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Extra resources for Narrators, Narratees, And Narratives In Ancient Greek Literature: Studies In Ancient Greek Narrative (Mnemosyne Supplements)
2). 5 The relative pronoun starts oﬀ the narrative, which in the present case is simultaneous and iterative. The term ‘simultaneous iterative narration’ and the claim that Th. 2–21 is actually narrative need a brief explanation, because many scholars work on the basis of the following equations: ‘past tense = narrative’ vs. 6 It is, however, preferable to apply Genette’s distinction between ‘singulative’ and ‘iterative’ narration. 7 This distinction, then, is to be combined with a second, namely between ‘simultaneous’ and ‘subsequent’ narration (→ Introduction).
6 Only the short introduction (A) and the similarly short epilogue (E) show traces of ‘I’ and ‘you’, the most obvious signs of the presence of the narrator and the narratee. 8 (ii) As the epilogue (E) in each case shows, the narratee of the hymn is the god to whom the hymn is dedicated, but who is also the ‘hero’ of (D) the primary story. ) More frequent references to the god-narratee would, therefore, make the narrator switch back and forth between ‘he/she’ and ‘you’. This, in fact, is what happens in the exceptional Hymn to Apollo (and probably also in the fragmentary Hymn to Dionysus 1).
Gods and men disapprove of that man who lives without working. […] It is from work that men are rich in ﬂocks and wealthy, and a working man is much dearer to the immortals. Work is no reproach, but not working is a reproach’ (W&D 302–311). 28 West 1978: 3ﬀ. 29 Cf. g. ”’ Here and in many other cases, the addressee is the speaker’s son. 30 Schmidt 1986: 18. 31 The speech-like quality of W&D 11ﬀ. is underlined by the particle ara in 11, which is operational at the level of interaction between speaker and addressee (Duhoux 1997; Wakker 1997: 212–213).