By Irene J. F. de Jong
Entire commentaries at the Homeric texts abound, yet this remark concentrates on one significant element 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 research goals to augment our realizing 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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Extra info for A Narratological Commentary on the Odyssey
169–71; and cf. 328–35). 291). In the Odyssey it is used mainly (sixteen times out of a total of nineteen occurrences) in reference to the Suitors. 49 The doubling is the logical result of the fact that Telemachus is keeping his guest at a distance from the Suitors (130–5), but at the same time it reveals their poor hospitality: they are too self-centred to bother about the guest (whom, as will be clear from 405–11, they did notice). Telemachus offers the stranger a typical *festive meal: (i) preparation (136–8) and (ii) serving (139–43).
133–6n. 163 Telemachus refers to his father as ke›now (cf. 177), the pronoun used to refer to an absent person. As such it is the most appropriate pronoun for those at home to refer to Odysseus; indeed, ﬁfty-nine out of a total of eightynine instances of (singular) ke›now/§ke›now in the Odyssey concern him. 122–30, 372–8), announcements of his return voiced by ‘the beggar’/Odysseus (see especially Eumaeus in Book 14 and Penelope in Book 19), and even the hero’s self-identiﬁcation (cf. ). 215–24).
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