greater.<br />
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It seems likely that there were at least two variations on the story of Briseis in antiquity, because of the two-fold pattern she fulfills in the surviving ancient references. In at least one tradition she is very much a young (or at least unmarried) girl, the daughter of King Brises of Pedasos, whom Achilles receives as a prize along with Diomedeia, the daughter of King Phorbas of Lesbos (see <a href="http://chs.harvard.edu/CHS/article/display/1270" target="_blank">Chapter 3 in Dué 2002</a>). But according to <i>Iliad</i> 2.688-694, 19.295-296, and elsewhere she was captured by Achilles in the sack of Lyrnessos, and in her lament for Patroklos (<i>Iliad</i> 19.292-302) Briseis says that she was married, and that Achilles killed her husband, who may have been King Mynes. Our <i>Iliad</i> alludes to multiple variations on these two basic themes.<br />
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Briseis is featured in a number of ancient vase paintings, which are similarly multiform in their depiction of Briseis' story. (See <a href="http://chs.harvard.edu/CHS/article/display/1268" target="_blank">Chapter 1 of Dué 2002</a>.) The one included above shows her being taken by Agamemnon from the tent of Achilles (a variation on the <i>Iliad</i>, where two heralds come to take Briseis). This event is narrated in book 1 of the <i>Iliad</i>, where the text says, tantalizingly, that she went “unwillingly.” In <i>Iliad</i> 9 Achilles proclaims that he loves her as a man loves his wife, even though he won her in war (ἐκ θυμοῦ φίλεον δουρικτητήν περ ἐοῦσαν 9.343). In Briseis’ lament for Patroklos in <i>Iliad</i> 19 we learn of her hope to become Achilles’ wedded wife in Phthia. And so we see that compressed but not entirely hidden within the <i>Iliad</i> there is also a love story. (See also Fantuzzi 2012.)<br />
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A multitextual approach to the <i>Iliad</i> allows us to appreciate the long history and multiformity of the tradition from which poets and vase painters told their stories. As I write in my 2002 book, Archaic vase-paintings can even make it possible for us to reconstruct variant poetic traditions to which the <i>Iliad</i> alludes (see <a href="http://chs.harvard.edu/CHS/article/display/5939" target="_blank">Muellner 2012</a> for another example). It is important, however, to make a distinction between the <i>Iliad</i>—the fixed text as we now know it—and Iliadic or Cyclic traditional narratives. n our <i>Iliad</i> Agamemnon sends two heralds to take Briseis, but, according to another way of telling the story, Agamemnon comes in person. The archaic artists knew both variants of the tale, and “told the story” both ways, choosing between them like an epic poet in performance.<br />
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Because of the nature of what survives, we have only a narrow window into the larger tradition from which painters and poets composed their narratives. Reconstruction of the larger tradition can be difficult and sometimes impossible, but an examination of the sources that do survive show us that the ancient Greek artistic and epic traditions were at one time very fluid. The <i>Iliad</i> is one way of telling the tale of Troy, but it is by no means the only way, as the example of Briseis makes clear.<br />
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Works Cited<br />
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Dué, C. 2002. <i>Homeric Variations on a Lament by Briseis</i>. Lanham, MD.<br />
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Fantuzzi, M. 2012. <i>Achilles in Love</i>. Oxford.<br />
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Henrichs, A. 1993. “Response.” In <i>Images and Ideologies: Self-definition in the Hellenistic World</i>, eds. A. W. Bulloch, E. S. Gruen, A.A. Long, and A. Stewart. Berkeley.<br />
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Muellner, L. 2012. "Grieving Achilles." In <i>Homeric Contexts: Neoanalysis and the Interpretation of Oral Poetry,</i> eds. F. Montanari, A. Rengakos, C. Tsagalis, pp.197-220. Berlin.<br />
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Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-4035402096741345292015-05-01T08:51:00.001-07:002015-05-01T08:53:34.509-07:00Articles on the multiformity of Homeric poetry now on-line<div dir="ltr" style="text-align: left;" trbidi="on">
