The Homeric poems as oral dictated texts
Identifieur interne : 000A52 ( Istex/Corpus ); précédent : 000A51; suivant : 000A53The Homeric poems as oral dictated texts
Auteurs : Richard JankoSource :
- The Classical Quarterly [ 0009-8388 ] ; 1998-05.
Abstract
The more I understand the Southslavic poetry and the nature of the unity of the oral poem, the clearer it seems to me that the Iliad and the Odyssey are very exactly, as we have them, each one of them the rounded and finished work of a single singer…. I even figure to myself, just now, the moment when the author of the Odyssey sat and dictated his song, while another, with writing materials, wrote it down verse by verse, even in the way that our singers sit in the immobility of their thought, watching the motion of Nikola's hand across the empty page, when it will tell them it is the instant for them to speak the next verse.
Url:
DOI: 10.1093/cq/48.1.1
Links to Exploration step
ISTEX:B02E6CA4147F83F091E5B0DC8DE90284DCCB6891Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>The Homeric poems as oral dictated texts</title><author><name sortKey="Janko, Richard" sort="Janko, Richard" uniqKey="Janko R" first="Richard" last="Janko">Richard Janko</name><affiliation><mods:affiliation>University College London</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:B02E6CA4147F83F091E5B0DC8DE90284DCCB6891</idno><date when="1998" year="1998">1998</date><idno type="doi">10.1093/cq/48.1.1</idno><idno type="url">https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/fulltext.pdf</idno><idno type="wicri:Area/Istex/Corpus">000A52</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000A52</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">The Homeric poems as oral dictated texts</title><author><name sortKey="Janko, Richard" sort="Janko, Richard" uniqKey="Janko R" first="Richard" last="Janko">Richard Janko</name><affiliation><mods:affiliation>University College London</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">The Classical Quarterly</title><title level="j" type="abbrev">The Class. Q.</title><idno type="ISSN">0009-8388</idno><idno type="eISSN">1471-6844</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1998-05">1998-05</date><biblScope unit="volume">48</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="13">13</biblScope></imprint><idno type="ISSN">0009-8388</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0009-8388</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">The more I understand the Southslavic poetry and the nature of the unity of the oral poem, the clearer it seems to me that the Iliad and the Odyssey are very exactly, as we have them, each one of them the rounded and finished work of a single singer…. I even figure to myself, just now, the moment when the author of the Odyssey sat and dictated his song, while another, with writing materials, wrote it down verse by verse, even in the way that our singers sit in the immobility of their thought, watching the motion of Nikola's hand across the empty page, when it will tell them it is the instant for them to speak the next verse.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Richard Janko</name><affiliations><json:string>University College London</json:string></affiliations></json:item></author><articleId><json:string>03874</json:string></articleId><arkIstex>ark:/67375/6GQ-N8H9V2FQ-8</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>The more I understand the Southslavic poetry and the nature of the unity of the oral poem, the clearer it seems to me that the Iliad and the Odyssey are very exactly, as we have them, each one of them the rounded and finished work of a single singer…. I even figure to myself, just now, the moment when the author of the Odyssey sat and dictated his song, while another, with writing materials, wrote it down verse by verse, even in the way that our singers sit in the immobility of their thought, watching the motion of Nikola's hand across the empty page, when it will tell them it is the instant for them to speak the next verse.