By Irene J. F. de Jong
Entire commentaries at the Homeric texts abound, yet this remark concentrates on one significant point of the Odyssey--its narrative artwork. The position of narrator and narratees, tools of characterization and surroundings description, and the advance of the plot are mentioned. The learn goals to reinforce our knowing of this masterpiece of eu literature. All Greek references are translated and technical phrases are defined in a word list. 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
My mother says so, but I do not know (215–16). I wish I were the son of a blessed man, but in fact they say I was born out of the most unfortunate mortal there was ever born (217–20). (things may look bleak now, but) For sure, the gods have not made your family one which is later to stay without renown (222–3a), (‘catch-word’ technique †: geneÆn picks up g°neto in 219 and gen°syai in 220) seeing that Penelope has borne such a son as you are (223b). But tell me this (224): what are these men doing here in the palace (225–9)?
For gods appearing directly to mortals, cf. 312–13n. ‘God meets mortal’ scenes are usually full of ambiguity † on the part of the god in disguise, and dramatic irony † on the part of the unsuspecting mortal. The 34 36 37 35 Hellwig (1964: 109–12). Jones (1988b) and Katz (1991: 63–72). Bowra (1952: 287–91). Rose (1956), Lavoie (1970), Clay (1974), Fauth (1975), Dietrich (1983), and Smith (1988). book one 17 present instance bears some resemblance to the *‘delayed recognition’ story-pattern: Telemachus spontaneously starts talking about something which is relevant to the unrecognized guest (158–77) and the unrecognized guest tells a lying tale (179–212).
19 In part Odysseus incurs his fate himself (not by committing a ‘sin’, but by making the mistake of blinding Polyphemus and thereby incurring the wrath of Poseidon; cf. ), and in part he shares in the misery brought on by others (the wraths of Athena and of Helius; cf. ); but above all he must simply endure his allotted portion of suffering (cf. 37–8: ‘Zeus made my nostos full of sorrows from the very moment I left Troy’). In the council of the gods which opens the story Athena will advance the argument that he has now suffered enough and is in danger of exceeding his allotted portion, something which Aegisthus deserves but not Odysseus.