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 paintings. The position of narrator and narratees, tools of characterization and surroundings description, and the improvement of the plot are mentioned. The examine goals to reinforce 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 info for A Narratological Commentary on the Odyssey
Besslich (1966: 98, n. 23) and De Jong (1987a: 104). 29, but only here of a rack for spears. This detail allows the narrator to remind us once again of the rightful owner of the palace (cf. ). The narratees may also see the symbolism of Telemachus placing the stranger’s spear – which from 99–101 they know to be Athena’s spear ‘with which she is wont to kill the men she is angry at’ – next to those of Odysseus; in Book 22 goddess and hero will ﬁght side by side against the Suitors. 130–5 The typical element of offering a guest a seat is given an individual twist: Telemachus seats ‘Mentes’ at a distance from the Suitors, both out of embarrassed hospitality (he does not want his guest’s meal to be spoiled) and shrewdness (he wants to ask him about his father and keep any information for himself; cf.
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).
Patr≈Ûoi picks up patr≈Ûow . . je›now of 175–6) I am convinced Odysseus is still alive and will come back (196–205). (transitional formula) But tell me this (206), whether you are really Odysseus’ son (207–12)? (instead of picking up the point of the Suitors, Athena ﬁrst asks a suggestive question) (opening formula) All right, I will tell you (214). 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).