</abstract><qualityIndicators><score>8.44</score><pdfWordCount>7399</pdfWordCount><pdfCharCount>40179</pdfCharCount><pdfVersion>1.5</pdfVersion><pdfPageCount>13</pdfPageCount><pdfPageSize>432 x 648 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>120</abstractWordCount><abstractCharCount>632</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>The Homeric poems as oral dictated texts</title><pii><json:string>S000983880003874X</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>The Classical Quarterly</title><language><json:string>unknown</json:string></language><issn><json:string>0009-8388</json:string></issn><eissn><json:string>1471-6844</json:string></eissn><publisherId><json:string>CAQ</json:string></publisherId><volume>48</volume><issue>1</issue><pages><first>1</first><last>13</last><total>13</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-N8H9V2FQ-8</json:string></ark><categories><wos></wos><scienceMetrix><json:string>1 - arts & humanities</json:string><json:string>2 - historical studies</json:string><json:string>3 - classics</json:string></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Literature and Literary Theory</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Philosophy</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - History</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Classics</json:string></scopus><inist><json:string>1 - sciences humaines et sociales</json:string></inist></categories><publicationDate>1998</publicationDate><copyrightDate>1998</copyrightDate><doi><json:string>10.1093/cq/48.1.1</json:string></doi><id>B02E6CA4147F83F091E5B0DC8DE90284DCCB6891</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a">The Homeric poems as oral dictated texts</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://scientific-publisher.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>Copyright © The Classical Association 1998</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1998</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">The Homeric poems as oral dictated texts</title><author xml:id="author-0000"><persName><forename type="first">Richard</forename><surname>Janko</surname></persName><affiliation>University College London</affiliation></author><idno type="istex">B02E6CA4147F83F091E5B0DC8DE90284DCCB6891</idno><idno type="ark">ark:/67375/6GQ-N8H9V2FQ-8</idno><idno type="DOI">10.1093/cq/48.1.1</idno><idno type="PII">S000983880003874X</idno><idno type="article-id">03874</idno></analytic><monogr><title level="j">The Classical Quarterly</title><title level="j" type="abbrev">The Class. Q.</title><idno type="pISSN">0009-8388</idno><idno type="eISSN">1471-6844</idno><idno type="publisher-id">CAQ</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1998-05"></date><biblScope unit="volume">48</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="13">13</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1998</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>The more I understand the Southslavic poetry and the nature of the unity of the oral poem, the clearer it seems to me that the Iliad and the Odyssey are very exactly, as we have them, each one of them the rounded and finished work of a single singer…. I even figure to myself, just now, the moment when the author of the Odyssey sat and dictated his song, while another, with writing materials, wrote it down verse by verse, even in the way that our singers sit in the immobility of their thought, watching the motion of Nikola's hand across the empty page, when it will tell them it is the instant for them to speak the next verse.</p></abstract></profileDesc><revisionDesc><change when="1998-05">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">CAQ</journal-id><journal-title>The Classical Quarterly</journal-title><abbrev-journal-title>The Class. Q.