For many [city-] states that were once great have now become small: and those that were great in my time were small formerly. Knowing therefore that human prosperity never continues in one stay, I will make mention alike of both kinds.
Herodotus Histories Book I 5,4 (English translation by A. D. Godley, with only one modification in the bracket by me)
Might expand this into a bracket if I feel so inclined. I’ve included characters I feel like have received the tumblr sexyman treatment, but I’ve definitely missed some.
Heredotos'un Tarih kitabını okuyorum. Çeviri olarak da çok güzel yazar da çok güzel yazmış boşuna tarihin babası değil adam. Bu daha ilk sayfalardan tekrar okuyabilirim bu kitabı ne kadar geniş hacimli olsa da ...
Hello everyone! This year’s Histories Ficathon is now open for Tag Nominations and Sign-Ups! They will be open for three weeks, closing 4 June 11:59PM (EDT).
This year, we are allowing requests for fics crossing over with medieval and early modern texts so we have a brand new tagset just for them. Please check out the collection on AO3 for more information and links to the tagsets!
If you have any questions, please ask @skeleton-richard or myself!
this is a very vague question im sorry but how do you like. read the histories. like do i have to know the historical context and stuff to understand them or can i just go for it.
You really don’t need any context—Shakespeare gives most of the necessary info to you and the footnotes in any decent copy will provide anything else you need that would’ve been common knowledge in his day. The hardest thing is keeping track of the characters! I recommend you write them down and cross them out as they die if you’re having trouble!
Other than that, there are a few orders you can read them in (and you can really start with pretty much any of them), but for continuity’s sake, my preference is reading them in the order that the events depicted happened historically so:
“In conclusion, I hope to have demonstrated that Herodotus establishes in his prologue a relationship of considerable complexity with his poetic predecessors and contemporaries. From the outset he presents his monumental historical narrative of the Greco-Persian wars as simultaneously indebted and opposed to a network of poets, whose Panhellenic cultural prestige he challenges in the innovative medium of prose. Epic—specifically, Homeric epic—is tacitly acknowledged as a model of primary importance: Herodotus adopts the martial subject matter of the Iliad and projects the persona of the peripatetic Homeric hero Odysseus. In abandoning the deeply retrospective glance of the epic tradition to perpetuate the kleos of
fully human warriors, Herodotus follows the example of various poets and artists who celebrated the great Greek victories over the Persians in the early decades of the fifth century. At the same time, Herodotus implies that his own new medium of prose historiê, committed to writing, will surpass poetry’s ability to perform its traditional function of public commemoration. Herodotus constructs the entire prologue as an ingenious prose priamel, a poetic rhetorical structure that enables him to emphasise important points of contact with and departure from Homeric epic, Sappho’s fr. 16, and the portrayal of Croesus in epinician poetry. Finally, at the transition from prologue to narrative proper (1.5.4), Herodotus summarises his perception of historical change as rooted in the transience of human prosperity, introducing this insight with a distinctive term (ἐπιστάµενος) that signals his appropriation of the cultural authority typically bestowed by his contemporaries upon the poetic sage.87"
From the article of Charles C. Chiasson “Herodotus’ Prologue and the Greek Poetic Tradition”, Histos 6 (2012), 114-143 (conclusion).