https://livingpoets.dur.ac.uk/w/api.php?action=feedcontributions&feedformat=atom&user=WikiSysop 2026-05-17T14:49:08Z User contributions MediaWiki 1.39.6 https://livingpoets.dur.ac.uk/w/index.php?title=MediaWiki:Common.css&diff=4871 2016-07-20T11:43:42Z

<p>WikiSysop: Remove news box from homepage</p> <hr /> <div>/* CSS placed here will be applied to all skins */<br /> <br /> #homebtns {<br /> text-align: center;<br /> }<br /> <br /> /* make main links on homepage look more like buttons */<br /> #homebtns a {<br /> display: inline-block;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #fafafa;<br /> font-family: 'linux biolinum', 'gill sans','gill sans mt','gill sans mt pro','century gothic',corbel,sans-serif;<br /> font-size: 1.5em;<br /> text-transform: uppercase;<br /> padding: 0.5em 1em;<br /> min-width: 6em;<br /> margin: 0.5em;<br /> color: black;<br /> }<br /> #homebtns a:hover {<br /> background-color: #f5f5f5;<br /> }<br /> <br /> /* make table cells of class 'box' stand out */<br /> td.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1ex 1em;<br /> }<br /> <br /> /* make spans of class 'box' stand out */<br /> span.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1em;<br /> }<br /> <br /> /* have line separating collections box, and make font size reasonable */<br /> table.collectionsbox {<br /> border-top:1px solid #dddddd;<br /> font-size:0.75em;<br /> }<br /> <br /> /* enable side-by-side of maintext and translation elements,<br /> * floated so that js can easily enable crit app notes<br /> * (see LemmaNotes and ToggleNotes extension for that part) */<br /> .textwithtranslation #maintext {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%; /* space for linenums */<br /> border-right:thin solid #ccc;<br /> }<br /> .textwithtranslation #translation {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%; /* space for linenums */<br /> }<br /> <br /> /* space for linenums */<br /> .textwithouttranslation #maintext {<br /> padding-left: 2%; /* space for linenums */<br /> padding-right: 3%; /* space for linenums */<br /> }<br /> <br /> .linenumleft, .linenumright,<br /> .chapternumleft, .chapternumright {<br /> font-size: 0.8em;<br /> }<br /> <br /> /* Classes for optional side-by-side translations that line up by section,<br /> using div classes per section, with translation sections immediately<br /> following the originals. */<br /> .textwithtranslation .orig {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%;<br /> clear: right;<br /> }<br /> <br /> .textwithtranslation .trans {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%;<br /> }<br /> <br /> /* style toggle notes and highlights buttons (from ToggleNotes extension) */<br /> #togglenotes, #togglehighlights {<br /> display: block;<br /> width: 12em;<br /> margin: auto 0em auto auto;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #f5f5f5;<br /> padding: 0.7ex 1em;<br /> cursor: pointer;<br /> font-size: medium;<br /> clear: right;<br /> }<br /> <br /> #togglenotes:hover,<br /> #togglehighlights {<br /> background-color: #fafafa;<br /> }<br /> <br /> /* Modify lemmanote placement to sit in the right hand column (for ToggleNotes extension) */<br /> #maintext .lemmanote,<br /> .textwithtranslation .orig .lemmanote {<br /> /* proportional to #maintext (55%; set in Common.css) */<br /> margin-right: -80%; /* 80% of 55% : 44% */<br /> width: 70%; /* 70% of 55% : 50% */<br /> }<br /> #guide .lemmanote {<br /> /* proportional to #guide (75%; set in Common.css) */<br /> margin-right: -35%; /* 40% of 75% : ~25% */<br /> width: 30%; /* 35% of 75% : 22.5% */<br /> }<br /> <br /> /* for 2 column guides */<br /> #guide {<br /> float: left;<br /> width: 75%;<br /> padding-right: 1%;<br /> border-right:thin solid #ccc;<br /> clear: both;<br /> }<br /> #notes {<br /> float: right;<br /> }<br /> <br /> <br /> div.highlightbox {<br /> float: right;<br /> clear: right;<br /> width: 22%;<br /> min-width: 15em;<br /> text-align: right;<br /> }<br /> <br /> div.highlightbox p {<br /> font-size: 0.75em;<br /> }<br /> <br /> div.highlightbox #togglehighlights {<br /> width: 100%;<br /> }<br /> <br /> /* don't have bullet points or indentation for bib items */<br /> #bibliography li {<br /> list-style-type: none;<br /> }<br /> #bibliography ul,<br /> #bibliography li {<br /> margin-left: 0px;<br /> }<br /> <br /> /* have mdash bullets for child bib items */<br /> #bibliography ul li ul li:before {<br /> content:&quot;――&quot;;<br /> }<br /> <br /> /* ensure poems are always left aligned, not justified */<br /> .poem {<br /> text-align: left;<br /> }<br /> <br /> .poemmod p { <br /> padding-left: 16em;<br /> text-indent: -16em;<br /> margin-bottom: 0px;<br /> }<br /> <br /> /* hide toolbox and search from footer */<br /> .footer #toolbox {<br /> display: none;<br /> }<br /> <br /> .footer #search {<br /> display: none;<br /> }<br /> <br /> /* Two column homepage layout that changes to stacked once things get narrow */<br /> <br /> #homemain {<br /> padding-bottom: 1em; /* as slideshow spacer is a little unreliable */<br /> }<br /> <br /> #newsbox {<br /> float:right;<br /> width:33%;<br /> padding: 0.5em 1em;<br /> border: thin solid #ccc;<br /> /* ensure it is above slideshow in unlikely case that it overlaps */<br /> background-color: white;<br /> z-index: 1;<br /> position: relative;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 0.75em;<br /> }<br /> <br /> #newsbox &gt; h3 {<br /> margin-top: 0em;<br /> }<br /> <br /> /* Use lighter text for explanation of the apparatus criticus abbreviations */<br /> .appcritabbr {<br /> color: #666666;<br /> }<br /> <br /> /* Make guide texts attribution slightly larger than regular notes */<br /> .guidetextsby {<br /> font-size: 1.25em;<br /> }<br /> <br /> /* Hide category list from bottom of pages */<br /> .catlinks {<br /> display: none;<br /> }<br /> <br /> @media(max-width: 30em) {<br /> /* Have guide and texts with translation as only one column.<br /> * (lemmanotes are handled by @media queries in css in LemmaNotes and ToggleNotes extensions) */<br /> #guide {<br /> float: none;<br /> width: 100%;<br /> padding-right: 0;<br /> border-right: none;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation #translation,<br /> .textwithtranslation p.orig,<br /> .textwithtranslation .trans {<br /> float: none;<br /> width: 100%;<br /> }<br /> <br /> .textwithtranslation #maintext {<br /> border-right: none;<br /> }<br /> <br /> /* ensure translation is never hidden (even when notes are shown) */<br /> .textwithtranslation #translation,<br /> .textwithtranslation .trans {<br /> display: block !important;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation .trans {<br /> border-bottom: thin solid #ccc;<br /> padding-bottom: 1em;<br /> margin-bottom: 1em;<br /> }<br /> }<br /> <br /> @media print {<br /> /* Hide information boxes and category list when printing */<br /> .howtoquote,<br /> .highlightbox,<br /> .catlinks {<br /> display: none;<br /> }<br /> }</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=MediaWiki:Common.css&diff=4870 2016-07-20T11:40:01Z

<p>WikiSysop: </p> <hr /> <div>/* CSS placed here will be applied to all skins */<br /> <br /> #homebtns {<br /> text-align: center;<br /> }<br /> <br /> /* make main links on homepage look more like buttons */<br /> #homebtns a {<br /> display: inline-block;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #fafafa;<br /> font-family: 'linux biolinum', 'gill sans','gill sans mt','gill sans mt pro','century gothic',corbel,sans-serif;<br /> font-size: 1.5em;<br /> text-transform: uppercase;<br /> padding: 0.5em 1em;<br /> min-width: 6em;<br /> margin: 0.5em;<br /> color: black;<br /> }<br /> #homebtns a:hover {<br /> background-color: #f5f5f5;<br /> }<br /> <br /> /* make table cells of class 'box' stand out */<br /> td.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1ex 1em;<br /> }<br /> <br /> /* make spans of class 'box' stand out */<br /> span.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1em;<br /> }<br /> <br /> /* have line separating collections box, and make font size reasonable */<br /> table.collectionsbox {<br /> border-top:1px solid #dddddd;<br /> font-size:0.75em;<br /> }<br /> <br /> /* enable side-by-side of maintext and translation elements,<br /> * floated so that js can easily enable crit app notes<br /> * (see LemmaNotes and ToggleNotes extension for that part) */<br /> .textwithtranslation #maintext {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%; /* space for linenums */<br /> border-right:thin solid #ccc;<br /> }<br /> .textwithtranslation #translation {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%; /* space for linenums */<br /> }<br /> <br /> /* space for linenums */<br /> .textwithouttranslation #maintext {<br /> padding-left: 2%; /* space for linenums */<br /> padding-right: 3%; /* space for linenums */<br /> }<br /> <br /> .linenumleft, .linenumright,<br /> .chapternumleft, .chapternumright {<br /> font-size: 0.8em;<br /> }<br /> <br /> /* Classes for optional side-by-side translations that line up by section,<br /> using div classes per section, with translation sections immediately<br /> following the originals. */<br /> .textwithtranslation .orig {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%;<br /> clear: right;<br /> }<br /> <br /> .textwithtranslation .trans {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%;<br /> }<br /> <br /> /* style toggle notes and highlights buttons (from ToggleNotes extension) */<br /> #togglenotes, #togglehighlights {<br /> display: block;<br /> width: 12em;<br /> margin: auto 0em auto auto;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #f5f5f5;<br /> padding: 0.7ex 1em;<br /> cursor: pointer;<br /> font-size: medium;<br /> clear: right;<br /> }<br /> <br /> #togglenotes:hover,<br /> #togglehighlights {<br /> background-color: #fafafa;<br /> }<br /> <br /> /* Modify lemmanote placement to sit in the right hand column (for ToggleNotes extension) */<br /> #maintext .lemmanote,<br /> .textwithtranslation .orig .lemmanote {<br /> /* proportional to #maintext (55%; set in Common.css) */<br /> margin-right: -80%; /* 80% of 55% : 44% */<br /> width: 70%; /* 70% of 55% : 50% */<br /> }<br /> #guide .lemmanote {<br /> /* proportional to #guide (75%; set in Common.css) */<br /> margin-right: -35%; /* 40% of 75% : ~25% */<br /> width: 30%; /* 35% of 75% : 22.5% */<br /> }<br /> <br /> /* for 2 column guides */<br /> #guide {<br /> float: left;<br /> width: 75%;<br /> padding-right: 1%;<br /> border-right:thin solid #ccc;<br /> clear: both;<br /> }<br /> #notes {<br /> float: right;<br /> }<br /> <br /> <br /> div.highlightbox {<br /> float: right;<br /> clear: right;<br /> width: 22%;<br /> min-width: 15em;<br /> text-align: right;<br /> }<br /> <br /> div.highlightbox p {<br /> font-size: 0.75em;<br /> }<br /> <br /> div.highlightbox #togglehighlights {<br /> width: 100%;<br /> }<br /> <br /> /* don't have bullet points or indentation for bib items */<br /> #bibliography li {<br /> list-style-type: none;<br /> }<br /> #bibliography ul,<br /> #bibliography li {<br /> margin-left: 0px;<br /> }<br /> <br /> /* have mdash bullets for child bib items */<br /> #bibliography ul li ul li:before {<br /> content:&quot;――&quot;;<br /> }<br /> <br /> /* ensure poems are always left aligned, not justified */<br /> .poem {<br /> text-align: left;<br /> }<br /> <br /> .poemmod p { <br /> padding-left: 16em;<br /> text-indent: -16em;<br /> margin-bottom: 0px;<br /> }<br /> <br /> /* hide toolbox and search from footer */<br /> .footer #toolbox {<br /> display: none;<br /> }<br /> <br /> .footer #search {<br /> display: none;<br /> }<br /> <br /> /* Two column homepage layout that changes to stacked once things get narrow */<br /> <br /> #homemain {<br /> padding-bottom: 1em; /* as slideshow spacer is a little unreliable */<br /> }<br /> <br /> #newsbox {<br /> float:right;<br /> width:33%;<br /> padding: 0.5em 1em;<br /> border: thin solid #ccc;<br /> /* ensure it is above slideshow in unlikely case that it overlaps */<br /> background-color: white;<br /> z-index: 1;<br /> position: relative;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 0.75em;<br /> }<br /> <br /> #newsbox &gt; h3 {<br /> margin-top: 0em;<br /> }<br /> <br /> /* Use lighter text for explanation of the apparatus criticus abbreviations */<br /> .appcritabbr {<br /> color: #666666;<br /> }<br /> <br /> /* Make guide texts attribution slightly larger than regular notes */<br /> .guidetextsby {<br /> font-size: 1.25em;<br /> }<br /> <br /> /* Hide category list from bottom of pages */<br /> .catlinks {<br /> display: none;<br /> }<br /> <br /> @media(max-width: 60em) {<br /> #homemain {<br /> width: 65%;<br /> }<br /> <br /> #newsbox {<br /> width: 28%;<br /> }<br /> }<br /> <br /> @media(max-width: 50em) {<br /> #homemain,<br /> #newsbox {<br /> width: 96%; /* 100% can cause scrollbars */<br /> float: none;<br /> padding: 0 0.5em 1em 0;<br /> }<br /> <br /> #newsbox {<br /> border: none;<br /> border-top: thin solid #ccc;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 1em;<br /> }<br /> }<br /> <br /> @media(max-width: 30em) {<br /> /* Have guide and texts with translation as only one column.<br /> * (lemmanotes are handled by @media queries in css in LemmaNotes and ToggleNotes extensions) */<br /> #guide {<br /> float: none;<br /> width: 100%;<br /> padding-right: 0;<br /> border-right: none;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation #translation,<br /> .textwithtranslation p.orig,<br /> .textwithtranslation .trans {<br /> float: none;<br /> width: 100%;<br /> }<br /> <br /> .textwithtranslation #maintext {<br /> border-right: none;<br /> }<br /> <br /> /* ensure translation is never hidden (even when notes are shown) */<br /> .textwithtranslation #translation,<br /> .textwithtranslation .trans {<br /> display: block !important;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation .trans {<br /> border-bottom: thin solid #ccc;<br /> padding-bottom: 1em;<br /> margin-bottom: 1em;<br /> }<br /> }<br /> <br /> @media print {<br /> /* Hide information boxes and category list when printing */<br /> .howtoquote,<br /> .highlightbox,<br /> .catlinks {<br /> display: none;<br /> }<br /> }</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=MediaWiki:Common.css&diff=4869 2016-07-20T11:39:11Z

<p>WikiSysop: </p> <hr /> <div>/* CSS placed here will be applied to all skins */<br /> <br /> #homebtns {<br /> text-align: center;<br /> }<br /> <br /> /* make main links on homepage look more like buttons */<br /> #homebtns a {<br /> display: inline-block;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #fafafa;<br /> font-family: 'linux biolinum', 'gill sans','gill sans mt','gill sans mt pro','century gothic',corbel,sans-serif;<br /> font-size: 1.5em;<br /> text-transform: uppercase;<br /> padding: 0.5em 1em;<br /> min-width: 6em;<br /> margin: 0.5em;<br /> color: black;<br /> }<br /> #homebtns a:hover {<br /> background-color: #f5f5f5;<br /> }<br /> <br /> /* make table cells of class 'box' stand out */<br /> td.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1ex 1em;<br /> }<br /> <br /> /* make spans of class 'box' stand out */<br /> span.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1em;<br /> }<br /> <br /> /* have line separating collections box, and make font size reasonable */<br /> table.collectionsbox {<br /> border-top:1px solid #dddddd;<br /> font-size:0.75em;<br /> }<br /> <br /> /* enable side-by-side of maintext and translation elements,<br /> * floated so that js can easily enable crit app notes<br /> * (see LemmaNotes and ToggleNotes extension for that part) */<br /> .textwithtranslation #maintext {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%; /* space for linenums */<br /> border-right:thin solid #ccc;<br /> }<br /> .textwithtranslation #translation {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%; /* space for linenums */<br /> }<br /> <br /> /* space for linenums */<br /> .textwithouttranslation #maintext {<br /> padding-left: 2%; /* space for linenums */<br /> padding-right: 3%; /* space for linenums */<br /> }<br /> <br /> .linenumleft, .linenumright,<br /> .chapternumleft, .chapternumright {<br /> font-size: 0.8em;<br /> }<br /> <br /> /* Classes for optional side-by-side translations that line up by section,<br /> using div classes per section, with translation sections immediately<br /> following the originals. */<br /> .textwithtranslation .orig {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%;<br /> clear: right;<br /> }<br /> <br /> .textwithtranslation .trans {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%;<br /> }<br /> <br /> /* style toggle notes and highlights buttons (from ToggleNotes extension) */<br /> #togglenotes, #togglehighlights {<br /> display: block;<br /> width: 12em;<br /> margin: auto 0em auto auto;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #f5f5f5;<br /> padding: 0.7ex 1em;<br /> cursor: pointer;<br /> font-size: medium;<br /> clear: right;<br /> }<br /> <br /> #togglenotes:hover,<br /> #togglehighlights {<br /> background-color: #fafafa;<br /> }<br /> <br /> /* Modify lemmanote placement to sit in the right hand column (for ToggleNotes extension) */<br /> #maintext .lemmanote,<br /> .textwithtranslation .orig .lemmanote {<br /> /* proportional to #maintext (55%; set in Common.css) */<br /> margin-right: -80%; /* 80% of 55% : 44% */<br /> width: 70%; /* 70% of 55% : 50% */<br /> }<br /> #guide .lemmanote {<br /> /* proportional to #guide (75%; set in Common.css) */<br /> margin-right: -35%; /* 40% of 75% : ~25% */<br /> width: 30%; /* 35% of 75% : 22.5% */<br /> }<br /> <br /> /* for 2 column guides */<br /> #guide {<br /> float: left;<br /> width: 75%;<br /> padding-right: 1%;<br /> border-right:thin solid #ccc;<br /> clear: both;<br /> }<br /> #notes {<br /> float: right;<br /> }<br /> <br /> <br /> div.highlightbox {<br /> float: right;<br /> clear: right;<br /> width: 22%;<br /> min-width: 15em;<br /> text-align: right;<br /> }<br /> <br /> div.highlightbox p {<br /> font-size: 0.75em;<br /> }<br /> <br /> div.highlightbox #togglehighlights {<br /> width: 100%;<br /> }<br /> <br /> /* don't have bullet points or indentation for bib items */<br /> #bibliography li {<br /> list-style-type: none;<br /> }<br /> #bibliography ul,<br /> #bibliography li {<br /> margin-left: 0px;<br /> }<br /> <br /> /* have mdash bullets for child bib items */<br /> #bibliography ul li ul li:before {<br /> content:&quot;――&quot;;<br /> }<br /> <br /> /* ensure poems are always left aligned, not justified */<br /> .poem {<br /> text-align: left;<br /> }<br /> <br /> .poemmod p { <br /> padding-left: 16em;<br /> text-indent: -16em;<br /> margin-bottom: 0px;<br /> }<br /> <br /> /* hide toolbox and search from footer */<br /> .footer #toolbox {<br /> display: none;<br /> }<br /> <br /> .footer #search {<br /> display: none;<br /> }<br /> <br /> /* Two column homepage layout that changes to stacked once things get narrow */<br /> <br /> #homemain {<br /> max-width: 68em;<br /> padding-bottom: 1em; /* as slideshow spacer is a little unreliable */<br /> }<br /> <br /> #newsbox {<br /> float:right;<br /> width:33%;<br /> padding: 0.5em 1em;<br /> border: thin solid #ccc;<br /> /* ensure it is above slideshow in unlikely case that it overlaps */<br /> background-color: white;<br /> z-index: 1;<br /> position: relative;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 0.75em;<br /> }<br /> <br /> #newsbox &gt; h3 {<br /> margin-top: 0em;<br /> }<br /> <br /> /* Use lighter text for explanation of the apparatus criticus abbreviations */<br /> .appcritabbr {<br /> color: #666666;<br /> }<br /> <br /> /* Make guide texts attribution slightly larger than regular notes */<br /> .guidetextsby {<br /> font-size: 1.25em;<br /> }<br /> <br /> /* Hide category list from bottom of pages */<br /> .catlinks {<br /> display: none;<br /> }<br /> <br /> @media(max-width: 60em) {<br /> #homemain {<br /> width: 65%;<br /> }<br /> <br /> #newsbox {<br /> width: 28%;<br /> }<br /> }<br /> <br /> @media(max-width: 50em) {<br /> #homemain,<br /> #newsbox {<br /> width: 96%; /* 100% can cause scrollbars */<br /> float: none;<br /> padding: 0 0.5em 1em 0;<br /> }<br /> <br /> #newsbox {<br /> border: none;<br /> border-top: thin solid #ccc;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 1em;<br /> }<br /> }<br /> <br /> @media(max-width: 30em) {<br /> /* Have guide and texts with translation as only one column.<br /> * (lemmanotes are handled by @media queries in css in LemmaNotes and ToggleNotes extensions) */<br /> #guide {<br /> float: none;<br /> width: 100%;<br /> padding-right: 0;<br /> border-right: none;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation #translation,<br /> .textwithtranslation p.orig,<br /> .textwithtranslation .trans {<br /> float: none;<br /> width: 100%;<br /> }<br /> <br /> .textwithtranslation #maintext {<br /> border-right: none;<br /> }<br /> <br /> /* ensure translation is never hidden (even when notes are shown) */<br /> .textwithtranslation #translation,<br /> .textwithtranslation .trans {<br /> display: block !important;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation .trans {<br /> border-bottom: thin solid #ccc;<br /> padding-bottom: 1em;<br /> margin-bottom: 1em;<br /> }<br /> }<br /> <br /> @media print {<br /> /* Hide information boxes and category list when printing */<br /> .howtoquote,<br /> .highlightbox,<br /> .catlinks {<br /> display: none;<br /> }<br /> }</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=MediaWiki:Common.css&diff=4868 2016-07-20T11:38:21Z

<p>WikiSysop: </p> <hr /> <div>/* CSS placed here will be applied to all skins */<br /> <br /> #homebtns {<br /> text-align: center;<br /> }<br /> <br /> /* make main links on homepage look more like buttons */<br /> #homebtns a {<br /> display: inline-block;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #fafafa;<br /> font-family: 'linux biolinum', 'gill sans','gill sans mt','gill sans mt pro','century gothic',corbel,sans-serif;<br /> font-size: 1.5em;<br /> text-transform: uppercase;<br /> padding: 0.5em 1em;<br /> min-width: 6em;<br /> margin: 0.5em;<br /> color: black;<br /> }<br /> #homebtns a:hover {<br /> background-color: #f5f5f5;<br /> }<br /> <br /> /* make table cells of class 'box' stand out */<br /> td.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1ex 1em;<br /> }<br /> <br /> /* make spans of class 'box' stand out */<br /> span.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1em;<br /> }<br /> <br /> /* have line separating collections box, and make font size reasonable */<br /> table.collectionsbox {<br /> border-top:1px solid #dddddd;<br /> font-size:0.75em;<br /> }<br /> <br /> /* enable side-by-side of maintext and translation elements,<br /> * floated so that js can easily enable crit app notes<br /> * (see LemmaNotes and ToggleNotes extension for that part) */<br /> .textwithtranslation #maintext {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%; /* space for linenums */<br /> border-right:thin solid #ccc;<br /> }<br /> .textwithtranslation #translation {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%; /* space for linenums */<br /> }<br /> <br /> /* space for linenums */<br /> .textwithouttranslation #maintext {<br /> padding-left: 2%; /* space for linenums */<br /> padding-right: 3%; /* space for linenums */<br /> }<br /> <br /> .linenumleft, .linenumright,<br /> .chapternumleft, .chapternumright {<br /> font-size: 0.8em;<br /> }<br /> <br /> /* Classes for optional side-by-side translations that line up by section,<br /> using div classes per section, with translation sections immediately<br /> following the originals. */<br /> .textwithtranslation .orig {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%;<br /> clear: right;<br /> }<br /> <br /> .textwithtranslation .trans {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%;<br /> }<br /> <br /> /* style toggle notes and highlights buttons (from ToggleNotes extension) */<br /> #togglenotes, #togglehighlights {<br /> display: block;<br /> width: 12em;<br /> margin: auto 0em auto auto;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #f5f5f5;<br /> padding: 0.7ex 1em;<br /> cursor: pointer;<br /> font-size: medium;<br /> clear: right;<br /> }<br /> <br /> #togglenotes:hover,<br /> #togglehighlights {<br /> background-color: #fafafa;<br /> }<br /> <br /> /* Modify lemmanote placement to sit in the right hand column (for ToggleNotes extension) */<br /> #maintext .lemmanote,<br /> .textwithtranslation .orig .lemmanote {<br /> /* proportional to #maintext (55%; set in Common.css) */<br /> margin-right: -80%; /* 80% of 55% : 44% */<br /> width: 70%; /* 70% of 55% : 50% */<br /> }<br /> #guide .lemmanote {<br /> /* proportional to #guide (75%; set in Common.css) */<br /> margin-right: -35%; /* 40% of 75% : ~25% */<br /> width: 30%; /* 35% of 75% : 22.5% */<br /> }<br /> <br /> /* for 2 column guides */<br /> #guide {<br /> float: left;<br /> width: 75%;<br /> padding-right: 1%;<br /> border-right:thin solid #ccc;<br /> clear: both;<br /> }<br /> #notes {<br /> float: right;<br /> }<br /> <br /> <br /> div.highlightbox {<br /> float: right;<br /> clear: right;<br /> width: 22%;<br /> min-width: 15em;<br /> text-align: right;<br /> }<br /> <br /> div.highlightbox p {<br /> font-size: 0.75em;<br /> }<br /> <br /> div.highlightbox #togglehighlights {<br /> width: 100%;<br /> }<br /> <br /> /* don't have bullet points or indentation for bib items */<br /> #bibliography li {<br /> list-style-type: none;<br /> }<br /> #bibliography ul,<br /> #bibliography li {<br /> margin-left: 0px;<br /> }<br /> <br /> /* have mdash bullets for child bib items */<br /> #bibliography ul li ul li:before {<br /> content:&quot;――&quot;;<br /> }<br /> <br /> /* ensure poems are always left aligned, not justified */<br /> .poem {<br /> text-align: left;<br /> }<br /> <br /> .poemmod p { <br /> padding-left: 16em;<br /> text-indent: -16em;<br /> margin-bottom: 0px;<br /> }<br /> <br /> /* hide toolbox and search from footer */<br /> .footer #toolbox {<br /> display: none;<br /> }<br /> <br /> .footer #search {<br /> display: none;<br /> }<br /> <br /> /* Two column homepage layout that changes to stacked once things get narrow */<br /> <br /> #homemain {<br /> padding-bottom: 1em; /* as slideshow spacer is a little unreliable */<br /> }<br /> <br /> #newsbox {<br /> float:right;<br /> width:33%;<br /> padding: 0.5em 1em;<br /> border: thin solid #ccc;<br /> /* ensure it is above slideshow in unlikely case that it overlaps */<br /> background-color: white;<br /> z-index: 1;<br /> position: relative;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 0.75em;<br /> }<br /> <br /> #newsbox &gt; h3 {<br /> margin-top: 0em;<br /> }<br /> <br /> /* Use lighter text for explanation of the apparatus criticus abbreviations */<br /> .appcritabbr {<br /> color: #666666;<br /> }<br /> <br /> /* Make guide texts attribution slightly larger than regular notes */<br /> .guidetextsby {<br /> font-size: 1.25em;<br /> }<br /> <br /> /* Hide category list from bottom of pages */<br /> .catlinks {<br /> display: none;<br /> }<br /> <br /> @media(max-width: 60em) {<br /> #homemain {<br /> width: 65%;<br /> }<br /> <br /> #newsbox {<br /> width: 28%;<br /> }<br /> }<br /> <br /> @media(max-width: 50em) {<br /> #homemain,<br /> #newsbox {<br /> width: 96%; /* 100% can cause scrollbars */<br /> float: none;<br /> padding: 0 0.5em 1em 0;<br /> }<br /> <br /> #newsbox {<br /> border: none;<br /> border-top: thin solid #ccc;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 1em;<br /> }<br /> }<br /> <br /> @media(max-width: 30em) {<br /> /* Have guide and texts with translation as only one column.<br /> * (lemmanotes are handled by @media queries in css in LemmaNotes and ToggleNotes extensions) */<br /> #guide {<br /> float: none;<br /> width: 100%;<br /> padding-right: 0;<br /> border-right: none;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation #translation,<br /> .textwithtranslation p.orig,<br /> .textwithtranslation .trans {<br /> float: none;<br /> width: 100%;<br /> }<br /> <br /> .textwithtranslation #maintext {<br /> border-right: none;<br /> }<br /> <br /> /* ensure translation is never hidden (even when notes are shown) */<br /> .textwithtranslation #translation,<br /> .textwithtranslation .trans {<br /> display: block !important;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation .trans {<br /> border-bottom: thin solid #ccc;<br /> padding-bottom: 1em;<br /> margin-bottom: 1em;<br /> }<br /> }<br /> <br /> @media print {<br /> /* Hide information boxes and category list when printing */<br /> .howtoquote,<br /> .highlightbox,<br /> .catlinks {<br /> display: none;<br /> }<br /> }</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Category:Guides_by_Jane_Burkowski&diff=3478 2014-09-26T11:03:11Z

<p>WikiSysop: </p> <hr /> <div>[[Category:Guides]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Template:CollectionsBox&diff=3477 2014-09-26T10:49:50Z

<p>WikiSysop: </p> <hr /> <div>{| class=&quot;collectionsbox&quot; |<br /> <br /> {{#if: {{{guides|}}} |<br /> ! Relevant guides<br /> {{!}} {{{guides}}}<br /> {{!}}-}}<br /> <br /> |}<br /> <br /> {{#if: {{{editor|}}} | {{#set:Author={{{editor}}}}} }}{{#set:PageType=translation}}<br /> <br /> &lt;noinclude&gt;<br /> == Example ==<br /> <br /> &lt;pre&gt;&lt;nowiki&gt;<br /> {{CollectionsBox<br /> |editor=Barbara Graziosi<br /> |guides=[[Guide to Hesiod|Hesiod]], [[Guide to Homer|Homer]]<br /> }}<br /> &lt;/nowiki&gt;&lt;/pre&gt;<br /> <br /> <br /> Becomes:<br /> <br /> {{CollectionsBox<br /> |editor=Barbara Graziosi<br /> |guides=[[Guide to Hesiod|Hesiod]], [[Guide to Homer|Homer]]<br /> }}<br /> <br /> == Parameters ==<br /> <br /> All of the parameters are optional.<br /> <br /> ; editor : Name of the person(s) who edited the text and wrote the translation.<br /> ; guides : Comma separated list links to guides that reference the text.<br /> <br /> == Note ==<br /> <br /> The 'editor' parameter sets the 'author' property for the translator, which is used by [[Special:QuotePage]] for citation purposes. It used to also be printed in this box, but that has been replaced by [[Template:GuideTextsBy]].<br /> <br /> == See also ==<br /> <br /> [[Template:CollectionsBoxNoTranslation]]<br /> &lt;/noinclude&gt;</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Template:GuideHighlightBox&diff=3475 2014-09-26T10:31:29Z

<p>WikiSysop: </p> <hr /> <div>&lt;div class=&quot;highlightbox&quot;&gt;<br /> Correlate the sources mentioned in the guide to those listed in the margin using the mouse.<br /> <br /> {{#togglehighlights:}}{{#set:PageType=guide}}<br /> &lt;/div&gt;</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Template:GuideHighlightBox&diff=3474 2014-09-26T10:22:39Z

<p>WikiSysop: </p> <hr /> <div>&lt;div class=&quot;highlightbox&quot;&gt;<br /> Correlate the sources mentioned in the guide to those listed in the margin using the mouse.<br /> <br /> {{#togglehighlights:}}{{#set:PageType=Guide}}<br /> &lt;/div&gt;</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Template:GuideHighlightBox&diff=3473 2014-09-26T10:21:49Z

<p>WikiSysop: </p> <hr /> <div>&lt;div class=&quot;highlightbox&quot;&gt;<br /> Correlate the sources mentioned in the guide to those listed in the margin using the mouse.<br /> <br /> {{#togglehighlights:}}{{#set:Type=Guide}}<br /> &lt;/div&gt;</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Pseudo-Plutarch,_Life_of_Homer_1.1-5&diff=3287 2014-08-21T14:22:31Z

