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American Philological Association American Philological Association Hesiod, Odysseus, and the Instruction of Princes Author(s): Richard P. Martin Source: Transactions of the American Philological Association (1974-), Vol. 114 (1984), pp. 29-48 Published by: Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/284137 Accessed: 23-02-2016 02:32 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/284137?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. American Philological Association and Johns Hopkins University Press are collaborating with JSTOR to digitize, preserve and extend access to Transactions of the American Philological Association (1974-). http://www.jstor.org This content downloaded from 128.95.104.109 on Tue, 23 Feb 2016 02:32:41 UTC All use subject to JSTOR Terms and Conditions Transactionsof the AmericanPhilological Association 114 (1984) 29-48 HESIOD, ODYSSEUS, AND THE INSTRUCTION OF PRINCES RICHARD P. MARTIN PrincetonUniversity It shouldno longerbe necessaryto pointout thefutility of any attempt to determine,from the texts alone, which passage was composed first: the lines of the Theogony proem which concernthe Muse's giftsto kings (Th. 79-93) or Odysseus' replyto the inhospitabletaunt of the Phaeacian youth Euryalos (Od. 8.166-77). Priority-hunting,based on subjective notionsof what is artfulin archaic Greek poetry,has failed to answer the dilemma. New methodsof approach are needed.' The two passages in question are the following: fftv, ov KaAov t7revaaTaoaAq tvoplCoLKas. C, 1 I OVTCOS!OV 7TaVTeO(ftI601 yapltVTa btbovoflv avopao&v, OV"TEe6v7v OV"T'ap 4pe'vas! OV"T'ayop)TrvV. aAAos0/LEV yap E&oosOaKtVoTrepos 7re'A6 avvwp, 'aAA'a@oso ,Aopqlv C`7reata-r'I, oE01 b T E aVTOV TEplTO/,repopvo VOL AEvovvowXe',0v0t 0o'0 aOIaAEz)swa, ayopevEa ve a16oZ MEACXXtn,MlATa be 7rpeirEaypolAvotLtv, EPX ,evov oava aYTrv BeoP CUWeLopowoLv. aAAoso' av ELIos . 'EVaA&yKLos aBvaaroUtatv, aA ov o0 4apts a/.L4L7reputrTeraLre`e4 v, ws Kal (OfL 'ELOS! /Lv ap&rpe7re'`, OVo' KEV aAAcOs OV OEOSld TVfete, vOov ' a'7ro A10 aoo&. (Od. 8.166-77) ' KaAAX0r 6 7o6e rpo40EpEOTa'T7 r'07tv a&7ra c`v. y Kal Pao&XdAvtva,u' a'tiot'otutv 07rrqbet. OVTIva TIA.LJOV0fI At0S KOvpal MEVaAOYO yElVO .AVOV TE &(tL bl0TpC4Pf)WV SaolA7)cA)V, TC) /.L 671yAMfOp yAVKEp7V XELOVOLV EEpV, TOV O 7rf 6K 0YTO/aTOT p61 peLAtya- ol Of vv Aao% 7raTCVs ev avTov opwVYL oLaKp&'VOVTa E'ULO-Tas t10lo&t'i& oV o' aar aAxe'wcayopevwv I For the mostcomplete bibliography on the problem,see H. Neitzel,"Zum zeitlichen Verhaltnisvon Theogonie (80-93) und Odyssee (8, 166-77),"Philologus 121 (1977) 24-44, to whichadd B. K. Braswell,"Odyssey 8.166-77 and Theogony79-93," CQ 31 (1981)237-39. On theproblems of "borrowing"and "imitation"in an oraltradition, see R. Janko,Homer, Hesiod,and theHymns (Cambridge 1982) 225. This content downloaded from 128.95.104.109 on Tue, 23 Feb 2016 02:32:41 UTC All use subject to JSTOR Terms and Conditions 30 Richard P. Martin aTLia TL Ka% uLEya VELKOS C'7rLOTa/.EV(o KaTEl7avuT TOvVEKa yap &aLA7)Esf ixekpOVCw, OVvEKa Xaolv /3Xa7rTo/uEvoLs ayop pOL UETaTpo7ra Epya TEAXVcL p7rLBLos, /ua;aKo^LcL 7rapaLa4 EVoL f7rEfafLV ' EpXeov o av a'y&)va Oeov )s LAaLTKOVTaL a&bo& MELALXL7) METa of 7rpE7rEL aypouEvo0L(L. TOL7)Movo-aacv LiEPn b0oa av6pc'row&v. (Th. 79-93) The passages share two and one-halfverses. If we rule out the chance occurrenceof such similardiction and the notionof borrowing,one possi- bilityremains: parallel inheritancefrom a singlecommon source. There is a way to agree withthe Analyststhat the resemblanceshere are notcoinci- dental, while avoiding the critical traps of "imitation,""adaptation," or "borrowing."As G. P. Edwards concludes,"We can neverrule out the exis- tenceof an older place X, whichprovided a commonsource for both A and B at the linesin question,so makingtheir chronological relationship impos- sible to determine."2I cannot claim to have discovered a poem which servesas the commonsource for the Theogonyand Odysseypassages, but I can go beyond Edwards's essentiallynegative conclusion: the two passages underconsideration can be said to sharea commongenre, which generates the similarphrases in each place. By analyzingGreek and Old Irishtexts, I proposeto pinpointthe genrefrom which both Homer and Hesiod draw. The genericelements to whichI referare bestunderstood as belonging to "genresof discourse,"to use the phraseof the criticTzvetan Todorov.3 He insists,first, that a genreis an institutionof society,and so shouldinter- esthistorians and anthropologistsas well as literarycritics; the linkbetween genre and social life will be importantfor the problemat hand.4Second, Todorov pointsout thatgenre is simplythe "historicallyattested codifica- tion of discursiveproperties" such as setting,addressee, speaker, diction, rhythm,and theme, the variables of any speech-act;in literature,these 