The "Iliad" and Its Editors: Dictation and Redaction

Janko, Richard

doi:10.2307/25010934

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“…The oral dictation model proposed by MilmanParry (A. Parry 1971:451) and developed further byLord (1953 and 1960:124-38) has been supported with strong and up-to-date arguments byJanko (1990), Ruijgh (1995, andReece (2005).9 For a treatment of ring compositions; two-, three-, and six-part narrative and narratological divisions; and other examples of parallelism in the Odyssey, see Tracy 1997, which draws upon the seminal works ofBassett (1919),Myres (1952),Kitto (1966), Gaisser (1969,Fenik (1974), and Tracy himself (1990); see alsoLouden 1999. On the use of type-scenes as building blocks for the architectonic structure of the Odyssey, seeReece 1993:189-206; on a specific use of ring composition to tie together a long stretch of Odyssean narrative, seeReece 1995. …”

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“…On the contrast between the basic fixity of the Homeric texts and the relative fluidity of some of these other epic traditions, seeMerkelbach 1952:34-35; Lord 1960:198-221; Stephanie West 1988:36;Janko 1990 Janko :330-31, 1992 Janko :29, 1998 and Finkelberg 2000. 12 For an engaging presentation of this theory of three dialectal phases from the viewpoint of oral poetics, see A.Parry 1971:325-64; from the viewpoint of legend and language, see M. L. West 1988; from the viewpoint of specific linguistic features, seeRuijgh 1957Ruijgh , 1985Ruijgh , 1995 from the viewpoint of history and archaeology,see Sherratt 1990.…”

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“…How remarkable that it is still in our text!" On the implications of such contradictions for the composition and transmission of our texts in general, seeGunn 1970;Janko 1990 and. Of course, where some find dictional and narrative inconcinnities attributable to the pressures of oral composition-in-performance, others find clever and sophisticated devices attributable to poetic virtuosity and artistic genius; see, for example, Nagy 1999.…”

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Toward an Ethnopoetically Grounded Edition of Homer’s Odyssey

Reece¹

2011

ort

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This article belongs to a special issue of Oral Tradition published in honor of John Miles Foley's 65 th birthday and 2011 retirement. The surprise Festschrift, guest-edited by Lori and Scott Garner entirely without his knowledge, celebrates John's tremendous impact on studies in oral tradition through a series of essays contributed by his students from the University of Missouri-Columbia (1979-present) and from NEH Summer Seminars that he has directed (1987)(1988)(1989)(1990)(1991)(1992)(1993)(1994)(1995)(1996). http://journal.oraltradition.org/issues/26iiThis page is intentionally left blank.Toward an Ethnopoetically Grounded Edition of Homer's Odyssey 1 Steve ReeceMy contribution to this Festschrift for Professor John Miles Foley has its origin in an experimental course on comparative oral traditions titled "The Singers of Tales" that I have taught three times in quite different formats, once at Vanderbilt University and twice at Saint Olaf College. I began envisioning this course at the 1992 NEH Summer Seminar on Comparative Oral Traditions administered by Professor Foley in his capacity as the director of the Center for Studies in Oral Tradition at the University of Missouri. The seminar was one of the most pleasant, productive, and pivotal experiences of my academic career, largely because of the warm collegiality of my eleven colleagues and the generous mentoring of Professor Foley, and it continues to this day to have an effect on both my teaching and research. In the most recent incarnation of "The Singers of Tales" I decided, at great risk to my reputation as a traditional teacher and scholar, that the form of the course should match its content-that is, that the entire course should be conducted whenever possible without the aid of reading and writing.Almost all the material that we were studying in this course was composed, performed, and in many cases transmitted without the use of writing and reading, in an "illiterate" or, perhaps I should say, "preliterate" period of history. Each successive time that I have taught this course, I have discovered that my students relate better and better to this orally generated material. This generation of students seems to be on the verge of ushering in a new "postliterate" period of history: they are engaged by the aural pleasures of music and speech and the visual pleasures of icons, and thanks to their exposure to newer methods of technologizing the word, their concept of a text is of something much more fluid than the silent, two-dimensional, black-on-white, typographical words that so tyrannized students of previous generations.There is a certain perverseness, is there not, in expecting our students to enjoy traditional Zuni narrative poetry or traditional Appalachian folktales by sitting alone, in a quiet recess of the library and under a fluorescent light, reading a text speedily and silently, without even moving their mouths? Hence, in the most recent version of this course I determined that textbooks, written quizzes, exams, and final papers would be rep...

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