ERICH AUERBACH ODYSSEUS SCAR PDF

Togor Nor are we told anything of his reasons for tempting Abraham so terribly. Thus while, on the one hand, the reality of the Old Testament presents itself as complete truth with a claim to sole authority, on the other hand that very claim forces it to a constant interpretative change in its own content; for millennia it undergoes an incessant and active development with the life of man in Europe. The history of earlier contributions by wikipedians is accessible to researchers here: Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of auerbacch and training, and the avoidance of stylization. Friedrich Schiller — Johann Christoph Friedrich von Schiller was a German poet, philosopher, physician, historian, and playwright. The New Testament has frequently accompanied the spread of Christianity around the world and it reflects auerbah serves as a source for Christian theology and morality.

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Willard R. Princeton, , repr. Readers of the Odyssey will remember the well-prepared and touching scene in book 19, when Odysseus has at last come home, the scene in which the old housekeeper Euryclea, who had been his nurse, recognizes him by a scar on his thigh. Euryclea busies herself fetching water and mixing cold with hot, meanwhile speaking sadly of her absent master, who is probably of the same age as the guest, and who perhaps, like the guest, is even now wandering somewhere, a stranger; and she remarks how astonishingly like him the guest looks.

Meanwhile Odysseus, remembering his scar, moves back out of the light; he knows that, despite his efforts to hide his identity, Euryclea will now recognize him, but he wants at least to keep Penelope in ignorance.

All this is scrupulously extemalized and narrated in leisurely fashion. The two women express their feelings in copious direct discourse. Feelings though they are, with only a slight admixture of the most general considerations upon human destiny, the syntactical connection between part and part is perfectly clear, no contour is blurred. There is also room and time for orderly, perfectly well-articulated, uniformly illuminated descriptions of implements, ministrations, and gestures; even in the dramatic moment of recognition, Homer does not omit to tell the reader that it is with his right hand that Odysseus takes the old woman by the throat to keep her from speaking, at the same time that he draws her closer to him with his left.

Clearly outlined, brightly and uniformly illuminated, men and things stand out in a realm where everything is visible; and not less clear-wholly expressed, orderly even in their ardor--are the feelings and thoughts of the persons involved.

In my account of the incident I have so far passed over a whole series of verses which interrupt it in the middle. For the element of suspense is very slight in the Homeric poems; nothing in their entire style is calculated to keep the reader or hearer breathless.

The digressions are not meant to keep the reader in suspense, but rather to relax the tension. And this frequently occurs, as in the passage before us. The broadly narrated, charming, and subtly fashioned story of the hunt, with all its elegance and self-sufficiency, its wealth of idyllic pictures, seeks to win the reader over wholly to itself as long as he is hearing it, to make him forget what had just taken place during the foot-washing.

So it is with the passage before us. When the young Euryclea vv. And besides it seems to me undemonstrable and improbable that this procedure of Homeric poetry was directed by aesthetic considerations or even by an aesthetic feeling of the sort postulated by Goethe and Schiller. The effect, to be sure, is precisely that which they describe, and is, furthermore, the actual source of the conception of epic which they themselves hold, and with them all writers decisively influenced by classical antiquity.

To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic im-pulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations.

Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.

This last observation is true, of course, not only of speeches but of the presentation in general. One might think that the many interpolations, the frequent moving back and forth, would create a sort of perspective in time and place; but the Homeric style never gives any such impression. The way in which any impression of perspective is avoided can be clearly observed in the procedure for introducing episodes, a syntactical construction with which every reader of Homer is familiar; it is used in the passage we are considering, but can also be found in cases when the episodes are much shorter.

To the word scar v. But any such subjectivistic-perspectivistic procedure, creating a foreground and background, resulting in the present lying open to the depths of the past, is entirely foreign to the Homeric style; the Homeric style knows only a foreground, only a uniformly illuminated, uniformly objective present. The genius of the Homeric style becomes even more apparent when it is compared with an equally ancient and equally epic style from a different world of forms.

