This is J. W. Frädersdorff's English-Greek dictionary, 2nd edition, as published in 1860. This fully OCR'd and searchable English-Greek dictionary is a translation, adaptation, and arrangement of the entire materials of Dr. Rost’s Deutsch-Griechisches Wörterbuch of 1818. Despite being criticized upon publication this work includes such merits as copious examples of idiomatic usage which promotes discerning apprehension of Greek prose, wide-ranging vocabulary that (upon concordancing) demonstrates deep parallels between Greek and English, and an ample yet not ponderous size. (The Oxford English Dictionary will demystify arcane and obsolete entries.) It makes a fine complement to the more scholastic English-Greek dictionary of C. D. Yonge, a work meant for schoolboys that nevertheless offers the reader of Greek poetry especial insight.
Taken together, the Frädersdorff and Yonge dictionaries serve to enlarge understanding of the semantic content of Greek beyond that which can be gleaned from more modern works alone, i.e. the work of Liddell-Scott-Jones and of the Perseus Project. They do so because, despite the authors working in their day at the cutting edge of classical studies, Frädersdorff and Yonge labored prior to what would become the all-pervasive influence of modernist thinking typified by their contemporary, Charles Sanders Pierce, and his philosophy of Logical Positivism. Without such prejudice, the additional perspective provided by such artlessness broadens our post-modern mindset by invoking a time devoid of reductionism. Artlessness is not to be conflated with naïveté, however; these dictionaries were written so to preserve as much as possible the spirit of the age in which Greek language first flourished.
But our minds are a long way from ancient Greece. Just discounting the tendentious modernism of intervening ages is not enough to remake our outlook; the ancient mindset is just too different from the modern. By engaging with these works of Frädersdorff and Jonge, though, perhaps some vestige might shine through of what it was like to engage with Greek literature for the first time.
This fully OCR'd and searchable English-Greek dictionary is by C. D. Yonge, as edited by Henry Drisler and published in 1870. Included is the useful "An Essay On The Order Of Words In Attic Greek Prose" By Charles Short,LL.D. [The main PDF does not contain the LIST OF PROPER NAMES, pp. 605-661, which is included as a separate non-OCR'd PDF.]
In the introduction we are assured that this book, along with the Syntactical Rules of a good Greek Grammar, is all that is necessary to embark upon Greek composition. (The Oxford English Dictionary will demystify arcane and obsolete entries.) While the English-Greek dictionary of Frädersdorff (of comparable size) might contain more wide-ranging vocabulary with more copious examples of idiomatic usage, that of Yonge still deserves a place because of its especial insight into fine distinctions in the language of the Greek poets.
Taken together, the Frädersdorff and Yonge dictionaries serve to enlarge understanding of the semantic content of Greek beyond that which can be gleaned from more modern works alone, i.e. the work of Liddell-Scott-Jones and of the Perseus Project. They do so because, despite the authors working in their day at the cutting edge of classical studies, Frädersdorff and Yonge labored prior to what would become the all-pervasive influence of modernist thinking typified by their contemporary, Charles Sanders Pierce, and his philosophy of Logical Positivism. Without such prejudice, the additional perspective provided by such artlessness broadens our post-modern mindset by invoking a time devoid of reductionism. Artlessness is not to be conflated with naïveté, however; these dictionaries were written so to preserve as much as possible the spirit of the age in which Greek language first flourished.
But our minds are a long way from ancient Greece. Just discounting the tendentious modernism of intervening ages is not enough to remake our outlook; the ancient mindset is just too different from the modern. By engaging with these works of Frädersdorff and Yonge, though, perhaps some vestige might shine through of what it was like to engage with Greek literature for the first time.
A History Of Classical Scholarship by John Edwin Sandys (1903) is the standard account by which all other studies are measured. Practically, it remained the only comprehensive account of the modern history of classical scholarship until Brill published their volumes just recently.
These PDFs have been carefully OCR'd and are fully searchable (including the Greek).
A History Of Classical Scholarship by John Edwin Sandys (1903) is the standard account by which all other studies are measured. Practically, it remained the only comprehensive account of the modern history of classical scholarship until Brill published their volumes just recently.
These PDFs have been carefully OCR'd and are fully searchable (including the Greek).
