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By Irene J. F. de Jong

Finished 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 examine goals to augment our figuring out of this masterpiece of eu literature. All Greek references are translated and technical phrases are defined in a word list. it truly is directed at scholars and students of Greek literature and comparative literature.

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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). D’Arms and Hulley (1946), Hommel (1955), Hölscher (1967a, 1989: 297–310), Clarke (1967: 10–12), Friedrich (1975: 86–7), Sternberg (1978: 68–73), Felson-Rubin (1994: 95–107), Katz (1991: 29–53), and Olson (1990, 1995: 24–42). 27 The main elements of the Odyssean ‘Oresteia’ story are as follows: Aegisthus marries Clytemnestra during Agamemnon’s absence, Agamemnon is killed by the two lovers upon his return, after seven years Orestes returns and kills Aegisthus.

Here Athena adopts the identity of the Taphian Mentes,38 an old guest-friend of Odysseus (hence sympathetic to his cause, and able to recount to Telemachus a youthful exploit of his father and to note the son’s likeness to his father), and a member of a nation of pirates, cf. 426 (hence able to produce a likely hypothesis as to why Odysseus has not yet returned), who lives sufficiently far away from Ithaca to look at the situation with fresh eyes (his shocked reaction will form an effective stimulus to bring Telemachus into action).

423–4). It is only when Poseidon is ‘far away’ – the detailed description of the Ethiopians’ location, which occurs only here, stresses this crucial fact twice: thlÒy’, ¶sxatoi – that Athena dares to bring up Odysseus’ case. For her circumspection towards her uncle Poseidon, cf. 323–31n. 26–95 The first council of the gods. 472–88). This council has three functions: (i) practical: it starts off the action, by breaking the stalemate around Odysseus’ return (cf. ); (ii) structuring: it informs the narratees about the first stages of the story to follow (cf.

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