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The territory people of Lokris that is called Ozolian adjoins Phokis opposite Cirrha. I have heard various stories about the surname of these people of Lokris, all of which I will tell my readers. Orestheus, son of Deukalion, king of the land, had a bitch that gave birth to a stick instead of a puppy. Orestheus buried the stick, and in the spring, it is said, a vine grew from it, and from the branches (ozoi) of the stick the people got their name.

Others believe that Nessus, ferrying on the Evenus, was wounded by Hēraklēs, but not killed on the spot, making his escape to this country; when he died his body rotted unburied, imparting a foul stench to the atmosphere of the place. The third story says that the exhalations from a certain river, and its very water, have a peculiar smell; the fourth, that asphodel grows in great abundance and when in flower […] because of the smell.

Another story says that the first dwellers here were aboriginals, but as yet not knowing how to weave garments they used to make themselves a protection against the cold out of the untanned skins of beasts, turning outwards the shaggy side of the skins for the sake of a good appearance. So their own skins were sure to smell as badly as did the hides.

AMPHISSA

One hundred and twenty stadium-lengths away from Delphi is Amphissa, the largest and most renowned city of Lokris. The people hold that they are Aetolians, being ashamed of the name of Ozolians. Support is given to this view by the fact that, when the Roman emperor1 drove the Aetolians from their homes in order to found the new city of Nikopolis, the greater part of the people went away to Amphissa. The originated, however, from the people of Lokris. It is said that the name of the city is derived from Amphissa, daughter of Makar, son of Aeolus, and that Apollo was her lover.

Footnotes

  1. Pausanias 5.23.3 and 7.18.8.

    ↩

The city is beautifully constructed, and its most notable objects are the tomb of Amphissa and the tomb of Andraemon. With him was buried, they say, his wife Gorge, daughter of Oineus. On the citadel of Amphissa is a temple of Athena, with a standing image of bronze, brought, they say, from Troy by Thoas, being part of the spoils of that city. But I cannot accept the story.

For I have stated in an earlier part of my work1 that two Samians, Rhoecus, son of Philaios, and Theodoros, son of Telekles, discovered how to found bronze most perfectly, and were the first casters of that metal. I have found extant no work of Theodoros, at least no work of bronze. But in the sanctuary of Ephesian Artemis, as you enter the building containing the pictures, there is a stone wall above the altar of Artemis called Goddess of the First Seat. Among the images that stand upon the wall is a statue of a woman at the end, a work of Rhoecus, called by the Ephesians Night.

Footnotes

  1. Pausanias 8.14.8.

    ↩

A mere glance shows that this image is older, and of rougher workmanship, than the Athena in Amphissa. The Amphissians also celebrate mysteries in honor of the Boy Kings, as they are called. Their accounts as to who of the gods the Boy Kings are do not agree; some say they are the Dioskouroi, others the Kouretes, and others, who pretend to have fuller knowledge, hold them to be the Cabeiri.

MYONIA

These people of Lokris also possess the following cities. Farther inland from Amphissa, and above it, is Myonia, thirty stadium-lengths distant from it. Its people are those who dedicated the shield to Zeus at Olympia. The town lies upon a height, and it has a grove and an altar of the Gracious Gods. The sacrifices to the Gracious Gods are offered at night, and their rule is to consume the meat on the spot before sunrise. Beyond the city is a precinct of Poseidon, called Poseidonium, and a temple of Poseidon is in it. But the image had disappeared before my time.

OEANTHEIA

These, then, live above Amphissa. On the coast is Oiantheia, neighbor to which is Naupaktos. The others, but not Amphissa, are under the government of the Achaeans of Patrai, the emperor Augustus having granted them this privilege. In Oiantheia is a sanctuary of Aphrodite, and a little beyond the city there is a grove of cypress trees mixed with pines; in the grove is a temple of Artemis with an image. The paintings on the walls I found had lost their color with time, and nothing of them was still left worth seeing.

