-
Our hero has made it on to Scheria.
He's on this island far away.
-
We start to learn now, as he makes his
movement from this, edges of the island
-
where he meets Nausicaa and her friends.
When he moves from there into the center
-
of this town this city.
He sees something really amazing.
-
This place is a little bit strange.
It's not quite like a normal citadel.
-
That we will hear more about as Odysseus
goes on, on his adventures.
-
And we've seen now represented.
Presented in Telemachus's journyes as he
-
goes around and sees Nestor's palace or
Menelaus's palace.
-
The Phaeacians have a slightly different
kind of reality that they live in.
-
They are far away and they don't mix all
that well with others we're told.
-
They're at the world's frontier out of all
human contact.
-
We're told on page 174 at the bottom in
book seven.
-
There's plenty of food there.
The crops are irrigated by springs.
-
There's a kind of natural irrigation
system that's happening.
-
There's gentle wind.
These that bring ripeness in all seasons?
-
So that you have these lush, almost
magical orchards that just produce fruit.
-
It just kind of comes up out of the depths
without extra toil having to be exerted in
-
order to get the food, to get the food
out.
-
We'll hear later, at the close of book
eight, of their magic boats.
-
They have boats that actually steer
themselves.
-
They don't have steersmen in their boats.
Their boats just kind of know by will
-
where they're supposed to go.
And then maybe something to focus on in
-
terms.
Wasn't strangest, the strangest of all is
-
the idea that the Gods talked to them.
Face to face.
-
You hear about this on page 186 in book
seven, that the Phoenicians have ability
-
to talk face to face with the gods.
Usually, they don't disguise themselves
-
when they come and talk to the
Phoenicians.
-
This is really weird, when humans have
direct views of gods.
-
Usually, there's trouble in mind.
There's a story of Zeus and Semele that,
-
all you all will know, that a young mortal
girl who has a tryst with Zeus convinces
-
him to show.
Him, to herself in all his full glory and
-
he says no, please don't make me do that,
when he does, she gets incinerated because
-
of how amazingly glorious Zeus is.
Similarly, we will hear other kinds of
-
stories of humans getting in trouble by
getting in too close to gods as the, as
-
the coarse advances.
Then also remember we made a mention when
-
we talked about marriage of [inaudible]
that in an earlier mythic time even you
-
know.
Prior to myth, myth in the beta stage.
-
There are some tales of just kind of
normal human god interactions.
-
They went to parties together.
They shared meals together.
-
We hear about that in the marriage of
Piles and Thetas.
-
Later on, we're gonna see a really
interesting episode of this portrayed in
-
Hesiod's Theogony.
That's gonna be the story of Prometheus.
-
So, you know that things get a little bit
messy when it comes to that interaction as
-
well.
But for the, the Phoenicians.
-
They seem to have this easy rapport with
the gods face to face.
-
They really put them in this mythic space,
that's already kind of Mythic for myth.
-
It's Proto-mythic, it's beta myth, it's
the early side of things.
-
So they have this easy back and forth.
They are though while they're removed from
-
others, they are though extraordinary
sailors.
-
And this sailing capacity, this sailing
prowess, brings them what sailing prowess
-
always does.
Extraordinarily rich trade, and tremendous
-
amounts of wealth.
There are fabulous riches described as
-
Odysseus approaches, the, the palace of
King [inaudible].
-
There's amazing stuff that he runs into.
A detailed description and a lavish
-
description, such as we have not yet seen.
This scene, where the, the wealth of the,
-
of the palaces is described, gives us a
chance to talk about one of the common
-
Homeric techniques of telling the story
that are really useful for us to focus on
-
to get the most we can out of this
tech-myth.
-
Homer uses a technique called ring
composition.
-
And in ring composition, some specific
thing.
-
Here, labelled A is articulated in the
story.
-
And then there's a long digression.
Here represented with B.
-
Where we talk about something that is
related to this usually specific physical
-
thing we just ran into, and then we'll
know that we're done with the digression
-
when we mention A again.
So sometimes he might say "and then the
-
general picked up that sword.
That sword which was handed down many
-
generations earlier to his grandfather and
his grandfather and got passed down to
-
him.