</abbrev-journal-title><issn pub-type="ppub">0009-8388</issn><issn pub-type="epub">1471-6844</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1093/cq/48.1.1</article-id><article-id pub-id-type="pii">S000983880003874X</article-id><article-id pub-id-type="publisher-id">03874</article-id><title-group><article-title>The Homeric poems as oral dictated texts</article-title><alt-title alt-title-type="left-running">R. JANKO</alt-title><alt-title alt-title-type="right-running">ORAL DICTATED TEXTS</alt-title></title-group><contrib-group><contrib><name><surname>Janko</surname><given-names>Richard</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1"><institution>University College London</institution></aff><pub-date pub-type="ppub"><month>05</month><year>1998</year></pub-date><volume>48</volume><issue>1</issue><fpage seq="3">1</fpage><lpage>13</lpage><permissions><copyright-statement>Copyright © The Classical Association 1998</copyright-statement><copyright-year>1998</copyright-year><copyright-holder>The Classical Association</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>The more I understand the Southslavic poetry and the nature of the unity of the oral poem, the clearer it seems to me that the <italic>Iliad</italic> and the <italic>Odyssey</italic> are very exactly, as we have them, each one of them the rounded and finished work of a single singer…. I even figure to myself, just now, the moment when the author of the <italic>Odyssey</italic> sat and dictated his song, while another, with writing materials, wrote it down verse by verse, even in the way that our singers sit in the immobility of their thought, watching the motion of Nikola's hand across the empty page, when it will tell them it is the instant for them to speak the next verse.</p></abstract><counts><page-count count="13"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S000983880003874Xa.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p><citation id="ref001" citation-type="book"><name><surname>Parry</surname><given-names>M.</given-names></name>, <source><italic>The Making of Homeric Verse</italic></source>, ed. <name><surname>Parry</surname><given-names>A.</given-names></name> (<publisher-loc>Oxford</publisher-loc>, <year>1971</year>), p. <fpage>451</fpage> (written in January 1934).</citation></p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p>The Language of Hesiod (Oxford, 1972).</p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p><italic>Homer, Hesiod and the Hymns: Diachronic Development in Epic Diction</italic> (Cambridge, 1982), pp. 15–16,192,220–1.</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p>See <citation id="ref002" citation-type="journal"><name><surname>West</surname><given-names>M. L.</given-names></name>, <article-title>‘The date of the <italic>Iliad’</italic></article-title>, <source>MH</source> <volume>52</volume> (<year>1995</year>), <fpage>203</fpage>–19, esp. pp. 204f.</citation></p></fn><fn id="fn05" symbol="5"><label><sup>5</sup></label><p>For a survey see <citation id="ref003" citation-type="book"><name><surname>Powell</surname><given-names>B. B.</given-names></name>, <source><italic>Homer and the Origin of the Greek Alphabet</italic></source> (<publisher-loc>Cambridge</publisher-loc>, <year>1991</year>), pp. <fpage>186</fpage>–<lpage>220</lpage>. I agree with West (n. 4), p. 207, that representations of the Iliad do not antedate c 625; but those of the <italic>Odyssey</italic> go back to at least c 660 (Powell, op. cit., p. 211). The arguments of H. van Wees (G&R 41 [1994], 1–18, 131–55) neglect the likelihood that vase-painters are representing heroic battles, with a mixture of weaponry characteristic of different dates, and are therefore poor evidence for contemporary warfare. West's recent claim (pp. 211–19) that the destruction by flood of the Achaean wall at <italic>II</italic>. 12.17–33 is inspired by the destruction of Babylon by Sennacherib in 689 B.C. rests on an archaeological misconception: eighth-century Greeks were perfectly familiar with construction in mud-brick, often on a stone socle; this was normal and need not suggest borrowing from the Near East (p. 213). The effects of torrential rains on unprotected walls of mud-brick are apparent from most excavations of Bronze- and Iron-Age sites in Greece (at Ayios Stephanos in Laconia in my own experience), and would have been easily observable in the eighth century.</citation></p></fn><fn id="fn06" symbol="6"><label><sup>6</sup></label><p>‘D'Homere aux origines proto-myceniennes de la tradition épique’, pp. 1–96 in <citation id="ref004" citation-type="book"><name><surname>Crielaard</surname><given-names>J. P.