Narratology and Interpretation ≥ Trends in Classics - Supplementary Volumes Edited by Franco Montanari and Antonios Rengakos Scientific Committee Alberto Bernabe´ · Margarethe Billerbeck · Claude Calame Philip R. Hardie · Stephen J. Harrison · Stephen Hinds Richard Hunter · Christina Kraus · Giuseppe Mastromarco Gregory Nagy · Theodore D. Papanghelis · Giusto Picone Kurt Raaflaub · Bernhard Zimmermann Volume 4 Walter de Gruyter · Berlin · New York Narratology and Interpretation The Content of Narrative Form in Ancient Literature Edited by Jonas Grethlein Antonios Rengakos Walter de Gruyter · Berlin · New York (cid:2)(cid:2) Printedonacid-freepaperwhichfallswithintheguidelinesoftheANSI toensurepermanenceanddurability. ISBN 978-3-11-021452-9 LibraryofCongressCataloging-in-PublicationData Narratology and interpretation : the content of narrative form in ancientliterature/editedbyJonasGrethleinandAntoniosRengakos. p.cm.-(Trendsinclassics,supplementaryvolumes;4) Includesbibliographicalreferencesandindex. ISBN978-3-11-021452-9(hardcover:alk.paper) 1.Narration(Rhetoric)-History. 2.Greekliterature-History andcriticism. I.Grethlein,Jonas,1978- II.Rengakos,Antonios. PA3003.N37 2009 808-dc22 2009008858 BibliographicinformationpublishedbytheDeutscheNationalbibliothek TheDeutscheNationalbibliothekliststhispublicationintheDeutscheNationalbibliografie; detailedbibliographicdataareavailableintheInternetathttp://dnb.d-nb.de. (cid:2) Copyright2009byWalterdeGruyterGmbH&Co.KG,D-10785Berlin Allrightsreserved,includingthoseoftranslationintoforeignlanguages.Nopartofthisbook may be reproduced or transmitted in any form or by any means, electronic or mechanical, includingphotocopy,recordingoranyinformationstorageandretrievalsystem,withoutpermis- sioninwritingfromthepublisher. PrintedinGermany CoverDesign:ChristopherSchneider,Laufen Printingandbinding:Hubert&Co.GmbH&Co.KG,Göttingen Contents Introduction ....................................... 1 I. Ancient Predecessors of Narratology Stephen Halliwell The Theory and Practice of Narrative in Plato ............ 15 Richard Hunter The Trojan Oration of Dio Chrysostom and Ancient Homeric Criticism .......................................... 43 René Nünlist Narratological Concepts in Greek Scholia ................ 63 II. Narratology – New Concepts Irene de Jong Metalepsis in Ancient Greek Literature .................. 87 Egbert J. Bakker Homer, Odysseus, and the Narratology of Performance ..... 117 Deborah Beck Speech Act Types, Conversational Exchange, and the Speech Representational Spectrum in Homer ................... 137 Jonas Grethlein Philosophical and Structuralist Narratologies – Worlds Apart? . 153 VI Contents III. Narratology and the Interpretation of Epic and Lyric Poetry Evanthia Tsitsibakou-Vasalos Chance or Design? Language and Plot Management in the Odyssey. Klytaimnestra %kowor lmgstµ 1l^sato ............ 177 Marios Skempis – Ioannis Ziogas Arete’s Words: Etymology, Ehoie-Poetry and Gendered Narrative in the Odyssey .............................. 213 Lucia Athanassaki Narratology, Deixis, and the Performance of Choral Lyric. On Pindar’s First Pythian Ode ............................. 241 Georg Danek Apollonius Rhodius as an (anti-)Homeric Narrator: Time and Space in the Argonautica .............................. 275 Evina Sistakou ‘Snapshots’ of Myth: The Notion of Time in Hellenistic Epyllion ........................................... 293 Theodore D. Papanghelis Aeneid 5.362–484: Time, Epic and the Analeptic Gauntlets .. 321 IV. Narratology and the Interpretation of Tragedy Francis Dunn Sophocles and the Narratology of Drama ................. 337 Marianne Hopman Layered Stories in Aeschylus’ Persians .................... 357 Seth L. Schein Narrative Technique in the Parodos of Aeschylus’ Agamemnon . 377 Anna A. Lamari Knowing a Story’s End: Future Reflexive in the Tragic Narrative of the Argive Expedition Against Thebes ......... 399 Ruth Scodel Ignorant Narrators in Greek Tragedy .................... 421 Contents VII V. Narratology and the Interpretation of Historiography Christos C. Tsagalis Names and Narrative Techniques in Xenophon’s Anabasis ... 451 Nikos Miltsios The Perils of Expectations: Perceptions, Suspense and Surprise in Polybius’ Histories ................................. 481 Christopher Pelling Seeing through Caesar’s Eyes: Focalisation and Interpretation . 507 Chrysanthe Tsitsiou-Chelidoni History beyond Literature: Interpreting the ‘Internally Focalized’ Narrative in Livy’s Ab urbe condita .............. 527 Philip Hardie Fame’s Narratives. Epic and Historiography ............... 555 List of Contributors ................................. 573 Bibliography ....................................... 577 General Index ...................................... 