<p>WikiSysop: </p> <hr /> <div>{{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> {{#chapternum:1}} Περισσὸν μὲν ἴσως δόξειέ τισι πολυπραγμονεῖν περὶ Ὁμήρου, ποίων τε ἦν γονέων καὶ πόθεν, ἐπεὶ μηδὲ αὐτὸς ἠξίωσεν εἰπεῖν τὰ περὶ αὑτοῦ, ἀλλ’ οὕτως ἐγκρατῶς ἔσχεν ὡς μηδὲ τὴν ἀρχὴν τοῦ ὀνόματος ἐπιμνησθῆναι. ἐπεὶ δὲ ὡς πρὸς εἰσαγωγὴν τῶν ἀρχομένων παιδεύεσθαι χρήσιμος ἡ πολυπειρία, πειρασώμεθα εἰπεῖν ὅσα ἱστόρηται τοῖς παλαιοῖς περὶ αὐτοῦ.<br /> <br /> {{#chapternum:2}} Ἔφορος μὲν οὖν ὁ Κυμαῖος ἐν συντάγματι τῶι ἐπιγραφομένωι {{#lemma: Ἐπιχωρίωι | FGrHist 70 F 1}}, Κυμαῖον αὐτὸν ἀποδεικνύναι πειρώμενος, φησὶν ὅτι Ἀπελλῆς καὶ Μαίων καὶ Δῖος ἀδελφοί, Κυμαῖοι τὸ γένος· ὧν Δῖος μὲν διὰ χρέα μετώικησεν εἰς Ἄσκρην κώμην τῆς Βοιωτίας, κἀκεῖ γήμας Πυκιμήδην ἐγέννησεν Ἡσίοδον· Ἀπελλῆς δὲ τελευτήσας ἐν τῆι πατρίδι Κύμηι κατέλιπε θυγατέρα Κριθηίδα τοὔνομα, προστησάμενος {{#lemma: αὐτῆι | αὐτῆι m: αὐτῆς m}} τὸν ἀδελφὸν Μαίονα. ὃς διακορεύσας τὴν προειρημένην καὶ τὴν ἀπὸ τῶν πολιτῶν ἐπὶ τῶι γεγονότι δείσας κατάγνωσιν, ἔδωκεν αὐτὴν πρὸς γάμον Φημίωι Σμυρναίωι, διδασκάλωι γραμμάτων. φοιτῶσα δὲ αὐτὴ ἐπὶ τοὺς πλύνους, οἳ ἦσαν παρὰ τῶι Μέλητι, ἀπεκύησε τὸν Ὅμηρον ἐπὶ τῶι ποταμῶι, καὶ διὰ τοῦτο Μελησιγένης ἐκλήθη. μετωνομάσθη δὲ Ὅμηρος, ἐπειδὴ τὰς ὄψεις ἐπηρώθη· οὕτω δὲ ἐκάλουν οἵ τε Κυμαῖοι καὶ οἱ Ἴωνες τοὺς τὰς ὄψεις πεπηρωμένους παρὰ τὸ δεῖσθαι τῶν ὁμηρευόντων, ὅ ἐστι τῶν ἡγουμένων. καὶ ταῦτα μὲν Ἔφορος.<br /> <br /> {{#chapternum:3}} Ἀριστοτέλης δὲ ἐν τῶι τρίτωι {{#lemma: περὶ ποιητικῆς | i.e. Περὶ ποιητῶν (fr. 76 Rose)}} ἐν Ἴωι φησὶ τῆι νήσωι, καθ’ ὃν καιρὸν Νηλεὺς ὁ Κόδρου τῆς Ἰωνικῆς ἀποικίας ἡγεῖτο, κόρην τινὰ τῶν ἐπιχωρίων γενομένην ὑπό τινος δαίμονος τῶν συγχορευτῶν ταῖς Μούσαις ἐγκύμονα, αἰδεσθεῖσαν τὸ συμβὰν διὰ τὸν ὄγκον τῆς γαστρός, ἐλθεῖν εἴς τι χωρίον καλούμενον Αἴγιναν· εἰς ὃ καταδραμόντας ληιστὰς ἀνδραποδίσαι τὴν προειρημένην καὶ ἀγαγόντας εἰς Σμύρναν, οὖσαν ὑπὸ Λυδοῖς τότε, τῶι βασιλεῖ τῶν Λυδῶν ὄντι φίλωι τοὔνομα Μαίονι χαρίσασθαι· τὸν δὲ ἀγαπήσαντα τὴν κόρην διὰ τὸ κάλλος γῆμαι. ἣν διατρίβουσαν παρὰ τῶι Μέλητι καὶ συσχεθεῖσαν ὑπὸ τῆς ὠδῖνος ἔτυχεν ἀποκυῆσαι τὸν Ὅμηρον ἐπὶ τῶι ποταμῶι. ὃν ἀναλαβὼν ὁ Μαίων ὡς ἴδιον ἔτρεφε, τῆς Κριθηίδος μετὰ τὴν κύησιν εὐθέως τελευτησάσης· χρόνου δὲ οὐ πολλοῦ διελθόντος καὶ αὐτὸς ἐτελεύτησε. τῶν δὲ Λυδῶν καταπονουμένων ὑπὸ τῶν Αἰολέων καὶ κρινάντων καταλιπεῖν τὴν Σμύρναν, κηρυξάντων τῶν ἡγεμόνων τὸν βουλόμενον ἀκολουθεῖν ἐξιέναι τῆς πόλεως, ἔτι νήπιος ὢν Ὅμηρος ἔφη καὶ αὐτὸς βούλεσθαι ὁμηρεῖν· ὅθεν ἀντὶ Μελησιγένους Ὅμηρος προσηγορεύθη.<br /> <br /> {{#chapternum:4}} γενόμενος δὲ ἐν ἡλικίαι καὶ δόξαν ἐπὶ ποιητικῆι κεκτημένος ἤδη ἐπηρώτα τὸν θεόν, τίνων τε {{#lemma: εἴη | εἴη m: ἦν m}} γονέων καὶ πόθεν. ὃ δὲ ἀνεῖλεν {{#lemma: οὕτως | AP 14.65; St. Byz. s.v. Ἴος; Procl. Vit. Hom. 5; Cert. 5; Paus. 10.24 (add. AP 14.66.1-2)}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἔστιν Ἴος νῆσος, μητρὸς πατρίς, ἥ σε θανόντα<br /> δέξεται· ἀλλὰ νέων {{#lemma: ἀνδρῶν | ἀνδρῶν m, Procl.: παίδων m, Cert.}} αἴνιγμα φύλαξαι.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> φέρεται δὲ καὶ ἕτερος χρησμὸς {{#lemma: τοιοῦτος | AP 14.66. ὄλβιε … ἐστιν: cf. St. Byz. s.v. Ἴος; Paus. 10.24 (add. AP 14.65)}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ὄλβιε καὶ δύσδαιμον – ἔφυς γὰρ ἐπ’ ἀμφοτέροισι – <br /> πατρίδα δίζηαι· {{#lemma: μητρὸς δέ τοι, οὐ πατρός | μητρὸς δέ τοι, οὐ πατρός m, AP: μητρὶς δέ τοι, οὐ πατρίς m, Paus., St. Byz.}} ἐστιν,<br /> μητρόπολις ἐν νήσωι ὑπὸ Κρήτης εὐρείης<br /> Μίνωος γαίης οὔτε σχεδὸν οὔτ’ ἀποτηλοῦ.<br /> ἐν τῆι σοὶ μοῖρ’ ἐστὶ τελευτῆσαι βιότοιο,<br /> εὖτ’ ἂν ἀπὸ γλώσσης παίδων μὴ γνῶις ἐπακούσας<br /> δυσξύνετον σκολιοῖσι λόγοις εἰρημένον ὕμνον.<br /> δοιὰς γὰρ ζωῆς μοίρας λάχες· ἣν μὲν ἀμαυράν<br /> ἠελίων δισσῶν, ἣν δ’ ἀθανάτοις ἰσόμοιρον<br /> ζῶντί τε καὶ φθιμένωι· φθίμενος δ’ ἔτι πολλὸν ἀγήρως.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> μετ’ οὐ πολὺν δὲ χρόνον πλέων ἐις Θήβας ἐπὶ τὰ Κρόνια (ἀγὼν δὲ οὗτος ἄγεται παρ’ αὐτοῖς μουσικός) ἦλθεν εἰς Ἴον· ἔνθα ἐπὶ πέτρας καθεζόμενος ἐθεάσατο ἁλιεῖς προσπλέοντας, ὧν ἐπύθετο εἴ τι ἔχοιεν. οἳ δέ, ἐπὶ τῶι θηρᾶσαι μὲν μηδὲν φθειρίσασθαι δὲ διὰ τὴν ἀπορίαν τῆς θήρας, οὕτως {{#lemma: ἀπεκρίναντο | Cert. 18, P.Mich. inv. 2754 ll. 2-3, Ps.-Hdt. Vit. Hom. 35, Procl. Vit. Hom. 5, Anon. Vit. Hom. 1.6, Anon. Vit. Hom. 2.3, Anon. Vit. Hom. 3.5, Suda s.v. Ὅμηρος}}·<br /> <br /> &lt;blockquote&gt;<br /> ὅσσ’ ἕλομεν λιπόμεσθ’, ὅσσ’ οὐχ ἔλομεν φερόμεσθα,<br /> &lt;/blockquote&gt;<br /> <br /> αἰνισσόμενοι ὡς ἄρα οὓς μὲν ἔλαβον τῶν φθειρῶν ἀποκτείναντες κατέλιπον, οὓς δὲ οὐκ ἔλαβον ἐν τῆι ἐσθῆτι φέροιεν. ὅπερ οὐ δυνηθεὶς συμβαλεῖν Ὅμηρος διὰ τὴν ἀθυμίαν ἐτελεύτησε. θάψαντες δὲ αὐτὸν οἱ Ἰῆται μεγαλοπρεπῶς, τοιόνδε ἐπέγραψαν αὐτοῦ τῶι {{#lemma: τάφωι | Cert. 18, P.Mich. inv. 2754 ll. 11-12, AP 7.3, Ps.-Hdt. Vit. Hom. 36, Anon. Vit. Hom. 1.6, Anon. Vit. Hom. 2.3, Anon. Vit. Hom. 3.5, Suda s.v. Ὅμηρος, Tzetz. Exeg. in Il. 37}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἐνθάδε τὴν ἱερὴν κεφαλὴν κατὰ γαῖα καλύπτει,<br /> ἀνδρῶν ἡρώων κοσμήτορα θεῖον Ὅμηρον.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> εἰσὶ μέντοι οἳ καὶ Κολοφώνιον αὐτὸν ἀποδεικνύναι πειρῶνται, μεγίστωι τεκμηρίωι χρώμενοι πρὸς ἀπόδειξιν τῶι ἐπὶ τοῦ ἀνδριάντος ἐπιγεγραμμένωι ἐλεγείωι· ἔχει δὲ {{#lemma: οὕτως | AP 16.292}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> υἱὲ Μέλητος Ὅμηρε, σὺ γὰρ κλέος Ἑλλάδι πάσηι <br /> καὶ Κολοφῶνι πάτρηι θῆκας ἐς ἀίδιον·<br /> καὶ τάσδ’ ἀντιθέωι ψυχῆι γεννήσαο κούρας<br /> δισσὰς {{#lemma: ἡμιθέων | ἡμιθέων M: ἐκ στηθέων AP}}, γραψάμενος σελίδας· <br /> ὑμνεῖ δ’ ἣ μὲν νόστον Ὀδυσσῆος πολύπλαγκτον, <br /> ἣ δὲ τὸν Ἰλιακὸν Δαρδανιδῶν πόλεμον.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἄξιον δὲ μηδὲ τὸ ὑπὸ Ἀντιπάτρου τοῦ ἐπιγραμματοποιοῦ γραφὲν ἐπίγραμμα παραλιπεῖν, ἔχον οὐκ ἀσέμνως· ἔχει δὲ {{#lemma: οὕτως | Antip. Thess. Epigr. 72 Gow-Page, AP 16.296}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> οἳ μέν σευ Κολοφῶνα τιθηνήτειραν, Ὅμηρε,<br /> οἳ δὲ καλὰν Σμύρναν, οἳ δ’ ἐνέπουσι Χίον, <br /> οἳ δ’ Ἴον, οἳ δ’ ἐβόασαν ἐύκλαρον Σαλαμῖνα,<br /> οἳ δέ νυ {{#lemma: τὰν Λαπιθᾶν | τὰν Λαπιθᾶν M: τῶν Λαπιθέων AP}} ματέρα Θεσσαλίαν,<br /> ἄλλοι δ’ {{#lemma: ἄλλο μέλαθρον | ἄλλο μέλαθρον M: ἄλλην γαῖαν AP}} ἀνίαχον· εἰ δέ με Φοίβου<br /> χρὴ λέξαι {{#lemma: πινυτὰν ἀμφαδὰ μαντοσύναν | πινυτὰν ἀμφαδὰ μαντοσύναν M: πινυτὰς ἀμφαδὰ μαντοσύνας AP}},<br /> πάτρα τοι τελέθει μέγας οὐρανός, ἐκ δὲ {{#lemma: γυναικός | γυναικός M: τεκούσης AP}}<br /> οὐ θνατᾶς, ματρὸς δ’ ἔπλεο Καλλιόπας.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> {{#chapternum:1}} Some may consider it superfluous to investigate Homer’s parentage and from where he came, when not even he thought it worthwhile to provide information about himself, but was so restrained that he did not even mention his name. But since breadth of knowledge is useful as an introduction for those beginning education, let us try to say what has been recorded by the ancients about him.<br /> <br /> {{#chapternum:2}} Ephorus of Cyme, in the treatise called Local History, attempting to prove that Homer was a Cymaean, says that Apelles, Maeon and Dius were brothers, Cymaean in origin. Dius migrated to the village of Ascra in Boeotia because he was in debt, and there, having married Pycimedes, he sired Hesiod; Apelles, who died in his fatherland, Cyme, left a daughter called Critheis, making his brother Maeon her guardian. He deflowered her, and fearing his fellow citizens’ reproof for what had happened, gave her in marriage to Phemius, a teacher of letters from Smyrna. As she used to frequent the washing places that were situated by the Meles, she gave birth to Homer at the river, and for this reason he was named Melesigenes. His name was changed to Homer after he went blind; this is what the Cymaeans and the Ionians called the blind on account of their needing homereuontes, that is, guides. So much for Ephorus.<br /> <br /> {{#chapternum:3}} Aristotle in the third book of his On Poets says that on the island of Ios, at the time when Neleus, the son of Codrus, was leading the Ionian migration, a local girl, having been impregnated by one of the divinities who dance with the Muses, and feeling ashamed of the episode because of the size of her belly, went to a place called Aegina, where some pirates who had disembarked enslaved her and took her to Smyrna, which was then under Lydian control. They gave her to the king of the Lydians, a friend of theirs whose name was Maeon. He fell in love with her because of her beauty and married her. As she was whiling away the hours by the Meles, it happened that her contractions started and she gave birth to Homer at the river. Maeon accepted him and raised him as his own, for Cretheis had died immediately after the delivery. Not long afterwards, Maeon himself died. And since the Lydians were being subdued by the Aeolians and had decided to leave Smyrna, and the leaders had made a proclamation that anyone who wished to follow them should go out of the city, Homer, although he was still young, said that he too wanted to homerein (i.e. to follow); as a result of which he was called Homer instead of Melesigenes.<br /> <br /> {{#chapternum:4}} When he reached adulthood, and had by now become famous for his poetry, he asked the god who his parents were and where he came from. And the god gave this response:<br /> <br /> &lt;blockquote&gt;There is an island, Ios, hometown of your mother, which will receive you after you die; but beware the riddle of the young men.&lt;/blockquote&gt;<br /> <br /> Another oracle is also transmitted, which goes as follows:<br /> <br /> &lt;blockquote&gt;Blessed and ill-fated – for both are your birthright – you search for your fatherland: but it is your mother’s land, not your father’s; your mother city is on an island below broad Crete, the land of Minos, neither near nor far away. There it is your fate to perish, when you fail to understand a song from the mouths of children, hard to comprehend and spoken in crooked language. For you have been allotted two lives: one dimmed for your two suns, the other equal to the immortals, one for life and one for death – and in death you shall age still less.<br /> &lt;/blockquote&gt;<br /> <br /> Not long afterwards, sailing to Thebes for the Cronia (a musical competition celebrated by its inhabitants) he went to Ios. There, as he was sitting on a rock, he saw some fishermen sailing towards him, and he asked them whether they had caught anything. As they had caught nothing but deloused themselves because of their unsuccessful fishing, they replied as follows:<br /> <br /> &lt;blockquote&gt;<br /> All that we caught we left behind, all that we did not catch we carry with us.<br /> &lt;/blockquote&gt;<br /> <br /> With this riddling language they meant that the lice they had caught, they had killed and left behind, and those that they had not caught they were carrying in their clothes. Unable to make sense of this, Homer died as a result of his despondency. The people of Ios gave him a magnificent funeral and inscribed the following on his grave:<br /> <br /> &lt;blockquote&gt;<br /> Here the earth covers the sacred head, adorner of warrior heroes, divine Homer. <br /> &lt;/blockquote&gt;<br /> <br /> There are those, however, who try to prove that he was a Colophonian, offering as their primary evidence the elegy inscribed on his statue. It goes as follows:<br /> <br /> &lt;blockquote&gt;<br /> Homer, son of Meles, you offered all of Greece and your fatherland Colophon eternal glory; and you, with your divine soul, produced these two daughters of demigods when you wrote your texts. One sings the much-wandering homecoming of Odysseus, the other the war of the Dardanids at Ilium. <br /> &lt;/blockquote&gt;<br /> <br /> And the epigram written by Antipater the epigrammatist should not be overlooked either, as it is not without solemnity. It runs as follows:<br /> <br /> &lt;blockquote&gt;<br /> Some (say) Colophon was your nurse, Homer, some beautiful Smyrna, some say Chios, some Ios, some declare it is flourishing Salamis, some then say the mother of the Lapiths, Thessaly, some declare one house, others another. But if I should tell openly the wise oracle of Apollo, your fatherland is the vast sky – nor were you born from a mortal woman, but your mother is Calliope.<br /> &lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Homer: A Guide to Selected Sources|Homer]]<br /> }}<br /> <br /> {{#set:Short title=Pseudo-Plutarch, Life of Homer 1.1-5}}<br /> <br /> [[Category:Homer Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Pseudo-Plutarch,_Life_of_Homer_1.1-5&diff=3286 2014-08-21T14:21:27Z

<p>WikiSysop: Created page with &quot;{{#howtoquote:}}{{#togglenotes:}} &lt;div class=&quot;textwithtranslation&quot;&gt; &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}} {{#chapternum:1}} Περισσὸν μὲν ἴσως δόξειέ τι...&quot;</p> <hr /> <div>{{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> {{#chapternum:1}} Περισσὸν μὲν ἴσως δόξειέ τισι πολυπραγμονεῖν περὶ Ὁμήρου, ποίων τε ἦν γονέων καὶ πόθεν, ἐπεὶ μηδὲ αὐτὸς ἠξίωσεν εἰπεῖν τὰ περὶ αὑτοῦ, ἀλλ’ οὕτως ἐγκρατῶς ἔσχεν ὡς μηδὲ τὴν ἀρχὴν τοῦ ὀνόματος ἐπιμνησθῆναι. ἐπεὶ δὲ ὡς πρὸς εἰσαγωγὴν τῶν ἀρχομένων παιδεύεσθαι χρήσιμος ἡ πολυπειρία, πειρασώμεθα εἰπεῖν ὅσα ἱστόρηται τοῖς παλαιοῖς περὶ αὐτοῦ.<br /> <br /> {{#chapternum:2}} Ἔφορος μὲν οὖν ὁ Κυμαῖος ἐν συντάγματι τῶι ἐπιγραφομένωι {{#lemma: Ἐπιχωρίωι | FGrHist 70 F 1}}, Κυμαῖον αὐτὸν ἀποδεικνύναι πειρώμενος, φησὶν ὅτι Ἀπελλῆς καὶ Μαίων καὶ Δῖος ἀδελφοί, Κυμαῖοι τὸ γένος· ὧν Δῖος μὲν διὰ χρέα μετώικησεν εἰς Ἄσκρην κώμην τῆς Βοιωτίας, κἀκεῖ γήμας Πυκιμήδην ἐγέννησεν Ἡσίοδον· Ἀπελλῆς δὲ τελευτήσας ἐν τῆι πατρίδι Κύμηι κατέλιπε θυγατέρα Κριθηίδα τοὔνομα, προστησάμενος {{#lemma: αὐτῆι | αὐτῆι m: αὐτῆς m}} τὸν ἀδελφὸν Μαίονα. ὃς διακορεύσας τὴν προειρημένην καὶ τὴν ἀπὸ τῶν πολιτῶν ἐπὶ τῶι γεγονότι δείσας κατάγνωσιν, ἔδωκεν αὐτὴν πρὸς γάμον Φημίωι Σμυρναίωι, διδασκάλωι γραμμάτων. φοιτῶσα δὲ αὐτὴ ἐπὶ τοὺς πλύνους, οἳ ἦσαν παρὰ τῶι Μέλητι, ἀπεκύησε τὸν Ὅμηρον ἐπὶ τῶι ποταμῶι, καὶ διὰ τοῦτο Μελησιγένης ἐκλήθη. μετωνομάσθη δὲ Ὅμηρος, ἐπειδὴ τὰς ὄψεις ἐπηρώθη· οὕτω δὲ ἐκάλουν οἵ τε Κυμαῖοι καὶ οἱ Ἴωνες τοὺς τὰς ὄψεις πεπηρωμένους παρὰ τὸ δεῖσθαι τῶν ὁμηρευόντων, ὅ ἐστι τῶν ἡγουμένων. καὶ ταῦτα μὲν Ἔφορος.<br /> <br /> {{#chapternum:3}} Ἀριστοτέλης δὲ ἐν τῶι τρίτωι {{#lemma: περὶ ποιητικῆς | i.e. Περὶ ποιητῶν (fr. 76 Rose)}} ἐν Ἴωι φησὶ τῆι νήσωι, καθ’ ὃν καιρὸν Νηλεὺς ὁ Κόδρου τῆς Ἰωνικῆς ἀποικίας ἡγεῖτο, κόρην τινὰ τῶν ἐπιχωρίων γενομένην ὑπό τινος δαίμονος τῶν συγχορευτῶν ταῖς Μούσαις ἐγκύμονα, αἰδεσθεῖσαν τὸ συμβὰν διὰ τὸν ὄγκον τῆς γαστρός, ἐλθεῖν εἴς τι χωρίον καλούμενον Αἴγιναν· εἰς ὃ καταδραμόντας ληιστὰς ἀνδραποδίσαι τὴν προειρημένην καὶ ἀγαγόντας εἰς Σμύρναν, οὖσαν ὑπὸ Λυδοῖς τότε, τῶι βασιλεῖ τῶν Λυδῶν ὄντι φίλωι τοὔνομα Μαίονι χαρίσασθαι· τὸν δὲ ἀγαπήσαντα τὴν κόρην διὰ τὸ κάλλος γῆμαι. ἣν διατρίβουσαν παρὰ τῶι Μέλητι καὶ συσχεθεῖσαν ὑπὸ τῆς ὠδῖνος ἔτυχεν ἀποκυῆσαι τὸν Ὅμηρον ἐπὶ τῶι ποταμῶι. ὃν ἀναλαβὼν ὁ Μαίων ὡς ἴδιον ἔτρεφε, τῆς Κριθηίδος μετὰ τὴν κύησιν εὐθέως τελευτησάσης· χρόνου δὲ οὐ πολλοῦ διελθόντος καὶ αὐτὸς ἐτελεύτησε. τῶν δὲ Λυδῶν καταπονουμένων ὑπὸ τῶν Αἰολέων καὶ κρινάντων καταλιπεῖν τὴν Σμύρναν, κηρυξάντων τῶν ἡγεμόνων τὸν βουλόμενον ἀκολουθεῖν ἐξιέναι τῆς πόλεως, ἔτι νήπιος ὢν Ὅμηρος ἔφη καὶ αὐτὸς βούλεσθαι ὁμηρεῖν· ὅθεν ἀντὶ Μελησιγένους Ὅμηρος προσηγορεύθη.<br /> <br /> {{#chapternum:4}} γενόμενος δὲ ἐν ἡλικίαι καὶ δόξαν ἐπὶ ποιητικῆι κεκτημένος ἤδη ἐπηρώτα τὸν θεόν, τίνων τε {{#lemma: εἴη | εἴη m: ἦν m}} γονέων καὶ πόθεν. ὃ δὲ ἀνεῖλεν {{#lemma: οὕτως | AP 14.65; St. Byz. s.v. Ἴος; Procl. Vit. Hom. 5; Cert. 5; Paus. 10.24 (add. AP 14.66.1-2)}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἔστιν Ἴος νῆσος, μητρὸς πατρίς, ἥ σε θανόντα<br /> δέξεται· ἀλλὰ νέων {{#lemma: ἀνδρῶν | ἀνδρῶν m, Procl.: παίδων m, Cert.}} αἴνιγμα φύλαξαι.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> φέρεται δὲ καὶ ἕτερος χρησμὸς {{#lemma: τοιοῦτος | AP 14.66. ὄλβιε … ἐστιν: cf. St. Byz. s.v. Ἴος; Paus. 10.24 (add. AP 14.65)}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ὄλβιε καὶ δύσδαιμον – ἔφυς γὰρ ἐπ’ ἀμφοτέροισι – <br /> πατρίδα δίζηαι· {{#lemma: μητρὸς δέ τοι, οὐ πατρός | μητρὸς δέ τοι, οὐ πατρός m, AP: μητρὶς δέ τοι, οὐ πατρίς m, Paus., St. Byz.}} ἐστιν,<br /> μητρόπολις ἐν νήσωι ὑπὸ Κρήτης εὐρείης<br /> Μίνωος γαίης οὔτε σχεδὸν οὔτ’ ἀποτηλοῦ.<br /> ἐν τῆι σοὶ μοῖρ’ ἐστὶ τελευτῆσαι βιότοιο,<br /> εὖτ’ ἂν ἀπὸ γλώσσης παίδων μὴ γνῶις ἐπακούσας<br /> δυσξύνετον σκολιοῖσι λόγοις εἰρημένον ὕμνον.<br /> δοιὰς γὰρ ζωῆς μοίρας λάχες· ἣν μὲν ἀμαυράν<br /> ἠελίων δισσῶν, ἣν δ’ ἀθανάτοις ἰσόμοιρον<br /> ζῶντί τε καὶ φθιμένωι· φθίμενος δ’ ἔτι πολλὸν ἀγήρως.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> μετ’ οὐ πολὺν δὲ χρόνον πλέων ἐις Θήβας ἐπὶ τὰ Κρόνια (ἀγὼν δὲ οὗτος ἄγεται παρ’ αὐτοῖς μουσικός) ἦλθεν εἰς Ἴον· ἔνθα ἐπὶ πέτρας καθεζόμενος ἐθεάσατο ἁλιεῖς προσπλέοντας, ὧν ἐπύθετο εἴ τι ἔχοιεν. οἳ δέ, ἐπὶ τῶι θηρᾶσαι μὲν μηδὲν φθειρίσασθαι δὲ διὰ τὴν ἀπορίαν τῆς θήρας, οὕτως {{#lemma: ἀπεκρίναντο | Cert. 18, P.Mich. inv. 2754 ll. 2-3, Ps.-Hdt. Vit. Hom. 35, Procl. Vit. Hom. 5, Anon. Vit. Hom. 1.6, Anon. Vit. Hom. 2.3, Anon. Vit. Hom. 3.5, Suda s.v. Ὅμηρος}}·<br /> <br /> &lt;blockquote&gt;<br /> ὅσσ’ ἕλομεν λιπόμεσθ’, ὅσσ’ οὐχ ἔλομεν φερόμεσθα,<br /> &lt;blockquote&gt;<br /> <br /> αἰνισσόμενοι ὡς ἄρα οὓς μὲν ἔλαβον τῶν φθειρῶν ἀποκτείναντες κατέλιπον, οὓς δὲ οὐκ ἔλαβον ἐν τῆι ἐσθῆτι φέροιεν. ὅπερ οὐ δυνηθεὶς συμβαλεῖν Ὅμηρος διὰ τὴν ἀθυμίαν ἐτελεύτησε. θάψαντες δὲ αὐτὸν οἱ Ἰῆται μεγαλοπρεπῶς, τοιόνδε ἐπέγραψαν αὐτοῦ τῶι {{#lemma: τάφωι | Cert. 18, P.Mich. inv. 2754 ll. 11-12, AP 7.3, Ps.-Hdt. Vit. Hom. 36, Anon. Vit. Hom. 1.6, Anon. Vit. Hom. 2.3, Anon. Vit. Hom. 3.5, Suda s.v. Ὅμηρος, Tzetz. Exeg. in Il. 37}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἐνθάδε τὴν ἱερὴν κεφαλὴν κατὰ γαῖα καλύπτει,<br /> ἀνδρῶν ἡρώων κοσμήτορα θεῖον Ὅμηρον.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> εἰσὶ μέντοι οἳ καὶ Κολοφώνιον αὐτὸν ἀποδεικνύναι πειρῶνται, μεγίστωι τεκμηρίωι χρώμενοι πρὸς ἀπόδειξιν τῶι ἐπὶ τοῦ ἀνδριάντος ἐπιγεγραμμένωι ἐλεγείωι· ἔχει δὲ {{#lemma: οὕτως | AP 16.292}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> υἱὲ Μέλητος Ὅμηρε, σὺ γὰρ κλέος Ἑλλάδι πάσηι <br /> καὶ Κολοφῶνι πάτρηι θῆκας ἐς ἀίδιον·<br /> καὶ τάσδ’ ἀντιθέωι ψυχῆι γεννήσαο κούρας<br /> δισσὰς {{#lemma: ἡμιθέων | ἡμιθέων M: ἐκ στηθέων AP}}, γραψάμενος σελίδας· <br /> ὑμνεῖ δ’ ἣ μὲν νόστον Ὀδυσσῆος πολύπλαγκτον, <br /> ἣ δὲ τὸν Ἰλιακὸν Δαρδανιδῶν πόλεμον.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἄξιον δὲ μηδὲ τὸ ὑπὸ Ἀντιπάτρου τοῦ ἐπιγραμματοποιοῦ γραφὲν ἐπίγραμμα παραλιπεῖν, ἔχον οὐκ ἀσέμνως· ἔχει δὲ {{#lemma: οὕτως | Antip. Thess. Epigr. 72 Gow-Page, AP 16.296}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> οἳ μέν σευ Κολοφῶνα τιθηνήτειραν, Ὅμηρε,<br /> οἳ δὲ καλὰν Σμύρναν, οἳ δ’ ἐνέπουσι Χίον, <br /> οἳ δ’ Ἴον, οἳ δ’ ἐβόασαν ἐύκλαρον Σαλαμῖνα,<br /> οἳ δέ νυ {{#lemma: τὰν Λαπιθᾶν | τὰν Λαπιθᾶν M: τῶν Λαπιθέων AP}} ματέρα Θεσσαλίαν,<br /> ἄλλοι δ’ {{#lemma: ἄλλο μέλαθρον | ἄλλο μέλαθρον M: ἄλλην γαῖαν AP}} ἀνίαχον· εἰ δέ με Φοίβου<br /> χρὴ λέξαι {{#lemma: πινυτὰν ἀμφαδὰ μαντοσύναν | πινυτὰν ἀμφαδὰ μαντοσύναν M: πινυτὰς ἀμφαδὰ μαντοσύνας AP}},<br /> πάτρα τοι τελέθει μέγας οὐρανός, ἐκ δὲ {{#lemma: γυναικός | γυναικός M: τεκούσης AP}}<br /> οὐ θνατᾶς, ματρὸς δ’ ἔπλεο Καλλιόπας.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> {{#chapternum:1}} Some may consider it superfluous to investigate Homer’s parentage and from where he came, when not even he thought it worthwhile to provide information about himself, but was so restrained that he did not even mention his name. But since breadth of knowledge is useful as an introduction for those beginning education, let us try to say what has been recorded by the ancients about him.<br /> <br /> {{#chapternum:2}} Ephorus of Cyme, in the treatise called Local History, attempting to prove that Homer was a Cymaean, says that Apelles, Maeon and Dius were brothers, Cymaean in origin. Dius migrated to the village of Ascra in Boeotia because he was in debt, and there, having married Pycimedes, he sired Hesiod; Apelles, who died in his fatherland, Cyme, left a daughter called Critheis, making his brother Maeon her guardian. He deflowered her, and fearing his fellow citizens’ reproof for what had happened, gave her in marriage to Phemius, a teacher of letters from Smyrna. As she used to frequent the washing places that were situated by the Meles, she gave birth to Homer at the river, and for this reason he was named Melesigenes. His name was changed to Homer after he went blind; this is what the Cymaeans and the Ionians called the blind on account of their needing homereuontes, that is, guides. So much for Ephorus.<br /> <br /> {{#chapternum:3}} Aristotle in the third book of his On Poets says that on the island of Ios, at the time when Neleus, the son of Codrus, was leading the Ionian migration, a local girl, having been impregnated by one of the divinities who dance with the Muses, and feeling ashamed of the episode because of the size of her belly, went to a place called Aegina, where some pirates who had disembarked enslaved her and took her to Smyrna, which was then under Lydian control. They gave her to the king of the Lydians, a friend of theirs whose name was Maeon. He fell in love with her because of her beauty and married her. As she was whiling away the hours by the Meles, it happened that her contractions started and she gave birth to Homer at the river. Maeon accepted him and raised him as his own, for Cretheis had died immediately after the delivery. Not long afterwards, Maeon himself died. And since the Lydians were being subdued by the Aeolians and had decided to leave Smyrna, and the leaders had made a proclamation that anyone who wished to follow them should go out of the city, Homer, although he was still young, said that he too wanted to homerein (i.e. to follow); as a result of which he was called Homer instead of Melesigenes.<br /> <br /> {{#chapternum:4}} When he reached adulthood, and had by now become famous for his poetry, he asked the god who his parents were and where he came from. And the god gave this response:<br /> <br /> &lt;blockquote&gt;There is an island, Ios, hometown of your mother, which will receive you after you die; but beware the riddle of the young men.&lt;/blockquote&gt;<br /> <br /> Another oracle is also transmitted, which goes as follows:<br /> <br /> &lt;blockquote&gt;Blessed and ill-fated – for both are your birthright – you search for your fatherland: but it is your mother’s land, not your father’s; your mother city is on an island below broad Crete, the land of Minos, neither near nor far away. There it is your fate to perish, when you fail to understand a song from the mouths of children, hard to comprehend and spoken in crooked language. For you have been allotted two lives: one dimmed for your two suns, the other equal to the immortals, one for life and one for death – and in death you shall age still less.<br /> &lt;/blockquote&gt;<br /> <br /> Not long afterwards, sailing to Thebes for the Cronia (a musical competition celebrated by its inhabitants) he went to Ios. There, as he was sitting on a rock, he saw some fishermen sailing towards him, and he asked them whether they had caught anything. As they had caught nothing but deloused themselves because of their unsuccessful fishing, they replied as follows:<br /> <br /> &lt;blockquote&gt;<br /> All that we caught we left behind, all that we did not catch we carry with us.<br /> &lt;/blockquote&gt;<br /> <br /> With this riddling language they meant that the lice they had caught, they had killed and left behind, and those that they had not caught they were carrying in their clothes. Unable to make sense of this, Homer died as a result of his despondency. The people of Ios gave him a magnificent funeral and inscribed the following on his grave:<br /> <br /> &lt;blockquote&gt;<br /> Here the earth covers the sacred head, adorner of warrior heroes, divine Homer. <br /> &lt;/blockquote&gt;<br /> <br /> There are those, however, who try to prove that he was a Colophonian, offering as their primary evidence the elegy inscribed on his statue. It goes as follows:<br /> <br /> &lt;blockquote&gt;<br /> Homer, son of Meles, you offered all of Greece and your fatherland Colophon eternal glory; and you, with your divine soul, produced these two daughters of demigods when you wrote your texts. One sings the much-wandering homecoming of Odysseus, the other the war of the Dardanids at Ilium. <br /> &lt;/blockquote&gt;<br /> <br /> And the epigram written by Antipater the epigrammatist should not be overlooked either, as it is not without solemnity. It runs as follows:<br /> <br /> &lt;blockquote&gt;<br /> Some (say) Colophon was your nurse, Homer, some beautiful Smyrna, some say Chios, some Ios, some declare it is flourishing Salamis, some then say the mother of the Lapiths, Thessaly, some declare one house, others another. But if I should tell openly the wise oracle of Apollo, your fatherland is the vast sky – nor were you born from a mortal woman, but your mother is Calliope.<br /> &lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Homer: A Guide to Selected Sources|Homer]]<br /> }}<br /> <br /> {{#set:Short title=Pseudo-Plutarch, Life of Homer 1.1-5}}<br /> <br /> [[Category:Homer Collections]]</div>