</given-names></name> (ed.), <source><italic>Homeric Questions</italic></source> (<publisher-loc>Amsterdam</publisher-loc>, <year>1995</year>), esp. pp. <fpage>21</fpage>–6. For similar datings see A. C. Cassio, ‘ <inline-graphic mime-subtype="gif" xlink:href="S000983880003874X_inline1"></inline-graphic> e la circolazione dell'epica in area euboica’, <italic>Annali di Archeologia e Storia Antica</italic> 1 (1994), 55–67, esp. p. 64, n. 66.</citation></p></fn><fn id="fn07" symbol="7"><label><sup>7</sup></label><p>The theory was developed by <citation id="ref005" citation-type="journal"><name><surname>Lord</surname><given-names>A. B.</given-names></name>, <article-title>‘Homer's originality: oral dictated texts’</article-title>, <source>TAPA</source> <volume>84</volume> (<year>1953</year>), <fpage>124</fpage>–34.1 have argued other aspects of this case in ‘The Iliad and its editors: dictation and redaction’, CA 9 (1990), 326–34 (published in Italian translation as <italic>‘L'liade</italic> fra dettatura e redazione’, <italic>SIFC</italic> 10 [1992], 833–43), and in a review of H. van Thiel, Homeri Odyssea, Gnomon 66 (1994), 289–95, as well as in <italic>The Iliad: A Commentary. IV:</italic> Books 13–16 (Cambridge, 1992), pp. 37–8 (necessarily with extreme brevity there). Cf. similarly M. L. West, ‘Archaische Heldendichtung: Singen und Schreiben’</citation>, in <citation id="ref006" citation-type="book"><name><surname>Kullmann</surname><given-names>W.</given-names></name> and <name><surname>Reichel</surname><given-names>M.</given-names></name> (edd.), <source><italic>Der Ubergang von der Miindlichkeit zur Literatur bei den Griechen</italic></source> (<publisher-loc>Tubingen</publisher-loc>, <year>1990</year>), pp. <fpage>33</fpage>–<lpage>50</lpage>; Powell (n. 5), pp. 229–30; Ruijgh (n. 6), p. 26.</citation></p></fn><fn id="fn08" symbol="8"><label><sup>8</sup></label><p><citation id="ref007" citation-type="book"><name><surname>Bynum</surname><given-names>D.</given-names></name> (ed.), with <name><surname>Lord</surname><given-names>A. B.</given-names></name>, <source><italic>Ženidba hadji-Smailagina Sina, Kazivaoje Avdo Mededovic</italic></source> (<publisher-loc>Cambridge, MA</publisher-loc>, <year>1974</year>)</citation>; <citation id="ref008" citation-type="book"><name><surname>Lord</surname><given-names>A.B.</given-names></name> (trans.), <source><italic>The Wedding of Smailagid Meho, by Avdo Mededovic</italic></source> (<publisher-loc>Cambridge, MA</publisher-loc>, <year>1974</year>).</citation></p></fn><fn id="fn09" symbol="9"><label><sup>9</sup></label><p>So <citation id="ref009" citation-type="book"><name><surname>Lloyd-Jones</surname><given-names>H.</given-names></name>, ‘Becoming Homer’, <source><italic>New York Review of Books</italic></source> (5 March <year>1992</year>)</citation>; <citation id="ref010" citation-type="book"><name><surname>Thomas</surname><given-names>Rosalind cf.</given-names></name>, <source><italic>Literacy and Orality in Ancient Greece</italic></source> (<publisher-loc>Cambridge</publisher-loc>, <year>1992</year>), p. <fpage>49</fpage>.</citation></p></fn><fn id="fn10" symbol="10"><label><sup>10</sup></label><p><italic>Epic Singers and Oral Tradition</italic> (Ithaca, NY, 1991).</p></fn><fn id="fn11" symbol="11"><label><sup>11</sup></label><p><citation id="ref011" citation-type="book"><name><surname>Lord</surname><given-names>M.L.</given-names></name>, ed. <name><surname>Lord</surname><given-names>M.L.</given-names></name>, <source><italic>The Singer Resumes the Tale</italic></source> (<publisher-loc>Ithaca, NY</publisher-loc>, <year>1995</year>).</citation></p></fn><fn id="fn12" symbol="12"><label><sup>12</sup></label><p>See M.L. Lord in Lord (n. 11), pp. 62–8.</p></fn><fn id="fn13" symbol="13"><label><sup>13</sup></label><p><xref ref-type="bibr" rid="ref011">Ibid</xref>., p. 102.</p></fn><fn id="fn14" symbol="14"><label><sup>14</sup></label><p><xref ref-type="bibr" rid="ref011">Ibid</xref>., pp. 212–37.</p></fn><fn id="fn15" symbol="15"><label><sup>15</sup></label><p>A. B. Lord (n. 10), pp. 62, 68–71.</p></fn><fn id="fn16" symbol="16"><label><sup>16</sup></label><p>A. B. Lord (n. 11), pp. 235–.</p></fn><fn id="fn17" symbol="17"><label><sup>17</sup></label><p><xref ref-type="bibr" rid="ref011">Ibid</xref>., pp. 213–20.