NAUPACTUS

I gather that the city got its name from a woman or a nymph, while as for Naupaktos, I have heard it said that the Dorians under the sons of Aristomakhos built here the vessels in which they crossed to the Peloponnesus, thus, it is said, giving to the place its name.1 My account of Naupaktos, how the Athenians took it from the people of Lokris and gave it as a home to those who seceded to Ithome at the time of the earthquake at Lacedaemon, and how, after the Athenian disaster at Aigospotamoi, the Lacedaemonians expelled the Messenians from Naupaktos, all this I have fully related in my history of Messenia.2 When the Messenians were forced to leave, the people of Lokris gathered again at Naupaktos.

Footnotes

  1. Naupaktos means “the city of ship-building.”

    ↩

  2. Pausanias 4.23 and following.

    ↩

The epic poem called the Naupactia by the Greeks is by most people assigned to a poet of Miletus, while Kharon, the son of Pythes, says that it is a composition of Karkinos of Naupaktos. I am one of those who agree with the Lampsacenian writer. For what reason could there be in giving the name of Naupactia to a poem about women composed by an author of Miletus?

Here there is on the coast a temple of Poseidon with a standing image made of bronze; there is also a sanctuary of Artemis with an image of white marble. She is in the attitude of one hurling a javelin, and is surnamed Aetolian. In a cave Aphrodite is worshipped, to whom prayers are offered for various reasons, and especially by widows who ask the goddess to grant them marriage.

The sanctuary of Asklepios I found in ruins, but it was originally built by a private person called Phalysios. For he had a complaint of the eyes, and when he was almost blind the god at Epidaurus sent to him the poetess Anyte, who brought with her a sealed tablet. The woman thought that the god’s appearance was a dream, but it proved at once to be a waking vision. For she found in her own hands a sealed tablet; so sailing to Naupaktos she ordered Phalysios to take away the seal and read what was written. He did not think it possible to read the writing with his eyes in such a condition, but hoping to get some benefit from Asklepios he took away the seal. When he had looked at the wax he recovered his sight, and gave to Anyte what was written on the tablet, two thousand staters of gold.

Inventory of terms and names

Aeolian. As a noun, this word refers to Greek-speaking people who spoke an ancient Greek dialect known as Aeolic. As an adjective, this same word refers to the social and cultural institutions of these Aeolic-speaking people. [[GN 2016.09.07.]]

Aeolic. A major dialectal branch of the ancient Greek language. It is the “recessive” dialect of Pindar’s poetic diction, as opposed to Doric, which is the “dominant” dialect. See also under Ionic. [[GN 2017.09.27.]]

aetiology. A myth that explicitly motivates (1) a ritual or (2) a custom that includes ritualized behavior. It cannot be assumed that such a myth is independent of the ritual that it motivates: rather, the myth can be considered to be a part of the ritual that is ostensibly being motivated by the myth. [[GN 2017.05.25.]]

Aithiopis. See under epic Cycle.

archaic period of Greek history. By archaic I mean a historical period extending roughly from the second half of the eighth century BCE up to the second half of the fifth, which is the beginning of the classical period. See BA vii n1. In the printed version of BA 1999, I wrote “through” where I now say, more correctly, “up to” in the online version. [[GN 2016.12.26.]]

Aristarchus of Samothrace. Director of the Library of Alexandria in the middle of the second century BCE. [[GN 2016.08.18.]]

Aristophanes of Byzantium. Lived in the second century BCE. The immediate predecessor of Aristarchus. [[GN 2016.08.18.]]

Classical period of Greek history. This period follows the archaic period, which ends around the middle of the fifth century BCE. [[GN 2016.12.26.]]

Cypria. See under epic Cycle.

Dorian. As a noun, this word refers to Greek-speaking people who spoke an ancient Greek dialect known as Doric. As an adjective, this same word refers to the social and cultural institutions of these Doric-speaking people. [[GN 2016.09.07.]]