617 Passages Index ...................................... 623 Introduction 1 In the last two decades, a technical analysis of narrative, as outlined by Genette,Balandothers,1hasbecomeincreasinglypopularinthefieldof Classics. De Jong’s groundbreaking study of ‘narrators and focalizers’ in the Iliad has inspired narratological readings of other genres as well as prompting further studies of epic.2 Narratology has proven itself to be a highly apt tool with which to explore the complex structures of the ancient novel.3 Hornblower has shown that concepts such as ‘anachro- ny’ and ‘embedded focalisation’ can help us to elucidate the sophisticat- ed narratives of ancient historians and so paved the way for Rood’s monographlengthstudyof Thucydides.4Theapplicationofnarratology has also been extended beyond prose-narratives: even before de Jong’s study of the Iliad, Hurst and Köhnken had explored the temporal struc- ture of epinicean poetry;5 now we also have a full study of the narrator in Archaic and Hellenistic poetry by Morrison.6 Furthermore, scholars such as Goward, Barrett and Markantonatos have applied a narratolog- icalapproachtoGreektragedy.7Theprojecttowriteahistoryof Greek literature from a narratological point of view has already produced two door-stop volumes, Narrators, Narratees, and Narratives in Ancient Greek 1 See,e.g.,Genette(1972) 1980;Chatman1978;Bal(1985) 1997.Alltheseap- proachesarediscourse-oriented,i.e.theyfocusonthemediationofastoryina discourse. Although the works of Calame 1996 and Edmonds 2004 illustrate that there have been attempts to apply story-oriented narratologies (e.g. that of Greimas, Bremond) to classical texts, the influence of this branch of narra- tology has been significantly smaller. 2 De Jong (1987) 2004. On Homer, see, e.g., Richardson 1990; Rabel 1997; Alden 2000. Fusillo’s narratological study of Apollonius Rhodius’ Argonautica (1985) predates de Jong’s Iliad-monograph. 3 Winkler 1985; Fusillo 1989; Morales 2005. 4 Hornblower 1994; Rood 1998. 5 Hurst 1983; 1985; Köhnken 1983. 6 Morrison 2007. 7 Goward 1999; Barrett 2002; Markantonatos 2002. 2 Introduction Literature and Time in Ancient Greek Literature, and a third volume to focus on space and narrative is in preparation. Narratological theory has however, in the meanwhile, moved on. Whereas most Classicists are still busy exploring the avenues opened by the application of the structuralist models developed in the 1960s and 70s, in literary theory the singular ‘narratology’ has given way to apluralityof‘narratologies’.8Manyapproachesincludingfeminism,cul- tural history and postcolonial studies have developed their own specific narratologies, and in a wide range of disciplines, notably history, psy- chology and philosophy, the paradigm of narrative has inspired new fields of research.9 At the same time, attempts have been made to widen the breadth of subjects covered by narratology so as to include in it not only genres such as drama and lyric, but also oral conversation and other media, especially film, art and music.10 While many of these interdisciplinary and intermedial narratologies still rely on traditional structuralist concepts, some scholars have ventured to set narratology onanewfooting.Cognitivestudies,inparticular,havepresentedthem- selves as an attractive starting point for scholars who try to move from the text to the act of reception, one of the most advanced concepts being Fludernik’s natural narratology.11 The ‘explosion of activity in the field of narrative study’12 has not been met with unqualified enthusiasm. Besides denouncing the abuse of‘narratology’asafashionablelabelforallkindsofreadingsthatscarce- ly treat of narratological matters, scholars have expressed their anxiety that the interdisciplinary and intermedial enlargement would lead first to the dilution of narratology and ultimately to its dissolution.13 A 8 For surveys, see Nünning 2003; Fludernik 2005. On the ‘new narratologies’, see also Herman 1999. 9 The seminal article for feminist narratology is Lanser 1986; Nünning 2000 chartsaculturalhistoricalnarratology;Bhaba1994isimportantforpostcolonial narratology. White 1973 established theparadigm of narratology in history; in psychology, see Bruner 1986; Straub, 1998; in philosophy, see Ricoeur 1984–1988 (for an early predecessor, see Schapp (1953) 1976). 10 See in general Wolf 2002 and the contributions to Ryan 2004; Meister 2005. Onanarratologywhichembracesbothliterarynarrativesandoralstory-telling, see Fludernik 1996; Herman 2004. Chatman 1978 is a pioneering study for a narratology of film. On narratology and music, see Kramer 1991; Neubauer 1997; on narratology and figurative art, Dieterle 1988; Steiner 1988. 11 Fludernik 1996. For another approach see Jahn 1997. 12 Herman 1999, 1. 13 See, e.g., Meister 2003.