Indo-European Poetry and Myth by M. L. West

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By M. L. West

The Indo-Europeans, audio system of the prehistoric mum or dad language from which so much ecu and a few Asiatic languages are descended, most likely lived at the Eurasian steppes a few 5 or 6 thousand years in the past. Martin West investigates their conventional mythologies, religions, and poetries, and issues to parts of universal historical past. In "The East Face of Helicon" (1997), West confirmed the level to which Homeric and different early Greek poetry was once stimulated through close to jap traditions, quite often non-Indo-European. His new publication offers a foil to that paintings via selecting components of extra historical, Indo-European history within the Greek fabric. subject matters lined comprise the prestige of poets and poetry in Indo-European societies; metre, type, and diction; gods and different supernatural beings, from Father Sky and mom Earth to the Sun-god and his appealing daughter, the Thunder-god and different elemental deities, and earthly orders akin to Nymphs and Elves; the varieties of hymns, prayers, and incantations; conceptions concerning the global, its beginning, mankind, dying, and destiny; the ideology of popularity and of immortalization via poetry; the typology of the king and the hero; the hero as warrior, and the conventions of conflict narrative.

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W. Fortson IV in Mír Curad, 138; EIEC 575. 34 1. Poet and Poesy 2; 5. 81. 1; 9. 100. ). The song or formula is a mánman- or a mántra(Avestan ma˛θra-). It can also be referred to as a sumatí- or sumnám, both meaning literally ‘good thought, good disposition’. It has been proposed to derive the Greek µνο from the same elements, *su-mn-o-;27 this has its attractions, though it is hard to account for - instead of the normal Greek ε - unless on the assumption (historically conceivable––see pp. ) that the word came into Mycenaean from an Iranian source.

4, 169. 31, 172 Theiler); Timagenes (FGrHist 88 F 2) ap. Amm. Marc. 15. 9. 8 (where the vates are replaced by euhages following a corruption in the Greek source: ΟΥΑΤΕΙC > ΕΥΑΓΕΙC ); Caesar, Bell. Gall. 6. 13–14; Lucan 1. 447–58; Festus p. 31. 13 L. 28 1. Poet and Poesy Lithuanian gìrti ‘praise’. The second element is the very common verbal root meaning ‘set in place, create’, as in Greek τ θηµι. What is particularly significant is that the same two roots are combined phrasally in Indo-Iranian, in Vedic gíras .

96. 10; Y. 41. 1, cf. 45. 8; E. Campanile, SSL 20 (1980), 183–8; Watkins (1995), 117; J. Uhlich, TPhS 100 (2002), 414. 4 The Celtic oak: Val. Flacc. 6. 90; Max. Tyr. 2. 8. Dodona: Od. 14. ] Prom. 830–2. For Celtic and other sacred groves cf. Chapter 7. 5 Tac. Hist. 4. 61, 65; Germ. 8. 2; Stat. Silv. 1. 4. 90. 6 Greek κο ω, Latin caueo; IEW 587; cf. R. ; Watkins (1995), 88; Gamkrelidze–Ivanov (1995), 734 f. 7 If the underlying form is *wo ¯-ti-, this must be the case, as the change [o¯] > [a¯] is Celtic, not Italic.

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