Doric. A major dialectal branch of the ancient Greek language. It is the “dominant” dialect of Pindar’s poetic diction, as opposed to Aeolic, which is the “recessive” dialect. See also under Ionic. [[GN 2016.09.07.]]

epic. In my comments, I use this term in a restricted sense, referring to the form of poetry that is exemplified by the Homeric Iliad and Odyssey, also by the poetry of the so-called epic Cycle (see under epic Cycle). [[GN 2016.12.06.]]

epic Cycle. By the time of Aristotle, in the fourth century BCE, the textual traditions of epics (see under epic) that were known as the epic Cycle or kuklos (κύκλος) were considered to be non-Homeric. In earlier times, by contrast, such epics were thought to be composed by Homer himself, and they were thus grouped together with the Iliad and Odyssey. It was as if the epic Cycle represented the sum total of Homeric composition. (See under Homer; see also the comment on I.05.722 on kuklos in the sense of ‘chariot wheel’ as a metaphor for the sum total of Homeric composition.) The epics of the epic Cycle have not survived except for fragments and plot-summaries, the original texts of which are most easily accessible in the old but still useful edition of Allen 1912. The plot-summaries of the epics in the Cycle are attributed to one Proclus, who can most probably be dated to the second century CE (Nagy 2015.12.24 §1n5). These plot-summaries cover the following epics, attributed to otherwise unknown poets as named here: Cypria, by Stasinus of Cyprus; Aithiopis, by Arctinus of Miletus; Little Iliad, by Lesches of Lesbos; Iliou Persis or ‘Destruction of Ilion’, by Arctinus of Miletus; Nostoi or ‘Songs of Homecoming’, by Agias of Troizen; Telegonia, by Eugammon of Cyrene. [[GN 2016.12.06.]]

Homer. In the Classical period and toward the end of the earlier archaic period, he was thought to be the Master Narrator of the Iliad and Odyssey. (See under Classical period, archaic period, and Master Narrator.) During the post-Classical period as represented by the works of figures like Plutarch and Pausanias in the second century CE, Homer was thought to be the author of the Iliad and Odyssey, and his authorship was viewed as a matter of ‘writing’, graphein. (HPC 31.) During the Classical period as represented by the works of figures like Plato and Aristotle in the fourth century BCE, Homer was likewise thought to be the author of the Homeric Iliad and Odyssey, but his authorship was viewed as a matter of ‘making’, poieîn, analogous to the crafting of an artifact by an artisan or craftsman: Plato and Aristotle avoided any references to the making of Homeric poetry as a matter of ‘writing’, graphein. (HPC 31.) During the earlier Classical period as represented by the work of Thucydides in the fifth century BCE, Homer was thought to be the author of not only the Iliad and Odyssey but also of at least some Homeric Hymns, like the Homeric Hymn to Apollo. (HPC 18.) During this same period, as we see from the reportage of Herodotus in the fifth century BCE, Homer was thought by some to be the author of a wider range of epics, such as the Cypria. (HPC 75–78.) In the archaic era, such epics were thought to be parts of a poetic corpus body of epic poetry known as the epic Cycle. (See under archaic period and epic Cycle.) [[GN 2016.07.21 -> 2016.12.30 via the references to HPC as interspersed above.]]

Iliad and Odyssey. In this commentary, the article “the” will be avoided in wording that refers to the Iliad and Odyssey together, as here. That is because the Iliad and Odyssey are treated as complementary epics in this commentary. In other words, the Iliad and Odyssey are treated together as a structural unity. Such a unity can be traced back to the late eighth and early seventh centuries BCE: see Nagy 2015.12.24 following Frame 2009 ch. 11. [[GN 2016.07.21.]]

Iliou Persis. See under epic Cycle.

Ionian. As a noun, this word refers to Greek-speaking people who speak an ancient Greek dialect known as Ionic. As an adjective, this same word refers to the social and cultural institutions of these Ionic-speaking people. [[GN 2016.09.07.]]

Ionic. A major dialectal branch of the ancient Greek language. It is the “residual” dialect of Pindar’s poetic diction, as opposed to Doric, which is the “dominant” dialect, and Aeolic, which is the “recessive” dialect. [[GN 2017.09.27.]]

ktisis poetry. A form of poetic narrative that presents the mythological foundations of a community. The meaning of ktisis is ‘foundation’. [[GN 2017.05.25.]]

laudandus. Technical term formulated in Latin, meaning ‘he who is to be praised’.

laudator. Technical term formulated in Latin, meaning ‘he who praises’.

lemmatizing. This coined word is based on the ancient Greek noun lēmma (λῆμμα), which is spelled throughout simply as “lemma” (and the plural spelled as “lemmata”). This noun refers to whatever wording is literally ‘taken’ (the corresponding verb is lambanein/labeîn) out of the overall wording of a scriptio continua that is being quoted. (In pre-Byzantine conventions of writing, words were not separated from each other by way of spacing: hence the term scriptio continua ‘continuous lettering’). [[GN 2016.08.04.]]