</p></fn><fn id="fn18" symbol="18"><label><sup>18</sup></label><p><xref ref-type="bibr" rid="ref011">Ibid</xref>., p. 191. <citation id="ref012" citation-type="journal"><name><surname>Nagy</surname><given-names>Cf. G.</given-names></name>, <article-title>‘Homeric questions’</article-title>, <source>TAPA</source> <volume>122</volume> (<year>1992</year>), <fpage>17</fpage>–<lpage>60</lpage>, esp. p. 28.</citation></p></fn><fn id="fn19" symbol="19"><label><sup>19</sup></label><p>For this misunderstanding, see e.g. Thomas (n. 9), pp. 37, 40, and <citation id="ref013" citation-type="book"><name><surname>Taplin</surname><given-names>O.</given-names></name>, <source><italic>Homeric Soundings</italic></source> (<publisher-loc>Oxford</publisher-loc>, <year>1992</year>), p. <fpage>35</fpage>; but cf. Lord (n. 10), pp. 76–7, and (n. 11), pp. 11, 102–3.</citation></p></fn><fn id="fn20" symbol="20"><label><sup>20</sup></label><p>Ep. 28 PfeifTer.</p></fn><fn id="fn21" symbol="21"><label><sup>21</sup></label><p>‘Words and Speakers in Homer’, JHS 106 (1986), 36–57. I do not of course accept his conclusion that this supports a written origin for the epics.</p></fn><fn id="fn22" symbol="22"><label><sup>22</sup></label><p>Poet. 1460a5–10.</p></fn><fn id="fn23" symbol="23"><label><sup>23</sup></label><p>For this misunderstanding, see e.g. Taplin (n. 19), p. 36.</p></fn><fn id="fn24" symbol="24"><label><sup>24</sup></label><p><citation id="ref014" citation-type="book"><name><surname>Lord</surname><given-names>A. B.</given-names></name>, <source><italic>The Singer of Tales</italic></source>(<publisher-loc>Cambridge, MA</publisher-loc>, <year>1960</year>), p. <fpage>21</fpage>.</citation></p></fn><fn id="fn25" symbol="25"><label><sup>25</sup></label><p><xref ref-type="bibr" rid="ref014">Ibid.</xref>, p. 28; thus Thomas (n. 9), pp. 36–8, is wrong to imply that this is not Lord's view.</p></fn><fn id="fn26" symbol="26"><label><sup>26</sup></label><p>For this error, see Thomas (n. 9), pp. 36–8.</p></fn><fn id="fn27" symbol="27"><label><sup>27</sup></label><p>See Lord (n. 11), pp. 11,20,197–200.</p></fn><fn id="fn28" symbol="28"><label><sup>28</sup></label><p><xref ref-type="bibr" rid="ref014">Ibid</xref>., p. 181.</p></fn><fn id="fn29" symbol="29"><label><sup>29</sup></label><p><italic>Oral Poetry</italic> (Cambridge, 1977), pp. 18–22.</p></fn><fn id="fn30" symbol="30"><label><sup>30</sup></label><p>So Lord (n. 10), p. 3. Its influence is evident in, for example, Thomas (n. 9), pp. 43–4.</p></fn><fn id="fn31" symbol="31"><label><sup>31</sup></label><p>Lord(n. 11), p. 1.</p></fn><fn id="fn32" symbol="32"><label><sup>32</sup></label><p><citation id="ref015" citation-type="book"><name><surname>Nilsson</surname><given-names>M. P.</given-names></name>, <source><italic>The Mycenaean Origins of Greek Mythology</italic></source> (<publisher-loc>Berkeley and Los Angeles</publisher-loc>, <year>1932</year>).</citation></p></fn><fn id="fn33" symbol="33"><label><sup>33</sup></label><p><citation id="ref016" citation-type="other">R. Janko, The Iliad: <italic>A Commentary. IV:</italic> Books 13–16, p. 13.</citation></p></fn><fn id="fn34" symbol="34"><label><sup>34</sup></label><p><citation id="ref017" citation-type="book"><name><surname>Wathelet</surname><given-names>Y.</given-names></name> in <name><surname>Lebrun</surname><given-names>Y.</given-names></name> (ed.), <source><italic>Linguistic Research in Belgium</italic></source> (<publisher-loc>Wetteren</publisher-loc>, <year>1966</year>), pp. 1<fpage>45</fpage>–<lpage>73</lpage>. For further examples see Janko (n. 33), pp. 9–14; Ruijgh (n. 6), pp. 63–92.</citation></p></fn><fn id="fn35" symbol="35"><label><sup>35</sup></label><p>Cf. Janko (n. 33), pp. 15–19; Ruijgh (n. 6), pp. 53–63.</p></fn><fn id="fn36" symbol="36"><label><sup>36</sup></label><p>So Janko (n. 33), p. 19; cf. West (n. 4), p. 217, although there is no reason to think that the Iliad was so named because of its place of composition rather than its content.</p></fn><fn id="fn37" symbol="37"><label><sup>37</sup></label><p><citation id="ref018" citation-type="book"><name><surname>Shipp</surname><given-names>G. P.</given-names></name>, <source><italic>Studies in the Language of Homer</italic></source>, 2nd edn (<publisher-loc>Cambridge</publisher-loc>, <year>1972</year>). He was obviously wrong to suppose that they are interpolated.