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Dziesięciolecia dzielą nas od dnia, kiedy wybitny tłumacz i koneserliteratury klasycznej, Jan Parandowski, dał wyraz opinii, że najznakomitszanawet znajomość gramatyki nie daje człowiekowi kompetencjiniezbędnych do przekładu literatury pięknej, że lata spędzonena studiowaniu fl eksji nie dają uczonemu fi lologowi „kluczado sezamu poezji”. Ale to właśnie ta opinia wydaje się szczególnieadekwatna, kiedy próbujemy ocenić powstałe w ostatnich latach wydaniaw cenionej przecież serii Biblioteki Antycznej, wydania przygotowaneprzez uznanych specjalistów, nierzadko uczonych klasymiędzynarodowej. By lepiej zegzemplifi kować problem, jaki stanowiseria, w poniższym eseju więcej uwagi poświęcić zamierzam dwutylko z nich, a dokładnie dwóm tomom „greckim”, KsenofontowemuWychowaniu Cyrusa i Fragmentom Eurypidesa; merytoryczną ocenętomów łacińskich (Bajek Fedrusa i Księgi widowisk Marcjalisa) pozostawiamkolegom latynistom.
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The gods as dramatis personae were introduced into the stage of the ancientGreek theatre by the tragedians who kept, however, a distance between the gods and themen in their plays. That distance disappeared almost entirely in Old Comedy, where thegods were reduced to the position of men. The gods fell into dependence of terrestrials,sometimes they even allowed to be treated like slaves. It was possible to show the godsthis way because of the freedom of speech in Athens of that time, and becauseof anthropomorphic attitude of the Greeks towards their gods. Such gods wereintroduced by Aristophanes into the stage particularly in the following plays: in Peace,Birds, Frogs, and Plutus. Those plays were the source of material for the article.The author wanted to show in it mostly the characters and the acting of gods very muchsimilar to human beings, and at the same time departing from their divinity.
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The female presence has a special place in the poetic firmament of the homeric Iliad and Odyssey where the poet in parallel with the men’s moral idols forms and notes heroines’ character.He celebrates the beauty,the charm and the virtues that should adorn every mortal creating timeless ideals, incomparable standards.Among his heroines emerges Penelope,the extremely loyal and exemplary sensible partner of shrewd and resourceful Odysseus.Reflecting modest grace,spontaneity she is the perfect hostess at the court,dignified,with an original magnificence.From different point of view the poetic inspirations of Greek Nikos Kazantzakis and dominant Herzegovinian poet Mak Dizdar approach to her.This paper focuses on the way in which Homeric Penelope is presented at the verses and words of these important creators.
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Many modern scholars have expressed different doubts about the authenticity of Aeschylus’ Prometheus Bound, especially because of the problematic theodicy of this play. This paper urges caution (the other two plays of the trilogy survive only in too scarce fragments) and shows the ambiguity of some key concepts (‘justice’, ‘stubborness’, ‘newness’) as well as of destiny’s deities in PV
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The article shows how some of Greek authors from different epochs arranged the problem of the language communication among the Greeks and the non-Greeks. This question emerged gradually, however it appeared perspicuously but in the Hellenistic period, and in time of the Roman Empire. If sometimes this problem was ignored the reason could be that from the time of Alexander the Great the Greek language was a primary one on large areas of the ancient world. Nevertheless, the non-Greeks unknowing the Greek language appeared in Greek literature up to the end of antiquity, and the poets and writers solved the issue of language communication in a more or less probable way. One of them was introducing a professional interpreter particularly in the royal palaces.
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Osim Ilijade i Odiseje, pod Homerovim imenom sačuvan je i zbornik Himni. Najstarije, nama u celini poznate, grčke himne pisane su u heksametrima. Obeležene su, zajedno sa mnogo mlađim pesmama, kao: ΄Ομηρικοι υμνοι – homerske himne i sačuvane su u zborniku koji je, verovatno, nastao tek u doba helenizma.
