By Seth L. Schein
'Homeric Epic and its Reception', comprising twelve chapters - a few formerly released yet revised for this assortment, and others showing right here in print for the 1st time - deals literary interpretations of the Iliad, the Odyssey, and the Homeric Hymn to Aphrodite.
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Extra resources for Homeric epic and its reception : interpretive essays
Sample text
The ring is given by the giant after the 17 For a different theory of how the name ‘Nobody’ is connected with a basic theme of the poem, based on a play on words involving ïh ôØò (‘nobody’) and Tôßò (‘a bird with long ears’, a ‘bustard’) or tôïò, ‘a long-eared owl’), see Carpenter 1946: 139–41. According to Carpenter, ‘Odysseus told Polyphemos his boyish nickname ‘Big Ears’, and the giants had only themselves to blame for their misinterpretation’ (p. 140). Carpenter’s interpretation, however, does not take into account the play on ìÞ ôØò and ìBôØò.
As Page notes, such a magical, talking ring would be quite out of keeping with the realistic narrative in Book 9 and with the tendency everywhere in Homer to play down or suppress the magical. In these respects, the ending of the story in Book 9 is much better suited to the Odyssey than the ending with the ring. Yet the ending of the story of Odysseus and Polyphemos is connected with the rest of the poem in far more significant ways than the mere avoidance of magic. Odysseus calls out to the Kyklops twice.
Macleod 1982: 15. 169–76. 446–7 is on the contrast between human suffering and immortal freedom from misery and care, not on the helpless human condition itself, though this is what Odysseus emphasizes when he addresses Amphinomos in similar terms at Od. 130–1. See Edwards 1991: 107 on 446–7. 23 Leinieks 1973: 102–7 sees Pedasos as ‘in effect, a symbol of Patroklos’ mortality’ (103); Thalmann 1984: 200 n. 40 adds that ‘Pedasos evokes the idea of Achilles’ mortality too . ’. Cf Atchity 1978: 276, 305.