Greek Prose Composition

Authors

S. O. Andrew
T. F. Dallin
John Donovan
L. W. P. Lewis
J. A Nairn
A. H. Nash-Williams (A Level)
A. H. Nash-Williams(Introduction)

J. Y. Sargent(Materials)
J. Y. Sargent(Primer)
A. Sidgwick(Lectures)
A. Sidgwick (Introduction)
L. M. Styler
F. StJ Thackery

H M Wilkins

Coin from Istros in Thrace

Advanced Level Greek Prose Composition. A. H. Nash-Williams. Macmillan 1966. 130 good, testing proses, interspersed with advanced tips on composition. In retirement I completed all the exercises in this book: only two were really hard - numbers 119 and 120. Perhaps it is as well that I was not challenged to compose either when taking my A Levels in the 1960’s. On the other hand some of the pieces are refreshingly non-PC in subject-matter and it’s pleasant to devise one or two phrases even neater than those given in the Key. There are useful pages on particles. The author spends a lot of space on abstract nouns, something which is vitally important, reflecting a major division between modern and ancient languages. It is great news to see that Duckworth have reissued this book as a paperback very recently: I heartily recommend it. The Key is valuable and interesting but, as with NW’s excellent ‘Introduction’, be careful with his vocabulary: he uses some Homeric and Xenophontine vocabulary which detracts from a good Attic flavour to a few of his versions. On the other hand I find his solution to some thorny problems of translation both elegant and resourceful - which is the basis of all good work on this exercise.
 Foundations for Greek Prose Composition. L. W. P. Lewis & L. M. Styler Heinemann. 1951 A very well liked introduction to an accurate understanding of Greek syntax. Its reputation is well deserved for the book covers all syntax carefully and will give any learner a thorough and accurate grounding together with confidence in dealing with Greek idiom. The Key is carefully printed, giving alternative versions where the grammar might allow: I have detected almost no errors.
 Greek Prose Composition. S. O. Andrew. Macmillan 1959. A strangely alarming book because its exercises, both short sentences and long pieces, are often so difficult even from the outset. The hints beneath the prose passages are often designed to steer the student away from error rather than on to the right answer. 188 exercises. Although rather unsympathetic in its approach, there are some useful examples, prompting both pupil and teacher to use their wits and their reading rather than a simple solution to the hard problems of interpretation given in the book. And this, surely, is the chief fruit of doing Greek proses. If a careful student will master the various chapters on style and expression, he or she will perforce acquire a strength of logical thought as well as a truly refined ability to use Attic Greek. The labour of this book will slowly repay the toil of following its lessons. Key: Some of the versions are peculiarly convoluted. The exception are the pieces written by W G Rutherford, which are, as one would expect, simple, clear and stylish.
 Greek Prose Composition. J. A. Nairn. Cambridge. 1927. This edition incorporates the Key. A guide to literary style and really for advanced students only. Much perceptive discrimination in the styles of the best Attic authors. There are excellent hints for capable composers which are well worth reviewing before tackling the 75 pieces which cover all the usual styles. The skill of Arbuthnot Nairn in his versions was quite remarkable but do be wary of some of his vocabulary: as with many of his generation, brilliant and innovative initiative in this work was often beset with unexpected misapprehensions of the true use and meaning of unusual Greek words.
 Hints and Cautions on Attic Greek Prose Composition. &#160F. StJ Thackery. Eton. 1876. In 150 pages, this contains a great many useful points gathered into a number of chapters. It is probably best used, as no doubt it was designed, as a book to dip into from time to time. There are just over 20 proses at the back with versions. This book was written for Etonians and illustrates the doubts they may have had. There are cautions on Hellenistic words which they might have met: there is also a useful chapter on how to deal with modern terms.
 Introduction to Continuous Greek Prose Composition + Key. &#160A. H. Nash-Williams. Macmillan. 1964. Once the grammar is learnt, this book starts to build up a good periodic style, incorporating the resources of Greek idiom. The long chapter on abstract nouns is particularly instructive and will give plenty of clues, we think, for dealing with such items in Latin too. There are 80 short paragraphs to practise with, and 40 longer proses. Very sound instruction. But be warned! Some of the recommended vocabulary is unsound and needs caution: e.g. ‘sluggish’ is given as nwcelhV- ‘to fit out a retinue’ as stolon anazeugnumi etc.
