Applying this distinction between unmarked and marked categories to “Kuryłowicz’s fourth law of analogy,” we can say that the newer form, in replacing the older form, acquires the unmarked function of the older form, which in turn develops a marked function. By “older form” I mean the form that is already assigned to a given function, whereas by “newer form” I mean the form that is about to be assigned to that function. For example, English ‘quick’, cognate of Latin vīvus ‘alive’, lost the meaning ‘alive, living’ and became semantically specialized in the sense of ‘lively’ and, eventually, ‘quick’; the older meaning survives residually in such expressions as the quick and the dead or bite the nails to the quick. [9] If we contrast “newer” ‘alive’ with “older” ‘quick’, we can say that the newer form has an older meaning, which is undifferentiated or unmarked, while the older form has a newer meaning, which is differentiated or marked.
unmarked | marked |
non-Classical | vs. Classical |
Classical | vs. anti-Classical, e.g. “novel,” “carnival” |
epic | vs. “novelistic” function within epic |
novel as genre | vs. epic as genre |
ἀμφ᾿ ἀκταῖς Ἑλώρου, | … δέδορκεν | παιδὶ τοῦθ᾿
Ἁγησιδάμου φέγγος ἐν ἁλικίᾳ πρώτᾳ
In the victory ode, we see the collapsing of distinctions between the glorification of idealized men in the past as heroes and the glorification of idealized men in the present as participants in the world of heroes. In this way, both hero and latter-day man participate in both past and present, in both epic and victory ode. {76|77} Other distinctions too are collapsed: the ordeals of heroes as warriors of the past are expressed in the same language as the ordeals of men as warriors of the present. Moreover, the ordeals of latter-day men as warriors who fight for their native land are expressed in the same language as the stylized ordeals of these same men as athletes competing for victory at Panhellenic or local athletic contests. Martial and athletic ordeals were considered parallel rituals. [38] Finally and most importantly for the victory ode, the hero’s mythical ordeal in the past is expressed in the same language as the athlete’s ritual ordeal in the present, leading to victory in athletic competitions. [39]
Epic is a problematic genre in the history of Greek literature. Diachronically, epic as a form is newer than praise poetry; historically, however, the form of epic as attested in Homeric poetry is far older than the form of praise poetry as attested in the victory odes of Pindar. [52]
unmarked genre | marked genre |
epic, with unspecific reference to the present | vs. praise poetry, with specific reference to the present |
novel, with unspecific reference to the past | vs. epic, with specific reference to the past {79|80} |
ἐκ πομπῆς ἀνιοῦσαν ἐν ἠεροηδέι πόντῳ
ῥαῖσαι, ἵν’ ἤδη σχῶνται, ἀπολλήξωσι δὲ πομπῆς
ἀνθρώπων, μέγα δέ σφιν ὄρος πόλει ἀμφικαλύψαι
So now I want to smash the very beautiful ship of the Phaeacians
when it comes back, in a misty crossing of the sea, from its conveying mission,
so that these people [= the Phaeacians] will hold off, at long last, and stop their practice of conveying
humans. And I want to make a huge mountain envelop [63] their city.
Before Zeus gives his approval, he modifies the terms of Poseidon’s two-part plan for vengeance. In the case of the first part, as we are about to see, the Will of Zeus is not that the ship be smashed but only that it be turned into a rock at the very moment that it sails into the entrance to the harbor—a rock destined to be a famous landmark for all time to come. In the case of the second part of the sea god’s plan, it seems that Zeus will indeed allow Poseidon to make a huge mountain “envelop” the city. Here is the precise wording of these two parts of the Will of Zeus, addressed as commands to Poseidon:
λαοὶ ἀπὸ πτόλιος, θεῖναι λίθον ἐγγύθι γαίης
νηὶ θοῇ ἴκελον, ἵνα θαυμάζωσιν ἅπαντες
ἄνθρωποι, μέγα δέ σφιν ὄρος πόλει ἀμφικαλύψαι
When all the people of the city look out and see the ship sailing in,
turn it into a rock, just as it is about to reach land.