The <a href="http://chs.harvard.edu/" target="_blank">Center for Hellenic Studies</a> has published on-line two articles by Associate Editors of the <a href="http://www.homermultitext.org/" target="_blank">Homer Multitext</a> that directly address the multiformity of Homeric poetry.<br />
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The first of these, "<a href="http://chs.harvard.edu/CHS/article/display/5937" target="_blank">Homeric Poetry and Problems of Multiformity: The 'Panathenaic Bottleneck'</a>," by Gregory Nagy, was one of the works of scholarship that originally inspired this project. Nagy argues that the text fixation of <i>Iliad</i> and <i>Odyssey</i> occurred not through writing but in the context of the increasingly limited performance tradition at the Panhellenic festival of the Panathenaia in Archaic and Classical Athens. As the poems passed through this “bottleneck” the degree of variability became increasingly limited. The article offers an explanation for how the <i>Iliad</i> and <i>Odyssey</i> came to be crystallized into the relatively un-multiform versions in which we now have them. Nagy suggests that the highly regulated performance context of the Panathenaic Festival provided the mechanism by which multiformity was gradually screened out and a relatively fixed, "Panathenaic" text emerged for the two poems. Nagy's arguments also account for the fact the <i>Iliad</i> and <i>Odyssey</i> (which were performed at this festival) survive, whereas the poems of the Epic Cycle do not.<br />
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Leonard Muellner's article, "<a href="http://chs.harvard.edu/CHS/article/display/5939" target="_blank">Grieving Achilles</a>," explores Archaic vase paintings that depict Achilles in a silent gesture of mourning (veiling his head) and suggests that they are drawing on an variation of the epic tradition of the taking of Briseis and the subsequent embassy to Achilles that we find in <i>Iliad</i> 9. As Muellner writes, his work shows that these "vase paintings are not illustrations of epic poetry, or ad hoc inventions, or mistakes that intentionally or unintentionally disregard or misrepresent the putatively uniform Homeric versions of epic tales that served as their supposed models. Instead, the vase painter, just like a singer of tales, is engaged in a traditional, creative effort to select among myths that are by nature multiform." For more on the relationship between the multiforms of myth, vase paintings, and the Homeric epics, see also "<a href="http://chs.harvard.edu/CHS/article/display/1268" target="_blank">Briseis and the Multiformity of the <i>Iliad</i></a>" (Chapter 1 in C. Dué, <i>Homeric Variations on a Lament by Briseis</i>.)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-LBcfUf11mqI/VUOgoiy2uJI/AAAAAAAABhY/OKlKn3tm180/s1600/2710.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-LBcfUf11mqI/VUOgoiy2uJI/AAAAAAAABhY/OKlKn3tm180/s1600/2710.jpeg" height="332" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Embassy to Achilles — Phoinix, Odysseus, Achilles veiled, and unnamed youth. Athenian red-figure hydria, Staatliche Antikensammlung, München 8770. Photo Bibi Saint-Pol, Wikimedia Commons (public domain).</td></tr>
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Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-28764759057607462722015-04-26T14:45:00.000-07:002015-04-26T14:45:30.533-07:00Spring Academic Conference at Holy Cross<div dir="ltr" style="text-align: left;" trbidi="on">
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Every spring, the College of the Holy Cross hosts an Academic Conference during which students showcase research and share their conclusions on long term projects or senior theses. Once again, the HMT was well represented by several teams who shared their ongoing research from the 2014-2015 academic year. </div>
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<tr><td class="tr-caption" style="text-align: center;">The whole Classics panel at the Academic Conference, <br />including teams working on other manuscript projects</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-qn-nHWvgZNA/VT1Z5OOAAHI/AAAAAAAAAEg/r3_Xedrd5Gs/s1600/image-3.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-qn-nHWvgZNA/VT1Z5OOAAHI/AAAAAAAAAEg/r3_Xedrd5Gs/s1600/image-3.jpeg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael and Corey highlighting examples in the <i>Lexicon</i></td></tr>
