Publication: Micro-introducción a Homero.
Authors
Cantilena, Mario
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/myrtia.411851
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info:eu-repo/semantics/article
Description
Abstract
¿De qué hablamos cuando hablamos de Homero? Es difícil concebirlo como un
hombre, como un individuo histórico, y los antiguos griegos conocían sobre él
tan poco como nosotros. Incluso si examinamos sus poemas, no podemos captar
ningún rasgo de la personalidad de un autor. Pero su lenguaje y su estilo nos
dicen lo suficiente como para comprender que lo que hemos estado buscando en
un solo poeta debe encontrarse en una tradición. La Ilíada y la Odisea deben
entenderse como documentos de poesía oral tradicional y no de literatura: al
menos en el sentido de que no estaban destinados a ser leídos. Aunque desde
siglos se consideren los arquetipos de todas las literaturas occidentales, su lugar
está entre la concurrida compañía de los cantores anónimos que nos legaron
obras maestras como Beowulf, Mahabharata, Chanson de Roland.
What do we talk about when we talk about Homer? It is difficult to conceive him as a man, a historical individuum, and the ancient Greeks knew about him as little as we do. Even if we question his poems, we cannot grasp any trait of an author's personality. But his language and his style tell us enough to understand that what we were searching in a single poet must be found in a tradition. The Iliad and the Odyssey must be understood as documents of oral-traditional poetry and not of literature: at least in the sense that they were not meant to be read. Although they have been considered for centuries the archetypes of all western literatures, their place is among the crowded company of the anonymous singers who gave us masterpieces like Beowulf, Mahabharata, Chanson de Roland.
What do we talk about when we talk about Homer? It is difficult to conceive him as a man, a historical individuum, and the ancient Greeks knew about him as little as we do. Even if we question his poems, we cannot grasp any trait of an author's personality. But his language and his style tell us enough to understand that what we were searching in a single poet must be found in a tradition. The Iliad and the Odyssey must be understood as documents of oral-traditional poetry and not of literature: at least in the sense that they were not meant to be read. Although they have been considered for centuries the archetypes of all western literatures, their place is among the crowded company of the anonymous singers who gave us masterpieces like Beowulf, Mahabharata, Chanson de Roland.
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