By Bruno Currie
What sort of allusion is feasible in a poetry derived from a centuries-long oral culture, and how much oral-derived poetry are the Homeric epics? comparability of Homeric epic with South Slavic heroic track has instructed particular types of solutions to those questions, but the South Slavic paradigm is neither simple in itself nor inevitably the one pertinent paradigm: Augustan Latin poetry makes use of many subtle and hugely self-conscious recommendations of allusion that could, this publication contends, be suggestively paralleled in Homeric epic, and a few of an identical thoughts of allusion are available in close to jap 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 knowing of Homeric allusion and its position in literary background, 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 means of the cuneiform pill, the papyrus roll, and by means of an oral functionality tradition. the elemental methodological difficulties are explored via a chain of interlocking case reviews, treating of ways the Odyssey conceivably alludes to the Iliad and likewise to past poetry on Odysseus' homecoming, the Iliad to past poetry at the Ethiopian hero Memnon, the Homeric Hymn to Demeter to prior 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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In Attic drama: Aristophanes’ Frogs. 171 Two other notable features of allusion in early Greek hexameter poetry, though not self-reflexive tropes of allusion, deserve mention here, as both are importantly paralleled earlier and later in the tradition. 175 This phenomenon in particular seems capable of being illuminated by Epitaphius Bionis 115–19. ): Hardie 1993: 101–5; 1998: 53 n. 1; 2014: 21–49; Hor. Carm. 21–40. 3, p. 60; Appendix C, p. 3, p. 152). 168 Hermes stealing from Apollo in HHerm tropes HHerm’s allusive relationship to HAp: N.
In other cases, we have putative indirect ‘source-texts’ in a complete or nearly complete state of preservation: this goes for the Hymn to Aphrodite and for Sumerian and Akkadian mythological poetry (arguably, indirect ‘sources’ of the Iliad: see Chapter 5). Such indirect ‘sources’ may offer us a decent approximation to the poems that actually figured in our ideal listener’s repertoire. Only patchily attested, by contrast, is the putative indirect ‘source’ of the Hymn to Demeter (discussed in Chapter 3); and wholly unattested is any source of Penelope’s recognition of Odysseus in the Odyssey (the second test case of Chapter 2).
Similar, though not anonymous or antonomastic, is the sphragis of the celebrity-conscious Theognis (22–3). 116 The Homeridai appear to have passed off as ‘of Homer’ several works hitherto unknown to the wider public; cf. Plat. Phaedr. 252b4–5 ἐκ τῶν ἀποθέτων ἐπῶν, with Yunis 2011: 155: ‘ἀπόθετος refers to items that are unknown to the public because they are held in reserve or secret’. Many such works may in fact have been composed by the Homeridai themselves; cf. Σ Pind. 1c. 117 The post euentum prediction at the end of the ‘Delian’ section of the hymn balances the post euentum prophecy at the end of the ‘Pythian’ section, HAp 540–3.