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By Irene J. F. de Jong

Accomplished commentaries at the Homeric texts abound, yet this statement concentrates on one significant point of the Odyssey--its narrative artwork. The function of narrator and narratees, tools of characterization and surroundings description, and the improvement of the plot are mentioned. The learn goals to augment our knowing of this masterpiece of ecu literature. All Greek references are translated and technical phrases are defined in a word list. it's directed at scholars and students of Greek literature and comparative literature.

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When in Book 22 Odysseus uses the bow of the shooting contest to kill the Suitors). It is Odysseus’ fate (§pekl≈santo) to return home; cf. 132–3; and cf. 339–40 (Athena’s remark that she always knew he would come home). His Wanderings are also fated; cf. 288–9 (stay with the Phaeacians). 19 In part Odysseus incurs his fate himself (not by committing a ‘sin’, but by making the mistake of blinding Polyphemus and thereby incurring the wrath of Poseidon; cf. ), and in part he shares in the misery brought on by others (the wraths of Athena and of Helius; cf.

Introduction to 9. 77–9 Zeus’s confident announcement that Poseidon will give up his wrath is an instance of misdirection †: it leads the narratees to expect that the god will now not intervene, whereas in fact he does; cf. 19–21n. His shipwrecking of Odysseus in Book 5 will bring about a retardation † of Odysseus’ nostos, announced so emphatically at the opening of the story (cf. nÒston: 5, 13, 77, 87, 94; nÒstimon: 9; n°esyai/htai: 17, 87; nostÆsanta/sai: 36, 83). 33 Here, Athena’s speech delineates the events of Books 1–5: the encouragement of Telemachus in Book 1; the Ithacan assembly in Book 2; Telemachus’ visit to Nestor in Pylos and to Menelaus in Sparta in Books 3–4; Hermes’ mission in Book 5.

444–5; and Il. 527–33. The narrator has Zeus introduce this selective moralism for narrative purposes: it is one of the strategies he uses to make Odysseus’ bloody revenge on the Suitors acceptable; cf. ). The story of Agamemnon’s nostos, which is one of many ‘nostos’ stories, is the most important foil for Odysseus’ nostos; cf. Introduction. As a rule, Agamemnon 24 25 26 Jones (1954) and Olson (1995: 208–13). Fenik (1974: 209–18), Rüter (1969: 64–82), Yamagata (1994: 32–9), Olson (1995: 205–23), and Van Erp Taalman Kip (1997).

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