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Proučavanjem homerskog pitanja, čini mi se, treba usmjeriti pažnju na srdžbu, gnjev, bijes, ljutnju, kako kod Homera i Avda, tako i u cjelokupnoj bošnjačkoj epici jer je gnjev jedan od osnovnih elemenata, polazište, zamršeni čvor oko kojeg se začinje epska radnja, koju junak mora slijediti do kraja da bi dokazao sebe, odbranio pravdu i čast junaštvom i plemenitošću, opravdao svrhu postojanja i življenja ne samo njega nego i cjelokupnoga staleža i poretka. To je u stvari formula preko koje se izlaže priča u stihu. Ovo pravilo važi za sve epske pjesme bez obzira u kojem su vremenu nastale i u kojem narodu. Osnova ovih pjesama je ista kao što su isti opisi junaka, konja, pa čak i ženskih likova.
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The article deals with the „brutishness” or „beastliness” (thēriotēs), a concept introduced by Aristotle in the seventh book of the Nicomachean Ethics and defined by him as a negative ethical disposition, different both from vice (kakia) and from incontinence (akrasia), and leading to such pathological behaviours as canibalism, paedophilia, omophagia, phobias and compulsions. Aristotle’s statements concerning the brutishness (VII 1, 1145a15-35, VII 5, 1148b15-1149a24 and VII 6, 1149b23-1150a8) are examined and interpreted in order to clarify the following issues: the essence of the thēriotēs as a specific ethical disposition (Part I-II), its concrete forms and their causes (Part III), the moral-psychological condition of persons with a brutish hexis (Part IV), and their self-consciousness and moral responsibility for their bestial acts (Part V).
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İ.Ö.VI. yüzyılda İlyada ve Odysseia destanlarının metni son biçimini almış ve bunlar hem Atina’da kutlanan büyük Panathenaia şenliklerinde hem de gezgin ozanlar tarafından özel gösteri ya da yerel şenliklerde okunmuşlardır. Ama Homeros yalnızca insanları eğlendirmeye hizmet etmemiş, en önemlisi klasik dönem boyunca eğitimin temeli olmuştur. Aslında epik gelenek Yunan tarihinin çok daha gerilerine dek uzanır ve Homeros’tan sonra da devam eder. Özellikle, Yunanistan’ın şanını yücelten Homeros’un İlyada destanı, yok olmuş savaşçı ve feodal bir toplumun zaferini ve yaşam ülküsünü yansıtmıştı. Epik şiire can veren bu kahramanlık dünyası Homeros ile sona ermiş olmakla birlikte, epik gelenek bir edebiyat etkinliği olarak varlığını sürdürmeyi devam edecek ve Yunanistan’da uzun süre bu büyük ozanın çizgisinde yaratılan epik eserlerin Homeros’a bağlanmasına yol açacaktı.
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In this study, we have tried to demonstrate the importance and the change of the significance of wine in two of Plato’s dialogues : The Symposium and The Laws. In the first dialogue, wine is a drink revealing truth and a touchstone for temperance. In the second one, it becomes fire for young people and medicine for old men. There wine is good only used moderately. The change of its significance reflects the great Greek philosopher’s evolution of thinking
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The poetry school of Thessaloniki, considered as a simple trend by the modern Greek critics, influenced significantly the reception of modernism by the modern Greek literature. The Greek translations of modernist writers, mostly prose writers (V. Woolf, M. Proust, J. Joyce), appeared in the literature reviews of Thessaloniki. Few studies have focused on the field of poetry, where the work of F. G. Lorca had a major impact on various poetic tendencies defined by the left-wing or idealist poets of Thessaloniki. This article aims to study the influence on the poetic existence of certain of poets of Thessaloniki.
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The aim of this article is to present the changes which took place in Greek drama and theatre in the 1980s. These changes constituted a great challenge for playwrights from the 1950s, and for this reason the article discusses Iakovos Kambanellis's play The Invisible Procession as one of the main lateral tendencies of the period. The reviews which the play received in the Greek press after its premiere in 1988 are also discussed.
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In this paper I discuss the problem of the role of female in Aristotle’s theory of inheritance described in De generatione animalium, book IV, chapter 3. Although in the books I-III Aristotle presents his well-known view that the male contributes form and the principle of movement whereas the female only matter, in the much discussed chapter IV 3 we are told that the offspring is shaped by the „movements” (kineseis) of both parents; these „movements”, contained in the „semens” (spermata) are derived from various potentials (dynameis) of organism’s nature, and function as specialised vehicles for transmitting the parts of the parent’s heritable form during the act of reproduction. In the paper I try to prove that the term spermata in this chapter denotes both male and female reproductive residues, and the matter contributed by the female (katamenia) contains potentially the nutritive soul with a set of „movements” responsible not only for the development of the female sex and the inherited accidental, material features, but also of the universal, i.e. the common form of the species.