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Michael Kelley '18 and Corey Scannell '18 shared their work on Apollonius Sophistes' <i>Homeric</i> <i>Lexicon</i>, remarkable for the fact that they are working on the only extant copy of the work. Both Michael and Corey will be joining this year's summer seminar at the Center for Hellenic Studies.</div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-QpG7jLjmzRQ/VT1Z6yv0l_I/AAAAAAAAAE0/4CWaLxT2Oyg/s1600/image-5.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-QpG7jLjmzRQ/VT1Z6yv0l_I/AAAAAAAAAE0/4CWaLxT2Oyg/s1600/image-5.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Melody discussing scholia in depth<br /></td></tr>
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Alex Simrell '16, Charlie Schufreider '17, and Melody Wauke '17 shared examples from their work on editions of <i>Iliad</i> 14 and 15, which highlight the multitextual tradition of the <i>Iliad</i>. All three presenters are veterans of the summer seminar.</div>
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The conference session concluded with two seniors Brian Clark '15 and Nikolas Churik '15, both veterans of the summer seminar and both working on senior theses based on the culmination of their work with the HMT. </div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hU574Hsrnl8/VT1Z7W-DXEI/AAAAAAAAAFA/YdNws25kD14/s1600/image-7.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-hU574Hsrnl8/VT1Z7W-DXEI/AAAAAAAAAFA/YdNws25kD14/s1600/image-7.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brian outlines the Epic Cycle</td></tr>
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Brian Clark shared some of his research on additional sources for the epic cycle, retellings of the <i>Iliad</i>, and what the differences between these texts reveal about how the ancient world treated the epic cycle. </div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-xq-h-0lOQUA/VT1Z6m5cKPI/AAAAAAAAAEs/zvzjf-CQ3rM/s1600/image-1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-xq-h-0lOQUA/VT1Z6m5cKPI/AAAAAAAAAEs/zvzjf-CQ3rM/s1600/image-1.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nik discusses the prose paraphrase from the Omega 1.12</td></tr>
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Nikolas Churik discussed his research on Iliadic paraphrases, working with prose paraphrases, glosses of the Iliadic text, and what these texts reveal about the readers and the ancient art of translation.</div>
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Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-3759557772627536736.post-46621097946566153912014-12-03T20:52:00.000-08:002014-12-03T20:52:42.066-08:00Streaming Greek and Latin in an Age of Open Data<div dir="ltr" style="text-align: left;" trbidi="on">
For those interested in watching our paper presentations at the Greek and Latin in an Age of Open Data conference, see the live stream and links to youtube videos <a href="http://www.dh.uni-leipzig.de/wo/workshop-december-2014/greek-and-latin-in-an-age-of-open-data-livestream/">here</a>. We have one more talk scheduled for 11 am Eastern Time, "Digital Access and the Practicality of Citizen Scholarship." You can also see our first talk, "A Redefinition of Classical Scholarship", on Day 2 of the conference.</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-81587472654551904492014-11-19T06:55:00.003-08:002014-11-21T18:06:04.441-08:00Greek and Latin in an Age of Open Data<div dir="ltr" style="text-align: left;" trbidi="on">
We're pleased to announce that the Homer Multitext project will be presenting two papers at the "Greek and Latin in an Age of Open Data" conference hosted by the <a href="http://www.dh.uni-leipzig.de/wo/open-philology-project/">Open Philology Project</a> at the University of Leipzig, December 1-4. You can read our papers "A Redefinition of Classical Scholarship" and "Open Access and the Practicality of Citizen Scholarship" from the <a href="http://www.dh.uni-leipzig.de/wo/workshop-december-2014/greek-and-latin-in-an-age-of-open-data-schedule/">conference program</a>.</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-80341262233646618972014-11-03T09:55:00.001-08:002014-11-03T09:55:19.973-08:00Upcoming Workshop and Roundtable <div dir="ltr" style="text-align: left;" trbidi="on">