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WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Pseudo-Herodotus,_Life_of_Homer&diff=3268 2014-08-15T22:52:59Z

<p>WikiSysop: WikiSysop moved page Draft:Pseudo-Herodotus, Life of Homer to Pseudo-Herodotus, Life of Homer without leaving a redirect</p> <hr /> <div>{{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> ἩΡΟΔΟΤΟΥ ΠΕΡΙ ὉΜΗΡΟΥ ΓΕΝΕΣΙΟΣ ΚΑΙ ἩΛΙΚΙΗΣ ΚΑΙ ΒΙΟΥ<br /> <br /> {{#chapternum:1}} Ἡρόδοτος Ἁλικαρνασσεὺς περὶ Ὁμήρου γενέσιος καὶ ἡλικίης καὶ βιοτῆς τάδε ἱστόρηκε, ζητήσας ἐπεξελθεῖν ἐς τὸ ἀτρεκέστατον. ἐπεὶ γὰρ Κύμη ἡ πάλαι Αἰολιῶτις ἐκτίζετο, συνῆλθον ἐν {{#lemma: αὐτῆι | αὐτῆι m: ταυτῶι m}} παντοδαπὰ ἔθνεα Ἑλληνικά, καὶ δὴ καὶ ἐκ Μαγνησίης ἄλλοι τέ τινες καὶ Μελάνωπος ὁ Ἰθαγένεος τοῦ Κρήθωνος, οὐ πολύφορτος ἀλλὰ βραχέα τοῦ βίου ἔχων. οὗτος δὲ ὁ Μελάνωπος ἔγημεν ἐν τῆι Κύμηι τὴν θυγατέρα Ὀμύρητος, καὶ αὐτῶι γίνεται ἐκ κοίτης θῆλυ τέκνον, ὧι ὄνομα τίθεται Κρηθηΐδα. καὶ αὐτὸς μὲν ὁ Μελάνωπος καὶ ἡ γυνὴ αὐτοῦ ἐτελεύτησαν τὸν βίον· τὴν δὲ θυγατέρα ἐπιτρέπει ἀνδρὶ ὧι ἐχρῆτο μάλιστα, Κλεάνακτι τῶι Ἀργείωι.<br /> <br /> {{#chapternum:2}} χρόνου δὲ προϊόντος συνέβη τὴν παῖδα μιγεῖσαν ἀνδρὶ λαθραίως ἐν γαστρὶ σχεῖν. τὰ μὲν οὖν πρῶτα ἐλάνθανεν· ἐπεὶ δὲ ἤισθετο ὁ Κλεάναξ, ἤχθετο τῆι συμφορῆι, καὶ καλεσάμενος τὴν Κρηθηΐδα χωρὶς πάντων ἐν αἰτίηι μεγάληι εἶχεν, ἐπιλεγόμενος τὴν αἰσχύνην τὴν πρὸς τοὺς πολιήτας. προβουλεύεται οὖν περὶ αὐτῆς τάδε· ἔτυχον οἱ Κυμαῖοι κτίζοντες τότε τοῦ Ἑρμείου κόλπου τὸν μυχόν· κτιζομένοισι δὲ τὴν πόλιν Σμύρναν ἔθετο τὸ ὄνομα Θησεύς, μνημεῖον ἐθέλων καταστῆσαι τῆς ἑωυτοῦ γυναικὸς ἐπώνυμον· ἦν γὰρ αὐτῆι τοὔνομα Σμύρνα. ὁ δὲ Θησεὺς ἦν τῶν τὴν Κύμην κτισάντων ἐν τοῖς πρώτοις Θεσσαλῶν, ἀπὸ Εὐμήλου τοῦ Ἀδμήτου, κάρτα εὖ ἔχων τοῦ βίου. ἐνταῦθα ὑπεκτίθεται ὁ Κλεάναξ τὴν Κρηθηΐδα πρὸς Ἰσμηνίην Βοιώτιον, τῶν ἀποίκων λελογχότα, ὃς ἐτύγχανεν αὐτῶι ἐὼν ἑταῖρος τὰ μάλιστα.<br /> <br /> <br /> {{#chapternum:3}} χρόνου δὲ προϊόντος, ἐξελθοῦσα ἡ Κρηθηῒς μετ’ ἄλλων γυναικῶν πρὸς ἑορτήν τινα ἐπὶ τὸν ποταμὸν τὸν καλούμενον Μέλητα, ἤδη ἐπίτοκος οὖσα, τίκτει τὸν Ὅμηρον, οὐ τυφλὸν ἀλλὰ δεδορκότα· καὶ τίθεται ὄνομα τῶι παιδίωι Μελησιγένεα, ἀπὸ τοῦ ποταμοῦ τὴν ἐπωνυμίαν λαβοῦσα. τέως μὲν οὖν ἡ Κρηθηῒς ἦν παρὰ τῶι Ἰσμηνίηι· προϊόντος δὲ τοῦ χρόνου ἐξῆλθε, καὶ ἀπὸ ἐργασίης χειρῶν ὡρμημένη ἔτρεφε τὸ παιδίον καὶ ἑωυτήν, ἄλλοτε παρ’ ἄλλων ἔργα λαμβάνουσα· καὶ {{#lemma: ἐπαίδευε | ἐπαίδευε m: ἐπαίδευσε m}} τὸν παῖδα ἀφ’ ὧν ἠδύνατο.<br /> <br /> <br /> {{#chapternum:4}} ἦν δέ τις ἐν Σμύρνηι τοῦτον τὸν χρόνον Φήμιος τοὔνομα, παῖδας γράμματα καὶ τὴν ἄλλην μουσικὴν διδάσκων πᾶσαν. οὗτος μισθοῦται τὴν Κρηθηΐδα, ὢν μονότροπος, ἐριουργῆσαι αὐτῶι εἴριά τινα ἃ παρὰ τῶν παίδων ἐς μισθὸν ἐλάμβανεν. ἣ δὲ παρ’ αὐτῶι εἰργάζετο, πολλῶι κοσμίωι καὶ σωφροσύνηι πολλῆι χρωμένη, καὶ τῶι Φημίωι κάρτα ἠρέσκετο. τέλος δὲ προσηνέγκατο αὐτῆι λόγους πείθων ἑωυτῶι συνοικεῖν, ἄλλά τε πολλὰ λέγων οἷς μιν ὤιετο προσάξεσθαι, καὶ ἔτι περὶ τοῦ παιδός, υἱὸν ποιούμενος, καὶ ὅτι τραφεὶς καὶ παιδευθεὶς ὑπ’ αὐτοῦ ἄξιος λόγου ἔσται· ἑώρα γὰρ τὸν παῖδα ὄντα συνετὸν καὶ κάρτα εὐφυέα· ἔστ’ ἀνέπεισεν αὐτὴν ποιεῖν ταῦτα.<br /> <br /> <br /> {{#chapternum:5}} ὁ παῖς δὲ ἦν τε φύσιν ἔχων ἀγαθήν, ἐπιμελίης τε καὶ παιδεύσιος προσγενομένης αὐτίκα πολλὸν τῶν πάντων ὑπερεῖχε. χρόνου δὲ ἐπιγενομένου ἀνδρούμενος {{#lemma: οὐδὲν τοῦ Φημίου ὑποδεέστερος ἦν ἐν τῆι διδασκαλίαι | οὐδὲν τοῦ Φημίου ὑποδεέστερος ἦν ἐν τῆι διδασκαλίαι m: οὐδὲν τοῦ Φημίου ἐν τῆι διδασκαλίαι ὑποδεέστερος ἦν m}}. καὶ οὕτως ὁ μὲν Φήμιος ἐτελεύτησε τὸν βίον, καταλιπὼν πάντα τῶι παιδί, οὐ πολλῶι δὲ ὕστερον καὶ ἡ Κρηθηῒς ἐτελεύτησεν· ὁ δὲ Μελησιγένης ἐπὶ τῆι διδασκαλίαι καθειστήκει. καθ’ ἑωυτὸν δὲ γενόμενος μᾶλλον ὑπὸ τῶν ἀνθρώπων ἑωρᾶτο, καὶ αὐτοῦ θωυμασταὶ καθειστήκεισαν οἵ τε ἐγχώριοι καὶ τῶν ξένων οἱ ἐσαπικνεόμενοι. ἐμπόριον γὰρ ἦν ἡ Σμύρνα, καὶ σῖτος ἐξήγετο πολὺς αὐτόθεν, ἐκ τῆς ἐπικειμένης χώρας δαψιλέως κάρτα ἐσαγόμενος ἐς αὐτήν. οἱ οὖν ξένοι, ὁκότε παύσοιντο τῶν ἔργων, ἀπεσχόλαζον παρὰ τῶι Μελησιγένει ἐγκαθίζοντες.<br /> <br /> {{#chapternum:6}} ἦν δὲ ἐν αὐτοῖς τότε καὶ Μέντης ναύκληρος ἀπὸ τῶν περὶ Λευκάδα τόπων, καταπεπλευκὼς ἐπὶ σῖτον ἔχων ναῦν, πεπαιδευμένος τε ἀνὴρ ὡς ἐν ἐκείνωι τῶι χρόνωι καὶ πολυΐστωρ· ὅς μιν ἔπεισε τὸν Μελησιγένη μεθ’ ἑωυτοῦ πλεῖν καταλύσαντα τὴν διδασκαλίαν, μισθόν τε λαμβάνοντα καὶ τὰ δέοντα πάντα, καὶ ὅτι τὸ χώρας καὶ πόλιας θεήσασθαι ἄξιον εἴη αὐτῶι ἕως νέος ἐστί. καί μιν οἴομαι μάλιστα τούτοισι {{#lemma: προαχθῆναι | προαχθῆναι m: προσαχθῆναι m}}· ἴσως γὰρ καὶ τῆι ποιήσει ἤδη τότε ἐπενόει ἐπιθήσεσθαι. καταλύσας δὲ τὴν διδασκαλίαν ἐναυτίλλετο μετὰ τοῦ Μέντεω. καὶ ὅπου ἑκάστοτε ἀφίκοιτο, πάντα τὰ ἐπιχώρια διεωρᾶτο, καὶ ἱστορέων ἐπυνθάνετο· εἰκὸς δέ μιν ἦν καὶ μνημόσυνα πάντων γράφεσθαι.<br /> <br /> {{#chapternum:7}} ἀνακομιζόμενοι δὲ ἐκ Τυρσηνίης καὶ τῆς Ἰβηρίης ἀπικνέονται ἐς Ἰθάκην. καὶ τῶι Μελησιγένει συνέβη νοσήσαντι τοὺς ὀφθαλμοὺς κάρτα δεινῶς ἔχειν, καὶ αὐτὸν θεραπείης εἵνεκα πλεῖν μέλλων ἐς τὴν Λευκάδα, καταλιπεῖν ὁ Μέντης παρὰ ἀνδρὶ φίλωι ἑωυτοῦ ἐς τὰ μάλιστα, Μέντορι τῶι Ἀλκίμου Ἰθακησίωι, πολλὰ δεηθεὶς ἐπιμελίην ἔχειν· ἐπαναπλώσας δὲ ἀναλήψεσθαι αὐτόν. ὁ δὲ Μέντωρ ἐνοσήλευεν αὐτὸν ἐκτενέως· καὶ γὰρ τοῦ βίου ἀρκεόντως εἶχε, καὶ ἤκουεν εὖ ἐς δικαιοσύνην τε καὶ φιλοξενίην μακρῶι μάλιστα τῶν ἐν Ἰθάκηι ἀνδρῶν. ἐνταῦθα συνέβη τῶι Μελησιγένει {{#lemma: τὰ | τὰ: om. m}} περὶ Ὀδυσσέως ἐξιστορῆσαι καὶ πυθέσθαι. οἱ μὲν δὴ Ἰθακήσιοι λέγουσι τότε μιν παρ’ ἑωυτοῖς τυφλωθῆναι· ὡς δὲ ἐγώ φημι, τότε μὲν ὑγιῆ γενέσθαι, ὕστερον δὲ ἐν Κολοφῶνι τυφλωθῆναι· συνομολογοῦσι δέ μοι καὶ Κολοφώνιοι τούτοις.<br /> <br /> {{#chapternum:8}} ὁ δὲ Μέντης ἀναπλέων ἐκ τῆς Λευκάδος προσέσχεν ἐς τὴν Ἰθάκην καὶ ἀνέλαβε τὸν Μελησιγένεα· χρόνον τε ἐπὶ συχνὸν συμπεριέπλει αὐτῶι. ἀπικομένωι δὲ ἐς Κολοφῶνα συνέβη πάλιν νοσήσαντα τοὺς ὀφθαλμοὺς μὴ δύνασθαι διαφυγεῖν τὴν νόσον, ἀλλὰ τυφλωθῆναι ἐνταῦθα. ἐκ δὲ τῆς Κολοφῶνος τυφλὸς ἐὼν ἀπικνέεται ἐς τὴν Σμύρναν, καὶ οὕτως ἐπεχείρει τῆι ποιήσει.<br /> <br /> <br /> {{#chapternum:9}} χρόνου δὲ προϊόντος, ἐν τῆι Σμύρνηι ἄπορος ἐὼν τοῦ βίου, διενοήθη ἀπικέσθαι ἐς Κύμην. πορευόμενος δὲ διὰ τοῦ Ἕρμου πεδίου ἀπικνέεται ἐς Νέον τεῖχος, ἀποικίην Κυμαίων· ὠικίσθη δὲ τοῦτο τὸ χωρίον ὕστερον Κύμης ἔτεσιν ὀκτώ. ἐνταῦθα λέγεται αὐτὸν ἐπιστάντα ἐπὶ σκυτεῖόν τι εἰπεῖν πρῶτα {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 1}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> αἰδεῖσθε ξενίων κεχρημένον ἠδὲ δόμοιο,<br /> οἳ πόλιν αἰπεινὴν Κύμην ἐριώπιδα κούρην<br /> ναίετε, Σαρδήνης πόδα νείατον ὑψικόμοιο,<br /> ἀμβρόσιον πίνοντες ὕδωρ θείου ποταμοῖο<br /> Ἕρμου δινήεντος, ὃν ἀθάνατος τέκετο Ζεύς.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἡ δὲ Σαρδήνη ὄρος ἐστὶν ὑπερκείμενον τοῦ τε Ἕρμου ποταμοῦ καὶ τοῦ Νέου τείχους. τῶι δὲ σκυτεῖ ὄνομα ἦν Τυχίος· ἀκούσαντι δὲ τῶν ἐπέων ἔδοξεν αὐτῶι δέξασθαι τὸν ἄνθρωπον. ἠλέησε γὰρ αἰτέοντα τυφλόν, καὶ ἐκέλευσεν εἰσιέναι τε αὐτὸν ἐς τὸ ἐργαστήριον καὶ μετέξειν ἔφη τῶν παρεόντων· ὃ δὲ ἐσῆλθε. κατήμενος δὲ ἐν τῶι σκυτείωι, παρεόντων καὶ ἄλλων, τήν τε ποίησιν αὐτοῖς ἐπεδείκνυτο, Ἀμφιάρεώ τε τὴν ἐξελασίαν τὴν ἐς Θήβας, καὶ τοὺς ὕμνους τοὺς ἐς θεοὺς πεποιημένους αὐτῶι, καὶ περὶ τῶν λεγομένων ὑπὸ τῶν παρεόντων ἐς τὸ μέσον γνώμας ἀποφαινόμενος θωύματος ἄξιος ἐφαίνετο εἶναι τοῖς ἀκούουσι.<br /> <br /> {{#chapternum:10}} τέως μὲν οὖν κατεῖχεν ὁ Μελησιγένης περὶ τὸ Νέον τεῖχος, ἀπὸ τῆς ποιήσιός γε τοῦ βίου τὴν μηχανὴν ἔχων. ἐδείκνυον δὲ οἱ Νεοτειχεῖς μέχρις ἐπ’ ἐμοῦ τὸν χῶρον ἐν ὧι κατίζων τῶν ἐπέων τὴν ἐπίδειξιν ἐποιέετο, καὶ κάρτα ἐσέβοντο τὸν τόπον· ἐν ὧι καὶ αἴγειρος ἐπεφύκει, ἣν ἐκεῖνοι ἔφασαν ἀφ’ οὗ ὁ Μελησιγένης ἦλθεν αὐτοῖς πεφυκέναι.<br /> <br /> {{#chapternum:11}} χρόνου δὲ προϊόντος, ἀπόρως κείμενος καὶ μόλις τὴν τροφὴν ἔχων, ἐπενοήθη ἐς τὴν Κύμην ἀπικέσθαι, εἴ τι βέλτιον πρήξει. μέλλων δὲ πορεύεσθαι τάδε {{#lemma: τὰ ἔπεα λέγει | ''Epigrammata'' 2}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> αἶψα πόδες με φέροιεν ἐς αἰδοίων πόλιν ἀνδρῶν·<br /> τῶν γὰρ καὶ θυμὸς πρόφρων καὶ μῆτις ἀρίστη.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἀπὸ δὲ τοῦ Νέου τείχεος πορευόμενος ἀπίκετο ἐς τὴν Κύμην διὰ Λαρίσσης τὴν πορείαν ποιησάμενος· ἦν γὰρ οὕτως αὐτῶι εὐπορώτατον· καί, ὡς Κυμαῖοι λέγουσι, τῶι Φρυγίης βασιλῆϊ Μίδηι τῶι Γορδίεω, δεηθέντων πενθερῶν αὐτοῦ, ποιεῖ τὸ ἐπίγραμμα τόδε, τὸ ἔτι καὶ νῦν ἐπὶ τῆς στήλης τοῦ μνήματος {{#lemma: [τοῦ Γορδίεω] | [τοῦ Γορδίεω] Wilamowitz}} {{#lemma: ἐπιγέγραπται | ''Epigrammata'' 3. Cf. ''Cert.'' 15, Pl. ''Phdr''. 264d, Favorin. ''Or. Cor''. 38, D. Chr. 37.38, D. L. 1.89, Phlp. ''in Apo''. 156, ''Anth. Pal'' 7.153. ἠέλιός … καὶ ποταμοί: om. Pl. D. Chr., ''Anth. Pal''.; καὶ ποταμοί … ἠέλιός ''Cert''.}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> χαλκῆ παρθένος εἰμί, Μίδεω δ’ἐπὶ {{#lemma: σήματι κεῖμαι | om. m.; σήματι κεῖμαι M: σήματος ἧμαι ''Cert''.}}·<br /> ἔστ’ ἂν ὕδωρ τε ῥέηι καὶ δένδρεα μακρὰ τεθήληι,<br /> ἠέλιός τ’ἀνιὼν λάμπηι {{#lemma: λαμπρά | λαμπρὰ m: μακρὰ m}} τε σελήνη,<br /> καὶ ποταμοί {{#lemma: γε ῥέωσιν | γε ῥέωσιν M: πλήθωσιν ''Cert''.}} {{#lemma: ἀνακλύζηι |ἀνακλύζηι M: περικλύζηι ''Cert''.}} δὲ θάλασσα,<br /> αὐτοῦ τῆιδε μένουσα {{#lemma: πολυκλαύτου ἐπὶ τύμβου | πολυκλαύτου ἐπὶ τύμβου M: πολυκλαύτωι ἐπὶ τύμβωι ''Cert''.}}<br /> {{#lemma: ἀγγελέω | ἀγγελέω M: σημανέω ''Cert.''}} παριοῦσι, Μίδης ὅτι τῆιδε τέθαπται.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:12}} κατίζων δὲ ἐν ταῖς λέσχαις τῶν γερόντων ἐν τῆι Κύμηι ὁ Μελησιγένης τὰ ἔπεα τὰ πεποιημένα αὐτῶι ἐπεδείκνυτο, καὶ ἐν τοῖς λόγοις ἔτερπε τοὺς ἀκούοντας· καὶ αὐτοῦ θωυμασταὶ καθειστήκεσαν. γνοὺς δὲ ὅτι ἀποδέκονται αὐτοῦ τὴν ποίησιν οἱ Κυμαῖοι, καὶ ἐς συνήθειαν ἕλκων τοὺς ἀκούοντας, λόγους πρὸς αὐτοὺς τοιούσδε προσήνεγκε, λέγων ὡς εἰ θέλοιεν αὐτὸν δημοσίηι τρέφειν, ἐπικλεεστάτην αὐτῶν τὴν πόλιν ποιήσει. τοῖς δὲ ἀκούουσι βουλομένοις τε ἦν ταῦτα, καὶ αὐτοὶ παρήινεον ἐλθόντα ἐπὶ τὴν βουλὴν δεηθῆναι τῶν βουλευτέων· καὶ αὐτοὶ ἔφασαν συμπρήξειν. ὃ δὲ ἐπείθετο αὐτοῖς, καὶ βουλῆς συλλεγομένης ἐλθὼν ἐπὶ τὸ βουλεῖον ἐδεῖτο τοῦ ἐπὶ τῆι τιμῆι ταύτηι καθεστῶτος ἀπαγαγεῖν αὐτὸν ἐπὶ τὴν βουλήν· ὃ δε ὑπεδέξατό τε καὶ ἐπεὶ καιρὸς ἦν ἀπήγαγε. καταστὰς δὲ ὁ Μελησιγένης ἔλεξε περὶ τῆς τροφῆς τὸν λόγον ὃν καὶ ἐν ταῖς λέσχαις ἔλεγεν. ὡς δὲ εἶπεν, ἐξελθὼν ἐκάθητο·<br /> <br /> {{#chapternum:13}} οἳ δὲ ἐβουλεύοντο ὅ τι χρεὼν εἴη ἀποκρίνασθαι {{#lemma: αὐτῶι | αὐτῶι m: τούτωι m.}} προθυμουμένου δὲ τοῦ {{#lemma: ἀπαγαγόντος | ἀπαγαγόντος m: ἀπάγοντος m}} αὐτὸν καὶ ἄλλων ὅσοι τῶν βουλευτέων ἐν ταῖς λέσχαις ἐπήκοοι ἐγένοντο, τῶν {{#lemma: βουλευτέων | βουλευτέων m: βασιλέων m}} ἕνα λέγεται ἐναντιωθῆναι τῆι χρήμηι αὐτοῦ, ἄλλα τε πολλὰ λέγοντα καὶ ὡς εἰ τοὺς ὁμήρους δόξει τρέφειν αὐτοῖς, ὅμιλον πολλόν τε καὶ ἀχρεῖον ἕξουσιν. ἐντεῦθεν δὲ καὶ τοὔνομα Ὅμηρος ἐπεκράτησε τῶι Μελησιγένει ἀπὸ τῆς συμφορῆς· οἱ γὰρ Κυμαῖοι τοὺς τυφλοὺς ὁμήρους λέγουσιν· ὥστε πρότερον ὀνομαζομένου αὐτοῦ Μελησιγένεος τοῦτο γενέσθαι τοὔνομα Ὅμηρος.<br /> <br /> {{#chapternum:14}} καὶ οἱ ξένοι διήνεγκαν ὅτε μνήμην αὐτοῦ ἐποιοῦντο. ἐτελεύτα δ’ οὖν ὁ λόγος τῶι ἄρχοντι μὴ τρέφειν τὸν Ὅμηρον, ἔδοξε δέ πως καὶ τῆι ἄλληι βουλῆι. ἐπελθὼν δὲ ὁ ἐπιστάτης καὶ παρεζόμενος αὐτῶι διηγήσατο τοὺς ἐναντιωθέντας λόγους τῆι χρήμηι αὐτοῦ καὶ τὰ δόξαντα τῆι βουλῆι. ὃ δὲ ὡς ἤκουσεν, ἐσυμφόρηνέ τε καὶ λέγει {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 4}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;οἵηι μ’ αἴσηι δῶκε πατὴρ Ζεὺς κύρμα γενέσθαι,<br /> νήπιον αἰδοίης ἐπὶ γούνασι μητρὸς ἀτάλλων.<br /> ἥν ποτ’ ἐπύργωσαν βουλῆι Διὸς αἰγιόχοιο<br /> λαοὶ Φρίκωνος, μάργων ἐπιβήτορες ἵππων,<br /> ὁπλότεροι μαλεροῖο πυρὸς κρίνοντες Ἄρηα,<br /> Αἰολίδα Σμύρνην ἁλιγείτονα, {{#lemma: πότνιαν ἀκτήν | πότνιαν ἀκτήν Scaliger: ποτνιάνακτον M}}<br /> ἥν τε δι’ ἀγλαὸν εἶσιν ὕδωρ ἱεροῖο Μέλητος·<br /> ἔνθεν ἀπορνύμεναι κοῦραι Διός, ἀγλαὰ τέκνα,<br /> ἠθελέτην κλῆισαι δῖαν χθόνα καὶ πόλιν ἀνδρῶν·<br /> οἳ δ’ ἀπανηνάσθην ἱερὴν ὄπα, φῆμιν, ἀοιδήν,<br /> ἀφραδίηι. τῶν μέν τε παθών τις φράσσεται αὖτις,<br /> ὅς σφιν ὀνείδεσσιν τὸν ἐμὸν διεμήσατο πότμον.<br /> κῆρα δ’ ἐγὼ τήν μοι θεὸς ὤπασε γεινομένωι περ<br /> τλήσομαι, ἀκράαντα φέρων τετληότι θυμῶι,<br /> οὐδέ τι μοι φίλα γυῖα μένειν ἱεραῖς ἐν ἀγυιαῖς<br /> Κύμης ὁρμαίνουσι· μέγας δέ με θυμὸς ἐπείγει<br /> δῆμον ἐς ἀλλοδαπῶν ἰέναι ὀλίγον περ ἐόντα.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:15}} μετὰ τοῦτο ἀπαλλάσσεται ἐκ τῆς Κύμης ἐς Φωκαίην, Κυμαίοις ἐπαρησάμενος μηδένα ποιητὴν δόκιμον ἐν τῆι χώρηι γενέσθαι ὅστις Κυμαίους ἐπαγλαϊεῖ. ἀπικόμενος δὲ ἐς Φωκαίην τῶι αὐτῶι τρόπωι {{#lemma: ἐβιότευεν | ἐβιότευεν m: ἐβιότευσεν m}}, ἔπεα ἐνδεικνύμενος ἐν ταῖς λέσχαις κατίζων. ἐν δὲ τῆι Φωκαίηι τοῦτον τὸν χρόνον Θεστορίδης τις ἦν γράμματα διδάσκων τοὺς παῖδας, ἀνὴρ οὐ κρήγυος· κατανοήσας δὲ τοῦ Ὁμήρου τὴν ποίησιν, λόγους τοιούσδε αὐτῶι προσήνεγκε, φὰς ἑτοῖμος εἶναι θεραπεύειν καὶ τρέφειν αὐτὸν ἀναλαβών, εἰ ἐθέλοι ἅ τε πεποιημένα εἴη αὐτῶι τῶν ἐπέων ἀναγράψασθαι καὶ ἄλλα ποιῶν πρὸς ἑωυτὸν ἀναφέρειν αἰεί.<br /> <br /> {{#chapternum:16}} τῶι δὲ Ὁμήρωι ἀκούσαντι ἔδοξε ποιητέα εἶναι ταῦτα· ἐνδεὴς γὰρ ἦν τῶν ἀναγκαίων καὶ θεραπείης. διατρίβων δὲ παρὰ τῶι Θεστορίδηι ποιεῖ Ἰλιάδα τὴν ἐλάσσω, ἧς {{#lemma: ἡ ἀρχή | Fr. 1 Davies}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> Ἴλιον ἀείδω καὶ Δαρδανίην εὔπωλον,<br /> ἧς πέρι πολλὰ πάθον Δαναοὶ θεράποντες Ἄρηος·<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> καὶ τὴν καλουμένην Φωκαΐδα, ἥν φασιν οἱ Φωκαεῖς Ὅμηρον παρ’ αὐτοῖσι ποιῆσαι. ἐπεὶ δὲ τήν τε Φωκαΐδα καὶ τἄλλα πάντα παρὰ τοῦ Ὁμήρου ὁ Θεστορίδης ἐγράψατο, διενοήθη ἐκ τῆς Φωκαίης ἀπαλλάσσεσθαι, τὴν ποίησιν θέλων τοῦ Ὁμήρου ἐξιδιώσασθαι. καὶ οὐκ ἔτι ὁμοίως ἐν ἐπιμελείαι εἶχε τὸν Ὅμηρον· ὃ δὲ λέγει αὐτῶι {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 5}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> Θεστορίδης, θνητοῖσιν ἀνωΐστων πολέων περ,<br /> οὐδὲν ἀφραστότερον πέλεται νόου ἀνθρώποισι.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ὁ μὲν δὴ Θεστορίδης ἐκ τῆς Φωκαίης ἀπηλλάγη ἐς τὴν Χίον καὶ {{#lemma: διδασκαλίην | διδασκαλίην m: διδασκαλεῖον m}} κατεσκευάσατο· καὶ τὰ ἔπεα ἐπιδεικνύμενος ὡς ἑωυτοῦ ἐόντα ἔπαινόν τε πολλὸν εἶχε καὶ ὠφελεῖτο· ὁ δὲ Ὅμηρος πάλιν τὸν αὐτὸν τρόπον διηιτᾶτο ἐν τῆι Φωκαίηι, ἀπὸ τῆς ποιήσιος τὴν βιοτὴν ἔχων.<br /> <br /> {{#chapternum:17}} χρόνωι δὲ οὐ πολλῶι μετέπειτα ἄνδρες Χῖοι ἔμποροι ἀπίκοντο ἐς τὴν Φωκαίην. ἀκούσαντες δὲ τῶν ἐπέων τοῦ Ὁμήρου ἃ πρότερον ἀκηκόεσαν πολλάκις ἐν τῆι Χίωι τοῦ Θεστορίδεω, ἐξήγγελον Ὁμήρωι ὅτι {{#lemma: ἐν Χίωι | ἐν Χίωι m: ἐν τῆι Χίωι m}} τις ἐπιδεικνύμενος τὰ ἔπεα ταῦτα γραμμάτων διδάσκαλος κάρτα πολλὸν ἔπαινον ἔχει. ὁ δὲ Ὅμηρος κατενόησεν ὅτι Θεστορίδης ἂν εἴη, καὶ παντὶ θυμῶι ἐσπούδαζεν ἐς τὴν Χίον ἀπίκεσθαι. καταβὰς δὲ ἐπὶ τὸν λιμένα, ἐς μὲν τὴν Χίον οὐ καταλαμβάνει οὐδὲν πλοῖον πλέον, ἐς δὲ τὴν Ἐρυθραίην τινὲς ἐπὶ ξύλα παρεσκευάζοντο πλεῖν. καλῶς δὲ εἶχε τῶι Ὁμήρωι δι’ Ἐρυθρέων τὸν πλοῦν ποιήσασθαι, καὶ προσελθὼν ἔχρηιζε τῶν ναυτέων δέξασθαι αὐτὸν σύμπλουν, πολλά τε καὶ προσαγωγὰ λέγων οἷς σφέας ἔμελλε πείσειν. τοῖς δὲ ἔδοξε δέξασθαι αὐτόν, καὶ ἐκέλευον ἐσβαίνειν εἰς τὸ πλοῖον. ὁ δὲ Ὅμηρος πολλὰ ἐπαινέσας αὐτοὺς ἐσέβη, καὶ ἐπεὶ ἕζετο λέγει {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 6}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> κλῦθι, Ποσείδαον μεγαλοσθενὲς ἐννοσίγαιε,<br /> εὐρυχόρου μεδέων ἠδὲ {{#lemma: ζαθέου | ζαθέου Ruhnken: ξανθοῦ M}} Ἑλικῶνος,<br /> δὸς δ’ οὖρον καλὸν καὶ ἀπήμονα νόστον ἰδέσθαι<br /> ναύταις, οἳ νηὸς πομποὶ ἠδ’ ἀρχοὶ ἔασι.<br /> δὸς δ’ ἐς ὑπωρείαν ὑψικρήμνοιο Μίμαντος<br /> αἰδοίων μ’ ἐλθόντα βροτῶν ὁσίων τε κυρῆσαι,<br /> φῶτά τε τισαίμην ὃς ἐμὸν νόον ἠπεροπεύσας<br /> ὠδύσατο Ζῆνα ξένιον ξενίην τε τράπεζην.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:18}} ἐπεὶ δὲ ἀπίκοντο εὐπλοήσαντες ἐς τὴν Ἐρυθραίην, τότε μὲν Ὅμηρος τὴν αὖλιν ἐπὶ τῶι πλοίωι ἐποιήσατο· τῆι δὲ ὑστεραίηι ἔχρηιζε τῶν ναυτέων τινὰ ἡγήσασθαι αὐτῶι ἐς τὴν πόλιν, οἳ δὲ συνέπεμψαν ἕνα αὐτῶι. πορευόμενος δὲ Ὅμηρος ἐπεὶ ἔτυχε τῆς Ἐρυθραίης τραχείης τε καὶ ὀρεινῆς ἐούσης, φθέγγεται {{#lemma: τάδε τὰ ἔπεα | ''Epigrammata'' 7}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> πότνια Γῆ, πάνδωρε, δότειρα μελίφρονος ὄλβου,<br /> ὡς ἄρα δὴ τοῖς μὲν φωτῶν εὔοχθος ἐτύχθης,<br /> τοῖσι δὲ δύσβωλος καὶ τρηχεῖ’, οἷς ἐχολώθης.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἀπικόμενος δὲ ἐς τὴν πόλιν τῶν Ἐρυθραίων ἐπηρώτησε περὶ τοῦ ἐς τὴν Χίον πλοῦ· καί τινος προσελθόντος αὐτῶι τῶν ἑωρακότων ἐν τῆι Φωκαίηι καὶ ἀσπασαμένου, ἔχρηιζεν αὐτοῦ συνεξευρεῖν αὐτῶι πλοῖον, ὅπως ἂν ἐς τὴν Χίον διαβαίη.<br /> <br /> {{#chapternum:19}} ἐκ μὲν δὴ τοῦ λιμένος οὐδὲν ἦν ἀπόστολον, ἄγει δὲ αὐτὸν ἔνθα τῶν ἁλιέων τὰ πλοῖα ὁρμίζεται. καί πως ἐντυγχάνει μέλλουσί τισι διαπλεῖν ἐς τὴν Χῖον, ὧν ἐδέετο προσελθὼν ὁ ἄγων αὐτὸν ἀναλαβεῖν τὸν Ὅμηρον. οἳ δὲ οὐδένα λόγον ποιησάμενοι ἀνήγοντο· ὁ δὲ Ὅμηρος φθέγγεται {{#lemma: τάδε τὰ ἔπεα | ''Epigrammata'' 8}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ναῦται ποντοπόροι, στυγερῆι ἐναλίγκιοι {{#lemma: ἄτηι | ἄτηι M: αἴσηι ''Suda''}}<br /> πτωκάσιν αἰθυίηισι, βίον δύσζηλον ἔχοντες,<br /> αἰδεῖσθε ξενίοιο Διὸς σέβας ὑψιμέδοντος·<br /> δεινὴ γὰρ {{#lemma: μέτ’ ὄπις ξενίου Διός | μέτ’ ὄπις ξενίου Διός M: μετόπισθεν ὄπις Διός ''Suda''}}, ὅς κ’ ἀλίτηται. <br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἀναχθεῖσι δὲ αὐτοῖς συνέβη ἐναντίου ἀνέμου γενομένου παλινδρομῆσαι καὶ ἐς τὸ χωρίον ἀναδραμεῖν ὅθεν ἀνηγάγοντο καὶ τὸν Ὅμηρον {{#lemma: καταλαβεῖν ἔτι καθήμενον | καταλαβεῖν ἔτι καθήμενον edd.: ἀναλαβεῖν ἐπικαθήμενον M}} ἐπὶ τῆς κυματωγῆς. μαθὼν δὲ αὐτοὺς πεπαλινδρομηκότας ἔλεξε τάδε· <br /> <br /> {{#lemma: “ὑμᾶς ὦ ξένοι ἔλαβεν ὁ ἄνεμος ἀντίος γενόμενος· ἀλλ’ ἔτι καὶ νῦν με δέξασθε καὶ ὁ πλοῦς ὑμῖν ἔσται”. | Cf. ''Epigrammata'' 9}}<br /> <br /> οἱ δὲ ἁλιεῖς ἐν μεταμελίηι γενόμενοι, ὅτι οὐ καὶ πρότερον ἐδέξαντο, εἰπόντες ὅτι οὐ καταλιμπάνουσιν ἢν ἐθέλοι συμπλεῖν, ἐκέλευον ἐσβαίνειν· καὶ οὕτως ἀναλαβόντες αὐτὸν ἀνήχθησαν, καὶ ἴσχουσιν ἐπ’ ἀκτῆς.<br /> <br /> {{#chapternum:20}} οἱ μὲν δὴ ἁλιεῖς πρὸς ἔργον ἐτράπησαν· ὁ δὲ Ὅμηρος τὴν μὲν νύκτα ἐπὶ τοῦ αἰγιαλοῦ κατέμεινε, τὴν δὲ ἡμέραν πορευόμενος καὶ πλανώμενος ἀπίκετο ἐς τὸ χωρίον τοῦτο ὃ Πίτυς καλεῖται. κἀνταῦθα αὐτῶι ἀναπαυομένωι τὴν νύκτα ἐπιπίπτει καρπὸς τῆς πίτυος, ὃν δὴ μετεξέτεροι στρόβιλον, οἳ δὲ κῶνον καλέουσιν. ὁ δὲ Ὅμηρος φθέγγεται {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 10}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἄλλη τίς σου πεύκη ἀμείνονα καρπὸν ἵησιν<br /> Ἴδης ἐν κορυφῆισι πολυπτύχου ἠνεμοέσσης,<br /> ἔνθα σίδηρος Ἄρηος ἐπιχθονίοισι βροτοῖσιν<br /> ἔσσεται, εὖτ’ ἄν μιν Κεβρήνιοι ἄνδρες ἔχωσιν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> τὰ δὲ Κεβρήνια τοῦτον τὸν χρόνον κτίζειν οἱ Κυμαῖοι παρεσκευάζοντο πρὸς τῆι Ἴδηι· καὶ γίνεται αὐτόθι σίδηρος {{#lemma: πολύς | πολύς om. m.}}<br /> <br /> {{#chapternum:21}} ἐντεῦθεν δὲ ἀναστὰς Ὅμηρος ἐπορεύετο κατὰ φωνήν τινα αἰγῶν νεμομένων. ὡς δὲ ὑλάκτεον αὐτὸν οἱ κύνες, ἀνέκραγεν· ὁ δὲ Γλαῦκος ὡς ἤκουσε τῆς φωνῆς, ἦν γὰρ τοῦτο ὄνομα τῶι νέμοντι τὰς αἶγας, ἐπέδραμεν ὀτραλέως, τάς τε κύνας ἀνεκαλεῖτο καὶ ἀπεσόβησεν ἀπὸ τοῦ Ὁμήρου. ἐπὶ πολὺν δὲ χρόνον ἐν θωύματι ἦν, ὅκως τυφλὸς ἐὼν μόνος ἀπίκοιτο ἐς τοιούτους χώρους, καὶ ὅτι θέλων· προσελθών τέ μιν ἱστορέειν, ὅστις τε ἦν καὶ τίνι τρόπωι ἀπίκοιτο ἐς τόπους ἀοικήτους καὶ ἀστιβέα χωρία, καὶ τίνος κεχρημένος εἴη. ὁ δὲ Ὅμηρος αὐτῶι πᾶσαν τὴν ἑωυτοῦ πάθην καταλεγόμενος ἐς οἶκτον προηγάγετο· ἦν γὰρ, ὡς ἔοικεν, οὐδ’ ἀγνώμων ὁ Γλαῦκος. ἀναλαβὼν δὲ αὐτὸν ἀνήγαγεν ἐπὶ τὸν σταθμόν, πῦρ τε ἀνακαύσας δεῖπνον παρασκευάζει, καὶ παραθεὶς δειπνεῖν ἐκέλευεν ὁ Γλαῦκος.<br /> <br /> {{#chapternum:22}} τῶν δὲ κυνῶν {{#lemma: μὴ ἐσθιόντων | μὴ ἐσθιόντων M: ἑστώτων ''Suda''}} καὶ ὑλακτούντων δειπνοῦντας, καθάπερ εἰώθεσαν, λέγει πρὸς τὸν Γλαῦκον Ὅμηρος {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 11}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> Γλαῦκε {{#lemma: πέπων, ἐπιών τοι | πέπων ἐπιών τοι m: βροτῶν ἐπιόπτα m (cf. ''Suda'' s.v. Ὅμηρος)}} ἔπος τί τοι ἐν φρεσὶ θήσω·<br /> πρῶτον μὲν κυσὶ δεῖπνον ἐπ’ αὐλείηισι θύρηισιν<br /> δοῦναι· ὣς γὰρ ἄμεινον· ὃ γὰρ καὶ {{#lemma: πρῶτον | πρῶτον M: πρόσθεν ''Suda''}} ἀκούει<br /> ἀνδρὸς ἐπερχομένου καὶ ἐς ἕρκεα θηρὸς ἰόντος.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ταῦτα ἀκούσας ὁ Γλαῦκος ἥσθη τῆι παραινέσει, καὶ ἐν θωύματι εἶχεν αὐτόν. δειπνήσαντες δὲ διὰ λόγων εἱστιῶντο· ἀπηγεομένου δὲ Ὁμήρου τήν τε πλάνην τὴν ἑωυτοῦ καὶ τὰς πόλεις ἃς ἐσαπίκοιτο, ἔκπληκτος ἦν ὁ Γλαῦκος ἀκούων. καὶ τότε μέν, ἐπεὶ ὥρη κοίτου ἦν, ἀνεπαύετο·<br /> <br /> {{#chapternum:23}} τῆι δὲ ὑστεραίηι διενοήθη ὁ Γλαῦκος πρὸς τὸν δεσπότην πορευθῆναι σημανέων τὰ {{#lemma: περὶ | περὶ m: ὑπὲρ τοῦ m}} Ὁμήρου. ἐπιτρέψας δὲ τῶι συνδούλωι νέμειν τὰς αἶγας, τὸν Ὅμηρον καταλείπει ἔνδον, εἰπὼν πρὸς αὐτὸν ὅτι διὰ ταχέων πορεύσομαι, καταβὰς δὲ ἐς Βολισσόν, ἔστι δὲ πλησίον τοῦ χωρίου τούτου, καὶ συγγενόμενος τῶι δεσπότηι ἀπηγέετο ὑπὲρ Ὁμήρου πᾶσαν τὴν ἀλήθειαν, περί τε αὐτοῦ τῆς ἀπίξιος ἐν θωύματι ποιεύμενος, ἠρώτεέ τε ὅ τι χρὴ ποιέειν περὶ {{#lemma: αὐτοῦ | αὐτοῦ m: αὐτόν m}}. ὃ δὲ ὀλίγα μὲν προσίετο τῶν λόγων, κατεγίνωσκε δὲ τοῦ Γλαύκου ὡς ἄφρονος ἐόντος τοὺς ἀναπήρους δεχομένου καὶ τρέφοντος· ἐκέλευε δὲ ὅμως τὸν ξεῖνον ἄγειν πρὸς ἑαυτόν.<br /> <br /> {{#chapternum:24}} ἐλθὼν δὲ πρὸς τὸν Ὅμηρον διηγήσατο ταῦτα ὁ Γλαῦκος καὶ ἐκέλευσεν {{#lemma: αὐτὸν πορεύεσθαι | αὐτὸν πορεύεσθαι m: πορεύεσθαι τοῦτον m}}, οὕτω γὰρ εὖ πρήξειν· ὁ δὲ Ὅμηρος ἤθελε πορεύεσθαι. ἀναλαβὼν οὖν αὐτὸν ὁ Γλαῦκος ἤγαγε πρὸς τὸν δεσπότην. διὰ λόγων δὲ ἰὼν τῶι Ὁμήρωι ὁ Χῖος εὑρίσκει ἐόντα δεξιὸν καὶ πολλῶν ἔμπειρον· {{#lemma: ἔπειθέ τε αὐτὸν | ἔπειθέ τε αὐτὸν M: ἔπειθε τε αὐτόθι ''Suda'' s.v. Ὅμηρος}} μένειν καὶ τῶν παιδίων ἐπιμέλειαν ποιέεσθαι· ἦσαν γὰρ τῶι Χίωι παῖδες ἐν ἡλικίηι. τούτους οὖν αὐτῶι {{#lemma: παρατίθεται | παρατίθεται m: παρατίθησι m}} παιδεύειν, ὃ δὲ ἔπρησσε ταῦτα. καὶ τοὺς Κέρκωπας καὶ Βατραχομαχίαν καὶ Ψαρομαχίην καὶ Ἑπταπακτικὴν καὶ Ἐπικιχλίδας καὶ τἄλλα πάντα ὅσα παίγνιά ἐστιν Ὁμήρου ἐνταῦθα ἐποίησε παρὰ τῶι Χίωι ἐν Βολισσῶι, ὥστε καὶ ἐν τῆι πόλει περιβόητος ἤδη ἐγένετο ἐν τῆι ποιήσει. καὶ ὁ μὲν Θεστορίδης, ὡς τάχιστα ἐπύθετο αὐτὸν παρεόντα, ὤιχετο ἐκπλέων ἐκ τῆς Χίου.<br /> <br /> {{#chapternum:25}} χρόνου δὲ προϊόντος δεηθεὶς τοῦ Χίου πορεῦσαι αὐτὸν ἐς τὴν Χίον ἀπίκετο εἰς τὴν πόλιν· καὶ διδασκαλεῖον κατασκευασάμενος ἐδίδασκε παῖδας τὰ ἔπεα. καὶ κάρτα δεξιὸς κατεδόκεεν εἶναι τοῖς Χίοις, καὶ πολλοὶ θωυμασταὶ αὐτοῦ καθειστήκεσαν. συλλεξάμενος δὲ βίον ἱκανὸν γυναῖκα ἔγημεν, ἐξ ἧς αὐτῶι θυγατέρες δύο ἐγένοντο· καὶ ἣ μὲν αὐτῶν ἄγαμος ἐτελεύτησε, τὴν δὲ συνώικισεν ἀνδρὶ Χίωι.<br /> <br /> {{#chapternum:26}} ἐπιχειρήσας δὲ τῆι ποιήσει ἀπέδωκε χάριν ἣν εἶχε, πρῶτον μὲν Μέντορι τῶι Ιθακησίωι ἐν τῆι Ὀδυσσείηι, ὅτι μιν κάμνοντα τοὺς ὀφθαλμοὺς ἐν Ἰθάκηι ἐνοσήλευεν ἐκτενέως, τοὔνομα αὐτοῦ ἐναρμόσας ἐς τὴν ποίησιν Ὀδυσσέως τε ἑταῖρον φὰς εἶναι, ποιήσας Ὀδυσσέα, ὡς ἐς Τροίην ἔπλεε, Μέντορι ἐπιτρέψαι τὸν οἶκον ὡς ἐόντι Ἰθακησίων ἀρίστωι καὶ δικαιοτάτωι. πολλαχῆι δὲ καὶ ἄλληι τῆς ποιήσεως τιμῶν αὐτὸν τὴν Ἀθηνᾶν, ὁπότε ἐς λόγον τινὶ καθίσταιτο, τῶι Μέντορι οἰκυῖην ποιεῖ. ἀπέδωκε δὲ καὶ Φημίωι τῶι ἑαυτοῦ διδασκάλωι τροφεῖα καὶ διδασκαλεῖα ἐν τῆι Ὀδυσσείηι, μάλιστα ἐν {{#lemma: τοῖσδε τοῖς ἔπεσι | Hom. ''Od.'' 1.153-5}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> κήρυξ δ’ ἐν χερσὶν κίθαριν περικαλλέ’ ἔθηκε<br /> Φημίωι, ὃς δὴ πολλὸν ἐκαίνυτο πάντας ἀείδων·<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> καὶ πάλιν<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> αὐτὰρ ὃ φορμίζων ἀνεβάλλετο καλὸν ἀείδειν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> μέμνηται δὲ καὶ τοῦ ναυκλήρου μεθ’ οὗ ἐκπεριέπλευσε καὶ εἶδε πόλιάς τε πολλὰς καὶ χώρας, ὧι ὄνομα ἦν Μέντης, ἐν τοῖς {{#lemma: ἔπεσι τοῖσδε | Hom. ''Od.'' 1.180-1}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> Μέντης Ἀγχιάλοιο δαΐφρονος εὔχομαι εἶναι<br /> υἱός, ἀτὰρ Ταφίοισι φιληρέτμοισιν ἀνάσσω.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἀπέδωκε δὲ χάριν καὶ Τυχίωι τῶι σκυτεῖ, ὃς ἐδέξατο αὐτὸν ἐν τῶι Νέωι τείχει προσελθόντα πρὸς τὸ σκυτεῖον, ἐν τοῖς ἔπεσι καταζεύξας ἐν {{#lemma: τῆι Ἰλιάδι τοῖσδε | Hom. ''Il.'' 7.219-21}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> Αἴας δ’ ἐγγύθεν ἦλθε φέρων σάκος ἠΰτε πύργον,<br /> χάλκεον ἑπταβόειον, ὅ οἱ Τυχίος κάμε τεύχων,<br /> σκυτοτόμων ὄχ’ ἄριστος, Ὕληι ἔνι οἰκία ναίων.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:27}} ἀπὸ δὲ τῆς ποιήσεως ταύτης εὐδοκίμει Ὅμηρος περί τε τὴν Ἰωνίην, καὶ ἐς τὴν Ἑλλάδα ἤδη περὶ αὐτοῦ λόγος ἀνεφέρετο. κατοικέων δὲ ἐν τῆι Χίωι καὶ εὐδοκιμέων περὶ τὴν ποίησιν, ἀπικνεομένων πολλῶν πρὸς αὐτόν, συνεβούλευον οἱ ἐντυγχάνοντες αὐτῶι ἐς τὴν Ἑλλάδα ἀπικέσθαι· ὃ δὲ προσεδέξατο τὸν λόγον, καὶ κάρτα ἐπεθύμει ἀποδημῆσαι.<br /> <br /> {{#chapternum:28}} κατανοήσας δὲ ὅτι ἐς μὲν Ἄργος πολλαὶ καὶ μεγάλαι εἶεν εὐλογίαι πεποιημέναι, ἐς δὲ τὰς Ἀθήνας οὔ, ἐμποιεῖ ἐς τὴν ποίησιν, ἐς μὲν Ἰλιάδα τὴν μεγάλην, Ἐρεχθέα μεγαλύνων ἐν Νεῶν καταλόγωι {{#lemma: τὰ ἔπεα τάδε | ''Il.'' 2.547-8}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> δῆμον Ἐρεχθῆος μεγαλήτορος, ὅν ποτ’ Ἀθήνη<br /> θρέψε Διὸς θυγάτηρ, τέκε δὲ ζείδωρος ἄρουρα·<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> καὶ τὸν στρατηγὸν αὐτῶν Μενεσθέα αἰνέσας ὡς πάντων εἴη ἄριστος τάξαι πεζὸν στρατὸν καὶ ἱππότας, ἐν {{#lemma: τοῖσδε τοῖς ἔπεσιν εἶπε | ''Il.'' 2.552-4}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> τῶν αὖθ’ ἡγεμόνευεν υἱὸς Πετεῶιο Μενεσθεύς.<br /> τῶι δ’ οὔ πώ τις ὁμοῖος ἐπιχθόνιος γένετ’ ἀνήρ<br /> κοσμῆσαι ἵππους τε καὶ ἀνέρας ἀσπιδιώτας·<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> Αἴαντα δὲ τὸν Τελαμῶνος καὶ Σαλαμινίους ἐν Νεῶν καταλόγωι ἔταξε πρὸς Ἀθηναίους, λέγων {{#lemma: τάδε<br /> | τάδε m: ὧδε m}}{{#lemma: · | Hom. ''Il.'' 2.557-8}}<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> Αἴας δ’ ἐκ Σαλαμῖνος ἄγεν δυοκαίδεκα νῆας,<br /> στῆσε δ’ ἄγων ἵν’ Ἀθηναίων ἵσταντο φάλαγγες·<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἐς δὲ τὴν Ὀδυσσείην τάδε ἐποίησεν, ὡς Ἀθηνᾶ ἐς λόγους ἐλθοῦσα τῶι Ὀδυσσεῖ ἐς τὴν Ἀθηναίων πόλιν ἀπίκετο, τιμῶσα ταύτην τῶν ἄλλων {{#lemma: πόλεων | πόλεων m: πολλῶν m}} {{#lemma: μάλιστα | Hom. ''Od.'' 7.80-1}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἵκετο δ’ ἐς Μαραθῶνα καὶ εὐρυχόρους ἐς Ἀθήνας, <br /> δῦνε δ’ Ἐρεχθῆος πυκινὸν δόμον.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:29}} ἐμποιήσας δὲ ἐς τὴν ποίησιν ταῦτα καὶ παρασκευασάμενος, ἐς Ἑλλάδα βουλόμενος ποιήσασθαι τὸν πλοῦν, προσίσχει τῆι Σάμωι. ἔτυχον δὲ οἱ ἐκεῖσε τὸν τότε καιρὸν ἄγοντες ἑορτὴν Ἀπατούρια. καί τις τῶν Σαμίων ἰδὼν τὸν Ὅμηρον ἀπιγμένον, πρότερον αὐτὸν ὀπωπὼς ἐν Χίωι, ἐλθὼν ἐς τοὺς φράτορας διηγήσατο, ἐν ἐπαίνωι μεγάλωι ποιεύμενος αὐτόν. οἱ δὲ φράτορες ἐκέλευον ἄγειν αὐτόν· ὃ δὲ ἐντυχὼν τῶι Ὁμήρωι ἔλεξεν, “ὦ ξένε, Ἀπατούρια ἀγούσης τῆς πόλιος καλέουσί σε οἱ φράτορες οἱ ἡμέτεροι συνεορτάσοντα.” ὁ δὲ Ὅμηρος ἔφη ταῦτα ποιήσειν, καὶ ἤιει μετὰ τοῦ καλέσαντος. <br /> <br /> {{#chapternum:30}} πορευόμενος δὲ ἐγχρίμπτεται γυναιξὶ Κουροτρόφωι θυούσαις ἐν τῆι τριόδωι· ἡ δὲ ἱέρεια εἶπε πρὸς αὐτὸν δυσχεράνασα τῆι ὄψει, “ἄνερ, ἀπὸ τῶν ἱερῶν.” ὁ δὲ Ὅμηρος ἐς θυμόν τε ἔβαλε τὸ ῥηθέν, καὶ ἤρετο τὸν ἄγοντα τίς τε εἴη ὁ φθεγξάμενος, καὶ τίνι θεῶν ἱερὰ θύεται· ὃ δὲ αὐτῶι διηγήσατο ὅτι γυνὴ εἴη, Κουροτρόφωι θύουσα. ὃ δὲ ἀκούσας λέγει {{#lemma: τάδε τὰ ἔπεα | ''Epigrammata'' 12, Athenaeus 592a}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> κλῦθί μοι εὐχομένωι, Κουροτρόφε, δὸς δὲ γυναῖκα<br /> τήνδε νέων μὲν ἀνήνασθαι φιλότητα καὶ εὐνήν,<br /> ἣ δ’ ἐπιτερπέσθω πολιοκροτάφοισι γέρουσιν,<br /> ὧν ὥρη μὲν ἀπήμβλυνται, θυμὸς δὲ μενοινᾶι.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:31}} ἐπεὶ δὲ ἦλθεν ἐς τὴν φρήτρην καὶ τοῦ οἴκου ἔνθα δὴ ἐδαίνυντο ἐπὶ τὸν οὐδὸν ἔστη, οἳ μὲν λέγουσι καιομένου πυρὸς ἐν τῶι οἴκωι, οἳ δέ φασι τότε ἐκκαῦσαι σφᾶς, ἐπειδὴ Ὅμηρος {{#lemma: τὰ ἔπεα εἶπεν | ''Epigrammata'' 13; cf. et ''Cert.'' 16, ''Suda'' s.v. Ὅμηρος. χρήματα … ἰδέσθαι M: λαὸς δ’ εἰν ἀγορῆισι καθήμενος εἰσοράασθαι / αἰθομένου δὲ πυρὸς γεραρώτερος οἶκος ἰδέσθαι / ἤματι χειμερίωι ὁπότ’ ἂν νείφηισι Κρονίων ''Cert.''}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἀνδρὸς μὲν {{#lemma: στέφανος παῖδες | στέφανος παῖδες m: παῖδες στέφανος m., ''Suda'': στέφανοι παῖδες ''Cert''.}}, πύργοι δὲ πόληος,<br /> ἵπποι δ’ {{#lemma: ἐν πεδίωι | ἐν πεδίωι M., ''Suda'': αὖ πεδίου ''Cert''. κόσμος}}, νῆες δὲ θαλάσσης,<br /> χρήματα δ’ αὔξει οἶκον· ἀτὰρ γεραροὶ βασιλῆες<br /> ἥμενοι εἰν ἀγορῆι κόσμος τ’ ἄλλοισι ὁρᾶσθαι·<br /> αἰθομένου δὲ πυρὸς γεραρώτερος οἶκος ἰδέσθαι.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> εἰσελθὼν δὲ καὶ κατακλιθεὶς ἐδαίνυτο μετὰ τῶν φρατόρων· καὶ αὐτὸν ἐτίμων καὶ ἐν θωύματι εἶχον. καὶ τότε μὲν τὴν κοίτην αὐτοῦ ἐποιήσατο Ὅμηρος· <br /> <br /> {{#chapternum:32}} τῆι δὲ εἰσαύριον ἀποπορευόμενον ἰδόντες κεραμέες τινες κάμινον ἐγκαίοντες κεράμου λεπτοῦ, προσεκαλέσαντο αὐτόν, πεπυσμένοι ὅτι σοφὸς εἴη, καὶ ἐκέλευόν σφιν ἀεῖσαι, φάμενοι δώσειν αὐτῶι τοῦ κεράμου καὶ ὅ τι ἂν ἄλλο ἔχωσιν. ὁ δὲ Ὅμηρος ἀείδει αὐτοῖς {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 14}}, ἃ καλεῖται Κάμινος·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> εἰ μὲν δώσετε μισθὸν {{#lemma: ἀείσω | ἀείσω m: ἀοιδῆς m, ''Suda'' s.v. Ὅμηρος}}, ὦ κεραμῆες,<br /> δεῦρ’ ἄγ’ Ἀθηναίη, καὶ {{#lemma: ὑπείρεχε | ὑπείρεχε M: ὑπέρσχεθε ''Suda''}} χεῖρα καμίνου,<br /> εὖ δὲ μελανθεῖεν κότυλοι καὶ πάντα {{#lemma: κάναστρα | κάναστρα Wilamowitz, West (cf. Pollux 10.85): μάλ’ ἱερὰ M}},<br /> φρυχθῆναί τε καλῶς καὶ τιμῆς ὦνον ἀρέσθαι,<br /> πολλὰ μὲν εἰν ἀγορῆι πωλεύμενα, πολλὰ δ’ ἀγυιαῖς,<br /> πολλὰ δὲ κερδῆναι, ἡμῖν δὲ δὴ ὥς σφι νοῆσαι.<br /> ἢν δ’ ἐπ’ ἀναιδείην τρεφθέντες ψεύδε’ ἄρησθε,<br /> συγκαλέω δ’ἤπειτα {{#lemma: καμίνωι | καμίνωι m: καμίνων m, ''Suda''}} δηλητῆρας,<br /> Σύντριβ’ ὁμῶς Σμάραγόν τε καὶ Ἄσβετον ἠδὲ {{#lemma: Σαβάκτην | Σαβάκτην ''Suda'': γ’ Ἄβακτον M}}<br /> Ὠμόδαμόν θ’, ὃς τῆιδε τέχνηι κακὰ πολλὰ πορίζει·<br /> {{#lemma: †πεῖθε† | †πεῖθε† edd.}} πυραίθουσαν καὶ δώματα, σὺν δὲ κάμινος<br /> πᾶσα κυκηθείη, κεραμέων μέγα κωκυσάντων.<br /> ὡς γνάθος ἱππείη βρύκει, βρύκοι δὲ κάμινος,<br /> πάντ’ ἔντοσθ’ αὐτῆς κεραμήϊα λεπτὰ ποιοῦσα.<br /> δεῦρο καὶ Ἠελίου θύγατερ, πολυφάρμακε Κίρκη·<br /> ἄγρια φάρμακα βάλλε, κάκου δ’ αὐτούς τε καὶ ἔργα·<br /> δεῦρο δὲ καὶ Χείρων ἀγέτω πολέας Κενταύρους,<br /> οἵ θ’ {{#lemma: Ἡρακλῆος | Ἡρακλῆος m: Ἡρακλείους m}} χεῖρας φύγον, οἵ τ’ ἀπόλοντο· <br /> τύπτοιεν τάδε ἔργα κακῶς, {{#lemma: πίπτοι δὲ κάμινος | πίπτοι δὲ κάμινος m, ''Suda'': τύπτοι δὲ κάμινον m}},<br /> αὐτοὶ δ’ οἰμώζοντες ὁρώιατο ἔργα πονηρά·<br /> γηθήσω δ’ ὁρόων αὐτῶν κακοδαίμονα τέχνην.<br /> ὃς δέ χ’ ὑπερκύψηι, περὶ τούτου πᾶν τὸ πρόσωπον<br /> φλεχθείη, ὡς πάντες {{#lemma: ἐπίσταιντ’ | ἐπίσταιντ’ m: ἐπίστωντ’ m}} αἴσιμα ῥέζειν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:33}} παραχειμάζων δὲ ἐν τῆι Σάμωι, ταῖς νουμηνίαις προσπορευόμενος πρὸς τὰς οἰκίας τὰς εὐδαιμονεστάτας ἐλάμβανέ τι ἀείδων {{#lemma: τὰ ἔπεα τάδε | ''Epigrammata'' 15}}, ἃ καλεῖται Εἰρεσιώνη· ὡδήγουν δὲ αὐτὸν καὶ συμπαρῆσαν αἰεὶ τῶν παίδων τινὲς τῶν ἐγχωρίων·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> δῶμα προσετραπόμεσθ’ ἀνδρὸς μέγα δυναμένοιο,<br /> ὃς μέγα μὲν δύναται, μέγα δὲ βρέμει, ὄλβιος αἰεί.<br /> αὐταὶ ἀνακλίνεσθε, θύραι· Πλοῦτος γὰρ ἔσεισι<br /> πολλός, σὺν Πλούτωι δὲ καὶ Εὐφροσύνη τεθαλυῖα<br /> Εἰρήνη τ’ ἀγαθή. ὅσα δ’ ἄγγεα, μεστὰ μὲν εἴη,<br /> κυρβαίη δ’ αἰεὶ κατὰ καρδόπου ἕρποι {{#lemma: μάζα | νῦν μὲν κριθαίην εὐώπιδα σησαμόεσσαν post. μάζα add. ''Suda'' s.v. Ὅμηρος, m (Lascaris)}}.<br /> τοῦ παιδὸς δὲ γυνὴ κατὰ δίφρακα βήσεται ὔμμιν,<br /> ἡμίονοι δ’ ἄξουσι κραταίποδες ἐς τόδε δῶμα,<br /> αὐτὴ δ’ ἱστὸν ὑφαίνοι ἐπ’ ἠλέκτρωι βεβαυῖα.<br /> νεῦμαί τοι νεῦμαι ἐνιαύσιος ὥστε χελιδών·<br /> ἕστηκ’ ἐν {{#lemma: προθύροις | ψιλὴ πόδας· ἀλλὰ φέρ’ αἶψα / πέρσαι τῶι Ἀπόλλωνος γυιάτιδος post προθύροις add. ''Suda'' s.v. Ὅμηρος}}<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> καὶ<br /> <br /> &lt;blockquote&gt;&lt;/poem&gt;<br /> εἰ μέν τι δώσεις· εἰ δὲ μή, οὐχ ἑστήξομεν,<br /> οὐ γὰρ συνοικήσοντες ἐνθάδ’ ἤλθομεν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἤιδετο δὲ τάδε τὰ ἔπεα ἐν τῆι Σάμωι ἐπὶ πολὺν χρόνον ὑπὸ τῶν παίδων, ὅτε ἀγείροιεν ἐν τῆι ἑορτῆι τοῦ Ἀπόλλωνος.<br /> <br /> {{#chapternum:34}} ἀρχομένου δε τοῦ ἔαρος ἐπεχείρησε πλεῖν Ὅμηρος ἐς τὰς Ἀθήνας ἐκ τῆς Σάμου. καὶ ἀναχθεὶς μετά τινων ἐγχωρίων ἀπηνέχθη ἐς τὴν Ἴον· καὶ ὡρμίσθησαν οὐ κατὰ πόλιν, ἀλλ’ ἐπ’ ἀκτῆς. συνέβη δε τῶι Ὁμήρωι {{#lemma: κατὰ πολύ τι | κατὰ πολύ τι M: κατὰ τὴν ὁδόν ''Suda'' s.v. Ὅμηρος}} ἄρξασθαι μαλακῶς ἔχειν· ἐκβὰς δ’ ἐκ τοῦ πλοίου ἐκοιμᾶτο ἐπὶ τῆς κυματωγῆς ἀδυνάτως ἔχων. πλείους δὲ ἡμέρας ὁρμούντων αὐτῶν δι’ ἀπλοΐην, καταβαίνοντες αἰεί τινες τῶν ἐκ τῆς πόλιος ἀπεσχόλαζον παρὰ τῶι Ὁμήρωι, καὶ ἐν θωύματι εἶχον αὐτὸν ἀκούοντες αὐτοῦ.<br /> <br /> {{#chapternum:35}} τῶν δε ναυτέων καὶ τῶν ἐκ τῆς πόλιος τινῶν ἡμένων παρὰ τῶι Ὁμήρωι κατέπλωσαν παῖδες ἁλιῆες {{#lemma: &lt;ἐς&gt; | &lt;ἐς&gt; Wilamowitz}} τὸν τόπον, καὶ ἐκβάντες ἐκ τοῦ ἀκατίου προσελθόντες αὐτοῖς τάδε εἶπον· “ἄγετε ὦ ξένοι, ἐπακούσατε ἡμέων, ἂν ἄρα δύνησθε διαγνῶναι ἅσσ’ ἂν ὕμιν εἴπωμεν.” καί τις τῶν παρεόντων ἐκέλευε λέγειν, οἳ δὲ εἶπαν· “ἡμεῖς ἅσσα εἵλομεν κατελίπομεν, ἃ δὲ μὴ εἵλομεν φέρομεν.” οἳ δέ φασι μέτρωι εἰπεῖν {{#lemma: αὐτούς· | ''Cert''. 18, P.Mich. inv. 2754 ll. 2-3, Procl. ''Vit. Hom''. 5, Anon. ''Vit. Hom''. 1.6, Anon. ''Vit. Hom''. 2.3, Anon. ''Vit. Hom''. 3.5, Ps.-Plut. ''Vit. Hom''. 1.4, ''Suda'' s.v. Ὅμηρος}}<br /> <br /> &lt;blockquote&gt;<br /> ἅσσ’ ἕλομεν λιπόμεσθα· ἃ δ’ οὐχ ἕλομεν φερόμεσθα.<br /> &lt;/blockquote&gt;<br /> <br /> οὐ δυναμένων δὲ τῶν παρεόντων γνῶναι τὰ ῥηθέντα, διηγήσαντο οἱ παῖδες ὅτι ἁλιεύοντες οὐδὲν ἐδύναντο ἑλεῖν, καθήμενοι δὲ {{#lemma: ἐν τῆι γῆι | ἐν τῆι γῆι m: ἐν γῆι m}} ἐφθειρίζοντο, καὶ ὅσους μὲν ἔλαβον τῶν φθειρῶν κατέλιπον, ὅσους δὲ μὴ ἐδύναντο, ἐς οἴκους ἀπεφέροντο. ὁ δὲ Ὅμηρος ἀκούσας ταῦτα {{#lemma: ἔλεξε | ἔλεξε m: ἔλεγε m}} {{#lemma: τὰ ἔπεα τάδε | Epigrammata 16}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> τοίων γὰρ πατέρων ἐξ αἵματος ἐκγεγάασθε,<br /> οὔτε βαθυκλήρων οὔτ’ ἄσπετα μῆλα νεμόντων.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:36}} ἐκ δὲ τῆς ἀσθενείας ταύτης συνέβη τὸν Ὅμηρον τελευτῆσαι ἐν Ἴωι, οὐ παρὰ τὸ μὴ γνῶναι τὸ παρὰ τῶν παίδων ῥηθέν, ὡς οἴονταί τινες, ἀλλὰ τῆι μαλακίηι. τελευτήσας δὲ ἐτάφη ἐν τῆι Ἴωι αὐτοῦ ἐπ’ ἀκτῆς ὑπό τε τῶν συμπλόων καὶ τῶν πολιητέων ὅσοι ἐν διαλογῆι ἐγεγένηντο αὐτῶι. καὶ τὸ ἐλεγεῖον τόδε ἐπέγραψαν Ἰῆται ὕστερον χρόνωι πολλῶι, ὡς ἤδη ἥ τε ποίησις ἐξεπεπτώκεε καὶ ἐθαυμάζετο ὑπὸ πάντων· οὐδὲ Ὁμήρου {{#lemma: ἐστίν | ''Cert''. 18, P.Mich. inv. 2754 ll. 11-12, ''AP'' 7.3, Anon. ''Vit. Hom''. 1.6, Anon. ''Vit. Hom''. 2.3, Anon. ''Vit. Hom''. 3.5, Ps.-Plut. ''Vit. Hom''. 1.4, ''Suda'' s.v. Ὅμηρος, Tzetz. ''Exeg. in Il''. 37}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ἐνθάδε τὴν ἱερὴν κεφαλὴν κατὰ γαῖα κάλυψεν,<br /> ἀνδρῶν ἡρώων κοσμήτορα, θεῖον Ὅμηρον.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#chapternum:37}} ὅτι δὲ ἦν Αἰολεὺς Ὅμηρος καὶ οὔτε Ἴων οὔτε Δωριεύς, τοῖς τε εἰρημένοις δεδήλωταί μοι καὶ δὴ καὶ τοῖσδε τεκμαίρεσθαι παρέχει· ἄνδρα ποιητὴν τηλικοῦτον εἰκός ἐστι τῶν νομίμων τῶν παρὰ τοῖς ἀνθρώποις ποιεῦντα ἐς τὴν ποίησιν ἤτοι τὰ κάλλιστα ἐξευρόντα ποιέειν ἢ τὰ ἑωυτοῦ πάτρια ἐόντα. ἤδη τοίνυν τὸ ἐνθένδε αὐτοὶ τῶν ἐπέων ἀκούοντες κρινεῖτε· ἱεροποιΐην γὰρ ἢ τὴν κρατίστην ἐξευρὼν ἐποίησεν ἢ τὴν ἑωυτοῦ πατρίδι προσήκουσαν. {{#lemma: λέγει γὰρ ὧδε | Hom. ''Il.'' 1.459-61}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> αὐέρυσαν μὲν πρῶτα καὶ ἔσφαξαν καὶ ἔδειραν<br /> μηρούς τ’ ἐξέταμον κατά τε κνίσσηι ἐκάλυψαν,<br /> δίπτυχα ποιήσαντες, ἐπ’ αὐτῶν δ’ ὠμοθέτησαν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ἐν τούτοις ὑπὲρ ὀσφύος οὐδὲν εἴρηται ἧι ἐς τὰ ἱερὰ χρέονται· μονώτατον γὰρ τῶν Ἑλλήνων τὸ Αἰολικὸν ἔθνος οὐ καίει ὀσφύν. δηλοῖ δὲ καὶ ἐν τοῖσδε τοῖς ἔπεσιν ὅτι Αἰολεὺς ὢν δικαίως τοῖς τούτων νόμοις {{#lemma: ἐχρῆτο | Hom. ''Il''. 1.462-3}}·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> καῖε δ’ ἐπὶ σχίζηις ὁ γέρων, ἐπὶ δ’ αἴθοπα οἶνον<br /> λεῖβε· νέοι δὲ παρ’ αὐτὸν ἔχον πεμπώβολα χερσίν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> Αἰολέες γὰρ μόνοι τὰ σπλάγχνα ἐπὶ πέντε ὀβελῶν ὀπτῶσιν, οἱ δὲ ἄλλοι Ἕλληνες ἐπὶ τριῶν. καὶ γὰρ ὀνομάζουσιν οἱ Αἰολεῖς τὰ πέντε πέμπε.