By Irene J. F. de Jong
Complete commentaries at the Homeric texts abound, yet this statement concentrates on one significant element 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 augment our figuring out of this masterpiece of ecu literature. All Greek references are translated and technical phrases are defined in a thesaurus. it really 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
In the Odyssey the word is used with one exception of the Suitors. 113–35 This is a fairly regular version of the reception of a guest: the guest (a) waits at the door (cf. 103–4), (b) is seen by his host (113–18, here expanded with a description of the host’s state of mind), (c) who rises from his/her seat and/or hurries towards him (119–20a), (d) gives him a hand (120b–121a), takes his spear (121b; an addition), (e) speaks words of welcome (122–4), (f) leads him in (125), stores his spear (126–9; an addition), and (g) offers him a seat (130–5).
158–68 The swing of Telemachus’ emotions between resignation and hope within the space of a few lines (the Suitors are eating the livestock of a man who is dead – if only he would come home, then he would rout them – but he is dead) is typical for the state of mind of Odysseus’ philoi; cf. 127–9. The narratees may note the dramatic irony † of Telemachus considering Odysseus’ return an unattainable wish, his death a sad reality. The same ﬂuctuation recurs on a larger scale: Odysseus’ philoi now say that Odysseus is dead, then that he is alive; cf.
Her announcement in 89), but also reminds him of his father ‘even more than before’, a reference to the beginning of their meeting, when she found him daydreaming about his father (114–17). Telemachus’ reaction to Athena’s epiphany is typical: he is ‘amazed’ (yãmbhsen; cf. 36; Il. 79). He concludes that ‘Mentes’ must have been a god (cf. 372), yet does not know which god (cf. 262: ‘the god of yesterday’); the éyanatÆn of 420 and ‘Athena’ of 444, are paralepses † of the narrator (cf. ).
A Narratological Commentary on the Odyssey by Irene J. F. de Jong