X921_A Level Classics_1.2.pdf

# Introduction to Homer's Odyssey and its context This section introduces Homer's Odyssey, exploring its origins, transmission, and the enduring questions surrounding its authorship. ### 1.1 Unit objectives Upon completing this unit, students will be able to demonstrate an understanding of: * The literary context of the Odyssey's creation and transmission, including oral tradition and the timeline of its delivery [2](#page=2). * The debate surrounding whether the epic poems were the work of a single author or multiple poets [2](#page=2). * The structure and plot of the epic [2](#page=2). * The language of the epic, encompassing narrative and descriptive techniques such as speeches, formulae, flashbacks, and similes, and their impact [2](#page=2). ### 1.2 The creation and transmission of the Odyssey #### 1.2.1 Authorship and the Homeric question Homer is famously credited with composing two foundational works of Western literature: the *Iliad* and the *Odyssey*. The *Iliad* chronicles the conflict between the Greeks and Trojans at Troy, while the *Odyssey* narrates the arduous journey home of the Greek warrior Odysseus. Historical evidence suggests the destruction of Troy occurred around 1200 BC, with Homer believed to have lived in the 8th century BC. This significant temporal gap of over 400 years, during which Greece lacked written records due to the Phoenician alphabet not being introduced until the 8th century, raises profound questions. These include how the stories of Troy were preserved and whether a single individual could have authored both epic poems, or if they are the result of accumulated contributions. The inquiry into Homer's identity and the origin of these works is known as the Homeric question [3](#page=3). > **Tip:** Consider the implications of a long oral tradition on the potential evolution and variations of these epic tales. #### 1.2.2 Oral tradition and transmission There is a strong consensus that the Homeric poems originated as oral poetry, despite controversy over their authorship. While the advent of writing, influenced by the Phoenician script, became more accessible in Greece around 700 BC, the approximate date of the *Odyssey*'s composition, it is possible Homer was literate and utilized writing in his creative process. Regardless, the style of the poetry is distinctly oral [4](#page=4). Given that the majority of the population was illiterate for centuries, the *Odyssey* was primarily transmitted through oral performance. Travelling bards, known as aoidoi, would perform the Homeric poems, often accompanied by a lyre, providing both news and entertainment to communities that were frequently isolated [4](#page=4). > **Tip:** The development of writing around the same time as the *Odyssey*'s likely composition offers a fascinating intersection of oral and literate culture. #### 1.2.3 The cultural significance of oral epic Oral epic performances played a crucial role in preserving heroic stories, serving as a valuable cultural resource. These performances provided entertainment, maintained historical continuity, and offered a framework for ethical reflection. A successful epic performance created a shared experience of excitement, sorrow, and admiration, fostering social cohesion within communities [4](#page=4). > **Example:** Edith Hall draws parallels between the improvisational nature of rap music within Hip-Hop culture and Greek oral epic, noting shared reliance on specific rhythms, dialects, and conventional formulaic phrases. This highlights the enduring power of oral storytelling across different eras and cultures [4](#page=4). #### 1.2.4 The role of scholarship in Homeric studies Milman's work on oral tradition is considered to have significantly opened new avenues of inquiry within Homeric Studies. His research shed light on the methods and cultural impact of oral storytelling in ancient Greece [4](#page=4). --- # Structure and plot of the epic poem Epic poems, exemplified by *The Odyssey*, are lengthy narrative poems characterized by their elevated style and focus on a heroic figure undertaking significant challenges of national importance [5](#page=5). ### 2.1 Characteristics of epic poems Epic poems typically incorporate several key features: * The involvement of supernatural beings, such as gods [5](#page=5). * Conflict, often in the form of battles or physical combat [5](#page=5). * Stylistic conventions, including an invocation to the Muse [5](#page=5). * A formal statement of the poem's theme [5](#page=5). * Elevated, often archaic, language [5](#page=5). * A national or universal theme [5](#page=5). * The use of well-known stories [5](#page=5). ### 2.2 Narrative structure and conventions *The Odyssey*'s structure and plot demonstrate several conventions common to epic poetry: #### 2.2.1 Invocation of the Muse and statement of theme The poem begins with an invocation to the Muse and a clear statement of its subject: 'Tell me Muse, the story of that resourceful man who was driven to wander far and wide after he had sacked the whole citadel of Troy'. This practice acknowledges the source of inspiration and introduces the central narrative [5](#page=5) [6](#page=6). #### 2.2.2 In medias res *The Odyssey*, like other epics, commences 'in medias res' (in the middle of the story). This technique allows the audience, already familiar with the broader Trojan War saga, to be immediately immersed in the present crisis in Ithaca, which stems from Odysseus’ twenty-year absence. This approach helps to control narrative tension by not revealing Odysseus until Book 5 [6](#page=6) [7](#page=7). > **Tip:** Starting 