<br /> <br /> {{#chapternum:38}} τὰ μὲν οὖν ὑπὲρ τῆς γενέσιος καὶ τελευτῆς καὶ βίου δεδήλωταί μοι. περὶ δὲ ἡλικίης τῆς Ὁμήρου ἐκ τῶνδ’ ἄν τις ἐπισκεπτόμενος ἀκριβῶς καὶ ὀρθῶς λογίζοιτο. ἀπὸ γὰρ τῆς ἐς Ἴλιον στρατείης, ἣν Ἀγαμέμνων καὶ Μενέλαος ἤγειραν, ἔτεσιν ὕστερον ἑκατὸν καὶ τριήκοντα Λέσβος ὠικίσθη κατὰ πόλεις, πρότερον ἐοῦσα ἄπολις. μετὰ δὲ Λέσβον οἰκισθεῖσαν ἔτεσιν ὕστερον εἴκοσι Κύμη ἡ Αἰολιῶτις καὶ Φρικωνὶς καλεομένη ὠικίσθη. μετὰ δὲ Κύμην ὀκτωκαίδεκα ἔτεσιν ὕστερον Σμύρνα ὑπὸ Κυμαίων κατωικίσθη· καὶ ἐν τούτωι γίνεται Ὅμηρος. ἀφ’ οὗ δὲ Ὅμηρος ἐγένετο, ἔτεά ἐστιν ἑξακόσια εἰκοσιδύο μέχρι τῆς Ξέρξεω διαβάσεως, ἣν στρατευσάμενος ἐπὶ τοὺς Ἕλληνας καὶ ζεύξας τὸν Ἑλλήσποντον διέβη ἐκ τῆς Ἀσίας ἐς τὴν Εὐρώπην. ἀπὸ δὲ τούτου ῥηϊδίως ἐστὶν ἀριθμῆσαι τὸν χρόνον τῶι ἐθέλοντι ζητεῖν ἐκ τῶν ἀρχόντων τῶν Ἀθήνησι. τῶν δὲ Τρωϊκῶν ὕστερον γεγένηται Ὅμηρος ἔτεσιν ἑκατὸν ἑξήκοντα ὀκτώ.<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> HERODOTUS ON THE ORIGIN, TIME AND LIFE OF HOMER<br /> <br /> {{#chapternum:1}} Herodotus of Halicarnassus has recorded the following information on the origins, time and life of Homer, aiming to achieve the greatest accuracy. When Cyme, the old Aeolian city, was being founded, Hellenic tribes of every kind gathered there, and among those who came from Magnesia was Melanopus, son of Ithagenes son of Crethon – not a rich man, but one of modest means. This Melanopus married Omyres’ daughter in Cyme, and from that union a female child was born to him, whom he named Chretheis. When this Melanopus and his wife died, he entrusted his daughter to a man he knew very well, Cleanax of Argos.<br /> <br /> {{#chapternum:2}} When some time had passed, it happened that the girl fell pregnant after having sex with a man in secret. At first she managed to hide her condition; but when Cleanax became aware of it, he was angry about the mishap, and summoning Cretheis in private he held her wholly responsible for everything, emphasising the dishonor it brought among their fellow-citizens. He therefore decided on the following course of action with respect to the girl’s future. At that time the Cymaeans were colonizing the innermost part of the gulf of the Hermus; they founded a city and Theseus gave it the name Smyrna, for he wished to establish a memorial that was named after his wife; for her name was Smyrna. Theseus was among the leaders of the Thessalians who were colonizing Cyme, the offspring of Eumelus son of Admetus, and a very rich man. Cleanax placed Cretheis there along with Ismenias, a Boeotian, who had been chosen by lot as one of the colonists and was a very good friend of his.<br /> <br /> {{#chapternum:3}} When some time had passed, as Cretheis was going with other women to a festival at the river called Meles and was now ready to give birth, she bore Homer, who was not blind but could see. And she gave the child the name Melesigenes, taking the name from the river. At this time she was staying with Ismenias. But when some time had passed she went away, and undertaking manual work she supported the child and herself, finding work now with one person, now with another; and she educated the child with such means as she had. <br /> <br /> {{#chapternum:4}} At that time there was in Smyrna a man called Phemius, who used to teach boys letters and all the other arts. Since this man was living alone, he hired Cretheis to work some wool for him that he had received from the boys as a payment. She worked at his place, with considerable decorum and self-control, and greatly pleased Phemius. Finally he proposed that she should live with him, employing a number of arguments which, he thought, would win her over, not least concerning her child. For he said that he would adopt him as his own son, and that, after he had supported and educated him, the child would gain renown, for he could see that he was intelligent and very talented. And finally he persuaded her to do as he suggested. <br /> <br /> {{#chapternum:5}} The child was naturally gifted, and with care and education he quickly distinguished himself greatly from all others. As time went by and he reached manhood, he was not at all inferior to Phemius in learning. And so when Phemius died, leaving everything to the child, and not long afterwards Chretheis died too, Melesigenes took over as teacher. Now being on his own, he achieved greater prominence amongst men, and both the locals and the visitors from abroad became his admirers. For Smyrna was a trading post and a great deal of grain was exported from there, as it was brought to the city in great quantities from the surrounding land. And so the foreigners, whenever they finished work, would spend their leisure time sitting at the house of Melesigenes.<br /> <br /> {{#chapternum:6}} Among them at that time was a shipowner, Mentes, from the area around Leucas, who had sailed down for grain as he had a ship. He was an educated man for that time and very learned, and he persuaded Melesigenes to abandon teaching and set sail with him, in exchange for a salary and all that he might need. He added that it would be worth visiting lands and cities while he was still young. And I think that this argument, in particular, swayed Homer, for already at that time he may have been thinking of applying himself to poetry. So he abandoned his teaching and set sail with Mentes. And whatever place he reached on each occasion, he observed all the peculiarities of the region and gained knowledge through inquiry; it is likely that he also wrote down notes of everything.<br /> <br /> {{#chapternum:7}} On the way back from Etruria and Spain, they arrived at Ithaca. And it happened that Melesigenes, who was suffering from an eye disease, was feeling gravely ill and, because he needed care, Mentes, who was about to sail to Leucas, left him with a very good friend of his, Mentor, an Ithacan, the son of Alcimus, and begged him to take care of Homer; he would pick him up on the return voyage. Mentor spared no efforts in tending him, for he had ample resources and by far the best reputation among the Ithacans for righteousness and hospitality. There it happened that Melesigenes researched and learned about the story of Odysseus. The Ithacans say that he went blind then, whilst he was staying with them; but, in my opinion, he recovered on that occasion and went blind later, in Colophon. The Colophonians agree with me on these matters.<br /> <br /> {{#chapternum:8}} Mentes, on the return voyage from Leucas, put in at Ithaca and picked up Melesigenes; and for a long time he sailed about with him. But upon arrival at Colophon it happened that his eye disease returned, and this time he was not able to recover but went blind there. From Colophon, being now blind, he went to Smyrna, and in this condition he turned his hand to poetry. <br /> <br /> {{#chapternum:9}} When some time had passed, since he had no means of earning a living in Smyrna, he decided to go to Cyme. Travelling across the plain of the Hermus he arrived at Neonteichus, a Cymaean colony; this site was founded eight years after Cyme. There it is said that he stood near a shoemaker’s shop and recited his first verses: <br /> <br /> &lt;blockquote&gt;<br /> Respect those who need hospitality and shelter, you who dwell in lofty Cyme, the wide-eyed girl, on the lowest foot of Sardene with its lofty foliage, and drink the ambrosial water of the divine river, the eddying Hermus, offspring of immortal Zeus. <br /> &lt;/blockquote&gt;<br /> <br /> Sardene is a mountain situated above the river Hermus and Neonteichos. The name of the shoemaker was Tychius; upon hearing these verses he decided to welcome the man, for he pitied the blind beggar, and he invited him into his workshop and told him to take his share of what was there. So Homer went in. Sitting in the shoemaker’s shop, when other people were also present, he would perform his poetry for them, ''Amphiaraus’ expedition against Thebes'' and the hymns that he had composed to the gods, and giving his opinion on matters which were discussed by those present, he seemed remarkable to his listeners. <br /> <br /> {{#chapternum:10}} Meanwhile, Melesigenes was staying around Neonteichos, earning his living through his poetry. The inhabitants of Neonteichos still showed in my lifetime the spot where he used to sit and perform his verses, and they had great veneration for the place. A poplar tree was growing there, which they said had grown from the time when Melesigenes came to them. <br /> <br /> {{#chapternum:10}} After some time had passed, being impoverished and scarcely having enough to eat, he decided to go to Cyme, hoping to improve his situation. When he was about to set out, he recited these verses:<br /> <br /> &lt;blockquote&gt;<br /> May my feet carry me forthwith to a city of respectful men; for the spirit of such men is willing and their counsel best.<br /> &lt;/blockquote&gt;<br /> <br /> Travelling from Neonteichos, he arrived at Cyme via Larissa, for that route was easiest for him; and, as the Cymaeans say, he composed this epigram for the king of Phrygia, Midas son of Gordies, at the request of his kinsmen; and it is still now inscribed on the memorial stele:<br /> <br /> &lt;blockquote&gt; <br /> I am a virgin of bronze, and I lie on the tomb of Midas. As long as water flows, and trees grow high, and the sun rises and shines brightly, and the bright moon, and the rivers flow and the sea swells, staying here on this much lamented tomb I shall announce to passersby that Midas is buried here. <br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:12}} Sitting in the salons of the old men in Cyme, Melesigenes performed the verses he had composed, and he delighted his audience with his words; and they became his admirers. Realising that the Cymaeans were receiving his poetry favourably, and that he was winning the friendship of his audience, he made this speech to them, saying that if they were willing to support him at public expense, he would bring great glory to their city. His audience was willing to do this and advised him to approach the council and make a request to the councillors. They said that they would support him. He did as they suggested, and when the council gathered he went to the council room and asked the presiding official to bring him in to the council. He accepted and led him in at the right moment. Taking his stand, Melesigenes made the same speech concerning about his maintenance that he had made in the salons. When he had finished speaking, he went outside and sat down. <br /> <br /> {{#chapternum:13}} They deliberated over what answer they should give him. The man who had brought him in was favourably disposed, and so were all of the other councillors who had listened to him in the salons; but it is said that one of the councillors went against his request, saying, among other things, that if they decided to support the ''homeroi'' then they woud have a large and useless multitude. From then on, moreover, the name Homer prevailed over Melesigenes because of his disability, for the Cymaeans call the blind ''homeroi''; so that, although he was previously called Melesigenes, his name became Homer.<br /> <br /> {{#chapternum:14}} And foreigners spread it about when they mentioned him. But the archon’s speech concluded that they should not support Homer, and the rest of the council was convinced in some way too. The presiding official came and sat beside him, and he explained the arguments that had been made against his request and the deliberations of the council. And when he heard this, Homer was aggrieved and spoke these verses:<br /> <br /> &lt;blockquote&gt;What a destiny father Zeus made me prey to, raising me, when I was a child, on the knees of my reverend mother. Once, by the will of aegis-bearing Zeus, the city was fortified by the people of Phrikon, riders of enraged horses, keener than raging fire in deciding the battle, Aeolian Smyrna, the sea’s neighbour, august coast, through which the glistening water of the holy Meles flows. Starting from there the daughters of Zeus, his glorious offspring, wanted to celebrate the divine land and city of men; but they refused the sacred voice, the fame, the song, because of their thoughtlessness. One of them will understand when he suffers, he who decided my destiny with rebukes. I will endure the fate that the god gave me when I was born, bearing defeat with a patient heart, but no longer do my limbs wish to remain in the sacred streets of Cyme: my great heart incites me to go to a foreign people, however small it may be.&lt;/blockquote&gt; <br /> <br /> {{#chapternum:15}} After this he left Cyme for Phocaea, laying on the Cymaeans a curse that no famous poet should ever be born in their land to bring them glory. Having arrived in Phocaea he adopted the same way of life, performing verses whilst sitting in the salons. There was in Phocaea at that time a certain Thestorides, a disagreeable man, who taught letters to schoolboys. When he learned of Homer’s poetry, he approached him with words to the effect that he was willing to assume responsibility for his care and sustenance, if Homer agreed to ascribe to him whatever verses that he had composed, and, whenever he composed others, always to do so under Thestorides’ name. <br /> <br /> {{#chapternum:16}} When Homer heard this he concluded that he would have to comply, for he was in need of basic necessities and care. During his stay with Thestorides he composed the ''Little Iliad'', which begins:<br /> <br /> &lt;blockquote&gt;<br /> I sing of Ilion and Dardania of fine horses, for which the Danaans, servants of Ares, suffered much,<br /> &lt;/blockquote&gt;<br /> <br /> and the so-called ''Phocais'', which the Phocaeans say Homer composed when he was with them. When Thestorides had transcribed from the mouth of Homer the ''Phocais'' and all his other works, he resolved to leave Phocaea, for he wanted to take possession of Homer’s poetry. And he no longer took care of Homer in the same manner as before. So he spoke these verses to him:<br /> <br /> &lt;blockquote&gt;<br /> Thestorides, although many things are unexpected for mortals, nothing is more incomprehensible than the human mind.<br /> &lt;/blockquote&gt;<br /> <br /> So Thestorides left Phocaea for Chios, where he founded a school; and, reciting the verses as if they were his own, he won much praise and gained profit. Homer, for his part, continued to pursue the same way of life in Phocaea, earning a living through his poetry. <br /> <br /> {{#chapternum:17}} After a short time some Chian merchants arrived in Phocaea. Hearing verses from Homer that they had often heard before from Thestorides in Chios, they told Homer that in Chios a certain school teacher was receiving much praise by performing the same verses. Homer realised that this must be Thestorides, and he desired with all his heart to go to Chios. But when he went down to the harbour, he found no ship sailing to Chios; but some men were preparing to sail to Erythrea for wood. Homer was happy to make his voyage via Erythrea, and he approached the sailors and asked them to accept him as a passenger, presenting many appealing arguments that were likely to convince them. They agreed to take him in, and invited him to embark. Homer embarked, praising them generously, and when he sat down he spoke these verses: <br /> <br /> &lt;blockquote&gt;<br /> Listen, Poseidon, powerful earth-shaker, ruler of sacred Helicon with its broad spaces, grant a favourable wind and a safe return for the sailors, who are escorts and overseers of the ship. Grant that, when I come to the foot of towering Mimas, I may encounter considerate and pious people, and punish the man who cheated me and enraged Zeus of Guests and the guest-table. <br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:18}} When they reached Erythraea after a fine trip, Homer bedded down for the night on the ship. The following day he asked to be led by one of the sailors into the town, and they sent one to be his escort. As Homer was walking, because he found the terrain of Erythrea rough and mountainous, he spoke these verses:<br /> <br /> &lt;blockquote&gt;<br /> Bounteous mistress Earth, giver of sweet wealth, how fertile you are for some mortals, but for others, with whom you are angry, how barren and rough. <br /> &lt;/blockquote&gt;<br /> <br /> Once he had reached the city of the Erythraeans, he asked about the voyage to Chios. When a man who had seen him in Phocaea approached and greeted him, Homer asked for his help in finding a ship, so that he could cross over to Chios. <br /> <br /> {{#chapternum:19}} There was no packet boat from the harbour, but he led him to where the fishing boats were moored. And by chance he happened upon some men who were about to sail to Chios; his guide approached them and asked them to take Homer with them. But they took no notice and set sail. So Homer spoke these verses:<br /> <br /> &lt;blockquote&gt;<br /> Seafaring sailors, who in your wretched fate are like timorous shearwaters, who lead an unpleasant life, respect the sanctity of high-ruling Zeus of Guests; for the retribution of Zeus of Guests is dire for those who cause offence. <br /> &lt;/blockquote&gt;<br /> <br /> After they had set sail, it happened that an unfavourable wind arose, and they were driven back to the place from where they had put out, and there they found Homer still sitting on the shore. When he realised that they had been driven back, he spoke thus:<br /> <br /> &lt;blockquote&gt;<br /> “An unfavourable wind has arisen and caught you, foreigners; but take me even now, and you will have your voyage”.<br /> &lt;/blockquote&gt;<br /> <br /> The fishermen, regretting that they had not taken him in before, urged him to embark, saying that they would not leave him behind if he wanted to sail with them; and thus taking him in they set sail, and they put in on a beach. <br /> <br /> {{#chapternum:20}} Then the fishermen turned to their work; Homer spent the night on the beach, and as he walked and wandered about the following day he came to the place called Pine. And there, while he was resting at night, a fruit of the pine fell upon him (the fruit that some call whorl, others cone). And Homer spoke these verses:<br /> <br /> &lt;blockquote&gt;<br /> Another pine drops a better fruit than yours on the peaks of windy Ida with its many valleys, where the iron of Ares shall be among mortals who walk the earth, when the Cebrenian men possess it. <br /> &lt;/blockquote&gt;<br /> <br /> The Cymaeans at this time were preparing to occupy Cebrenia near Mount Ida, and much iron is produced there.<br /> <br /> {{#chapternum:21}} Homer got up from there and followed the sound of goats being herded. When the dogs barked at him, he cried out; and Glaucus (for this was the name of the goatherd) ran quickly when he heard his voice, and he called the dogs back and scared them away from Homer. For a long time he was astonished at how a blind man had come alone to such places, and for what reason. So he approached Homer and enquired who he was, how he had come to uninhabited places and pathless regions, and what he needed. And Homer, telling him all that had happened to him, moved him to pity; for Glaucus, as it seems, was not hard-hearted. And so, taking Homer with him, Glaucus brought him to his lodging, lit up a fire, and prepared a meal, and placing it in front of him invited him to dine.<br /> <br /> {{#chapternum:22}} Since the dogs were not eating and were barking at them while they dined, as they usually did, Homer spoke these verses to Glaucus:<br /> <br /> &lt;blockquote&gt;<br /> Gentle Glaucus, let me put a thought in your head: first give the dogs their meal at the doors of the courtyard, for that is best: a dog is the first to hear a man approaching or a beast going into the enclosure.<br /> &lt;/blockquote&gt;<br /> <br /> Hearing this, Glaucus was delighted with the advice and was astonished at him. Having eaten, they amused themselves in conversation, and as Homer related his wanderings and the cities he had visited, Glaucus was astounded by what he heard. And when it was time to sleep, he took his rest. <br /> <br /> {{#chapternum:23}} On the following day, Glaucus decided to go to his master’s house to inform him about Homer. He entrusted pasturing the goats to his fellow slave and left Homer indoors, telling him that he would come back before long, and going down to Bolissos, which is close to that place, and meeting his master, he reported the whole truth about Homer, making a wonder of his arrival, and asked what should be done with him. But he believed very few details of the story, and denounced Glaucus as a fool for taking in and supporting disabled people; but he asked him to bring the foreigner to him anyway. <br /> <br /> {{#chapternum:24}} Going back to Homer, Glaucus reported these things and urged him to make the trip, saying that it would be good for him; and Homer was willing to do so. And so Glaucus took him and led him to his master. As he conversed with Homer, the Chian found that he was clever and experienced in many things. He therefore convinced him to remain there and look after his children, for the Chian had sons of age. So he charged him with the education of his children, and Homer performed this role. And he composed there, at the Chian’s in Bolissos, the ''Cercopes'', the ''Batrachomyomachia'', the ''Psaromachia'', the ''Heptapaktike'', the ''Epikichlides'', and all the other playful poems of Homer; so that he now also became famous in the city thanks to his poetry. And Thestorides, as soon as he became aware that he was there, departed on a ship from Chios.<br /> <br /> {{#chapternum:25}} After some time had passed, having asked the Chian to take him to Chios, he arrived at the city; and, founding a school, he taught his verses to children. He was recognised as very clever by the Chians, and many became his admirers. Once he had accumulated sufficient resources, he married a woman, from whom two daughters were born to him; and one of them died unwed, while the other he gave in marriage to a man from Chios. <br /> <br /> {{#chapternum:26}} Turning his hand to poetry, he repaid the favours that he had received, first of all to Mentor the Ithacan in the ''Odyssey'', for tending him assiduously in Ithaca when his eyes were sick, by fitting his name into his poetry and saying that he was a friend of Odysseus; and he made Odysseus entrust his household to him when he left for Troy on the grounds that he was the best and most just of the Ithacans. At many other points in his poetry too, to honour him, he made Athena assume the appearance of Mentor when she engaged in conversation with someone. He also repaid his teacher Phemius for his support and education in the ''Odyssey'', and especially in these verses:<br /> <br /> &lt;blockquote&gt;<br /> And the herald put the beautiful lyre in the hands of Phemius, who far excelled all in singing,<br /> &lt;/blockquote&gt;<br /> <br /> and again:<br /> <br /> &lt;blockquote&gt;<br /> And taking up the phorminx, he struck up a beautiful song.<br /> &lt;/blockquote&gt;<br /> <br /> He also mentions the shipowner by the name of Mentes, with whom he sailed around and saw many cities and lands, in these verses:<br /> <br /> &lt;blockquote&gt;<br /> Mentes the son of wise Anchialus I profess to be, and I rule the Taphians fond of the oar.<br /> &lt;/blockquote&gt;<br /> <br /> He also returned the favour of Tychios the shoemaker, who took him in in Neonteichos when he went to his workshop, introducing him in these verses from the ''Iliad'':<br /> <br /> &lt;blockquote&gt;<br /> And Ajax arrived from nearby bearing a shield like a tower, made of bronze and seven bulls’ hides, which Tychios laboured to fashion for him, far the best of leather-cutters, whose home was in Hyle. <br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:27}} Thanks to this poetry Homer was held in high esteem around Ionia, and his fame was already reaching mainland Greece. While living in Chios winning renown for his poetry, since many people were coming to him, those who met him advised him to go to Greece. He welcomed the idea and was very eager to travel. <br /> <br /> {{#chapternum:28}} Realizing that he had composed many great eulogies for Argos, but none for Athens, he added to his poem, the ''Great Iliad'', these verses to exalt Erechtheus in the Catalogue of Ships:<br /> <br /> &lt;blockquote&gt;<br /> The people of greathearted Erechtheus, whom Athena daughter of Zeus once reared and the grain-giving earth bore.<br /> &lt;/blockquote&gt;<br /> <br /> And to praise their commander Menestheus, for being the best of all men at stationing infantry and charioteers, he said in these verses:<br /> <br /> &lt;blockquote&gt;<br /> The son of Peteos, Menestheus, in turn commanded them. No man on earth has ever been equal to him in arranging horses and shield-bearing men.<br /> &lt;/blockquote&gt;<br /> <br /> And he placed Ajax, son of Telamon, and his Salaminians in the Catalogue of Ships with the Athenians, speaking these verses:<br /> <br /> &lt;blockquote&gt;<br /> Ajax from Salamis led twelve ships, and he stationed them where the Athenian ranks stood.<br /> &lt;/blockquote&gt;<br /> <br /> And in the ''Odyssey'' he added that Athena, having gone to speak to Odysseus, arrived at the city of the Athenians, which she honours more than all other cities:<br /> <br /> &lt;blockquote&gt;<br /> And she came to Marathon and Athens with its broad places, and entered the well-built house of Erechtheus.<br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:29}} Having added these verses to his poetry and made his preparations, wishing to sail to Greece, he put in at Samos. It happened that the local people at that time were celebrating the festival of the Apatouria. And one of the Samians, when he saw that Homer had arrived, for he had seen him before in Chios, went to his clansmen and told them (about Homer), praising him greatly. The clansmen asked him to bring him there; and chancing upon Homer, he said: “Foreigner, as the city is celebrating the Apatouria, our clansmen invite you to celebrate with us”. Homer said he would do so, and went with the man who had invited him. <br /> <br /> {{#chapternum:30}} As he was walking he met some women who were offering sacrifices to Kourotrophos at the place where three roads cross; the priestess, annoyed at seeing him, said: “Man, go away from the sacrifice”. Homer took this utterance to heart, and he asked his guide who it was that had spoken, and to what god the sacrifice was being offered; he explained that it was a woman, sacrificing to Kourotrophos. And upon hearing this he said the following verses: <br /> <br /> &lt;blockquote&gt;<br /> Hear me as I pray, Kourotrophos, and grant that this woman reject the love and bed of young men, but let her delight in old men with hoary temples, whose strength is blunted, though their desire is still keen.<br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:31}} When he came to the clan gathering and stood on the threshold of the building where they were feasting, there was, some say, a fire burning in the building, but others say that they lit it after Homer spoke these verses:<br /> <br /> &lt;blockquote&gt;<br /> Sons are crown for a man, walls for a city; horses are the ornament on a plain, ships of the sea, and wealth enhances the house; and honourable kings sitting in the assembly are a beautiful sight to others. And when a fire is burning the house looks more honourable. <br /> &lt;/blockquote&gt;<br /> <br /> Having entered and reclined, he feasted with the clansmen; and they honoured and admired him. And then Homer slept there. <br /> <br /> {{#chapternum:32}} On the following day, as he was going away, some potters who were firing a kiln full of fragile pottery saw him, called him over, as they had learned that he was wise, and asked him to sing for them, saying that they would give him some of their pottery and anything else they had. Homer sang these verses for them, which are called ''The Kiln'':<br /> <br /> &lt;blockquote&gt;<br /> If you are going to give me a reward I will sing, o potters; come then, Athena, hold your hand over the kiln, may the cups and all the dishes turn a fine black, and be well baked and obtain the price that they are worth, with many sold in the agora, many in the streets, and bring in great profit, and provide for us as much as for them. But if, turning to impudence, you begin to tell lies, then I will summon those destroyers of the kiln, Crush and Shatter, Blister and Shaker, and Underbake, who does much damage to this art †…† the furnace and the rooms, and may the whole kiln be in disorder, while the potters wail loudly. As a horse’s jaw champs the bit, so may the kiln champ, making sherds of all the pottery within. And may you come, as well, Circe, daughter of the Sun, you who know many charms; mix your wild drugs, ruin them and their works; and may Chiron, too, bring many Centaurs here, those who escaped the hands of Heracles and those who died. May they kick these pots to pieces, may the kiln fall apart, and may the potters lament when they see these destructive deeds; I will rejoice as I watch the downfall of their art. And he who puts his head over the top, may his whole face be burned, so that all may learn how to behave appropriately. <br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:33}} He spent the winter in Samos, and going to the most prosperous houses during the new moon he made some money by singing these verses, which are called ''Eiresione''; some of the local boys always guided and attended him:<br /> <br /> &lt;blockquote&gt;<br /> We approached the house of a highly influential man, who has great power and raises a great clamour, always blessed. Open by yourselves, doors: for Wealth will come in abundance, and with Wealth also flourishing Cheer and good Peace. May all the grain jars then be full, and may the barley cake always inch down from the kneading trough. Your son’s bride will come to you in a seat, sturdy-footed mules will bring her to your house, and may she weave at her loom as she treads a floor of amber. I will return, I will return every year like the swallow. I stand at the doorway<br /> &lt;/blockquote&gt;<br /> <br /> and<br /> <br /> &lt;blockquote&gt;<br /> …if you are going to give something; if not, we will not stay here, for we have not come here to live with you.<br /> &lt;/blockquote&gt;<br /> <br /> These verses were sung in Samos for a long time by the children when they collected money during the festival of Apollo. <br /> <br /> {{#chapternum:34}} At the beginning of spring Homer undertook a voyage to Athens from Samos. And sailing out with some local people, he was carried off course to Ios. They did not moor at the town, but on the shore. It happened that Homer began to feel rather ill; having disembarked, he lay down on the shore, feeling weak. For many days they stayed at anchor because of adverse weather, and people were continuously coming down from the town and spending time with Homer, and they admired him as they listened to him. <br /> <br /> {{#chapternum:35}} While the sailors and some people from the town were sitting with Homer, some young fishermen came ashore at that place, and alighting from the boat they approached them and said: “Come now, foreigners, listen to us, to see if you are able to understand what we say.” And one of those present urged them to speak, so they said: “We left behind what we caught, and what we did not catch we carry with us.” Some say that they spoke in metre: <br /> <br /> &lt;blockquote&gt;<br /> All we caught we left behind, what we did not catch we carry with us.<br /> &lt;/blockquote&gt;<br /> <br /> Since those present were not able to understand what they had said, the boys explained that while they were fishing they were not able to catch anything, but then, sitting on the land, they deloused themselves, and the lice that they had caught, they left behind, while those that they were not able to catch, they were bringing home. Homer, hearing this, said these verses:<br /> <br /> &lt;blockquote&gt;<br /> From the blood of such fathers you were born, who neither possessed rich lands nor grazed countless herds.<br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:36}} As a result of this illness it happened that Homer died in Ios, not from his failure to understand what the boys had said, as some think, but because of his weakness. After his death, he was buried in Ios, on the shore there, by his fellow sailors and those people of the town who had conversed with him. And long afterwards, the people of Ios inscribed the following elegy, when his poetry had become famous and was admired by everyone; it is not by Homer:<br /> <br /> &lt;blockquote&gt;<br /> Here the earth covers the sacred head, adorner of warrior heroes, divine Homer. <br /> &lt;/blockquote&gt;<br /> <br /> {{#chapternum:37}} That Homer was an Aeolian, and not an Ionian or a Dorian, I have shown in what I have related above, and he too makes this inference possible on the basis of the following facts: it is likely that a poet of Homer’s calibre, when he describes the customs of men, will either seek out the finest ones and incorporate them into his poems or he will describe his own native customs. You will therefore now judge for yourselves as you listen to the following verses. For in the case of sacrifice, he either sought out and described the best kind, or the one belonging to his fatherland. For he says:<br /> <br /> &lt;blockquote&gt;<br /> First they pulled back the heads and slaughtered and flayed them. They cut out the thighbones and covered them in fat, making a double fold, and placed pieces of raw meat upon them.<br /> &lt;/blockquote&gt;<br /> <br /> In these verses nothing is said about the use of the loin in sacrifice; for, of all the Greeks, only the Aeolians do not burn the loin. He also shows in the following verses that, being an Aeolian, he correctly followed their customs:<br /> <br /> &lt;blockquote&gt;<br /> The old man burned them on splinters and poured on the sparkling wine; beside him the<br /> young men held five-pronged forks in their hands.<br /> &lt;/blockquote&gt;<br /> <br /> For only the Aeolians roast the entrails on five prongs, all the other Greeks on three; and the Aeolian word for ''pente'' (five) is ''pempe''. <br /> <br /> {{#chapternum:38}} So I have set out the details of his origins, death and life. As for Homer’s time, one may calculate it precisely and correctly by taking into account the following. From the time of the expedition to Troy, which Agamemnon and Menelaus organized, it was one hundred and thirty years until Lesbos was colonised by cities (formerly it had no cities). Aeolian Cyme, also called Phrikonian Cyme, was founded twenty years after the colonisation of Lesbos. Smyrna was founded by the Cymaeans eighteen years after Cyme; and Homer was born at that time. From Homer’s birth there are six hundred and twenty two years until Xerxes’ crossing from Asia to Europe, which he accomplished by bridging the Hellespont during his expedition against the Greeks. From that moment it is possible for anyone who wishes to establish the chronology easily on the basis of the archon list at Athens. Homer was born one hundred and sixty eight years after the Trojan War.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Paola Bassino<br /> |guides=[[Homer: A Guide to Selected Sources|Homer]]<br /> }}<br /> <br /> {{#set:Short title=Pseudo-Herodotus, Life of Homer}}<br /> <br /> [[Category:Homer Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2756 2014-05-30T19:40:56Z