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Ako bismo reklii: tragično ipak ostaje uvek tragično, ne bih imao ništa da tome primetim, pošto se isto tako sav istorijski rizvitak stalno odvija u okviru pojma. Ako, naime, pretpostavimo da ove reči imaju neki smisao i da dva puta upotrebljena reč »tragično« ne čini samo beznačajne zagrade koje obuhvataju besadržajno ništa, time bez sumnje želimo reći to da sadržaj pojma, ne samo da ne obaezvređuje taj smisao, već da ga, naprotiv, bogati. S druge strane, teško da je pnomaklo pažnji bilo kog posmatrača da postoji bitna razlika lizmeđu antičke i moderne tragedije, i da već čitaoci i pozorišni gledaoci smatraju svojim zakonitim posedom tu opservaciju, svojlim udelom iz proučavanja znalaca u toj oblasti.
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The paper discusses the types of heroes and anti-heroes established in literature by ancient Greek culture. In order to provide a full treatment of the subject, which in its diachronic aspect is very broad, the field of research has been limited. As a result, the present paper analyzes examples of mythological figures in the epic poems of Homer in juxtaposition with those found in Euripidean drama. The two authors have been chosen in view of the fact that their works are model representations of the values of their times as well as of the noticeable differences between them in evaluating the same mythological figures.
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Opet je Nobelovu nagradu za književnost dobio jedan pesnik nevelikog pesničkog obima: grčki pesnik Odisej Eliti ima, doduše, dosta naslova štampanih knjiga (biobibliografske podatke o njemu objavila su Polja u svom martovskom broju prošle godine), ali su to mahom sveščice od pedesetak strana, sa petnaestak do trideset pesama. Njegova najčuvenija knjiga iz 1959. godine, Hvaljeno jest (Axion esti) ima celih 88 strana, zbirka Pastorčad (1974), na primer, samo 14 pesama. Ta zbirka je i inače interesantna, jer se njen naslov odnosi na — pesme: u ovoj knjizi su, naime, štampane pesme koje su prethodno izostavljene iz drugih Elitijevih zbirki. Ova heterogena pesnička knjiga (iz koje donosimo pesmu Mozart: Romance) novog Nobelovca može da posluži i kao opomena nekim našim izdavačima koji od ponekog našeg pesnika danas zahtevaju da zbirka ponuđena za štampanje bude komponovana ne kao knjiga pesama već kao — poema. Eliti ima poverenja u pojedinačnu pesmu, ne tražeći nužno da ona bude samo deo mozaika pesničke (štampane) knjige, vraćajući se tako antičkoj tradiciji. Jer za većinu antičkih lirskih pesnika mi ne samo što ne znamo kako su im mogle izgledati pesničke knjige, već ne znamo često čak ni celu pesmu, pa se ipak već stolećima uživa i u tako krnjim i nepotpunim stihovima.
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The article tried to find a response to the question how Homer identified the first stages of human life. The analysis helped to make the following conclusions: Many Greek terms used to describe human life (αἰών, βίος, ζωή, ϑυμός, μένος, ψυχή) show awareness of ancient Greeks for the rich phenomenon of human life and the difficulties in describing it precisely; Homer’s works testify to the rising of the terminology connected with human life. Among them we can find the terms referring to the fact of conception (γείνομαι, κυέω, τίκτω, ὑποκύομαι) and birth (γείνομαι, ἐξάγω πρὸ φόως, τίκτω). Homer understands the notion of “embryo” in a quite different way comparing it to the later literature. He refers this term not to a child in the mother’s womb, but to a child already born. According to Homer’s opinion childbirth does not constitute any significant turning point in human life. The new life is a result of God’s cooperation with parents.
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O nama još uvek malo poznatom grčkom pesniku Tasosu Livaditisu (1922-1998) teško je progovoriti sa pouzdanošću punog razumevanja, pogotovo je teško impresije i prva saznanja iskazati sažetim i sintetičkim tekstom, budući da bi on morao navesti, i sabrati više dominantnih dimenzija ove poezije, što po sebi znači i više profila, koji se u ovog pesnika ukazuju kao podjednako verodostojni oblici njegovog poetskog pisma, i bića.
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This article deals with the perception of history on the contemporary stage and uses the example of Oresteia, which is viewed through the analytical lens of historical drama.
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