That sword is the one he picked up now."
-
So usually we will have an articulation of
the physical object, we'll have long
-
digression, and then another articulation
of the physical object to finish off the
-
XXX.
Thought to be a very useful aid for those
-
that are doing.
In a world of formulaic presentations of
-
poetry, so if your memorizing something
and you're trying to get it going and then
-
you want to talk about your digression and
then you want remind yourself and your
-
audience that you're done with the
digression, just mention that thing that
-
you did in the beginning.
It tells you that it's the time to get
-
out.
Now this technique is used in great effect
-
when Homer is describing the riches at the
palace of King Alkinoos.
-
So let's just take time to look at a
little bit from book seven using Fagels's
-
translation.
Now as Odysseus approached Alkinoos's
-
famous house, a rush of feelings stirred
within his heart, bringing him to a
-
standstill even before he crossed the
bronze threshold.
-
A strong radiant.
A radiance strong as the moon or rising
-
sun came flooding through the high roofed
halls of generous King Alcinous.
-
Walls plated in bronze crowned with a
circling frieze glazed as blue as lapis
-
ran to the left and right.
From outer gates to the deepest court
-
recesses and solid gold doors enclosed the
palace.
-
Pretty striking the description of what
he's walking in to.
-
And in fact the description goes on and
lots of details are brought out.
-
We hear about the threshold that he's
standing on is actually (itself made off).
-
Bronze.
The door posts and the lintel are made of
-
silver.
The handles on the door are made of gold.
-
There are gold and silver dog statues on
either side of the door that were made by
-
[himself.
They're immortal and never die.
-
They're guard dogs made of gold and
silver.
-
There are many thrones in the palace.
One is just not just good enough.
-
And each of them is decorated and draped
with beautiful fine fabric, that's, of
-
extraordinarily fine quality.
Then there are golden statues of boys that
-
are there for torch holders.
There are 50 servant women screwing
-
around.
And there are magnificent In orchards and
-
vineyards stretching for acres, that just
fertilized themselves.
-
So, we hear this long, long digression on
tales of the extraordinary wealth of
-
Alkinoss's Palace, that's visible to
Odysseus's eyes.
-
At that point then, at the end of this
digression, bottom of page 183 and 84 in
-
Fagles, in the middle of book seven, such
were the gifts the glory showered down by
-
the gods on King Alkinoss's realm.
And there Odysseus stood, gazing at all
-
this bounty.
A man who borne so much once he had his
-
fill of marveling at it all, he crossed
the threshold quickly, strode inside the
-
palace.
So with our ring composition, we have an A
-
and a B, and an A.
The A is our threshold and the digression
-
in B is our long and detailed tales of
wealth and A again is our threshold.
-
The way that Homer uses this, look at what
he's done.
-
The usefulness of this ring composition
and it's characteristic of the Homeric
-
technique.
We have Odysseus enter into the palace and
-
we basically see it through his own eyes.
He walks in, hits the threshold and then
-
he's just overwhelmed.
And in that marvelous one or two seconds
-
of Odysseus getting the visual,
overwhelming.
-
Impression of wealth in Alcinous's Palace.
In that short time Homer goes on and on
-
and on in narrative description.
And then reminds us at the end of it that
-
actually what we've just done is paused
with Odysseus for a moment on the
-
threshold.
But what we've been able to hear is this
-
giant explosion in Odysseus's mind of
Deep, registering of this powerful,
-
emotional kind of element, elements of
perception that Odysseus gets.
-
So, time is able to actually expand and
explode inside of these rings.
-
We'll have a mention of something, there
may be a long memory that comes back to
-
us, someone, and a mention of it at the
end.
-
That memory of course comes back.
In an instant, but the representation of
-
it in Homer's poetry goes on for some
lavish amount of time.
-
So Reins provide a way for Homer to dilate
certain very pregnant scenes to let us
-
pause for a moment usually inside of
someone's head as something grand happens
-
right before our eyes.
And in this case there's nothing that's
-
gonna be quite as grand as Alcinous's
Palace.
-
It's extraordinary.
So Odysseus is entering into a world of,
-
of tremendous, tremendous wealth.