Little Iliad. See under epic Cycle.

Lord, Albert B. (1912–1991). His most basic work: Lord 1960; 2nd ed. 2000. The 3rd edition is forthcoming in 2018. [[GN 2016.07.21.]]

Master Narrator. In the Classical period, he is the speaking ‘I’ who narrates the Iliad and Odyssey. He was generally thought to be the one person who controls the story of the Iliad and the story of the Odyssey. In that period, he was thought to be Homer. See also under Homer; also Classical period of Greek history. [[GN 2016.07.21.]]

Meillet, Antoine (1866–1936). A pioneer in the scientific methodology of Indo-European linguistics as applied to Greek poetry and songmaking. [[GN 2017.09.27.]]

metaphor. An expression of meaning by substituting something unfamiliar for something familiar. [[GN 2016.07.28 via MoM 0§01, 0§1 Extract 0–A.]]

metonymy or metonym. An expression of meaning by connecting something familiar with something else that is familiar. [[GN 2016.07.28 via MoM 0§01, 0§2 Extract 0–B.]]

multiform. A form that coexists with other forms within a system. [[GN 2016.10.16.]]

Nostoi. See under epic Cycle.

Parry, Milman (1902–1935). A most representative work of his: Parry 1932. A collection of his papers, with his French texts translated into English, was published by his son Adam Parry (1971). [[GN 2016.07.21.]]

scholia. Notes or annotations that accompany texts in manuscripts.

simile. Like a metaphor, a simile makes a comparison. Unlike a metaphor, however, a simile signals explicitly that a comparison is being made, and the signaling is achieved by way of words meaning ‘as’, ‘same as’, ‘looking like’, ‘like’, and so on. [[GN 2017.07.22.]]

Telegonia. See under epic Cycle.

Zenodotus of Ephesus. Lived in the third century BCE. Predecessor of Aristophanes of Byzanium. [[GN 2017.09.27]]

Bibliography

Bibliographical Abbreviations

ABV

Beazley, J. 1956. Attic Black-Figure Vase Painters. Oxford.

BA

Nagy, G. 1999. The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry. Rev. ed. with new intro. Baltimore (available online).

DELG

Chantraine, P. 2009. Dictionnaire étymologique de la langue grecque: histoire des mots. Ed. J. Taillardat, O. Masson, and J.-L. Perpillou. With a supplement Chroniques d’étymologie grecque 1–10. Ed. A. Blanc, Ch. de Lamberterie, and Jean-Louis Perpillou. Paris.

EH

Nagy, G. 2006. “The Epic Hero.” Expanded version of “The Epic Hero.” A Companion to Ancient Epic (ed. J. M. Foley) 71–89. Oxford, 2005 (available online).

FGH

Jacoby, F. 1923–58. Die Fragmente der griechischen Historiker. 3 vols. Berlin.

GM

Nagy, G. 1990b. Greek Mythology and Poetics. Ithaca, NY (available online).

H24H

Nagy, G. 2013. The Ancient Greek Hero in 24 Hours. Cambridge, MA (available online).

HC

Nagy, G. 2008|2009. Homer the Classic. Hellenic Studies 36. Cambridge, MA and Washington, DC (available online).

HPC

Nagy, G. 2010. Homer the Preclassic. Berkeley and Los Angeles, CA (available online).

HQ

Nagy, G. 1996b. Homeric Questions. Austin, TX (available online).

HR

Nagy, G. 2003. Homeric Responses. Austin, TX.

HTL

Nagy, G. 2004a. Homer’s Text and Language. Urbana and Chicago.

IG

Deutsche akademie der Wissenschaften. 1873–. Inscriptiones Graecae. Berlin.