Please download and store this to preserve it for posterity. This collection of articles, monographs and tracts gives examples of Greek ligatures in the early modern printing of the 15th and 16th centuries. Without such guides we cannot verify the later re-printings of early printed Greek and Latin.
As the author, Leo Nellissen, writes : It is rather late in the day to asperse the practices of the early designers of Greek founts or to quarrel with their type-setters. Litera scripta manet. What the ' litera ' meant is the whole function of this Index. The compositor who read οἶον as we prefer it had no scruples about printing it as ὁῖον and ῟οιον in one and the same line. Compare xi. 20 and 21. In one fount ἀραρίσκω occurred with a different ligature for each αρ, as though the breathing demanded discrimination. The compositor merely picked up the sort that was nearest. There are dozens of instances of misplaced accents and breathings, of different sorts and different ligatures for the same letters in one line of print. The crux in xix. 18 might weigh against accuracy in transcription. But it is just these liberties which the fifteenth-century compositors took which disconcert the scholars of the twentieth. Examined in the light of scholarship the ligature is wide of the mark in the placing of a circumflex over a short vowel, but the contraction exists in print. What happened was this. The compositor had to get in the words λαμβάνετ’ οὖν, but in order to justify his line he left out the space and ran two words together. So he kerned omikron and tau, put the apostrophe and breathing over omikron, and the circumflex on top. A short vowel circumflexed is, like metal on metal or colour on colour in heraldry, pour enquérir, and an Index of this kind, if it is to serve its purpose, must contain examples of inconsistencies and perversions, for it is these, far more than the stereotyped ligatures, that are difficult to interpret.
This article ("Hebrews 5:14 And ἝΞΙΣ : A History Of Misunderstanding" By John A.L. Lee) explains why using just a single lexicon is not enough (whether one is working with biblical or with secular texts). The original intent of 16th century lexicons was openly declared by Calvinists to be the education of the public at large to translate Greek and Latin so to read the Bible for themselves. Although slanted in this way, their work is both voluminous and thorough. Modern lexicons are based upon this earlier work, but do not supersede it. Corporations and special interest groups have taken over classical studies, just like they have hijacked everything else in the modern age. Too often we think that Brill Publishing, the Perseus Project, the Oxford dictionaries, and even the Liddell-Scott-Jones lexicon are the "be all and end all" of scholarship. But without knowledge of the lexicography of the past a distorted semantics of Greek language ensues. As classical studies goes forward, comparing modern lexicography to that of the past *must* become an important part of any classical scholar's skill set.
This is due to technical reasons, but also due to mind-set. Lee's article gives an excellent example of a technical reason but there are many more. For instance, entries for post, póst, and pòst in Thesaurus linguae Latinae of Robert Estienne (1573) clearly distinguish the import of these three disparate words. Genuine understanding of the full breadth of Latin as used by Henri Estienne in his Thesaurus Graecae Linguae requires knowledge of the diacritic markings that differentiate Latin sememes. However, many distinct lexical entities appear in later Latin lexicons since Thesaurus linguae Latinae (the printing of 1740) under a single spelling, e.g. "post." Naturally, this causes confusion.
Beyond such technical reasons, though, one must consider that an era's world-view predisposes one to interpret language according to subtle changes of mind-set with which a reader has grown up . Slowly over time, humanity's outlook develops perspectives that are tendentious in ways inconceivable to those who lived prior. For example, despite authors of former days working at the cutting edge of classical studies, they labored prior to what would become the all-pervasive influence of modernist thinking typified by Charles Sanders Pierce and his philosophy of Logical Positivism. Without such prejudice, their writings preserve much more of Greece's spirit of the age. In comparison to the post-modern era, their mind-set might be characterized as artless in that its perspective is unsullied by reductionism.
Artlessness is not to be conflated with naïveté, however. Practically all that we understand about the human psyche, about the way people behave in groups, and how they respond to influences for good or bad, still depends on a knowledge of the classics. Even understanding of the subconscious/unconscious, so key to advertising and propaganda, is to be found in the Greek's use of the middle voice. And yet our modern minds are a long way from ancient Greece. Just discounting the tendentious modernism of intervening ages is not enough to compensate for our outlook; the ancient mindset is just too different from the modern. By engaging with works prior to modernism, though, some vestige might shine through of what subtleties ancient Greek authors instilled in their works in the distant past.