By Jenny Strauss Clay
Relocating clear of the verbal and thematic repetitions that experience ruled Homeric experiences and exploiting the insights of cognitive psychology, this hugely leading edge and obtainable learn specializes in the visible poetics of the Iliad because the narrative is expected via the poet and rendered seen. It does so via a detailed research of the often-neglected 'Battle Books'. They right here come to be a coherently visualized narrative series instead of as a random sequence of combats, and this procedure unearths, for example, the importance of Sarpedon's assault at the Achaean Wall and Patroclus' route to destruction. furthermore, Professor Strauss Clay indicates new methods of imminent old narratives: not just with one's ear, but additionally with one's eyes. She additional argues that the loci approach of mnemonics, often attributed to Simonides, is already totally exploited by way of the Iliad poet to maintain song of his solid of characters and to prepare his narrative.
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Extra resources for Homer's Trojan Theater: Space, Vision, and Memory in the Iliad
Yet despite its disruption of the temporal framework, each scene possesses the vividness or enargeia Auerbach so much admired. 55 To take another example, on the shield of Achilles each of the elaborate scenes possesses vividness and movement, but their ordering is not chronological. Although there is an overall sequence in Hephaestus’ making of each image, the individual scenes themselves do not present a temporal sequence. 56 In an influential article Joseph Frank cites the famous scene in Madame Bovary that cinematographically cuts back and forth between the country fair, with its bloviating officials and sundry barnyard noises emanating from the various animals, and Emma Bovary’s tryst with the sleazy Rodolphe as a model for spatial form in the modern novel.
The conspicuous P[ast]-PR[esent] alternation that is likewise characteristic of naturally occurring narration” (265). See Bakker (2005) 114–35. 130–40): “L’impression est qu’ Hom`ere ne se content pas de raconter la sc`ene, mais la donner a` voir” (“The impression is that Homer is not content to relate the scene, but to make it visible,” 15, emphasis in original). In the light of these verbal distinctions, it is worth rereading Fleischman’s discussion of Romance epic and its use of the French verbal system, which of course differs from the Greek.
From there, too, the old king and his wife plead with their son to retreat into the safety of the walls, around which Achilles will pursue Hector three times before his death. In his fatal race around the doomed city, the Trojan prince glimpses the washing troughs to which, before the Greeks laid siege to their city, the local women would bring their laundry. At this point the landscape surrounding the city has become an arena of conflict and no longer a safe possession of the Trojans, whose only security now lies within its ramparts.
Homer's Trojan Theater: Space, Vision, and Memory in the Iliad by Jenny Strauss Clay