<p>WikiSysop: /* TODO */</p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler. See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Feature<br /> ! Code<br /> ! Result<br /> ! Notes<br /> |-<br /> ! Quote<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> | This indents the quote.<br /> |-<br /> ! Poem<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> | This means that extra spaces at the start of a line, and linebreaks, are preserved. Use it for verse poetry.<br /> |-<br /> ! Italic<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |<br /> |-<br /> ! Bold<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |<br /> |-<br /> ! Bold &amp; Italic<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |<br /> |-<br /> ! Normal heading<br /> | &lt;pre&gt;== Normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;Normal heading&lt;/h2&gt;<br /> |<br /> |-<br /> ! Small heading<br /> | &lt;pre&gt;=== Small heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;Small heading&lt;/h3&gt;<br /> |<br /> |-<br /> ! Smaller heading<br /> | &lt;pre&gt;==== Smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;Smaller heading&lt;/h4&gt;<br /> |<br /> |-<br /> ! Link<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |<br /> |-<br /> ! Superscript<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |<br /> |}<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Code<br /> ! Result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |-<br /> | &lt;pre&gt;... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}&lt;/pre&gt;<br /> | ... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == TODO ==<br /> <br /> * bullet lists<br /> * explanation of divs<br /> * different page class info<br /> * table for shorthand (e.g. all templates), with a link to template list</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2755 2014-05-30T19:39:03Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler. See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Feature<br /> ! Code<br /> ! Result<br /> ! Notes<br /> |-<br /> ! Quote<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> | This indents the quote.<br /> |-<br /> ! Poem<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> | This means that extra spaces at the start of a line, and linebreaks, are preserved. Use it for verse poetry.<br /> |-<br /> ! Italic<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |<br /> |-<br /> ! Bold<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |<br /> |-<br /> ! Bold &amp; Italic<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |<br /> |-<br /> ! Normal heading<br /> | &lt;pre&gt;== Normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;Normal heading&lt;/h2&gt;<br /> |<br /> |-<br /> ! Small heading<br /> | &lt;pre&gt;=== Small heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;Small heading&lt;/h3&gt;<br /> |<br /> |-<br /> ! Smaller heading<br /> | &lt;pre&gt;==== Smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;Smaller heading&lt;/h4&gt;<br /> |<br /> |-<br /> ! Link<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |<br /> |-<br /> ! Superscript<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |<br /> |}<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Code<br /> ! Result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |-<br /> | &lt;pre&gt;... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}&lt;/pre&gt;<br /> | ... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == TODO ==<br /> <br /> * bullet lists<br /> * explanation of divs<br /> * different page class info</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2754 2014-05-30T19:32:49Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Feature<br /> ! Code<br /> ! Result<br /> ! Notes<br /> |-<br /> ! Quote<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> | This indents the quote.<br /> |-<br /> ! Poem<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> | This means that extra spaces at the start of a line, and linebreaks, are preserved. Use it for verse poetry.<br /> |-<br /> ! Italic<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |<br /> |-<br /> ! Bold<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |<br /> |-<br /> ! Bold &amp; Italic<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |<br /> |-<br /> ! Normal heading<br /> | &lt;pre&gt;== Normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;Normal heading&lt;/h2&gt;<br /> |<br /> |-<br /> ! Small heading<br /> | &lt;pre&gt;=== Small heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;Small heading&lt;/h3&gt;<br /> |<br /> |-<br /> ! Smaller heading<br /> | &lt;pre&gt;==== Smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;Smaller heading&lt;/h4&gt;<br /> |<br /> |-<br /> ! Link<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |<br /> |-<br /> ! Superscript<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |<br /> |}<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Code<br /> ! Result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |-<br /> | &lt;pre&gt;... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}&lt;/pre&gt;<br /> | ... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == TODO ==<br /> <br /> * bullet lists<br /> * explanation of divs<br /> * different page class info</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2753 2014-05-30T19:32:00Z