LSJ

Liddell, H. G., R. Scott, and H. S. Jones. 1940. A Greek-English Lexicon. 9th ed. Oxford.

MW

Fragmenta Hesiodea. Ed. R. Merkelbach and M. West. 1967. Oxford.

PH

Nagy, G. 1990a. Pindar’s Homer: The Lyric Possession of an Epic Past. Baltimore (available online).

PMG

Page, D. L. 1962. Poetae Melici Graeci. Oxford.

PP

Nagy, G. 1996a. Poetry as Performance: Homer and Beyond. Cambridge (available online).

PR

Nagy, G. 2002. Plato’s Rhapsody and Homer’s Music: The Poetics of the Panathenaic Festival in Classical Athens. Cambridge, MA and Athens (available online).

SEG

Gieben, J. C., et al. 1923–. Supplementum Epigraphicum Graecum. Amsterdam.

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Nagy, G. 1979. The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry. Revised ed. with new introduction 1999. Baltimore. Available online at http://www.press.jhu.edu/books/nagy/BofATL/toc.html.

Nagy, G. 1983a. “Sēma and Noēsis: Some Illustrations.” Arethusa 16:35–55. Recast as ch. 8 of GM = Nagy 1990b.

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Nagy, G. 1985. “Theognis and Megara: A Poet’s Vision of His City.” Theognis of Megara: Poetry and the Polis (ed. T. J. Figueira and G. Nagy) 22–81. Baltimore. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Theognis_and_Megara.1985. Corrigenda: at §77, “Pausanias 1.5.3 should be “Pausanias 1.5.4.”

Nagy, G. 1987. “The Sign of Protesilaos.” ΜΗΤΙΣ. Revue d’anthropologie du monde grec ancien 2:207–213.

Nagy, G. 1990a. Pindar’s Homer: The Lyric Possession of an Epic Past. Baltimore. Available online at http://www.press.jhu.edu/books/nagy/PHTL/toc.html.

Nagy, G. 1990b. Greek Mythology and Poetics. Ithaca NY. Revised paperback edition 1992. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Greek_Mythology_and_Poetics.1990. Corrigenda. On p. 203 between “same line)” and “specified,” insert “of the marital bed; similarly, she ‘recognizes’ (ἀναγνούσῃ xix 250) as sēmata (same line) the clothes…” (in the present printed version, the reference to the marital bed as sēmata at Odyssey xxiii 206 is distorted by a mistaken omission of the wording that needs to be restored here: by haplography, the mention of the marital bed is omitted, and this omission distorts the point being made about the clothes and brooch of Odysseus as sēmata in their own right at xix 250). On p. 214n42, “Pausanias 9.44.44” should be 8.44.4.

Nagy, G. 1992. Introduction to Homer. The Iliad (trans. R. Fitzgerald) v–xxi. Everyman’s Library no. 60. New York.

Nagy, G. 1993. “Alcaeus in Sacred Space.” Tradizione e innovazione nella cultura greca da Omero all’ età ellenistica: Scritti in onore di Bruno Gentili (ed. R. Pretagostini) 221–225. Rome.

Nagy, G. 1994. “The Name of Apollo: Etymology and Essence.” In Solomon 1994:3–7. Rewritten as ch. 7 in Nagy 2004a.

Nagy, G. 1994/1995 “Transformations of Choral Lyric Traditions in the Context of Athenian State Theater.” Arion 3:41–55. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Transformations_of_Choral_Lyric_Traditions.1995.

Nagy, G. 1996a. Poetry as Performance: Homer and Beyond. Cambridge. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Poetry_as_Performance.1996.

Nagy, G. 1996b. Homeric Questions. Austin. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Homeric_Questions.1996.

Nagy, G. 1998. “The Library of Pergamon as a Classical Model.” Pergamon: Citadel of the Gods (ed. H. Koester) 185–232. Harvard Theological Studies 46. Philadelphia. 2nd ed. in Nagy 2012a, available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Library_of_Pergamon_as_a_Classical_Model.1998.

Nagy, G. 1999. See Nagy 1979.

Nagy, G. 1999a. “Epic as Genre.” In Beissinger, Tylus, and Wofford 1999:21–32.