'in medias res' creates immediate engagement and suspense, as the audience must piece together past events through flashbacks or narrative accounts. #### 2.2.3 Performance and oral tradition The 24 books of *The Odyssey* could have taken up to 24 hours to perform. Bards likely focused on sections most appealing to their audience; for instance, a performance for soldiers might emphasize battle scenes. The need to maintain the dactylic hexameter metre, along with stylistic elements like stock epithets and formulae, aided the performer in constructing the narrative [6](#page=6). > **Tip:** Understanding the oral tradition helps explain the use of repetitive phrases (formulae) and descriptive adjectives (epithets), which served as mnemonic devices and stylistic tools for the performer. #### 2.2.4 Narrative voice and parallel stories The epic poem's success is also attributed to shifts in narrative voice (from first to third person) and the creation of parallel stories. This allows the poet to manage narrative tension and to present events from different perspectives [7](#page=7). > **Example:** Jasper Griffin suggests that by allowing Odysseus himself to recount his fantastical adventures, Homer enables the audience to be skeptical of the more unbelievable elements, as sailors are known to tell tall tales. This strategy avoids the poet being directly accountable for outlandish claims [7](#page=7). #### 2.2.5 Differentiated styles The speeches within the epic often employ a style and vocabulary distinct from the narrative portions. This artistic choice suggests that the audience is meant to critically judge the events and characters, with the human characters acting as guides for interpretation rather than the Muse or poet dictating judgment [7](#page=7). ### 2.3 Plot development across the books The plot of *The Odyssey* is complex, with events presented non-chronologically to enhance narrative excitement. The poem can be broadly divided into sections, with Odysseus's journey and adventures often interspersed with the ongoing crisis in Ithaca and Telemachus's own quest [6](#page=6) [8](#page=8). #### 2.3.1 Books 1-4: The crisis in Ithaca and Telemachus's journey * **Book 1:** The gods convene; Athena pleads with Zeus for Odysseus's return. Athena visits Telemachus, encouraging him to seek news of his father [8](#page=8). * **Books 2-4:** Telemachus embarks on his journey, first to Pylos and then to Sparta, where he meets King Menelaus, who recounts some of Odysseus's past adventures. Meanwhile, the suitors continue to plot in Odysseus's palace [6](#page=6) [8](#page=8). #### 2.3.2 Books 5-12: Odysseus's wanderings and adventures This section focuses on Odysseus's own arduous journey, often told in flashback as he narrates his experiences to the Phaeacians. Key events include: * **Book 5:** Calypso finally releases Odysseus. He builds a raft but is shipwrecked by Poseidon [8](#page=8). * **Books 9-12:** Odysseus recounts his encounters with various mythical creatures and challenges, including the Cicones, the Land of the Lotus Eaters, the Cyclops Polyphemus (whom he blinds), Aeolus and the bag of winds, the cannibalistic Laestrygones, the sorceress Circe, his descent into the Underworld to consult Teiresias, the Sirens, the sea monsters Scylla and Charybdis, and the cattle of Helios [6](#page=6) [8](#page=8). > **Example:** The blinding of Polyphemus, son of Poseidon, is a pivotal moment that directly incurs the wrath of the sea god, prolonging Odysseus's suffering [8](#page=8). #### 2.3.3 Books 13-18: Return to Ithaca and disguise * **Book 13:** The Phaeacians bring Odysseus to Ithaca. He is disguised as a beggar by Athena and goes to stay with the loyal swineherd Eumaeus [8](#page=8). * **Books 14-18:** Odysseus, still in disguise, observes the state of his household and plots with Eumaeus and later Telemachus, who has returned from his journey. He then enters his own palace, enduring insults and abuse from the suitors while assessing the loyalty of his servants and wife [6](#page=6) [8](#page=8). #### 2.3.4 Books 19-24: Revenge and restoration This concluding section details Odysseus's revenge and his re-establishment of order: * **Book 19:** Penelope proposes a contest for her hand in marriage: stringing Odysseus's great bow and shooting an arrow through axe heads [8](#page=8). * **Books 20-22:** Odysseus, still disguised, wins the bow contest. He then reveals himself and, with Athena's aid, slaughters all the suitors. This is a climactic moment of justice and retribution [6](#page=6) [8](#page=8). * **Books 23-24:** Odysseus is finally reunited with Penelope, who tests him to ensure his identity. He then reclaims his throne, and Athena intervenes to quell a potential uprising from the suitors' families, restoring peace to Ithaca [8](#page=8). > **Tip:** The detailed comparison of chronological versus the epic's order reveals Homer's skillful manipulation of events to build suspense and maintain audience interest [8](#page=8). --- # Literary techniques and language in epic poetry This section explores the distinctive literary devices and language employed in epic poetry, particularly evident in Homer's *Odyssey*, to enhance narrative and characterization [9](#page=9). ### 3.1 Key epic literary devices Epic poetry utilizes a range of techniques, some common to other genres and others specific to its form, to engage the audience and convey its grand themes [9](#page=9). #### 3.1.1 Epithets * **Definition:** An epithet is an adjective or adjectival phrase used to define a characteristic quality or attribute of a person or thing [9](#page=9). * **Purpose:** Epithets