Chapter 7. Homer The practice of oral narrative poetry makes a certain form necessary; the way in which oral epic songs are composed and transmitted leaves its unmistakable mark on the songs. That mark is apparent in the formulas and in the themes. It is visible in the structure of the songs themselves. In the living laboratory of Yugoslav epic the elements have emerged… Read more
Chapter 8. The Odyssey In reading the Odyssey or the Iliad we are at a distinct disadvantage because we are reading isolated texts in a tradition. The comparison with other traditions shows us very clearly that songs are not isolated entities, but that they must be understood in terms of other songs that are current. Had we an adequate collection of ancient Greek epic songs, we could… Read more
Chapter 9. The Iliad The essential pattern of the Iliad is the same as that of the Odyssey; they are both the story of an absence that causes havoc to the beloved of the absentee and of his return to set matters aright. [1] Both tales involve the loss of someone near and dear to the hero (Patroclus and Odysseus’ companions); both… Read more
Chapter 10. Some Notes on Medieval Epic [1] It is perfectly understandable that the oral theory, as it is called, is known best to Classicists, who have been trying to look at Homer from its point of view since the days of Milman Parry. Thanks to Professor Francis P. Magoun, Jr., and to his students, the theory has also attracted the attention… Read more
Appendix I. Comparison of Texts of “Bećiragić Meho” by Two Different Singers Parry 12468 and 12471 Invocation. Mumin Vlahovljak 1–16, Avdo Međedović 1–30 1. The scene of the assembly: description of assembly Mumin (17–36) Thirty men of the Border were drinking wine at the gate of Udbina. Mustajbey of the Lika was at their head with seven standard-bearers; Mujo of Kladuša was at… Read more
Appendix II. Comparison of Four Versions of “Marko and Nina” by Petar Vidić Parry 6 Parry 804 Parry 805 Parry 846 Marko is drinking wine with his mother, his wife, and his sister (1-4). Marko arises early in his stone tower and drinks raki. With him are his mother, his wife, and his sister… Read more
Appendix III. Return Songs A. Parry 6818, by Alibeg Begović in Bijelo Polje B. Parry 12417, by Šaćir Dupljak in Bijelo Polje C. Parry 6229, by Avdo Avdić in Gacko D. Parry 6580, by Murat Čustović in Gacko E. Parry 1905, by Franje Vuković in Bihać F. Parry 1939, by Murat Žunić in Bihać a. Parry 6812, by Husein Dupljak in… Read more
Appendix IV. Return-Rescue Songs A. Parry 1921 and 1940, by Murat Žunić in Bihać B. Parry 6431, by Mujo Velić in Bihać C. Parry 897, by Hajdar Habul in Gacko D. Parry 923, by Suljo Tunović in Gacko E. Parry 275a, by Hajdar Đozo of Bare Theme One: Shouting in Prison A Place is Zadar. Prisoner, Zaim Alajbey of Glasinac,… Read more
Hour 21: The hero’s agony in the Bacchae of Euripides The meaning of agōn 21§1. The key word for this hour is agōn, plural agōnes. In the Core Vocabulary, I give three basic definitions: (1) ‘coming together’, (2) ‘competition’ or antagonism, and (3) ‘ordeal’ or agony. Here I follow up on an earlier formulation I gave in Hour 8b§4, which I now divide into three parts: (1) The noun agōn… Read more
Hour 22. The living word I: Socrates in Plato’s Apology of Socrates [[“It is, in short, music which observes neither end nor beginning, music with neither real climax nor real resolution …” – Glenn Gould 1956, concerning the Goldberg Variations of Johann Sebastian Bach (there are 32 of them: “Aria” plus 30 variations plus “Aria”)]] [[This epigraph is excluded from the printed version.]] The meaning of daimonion 22§1. The key… Read more
