Volume 19, 2007 - Brown University

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Tomb of M. Vergilius Eurysaces the baker in front of the Porta Maggiore, Rome, Italy, ca. 30 B.C.E.-20 B.C.E. Original photograph by Morgan Palmer. Used by permission. viii
Hide and Seek with the Homeric Narrator in the Iliad and the Odyssey Sarah Grover Throughout the Iliad and the Odyssey, the Homeric narrator is reluctant to step into the foreground. He manipulates knowledge, selecting different methods of conveying information to the narratees. Though he remains a heterodiegetic and extradiegetic narrator, concealing his personality, at times the narrator conveys judgment through the perspective of characters in the epics. To use a narratological term Gérard Genette describes in Narrative Discourse: An Essay in Method, the Homeric narrator often “focalizes” scenes and words through characters—that is, he conveys information through the perspective of characters. These variations in perspective, which can be analyzed as changes in focalization, can affect the clarity and completeness of the transfer of information to narratees. Conversely, at times the narrator steps into the foreground and gives “more [information] than is authorized in principle in the code of focalization governing the whole” (Genette, <strong>19</strong>80: <strong>19</strong>5). That is to say, paralepsis occurs when the Homeric narrator crosses an understood boundary of the characters’ knowledge and offers additional information, of which the characters are unaware, with the implication that the characters know. Throughout the epics, the Homeric narrator uses focalization and paralepsis as a means of creating a more comprehensible and compelling composition for the Iliad and the Odyssey, as well as providing supplementary clarification for his audience. On account of his reluctance to enter as a distinct voice in the narrative, the Homeric narrator avoids openly expressing judgment. He is nevertheless able to convey the perspective and judgment of his characters by employing secondary focalization. Due to the fact that both the Iliad and the Odyssey provide many examples of secondary focalization—focalized scenes and focalized singlewords—I have chosen to focus my study of focalized scenes to the Odyssey, while I dedicate my study of single-word focalizations to the Iliad. Throughout the Iliad, single-word focalizations demonstrate the sympathy of the focalized characters, which furthermore creates empathy in the readers. In Book 10 of the Iliad, the narrator demonstrates the focalization of the Trojans as Odysseus and Diomedes slaughter numerous Trojan warriors. “And a clamour rose up from the Trojans and a vast turmoil as they swept together in confusion and stared at the ghastly work done by these [two] men, before they went back to their hollow vessels” (Il. 10.523-5). The word “ghastly” demon- 1
Page 2 and 3: Faculty Editor Joseph Pucci Managin
Page 4 and 5: Law Codes of Gortyn, Crete, Greece,
Page 6 and 7: Tholos Temple, Sanctuary of Athena
Page 8 and 9: Livy’s Exemplary History 71 Amy H
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Page 16 and 17: 6 Sarah Grover is limited to the ch
Page 18 and 19: 8 Ephesus. Original photograph by J
Page 20 and 21: 10 Laura Brown-Lavoie What to call
Page 22 and 23: 12 Excavation of the Fortress of Ma
Page 24 and 25: 14 Lindsey Brett Meyers Hephaestus
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Page 30 and 31: 20 Treasury of the Athenians, Delph
Page 32 and 33: 22 Mark Morales bombards the audien
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Page 36 and 37: 26 Hillary Dixler imagination, is t
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Page 50 and 51: 40 Maia Peck pottery excavated at A
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50 Matthew Nicholson do battle. Enc
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52 Matthew Nicholson Alcibiades, in
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54 Tomb of Iltutmis, 1235, Qutub Mi
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56 Amanda Earl likened to heroes. A
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58 Amanda Earl contrasting Sparta w
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60 Amanda Earl naively believe in t
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62 Amanda Earl
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64 Stephanie Bernhard Plutarch port
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66 Stephanie Bernhard expression or
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68 Martha Gimbel Aeneas should peri
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70 Martha Gimbel She cries, “I am
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72 Amy Hall Goins Once again, the p
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74 Amy Hall Goins Though Livy certa
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76 Pyrrhus. Sketch by Nicholas Kay.
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78 Ariayné Hilliard then will I re
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80 Ariayné Hilliard honor, bringer
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82 Scott Nelson weeds, which he ass
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84 Scott Nelson natus’ love and d
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86 Curtis Steyers the expenses of c
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88 Curtis Steyers Few historians of
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90 Curtis Steyers Now the last age
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92 Grainne O’Hara Belluomo the na
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94 Grainne O’Hara Belluomo also m
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96 Grainne O’Hara Belluomo of sub
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98 Peter Catsimpiris Immediately af
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106 David Guttmann ings. Each chara
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108 David Guttmann external object,
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114 Elizabeth Broadwin This passage
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118 Laocoon. Vatican, Italy, ca. fi
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120 Zohar Atkins Him. He shows how
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122 Zohar Atkins vilest person cont
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124 The Charioteer of Delphi. Delph
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126 Francesco Pucci By the end of t
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128 Francesco Pucci aural imagery u
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130 Francesco Pucci Mustard, Wilfre
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132 Morgan Palmer addition, both th
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134 Morgan Palmer the translator’
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2 David Fusaro Morgan Palmer, class
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