</citation></p></fn><fn id="fn38" symbol="38"><label><sup>38</sup></label><p>See <citation id="ref019" citation-type="book"><name><surname>Hatto</surname><given-names>A. T.</given-names></name>, <source><italic>The Nibelungenlied</italic></source>(<publisher-loc>London</publisher-loc>, <year>1965</year>), pp. <fpage>370</fpage>–95.</citation></p></fn><fn id="fn39" symbol="39"><label><sup>39</sup></label><p>I will argue this case in my paper ‘Homer and Neo-Analysis', to appear.</p></fn><fn id="fn40" symbol="40"><label><sup>40</sup></label><p>‘The epic cycle and the uniqueness of Homer’, JHS 97 (1977), 39–53. The superiority of Homeric epic to much of the tradition is vainly questioned by Nagy (n. 18), p. 29.</p></fn><fn id="fn41" symbol="41"><label><sup>41</sup></label><p>So Taplin(n. 19), p. 36.</p></fn><fn id="fn42" symbol="42"><label><sup>42</sup></label><p><citation id="ref020" citation-type="book"><name><surname>Duggan</surname><given-names>J. J.</given-names></name>, <source><italic>The Song of Roland: Formulaic Style and Poetic Craft</italic></source> (<publisher-loc>Berkeley and Los Angeles</publisher-loc>, <year>1973</year>), pp. <fpage>1,213</fpage>–<lpage>18</lpage>.</citation></p></fn><fn id="fn43" symbol="43"><label><sup>43</sup></label><p>Lord (n. 24), p. 128.</p></fn><fn id="fn44" symbol="44"><label><sup>44</sup></label><p>Ars Poetica 390.</p></fn><fn id="fn45" symbol="45"><label><sup>45</sup></label><p>Od. 13.194.</p></fn><fn id="fn46" symbol="46"><label><sup>46</sup></label><p>E.g. <citation id="ref021" citation-type="book"><name><surname>Rutherford</surname><given-names>R.B.</given-names></name>, <source><italic>Homer, Odyssey Books XIX and XX</italic></source> (<publisher-loc>Cambridge</publisher-loc>, <year>1992</year>), ad he.</citation></p></fn><fn id="fn47" symbol="47"><label><sup>47</sup></label><p>Lord (n. 8), p. xii.</p></fn><fn id="fn48" symbol="48"><label><sup>48</sup></label><p>Cf. Hainsworth <italic>ad loc,</italic> who cites strong objections to the other possibilities.</p></fn><fn id="fn49" symbol="49"><label><sup>49</sup></label><p>Lord (n. 11), p. 16. For other instances, see<citation id="ref022" citation-type="book"><name><surname>Foley</surname><given-names>J. M.</given-names></name>, <source><italic>Traditional Oral Epic</italic></source> (<publisher-loc>Berkeley and Los Angeles</publisher-loc>, <year>1990</year>), p. <fpage>28</fpage>, n. 18.</citation></p></fn><fn id="fn50" symbol="50"><label><sup>50</sup></label><p><xref ref-type="bibr" rid="ref022">Ibid</xref>., pp. 17–18.</p></fn><fn id="fn51" symbol="51"><label><sup>51</sup></label><p>Cf. (n. 33), pp. 22–5. Another tendency in the MSS of Homer is the standardization of repeated verses against each other: see my article <italic>‘The Iliad</italic> and its editors’ (n. 7), esp. pp. 332–3 (SIFC10 [1992], esp. pp. 840–2).</p></fn><fn id="fn52" symbol="52"><label><sup>52</sup></label><p>See my notes on <italic>Iliad</italic> 14.292–3, 310–12.</p></fn><fn id="fn53" symbol="53"><label><sup>53</sup></label><p>//. 16.856–7 = 22.362–3; see my note on 16.855–8, and cf. Taplin (n. 19), p. 246.</p></fn><fn id="fn54" symbol="54"><label><sup>54</sup></label><p><italic>Aeneid</italic> 11.831 = 12.952.</p></fn><fn id="fn55" symbol="55"><label><sup>55</sup></label><p>For a similar acceptance of the possibility of combining this approach with the belief in an oral Homer see Taplin (n. 19), pp. 8–9.</p></fn><fn id="fn56" symbol="56"><label><sup>56</sup></label><p><italic>Die typischen Scenen bei Homer</italic> (Berlin, 1933).</p></fn><fn id="fn57" symbol="57"><label><sup>57</sup></label><p>Lord (n. 24), p. 173. Parry regarded the use of themes as the most important characteristic of the oral style (n. 1, p. 452).</p></fn><fn id="fn58" symbol="58"><label><sup>58</sup></label><p>There are other examples of this theme at <italic>II</italic>. 14.135, Od. 8.285.</p></fn><fn id="fn59" symbol="59"><label><sup>59</sup></label><p>Other examples are at 5.364–9, 720, 8.381,24.265ff.</p></fn><fn id="fn60" symbol="60"><label><sup>60</sup></label><p>8.41–4= 13.23–6.</p></fn><fn id="fn61" symbol="61"><label><sup>61</sup></label><p>13.29, cf. 8.45.