We are proud to announce that four HMT collaborators, Neel Smith, Nikolas Churik, Brian Clark, and Stephanie Lindeborg, will be featured at the 'Scholarship in Software, Software as Scholarship: From Genesis to Peer Review' workshop and roundtable in Bern on January 29th, 2015. Their proposal, titled "Composing living scholarship: applying automated acceptance tests to scholarly writing', will discuss the implementation of dynamic content in scholarly prose, resulting in documents that are live instead of fixed texts. Stay tuned for more news on this exciting topic!</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-29676610264816736882014-10-24T16:52:00.001-07:002014-10-24T16:52:10.181-07:00Open Access Week at the Homer Multitext projectThis week is <a href="http://www.openaccessweek.org/page/about">Open Access Week</a>, an annual event promoting open access as a norm in scholarly work. At Holy Cross, three members of the Homer Multitext project, Nik Churik '15, Brian Clark '15, and Melody Wauke '17, took part in a panel along with presenters from the faculty and the library staff. (Below, Brian and Melody with Nik's wristwatch in the background as the panellists are introduced in the very traditional setting of a library reading room.)<br />
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In contrast to the other speakers, the HMT members traced a connection from open access to the potential to replicate and verify scholarly work, and concluded that open access is not simply one convenient option among others, but an ethical obligation. The audience seemed to me to struggle with this idea, despite the fact that it was a small, self-selected group already interested in the subject.<br />
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One institution that deserves recognition for taking open access very seriously is the Bayerische Staatsbibliothek, where <a href="http://www.muenchener-digitalisierungszentrum.de/index.html?c=digitale_sammlungen&l=en">hundreds of manuscripts are being digitized, and made available on line under the terms of a Creative Commons license</a>. (Some of the older digitization includes black and white images only, but more recent additions offer very high quality color images.) Four of the Greek manuscripts they have already digitized include Homeric material, and thanks to the library's use of a standard open license, we will be including them in future releases of the Homer Mutlitext's archive. The processor-intensive conversion of the images to the zoomable format we use in our citable image service is underway, and you can now look at the first of the Munich manuscripts on our test site. If the manuscript photography we have already published has awakened your interest in the various prose paraphrases and metrical summaries of the <i>Iliad</i> they include, you will no doubt enjoy the <a href="http://beta.hpcc.uh.edu/tomcat/hmt-digital/images?request=GetImagePlus&urn=urn%3Acite%3Aecod%3Amuncg88img.MunCG88-page8">Bayerische Staatsbibliothek's Codex Graecus 88</a> as well.<br />
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<br />Neel Smithhttp://www.blogger.com/profile/10590621399352493304noreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-9552479590599918802014-10-02T15:34:00.000-07:002014-10-02T15:34:15.232-07:00A Recent Mention of the Homer Multitext Project<div dir="ltr" style="text-align: left;" trbidi="on">
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Check out this <a href="https://sites.tufts.edu/perseusupdates/2014/09/29/opening-up-classics-and-the-humanities-computation-the-homer-multitext-project-and-citizen-science/">recent paper by Greg Crane</a> on computational humanities, the HMT, and citizen science!</div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-68581600611535231472014-09-07T12:56:00.000-07:002014-09-07T12:56:28.609-07:00Summer Researchers Present Their Work At Holy Cross<div dir="ltr" style="text-align: left;" trbidi="on">
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Back to school season is here and while most students are concerned with the first week of classes, several Homer Multitext researchers joined their peers at Holy Cross's Annual Summer Research Symposium this Friday, September 5th. Our researchers stood alongside projects from the sciences and humanities, all of which were conducted at the College of the Holy Cross this summer. Hogan Ballroom was packed from 1-4pm.<br />
