From the very first sentence of the Preface, Alden (A.) is very clear about the purpose of her book: “This book attempts to explain the relationship between the main narrative of the Iliad and its secondary narratives and episodes in a minor key.” The book’s thesis is “that the preoccupations of the primary narrative are explored and interpreted in the other narratives of the poem: none of the narratives of the Iliad is there by accident, and none is merely ornamental; the elements of each are related to some aspect of the main story”. A.’s “secondary narratives” include both stories related by the poet’s characters (e.g. paradigms, genealogies) and interludes related in the voice of the poet himself (e.g. the Shield of Achilles, the athletic events of the funeral games for Patroclus). For such secondary narratives, whose hallmark is that they “do not advance the progress of the main narrative” (1), A. establishes the term “para-narrative”. A.’s stress is on the function of para-narratives as “a subtle guide” to the interpretation of the main plot (1) and on the poet’s skilful manipulation of material “to shape and influence responses to his main narrative” (10). A. speaks of para-narratives as “a coded reference” (13), offering an “interval of reflection” (18).
In the “Introduction” (1-12), A. establishes her case. On the one hand, she points to Homer’s by now well-known reshaping of mythological material into relevant paradigms. On the other, she illustrates how para-narratives work from a few examples in the Odyssey, some (the love-affair of Ares and Aphrodite, the Oresteia story) more convincing and accepted, others perhaps less so (the Cyclops story).
Chapter 2, “Para-Narratives” (13-47), after some introductory statements, goes on to discuss “signposts to the audience” — except that I cannot see that A. comes up with clear criteria for when an episode or a digression or a subsidiary narrative is a “para-narrative” in her sense. It is fair to say that A.’s method is cumulative: Some similarities clearly are interesting and relevant to (the interpretation of) the main narrative, and if you start to look at it that way… A. makes many interesting observations, e.g. on the funeral games, especially on the quarrel between Antilochus and Menelaus, which in A.’s view rehearses the elements of the more important central quarrel between Achilles and Agamemnon. The last part of the chapter is a discussion of various aspects of paradigms with some pertinent remarks on homeric
Chapter 3 (48-73) is dedicated to “The Shield of Achilles”, which, according to A. allows us to see particularly clearly how para-narratives function as a commentary on the events of the main plot of the Iliad. Criticizising, confirming and extending the web of correspondences which other scholars have worked out, A. makes e.g. the images of the two cities on the shield “decipherable as paradigmatic allusions to the events of the main narrative” (72). In this chapter, A. makes instructive use of ancient theories of ekphrasis.
Nestor is an important para-narrator in the Iliad. In Ch. 4, “Nestor: Paradigms from Personal Experience”, many of his interventions are subjected to A.’s approach. Nestor’s anecdote of the battle of Lapiths and Centaurs ( Il. 1. 259-73), in addition to boosting Nestor’s authority, “is significant at two deeper levels” (80) — on the assumption, that is, that the audience and we associate the battle with the wedding feast of Peirithous and Hippodameia (which admittedly goes unmentioned), for the battle is then fought to prevent bride-stealing. Thus, at a deeper level, Lapiths correspond to Greeks, and Centaurs to Trojans; and at the deepest level Nestor “implicitly” and “in veiled terms” (81) rebukes Agamemnon for taking Briseis away from Achilles. Some may also want to go along with A.s opinion (88) that Nestor’s image of Ereuthalion and his distinguished armour (cf. Il. 7.136ff) “echoes the emphasis in Hector’s challenge on the prospect of stripping armour from a vanquished enemy” (88). Areïthous stretched out
In Chapter 5 (“Diomede: Debate in Para-Narrative”, 112-52), A. makes some good comments on the debate on divine patronage and the fate of the
Chapter 7 (179-290) is a very full treatment of “The Paradigm of Meleager: Application and Implication”. The chapter stands out not only as a contribution to the interpretation of the paradigm in book 9 of the Iliad, but of central issues of the poem as a whole, including the role of
In spite of A.s initial claim that her book explores “a new and very simple approach to Homeric narratives”, the value of the book, as I see it, lies less in its originality or in striking new insights, than in its sustained and exhaustive treatment of an aspect of Homeric composition. A. is right that “[n]o one has ever discussed the body of para-narratives contained in the Iliad in this way” (11). A. has made the most of it, she offers a kind of maximum option. Your reviewer is personally in sympathy with A.s approach and finds much to agree with in her book. But many issues need further discussion. I note here briefly the following: What counts as “similarity”, “parallel”, “repetition”, “echo” etc.? When does something “correspond” to or “represent” something else? The word “correspondence” and its cognates and eqvivalents figure prominently in the book. Must we not be more careful in distinguishing between what is intended and significant, and what is incidental, given the conventions and constraints of epic composition? We also may need to distinguish more sharply between what characters say, and the poet’s voice. The character concerned is differently involved in the statement “Tlepolemus is made to establish a precedent” (160), and in “Sarpedon is made to convey, inadvertently, not that the present generation of Trojans […]”. Sometimes A. seems to work on the principle that the poet suppresses whatever suits him; but then “the audience may still be aware of the reverberations of material omitted” (139). A.’s very concept of “para-narrative” may be too wide and inclusive, and her claims for the interpetive relevance of all (kinds of) secondary narratives too strong. A. thus may achieve less than she wishes for her para-narratives because she wants to prove too much. On the other hand her book in many places, and especially the chapter on Meleager, offers more than what is in its title.
A.’s presentation does not suffer from terseness and thrift. There is a certain amount of repetition and re-telling, e.g. 256f. on Patroclus. To me it seems unnecessary in a scholarly book like this to have big chunks of the Iliad quoted both in the original and in translation. Annotation is copious throughout; A. is both conscientious and generous in her critical and constructive dialogue with earlier scholars, a feature which enhances the value of the book.
There are five appendices of varying weight and relevance: A, on approaches to Homer’s narratives; B, on the nature of Homer’s text; C, on the meaning of the exchange of armour (between Glaucus and Diomedes); D, on the hero’s death by destruction of a life-token; and E, on the motivation ascribed to wives entreating husbands. There is a full bibliography, an index of passages cited, and a detailed general index.