<p>WikiSysop: /* Wiki Syntax */</p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Feature<br /> ! Code<br /> ! Result<br /> ! Notes<br /> |-<br /> ! Quote<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> | This indents the quote.<br /> |-<br /> ! Poem<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> | This means that extra spaces at the start of a line, and linebreaks, are preserved. Use it for verse poetry.<br /> |-<br /> ! Italic<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |<br /> |-<br /> ! Bold<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |<br /> |-<br /> ! Bold &amp; Italic<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |<br /> |-<br /> ! Normal heading<br /> | &lt;pre&gt;== Normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;Normal heading&lt;/h2&gt;<br /> |<br /> |-<br /> ! Small heading<br /> | &lt;pre&gt;=== Small heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;Small heading&lt;/h3&gt;<br /> |<br /> |-<br /> ! Smaller heading<br /> | &lt;pre&gt;==== Smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;Smaller heading&lt;/h4&gt;<br /> |<br /> |-<br /> ! Link<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |<br /> |-<br /> ! Superscript<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |<br /> |}<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Code<br /> ! Result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |-<br /> | &lt;pre&gt;... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}&lt;/pre&gt;<br /> | ... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2752 2014-05-30T19:31:24Z

<p>WikiSysop: /* Textual notes / references */</p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Feature<br /> ! Code<br /> ! Result<br /> ! Notes<br /> |-<br /> ! Superscript<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |<br /> |-<br /> ! Quote<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> | This indents the quote.<br /> |-<br /> ! Poem<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> | This means that extra spaces at the start of a line, and linebreaks, are preserved. Use it for verse poetry.<br /> |-<br /> ! Italic<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |<br /> |-<br /> ! Bold<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |<br /> |-<br /> ! Bold &amp; Italic<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |<br /> |-<br /> ! Normal heading<br /> | &lt;pre&gt;== Normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;Normal heading&lt;/h2&gt;<br /> |<br /> |-<br /> ! Small heading<br /> | &lt;pre&gt;=== Small heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;Small heading&lt;/h3&gt;<br /> |<br /> |-<br /> ! Smaller heading<br /> | &lt;pre&gt;==== Smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;Smaller heading&lt;/h4&gt;<br /> |<br /> |-<br /> ! Link<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |<br /> |}<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Code<br /> ! Result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |-<br /> | &lt;pre&gt;... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}&lt;/pre&gt;<br /> | ... at {{#lemma: ''Theogony'' 22 | [[Hesiod, Theogony 22-34|Hes. ''Theog.'' 22-34]]}}<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2751 2014-05-30T19:28:22Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Feature<br /> ! Code<br /> ! Result<br /> ! Notes<br /> |-<br /> ! Superscript<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |<br /> |-<br /> ! Quote<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> | This indents the quote.<br /> |-<br /> ! Poem<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> | This means that extra spaces at the start of a line, and linebreaks, are preserved. Use it for verse poetry.<br /> |-<br /> ! Italic<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |<br /> |-<br /> ! Bold<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |<br /> |-<br /> ! Bold &amp; Italic<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |<br /> |-<br /> ! Normal heading<br /> | &lt;pre&gt;== Normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;Normal heading&lt;/h2&gt;<br /> |<br /> |-<br /> ! Small heading<br /> | &lt;pre&gt;=== Small heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;Small heading&lt;/h3&gt;<br /> |<br /> |-<br /> ! Smaller heading<br /> | &lt;pre&gt;==== Smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;Smaller heading&lt;/h4&gt;<br /> |<br /> |-<br /> ! Link<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |<br /> |}<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! Code<br /> ! Result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2750 2014-05-30T19:11:21Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2749 2014-05-30T18:59:10Z

<p>WikiSysop: </p> <hr /> <div>__FORCETOC__<br /> __TOC__<br /> == Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2748 2014-05-30T18:53:24Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax|Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2747 2014-05-30T18:53:07Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the [[#Wiki Syntax]] section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2746 2014-05-30T18:51:39Z

<p>WikiSysop: /* Shorthand */</p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the Wiki Syntax section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> &lt;nowiki&gt;{{something}}&lt;/nowiki&gt; or &lt;nowiki&gt;{{#something}}&lt;/nowiki&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;nowiki&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/nowiki&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2745 2014-05-30T18:50:50Z

<p>WikiSysop: /* Shorthand */</p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the Wiki Syntax section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> &lt;pre&gt;{{something}}&lt;/pre&gt; or &lt;pre&gt;{{#something}}&lt;/pre&gt; text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example &lt;pre&gt;{{CollectionsBox|editor=Nora Goldschmidt}}&lt;/pre&gt; shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2744 2014-05-30T18:49:44Z

<p>WikiSysop: </p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the Wiki Syntax section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> === Quotes ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;blockquote&gt;quote&lt;/blockquote&gt;&lt;/pre&gt;<br /> | &lt;blockquote&gt;quote&lt;/blockquote&gt;<br /> |}<br /> <br /> This indents the quote.<br /> <br /> === Poems ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;&lt;poem&gt;my poem&lt;/poem&gt;&lt;/pre&gt;<br /> | &lt;poem&gt;my poem&lt;/poem&gt;<br /> |}<br /> <br /> This means that extra spaces at the start of a line, and linebreaks is preserved.<br /> <br /> === Bold &amp; Italic ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;''italic text''&lt;/pre&gt;<br /> | ''italic text''<br /> |-<br /> | &lt;pre&gt;'''bold text'''&lt;/pre&gt;<br /> | '''bold text'''<br /> |-<br /> | &lt;pre&gt;'''''bold and italic text'''''&lt;/pre&gt;<br /> | '''''bold and italic text'''''<br /> |}<br /> <br /> === Headings ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;== normal heading ==&lt;/pre&gt;<br /> | &lt;h2&gt;normal heading&lt;/h2&gt;<br /> |-<br /> | &lt;pre&gt;=== smaller heading ===&lt;/pre&gt;<br /> | &lt;h3&gt;smaller heading&lt;/h3&gt;<br /> |-<br /> | &lt;pre&gt;==== even smaller heading ====&lt;/pre&gt;<br /> | &lt;h4&gt;even smaller heading&lt;/h4&gt;<br /> |}<br /> <br /> === Links ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;[[Page name|link text]]&lt;/pre&gt;<br /> | [[Page name|link text]]<br /> |}<br /> <br /> === Textual notes / references ===<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.&lt;/pre&gt;<br /> | This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> |}<br /> <br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> <br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> {{something}} or {{#something}} text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example {{CollectionsBox|editor=Nora Goldschmidt}} shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Editor%27s_manual&diff=2741 2014-05-30T18:34:38Z

<p>WikiSysop: Created page with &quot;== Introduction == Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin == Editing a page. == After logging in, all pages have an &#039;edit&#039; link at the top right hand s...&quot;</p> <hr /> <div>== Introduction ==<br /> <br /> Log in at https://livingpoets-test.awh.durham.ac.uk/w/Special:UserLogin<br /> <br /> == Editing a page. ==<br /> <br /> After logging in, all pages have an 'edit' link at the top right hand side. There are also 'edit' links to the right of each heading, which you can use to only edit one section.<br /> <br /> Clicking on the Edit link gives you a basic text box with all of the &quot;wiki syntax&quot;, which is like HTML, but simpler.<br /> <br /> See the Wiki Syntax section for help with writing and editing this text.<br /> <br /> Once you have made a change, you can click on the &quot;Show preview&quot; button near the bottom to see how the page will look. (Note that layout near the top of the page will be slightly different for normal users, as they won't have the edit links.) You can scroll down to the bottom of the preview page, and make more changes if you want to, pressing &quot;Show preview&quot; again to see how things look.<br /> <br /> Once you're happy with a change, click the &quot;Save page&quot; button to save it. The change is now live to the world.<br /> <br /> == Creating a new page ==<br /> <br /> === Guide ===<br /> <br /> === Source ===<br /> <br /> === Other page ===<br /> <br /> == Wiki Syntax ==<br /> <br /> === Superscript ===<br /> <br /> {{WikiExample|4&lt;sup&gt;th&lt;/sup&gt;}}<br /> <br /> {| class=&quot;wikitable&quot;<br /> |-<br /> ! code<br /> ! result<br /> |-<br /> | &lt;pre&gt;4&lt;sup&gt;th&lt;/sup&gt;&lt;/pre&gt;<br /> | 4&lt;sup&gt;th&lt;/sup&gt;<br /> |}<br /> <br /> * Quotes<br /> &lt;blockquote&gt;quote&lt;/blockquote&gt; for quotes.<br /> This indents the quote.<br /> * Poems<br /> &lt;poem&gt;my poem&lt;/poem&gt; for poems.<br /> This means that formatting (like extra spaces at the start of a line, or linebreaks) is preserved.<br /> * Italic<br /> ''italic text''<br /> * Bold<br /> '''bold text'''<br /> * Bold and italic<br /> '''''bold and italic text'''''<br /> * Headings<br /> == normal heading ==<br /> === smaller heading ===<br /> ==== even smaller heading ====<br /> * Links<br /> [[Page name|link text]]<br /> * Textual notes / References<br /> This is {{#lemma: all body | And by ''all'', I mean ''full''.}} text.<br /> Note that these can't span across multiple paragraphs - in these cases you'll have to just pick the first paragraph that's covered by the note, and ensure the note makes its scope clear.<br /> They also can't overlap, so you can't have a note covering a whole sentence with another note on a word in that sentence - in these situations you'll have only apply the whole sentence note to a part of it.<br /> <br /> == Shorthand ==<br /> <br /> {{something}} or {{#something}} text is shorthand for something else. Sometimes they can have options separated by '|' characters, which is added in some way to the shorthand.<br /> <br /> For example {{CollectionsBox|editor=Nora Goldschmidt}} shows a standardised box for a source saying that the text and translation is by Nora Goldschmidt.<br /> <br /> These shorthands are technically called templates and parser functions, in case some computer person wants to know.</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=MediaWiki:Common.css&diff=2738 2014-05-30T17:59:15Z

<p>WikiSysop: </p> <hr /> <div>/* CSS placed here will be applied to all skins */<br /> <br /> #homebtns {<br /> text-align: center;<br /> }<br /> <br /> /* make main links on homepage look more like buttons */<br /> #homebtns a {<br /> display: inline-block;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #fafafa;<br /> font-family: 'linux biolinum', 'gill sans','gill sans mt','gill sans mt pro','century gothic',corbel,sans-serif;<br /> font-size: 1.5em;<br /> text-transform: uppercase;<br /> padding: 0.5em 1em;<br /> min-width: 6em;<br /> margin: 0.5em;<br /> color: black;<br /> }<br /> #homebtns a:hover {<br /> background-color: #f5f5f5;<br /> }<br /> <br /> /* make table cells of class 'box' stand out */<br /> td.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1ex 1em;<br /> }<br /> <br /> /* make spans of class 'box' stand out */<br /> span.box {<br /> border: 1px solid #ccc;<br /> background-color: white;<br /> padding: 1em;<br /> }<br /> <br /> /* have line separating collections box, and make font size reasonable */<br /> table.collectionsbox {<br /> border-top:1px solid #dddddd;<br /> font-size:0.75em;<br /> }<br /> <br /> /* enable side-by-side of maintext and translation elements,<br /> * floated so that js can easily enable crit app notes<br /> * (see LemmaNotes and ToggleNotes extension for that part) */<br /> .textwithtranslation #maintext {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%; /* space for linenums */<br /> border-right:thin solid #ccc;<br /> }<br /> .textwithtranslation #translation {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%; /* space for linenums */<br /> }<br /> <br /> /* space for linenums */<br /> .textwithouttranslation #maintext {<br /> padding-left: 2%; /* space for linenums */<br /> padding-right: 3%; /* space for linenums */<br /> }<br /> <br /> .linenumleft, .linenumright,<br /> .chapternumleft, .chapternumright {<br /> font-size: 0.8em;<br /> }<br /> <br /> /* Classes for optional side-by-side translations that line up by section,<br /> using div classes per section, with translation sections immediately<br /> following the originals. */<br /> .textwithtranslation .orig {<br /> float: left;<br /> width: 54%;<br /> padding-right: 3%;<br /> clear: right;<br /> }<br /> <br /> .textwithtranslation .trans {<br /> float: right;<br /> width: 39%;<br /> padding-left: 2%;<br /> }<br /> <br /> /* style toggle notes and highlights buttons (from ToggleNotes extension) */<br /> #togglenotes, #togglehighlights {<br /> display: block;<br /> width: 12em;<br /> margin: auto 0em auto auto;<br /> text-align: center;<br /> border: 1px solid #ccc;<br /> background-color: #f5f5f5;<br /> padding: 0.7ex 1em;<br /> cursor: pointer;<br /> font-size: medium;<br /> clear: right;<br /> }<br /> <br /> #togglenotes:hover,<br /> #togglehighlights {<br /> background-color: #fafafa;<br /> }<br /> <br /> /* Modify lemmanote placement to sit in the right hand column (for ToggleNotes extension) */<br /> #maintext .lemmanote,<br /> .textwithtranslation .orig .lemmanote {<br /> /* proportional to #maintext (55%; set in Common.css) */<br /> margin-right: -80%; /* 80% of 55% : 44% */<br /> width: 70%; /* 70% of 55% : 50% */<br /> }<br /> #guide .lemmanote {<br /> /* proportional to #guide (75%; set in Common.css) */<br /> margin-right: -35%; /* 40% of 75% : ~25% */<br /> width: 30%; /* 35% of 75% : 22.5% */<br /> }<br /> <br /> /* for 2 column guides */<br /> #guide {<br /> float: left;<br /> width: 75%;<br /> padding-right: 1%;<br /> border-right:thin solid #ccc;<br /> clear: both;<br /> }<br /> #notes {<br /> float: right;<br /> }<br /> <br /> <br /> div.highlightbox {<br /> float: right;<br /> clear: right;<br /> width: 22%;<br /> min-width: 15em;<br /> text-align: right;<br /> }<br /> <br /> div.highlightbox p {<br /> font-size: 0.75em;<br /> }<br /> <br /> div.highlightbox #togglehighlights {<br /> width: 100%;<br /> }<br /> <br /> /* don't have bullet points or indentation for bib items */<br /> #bibliography li {<br /> list-style-type: none;<br /> }<br /> #bibliography ul,<br /> #bibliography li {<br /> margin-left: 0px;<br /> }<br /> <br /> /* have mdash bullets for child bib items */<br /> #bibliography ul li ul li:before {<br /> content:&quot;――&quot;;<br /> }<br /> <br /> /* ensure poems are always left aligned, not justified */<br /> .poem {<br /> text-align: left;<br /> }<br /> <br /> .poemmod p { <br /> padding-left: 16em;<br /> text-indent: -16em;<br /> margin-bottom: 0px;<br /> }<br /> <br /> /* hide toolbox and search from footer */<br /> .footer #toolbox {<br /> display: none;<br /> }<br /> <br /> .footer #search {<br /> display: none;<br /> }<br /> <br /> /* Two column homepage layout that changes to stacked once things get narrow */<br /> <br /> #homemain {<br /> width: 60%;<br /> float: left;<br /> padding-right: 0.5em;<br /> padding-bottom: 1em; /* as slideshow spacer is a little unreliable */<br /> }<br /> <br /> #newsbox {<br /> float:right;<br /> width:33%;<br /> padding: 0.5em 1em;<br /> border: thin solid #ccc;<br /> /* ensure it is above slideshow in unlikely case that it overlaps */<br /> background-color: white;<br /> z-index: 1;<br /> position: relative;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 0.75em;<br /> }<br /> <br /> #newsbox &gt; h3 {<br /> margin-top: 0em;<br /> }<br /> <br /> /* Use lighter text for explanation of the apparatus criticus abbreviations */<br /> .appcritabbr {<br /> color: #666666;<br /> }<br /> <br /> /* Make guide texts attribution slightly larger than regular notes */<br /> .guidetextsby {<br /> font-size: 1.25em;<br /> }<br /> <br /> /* Hide category list from bottom of pages */<br /> .catlinks {<br /> display: none;<br /> }<br /> <br /> @media(max-width: 60em) {<br /> #homemain {<br /> width: 65%;<br /> }<br /> <br /> #newsbox {<br /> width: 28%;<br /> }<br /> }<br /> <br /> @media(max-width: 50em) {<br /> #homemain,<br /> #newsbox {<br /> width: 96%; /* 100% can cause scrollbars */<br /> float: none;<br /> padding: 0 0.5em 1em 0;<br /> }<br /> <br /> #newsbox {<br /> border: none;<br /> border-top: thin solid #ccc;<br /> }<br /> <br /> #newsbox ul li,<br /> #newsbox div a {<br /> font-size: 1em;<br /> }<br /> }<br /> <br /> @media(max-width: 30em) {<br /> /* Have guide and texts with translation as only one column.<br /> * (lemmanotes are handled by @media queries in css in LemmaNotes and ToggleNotes extensions) */<br /> #guide {<br /> float: none;<br /> width: 100%;<br /> padding-right: 0;<br /> border-right: none;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation #translation,<br /> .textwithtranslation p.orig,<br /> .textwithtranslation .trans {<br /> float: none;<br /> width: 100%;<br /> }<br /> <br /> .textwithtranslation #maintext {<br /> border-right: none;<br /> }<br /> <br /> /* ensure translation is never hidden (even when notes are shown) */<br /> .textwithtranslation #translation,<br /> .textwithtranslation .trans {<br /> display: block !important;<br /> }<br /> <br /> .textwithtranslation #maintext,<br /> .textwithtranslation .trans {<br /> border-bottom: thin solid #ccc;<br /> padding-bottom: 1em;<br /> margin-bottom: 1em;<br /> }<br /> }<br /> <br /> @media print {<br /> /* Hide information boxes and category list when printing */<br /> .howtoquote,<br /> .highlightbox,<br /> .catlinks {<br /> display: none;<br /> }<br /> }</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Optical_Character_Recognition&diff=2652 2014-05-05T19:12:33Z

<p>WikiSysop: </p> <hr /> <div>{{DISPLAYTITLE:Optical Character Recognition for Ancient Greek}}<br /> == Transforming printed pages of Ancient Greek into fully searchable and editable Unicode text ==<br /> <br /> We built upon the excellent open source [https://code.google.com/p/tesseract-ocr Tesseract] OCR engine, “training” it on different Ancient Greek character shapes, wordlists, and some basic grammar. Along the way, we found and fixed several bugs in Tesseract, and significantly improved the project's documentation. We also developed a suite of training tools and OCR testing tools, that have been released under an open source license and have been used by several other people working to improve OCR in different languages.<br /> <br /> The end result is a high-quality OCR engine for Ancient Greek, with accuracy generally between 90% and 96% for average quality page scans of old printed volumes. Because it leverages the Tesseract OCR code, our work can be used in a large variety of settings, from server clusters (as Bruce Robertson has done with his [http://heml.mta.ca/ Heml Text Mining] project) to apps on smartphones (such as the [https://play.google.com/store/apps/details?id=com.renard.ocr Text Fairy] Android app.).<br /> <br /> You can find downloads, usage instructions, and more information at the [http://ancientgreekocr.org/ Ancient Greek OCR website].</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Optical_Character_Recognition&diff=2651 2014-05-05T19:12:09Z

<p>WikiSysop: </p> <hr /> <div>{{DISPLAYTITLE:Optical Character Recognition for Ancient Greek}}<br /> == Transforming printed pages of Ancient Greek into fully searchable and editable Unicode text ==<br /> <br /> We built upon the excellent open source [https://code.google.com/p/tesseract-ocr Tesseract] OCR engine, “training” it on different Ancient Greek character shapes, wordlists, and some basic grammar. Along the way, we found and fixed several bugs in Tesseract, and significantly improved the project's documentation. We also developed a suite of training tools and OCR testing tools, that have been released under an open source license and have been used by several other people working to improve OCR in different languages.<br /> <br /> The end result is a high-quality OCR engine for Ancient Greek, with accuracy generally between 90% and 96% for average quality page scans of old printed volumes. Because it leverages the Tesseract OCR code, our work can be used in a large variety of settings, from server clusters (as Bruce Robertson has done with his [http://heml.mta.ca/ Heml Text Mining] project) to apps on smartphones (such as the [https://play.google.com/store/apps/details?id=com.renard.ocr Text Fairy] Android app.).<br /> <br /> Downloads, usage instructions, and more information can be found at the [http://ancientgreekocr.org/ Ancient Greek OCR website].</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Optical_Character_Recognition&diff=2650 2014-05-05T19:10:54Z

<p>WikiSysop: </p> <hr /> <div>{{DISPLAYTITLE:Optical Character Recognition for Ancient Greek}}<br /> == Transforming printed pages of Ancient Greek into fully searchable and editable Unicode text ==<br /> <br /> We built upon the excellent open source [https://code.google.com/p/tesseract-ocr Tesseract] OCR engine, “training” it on different Ancient Greek character shapes, wordlists, and some basic grammar. Along the way, we found and fixed several bugs in Tesseract, and significantly improved the project's documentation. We also developed a suite of training tools and OCR testing tools, that have been released under an open source license and have been used by several other people working to improve OCR in different languages.<br /> <br /> The end result is a high-quality OCR engine for Ancient Greek, with accuracy generally between 90% and 96% for average quality page scans of old printed volumes. Because it leverages the Tesseract OCR code, our work can be used in a large variety of settings, from server clusters (as Bruce Robertson is doing with his [http://heml.mta.ca/ Heml Text Mining] project) to “apps” on mobile phones (such as the [https://play.google.com/store/apps/details?id=com.renard.ocr Text Fairy] Android app.).<br /> <br /> Downloads, simple instructions, and more information can be found at the [http://ancientgreekocr.org/ Ancient Greek OCR website].</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Orsini_Homer&diff=2612 2014-02-25T15:41:40Z

<p>WikiSysop: Misc updates from William</p> <hr /> <div>{{DISPLAYTITLE:Lost Statuette of Homer Illustrated in ''Orsini Imagines et Elogia'' 1570}}<br /> <br /> [[File:Orsini Homer.jpg|right]]<br /> <br /> '''Image''': Extract from Orsini, F. 1570. ''Imagines et Elogia...'' Rome. p. 21.<br /> <br /> '''Object Description''': A statuette of Homer known to Fulvio Orsini in the mid-sixteenth century.<br /> <br /> '''Discussion''': Faber, in his compilation of Orsini’s notes, describes this object as an ‘imaguncula marmorea’ (a marble portraitling) (Faber 1606: 45). From this we know that the illustrated object is a marble statuette of the poet. The support (a common feature of sculpture in stone) beneath the left elbow further indication of the object’s material. The statue is broken off beneath the knees, and lacks both arms below the elbow. The figure wears a fillet (which suggests a poetic role), and apparently a ''chiton'' (tunic) and ''himation'' (cloak). This image has been thought to resemble the ''Apollonius of Tyana Type Homer'', and is used as a criterion for its identification.<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Cellini, G. A. 2004. ''Il Contributo di Fulvio Orsini alla Ricerca Antiquaria.'' Rome pp. 352-357.<br /> * Faber, J. 1606. ''In Imagines Illustrium… Commentarius.'' Antwerp. p. 45, n. 72.<br /> * Kätzlmeier-Frank, M. 1993. Theodor Galles Zeichnungen zu Fulvio Orsinis Imagines : der Codex Capponianus 228. Münster.<br /> * Richter, G. M. A. 1965. ''The Portraits of the Greeks I'' (vol. 1). London. pp. 48-50.<br /> * Richter, G. M. A. and Smith, R. R. R. 1984. ''The Portraits of the Greeks.'' London. p. 144.<br /> * Orsini, F. ''Imagines et Elogia.'' Rome. pp. 20-21.<br /> &lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |guides=[[Homer: A Guide to Sculptural Types]]<br /> }}<br /> <br /> [[Category:Homer Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Homer:_A_Guide_to_Sculptural_Types&diff=2611 2014-02-25T15:38:52Z

<p>WikiSysop: Misc updates from William</p> <hr /> <div>{{GuideHighlightBox}}<br /> '''''William Wallis'''''<br /> {{#howtoquote:}}<br /> &lt;div id=&quot;guide&quot;&gt;<br /> There are five sculptural types that are generally considered to depict Homer. Of these, only two can be identified securely from external evidence.<br /> <br /> The {{#lemma: ''Epimenides Type Homer'' | [[File:Epimenides Type Homer.jpg|150px|link=Epimenides Type Homer]]}} occurs in several Roman examples (Boehringer-Boehringer 1939: 19-41; Richter 1965: 47-48). None show more than head neck and shoulders. Their style suggests a prototype of mid-fifth century (Richter 1965), and the angle at which the head meets the neck suggests a standing figure, whose head tilts slightly to the right. It has been suggested that such a portrait of Homer is seen and {{#lemma: described by Christodorus in his ''Ekphrasis'' | [[Christodorus, Ekphrasis 314-350|Anth Gr. 2.311-349]]}} (Zanker 1995: 19; Bassett 2004: 173-175). Noteworthy features of this type are the closed-eyelids, variously interpreted as sleep – hence the identification as Epimenides, a Cretan seer and singer who slept for fifty-seven years (Esdaile 1912: 302-03) – or blindness. The eyes seem closed but not at rest (the two lids meet at the eye’s equator): this feature may have been the only available means of representing blindness in early Classical art (given its reluctance to depict physical disability). The portrait may then reflect {{#lemma: a long tradition in which Homer is depicted as blind | [[Homer: A Guide to Selected Sources]]}}(Graziosi 2002: 138-63). Also of interest is the fillet which binds the poet’s head. Though there is no conclusive evidence, this seems to form part of the costume of a poet (Dillon 2006: 124-25). The poet’s coiffure is full and tidy. Of note is how the receding brow is covered by two locks of hair drawn led from the back of the head to where they are tied centrally on the forehead, a style associated with dignified old age. On the basis of its date and style, it has been proposed that the prototype formed part of the Micythos dedication at Olympia. Micythos, an exiled Rhegean then living in Tegea, {{#lemma: dedicated several groups of statues | [[Pausanias, Description of Greece 5.26.2|Paus. 5.26.2]]}} (by Argive sculptors Glaucus and Dionysius) at Olympia, including Gods, personified abstracts, and the poets Homer and Hesiod (Frazer 1898: 646-48; Richter 1965; Zanker 1995: 20-21).<br /> <br /> The {{#lemma: ''Modena Type Homer'' | [[File:Modena Type Homer.jpg|link=Modena Type Homer]]}} occurs in two small bronze busts. This type can be stylistically dated to the early fourth century (Boehringer-Boehringer 1939: 131-135; Richter 1965: 141-42). There is considerable difference in the quality of the two examples. The example in Modena is the finer by far, and identifies itself by the inscription ΟΜΗΡΟC, ‘Homer’. In this type the eyes are clearly open and the pupils discernible. The poet wears a ''taenia'' fillet and the arrangement of the hair is similar to the ''Epimenides Type Homer'', though now the portrait has a centrally parted fringe that passes over the fillet before being tucked through it to hang down over the ears. The beard is shorter and thicker than in the earlier type. The miniature scale of these examples might reflect a different display context for these pieces (a table, niche or mantel, rather than a herm, for example) but that two such different examples should be exactly the same size perhaps suggests that their prototype was a miniature also.<br /> <br /> The {{#lemma: ''Apollonius of Tyana Type Homer'' | [[File:Apollonius of Tyana Type Homer|link=Apollonius of Tyana Type Homer]]}} occurs in between sixteen (by Boehringer’s count) or thirteen (by Richter’s count) examples. Unluckily, none carries an inscription (Boehringer-Boehringer 1939: 42-72; Richter 1965: 48-50). The type is life-sized, and no copy shows more than the head, neck and shoulders. There is considerable variation among examples, but the majority have enough in common to discern a common object of emulation. This type can be dated stylistically to the very beginning of the third century (Richter 1965). Its identification as Homer is based on several inconclusive considerations. First, the number of examples testifies to the popularity of the subject, and Homer of course was popular. The figure is once again accoutred with a fillet (though much thicker than in earlier types). Finally this type is thought to resemble both {{#lemma: the head on an inscribed coin from Amastris in Paphlagonia | [[File:Amastris Homer Coin.jpg|300px|link=Amastris Homer Coin]]}} (Esdaile 1913: 317-21), and {{#lemma: an inscribed figurine depicted in Fulvio Orsini’s ''Imagines et Elogia'' (1570) | [[File:Orsini Homer.jpg|100px|link=Orsini Homer]] }} (Richter 1965), but now lost. The eyes of this type are open, but pupils are not incised in most examples. There is some variation in the treatment of the brow in examples of this type. However all have in common looser locks of hair, particularly at the back of the neck, where it is very long. Such a coiffure is uncommon at this date, occurring in only two other types, both of which are poets (Dillon 2002: 125). This type has been interpreted as looking benign and eager. Its appearance could associated with the character of Odyssean Homer, {{#lemma: as described by Longinus | [[Longinus, De Sublimitate 9.13 | Longinus ''De Sublimitate'' 9.13]]}}.<br /> <br /> The {{#lemma: ''Hellenistic Blind Type Homer'' | [[File:Hellenistic Blind Type Homer.jpg|100px|link=Hellenistic Blind Type Homer]]}} is by far the most famous type: it is reproduced by, among others, {{#lemma: Rembrandt van Rijn | [[Rembrandt van Rijn]]}}, {{#lemma: Ingres | [[Ingres]]}}, and {{#lemma: Korzhev | [[Korzhev]]}}. It also seems to have been the most popular type in antiquity: Richter (1965: 50-53) was able to track down twenty-two Roman examples; Boehringer and Boehringer (1939: 73-130) identify nineteen. There is considerable variation between examples, and many have a history of extensive and creative repair work. It is identified as Homer through the sheer number of copies, and through its characterisation (this is clearly a very famous blind man). It can be dated stylistically to the second century B.C. (Richter 1965) Again Homer wears a poetic fillet, and though his eyes are open, their expression (in particular the raised eyebrows and raised lower eyelids) implies that they do not see. This type has been considered highly expressive of both character (divine, fierce, venerable), and pathos (pained, searching, in the grip of poetic ''enthousiasmos'') (Dillon 2006: 116,124). Its high ‘baroque’ drama perhaps reflects the epic nature of Homer’s poetry. The vividly depicted old age of the poet has been thought to reflect the antiquity of the poetry. {{#lemma: This might be thought of as an Iliadic Homer (in contrast to the earlier type) | [[Longinus, De Sublimitate 9.13 | Longinus ''De Sublimitate'' 9.13]]}}.<br /> <br /> The {{#lemma: ‘''Apotheosis of Homer''’ or ‘''Archelaus Relief''’ | [[File:Archelaus Relief.jpg|100px|link=Archelaus Relief]]}} is probably a victory monument for a poet (depicted at the right hand side of the relief). It is inscribed with the name of its maker, Archelaos of Priene. The date of this object’s production is debated: opinions range from the late third century (Richter 1965: 54), to the late second century (Pinkwart 1965: 48-63). It depicts mount Helicon, at the top of which an enthroned Zeus and Mnemosyne exchange glances. In the two registers below are shown their daughters, the nine Muses, and possibly Apollo, playing a lyre in a cave (Pinkwart 1965: 78-82). The lowest register shows an architectural space defined by columns that support drapery. Within this space Chronos (Time) and Oikumene (the Inhabited World) crown an enthroned Homer who holds a sceptre and a scroll. Kneeling on either side of the poet are personifications of the ''Iliad'' and ''Odyssey''. To the right of this register personifications of various genres of literature guide a bull to sacrifice on an altar before the poet, and lift up hands and torches in worship. Some have made out two mice at the foot of Homer’s throne, which could allude to the ''Batrachomyomachia'', or ''Battle of Frogs and Mice'', of supposed Homeric authorship. Chronos and Oikumene have been identified by some as portraits of Hellenistic rulers. Several suggestions have been made (Pinkwart 1965: 77), but the current orthodoxy is that they represent Ptolemy IV Philopator and Arsinoe III, founders of the Homer cult at Alexandria (Newby 2007). The presence together of poetry, royalty and memory hints at a Hesiodic reading for this relief: the ''Theogony'' makes much of the connection between poetry and royalty, and their shared dependence on the Muses, the children of Zeus and Mnemosyne, who share such a conspicuous moment in the upper register of this relief.<br /> <br /> Finally, it is interesting that although Homer’s blindness and age (familiar from biographical sources) are present in some of these sculptures, none depict the poet as remotely beggarly (another ubiquitous theme of the written sources). It might be suggested that these portraits have in common that they primarily reflect the character of the ''poetry'' (far from beggarly), rather than embodying the character depicted in biographical accounts.<br /> <br /> ----<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Bassett, S. 2004. ''The Urban Image of Late Antique Constantinople.'' Cambridge.<br /> * Boehringer, R. B. and Boehringer, E. 1939. ''Homer Bildnisse und Nachweise.'' Breslau.<br /> * Clay, D. 2004. ''Archilochos Heros : The Cult of Poets in the Greek Polis.'' Cambridge, Mass.<br /> * Dillon, S. 2006. ''Ancient Greek Portrait Sculpture : Contexts, Subjects, and Styles.'' Cambridge.<br /> * Esdaile, K. A. 1912. &quot;An Essay towards the Classification of Homeric Coin Types&quot;. ''The Journal of Hellenic Studies'' 32: 298-325.<br /> * Frazer, J. G. 1898. ''Pausanias’s Description of Greece.'' vol. 3. London.<br /> * Graziosi, B. 2002. ''Inventing Homer : The Early Reception of Epic.'' Cambridge.<br /> * Newby, Z. 2007. &quot;Reading the Archelaos Relief&quot;. In Newby, Z. and Leader-Newby, R. eds., ''Art and Inscriptions in the Ancient World.'' Cambridge. 156-178.<br /> * Pinkwart, D. 1965. ''Das Relief des Archelaos von Priene und die &quot;Musen des Philiskos.&quot;''. Kallmünz.<br /> * Richter, G. M. A. 1965. ''The Portraits of the Greeks'' (vol. 1). London.<br /> * Richter, G. M. A. and Smith, R. R. R. 1984. ''The Portraits of the Greeks.''<br /> * Schefold, K. and Bayard, A.-C. 1997. ''Die Bildnisse der Antiken Dichter, Redner und Denker.'' Basel.<br /> * Zanker, P. 1995. ''The Mask of Socrates : The Image of the Intellectual in Antiquity'' (Shapiro, A., trans.). Berkeley.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;<br /> &lt;div id=&quot;notes&quot;&gt;&lt;/div&gt;</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Archelaus_Relief&diff=2610 2014-02-25T15:30:33Z

