The significance of the name of the goddess worshipped at Mantinea and at Tegea, Athena Alea, is correctly interpreted by M. Fougères in B.C.H. 16 , p. 573. “ Aléa Athèna,” he says, “signifie la deésse A1éa, qui ressemble à Athèna. Par cette addition on a voulu marquer les rapports entre la deésse Protectrice d'Arcadie et la deésse tutelaire d'Athènes.” He calls attention to the fact that in the language of Homer and Hesiod the Greek word άλέα denotes ‘la protection (...) qui éloigne le mal.’. (shrink)

The opinion has been expressed frequently of late, notably by Professor Mackail and Miss Stawell, that the Odyssey may well be the work of the advanced years of the Homer of the Iliad. Miss Stawell remarks that one of an alert mind must feel that the Odyssey is the poem of an older man—one who has conceived and written a poem before. She suggests that that poem may have been the Iliad. So Professor Mackail argues that a “different mind may (...) come to a poet with the lapse of years and with fresh experiences,” and that “the poet who produced the Iliad in the early prime of his life was a poet capable of the artistic and poetical change that is felt in the Odyssey, among new surroundings, with an altered view of life, with an imaginative ardour burning less strongly and with increased constructional mastery.”. (shrink)

Since Hermann first suggested the likelihood of a considerable loss of verses from the text of the Heraclidae it has been generally assumed that the play has suffered either from some mischance in the copying of the manuscript or else at the hand of an interpolator. Hermann held that the end of the play had been lost: ‘Fabulae extrema pars videtur intercidisse, in qua fieri non poterat quin de Macaria referretur, eaque res solitis celebraretur lamentis.’ Kirchhoff places the lacuna after (...) line 629: ‘Post hunc versum multa desunt. Macariae narratio et Alcmenae matris [sic] lamentationes cum chori cantico integro; novit hanc fabulae partem auctor argumenti: **ταύτην μxs22EFν εxs1F50γενxs22EFς xs22EFποθανοxs22EFσαν xs22EFτίμησαν αxs1F50τοxs22EF δxs22EF τοxs1F7Aς πολεμxs22EFους xs22EFπιγνόντες παρόντας εxs1F30ς τxs22EFν μάχην xs1F65ρμησαν.’ Wilamowitz argues against the assumption of a ‘mechanischer Ausfall’ of a whole passage, and maintains that the play has been revised by a fourth century régisseur in order to adapt it to the capacity of his theatrical troupe. (shrink)

The passage about Paeon's treatment of the wound of Ares in Iliad V. 899–904 has been neglected or misunderstood by the majority of commentators, and no one, so far as I know, has pointed out its significance for pre-Homeric culture in that part of the Balkan area in which archaeological research has shown a connection with and influence on the culture of North Greece. I refer to that part known as Old Servia, extending from Naissus, the modern Nish, at present (...) the temporary capital of Servia, and below Skopi, modern Uskub, into northern Macedonia. (shrink)

The opinion has been expressed frequently of late, notably by Professor Mackail and Miss Stawell, that the Odyssey may well be the work of the advanced years of the Homer of the Iliad. Miss Stawell remarks that one of an alert mind must feel that the Odyssey is the poem of an older man—one who has conceived and written a poem before. She suggests that that poem may have been the Iliad. So Professor Mackail argues that a “different mind may (...) come to a poet with the lapse of years and with fresh experiences,” and that “the poet who produced the Iliad in the early prime of his life was a poet capable of the artistic and poetical change that is felt in the Odyssey, among new surroundings, with an altered view of life, with an imaginative ardour burning less strongly and with increased constructional mastery.”. (shrink)

Since Hermann first suggested the likelihood of a considerable loss of verses from the text of the Heraclidae it has been generally assumed that the play has suffered either from some mischance in the copying of the manuscript or else at the hand of an interpolator. Hermann held that the end of the play had been lost: ‘Fabulae extrema pars videtur intercidisse, in qua fieri non poterat quin de Macaria referretur, eaque res solitis celebraretur lamentis.’ Kirchhoff places the lacuna after (...) line 629: ‘Post hunc versum multa desunt. Macariae narratio et Alcmenae matris [sic] lamentationes cum chori cantico integro; novit hanc fabulae partem auctor argumenti: **ταύτην μxs22EFν εxs1F50γενxs22EFς xs22EFποθανοxs22EFσαν xs22EFτίμησαν αxs1F50τοxs22EF δxs22EF τοxs1F7Aς πολεμxs22EFους xs22EFπιγνόντες παρόντας εxs1F30ς τxs22EFν μάχην xs1F65ρμησαν.’ Wilamowitz argues against the assumption of a ‘mechanischer Ausfall’ of a whole passage, and maintains that the play has been revised by a fourth century régisseur in order to adapt it to the capacity of his theatrical troupe. (shrink)