By Irene J. F. de Jong
Accomplished commentaries at the Homeric texts abound, yet this remark concentrates on one significant element of the Odyssey--its narrative artwork. The position of narrator and narratees, equipment of characterization and surroundings description, and the advance of the plot are mentioned. The learn goals to augment our knowing of this masterpiece of eu literature. All Greek references are translated and technical phrases are defined in a thesaurus. it truly is directed at scholars and students of Greek literature and comparative literature.
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Additional resources for A Narratological Commentary on the Odyssey
However, at the beginning of the story he is still far removed from the heroic ideal of ‘a doer of deeds and speaker of words’ (Il. 158–60). However, just as Achilles had Phoenix, Telemachus meets with a series of helpers (cf. ) and gradually develops his heroic potential. 113. Miller and Carmichael (1954), Clarke (1963: 130–5), Allione (1963: 9–60), Austin (1969), Thornton (1970: 68–77), Alden (1987), Besslich (1981), Murnaghan (1987: 33–8), Krischer (1988), Felson-Rubin (1991: 74–91), Katz (1991: 125–6), Race (1993: 80–3), and Roisman (1994).
527–33. The narrator has Zeus introduce this selective moralism for narrative purposes: it is one of the strategies he uses to make Odysseus’ bloody revenge on the Suitors acceptable; cf. ). The story of Agamemnon’s nostos, which is one of many ‘nostos’ stories, is the most important foil for Odysseus’ nostos; cf. Introduction. As a rule, Agamemnon 24 25 26 Jones (1954) and Olson (1995: 208–13). Fenik (1974: 209–18), Rüter (1969: 64–82), Yamagata (1994: 32–9), Olson (1995: 205–23), and Van Erp Taalman Kip (1997).
Intro to 19. The frequent use of deictic pronouns, which suggest gestures (¥d’: 185, ˜d’: 225, 232, tãde: 226), lends it an air of drama; cf. 221–440nn. The structure of the conversation is as follows: Telemachus A B C Athena C’ 50 51 (excuse) I hope you don’t blame me for what I want to say (158). These men [Suitors] are consuming the livestock of Odysseus (159–60), who is dead (161–8). (transitional formula) But tell me this (169): who are you? On which ship did you come? Are you perhaps a guestfriend of my father (170–7)?
A Narratological Commentary on the Odyssey by Irene J. F. de Jong