Probes the nature of linguistic or symbolic action as it relates to specific novels, plays, and poems.

About this book Mr. Burke contributes an introductory and summarizing remark, "What is involved, when we say what people are doing and why they are doing it?

As critic, Kenneth Burke's preoccupations were at the beginning purely esthetic and literary; but afterCounter-Statement(1931), he began to discriminate a ...

’Aυαγυώρισις γàρ διόλov, says Aristotle of the Odyssey,2 and throughout the poem's second half, with which we are here concerned, there is indeed a series of progressive recognitions as Odysseus reveals himself to Telemachos, Eurykleia, Eumaios, the suitors, Penelope and finally Laertes. So the importance of the opposite is not surprising; without concealment and deception there could be no eventual recognition. Concealment is of course necessary if Odysseus is to survive in the face of so many enemies, as Athena tells (...) him. But in addition, in any work of imaginative literature, so long as the reader or audience is aware of the truth, concealment and unperceived identity open the door to all sorts of half-truths and ironies – possibilities most obviously explored in tragedy and later comedy, but also made use of in the Odyssey. The irony which may be inherent in the arrival of the ‘nameless stranger’ has been most thoroughly explored by Fenik;3 here we examine a further implication. (shrink)

Li. 263 and 264 have been much vexed, and a string of conjectures will be found in Wecklein's appendix. All of them produce roughly the same meaning–‘it is useless to enquire into the future, which is bound to be disastrous.’.

Greek prayers are requests. As such they are speech acts marked off from everyday language by performance conditions on which their effectiveness depends. Inscribed Greek prayers, left in sanctuaries, provide information about these conditions. But inscribed prayers are more than memorials of an original act of praying. When read out loud, they were meant to re-enact and re-perform the prayer to which they refer. Inscriptional and other evidence suggests that eventually inscribed prayers were even meant to be read by the (...) gods to whom they were addressed, who were judged likely to be present in the places where these inscriptions were erected or placed. Votive reliefs are an additional source of information about Greek prayer. They provide visual evidence about the sending of prayers and about their reception by the gods, who are portrayed as attending to the speaker and in that very act, answering his or her prayer. Votive reliefs, that is, are typically representations of successful interchanges with a god, and, as such, are fitting gifts to gods for prayers answered. Like inscribed prayers, subsequent acts of viewing votive reliefs stimulate re-performance of the act of gratitude to which they refer. The gift is on such occasions re-given. A votive relief from the late fourth century B.C.E., now in the Louvre , provides visual evidence of these interpretations. In this relief, Hygieia is represented as resting her right hand on a disc or plaque that lies on top of a pillar. I argue that this object is a representation of a votive disc, and that Hygieia's pose signifies acknowledgment of such a gift-offering. (shrink)

Reciprocity has been seen as an important notion for anthropologists studying economic and social relations, and this volume examines it in connection with Greek culture from Homer to the Hellenistic period.

"The book's major parts, one on polarity and the other on analogy, introduce the reader to the patterns of thinking that are fundamental not only to Greek philosophy but also to classical civilization as a whole. As a leading classicist in his own right, Lloyd is an impeccable guide. His sophistication in adducing anthropological parallels to Greek models of polarity and analogy broadens his perspective, making him a forerunner in the study of what we are now used to calling semiotics. (...) A striking example of Lloyd's approach is his re-examination of the dichotomy of Olympian and chthonian gods in ancient Greek world view, which surpasses the reductionist and pseudo-historical models of sky-gods and earth-goddesses that are still commonly invoked to account for polarities in Greek pantheon. "In the second part, dealing with analogy, three crucial metaphorical models for the universe turn out to be basis for a dazzlingly wide variety of scientific and philosophical perspectives. Each model is tested in the whole spectrum of Greek artistic, philosophical and scientific thought. This work is a treasure-house of insights for experts and non experts alike." --Gregory Nagy, Harvard University. (shrink)