By Douglas Cairns, Ruth Scodel

The 'Classic' narratology that has been greatly utilized to classical texts is geared toward a common taxonomy for describing narratives. extra lately, 'new narratologies' have started linking the formal features of narrative to their old and ideological contexts. This quantity seeks the sort of rethinking for Greek literature. It has heavily similar pursuits: to outline what's ordinarily Greek in Greek narratives of other sessions and genres, and to work out how narrative concepts and issues strengthen over time.

The 15 unusual individuals discover questions similar to: How is Homeric epic like and in contrast to Gilgamesh and the Hebrew Bible? What do Greek historians regularly fail to inform us, having discovered from the culture what to disregard? How does lyric adjust narrative thoughts from different genres?

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The Epic of Gilgamesh introduces its protagonist as ‘he who saw the deep’ (Tablet I, line 1). ’ (SB Gilg. 13 and 15 (George)). The issue of how we are to envisage reality is squarely put on the agenda. ’), as we scale the walls of Uruk and contemplate the temples, orchards and 22 Pratt 1995: 62. 23 Morris 1997; M. L. West 1997; Haubold 2002, 2013. ­20 johannes haubold clay pits of Gilgamesh’s home town. But soon we are led downward, to where the text itself awaits us in its cedar box. We must find it, then open the lid of its secret, then read (SB Gilg.

2–3):16 (2) The LORD said to Gideon, ‘The troops with you are too many for me to give the Midianites into their hand. ” ’ Thus Gideon sifted them out; twenty-two thousand returned, and ten thousand remained. As one of a series of actions designed to reduce the size of Gideon’s forces, so as to increase their awareness of Yahweh’s role in the victory, the test has a direct and explicit purpose in the Hebrew narrative. West is not explicit about the reconstruction of textual relationships in this case, but it is clear from the way he introduces the parallel that he is inclined to follow the usual reasoning of ‘better motivated = original’.

Third, when we do go elsewhere, let us be sure that the parallel is actually that – a real parallel. Finally, we must then be certain that it makes sense to link the texts involved, in terms of both date and scale. In short, it is time to stop assuming external sources as the first explanation for a Homeric ‘problem’. Genealogy can be a fun game, but – to pursue the metaphor – definitive proof can only established through the subject’s DNA. BATTLE NARRATIVE AND ANALOGY This section of the chapter will attempt to demonstrate the ‘Greekness’ of Homer, in itself an almost impossible task, but made more difficult because it involves surveying and summarising almost two thousand years’ worth of non-Greek narrative traditions, spread across several literary traditions.

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