</p></fn><fn id="fn62" symbol="62"><label><sup>62</sup></label><p>13.34f., cf. 8.49f.</p></fn><fn id="fn63" symbol="63"><label><sup>63</sup></label><p>So the theory of G. Nagy, most clearly expressed in his article cited in n. 7, that the progressively wider and wider diffusion of the Homeric poems resulted in their gradually becoming more and more fixed. However, the reverse outcome would seem more likely, as is indeed supported by the plethora of early papyrus texts with inorganic additional lines; and one is entitled to ask why the resulting texts contain so many minor oddities, which would surely have been tidied up in any process of this kind. The theory faces the same problems as the memorial transmission posited by G. S. Kirk, cogently refuted by A. Parry (‘Have we Homer's Iliad?’, YCS 20 [1966], 175–216). Also, my linguistic researches (n. 2, and n. 33, p. 14 with n. 19, p. 17 with n. 28) have shown that the texts were fixed at different linguistic stages—a most unlikely outcome for any process other than either dictation or fixation in writing. Nagy's theory is followed by Foley (n. 49), pp. 21–31, who believes that the ‘wild' papyri are different versions rather than merely replete with inorganic plus-verses (p. 26). He also misses the fact that other poems in the tradition survive (p. 25), and states that the Alexandrians knew 131 separate editions of Homer (pp. 24,28). This rests on a misunderstanding of T. W. Allen's statistics for how often the editions <inline-graphic mime-subtype="gif" xlink:href="S000983880003874X_inline2"></inline-graphic> are cited.</p></fn><fn id="fn64" symbol="64"><label><sup>64</sup></label><p>See Powell (n. 7). Again, I am not convinced by Nagy's argument (n. 6, pp. 35–6) that, since extant early hexameter inscriptions are designed to represent the object on which they are engraved as speaking (‘I am the cup of Nestor’), writing was used <italic>only</italic> to record verse of that kind. Did no Greeks have any knowledge of the written literature of the Phoenicians from whom they adapted the alphabet and learned the letter-names?</p></fn><fn id="fn65" symbol="65"><label><sup>65</sup></label><p>Lord (n. 9), esp. p. 44.</p></fn><fn id="fn66" symbol="66"><label><sup>66</sup></label><p>On the probable influence of the latter on Homer, see <citation id="ref023" citation-type="book"><name><surname>Burkert</surname><given-names>W.</given-names></name>, <source><italic>The Orientalizing Revolution</italic></source>, trans. <name><surname>Pinder</surname><given-names>M. E.</given-names></name> and <name><surname>Burkert</surname><given-names>W.</given-names></name> (<publisher-loc>Cambridge, MA</publisher-loc>, <year>1992</year>), pp. <fpage>114</fpage>–20.</citation></p></fn><fn id="fn67" symbol="67"><label><sup>67</sup></label><p>For the theory that the same person who adapted the alphabet did so in order to take down by dictation the Homeric poems, see Powell (n. 5).</p></fn><fn id="fn68" symbol="68"><label><sup>68</sup></label><p><citation id="ref024" citation-type="journal"><name><surname>Lord</surname><given-names>A. B.</given-names></name>, <article-title>‘Homer, Parry and Huso’</article-title>, <source><italic>American Journal of Archaeology</italic></source> <volume>52</volume> (<year>1948</year>), <fpage>34</fpage>–<lpage>44</lpage>, esp. p. 42 (reprinted in Parry [n. 1], p. 476; cf. Lord [n. 8], p. 12).</citation></p></fn><fn id="fn69" symbol="69"><label><sup>69</sup></label><p>E.g. <citation id="ref025" citation-type="journal"><name><surname>Morris</surname><given-names>I.</given-names></name>, <article-title><italic>‘The use and abuse of Homer’</italic></article-title>, <source>CA</source> <volume>5</volume> (<year>1986</year>), <fpage>81</fpage>–<lpage>138</lpage>.</citation></p></fn><fn id="fn70" symbol="70"><label><sup>70</sup></label><p>On early kingship, see <citation id="ref026" citation-type="book"><name><surname>Carlier</surname><given-names>P.</given-names></name>, <source><italic>La Royaut' en Grėce avant Alexandre</italic></source> (<publisher-loc>Paris</publisher-loc>, <year>1984</year>), esp. pp. <fpage>195</fpage>–<lpage>214</lpage> on Homer; J. Lenz, Kings and the Ideology of Kingship in Early Greece (Diss. Columbia, 1993).