2 G. P. Edwards, The Language of Hesiod in its Traditional Context (Oxford 1971) 189. Several scholarsare careful to point out the possibilityof common borrowingfrom traditionas regards these two passages: cf. J. Duban, "Poets and Kings in the Theogony Invocation,"QUCC n.s. 4 (1980) 12, note 11; P. Walcot, "Hesiod and the Law," SO 38 (1963) Ilf. and Hesiod and the Near East (Cardiff 1966) 124f.; M. L. West, Hesiod: Theogony (Oxford 1966) 183; the traditioninvolved is not specifiedby them. Concerning the Theogony passage, Edwards, while not denying the possibilityof common inheri- tance, accepts earlier argumentsfor Homeric priority:see p. 168f. 3 T. Todorov applies the notionto a range of modern worksin Les Genres du discours (Paris 1978): see p. 51 for his definitionof the term; and, for furthercomparison of rules of discourse with those of genre, see Todorov, "La Notion de litterature,"in Langue, discours, societe, ed. J. Kristeva (Paris 1975) 362f. Other useful work might be done, using Todorov's notion,to recoverthe themesand diction appropriateto an archaic Greek systemof genres. For a workingmodel in one genre, see C. 0. Pavese, La Lirica corale greca (Rome 1979). 4 Todorov (above, note 3) 49. On genre as conventionand institution,see the analysisof W. Raible, "Was sind Gattungen?,"Poetica 12 (1980) 326. This content downloaded from 128.95.104.109 on Tue, 23 Feb 2016 02:32:41 UTC All use subject to JSTOR Terms and Conditions Hesiod, Odysseus,and the Instructionof Princes 31 variableshappen to be more rigidlydefined and selected than theyare in ordinarydiscourse. It is usefulto thinkof genre,then, as a typeof selective coding.5I will returnto thisnotion later in thispaper. Sufficeit to say for now thatgenre, because it is relatedto discourse,is implicitin any literary production:behind the wordsof a poem lie unspokenassumptions regard- ing the contextand mannerof communicationproper to a given location, occasion,and interlocutors. At times,this generic affiliationmight be marked out by diction or syntax;the use of vocatives,for instance, is a traditionalelement in Greek poetic paraenesisfrom Homer on. At othertimes, the dramaticcontext by itselfcan mark a discourseas properlybelonging to a certaingenre, since the presenceof speakerswith a particularstatus naturally arouses generic expectations.The markingof a discourseas appropriatefor a particular genrecan occur even thoughthe discourseis embedded withina composi- tion of an entirelydifferent genre. Thus, in the medium of Homeric poetry,where changes of speakeroccur frequently,it is theoreticallypossi- ble that each speaker's discourseshow signs of belongingto a particular genre. Nestorand Phoenix,for instance, are notjust advisors: they become conduits for the genre of paraenetic poetry;Andromache, Hecuba, and Helen are notjust lamenting women, but speakersof lamentpoetry within epic-poetry which has a long and old traditionoutside epic as well, a traditionmost likelyas old as epic, with its own conventionsand styliza- tionsof language,as Alexiouhas shown.6Although it may seem mechanical to describeepic charactersin termsof theirpoetic affiliationsin thisway, such a view mighthelp us to understandhow such massivecompositions as the Iliad and Odysseyattained their bulk: by the introductionof pre- existingor contemporarynon-epic genres. This mode of compositionis exactlywhat gives both Homeric poems theirconvincingly realistic tone, producingin the audience the sense that actual wordsare being reported by the Muse (as the poet's ideologywould declare). Stylizeddiscourse, be it lament, advice, praise or blame, is incorporatedand preserved in the mediumof Homerichexamyeter verse.7 5 Raible (above, note 4) 325, 335-43 notes that genres,like textsand words themselves, are characterized by selection and abbreviation of elements in a system.From the per- spective of a semiotician,Raible definesgenre as a set of distinctivemarks drawn fromas many as six dimensions,including communication-situation. 6 M. Alexiou, The Ritual Lament in Greek Tradition (Cambridge 1974) 4-13, 161-84. F. Mawet, "E~pigrammes,threnes et dithyrambes:les lamentationsfunebres de l'epopee," in Le Monde grec: Hommages a Claire Preaux, ed. J.Bingen et al. (Brussels 1975) 42ff., also traces elementsof distinctgenres within epic laments,raising the possibilitythat epic evolved fromlaments. 7 On the versatilityof Homeric poetryin integratingvarious traditions, see G. Nagy, The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry (Baltimore 1979) 6 (hereafter BA). D. Sinos, Achilles, Patroklos, and the Meaning of Philos (Innsbruck 1980) 75 and note 5, illustratessome ways in which the Iliad subsumes other traditional This content downloaded from 128.95.104.109 on Tue, 23 Feb 2016 02:32:41 UTC All use subject to JSTOR Terms and Conditions 32 Richard P.
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