By Douglas Cairns, Ruth Scodel
The 'Classic' narratology that has been greatly utilized to classical texts is geared toward a common taxonomy for describing narratives. extra lately, 'new narratologies' have started linking the formal features of narrative to their old and ideological contexts. This quantity seeks one of these rethinking for Greek literature. It has heavily comparable ambitions: to outline what's commonly Greek in Greek narratives of other sessions and genres, and to work out how narrative strategies and issues enhance over time.
The 15 extraordinary participants discover questions reminiscent of: 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 alter narrative recommendations from different genres?
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199–201, Homer describes in vivid detail a specific type of dream (the frustrated chase). Similes, in a sense, are to Homer what dreams are to Gilgamesh. Here we find elaborate images mapped onto the story: Hector is like a lion; Achilles is like a star. Yet Homeric similes are not symbolic in the way that dreams are in Gilgamesh. Rather, they allow the poet to pull away from the point of comparison, and in so doing create a separate visual field. 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.
2. 25 For detailed discussion see Kessels 1978. 136). The effect here is suggestive rather than vivid, in a manner that I have argued is characteristic of Gilgamesh more generally. I have written of the complexities of the gaze in Gilgamesh and the ‘deep vision’ it requires of its readers. Homeric narrative too has its complexities, but these are of a different order. Here is an ancient commentator on Iliad 6 (Schol. bT on Il. 467): ταῦτα δὲ τὰ ἔπη οὕτως ἐστὶν ἐναργείας μεστά, ὅτι οὐ μόνον ἀκούεται τὰ πράγματα, ἀλλὰ καὶ ὁρᾶται.
90–102), Hector in Book 12 on Polydamas’ apparent stupidity and cowardice 26 Cf. 249–309: Polydamas suggests (249–82) – Hector rejects (284–309). For slightly less complex sequences, cf. 241–50 (Sthenelus suggests – Diomedes rejects), and for successful examples (all of which are prefaced by divine intervention to that end; Kelly 2007: 164–5), cf. 621–3 (Meriones suggests – Idomeneus follows). 27 These examples are chosen merely for reasons of space and prominence in the poem. All of the examples in the previous footnote show the same pattern, with the natural exception of those cases – preceded by direct divine intervention to that end – where the suggestion is followed.