serve to characterize figures and places, aiding audience recognition and often emphasizing key traits [9](#page=9). #### 3.1.2 Formulae * **Definition:** Formulae refer to recurring phrases or lines that are repeated throughout the epic [9](#page=9). * **Purpose:** These stock phrases likely originated from oral traditions, aiding oral performance and memorization, and providing a sense of rhythm and familiarity for the audience [9](#page=9). #### 3.1.3 Homeric similes * **Definition:** Also known as epic similes, these are extended comparisons that draw parallels between the heroic world of the epic and the natural world, often using "like" or "as." [9](#page=9). * **Purpose:** Homeric similes vividly illustrate actions or emotions, lending a sense of grandeur and relatability by connecting the extraordinary events of the epic to familiar aspects of life [9](#page=9). #### 3.1.4 Flashbacks * **Definition:** Flashbacks are narrative devices that interrupt the chronological flow of the story to present events that occurred at an earlier time [9](#page=9). * **Purpose:** They are used to provide background information, reveal character motivations, or add dramatic tension by offering context to the present narrative [9](#page=9). #### 3.1.5 Parallel scenes * **Definition:** Parallel scenes involve the presentation of similar events or situations that mirror each other, often with variations [9](#page=9). * **Purpose:** These can be used for thematic reinforcement, character development by contrasting responses to similar circumstances, or to highlight narrative parallels and contrasts [9](#page=9). #### 3.1.6 Speeches * **Definition:** Speeches are formal addresses delivered by characters within the epic narrative [9](#page=9). * **Purpose:** They are crucial for character development, revealing their personalities, beliefs, and intentions. Speeches also advance the plot, negotiate alliances, and convey important information to the audience [9](#page=9). #### 3.1.7 Detailed description * **Definition:** This technique involves the use of rich and elaborate descriptions of settings, characters, objects, and events [9](#page=9). * **Purpose:** Detailed descriptions immerse the reader in the world of the epic, making it more vivid and tangible, and can also serve to emphasize the significance of particular elements or characters [9](#page=9). ### 3.2 Other literary devices in epic poetry While some techniques are specific to epic poetry, others are borrowed from broader literary traditions and adapted for the epic context [9](#page=9). * **Alliteration:** The repetition of initial consonant sounds [9](#page=9). * **Dramatic irony:** A situation where the audience knows more about the events or the outcome than the characters involved [9](#page=9). * **Gruesome detail:** Graphic and explicit descriptions of violence, suffering, or death [9](#page=9). * **Metaphors:** Figures of speech that directly compare two unlike things without using "like" or "as." [9](#page=9). > **Tip:** When analyzing epic poetry, pay close attention to how these literary devices are used not only to decorate the language but also to shape the narrative, develop characters, and convey thematic meanings [9](#page=9). --- ## Common mistakes to avoid - Review all topics thoroughly before exams - Pay attention to formulas and key definitions - Practice with examples provided in each section - Don't memorize without understanding the underlying concepts

| Term | Definition | |------|------------| | Epic poem | A long narrative poem, characterized by elevated style, that recounts the deeds of a heroic figure of national or universal significance, often involving supernatural beings and conflicts. | | Oral tradition | The transmission of cultural material, such as stories, poems, and songs, from one generation to another by word of mouth, rather than by written means. | | Homeric question | The scholarly debate concerning the authorship and origins of the epic poems attributed to Homer, the Iliad and the Odyssey, questioning whether they were composed by a single individual or a collective effort. | | Dactylic hexameter | A metrical line of poetry consisting of six metrical feet, each of which is a dactyl (a long syllable followed by two short syllables), commonly used in classical Greek and Latin epic poetry. | | In medias res | A Latin phrase meaning "in the middle of things," referring to a narrative technique where the story begins at a point already in the plot, with earlier events revealed through flashbacks or dialogue. | | Epithets | An adjective or adjectival phrase that describes a distinctive quality or attribute of a person or thing, often used repetitively in epic poetry to characterize figures or objects. | | Formulae | Stock phrases or conventional expressions that are repeatedly used in oral poetry to facilitate composition and aid memorization, often fitting specific metrical patterns. | | Flashbacks | A narrative device where a scene or event from the past is inserted into the present action of a story, providing background information or context. | | Simile | A figure of speech that makes a comparison between two different things using connecting words such as "like" or "as," used to illustrate or enhance a description. | | Invocation to the Muse | A formal appeal made by the poet at the beginning of an epic poem to a Muse or deity for divine inspiration and guidance in telling the story. | | Transmission of the text | The process by which a written or oral work is passed down from its origin to later generations, including methods of copying, recitation, and preservation. |