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Teichoscopy or teichoscopia (Ancient Greek: τειχοσκοπία), [1] meaning "viewing from the walls", is a recurring narrative strategy in ancient Greek literature. One famous instance of teichoscopy occurs in Homer's Iliad, Book 3, lines 121–244.
[3] Further, Milward maintains that although Shakespeare "may have felt obliged by the circumstances of the Elizabethan stage to avoid Biblical or other religious subjects for his plays," such obligation "did not prevent him from making full use of the Bible in dramatizing his secular sources and thus infusing into them a Biblical meaning ...
William Shakespeare used the plot of the Iliad as source material for his play Troilus and Cressida but focused on a medieval legend, the love story of Troilus, son of King Priam of Troy, and Cressida, daughter of the Trojan soothsayer Calchas. The play, often considered to be a comedy, reverses traditional views on events of the Trojan War and ...
In his prayer to Apollo (Iliad, I, 445–457), Chryses, a priest of the god in Anatolia, washes his hands and lifts them prior to requesting fulfillment of his wish. He admits his lower status in relation to the god, "who set your power about Chryse and Killa the sacrosanct, who are lord in strength over Tenedos" ( Iliad , I, 451–3).
Translators and scholars have translated the main works attributed to Homer, the Iliad and Odyssey, from the Homeric Greek into English, since the 16th and 17th centuries. Translations are ordered chronologically by date of first publication, with first lines provided to illustrate the style of the translation.
The Epic Cycle (Ancient Greek: Ἐπικὸς Κύκλος, romanized: Epikòs Kýklos) was a collection of Ancient Greek epic poems, composed in dactylic hexameter and related to the story of the Trojan War, including the Cypria, the Aethiopis, the so-called Little Iliad, the Iliupersis, the Nostoi, and the Telegony.
The narrative focus of the Iliad is not the strategy of the war, but the psychology of the warriors, assuming common knowledge of the Trojan War as a back-story. No scholars now hold that the specific events of the tale (many involving divine intervention) are historical fact; however, few claim that the story is entirely devoid of memories of ...
Dante, poised between the mountain of purgatory and the city of Florence, a detail of a painting by Domenico di Michelino, Florence 1465.. The Divine Comedy by Dante Alighieri is a long allegorical poem in three parts (or canticas): the Inferno (), Purgatorio (), and Paradiso (), and 100 cantos, with the Inferno having 34, Purgatorio having 33, and Paradiso having 33 cantos.