Tsagalis, Christos. 2008. The Oral Palimpsest: Exploring Intertextuality in the Homeric Epics. Hellenic Studies Series 29. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_TsagalisC.The_Oral_Palimpsest.2008.
Chapter 3. Nausicaa and the Daughters of Anius: Terms and Limits of Epic Rivalry
One important issue in respect to cross-references of the type described above is their sequence-ignoring character. The very notion of intertextuality is,  in fact, consonant to this very idea. It has been argued that by evoking a single aspect or incident of a story not exploited by the Homeric epics at the moment of performance, the bard does not demand from his audience to have mastered enormous quantities of mythological material, but to focus their attention on a single point.  Compressed narrative, on the other hand, disrupts the chronological sequence in which a given episode is placed and conjures in the audience’s mind not just the particular detail at hand, but also the framework and, perhaps, even the tradition with which this incident is associated. Since familiarity with characters and the entire mythical nexus concerning a given hero is required, I strongly reject the idea of a poet imposing a heavy interpretive burden on his audience’s shoulders. When talking about traditional mythical material, we do not need to think of an audience comprised of well-informed students of Greek myth. Such a distorted picture is typical of the modern sense of ‘mythology’, according to which acquaintance with mythical material is attained only after meticulous study of the relevant myths. An ancient audience was able to fill the gaps every time they were presented with a compressed narrative, because that was the process mythical material developed. There was no compendium of myths from which a given poet would select a story and tailor it to his needs. Links and aberrations, associations and deviations among various mythical traditions, grew out of their performative use in oral contexts, one of which was epic singing. We do not need to postulate a supremely competent audience to argue that the average listener must have heard many epic performances. In fact, what we define as ‘competence’ within a performance-context is simple acquaintance.
The Palm Tree
οὔτ᾿ ἄνδρ᾿ οὔτε γυναῖκα· σέβας μ᾿ ἔχει εἰσορόωντα.
Δήλῳ δή ποτε τοῖον Ἀπόλλωνος παρὰ βωμῷ
φοίνικος νέον ἔρνος ἀνερχόμενον ἐνόησα·
ἦλθον γὰρ καὶ κεῖσε, πολὺς δέ μοι ἕσπετο λαός
τὴν ὁδὸν ᾗ δὴ μέλλεν ἐμοὶ κακὰ κήδε᾿ ἔσεσθαι.
ὣς δ᾿ αὔτως καὶ κεῖνο ἰδὼν ἐτεθήπεα θυμῷ
δήν, ἐπεὶ οὔ πω τοῖον ἀνήλυθεν ἐκ δόρυ γαίης.᾿᾿
“Never have I set eyes on any man or woman like you. I am overcome with awe
as I look at you. Only in Delos have I seen the like, a fresh young palm tree
shooting up by the altar of Apollo, when my travels took me there—with a fine
army at my back, that time, though the expedition was doomed to end so fatally
for me. For a long time I stood spellbound at the sight, for no such sapling ever
sprang from the ground.”
According to Hainsworth, “Odysseus appears to allude to his voyage to Troy (or Aulis), but a visit to Delos is otherwise quite unknown.”  There is, however, a scholium by Aristarchus (EPQ ad Odyssey vi 164) referring to a visit of Odysseus and Menelaus (followed by the entire Greek fleet) to Delos to seek the daughters of Anius, who were able to relieve the famine of the Greek army by producing food:
Two other scholia on Lycophron’s Alexandra 580 (200 Scheer) and 581 (200 Scheer) are also relevant:
|Story of the Oinotropoi||Nausicaa-Odysseus episode|
|Hunger of the Greek army||Hunger of Odysseus|
|The Oinotropoi feed the Greeks||Nausicaa gives food to Odysseus|
|The Oinotropoi descend from Dionysus||The Nausicaa episode is replete with Dionysiac elements|
The Recovered Intertext