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2012, In Myth, Truth, and Narrative in Herodotus, eds. E. Baragwanath & M. de Bakker
https://doi.org/10.1093/acprof:oso/9780199693979.003.0001…
9 pages
1 file
This introduction gives an historical overview of the various ways in which the 'mythical' material in Herodotus' Histories has been defined and studied. Whereas pre-war scholarship generally seeks to excise such passages, rejecting their historical significance, post-war scholarship tends to take a more holistic approach and argues that, as myth and 'myth-speak' so deeply belonged to the world in which Herodotus lived, it automatically found a place in the Histories, and should be evaluated accordingly.
Myth, Truth, and Narrative in Herodotus, pp. 1-56. Edited by E. Baragwanath and M.P. de Bakker. Oxford University Press.
This is the Introduction to the edited vol. Myth, Truth, & Narrative in Herodotus
Exemplaria Classica, 2014
2014
EMILY BARAGWANATH AND MATHIEU DE BAKKER (eds.), Myth, Truth, and Narrative in Herodotus 2012. 384 pp. Oxford University Press. Oxford University Press. Hardback 75 [pounds sterling]. ISBN 978019969397-9. Narrative has always powerfully transferred memories, fantasies, and understanding to other men's brains. Many sorts of fiction and history, biography, drama, and judicial briefs either organize themselves entirely along a consecutive story-telling axis or insert fractured narratives, whether proleptic, analeptic, or "alloleptic", into a necessarily linear presentation of words in an oral-aural telling or on an inscribed stone, written roll, scroll, tablet, or printed page, or even a glowing computer screen. Book reviewers often follow in the steps of their targets' organization, so they rarely tell a story in chronological order. Herodotos, unlike Heliodoros (one of his admirers), often tries to begin at the beginning, although he often spirals back into the story...
Studies in Ancient Greek Narrative IV: Characterization in Ancient Greek Literature, eds. K. de Temmerman & E. van Emde Boas, 2018
This chapter gives an overview of Herodotus' main techniques in characterizing the historical individuals whom he presents in the Histories. Posing as an empirical observer of past events, he gives the impression of assessing his characters with a steady hand according to their deeds and words, but in fact takes literary liberties in characterizing individuals so that they contribute to his important themes, such as his stance against one-man rule and opposition to internecine fighting among the Greeks. For the same purpose, he invites the narratee to reflect upon similarities and differences between characters by staging them together within the same or a similar scene, or by deriving aspects of their characterization from sources outside the Histories. Aided by these techniques, Herodotus creates a wide cast of divergent characters, in whom he highlights the full complexity of human behaviour. He shows that the free Greek world is in many ways not much different from the courts of kings and tyrants, and that both settings abound in intrigue, manipulation and hostility. Finally, he draws attention to his own Protean struggle in gathering and evaluating the wealth of traditions that informed his unique work.
Myth, Truth, and Narrative in Herodotus, pp. 287-312. Edited by E. Baragwanath and M.P. de Bakker. Oxford University Press
Herodotus was born in a city with mixed Hellenic and Carian population, and grew up in a region (south-west Asia Minor) which was in constant and close contact with the great states of the Near East, such as Lydia and Achaemenid Persia. He was thus in a privileged position in terms of communication and exchange with the cultures of the ancient Orient. In this paper I propose to explore Herodotus’ authorial debt to the narrative and intellectual traditions of the East with regard to certain major, macroscopic compositional tendencies of his historical oeuvre. Three fundamental narrative structures, which condition the organization of Herodotus’ material and the layout of his work, seem to have been inspired by characteristic techniques and thematic patterns of Near-Eastern texts or lore. Firstly, Herodotus conceives and recounts world history according to the typical structure of West-Asiatic and Egyptian king lists and chronicles: these latter works enumerate a series of successive rulers and record basic biographical data, key historical incidents, and occasionally picturesque anecdotes about the reign of each one of them. Herodotus assimilates this pattern and uses it both on a small and on a grand scale in his narrative. The individual historical sections (logoi) concerning particular peoples (Lydians, Egyptians, Medians) are constructed in the manner of a chronicle; the narrator lists a sequence of kings and offers briefer or longer reports of historical events and anecdotal tales for every name of the list. The Herodotean oeuvre as a whole is built on the same chronographic principle; a succession of Achaemenid monarchs (Cyrus, Cambyses, Darius, Xerxes) forms the framework, which is filled in with extensive accounts of each king’s exploits, wars, and other ventures. Secondly, Herodotus appears to have taken over from Near-Eastern storytelling the concept of the frame narrative, i.e. the tales emboxed inside other tales like “Russian dolls”. This technique first appears in ancient Egyptian novellas and story collections of the second and first millennium BCE, and subsequently spread all over the eastern world up to Iran and India, conditioning the layout of the great oriental narrative compilations, from the Book of Sindbad to the Pañcatantra, the Kathāsaritsāgara and the Thousand and One Nights. Herodotus exploits this pattern already in the first and paradigmatic long novella of his work (the story of Solon and Croesus, 1.29-33) and then in various subsequent narrative sections (e.g. the account of the Spartans’ conference and Socles’ speech, 5.91-93). In all these cases, one of the characters of the main narrative tells a series of didactic stories in close sequence, in the manner familiar from ancient Egyptian story collections (Papyrus Westcar, Tales of Petese) and from the Book of Sindbad. Thirdly, Herodotus’ entire composition is punctuated by a long accumulation of failed military expeditions of Persian kings against various lands. The climax of this series is represented by the Persian wars, Darius’ and Xerxes’ unsuccessful campaigns against mainland Greece, which are recounted in the last books of the History. These accounts are inspired, of course, by momentous historical events. Nevertheless, it is interesting to note that the theme of the failed expedition was also endemic in the mythology of ancient Iran: Kai Kaus, a king of the legendary Kayanian dynasty, is the archetype of the rash and vainglorious monarch who oversteps his limits and attempts a sequence of foolhardy campaigns against formidable opponents, invariably ending up in defeat and disaster. This serial pattern of ancient Persian myth, if known to Herodotus, may have influenced his decision to structure his work as a gradation of failed military ventures undertaken by the Persian kings, from Cyrus’ fatal war against the Massagetae and Cambyses’ disastrous march to Ethiopia to Darius’ defeats in Scythia and Marathon and Xerxes’ debacle before the Greeks.
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Where are the questions about the oral characteristics of Herodotean discourse coming from? Are they legitimate and can they still provoke thoughts of a contemporary researcher?
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