Make it look like a swift ship, so that people will look at it with wonder
– all of humanity will do so; and make the huge mountain envelop their city.
I print the last verse here, xiii 158, as it is printed in most modern editions of Homer. [64] In this verse, the god Poseidon is commanded to seal off the Phaeacians forever within the confines of the epic past.
– all of humanity will do so; but do not make the mountain envelop their city.
This different version was disputed by the later Alexandrian editor Aristarchus of Samothrace: he preferred the version of xiii 158 that I printed earlier above, which is the one that survives in the medieval manuscript tradition. [66]
ἐκ πομπῆς ἀνιοῦσαν ἐν ἠεροηδέι πόντῳ
ῥαισέμεναι, μέγα δ᾿ ἧμιν ὄρος πόλει ἀμφικαλύψειν [69]
He [my father] once said that he [Poseidon] will smash the very beautiful ship of the Phaeacian men
when it comes back, in a misty crossing of the sea, from its conveying mission,
and that he will make a huge mountain envelop our city.
The audience of the Odyssey already knows this prophecy as recapitulated in xiii 173-177, because Alkinoos had already “quoted” it to Odysseus {84|85} at viii 565-569. [70] At that earlier point in the narrative, however, Alkinoos had said something in addition, which he does not say now:
ἤ κ᾿ ἀτέλεστ᾿ εἴη, ὥς οἱ φῦλον ἔπλετο θυμῷ
That is what the old man said. And the god [Poseidon] could either bring these things to fulfillment
or they could be left unfulfilled, however it was pleasing to his heart.
Now, instead of “repeating” this part of the old man’s prophecy, Alkinoos commands the Phaeacians to take immediate action:
ἀλλ᾿ ἄγεθ᾿, ὥς ἂν ἐγὼ εἴπω, πειθώμεθα πάντες.
That is what the old man said. And now you and I see that all these things are being brought to fulfillment. [71]
But come, let us all comply with exactly what I am about to say.
When Alkinoos had first “quoted” the prophecy of his father at viii 570-571, the “quotation” had left a loophole: Poseidon may or may not bring ‘these things’ to fulfillment, as he wishes. But now at xiii 178-179 there is the greatest urgency, and Alkinoos exclaims hyperbolically that ‘all these things are being brought to fulfillment’. The rhetorical point of this hyperbole is to motivate the Phaeacians to take immediate action. Even though the half-hopeful words of Alkinoos at viii 570-571 are not repeated but are replaced by the increasingly desperate words of xiii 178-179, there is still a trace of hope—provided that the Phaeacians take immediate action by following the emergency orders of Alkinoos, which are formulated in the verses that immediately follow, xiii 180-182.
μηδ᾿ ἥμιν περίμηκες ὄρος πόλει ἀμφικαλύψῃ
… in hopes that he [Poseidon] will take pity
and will not make the tall mountain envelop our city.
The Phaeacians immediately proceed to make sacrifice to the sea god, supplicating him (xiii 184-187). At this sacrifice, we may presume that they do indeed resolve never again to engage in the otherworldly “conveying” of mortals back to their “real” world. [73] Such a resolution by the Phaeacians would of course cancel their own otherworldly status as mediators between the inner world of the narrative and the outer world of “reality” as implicit in the “present” time when the narration of epic is actually happening.
Do as you wish and as was pleasing to your heart.
This open-ended wording of Zeus matches formulaically the wording of Alkinoos, when he had originally “quoted” the prophecy of his father:
ἤ κ᾿ ἀτέλεστ᾿ εἴη, ὥς οἱ φίλον ἔπλετο θυμῷ {88|89}
That is what the old man said. And the god [Poseidon] could either bring these things to fulfillment
or they could be left unfulfilled, however it was pleasing to his heart.
The formulation of Zeus, then, in leaving it still undecided whether or not the Phaeacians are to be ‘enveloped’, can be used as evidence to argue that mēde is indeed a genuine compositional alternative to mega de.