<p>WikiSysop: Misc updates from William</p> <hr /> <div>{{DISPLAYTITLE:''Archelaus Relief'' or ''Apotheosis of Homer''}}<br /> <br /> [[File:Archelaus Relief.jpg|right|350px]]<br /> <br /> '''Image''': London, British Museum, inv. 1819,0812.1.<br /> <br /> '''Object description''': A marble relief signed by Archelaus of Priene, shows a mythical scene over four registers. The lowest register shows an architectural space defined by columns that support drapery. Within this space Chronos (Time) and Oikumene (the Inhabited World) crown an enthroned Homer who holds a sceptre and a scroll. Kneeling on either side of the poet are personifications of the ''Iliad'' and ''Odyssey''. To the right of this register personifications of various genres of literature guide a bull to sacrifice on an altar before the poet, and lift up hands and torches in worship. The middle two registers are thought to depict the slopes of mount Helicon. In these registers are shown the nine Muses, and possibly Apollo playing a lyre in a cave (Pinkwart 1965: 78-82). The upper register portrays a reclining Zeus exchanging looks with Mnemosyne (Memory). Half way down the relief on the right a separate, standing figure is presented on a small plinth. This has been thought to represent a poet victorious in a competition, for the commemoration of which this relief was commissioned (Pinkwart 1965: 85-6). The date of this object’s production is debated: opinions range from the late third century (Richter 1965: 54), to the late second century (Pinkwart 1965: 48-63).<br /> <br /> '''Object archaeology''': Found in the mid-seventeenth century on the Appian Way near Bovillae (Richter 1965).<br /> <br /> '''Inscriptions''': The names of many of the figures are inscribed in Greek. For transcription see Newton, Hicks et al. 1874, no. 1098.<br /> <br /> '''Restorations''': Several restorations took place in the seventeenth century (Elderkin 1936), including the heads that have since been removed, but which are still visible on some casts (for example that in Cornell University’s Goldwin Smith Hall, NY).<br /> <br /> '''Dimensions''': height 121cm, width 76cm<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Boehringer, R. B. and Boehringer, E. 1939. ''Homer Bildnisse und Nachweise.'' Breslau.<br /> * Clay, D. 2004. ''Archilochos Heros : The Cult of Poets in the Greek Polis.'' Cambridge, Mass. pp. 58, 88.<br /> * Newby, Z. 2007. &quot;Reading the Archelaos Relief&quot;. In Newby, Z. and Leader-Newby, R. eds., ''Art and Inscriptions in the Ancient World.'' Cambridge. 156-178.<br /> * Newton, C. T., Hicks, E. L., Hirschfeld, G. and Marshall, F. H. 1874. ''The Collection of Ancient Greek Inscriptions in the British Museum.'' Oxford.<br /> * Pinkwart, D. 1965. ''Das Relief des Archelaos von Priene und die &quot;Musen des Philiskos.&quot;''. Kallmünz. pp. 19-90.<br /> * Richter, G. M. A. 1965. ''The Portraits of the Greeks'' (vol. 1). London. pp. 54.<br /> * Richter, G. M. A. and Smith, R. R. R. 1984. ''The Portraits of the Greeks.''<br /> * Schefold, K. and Bayard, A.-C. 1997. ''Die Bildnisse der Antiken Dichter, Redner und Denker.'' Basel. pp. 336-37.<br /> * Zanker, P. 1995. ''The Mask of Socrates : The Image of the Intellectual in Antiquity'' (Shapiro, A., trans.). Berkeley. pp. 159-62.<br /> &lt;/div&gt;<br /> <br /> {{CollectionsBox<br /> |guides=[[Homer: A Guide to Sculptural Types]]<br /> }}<br /> <br /> [[Category:Homer Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Amastris_Homer_Coin&diff=2609 2014-02-25T15:27:43Z

<p>WikiSysop: Misc updates from William</p> <hr /> <div>[[File:Amastris Homer Coin.jpg|center|600px]]<br /> <br /> '''Object Image''': Glasgow, Hunterian Museum, catalogue number 42139<br /> <br /> '''Object description''': A bronze coin showing a portrait head of the poet Homer issued by the city of Amastris between 101 and 200 AD. It is thought to resemble the ''Apollonius of Tyana'' Type Homer, and has been used as a criterion for its identification.<br /> <br /> '''Obverse''': A bearded head of Homer facing right and wearing a taenia fillet.<br /> <br /> '''Obverse Inscription''': ΟΜΗΡΟΣ ‘Homer’<br /> <br /> '''Reverse''': A personification of the river Meles (Homer’s supposed father), reclining on an urn, and facing left. He holds a lyre in his right hand and a reed in his left arm.<br /> <br /> '''Reverse Inscription''': ΜΕΛΗΣ ΑΜΑΣΤΡΙΑΝΩΝ (‘Meles’ ‘of the Amastrians’)<br /> <br /> '''Dimensions''': diameter 28mm; weight 12g<br /> <br /> '''Examples in Major Collections''' (after Ashmolean Museum: Roman Provincial Coinage Online):<br /> <br /> * Berlin, Staatliche Museen<br /> * Paris, Bibliothèque Nationale <br /> * Paris, Bibliothèque Nationale <br /> * Copenhagen, Nationalmuseet, no. 251<br /> * Glasgow, Hunterian Museum, no. 42139<br /> * Milan, Civiche Raccolte<br /> * St Petersburg, Hermitage<br /> * Vienna, Kunsthistorisches Museum, 15287<br /> <br /> == Bibliography ==<br /> <br /> &lt;div id=&quot;bibliography&quot;&gt;<br /> * Boehringer, R. B. and Boehringer, E. 1939. ''Homer Bildnisse und Nachweise.'' Breslau. pp. 19-41.<br /> * Esdaile, K. A. 1912. &quot;An Essay towards the Classification of Homeric Coin Types&quot;. ''The Journal of Hellenic Studies'' 32: 298-325. pp. 317-21.<br /> * Goddard, J. 2004. ''Sylloge Nummorum Graecorum : The Hunterian Museum, University of Glasgow. Roman provincial Coins : Spain - Kingdoms of Asia Minor'' (vol. 12, pt. 1). Oxford. no. 1139.<br /> * Richter, G. M. A. 1965. ''The Portraits of the Greeks'' (vol. 1). London. p. 144.<br /> * Richter, G. M. A. and Smith, R. R. R. 1984. ''The Portraits of the Greeks.'' pp. 49, 56.<br /> * Schefold, K. and Bayard, A.-C. 1997. ''Die Bildnisse der Antiken Dichter, Redner und Denker.'' Basel. p. 404.<br /> * [http://rpc.ashmus.ox.ac.uk/coins/4905/ Roman Provincial Coinage Online Oxford: Ashmolean Museum] (accessed 1&lt;sup&gt;st&lt;/sup&gt; February 2014) record 4905.<br /> &lt;/div&gt;<br /> <br /> {{CollectionsBox<br /> |guides=[[Homer: A Guide to Sculptural Types]]<br /> }}<br /> <br /> [[Category:Homer Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Category:Virgil_Collections&diff=2608 2014-02-24T15:15:59Z

<p>WikiSysop: Created page with &quot;Category:Collections&quot;</p> <hr /> <div>[[Category:Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Category:Orpheus_Collections&diff=2607 2014-02-24T15:06:21Z

