Download PDF by Irene J. F. de Jong: A Narratological Commentary on the Odyssey

By Irene J. F. de Jong

ISBN-10: 0521468442

ISBN-13: 9780521468442

Finished commentaries at the Homeric texts abound, yet this statement concentrates on one significant point of the Odyssey--its narrative paintings. The position of narrator and narratees, equipment of characterization and surroundings description, and the advance of the plot are mentioned. The learn goals to reinforce our figuring out of this masterpiece of ecu literature. All Greek references are translated and technical phrases are defined in a word list. it really is directed at scholars and students of Greek literature and comparative literature.

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130–5n. 591–2. 158–77 Telemachus’ spontaneous outburst over Odysseus and the Suitors is an instance of the dramatic irony † of ‘bringing up a subject which is dear to the unrecognized guest’, which regularly occurs in delayed recognitions; cf. 96–324n. 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.

Book one 19 therefore doomed to failure). 5–62), the doors of the megaron (preventing the Suitors from escaping during the massacre; cf. Introduction to 22), and the threshold of the megaron (Odysseus’ station both as a beggar and as an avenger; cf. ). , where the disguised Odysseus himself describes his palace. 106–12 Arriving at his destination, the Homeric visitor finds – and focalizes (cf. 42 Here we have a – unique – variant (Athena finds not Telemachus, but the Suitors), which immediately brings home what is wrong in Odysseus’ household: the Suitors are in a place where Telemachus should be.

109–12). The (iii) consumption (149) and (iv) conclusion (150–1) are standard and here apply to both meals. 151–60 Listening to a singer is a common heroic after-dinner activity. In the case of the Suitors, however, there is an edge to it, as Telemachus points out: they are amusing themselves (and, as rÑe›a suggests, enjoying the *ease of the divine lifestyle)50 at another man’s expense. There is also a contrast between the carefree Suitors and worried Telemachus, a contrast which will acquire an ironic undertone when we hear what Phemius has been singing about during Telemachus’ conversation with Athena; cf.

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A Narratological Commentary on the Odyssey by Irene J. F. de Jong


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