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By Bruno Currie

What sort of allusion is feasible in a poetry derived from a centuries-long oral culture, and what sort of oral-derived poetry are the Homeric epics? comparability of Homeric epic with South Slavic heroic music has instructed specific sorts of solutions to those questions, but the South Slavic paradigm is neither user-friendly in itself nor unavoidably the one pertinent paradigm: Augustan Latin poetry makes use of many subtle and hugely self-conscious options of allusion that can, this e-book contends, be suggestively paralleled in Homeric epic, and a few of an analogous innovations of allusion are available in close to japanese poetry of the 3rd and moment millennia BC.

By getting to those quite a few paradigms, this not easy learn argues for a brand new realizing of Homeric allusion and its position in literary historical past, broaching the query of even if there could have been old continuity in a poetics of allusion stretching from the Mesopotamian epic of Gilgamesh, through the Iliad and Odyssey, to the Aeneid and Metamorphoses, regardless of the large disparities of time and position and of language and tradition, together with these represented by way of the cuneiform pill, the papyrus roll, and via an oral functionality tradition. the elemental methodological difficulties are explored via a chain of interlocking case experiences, treating of ways the Odyssey conceivably alludes to the Iliad and likewise to previous poetry on Odysseus' homecoming, the Iliad to past poetry at the Ethiopian hero Memnon, the Homeric Hymn to Demeter to previous poetry on Hades' abduction of Persephone, and early Greek epic to Mesopotamian mythological poetry, pre-eminently the Babylonian epic of Gilgamesh.

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Thomas 2011: 159–68 (HPan). Cf. ). In Latin poetry: Hardie 1986: 52–66 (on Iopas’ song at Virg. Aen. 740–7); D. P. Fowler 2000b. 172 Kuiper 1896: 114; Giangrande 1967; Conte 1986: 36; R. F. Thomas 1986: 185–9; Farrell 1991: 13 and n. 18; Gale 2007: 11–12 n. 34; Hardie 2007: 117. In Sappho’s allusions to Homer: Rissman 1983: 13–19. In Bacchylides’ allusions to Homer (esp. ) Bacch. 121–40): Currie 2010: 223 and n. 50. 173 Reversals in paired speeches in the Iliad: Lohmann 1970: 112–30. In general, for ‘Umkehr in der Wiederkehr des Gleichen’ (‘reversal in recurrence of the same [motif]’), see Lohmann 1988: 64.

Most 1993; 2006: xxi–xxii, on Hesiod and the Hesiodic poems. 125 Mueller 2009: 176: ‘the concept of a fixed text does not depend on writing’; Tsagalis 2011: 235 and n. 86, esp. 238–9. 126 Lord 1960: 152: ‘I feel sure that the impetus to write down the Iliad and the Odyssey did not come from Homer himself but from some outside source’; Lord 1953: 130; 1962: 197; Jensen 1980: 92–3; 2000: 61; J. M. Foley 2005a: 209; 2011b: 604. Differently, Goody 1987: 93: ‘the text we possess was written down by insiders … It is only recently, in general, that outsiders (as distinct from insiders) came and recorded oral forms, as Parry and Lord did in Yugoslavia’; cf.

133 Blößner 2006: 20 n. 6; cf. J. T. Kakridis 1949: 8; Kullmann 1955: 253 = 1992: 38; Burgess 2001: 61. 134 Cf. Burgess 2001: 213 n. 44; 2006: 151 n 6. Nesselrath 2011: 191 identifies various forerunners of Pestalozzi and J. T. Kakridis in the nineteenth and earlier twentieth centuries. The coining of the term ‘neo-analysis’: J. T. Kakridis 1949: 2. 135 Severyns 1928: 98–9. 128 Homer and Allusive Art 23 ἐτελείετο βουλή preserves a fine specimen of neoanalytical thinking avant la lettre when it comments that ‘others have said that Homer speaks from a certain myth’, and continues: ‘the myth is to be found in Stasinus, poet of the Cypria’.

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