 Introduction to Greek Prose Composition. Arthur Sidgwick. Longmans, Green 1957 & many other dates. What happy memories this book has for all who have used it. The curious stories beguile the chore involved in turning English to Greek and learning the multitude of syntactical forms from the most helpful and complete introduction. The later passages cannot fail to interest both pupil and teacher, as they often introduce authors whom otherwise we might never have searched out. Mrs. Hutchinson, Merivale and Prescott come immediately to mind, besides the worthier names of Addison, Bacon and Arnold. Few books can be more salutary for even an experienced teacher to read again: it tightens up loose connections and clears the dust from less noticed areas of the Greek language. The Key is usually reliable although AS occasionally uses some very late forms and avoids reflecting the full meaning of the English text. Of charity we may suspect the printer rather than the scholar may be at fault. This was our guide in happy student days and it continues to teach us some decades later.
 Lectures on Greek Prose Composition. &#160Arthur Sidgwick</a>. Rivingtons. 1887. 20 proses demonstrated with the author’s usual skill. These are followed by 50 proses for the student to try; there are references back to the introductory remarks. <a name="H M Wilkins"></a>    Manual of Greek Prose Composition for the Use of Schools & Colleges.  Henry Musgrave Wilkins.  Longmans, Green  1883.  This was even in its own day considered one of the chief guides to advanced work in the subject.  It begins with 60 pages of notes on style, grammar and  proverbs.  There are then three parts to the proses.  The first consists of 73 long passages translated literally from Greek originals with copious notes for turning these back into Greek.  Part two contains 35 passages from demandingly hard English authors, each followed by an English version adapted for turning these into Greek: this is particularly instructive, showing both the natural directness of Greek and the convolutions of nineteenth century English. Part three contains 77 long passages translated from Greek originals into idiomatic English.  Patience and a good library of Greek books would provide the Key needed for these prose passages.  It was designed for forms at the top of Public Schools and for undergraduates in an age when boys [and some lucky girls too] had been writing Greek since the age of ten or even earlier.     Materials and Models for Greek Prose Composition.   &#160<a name="J. Y. Sargent">J. Y. Sargent</a> and <a name="T. F. Dallin"> T. F. Dallin</a>. Longmans, Green. 1892. No nonsense. Over 120 long pieces of rotund English for Greek composition, divided into six sections which include ‘Pieces in the style of Herodotus’ and ‘Satirical Pieces’. We have the Key, ‘Greek Version of 92 Selected Pieces from Materials and Models.’ Sargent worked hard but his motto was quantity ahead of quality. An earlier owner of my copy has corrected several blunders, as have I.    <a name="Primer of Greek Prose Composition.    J. Y. Sargent">Primer of Greek Prose Composition.   &#160J. Y. Sargent</a>. Clarendon Press. 1892. A slightly odd approach here. The book demands much more basic knowledge than the word ‘Primer’ would suggest. There is a great emphasis on a very wide vocabulary for which a lot of help is incorporated in the exercises. There are plenty of Greek passages to read in order to exemplify specific rules being practised and there is perhaps a greater emphasis on Xenophon than would be expected these days. Sargent exemplifies a practice common in his day and much criticised by S O Andrew (q.v.) of getting boys to abstract phrases from authors as diverse as Herodotus and Lucian and intruding them into pieces intended as Attic. You will spot some unexpected rarities among the idioms and words which Sargent proposes to the beginner. The rules of syntax are not explained at all. Key to Greek Prose Primer. 1892. 96 pp.    Theory of Advanced Greek Prose Composition   &#160 <a name="John Donovan">John Donovan</a>. Blackwell 1921. Published in 3 parts which we have separately as well as bound into one handsome volume. This is a treasury of Greek usage in which it is very easy to become lost. Individual points of grammar are not easy to follow through. Yet the wealth of examples is greater than in any other book of its kind and there is, I believe, no problem in English which cannot be solved in the pages of this great work. If ever you get the chance to obtain a copy, do not let it pass by or you will rue the day! Although I have three complete copies of this great work, I lend them to no one. There is a complete index of English words but it is worth compiling a grammatical index (which I have done). <map name="FPMap4"> <area href="index.htm" shape="rect" coords="1, 1, 74, 44"></map><img border="0" src="images/homepe4.jpg" usemap="#FPMap4" width="75" height="45"> Published by the Hawtreys Classics Dept. Web author:   Bruce McCrae </body> </html>