By Mark W. Edwards
This booklet issues the way in which we read--or particularly, think we're listening to--ancient Greek and Latin poetry. via transparent and penetrating research Mark Edwards indicates how an figuring out of the results of note order and meter is essential for appreciating the that means of classical poetry, composed for listening audiences. the 1st of 4 chapters examines Homer's emphasis of convinced phrases by way of their positioning; a passage from the Iliad is analyzed, and a poem of Tennyson illustrates English parallels. the second one considers Homer's options of disguising the holiday within the narrative while altering a scene's situation or characters, to keep up his audience's cognizance. within the 3rd we examine, in part via an English translation matching the rhythm, how Aeschylus selected and tailored meters to arouse listeners' feelings. the ultimate bankruptcy examines how Latin poets, rather Propertius, infused their language with ambiguities and a number of meanings. An appendix examines using classical meters via twentieth-century American and English poets. in line with the author's Martin Classical Lectures at Oberlin university in 1998, this publication will improve the appreciation of classicists and their scholars for the massive chances of the languages they learn, translate, and educate. because the Greek and Latin quotations are translated into English, it is going to even be welcomed through non-classicists as an reduction to figuring out the big impact of old Greek and Latin poetry on sleek Western literature.