<p>WikiSysop: </p> <hr /> <div>Read [[Orpheus: A Guide to Selected Sources]] for a guide through these works.<br /> <br /> [[Category:Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Vita_Focae&diff=2606 2014-02-24T15:02:48Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE: '''''Vita Focae'''''}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;poem id=&quot;maintext&quot;&gt;{{AppCritAbbr}}<br /> {{#lemma:''Vita Focae'' | The ''Vita Focae'' is preserved in a single 9th-century manuscript (in the Bibliotheque nationale, Paris, 8093), which appears to be missing the poem’s ending.}}<br /> <br /> Vita Virgilii incipit a Foca grammatico urbis Romae uersibus edita.<br /> <br /> '''''Praefatio'''''<br /> <br /> o uetustatis memoranda custos,<br /> regios actus simul et fugaces<br /> temporum cursus docilis referre,<br /> aurea Clio,<br /> <br /> tu nihil magnum sinis interire, {{#linenum: 5}}<br /> nil mori clarum pateris, reseruans<br /> posteris prisci monumenta saecli<br /> condita libris.<br /> <br /> sola fucatis uariare dictis<br /> paginas nescis, set aperta quicquid {{#linenum: 10}}<br /> ueritas prodit, recinis per aeuum<br /> simplice lingua.<br /> <br /> tu senescentes titulos auorum<br /> flore durantis reparas iuuentae,<br /> militat uirtus tibi, te notante {{#linenum: 15}}<br /> crimina pallent.<br /> <br /> tu fori turbas strepitusque litis<br /> effugis dulci moderata cantu,<br /> nec retardari pateris loquellas<br /> compede metri. {{#linenum: 20}}<br /> <br /> his faue dictis! retegenda uita est<br /> uatis Etrusci modo, qui perenne<br /> Romulae uoci decus adrogauit<br /> carmine sacro.<br /> <br /> '''''Vita Virgilii'''''<br /> <br /> Maeonii specimen uatis ueneranda Maronem {{#linenum: 25}}<br /> Mantua Romuleae generauit flumina linguae.<br /> quis facunda tuos toleraret Graecia fastus,<br /> quis tantum eloquii potuisset ferre tumorem,<br /> aemula Vergilium tellus nisi Tusca dedisset?<br /> huic genitor figulus Maro nomine, cultor agelli, {{#linenum: 30}}<br /> ut referunt alii, tenui mercede locatus,<br /> sed plures figulum. quis non miracula rerum<br /> haec stupeat? diues partus de paupere uena<br /> enituit: figuli suboles noua carmina finxit.<br /> mater Polla fuit Magii non infima proles, {{#linenum: 35}}<br /> quem socerum probitas fecit laudata Maroni.<br /> haec cum maturo premeretur pondere uentris,<br /> ut solet in somnis animus uentura repingens<br /> anxius e uigili praesumere gaudia cura,<br /> Phoebei nemoris ramum fudisse putauit. {{#linenum: 40}}<br /> o sopor indicium ueri! nil certius umquam<br /> cornea porta tulit. Facta est interprete lauro<br /> certa parens onerisque sui cognouerat artem.<br /> consule Pompeio uitalibus editus auris<br /> et Crasso tetigit terras quo tempore Chelas {{#linenum: 45}}<br /> iam mitis Phaethon post Virginis ora receptat.<br /> infantem uagisse negant. Nam fronte serena<br /> conspexit mundum, cui commoda tanta ferebat.<br /> ipse puerperiis adrisit laetior orbis:<br /> terra ministrauit flores et munere uerno {{#linenum: 50}}<br /> herbida supposuit puero fulmenta uirescens.<br /> Praeterea, si uera fides, set uera probatur,<br /> laeta cohors apium subito per rura iacentis<br /> labra fauis texit dulces fusura loquellas.<br /> hoc quondam in sacro tantum mirata Platone {{#linenum: 55}}<br /> indicium linguae memorat famosa uetustas.<br /> set Natura parens properans extollere Romam<br /> et Latio dedit hoc, ne quid concederet uni.<br /> Insuper his genitor, nati dum fata requirit,<br /> populeam sterili uirgam mandauit harenae, {{#linenum: 60}}<br /> tempore quae nutrita breui, dum crescit, in omen<br /> altior emicuit cunctis, quas auxerat aetas.<br /> haec propter placuit puerum committere Musis<br /> et monstrare uiam uicturae in saecula famae.<br /> tum Ballista rudem lingua titubante receptum {{#linenum: 65}}<br /> instituit primus, quem nox armabat in umbris<br /> grassari solitum: crimen doctrina tegebat.<br /> mox patefacta uiri pressa est audacia saxis.<br /> incidit titulum iuuenis, quo pignera uatis<br /> edidit. auspiciis suffecit poena magistri: {{#linenum: 70}}<br /> {{#lemma:‘monte sub hoc lapidum tegitur Ballista sepultus:<br /> nocte die tutum carpe uiator iter.’ | ''Anth. Lat''. 261}}<br /> nos tamen hoc breuius, si fas simulare Maronem:<br /> ‘Ballistam sua poena tegit, uia tuta per {{#lemma:umbras | ''umbras'' Heinsius: ''auras'' M}}.’<br /> ‘{{#lemma:hic Ballista iacet: certo pede perge uiator.’ {{#linenum: 75}}<br /> ‘carcere montoso clausus Ballista tenetur:<br /> securi fraudis pergite nocte uiri’<br /> ‘quid trepidas tandem gressu pauitante uiator?:<br /> nocturnum furem saxeus imber habet.’<br /> ‘Ballistae uitam rapuit lapis: ipse sepulcrum {{#linenum: 80}}<br /> intulit. umbra nocens pendula saxa tramit.’<br /> ’crimina latronis dignissima poena coercet:<br /> duritiam mentis damnat ubique lapis.’| 75-83 del. Reifferscheid et al.}} <br /> hinc culicis tenui praelusit funera uersu:<br /> {{#lemma:‘parue culex, pecudum custos tibi tale merenti {{#linenum: 85}}<br /> funeris officium uitae pro munere reddit.’ | ''Cul''. 413-4}}<br /> tum tibi Sironem, Maro, contulit ipsa magistrum<br /> Roma potens, proceresque suos tibi iunxit amicos:<br /> Pollio Maecenas {{#lemma:Varus | ''Varus'' Weichert: ''uarius'' M}}.Cornelius ardent,<br /> te sibi quisque rapit, per te uicturus in aeuum. {{#linenum: 90}}<br /> Musa refer quae causa fuit componere libros.<br /> sumpserat Augustus rerum moderamina princeps.<br /> iam necis ultor erat patriae, iam caede priorum<br /> perfusos acies legitur uisura Philippos.<br /> Cassius hic Magni uindex et Brutus in armis {{#linenum: 95}}<br /> intereunt. uictor nondum contentus opimis<br /> emeritas belli spoliis ditasse {{#lemma:cohortes | ''cohortes'' eds: ''choortes'' M}}.<br /> proscripsit miserae florentia rura Cremonae,<br /> totaque militibus pretium concessa laborum<br /> praeda fuit. uiolenta manus bacchata per agros. {{#linenum: 100}}<br /> non flatus non tela Iouis non spumeus amnis<br /> non imbres rapidi quantum manus impia uastant.<br /> Mantua, tu coniuncta loco, sociata periclis:<br /> non tamen ob meritum miseram uicinia fecit.<br /> iam Maro pulsus erat, set uiribus obuius ibat {{#linenum: 105}}<br /> fretus amicorum clipeo, cum paene nefando<br /> ense perit. quid dextra furis? quid uiscera Romae<br /> sacrilego mucrone petis? tua bella tacebit<br /> posteritas ipsumque ducem nisi Mantua dicat!<br /> Non tulit hanc rabiem doctissima turba potentum. {{#linenum: 110}}<br /> Itur ad auctorem rerum: quid Martius horror<br /> egerit, ostendunt, qui tam miseranda tulisset.<br /> Caesaris huic placido nutu repetuntur agelli.<br /> his auctus meritis cum digna rependere uellet,<br /> inuenit carmen, quo munera uincere posset: {{#linenum: 115}}<br /> praedia dat Caesar, quorum breuis usus habendi:<br /> obtulit hic laudes, quas saecula nulla silescunt.<br /> Pastores cecinit primos: hoc carmine consul<br /> Pollio laudatur ter se reuocantibus annis<br /> composito. post haec ruris praecepta colendi {{#linenum: 120}}<br /> quattuor exposuit libris, et commoda terrae<br /> edocuit geminis anno minus omnia lustris.<br /> inde coturnato Teucrorum proelia uersu<br /> et Rutulum tonuit: bissena uolumina sacro<br /> formauit donata duci trieteride quarta. {{#linenum: 125}}<br /> sed loca quae uulgi memorauit tradita fama<br /> aequoris et terrae statuit percurrere uates,<br /> certius ut libris oculo dictante notaret.<br /> pergitur. ut Calabros tetigit, liuore nocenti<br /> Parcarum uehemens laxauit corpora morbus. {{#linenum: 130}}<br /> hic ubi languores et fata minacia sensit,<br /> <br /> -----<br /> <br /> <br /> <br /> <br /> <br /> &lt;/poem&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Virgil: A Guide to Selected Sources|Virgil]]<br /> }}<br /> <br /> {{#set:Full title=''Vita Focae''}}<br /> {{#set:Short title=''Vita Focae''}}<br /> {{#set:Abbreviated title=''Vita Focae''}}<br /> <br /> [[Category:Virgil Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Tzetzes,_Life_of_Hesiod_v2&diff=2605 2014-02-24T15:02:48Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Tzetzes, ''Life of Hesiod'' (p. 5 Gaisford = p. 47 Wilamowitz = p. 112 Jacoby)}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{#lemma: | {{AppCritAbbr}}}}<br /> {{#lemma: | Manuscripts provide two recensions of the Hesiodic Life with which Tzetzes prefaces the ''Works and Days''. Wilamowitz prefers one of these and is followed by many editors, including Jacoby. Most prints a slightly different text, following A. Colonna, who bases his text on the other recension (A. Colonna, ‘i prolegomeni ad Esiodo e la ''vita esiodea'' di Giovanni Tzetzes’, ''Bollettino del comitato per la preparazione dell’edizione nazionale dei classici greci e latini''. Rome, 1953). The text printed here is that of Wilamowitz, but incorporates one or two of Jacoby’s editorial choices and Jacoby’s chapter numbers.}}<br /> {{#chapternum: 1}}<br /> Ἡσίοδος σὺν τῶι ἀδελφῶι Πέρσηι παῖς ἐγεγόνει Δίου καὶ Πυκιμήδης, Κυμαίων Αἰολέων, πενήτων ἀνθρώπων· οἳ διὰ τὸ ἄπορον καὶ τὰ χρέα τὴν ἑαυτῶν πατρίδα Κύμην ἀφέντες μεταναστεύουσιν ἐπὶ τὴν Ἄσκρην, χωρίον τῶν Βοιωτῶν δυσχείμερον καὶ κακοθέρειον, περὶ τοὺς πόδας κειμένην τοῦ Ἑλικῶνος, κἀκεῖ κατοικοῦσι.<br /> <br /> {{#chapternum: 2}}<br /> τοιαύτηι δὲ πενίαι τῶν ἀνθρώπων συνεσχημένων, συνέβη τὸν Ἡσίοδον τοῦτον πρόβατα ἐν τῶι Ἑλικῶνι ποιμαίνειν. φασὶ δ’ ὡς ἐννέα τινὲς ἐλθοῦσαι γυναῖκες καὶ δρεψάμεναι κλῶνας ἐκ δάφνης Ἑλικωνίτιδος αὐτὸν ἐπεσίτισαν, καὶ οὕτω σοφίας καὶ ποιητικῆς ἐμπεφόρητο.<br /> <br /> {{#chapternum: 3}}<br /> ἀλλὰ τὰ μέχρι μὲν τούτων ἀτρεκῆ τε καὶ ἀληθέστατα, ὅτι παῖς ὁ Ἡσίοδος Δίου καὶ Πυκιμήδης καὶ ὡς κατὰ τὸν Ἑλικῶνα ἐποιμαίνε· τὰ δ’ ἐντεῦθεν μεμυθηγόρηται καὶ ἀλληγορικώτερον λέλεκται. ἢ γὰρ ἐν τῶι ποιμαίνειν περὶ τὸν Ἑλικῶνα ἐνόμευε καὶ καθευδήσας ὁ Ἡσίοδος ὄναρ εἶδεν ἐννέα γυναῖκας δάφνας αὐτῶι ψωμιζούσας (ἐδήλου δὲ τὸ ὄναρ πάντως ὡς πικρίας καὶ πόνων μετεσχηκὼς τῆς παιδεύσεως ἀειθαλῆ γεννήσει ποιήματα), ταῦτα τοίνυν ὁ Ἡσίοδος ἢ ὄψει ὀνείρων τεθεαμένος καὶ διυπνισθεὶς καὶ τὸ ποιμαίνειν ἀφεὶς καὶ πόνοις ἑαυτὸν ἐνδοὺς καὶ μαθήμασι τὴν τῶν ὀνείρων ἐπίλυσιν ἐξεπέρανεν, ἢ περὶ τὸν Ἑλικῶνα ποιμαίνων ἐγρηγορὼς καὶ ἄυπνος ὢν σύννους τε πρὸς ἑαυτὸν γεγονὼς καὶ πρέποντα νοῦν ἐσχηκὼς ἀποδιδράσκει μὲν τὸ εὐτελὲς καὶ ποιμενικὸν καὶ σκληρόβιον καὶ προσδραμὼν τῆι παιδεύσει καὶ πόνοις ἐγκαρτερήσας μεγάλην καρποῦται τὴν εὔκλειαν, καὶ βίβλους τοσαύτας ἐξεπονήσατο, ἃς ἐγὼ Μουσῶν τε καὶ γνώσεως ἐπίσταμαι ψώμισμα καὶ δάφνας λάλους Ἑλικωνίτιδας, ἑλισσομένας ἁπανταχοῦ καὶ θαλλούσας καὶ κηρυττούσας τὸν πρὶν μὲν οἰκτρόβιον καὶ ἀφανῆ νομέα ποιμνίων, νῦν δ’ ἡμίθεον χρηματίσαντα δι’ ἀρετῆς καὶ παιδεύσεως…<br /> <br /> {{#chapternum: 4}}<br /> συνηκμακέναι δ’ αὐτὸν οἳ μὲν Ὁμήρωι φασίν, οἳ δὲ καὶ Ὁμήρου προγενέστερον εἶναι διισχυρίζονται. καὶ οἱ μὲν προγενέστερον εἶναι τοῦτον Ὁμήρου διισχυριζόμενοι ἐν ἀρχαῖς εἶναί φασι τῆς {{#lemma: Ἀρχίππου | Ἀρχίππου… Ἀρχίππος Goettling: ἀρξίππου … ἄρξιππος M}} ἀρχῆς, Ὅμηρον δὲ ἐν τῶι τέλει· ὁ δὲ {{#lemma: Ἄρχιππος | See previous note.}} υἱὸς ἦν Ἀκάστου, ἄρξας Ἀθηναίων ἔτη λεʹ· οἱ δὲ συγχρόνους αὐτοὺς εἶναι λέγοντες ἐπὶ τῆι τελευτῆι τοῦ Ἀμφιδάμαντος τοῦ βασιλέως Εὐβοίας φασὶν αὐτοὺς ἀγωνίσασθαι καὶ νενικηκέναι Ἡσίοδον, ἀγωνοθετοῦντος καὶ κρίνοντος {{#lemma: Πανίδου | Πανίδου M: Πανήδου Jacoby (coll. Cert. 6, 12 West = 69, 177 Allen)}} τοῦ βασιλέως τοῦ ἀδελφοῦ Ἀμφιδάμαντος καὶ τῶν υἱῶν Ἀμφιδάμαντος, Γανύκτορός τε καὶ τῶν λοιπῶν.<br /> <br /> {{#chapternum: 5}}<br /> ἐξηρωτηκέναι γὰρ αὐτοὺς πολλὰ πρὸς ἀλλήλους φασὶ δι’ ἐπῶν αὐτοσχεδίων καὶ ἀποκρίνασθαι καὶ πᾶσι τὸν Ὅμηρον τὰ πρωτεῖα λαμβάνειν· τέλος τοῦ βασιλέως Πανίδου εἰπόντος αὐτοῖς τὰ κάλλιστα τῶν ἐαυτῶν ἐπῶν ἀναλεξαμένους εἰπεῖν, Ὅμηρος μὲν ἄρχεται λέγειν τοῦτο τὸ χωρίον ἀπὸ πολλῶν ἐπῶν ἀρξάμενος ὄπισθεν<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;ἀσπὶς ἄρ’ ἀσπίδ’ ἔρειδε, κόρυς κόρυν, ἀνέρα δ’<br /> [ ἀνήρ,<br /> ψαῦον δ’ ἱππόκομοι κόρυθες λαμπροῖσι<br /> [ φάλοισι<br /> νευόντων· ὣς πυκνοὶ ἐφέστασαν ἀλλήλοισι,&lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> καὶ περαιτέρω τούτων. Ἡσίοδος δὲ τῶν “Πληιάδων Ἀτλαγενέων ἐπιτελλομενάων” ἀπάρχεται καὶ ὁμοίως Ὁμήρωι προβαίνει μέχρι πολλοῦ τῶν ἐπῶν. καὶ πάλιν ἐπὶ τούτοις οἱ παρεστῶτες πάντες τῶν ἐλλογίμων καὶ στρατιωτῶν τὸν Ὅμηρον ἐστεφάνουν, ὁ δὲ Πανείδης ἔκρινε νικᾶν Ἡσίοδον ὡς εἰρήνην καὶ γεωργίαν διδάσκοντα καὶ οὐ καθάπερ ῞Ομηρος πολέμους καὶ σφάγια.<br /> <br /> {{#chapternum: 6}}<br /> ἀλλὰ ταῦτα μέν εἰσι ληρήματα τῶν νεωτέρων καὶ πλάσεις τῶν πρὸς ἀλλήλους ἐρωτημάτων καὶ τῶν ἐξ Ὁμήρου παρεκβεβλημένων ἐπῶν καὶ ὑπ’ ἐκείνου δῆθεν ῥηθέντων. Ὅμηρος γὰρ ὁ χρυσοῦς, ὡς ἐγὦιμαι μᾶλλον δ’ ἀκριβεστάτως ἐπίσταμαι, πολύ τε παλαιότερος Ἡσιόδου ὑπῆρχε, καὶ εἰ πρὸς τοὺς θρυλλουμένους ἐκείνους θεοὺς ἔριν ἐστήσατο λόγων, καὶ κατὰ τούτων ἂν τὰ πρωτεῖα καὶ τοὺς στεφάνους ἠνέγκατο. <br /> <br /> ἀλλ’ ἴσως ὁ ἕτερος Ὅμηρος ἦν ὁ τῶι Ἡσιόδωι ἰσόχρονος, ὁ τοῦ Εὔφρονος παῖς ὁ Φωκεύς, ὁ καὶ τούτωι τὴν ἔριν στησάμενος, κἂν τὰ ἔπη τοῦ θείου ἐκείνου ἀνδρὸς τῆι ὁμωνυμίαι πεπλανημένοι λέγειν τοῦτον ἐπλάσαντο. Ὅμηροι γὰρ πολλοὶ γεγόνασιν ἕτεροι ζήλωι τοῦ παλαιοῦ τὴν κλῆσιν λαμβάνοντες· καὶ γὰρ καὶ τοῦ Φωκέως Ὁμήρου τούτου ἕτερος ὑπάρχει νεώτερος Ὅμηρος. οὗτος ὁ νεώτερος Ὅμηρος ἦν παῖς Ἀνδρομάχου τῶι γένει Βυζάντιος, ὁ τὴν {{#lemma: Εὐρυπυλίαν | Εὐρυπυλ(λε)ίαν corr. Byz.: εὐρυπολίαν m}} ποιήσας. τὸν παλαιὸν δ’ Ὅμηρον {{#lemma: Διονύσιος ὁ κυκλογράφος | ''FGrHist'' 15 F 8.}} φησὶν ἐπ’ ἀμφοτέρων ὑπάρχειν τῶν Θηβαϊκῶν στρατειῶν καὶ τῆς Ἰλίου ἁλώσεως. ἐκ τούτου οὖν λογίζομαι τοῦτον τοῦ Ἡσιόδου εἶναι τετρακοσίων ἐτῶν προγενέστερον.<br /> <br /> {{#chapternum: 7}}<br /> Ἀριστοτέλης γὰρ ὁ φιλόσοφος, μᾶλλον δ’ οἶμαι ὁ τοὺς πέπλους συντάξας, ἐν τῆι Ὀρχομενίων πολιτείαι Στησίχορον τὸν μελοποιὸν εἶναί φησιν υἱὸν Ἡσιόδου ἐκ τῆς {{#lemma: Κτιμένης | Κτιμένης Westermann: Κτημένην M: Κλυμένην Wyttenbach (coll. schol. ''Op''. 271).}} αὐτῶι γεννηθέντα τῆς Ἀμφιφάνους καὶ Γανύκτορος ἀδελφῆς, θυγατρὸς δὲ {{#lemma: Φηγέως | Φηγέως edd.: φύγεως M}}. ὁ δὲ Στησίχορος οὗτος σύγχρονος ἦν Πυθαγόραι τῶι φιλοσόφωι καὶ τῶι Ἀκραγαντίνωι Φαλάριδι.<br /> <br /> {{#chapternum: 8}}<br /> … οἳ δ’ Ὁμήρου τετρακοσίοις ὑστερίζοντα ἔτεσι, καθά φησι καὶ {{#lemma: Ἡρόδοτος (2.53). | [[Herodotus, Histories 2.53|Herodotus says nothing of the sort!]]}} συνεγράψατο δ’ ὁ τοιοῦτος Ἡσίοδος βίβλους ιςʹ, Ὅμηρος δὲ {{#lemma: &lt;ὁ&gt; | &lt;ὁ&gt; suppl. Goettling}} παλαιὸς ιγʹ. <br /> <br /> {{#chapternum: 9-10}}<br /> τελευτᾶι δ’ ὁ Ἡσίοδος ἐν Λοκρίδι τοιουτοτρόπως. μετὰ τὴν νίκην, ἣν αὐτὸν νενικηκέναι φασὶν ἐπὶ τῆι τελευτῆι Ἀμφιδάμαντος, εἰς Δελφοὺς ἐπορεύθη. καὶ ἐδόθη αὐτῶι οὑτοσὶ ὁ χρησμός·<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> ὄλβιος οὗτος ἀνήρ, ὃς ἐμὸν δόμον ἀμφιπολεύει,<br /> Ἡσίοδος, Μούσηισι τετιμένος ἀθανάτηισι·<br /> τοῦ δή τοι κλέος ἔσται ὅσον τ’ ἐπικίδναται<br /> [ ἠώς.<br /> ἀλλὰ Διὸς πεφύλαξο Νεμείου κάλλιμον ἄλσος·<br /> καὶ γάρ τοι θανάτοιο τέλος πεπρωμένον ἐστίν.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> ὁ δὲ τὴν ἐν Πελοποννήσωι Νεμέαν φυγὼν ἐν Οἰνόηι τῆς Λοκρίδος ὑπ’ Ἀμφιφάνους καὶ Γανύκτορος, τῶν Φηγέως παίδων, ἀναιρεῖται καὶ ῥίπτεται εἰς τὴν θάλασσαν, ὡς φθείρας τὴν ἀδελφὴν ἐκείνων Κτημένην, ἐξ ἧς ἐγεννήθη Στησίχορος· ἐκαλεῖτο δ’ ἡ Οἰνόη Διὸς Νεμείου ἱερόν. μετὰ δὲ τρίτην ἡμέραν ὑπὸ δελφίνων πρὸς τὸν αἰγιαλὸν ἐξήχθη τὸ σῶμα μεταξὺ Λοκρίδος καὶ Εὐβοίας, καὶ ἔθαψαν αὐτὸν Λοκροὶ ἐν Νεμέαι τῆς Οἰνόης. οἱ δὲ φονεῖς αὐτοῦ νηὸς ἐπιβάντες ἐπειρῶντο φυγεῖν, χειμῶνι δὲ διεφθάρησαν. <br /> <br /> {{#chapternum: 11}}<br /> {{#lemma: Ὀρχομένιοι δ’ ὕστερον κατὰ χρησμὸν ἐνεγκόντες τὰ Ἡσιόδου ὀστᾶ θάπτουσιν ἐν μέσηι τῆι ἀγορᾶι καὶ ἐπέγραψαν τάδε· | [[Pausanias, Description of Greece 9.38.3|Cf. Paus 9.38.10]]}}<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> {{#lemma: Ἄσκρη μὲν πατρὶς πολυλήιος, ἀλλὰ θανόντος | disticha inverso ordine M: corr. Byz.}}<br /> ὀστέα {{#lemma: πληξίππου γῆ Μινύης | πληξίππου…Μινύης M: Πληξίππων…Μινυῶν Paus. 9.38.10}} κατέχει<br /> Ἡσιόδου, τοῦ πλεῖστον ἐν Ἑλλάδι κλέος ἐστίν<br /> ἀνδρῶν κρινομένων ἐν {{#lemma: βασάνοις | βασάνωι ''Cert.'' 14 West (=253 Allen), Paus 9.38.10.}} σοφίης.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> {{#lemma: ἐπέγραψε δὲ καὶ Πίνδαρος· | Arist. fr. 565 Rose.}}<br /> <br /> &lt;blockquote&gt;&lt;poem&gt;<br /> χαῖρε δὶς ἡβήσας καὶ δὶς τάφου ἀντιβολήσας,<br /> Ἡσίοδ’, ἀνθρώποις μέτρον ἔχων σοφίης.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> {{#chapternum: 1}}<br /> Hesiod, together with his brother Perses, was a child of Dius and Pycimede, from Aeolian Cyme, poor people, who, because of their lack of resources and debts, left their fatherland Cyme and moved to Ascra, a Boeotian town with harsh winters and oppressive summers, lying at the foot of Mt Helicon, and there they settled.<br /> <br /> {{#chapternum: 2}}<br /> The people being thus constrained by poverty, it happened that this Hesiod was tending his flocks on Helicon. They say that nine women approached him and plucking branches from a laurel on Helicon gave them to him to eat and thus he was filled with wisdom and poetic talent.<br /> <br /> {{#chapternum: 3}}<br /> Up to this point only is the story accurate and very true, namely, that Hesiod was the son of Dius and Pycimede and that he tended his flocks on Helicon. But what follows has been told mythically and rather allegorically. For either, in the course of his shepherding, Hesiod was tending his flocks around Helicon and, having fallen asleep, had a dream that nine women were feeding him with laurel (and the dream showed in every way that if he took part in the bitterness and toil of education he would bring forth poems that would bloom forever), so either Hesiod saw these things in a dream vision and having woken up, abandoned his shepherding and gave himself over to toil and study, bringing the dream to fulfilment. Alternatively, whilst shepherding his flock around Helicon, being awake and sleepless and deep in thought about himself, and because he had a distinguished mind, he fled the humble and harsh life of a shepherd and, turning to education, after enduring much toil, enjoyed great fame and finished a great many books, which I know to be morsels of the Muses and chattering laurels from Helicon, turning about in all directions and blooming and proclaiming the inconspicuous herdsman of flocks who formerly had a pitiful life, but is now styled semi-divine because of his excellence and his learning…<br /> <br /> {{#chapternum: 4}}<br /> Some say that he flourished at the same time as Homer, some even affirm that he was older than Homer. Those who affirm that he was older than Homer say that he lived at the beginning of Archippus’ rule, whereas Homer lived at the end of it. Archippus was the son of Acastus and ruled the Athenians for thirty five years. But those who affirm that they were contemporaries say that they competed at the funeral of Amphidamas, the king of Euboea, and that Hesiod won, the contest being set up and judged by the king, Panidus, brother of Amphidamas, and Amphidamas’ sons, Ganyctor and the others.<br /> <br /> {{#chapternum: 5}}<br /> For they say that they asked one another many questions by way of ''extempore'' verses and that they gave replies and that, in all respects Homer had the upper hand. But when, finally, king Panidus instructed them to pick out and recite the finest of their own verses, Homer began to recite the following passage, leaving out many previous lines:<br /> <br /> &lt;blockquote&gt;Shield pressed on shield, helmet on helmet, man on man, and horse-hair helmet plumes touched bright helmet-bosses of nodding men, so close did they stand to each other.&lt;/blockquote&gt;<br /> <br /> and on from those verses. But Hesiod began from the verse ‘at the rising of the Pleiades, born of Atlas’ and, like Homer, continued for many verses. Once again, at this, all the leading men and soldiers who were present awarded Homer the crown, but Paneides judged that Hesiod was the victor, on the grounds that he taught peace and farming and not wars and slaughter like Homer.<br /> <br /> {{#chapternum: 6}}<br /> But this is the idle talk of more recent men and fabrications of the questions that they asked one another and of the verses extracted from Homer and allegedly spoken by him. For golden Homer, as I believe, or rather, as I know very precisely, was much older than Hesiod, and if he had set up a contest of words against the very gods of old he would have carried off first prizes and crowns against even them.<br /> <br /> But perhaps the &lt;story is about the&gt; other Homer, the Phocian, son of Euphron, who was indeed a contemporary of Hesiod and also entered into a contest with him. It seems that, having been misled by the fact that &lt;the two Homers&gt; shared a name, they might have fashioned the tale that he spoke the verses of that godlike man. For there have been many other Homers who took the name in emulation of the ancient one. Indeed, there is another one younger even than Homer the Phocian. This younger Homer was the son of Andromachus, a Byzantine by birth, the composer of the ''Eurypylia''. Dionysius, who wrote ''The Historical Cycle'', says that the ancient Homer lived at the time of both the Theban wars and of the capture of Troy. On the basis of this, I calculate that he was older than Hesiod by four hundred years.<br /> <br /> {{#chapternum: 7}}<br /> For Aristotle the philosopher, or rather, I think, the one who composed the ''Peploi'', says in the ''Constitution of Orchomenus'' that Stesichorus the melic poet was the son of Hesiod, born to him from Ctimene, the sister of Amphiphanes and Ganyctor and daughter of Phegeus. But this Stestichorus was a contemporary of Pythagoras the philosopher and Phalaris of Acragas…<br /> <br /> {{#chapternum: 8}}<br /> Some say that he was younger than Homer by four hundred years, as Herodotus also says. And this Hesiod wrote sixteen books, but the ancient Homer wrote thirteen.<br /> <br /> {{#chapternum: 9-10}}<br /> Hesiod died in Locris in the following way. After the victory which they say that he won at the funeral of Amphidamas, he journeyed to Delphi and received this oracle:<br /> <br /> &lt;blockquote&gt;<br /> Blessed is this man, who attends my house, Hesiod, honoured by the immortal Muses. This man’s fame will spread as far as the dawn. But beware the beautiful grove of Nemean Zeus: for there the end of your mortal life has been fated.<br /> &lt;/blockquote&gt;<br /> <br /> And he, fleeing Peloponnesian Nemea, was killed in Oinoe in Locris by Amphiphanes and Ganyctor, the sons of Phegeus, and thrown into the sea, on the grounds that he had seduced their sister Ctemene, from whom Stesichorus was born. But Oinoe was called the shrine of Nemean Zeus. Three days later, his body was brought ashore by dolphins between Locris and Euboea and the Locrians buried him in Oinoean Nemea. His murderers tried to flee, boarding a ship, but they perished in a storm.<br /> <br /> {{#chapternum: 11}}<br /> Later on, the Orchomenians fetched the bones of Hesiod in accordance with an oracle and buried them in the middle of the agora, writing the following epitaph:<br /> <br /> &lt;blockquote&gt;<br /> Ascra, rich in cornfields, was his fatherland, but now that he has died, the land of the Minyans, drivers of horses, holds his bones: Hesiod, whose fame is greatest in Greece, when men are judged on the touchstone of wisdom.<br /> &lt;/blockquote&gt;<br /> <br /> And Pindar wrote this epitaph:<br /> <br /> &lt;blockquote&gt;<br /> Hail, you who twice were young and twice met a grave, Hesiod, having the measure of wisdom for men.<br /> &lt;/blockquote&gt;<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Hesiod: A Guide to Selected Sources|Hesiod]]<br /> }}<br /> <br /> {{#set:Short title=Tzetzes, ''Life of Hesiod''}}<br /> <br /> [[Category:Hesiod Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Suda_s.v._Orpheus_v2&diff=2604 2014-02-24T15:02:48Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:''Suda'' s.v. Orpheus, vol. 3 Adler}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;div id=&quot;maintext&quot;&gt;{{#lemma: | {{AppCritAbbr}}}}<br /> {{#lemma: | For many of the (very strange) titles mentioned in the first entry, I have followed the translations of M. L. West ''Orphic Poems'' (Oxford, 1983) 1-38.}}<br /> Ὀρφεύς, {{#lemma: Λειβήθρων | Λειβήθρων Gaisford: Λιβηθρῶν, Ληβήθρων m}} τῶν ἐν Θράικηι (πόλις δ’ ἐστὶν ὑπὸ τῆι Πιερίαι), υἱὸς Οἰάγρου καὶ Καλλιόπης. ὁ δὲ Οἴαγρος πέμπτος ἦν ἀπὸ Ἄτλαντος, κατὰ Ἀλκυόνην μίαν τῶν θυγατέρων αὐτοῦ. γέγονε δὲ πρὸ ια΄ γενεῶν τῶν Τρωϊκῶν, καί φασι μαθητὴν γενέσθαι αὐτὸν Λίνου· βιῶναι δὲ γενεὰς θ΄, οἱ δὲ ια΄ φασιν. ἔγραψε: {{#lemma: Τριασμούς | Τριασμούς M: Τριαγμούς (see Harpocration s.v. Ion) Kuster}}· λέγονται δὲ εἶναι Ἴωνος τοῦ τραγικοῦ· ἐν δὲ τούτοις τὰ Ἱεροστολικὰ καλούμενα· {{#lemma: Κλήσεις | Κλήσεις m: Κλίσεις m}} {{#lemma: κοσμικαί | Κοσμικαί m: -άς m: -αιάς m}}· Νεοτευκτικά· Ἱεροὺς λόγους ἐν ῥαψωιδίαις κδ΄· λέγονται δὲ εἶναι Θεογνήτου τοῦ Θεσσαλοῦ, οἱ δὲ Κέρκωπος τοῦ Πυθαγορείου· Χρησμούς, οἳ ἀναφέρονται εἰς Ὀνομάκριτον· Τελετάς· ὁμοίως δέ φασι καὶ ταύτας Ὀνομακρίτου· &lt;{{#lemma: Λιθικά | Λιθικά suppl. Bernhardy}}&gt;· ἐν τούτοις δ’ ἐστὶ περὶ λίθων γλυφῆς, ἥτις Ὀγδοηκοντάλιθος ἐπιγράφεται· Σωτήρια· ταῦτα Τιμοκλέους τοῦ Συρακουσίου λέγεται {{#lemma: ἢ | ἢ Bernhardy: καὶ M}} Περσίνου τοῦ Μιλησίου· Κρατῆρας· ταῦτα Ζωπύρου φασί· Θρονισμοὺς Μητρώιους καὶ Βακχικά· ταῦτα Νικίου τοῦ Ἐλεάτου φασὶν εἶναι· Εἰς ιδου κατάβασιν· ταῦτα Ἡροδίκου τοῦ Περινθίου· Πέπλον καὶ Δίκτυον· καὶ ταῦτα Ζωπύρου τοῦ Ἡρακλεώτου, οἱ δὲ {{#lemma: Βροντίνου | Βροντίνου ms (cf. [[Clement of Alexandria, Stromateis (Miscellanies) 1.21.131|Clement of Alexandria, ''Strom.'' 1.21.131]]): βροτίνου: m}}· Ὀνομαστικὸν ἔπη ,ας΄· Θεογονίαν ἔπη ,ας΄, Ἀστρονομίαν, Ἀμοκοπία, Θυηπολικόν, Ὠιοθυτικὰ ἢ Ὠιοσκοπικά, ἐπικῶς· Καταζωστικόν· Ὕμνους· Κορυβαντικόν· καὶ Φυσικά, ἃ {{#lemma: Βροντίνου | Βροντίνου m: Βροτίνου m}} φασίν.<br /> <br /> Ὀρφεύς, Κικωναῖος ἢ Ἀρκάς, ἐκ Βισαλτίας τῆς Θραικικῆς, ἐποποιός. γέγονε δὲ καὶ οὗτος πρὸ Ὁμήρου, β΄ γενεαῖς πρεσβύτερος τῶν Τρωϊκῶν. ἔγραψε δὲ μυθοποιΐαν, ἐπιγράμματα, ὕμνους.<br /> <br /> Ὀρφεύς, Ὀδρύσης, ἐποποιός· Διονύσιος δὲ τοῦτον οὐδὲ γεγονέναι λέγει· ὅμως ἀναφέρονται εἰς αὐτόν τινα ποιήματα.<br /> <br /> Ὀρφεύς, Κροτωνιάτης, ἐποποιός· ὃν Πεισιστράτωι συνεῖναι τῶι τυράννωι Ἀσκληπιάδης φησὶν ἐν τῶι ς΄ βιβλίωι τῶν Γραμματικῶν. {{#lemma: &lt;Δω&gt;δεκαετηρί&lt;δ&gt;ας | &lt;Δω&gt;δεκαετηρί&lt;δ&gt;ας Diels: Δεκαετηρίας m: Δεκαετηρίδα m: &lt;Δω&gt;δεκαετηρίαν Lambecius}}, Ἀργοναυτικά· καὶ ἄλλα τινά.<br /> <br /> Ὀρφεύς, Καμαριναῖος, ἐποποιός· οὗ φασιν εἶναι τὴν Εἰς ιδου Κατάβασιν.<br /> <br /> Ὀρφεύς, βασιλεὺς Θραικῶν· ἐφ’ οὗ αἱ Ἀμαζόνες ἐδασμολόγησαν Φρύγας.<br /> <br /> Ὀρφεύς· ὅτι ἐπὶ τῶν παρὰ Ἰουδαίοις Κριτῶν, καταλυθείσης τῆς βασιλείας Ἀθηναίων, Ὀρφεὺς ἐγνωρίζετο, σοφὸς ἄριστος γενόμενος καὶ πολλὰ μυστήρια διδαχθείς· φέρονται γὰρ αὐτοῦ καὶ περὶ θεογνωσίας λόγοι, ἐξ ὧν εἰσι ταῦτα...<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> Orpheus. From Libethra in Thrace (the city is below Pieria), son of Oeagrus and Calliope. Oeagrus was fifth in descent from Atlas, through the line of Alcyone, who was one of Atlas’ daughters. He was born eleven generations before the Trojan War and they say that he was a pupil of Linus and that he lived for nine generations; some say eleven. He wrote the ''Triasmoi'' – but they are said to be the work of Ion the tragic poet. Among them are the so-called ''Ritual Robing, Cosmic Invocations'', and ''Verses for Founding a Shrine''. He also wrote ''Sacred Discourses in 24 Rhapsodies'' – but they are said to be the work of Theognetus of Thessaly; or, according to some, of Cercops the Pythagorean. ''Oracles'', which are ascribed to Onomacritus; ''Teletai'', which are likewise said to be the work of Onomacritus. &lt;''On Stones''&gt;, among which is the ''Concerning the Carving of Stones'', which is also entitled ''Book of Eighty Gems''. ''Salvation Poems''. These are said to be the work of Timocles of Syracuse or Persinus of Miletus. ''Mixing Bowls''. These are said to be by Zopyrus. ''Enthronements for the Mother'' and ''Bacchica''. These, they say, are the work of Nicias of Elis. ''Descent to Hades''. This is said to be the work of Herodicus of Perinthus. ''Robe'' and ''Net''. These are also said to be the work of Zopyrus of Heraclea, but some say they are the work of Brontinus. ''Poem on Names'' in 1200 epic verses. ''Theogony'' in 1200 epic verses. ''Astronomy'', ''On Divination from Sand'', ''On Sacrifices'', ''On Sacrificing of Eggs'' or ''On Divination from Eggs'', in epic verse. ''Girdling Poem''. ''Hymns''. ''Korybantic Poem''. And the ''Physics'', which they say is the work of Brontinus.<br /> <br /> Orpheus, a Ciconian or Arcadian, from Bisaltia in Thrace, epic poet. This Orpheus, too, was born before Homer; he predates the Trojan War by two generations. He wrote mythical fictions, epigrams, hymns.<br /> <br /> Orpheus, an Odrysian, epic poet. Dionysius says that this Orpheus did not even exist. Nonetheless, some poems are ascribed to him.<br /> <br /> Orpheus, of Croton, epic poet. Asclepiades in his sixth book of the ''Grammatical Writings'' says that he associated with the tyrant Peisistratus. He wrote the ''Twelve Year Cycle'', the ''Argonautica'' and some other poems.<br /> <br /> Orpheus of Camarina, epic poet,whose work they say is the ''Katabasis to Hades''.<br /> <br /> Orpheus, king of the Thracians, in whose time the Amazons subjected the Phrygians to tribute.<br /> <br /> Orpheus. In the time of the Judges among the Jews, after the monarchy was abolished at Athens, there lived Orpheus, an outstanding sage and student of many mysteries. For there are doctrines of his in circulation about the knowledge of God, amongst which are the following…<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Orpheus: A Guide to Selected Sources|Orpheus]]<br /> }}<br /> <br /> {{#set:''Suda'' s.v. Orpheus, vol. 3 Adler}}<br /> {{#set:Short title=''Suda'' s.v. Orpheus}}<br /> {{#set:Abbreviated title=''Suda'' s.v. Orpheus}}<br /> <br /> [[Category:Orpheus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Plautus,_Mostellaria_770&diff=2603 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Plautus ''Mostellaria'' 770}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> Quid? Sarsianatis ecqua est? si Umbram habes.&lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> Well, how about a girl from Sarsina, then, if you haven’t got one from Umbria?<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=Plautus ''Mostellaria'' 770}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Jerome,_Chronica_ad_Ol._145.1_%3D_200_BC&diff=2602 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Jerome, ''Chronica'' ad Ol. 145.1 = 200 BC}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> Plautus ex Umbria Sarsinas Romae moritur, qui propter annonae difficultatem ad molas manuarias pistori se locauerat; ibi, quotiens ab opera uacaret, scribere fabulas solitus ac uendere.<br /> &lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> Plautus, a native of Sarsina from Umbria, died in Rome. Due to trouble with living costs, he hired himself out to a baker to work a hand-mill; there, whenever he had time off work, he used to write and sell plays.&lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=Jerome, ''Chronica'' ad Ol. 145.1 = 200 BC}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Historia_Augusta,_Septimus_Seuerus_21.1-2&diff=2601 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:''Historia Augusta'', Septimius Seuerus 21.1-2}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> et ut ordiamur a Romulo, hic nihil liberorum reliquit, nihil Numa Pompilius, quod utile posset esse rei publicae. quid Camillus? num sui similes liberos habuit? quid Scipio? quid Catones qui magni fuerunt? [2] iam vero quid de Homero, Demosthene, Vergilio, Crispo et Terentio, Plauto ceterisque aliis loquar?&lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> As for Romulus, to begin with him, he left no children who could have been of use to the state, and neither did Numa Pompilius. What about Camillus? Did he have children like himself? What about Scipio? What about the Catos who were so great? [2] Indeed, for that matter, what should I say about Homer, Demosthenes, Vergil, Crispus, Terence, Plautus, and all the others? <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=''Historia Augusta'', Septimius Seuerus 21.1-2}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Hesiod,_Theogony_22-34v3&diff=2600 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Hesiod, ''Theogony'' 22-34}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;poem id=&quot;maintext&quot;&gt;{{AppCritAbbr}} <br /> αἵ νύ ποθ’ Ἡσίοδον καλὴν ἐδίδαξεν ἀοιδήν, {{#linenum: 22}}<br /> ἄρνας ποιμαίνονθ’ Ἑλικῶνος ὕπο ζαθέοιο.<br /> τόνδε δέ με πρώτιστα θεαὶ πρὸς μῦθον ἔειπον,<br /> Μοῦσαι Ὀλυμπιάδες, κοῦραι Διὸς αἰγιόχοιο· {{#linenum: 25}}<br /> “ποιμένες ἄγραυλοι, κάκ’ ἐλέγχεα, γαστέρες οἶον,<br /> ἴδμεν ψεύδεα πολλὰ λέγειν ἐτύμοισιν ὁμοῖα,<br /> ἴδμεν δ’ εὖτ’ ἐθέλωμεν ἀληθέα {{#lemma: γηρύσασθαι | γηρύσασθαι m, P: μυθήσασθαι m}}.”<br /> ὣς ἔφασαν κοῦραι μεγάλου Διὸς ἀρτιέπειαι,<br /> καί μοι σκῆπτρον ἔδον, δάφνης ἐριθηλέος ὄζον {{#linenum: 30}}<br /> {{#lemma: δρέψασαι | δρέψασαι m: δρέψασθαι m, Aristid.}}, θηητόν· ἐνέπνευσαν δέ μοι αὐδὴν<br /> {{#lemma: θέσπιν | θέσπιν Goettling: θείην m: θεσπεσίην Aristid.: Θεσπέσιον Lucian}}, ἵνα κλέοιμι τά τ’ ἐσσόμενα πρό τ’ ἐόντα,<br /> καί μ’ ἐκέλονθ’ ὑμνεῖν μακάρων γένος αἰὲν ἐόντων,<br /> σφᾶς δ’ αὐτὰς πρῶτόν τε καὶ ὕστατον αἰὲν ἀείδειν.<br /> &lt;/poem&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> They once taught Hesiod lovely song, when he was shepherding his lambs below holy Helicon. This, first of all, the goddesses said to me, the Olympian Muses, daughters of aegis-bearing Zeus: ‘Shepherds who dwell in the fields, base objects of disgrace, mere bellies, we know how to tell many lies that resemble the truth, and we know, when we will it, how to speak true things.’ Thus spoke the daughters of mighty Zeus, ready of speech, and they gave me a staff, a bough of luxuriant laurel, plucking it, a marvel; and they breathed into me divine speech, so that I would celebrate things to come and things already past, and they bid me hymn the race of blessed gods, who are eternal, but always to sing of themselves first and last.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Hesiod: A Guide to Selected Sources|Hesiod]]<br /> }}</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Hesiod,_Theogony_22-34v2&diff=2599 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Hesiod, ''Theogony'' 22-34}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;poem id=&quot;maintext&quot;&gt;<br /> αἵ νύ ποθ’ Ἡσίοδον καλὴν ἐδίδαξεν ἀοιδήν, {{#linenum: 22}}<br /> ἄρνας ποιμαίνονθ’ Ἑλικῶνος ὕπο ζαθέοιο.<br /> τόνδε δέ με πρώτιστα θεαὶ πρὸς μῦθον ἔειπον,<br /> Μοῦσαι Ὀλυμπιάδες, κοῦραι Διὸς αἰγιόχοιο· {{#linenum: 25}}<br /> “ποιμένες ἄγραυλοι, κάκ’ ἐλέγχεα, γαστέρες οἶον,<br /> ἴδμεν ψεύδεα πολλὰ λέγειν ἐτύμοισιν ὁμοῖα,<br /> ἴδμεν δ’ εὖτ’ ἐθέλωμεν ἀληθέα {{#lemma: γηρύσασθαι | γηρύσασθαι m, P: μυθήσασθαι m}}.”<br /> ὣς ἔφασαν κοῦραι μεγάλου Διὸς ἀρτιέπειαι,<br /> καί μοι σκῆπτρον ἔδον, δάφνης ἐριθηλέος ὄζον {{#linenum: 30}}<br /> {{#lemma: δρέψασαι | δρέψασαι m: δρέψασθαι m, Aristid.}}, θηητόν· ἐνέπνευσαν δέ μοι αὐδὴν<br /> {{#lemma: θέσπιν | θέσπιν Goettling: θείην m: θεσπεσίην Aristid.: Θεσπέσιον Lucian}}, ἵνα κλέοιμι τά τ’ ἐσσόμενα πρό τ’ ἐόντα,<br /> καί μ’ ἐκέλονθ’ ὑμνεῖν μακάρων γένος αἰὲν ἐόντων,<br /> σφᾶς δ’ αὐτὰς πρῶτόν τε καὶ ὕστατον αἰὲν ἀείδειν.<br /> &lt;/poem&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> They once taught Hesiod lovely song, when he was shepherding his lambs below holy Helicon. This, first of all, the goddesses said to me, the Olympian Muses, daughters of aegis-bearing Zeus: ‘Shepherds who dwell in the fields, base objects of disgrace, mere bellies, we know how to tell many lies that resemble the truth, and we know, when we will it, how to speak true things.’ Thus spoke the daughters of mighty Zeus, ready of speech, and they gave me a staff, a bough of luxuriant laurel, plucking it, a marvel; and they breathed into me divine speech, so that I would celebrate things to come and things already past, and they bid me hymn the race of blessed gods, who are eternal, but always to sing of themselves first and last.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{AppCrit Abbreviations}}<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Hesiod: A Guide to Selected Sources|Hesiod]]<br /> }}</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Draft:Hesiod,_Theogony_22-34&diff=2598 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Hesiod, ''Theogony'' 22-34}}<br /> {{#howtoquote:}}{{AppCrit Abbreviations}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> <br /> &lt;poem id=&quot;maintext&quot;&gt;<br /> αἵ νύ ποθ’ Ἡσίοδον καλὴν ἐδίδαξεν ἀοιδήν, {{#linenum: 22}}<br /> ἄρνας ποιμαίνονθ’ Ἑλικῶνος ὕπο ζαθέοιο.<br /> τόνδε δέ με πρώτιστα θεαὶ πρὸς μῦθον ἔειπον,<br /> Μοῦσαι Ὀλυμπιάδες, κοῦραι Διὸς αἰγιόχοιο· {{#linenum: 25}}<br /> “ποιμένες ἄγραυλοι, κάκ’ ἐλέγχεα, γαστέρες οἶον,<br /> ἴδμεν ψεύδεα πολλὰ λέγειν ἐτύμοισιν ὁμοῖα,<br /> ἴδμεν δ’ εὖτ’ ἐθέλωμεν ἀληθέα {{#lemma: γηρύσασθαι | γηρύσασθαι m, P: μυθήσασθαι m}}.”<br /> ὣς ἔφασαν κοῦραι μεγάλου Διὸς ἀρτιέπειαι,<br /> καί μοι σκῆπτρον ἔδον, δάφνης ἐριθηλέος ὄζον {{#linenum: 30}}<br /> {{#lemma: δρέψασαι | δρέψασαι m: δρέψασθαι m, Aristid.}}, θηητόν· ἐνέπνευσαν δέ μοι αὐδὴν<br /> {{#lemma: θέσπιν | θέσπιν Goettling: θείην m: θεσπεσίην Aristid.: Θεσπέσιον Lucian}}, ἵνα κλέοιμι τά τ’ ἐσσόμενα πρό τ’ ἐόντα,<br /> καί μ’ ἐκέλονθ’ ὑμνεῖν μακάρων γένος αἰὲν ἐόντων,<br /> σφᾶς δ’ αὐτὰς πρῶτόν τε καὶ ὕστατον αἰὲν ἀείδειν.<br /> &lt;/poem&gt;<br /> <br /> &lt;div id=&quot;translation&quot;&gt;<br /> They once taught Hesiod lovely song, when he was shepherding his lambs below holy Helicon. This, first of all, the goddesses said to me, the Olympian Muses, daughters of aegis-bearing Zeus: ‘Shepherds who dwell in the fields, base objects of disgrace, mere bellies, we know how to tell many lies that resemble the truth, and we know, when we will it, how to speak true things.’ Thus spoke the daughters of mighty Zeus, ready of speech, and they gave me a staff, a bough of luxuriant laurel, plucking it, a marvel; and they breathed into me divine speech, so that I would celebrate things to come and things already past, and they bid me hymn the race of blessed gods, who are eternal, but always to sing of themselves first and last.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Sarah Burges Watson<br /> |guides=[[Hesiod: A Guide to Selected Sources|Hesiod]]<br /> }}</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Cicero,_De_senectute_50&diff=2597 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Cicero, ''De senectute'' 50}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> quam gaudebat bello suo Punico Naevius! quam Truculento Plautus, quam Pseudolo! <br /> &lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> How Naevius [in his old age] rejoiced in his Bellum Punicum! How Plautus rejoiced in his Truculentus, how he rejoiced in his Pseudolus!<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=Cicero, ''De senectute'' 50}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Cicero,_Brutus_60&diff=2596 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Cicero, ''Brutus'' 60}}<br /> {{#howtoquote:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> nam Plautus P. Claudio L. Porcio … consulibus mortuus est, Catone censore.<br /> &lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> For Plautus died in the consulship of P. Claudius and L. Porcius, when Cato was censor. <br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=Cicero, ''Brutus'' 60}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Aulus_Gellius,_Noctes_Atticae_3.3.14&diff=2595 2014-02-24T15:02:47Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Gellius ''Noctes Atticae'' 3.3.11-14}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> [11] feruntur autem sub Plauti nomine comoediae circiter centum atque triginta; [12] sed homo eruditissimus L. Aelius quinque et uiginti eius esse solas existimauit. [13] neque tamen dubium est, quin istaec, quae scriptae a Plauto non uidentur et nomini eius addicuntur, ueterum poetarum fuerint et ab eo retractatae {{#lemma:&lt;et&gt; | &lt;et&gt; Carrio.}} expolitae sint ac propterea resipiant stilum Plautinum. [14] sed enim Saturionem et Addictum et tertiam quandam, cuius nunc mihi nomen non subpetit, in pistrino eum scripsisse Varro et plerique alii memoriae tradiderunt, cum pecunia omni, quam in operis artificum scaenicorum pepererat, in mercatibus perdita inops Romam redisset et ob quaerendum uictum ad circumagendas molas, quae ‘trusatiles’ appellantur, operam pistori locasset.<br /> &lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> [11] Now there are about one-hundred-and-thirty comedies in circulation under the name ‘Plautus’; [12] but Lucius Aelius (that most learned of men) thought only twenty-five of them were his. [13] Yet there is no doubt that those which do not appear to have been written by Plautus but are attached to his name were the work of poets of old and were revised and polished up by him, and that is why they have the flavour of Plautus’ style. [14] But Varro and many others have recorded that he wrote the Saturio, the Addictus, and a third comedy whose name escapes me now, in a bakery, when, after losing all the money he had earned in jobs connected with the stage in trade, he had returned penniless to Rome, and to earn a living had hired himself out to a baker to drive around the stones which are called ‘trusatiles’.<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=Gellius ''Noctes Atticae'' 3.3.11-14}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop https://livingpoets.dur.ac.uk/w/index.php?title=Aulus_Gellius,_Noctes_Atticae_1.24.3&diff=2594 2014-02-24T15:02:46Z

<p>WikiSysop: Text replace - &quot;howtoquotetranslation&quot; to &quot;howtoquote&quot;</p> <hr /> <div>{{DISPLAYTITLE:Gellius ''Noctes Atticae'' 1.24.3}}<br /> {{#howtoquote:}}{{#togglenotes:}}<br /> &lt;div class=&quot;textwithtranslation&quot;&gt;<br /> &lt;div id=&quot;maintext&quot;&gt;<br /> epigramma Plauti, quod dubitassemus an Plauti foret, nisi a M. Varrone positum esset in libro de poetis primo:<br /> &lt;blockquote&gt;&lt;poem&gt;<br /> postquam est mortem aptus Plautus, Comoedia luget<br /> scaena {{#lemma: deserta | ''scaena deserta'' Orelli: ''scaena est deserta'' M}}; dein Risus, Ludus Iocusque,<br /> et Numeri innumeri simul omnes {{#lemma: conlacrimarunt | A deliberate pun: ‘countless rhythms all wept together’ (cf. Lucr. 2.1054) but also ‘rhythms all simultaneously losing their rhythm wept’ (cf. E. Courtney, ''The Fragmentary Latin Poets'' (Oxford: 1993), 49).}}.<br /> &lt;/poem&gt;&lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> &lt;div id=&quot;translation&quot;&gt;<br /> We would doubt whether the epitaph of Plautus was really by the poet, if Marcus Varro had not quoted it in the first book of On Poets: <br /> &lt;blockquote&gt;‘Since the death of Plautus, Comedy has been in mourning because the stage is deserted: then Laughter, Play, and Wit, and countless rhythms all wept together’.<br /> &lt;/blockquote&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;/div&gt;&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;<br /> <br /> <br /> {{CollectionsBox<br /> |editor=Nora Goldschmidt<br /> |guides=[[Plautus: A Guide to Selected Sources|Plautus]]<br /> }}<br /> <br /> {{#set:Short title=Gellius ''Noctes Atticae'' 1.24.3}}<br /> <br /> [[Category:Plautus Collections]]</div>

WikiSysop