By Rene Nunlist, Angus M Bowie, Irene Jong
This is often the 1st in a sequence of volumes which jointly will supply a completely new heritage of historical Greek (narrative) literature. Its association is formal instead of biographical. It strains the heritage of relevant narrative units, corresponding to the narrator and his narratees, time, focalization, characterization, description, speech, and plot. It bargains not just analyses of the dealing with of one of these equipment through person authors, but in addition a bigger ancient standpoint at the demeanour within which it adjustments over the years and is positioned to varied makes use of through diverse authors in several genres. the 1st quantity lays the basis for all volumes to come back, discussing the definition and limits of narrative, and the jobs of its manufacturer, the narrator, and recipient, the narratees.
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836–838) (3) Frequent analepses and prolepses are not to be expected because the Theogony’s structuring principle is primarily genealogical and not chronological. g. Th. 19 If this seems to point towards a generally covert narrator, the impression is substantially contradicted by other characteristics of the TheogoTheogony … and that he remodelled the end in his own style, but following the outlines of the original’, which, one could add, may well have contained the invocations to the Muses. 14 A rare qualification of his omniscience is a reference to anonymous spokesmen (‘they say’: 306), which is, however, problematic because the authenticity of the entire passage is doubtful.
The epilogue, which does not, of course, occur in either Iliad or Odyssey, often contains a wish to the deity to grant a special favour, none of which is particularly informative, except perhaps for ‘food in exchange for the song’9 and for ‘victory in the present contest’ (h. 19–20). The important exception here is again the Hymn to Apollo (see below). The Homeric narrator (→) avoids using evaluative terms in the narrator-text to such an extent that one can differentiate between a ‘character language’ and a ‘narrator language’.
West 1989: 135 rightly points to the very similar song in 36–52. r. nünlist – hesiod 27 After ‘disappearing’ in Th. 10 There, the Muses instruct him to sing a Theogony, which is framed by hymns to themselves, ‘And they told me to sing of the family of blessed ones who are for ever, and first and last always to sing of themselves’ (Th. 33– 34). ’) then leads to a fresh start in 36 (‘from the Muses let us begin’), comparable to the one at the very beginning. 12 The main body of the Theogony is preceded by the narrator’s invocation of the Muses (104–115) which in principle makes use of the same rhetorical devices and fulfils the same function as in the Homeric epics: the external narrator addresses the Muses, asks them to give (him) a song, and thereby gives an outline of the content and subject matter of this song.