Defining Greek narrative by Douglas Cairns, Ruth Scodel

By Douglas Cairns, Ruth Scodel

The 'Classic' narratology that has been extensively utilized to classical texts is aimed toward a common taxonomy for describing narratives. extra lately, 'new narratologies' have began linking the formal features of narrative to their historic and ideological contexts. This quantity seeks this type of rethinking for Greek literature. It has heavily comparable targets: to outline what's normally Greek in Greek narratives of other classes and genres, and to work out how narrative suggestions and matters strengthen over time.

The 15 distinctive members discover questions corresponding to: How is Homeric epic like and in contrast to Gilgamesh and the Hebrew Bible? What do Greek historians regularly fail to inform us, having realized from the culture what to disregard? How does lyric regulate narrative ideas from different genres?

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30 In each case the narrative proceeds as the speaker intended, but with his authority over interlocutor and situation greatly, if indirectly, reinforced. The associations of this theme feed into the deceptive nature of the entire circumstance in the Diapeira, but also key the audience into the implication of an oblique advantage. Of course the most obvious deception is that aimed at the troops: Agamemnon pretends to want something from them other than that which he does. 75). ; cf. 73, 30. 29 R.

Rofé 2002: 162 and n. 48. 21 Richard Rutherford reminds me aptly of the magnificent St Crispin’s Day speech in Henry V (Act IV Sc. 3): ‘Rather proclaim it presently through my host / that he which hath no stomach to this fight, / let him depart. His passport shall be made / and crowns for convoy put into his purse. ’ Shakespeare may well have come across the passage in Judges, but is anyone prepared to argue that Henry’s speech owes anything to it? 22 R. 73). , Il. 177; cf. Scodel 1998b: 49–50.

So, Achilles is not just like a star but ‘like that star which comes on in the autumn and whose conspicuous brightness far outshines the stars that are numbered in the night’s darkening, the star they give the name of Orion’s Dog, which is brightest among the stars, and yet is wrought as a sign of evil and brings on the great fever for unfortunate mortals’ (Il. 26–31). This image too is ominous, but it requires no interpretation (contrast the stars that feature in Gilgamesh’s dreams, with very different effect); rather, Homer superimposes two images that are equally transparent, and that both retain a high degree of autonomy.

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