Nagy, G. 1999b. “As the World Runs Out of Breath: Metaphorical Perspectives on the Heavens and the Atmosphere in the Ancient World.” In Conway, Keniston, Marx 1999:37–50.

Nagy, G. 1999c. Review of Vielle 1996. Classical Review 49:279–280.

Nagy, G. 1999d. Preface to 2nd ed. of Nagy 1979.

Nagy, G. 2000. “‘Dream of a Shade’: Refractions of Epic Vision in Pindar’s Pythian 8 and Aeschylus’ Seven against Thebes.” Harvard Studies in Classical Philology 100:97–118. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Dream_of_a_Shade_Refractions_of_Epic_Vision.2000.

Nagy, G. 2001a. “The Sign of the Hero: A Prologue.” In Berenson Maclean and Aitken 2001:xv–xxxv. The page numbering will be given here in arabic numerals. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Sign_of_the_Hero.2001.

Nagy, G. 2001b. “Reading Bakhtin Reading the Classics: An Epic Fate for Conveyors of the Heroic Past.” Bakhtin and the Classics (ed. R. B. Branham) 71–96. Evanston IL. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Reading_Bakhtin_Reading_the_Classics.2002.

Nagy, G. 2001c. “Homère comme modèle classique pour la bibliothèque antique: les métaphores du corpus et du cosmos.” Des Alexandries I. Du livre au texte (ed. L. Giard and Ch. Jacob) 149–161. Paris.

Nagy, G. 2001d. “Éléments orphiques chez Homère.” Kernos 14:1–9.

Nagy, G. 2002a. Plato’s Rhapsody and Homer’s Music: The Poetics of the Panathenaic Festival in Classical Athens. Cambridge MA / Athens. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Platos_Rhapsody_and_Homers_Music.2002.

Nagy, G. 2002b. “Can Myth Be Saved?” Myth: A New Symposium (ed. G. Schrempp and W. Hansen) 240–248. Bloomington.

Nagy, G. 2003. Homeric Responses. Austin. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Homeric_Responses.2003.

Nagy, G. 2004a. Homer’s Text and Language. Urbana and Chicago, IL. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Homers_Text_and_Language.2004.

Nagy, G. 2004b. “L’aède épique en auteur: la tradition des Vies d’Homère.” Identités d’auteur dans l’Antiquité et la tradition européenne (ed. C. Calame and R. Chartier) 41–67. Grenoble.

Nagy, G. 2005a. “The Epic Hero.” A Companion to Ancient Epic (ed. J. M. Foley) 71–89. Oxford.

Nagy, G. 2005b. “An Apobatic Moment for Achilles as Athlete at the Festival of the Panathenaia.” Imeros 5:311–317.

Nagy, G. 2006. “The Epic Hero.” Expanded version of Nagy 2005a. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Epic_Hero.2005.

Nagy, G. 2007a. “Lyric and Greek Myth” The Cambridge Companion to Greek Mythology (ed. R. D. Woodard) 19–51. Cambridge. Updated version available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Lyric_and_Greek_Myth.2007.

Nagy, G. 2007b. “Homer and Greek Myth.” The Cambridge Companion to Greek Mythology (ed. R. D. Woodard) 52–82. Cambridge. Updated version available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Homer_and_Greek_Myth.2007.

Nagy, G. 2007c. “Did Sappho and Alcaeus Ever Meet?” Literatur und Religion: Wege zu einer mythisch–rituellen Poetik bei den Griechen I (ed. A. Bierl, R. Lämmle, and K. Wesselmann) 211–269. MythosEikonPoiesis 1.1. Berlin and New York.

Nagy, G. 2008|2009. Homer the Classic. Online | Printed version. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Homer_the_Classic.2008 | Hellenic Studies 36. Cambridge, MA and Washington, DC.

Nagy, G. 2008a. Greek: An Updating of a Survey of Recent Work. Cambridge, MA and Washington, DC. Updating of Nagy 1972 using original page numbering. Available online at http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Greek_an_Updating.2008.