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<tr><td class="tr-caption" style="text-align: center;">Brian Clark '15, Andrew Boudon '15, and Nik Churik '15 <br />(not pictured Alex Simrell '16 and Chris Ryan '16)</td></tr>
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After a solid summer of creating editions of <i>Iliad</i> 11 in two manuscripts, they had a lot of say on scribal methods and repetition of content in the scholia. We look forward to hearing more details about their discoveries as the Fall progresses!<br />
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<tr><td class="tr-caption" style="text-align: center;">Brian Clark '15 shares his research with Holy Cross Classics professor</td></tr>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-1866299378872217102014-08-30T13:23:00.000-07:002014-09-08T10:10:49.091-07:00New content, new contributors<div dir="ltr" style="text-align: left;" trbidi="on">
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Eric Raymond popularized the phrase "release early, release often" as a philosophy for software development. It works for digital scholarship, too.</div>
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We're happy to announce today an early release of a facsimile browser incorporating new material from our photography in the Escorial last summer. The digital facsimile edition requires data about the manuscripts (including what folios appear in what sequence), an index aligning each folio with a canonical citation of lines of the Iliad, and an index identifying which side of which folio each image illustrates. A group of dedicated and talented volunteers (some shown in the photo) has been meeting regularly on Friday afternoons to put this material together for the Escorial Υ.1.1 manuscript, prior to beginning work on a full diplomatic edition of the text (as others are already doing for the Venetus A and Venetus B codices).</div>
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Perhaps even more remarkable than the volunteers' rapid mastery of Escorial Υ.1.1's Byzantine script is the fact that all of the students are in their first year of Greek. If you're not accustomed to learning about the transmission of Homer from first-year Greek students, a Friday afternoon with this group is enlightening.</div>
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You will undoubtedly see postings on this blog in the future announcing further releases of material from "Team Escorial Υ.1.1." In addition to the puzzles they've had to solve to make today's release available, they are compiling careful observations that will lead to a helpful guide to the paleography of Escorial Υ.1.1, and have already noted a number of unpublished or unappreciated discrepancies bewteen Escorial Υ.1.1 and other manuscripts that are forcing all of us working on the Homer Multitext project to reassess entirely the traditional scholarly views on the (b) family of manuscripts of the Iliad. </div>
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The Escorial Υ.1.1 group has currently indexed more than half of the manuscript: we're including folios 1 recto - 109 recto (covering Iliad books 1-8) in today's release.</div>
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Our profound thanks to all members of the group (alphabetically):</div>
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<li>Matthew Angiolillo</li>
<li>Neil Curran</li>
<li>Maria Jaroszewicz</li>
<li>Alex Krasowski</li>
<li>Becky Musgrave</li>
<li>Kathleen O'Connor</li>
<li>Anne Salloom</li>
<li>Megan Whitacre</li>
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Neel Smithhttp://www.blogger.com/profile/10590621399352493304noreply@blogger.com0tag:blogger.com,1999:blog-3759557772627536736.post-23939684890167513522014-08-11T07:43:00.004-07:002014-08-11T07:43:41.885-07:00New publication of Homer Multitext research<div dir="ltr" style="text-align: left;" trbidi="on">
If you would like to know what kind of research is being enabled by the Homer Multitext project, check out the <a href="http://wp.chs.harvard.edu/surs/2014/08/01/homer-multitext-project/" target="_blank">recent publication in the Sunoikisis Undergraduate Research Journal</a> of work by Matthew Angiollilo, Thomas Arralde, Melissa Browne, Nik Churik, Brian Clark, Stephanie Lindeborg, Rebecca Musgrave, and Neel Smith, in which the construction, organization, and layout of three Byzantine manuscripts of the <i>Iliad</i> are discussed. </div>
Casey Duéhttp://www.blogger.com/profile/13700595288275390350noreply@blogger.com0