</citation></p></fn><fn id="fn71" symbol="71"><label><sup>71</sup></label><p>For a fuller account of my view of the transmission, see (n. 33), pp. 20–37.</p></fn><fn id="fn72" symbol="72"><label><sup>72</sup></label><p>Parry (n. l), p. 353, n. 1.</p></fn><fn id="fn73" symbol="73"><label><sup>73</sup></label><p>This paper began at a Symposium on Homer, organized by Peter Bing, in honour of A. B. Lord, which was held at the University of Pennsylvania in 1983. Successive larval stages appeared at UCLA in 1987, at the Conference on Oral Literature, Department of English, University of California, Berkeley, organized by J. D. Niles, in 1988, and at the congress of the Federation Internationale des Etudes Classiques in Pisa, 1989. The butterfly emerged in 1996, translated into red, white, and green, at a conference (organized by F. Montanari) on Homeric commentaries at the University of Genoa, but in red, white, and blue at a panel on Homeric performance arranged by S. Reece at the APA Annual Meeting in New York (the manuscript was closed early in that year). To the organizers and audiences on those occasions, to all who have ever discussed these questions with me, and to <italic>CQ</italic>'s reader, I extend my thanks. But my greatest debt is of course to the late Albert Lord, whose experience, insights, and friendship I will always miss.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>The Homeric poems as oral dictated texts</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>The Homeric poems as oral dictated texts</title></titleInfo><name type="personal"><namePart type="given">Richard</namePart><namePart type="family">Janko</namePart><affiliation>University College London</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1998-05</dateIssued><copyrightDate encoding="w3cdtf">1998</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">The more I understand the Southslavic poetry and the nature of the unity of the oral poem, the clearer it seems to me that the Iliad and the Odyssey are very exactly, as we have them, each one of them the rounded and finished work of a single singer…. I even figure to myself, just now, the moment when the author of the Odyssey sat and dictated his song, while another, with writing materials, wrote it down verse by verse, even in the way that our singers sit in the immobility of their thought, watching the motion of Nikola's hand across the empty page, when it will tell them it is the instant for them to speak the next verse.</abstract><relatedItem type="host"><titleInfo><title>The Classical Quarterly</title></titleInfo><titleInfo type="abbreviated"><title>The Class. Q.</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0009-8388</identifier><identifier type="eISSN">1471-6844</identifier><identifier type="PublisherID">CAQ</identifier><part><date>1998</date><detail type="volume"><caption>vol.</caption><number>48</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>1</start><end>13</end><total>13</total></extent></part></relatedItem><identifier type="istex">B02E6CA4147F83F091E5B0DC8DE90284DCCB6891</identifier><identifier type="ark">ark:/67375/6GQ-N8H9V2FQ-8</identifier><identifier type="DOI">10.1093/cq/48.1.1</identifier><identifier type="PII">S000983880003874X</identifier><identifier type="ArticleID">03874</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © The Classical Association 1998</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © The Classical Association 1998</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/record.json</uri></json:item></metadata><annexes><json:item><extension>gif</extension><original>true</original><mimetype>image/gif</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-N8H9V2FQ-8/annexes.gif</uri></json:item></annexes><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/ChansonRoland/explor/ChansonRolandV7/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000A52 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000A52 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= ChansonRoland
|area= ChansonRolandV7
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:B02E6CA4147F83F091E5B0DC8DE90284DCCB6891
|texte= The Homeric poems as oral dictated texts
}}
| This area was generated with Dilib version V0.6.39. |  |