Nagy, G. 2008b. “Convergences and Divergences between God and Hero in the Mnesiepes Inscription of Paros.” Archilochus and his Age II (ed. D. Katsonopoulou, I. Petropoulos, S. Katsarou) 259–265. Athens.

Nagy, G. 2009. “Did Sappho and Alcaeus Ever Meet?” 2nd ed. of Nagy 2007c. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Did_Sappho_and_Alcaeus_Ever_Meet.2007.

Nagy, G. 2009|2010. Homer the Preclassic. Online | Printed version. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Nagy.Homer_the_Preclassic.2009 | Berkeley and Los Angeles.

Nagy, G. 2009a. “Hesiod and the Ancient Biographical Traditions.” The Brill Companion to Hesiod (ed. F. Montanari, A. Rengakos, and Ch. Tsagalis) 271–311. Leiden. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Hesiod_and_the_Ancient_Biographical_Traditions.2005

Nagy, G. 2009b. “An Apobatic Moment for Achilles as Athlete at the Festival of the Panathenaia.” Expanded version of Nagy 2005b. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.An_Apobatic_Moment_for_Achilles.2005.

Nagy, G. 2009c. “The Fragmentary Muse and the Poetics of Refraction in Sappho, Sophocles, Offenbach.” Theater des Fragments: Performative Strategien im Theater zwischen Antike und Postmoderne (ed. A. Bierl, G. Siegmund, Ch. Meneghetti, C. Schuster) 69–102. Bielefeld. Expanded version available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Fragmentary_Muse_and_the_Poetics_of_Refraction.2009.

Nagy, G. 2010a. “The ‘New Sappho’ Reconsidered in the Light of the Athenian Reception of Sappho.” The New Sappho on Old Age: Textual and Philosophical Issues (ed. E. Greene and M. Skinner) 176–199. Cambridge, MA and Washington, DC. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_New_Sappho_Reconsidered.2011.

Nagy, G. 2010b. “Ancient Greek Elegy.” The Oxford Handbook of the Elegy (ed. K. Weisman) 13–45. Oxford. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Ancient_Greek_Elegy.2010.

Nagy, G. 2010c. “The Meaning of homoios (ὁμοῖος) in Verse 27 of the Hesiodic Theogony and Elsewhere.”Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis (ed. P. Mitsis and Ch. Tsagalis) 153–167. Trends in Classics vol. 7. Berlin and New York.

Nagy, G. 2010d. Review of West 2007. Classical Review 60:333–338. Expanded version available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Review_of_ML_West_Indo-European_Poetry_and_Myth.2010.

Nagy, G. 2010e. “The Subjectivity of Fear as Reflected in Ancient Greek Wording.” Dialogues 5:29–45. Expanded version in Nagy 2012a. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Subjectivity_of_Fear.2010.

Nagy, G. 2011a. “Asopos and His Multiple Daughters: Traces of Preclassical Epic in the Aeginetan Odes of Pindar.” Aegina: Contexts for Choral Lyric Poetry. Myth, History, and Identity in the Fifth Century BC (ed. D. Fearn) 41–78. Oxford.

Nagy, G. 2011b. “A Second Look at the Poetics of Reenactment in Ode 13 of Bacchylides.” Archaic and Classical Choral Song: Performance, Politics and Dissemination (ed. L. Athanassaki and E. L. Bowie) 173–206. Berlin.

Nagy, G. 2011c. “Diachrony and Case of Aesop.” Classics@. Issue 9: Defense Mechanisms in Interdisciplinary Approaches to Classical Studies and Beyond. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.Diachrony_and_the_Case_of_Aesop.2011.

Nagy, G. 2011d. “The Earliest Phases in the Reception of the Homeric Hymns.” The Homeric Hymns: Interpretative Essays (ed. A. Faulkner) 280–333. Oxford. Available online at http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Earliest_Phases_in_the_Reception_of_the_Homeric_Hymns.2011.

Nagy, G. 2012b. “Signs of Hero Cult in Homeric Poetry.” Homeric Contexts: Neoanalysis and the Interpretation of Homeric Poetry (ed. F. Montanari, A. Rengakos, and Ch. Tsagalis) 27–71. Trends in Classics Supplementary Volume 12. Berlin and Boston.

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