I shall attempt this comparison with the account of the sacrifice of Isaac, a homogeneous narrative produced by the so-called Elohist. Where are the two speakers? We are not told. The reader, however, knows that they are not normally to be found together in one place on earth, that one of them, God, in order to speak to Abraham, must come from somewhere, must enter the earthly realm from some unknown heights or depths.

Whence does he come, whence does he call to Abraham? He does not come, like Zeus or Poseidon, from the Aethiopians, where he has been enjoying a sacrificial feast. Nor are we told anything of his reasons for tempting Abraham so terribly. He has not, like Zeus, discussed them in set speeches with other gods gathered in council; nor have the deliberations in his own heart been presented to us; unexpected and mysterious, he enters the scene from some unknown height or depth and calls: Abraham! It will at once be said that this is to be explained by the particular concept of God which the Jews held and which was wholly different from that of the Greeks.

For how is the Jewish concept of God to be explained? Even their earlier God of the desert was not fixed in form and content, and was alone; his lack of form, his lack of local habitation, his singleness, was in the end not only maintained but developed even further in competition with the comparatively far more manifest gods of the surrounding Near Eastern world.

The concept of God held by the Jews is less a cause than a symptom of their manner of comprehending and representing things. This becomes still clearer if we now turn to the other person in the dialogue, to Abraham.

Where is he? We do not know. Where he is actually, whether in Beersheba or elsewhere, whether indoors or in the open air, is not stated; it does not interest the narrator, the reader is not informed; and what Abraham was doing when God called to him is left in the same obscurity.

After this opening, God gives his command, and the story itself begins: everyone knows it; it unrolls with no episodes in a few independent sentences whose syntactical connection is of the most rudimentary sort.

In this atmosphere it is unthinkable that an implement, a landscape through which the travelers passed, the servingmen, or the ass, should be described, that their origin or descent or material or appearance or usefulness should be set forth in terms of praise; they do not even admit an adjective: they are serving-men, ass, wood, and knife, and nothing else, without an epithet; they are there to serve the end which God has commanded; what in other respects they were, are, or will be, remains in darkness.

That gesture is the only gesture, is indeed the only occurrence during the whole journey, of which we are told; and though its motivation lies in the fact that the place is elevated, its uniqueness still heightens the impression that the journey took place through a vacuum; it is as if, while he traveled on, Abraham had looked neither to the right nor to the left, had suppressed any sign of life in his followers and himself save only their footfalls.

Thus the journey is like a silent progress through the indeterminate and the contingent, a holding of the breath, a process which has no present, which is inserted, like a blank duration, between what has passed and what lies ahead, and which yet is measured: three days! Three such days positively demand the symbolic interpretation which they later received.

The text says nothing on the subject. Bitter to him is the early morning in which he saddles his ass, calls his serving-men and his son Isaac, and sets out; but he obeys, he walks on until the third day, then lifts up his eyes and sees the place.

Whence he comes, we do not know, hut the goal is clearly stated: Jeruel in the land of Moriah. In the narrative itself, a third chief character appears: Isaac.

By this example of the contrary, we see the significance of the descriptive adjectives and digressions of the Homeric poems; with their indications of the earlier and as it were absolute existence of the persons described, they prevent the reader from concentrating exclusively on a present crisis; even when the most terrible things are occurring, they prevent the establishment of an overwhelming suspense.

We find the same contrast if we compare the two uses of direct discourse. God gives his command in direct discourse, but he leaves his motives and his purpose unexpressed; Abraham, receiving the command, says nothing and does what he has been told to do. The conversation between Abraham and Isaac on the way to the place of sacrifice is only an interruption of the heavy silence and makes it all the more burdensome. It would be difficult, then, to imagine styles more contrasted than those of these two equally ancient and equally epic texts.

On the one hand, externalized, uniformly illuminated phenomena, at a definite time and in a definite place, connected together without lacunae in a perpetual foreground; thoughts and feeling completely expressed; events taking place in leisurely fashion and with very little of suspense.

A consideration of the Elohistic text teaches us that our term is capable of a broader and deeper application. But even the human beings in the Biblical stories have greater depths of time, fate, and consciousness than do the human beings in Homer; although they are nearly always caught up in an event engaging all their faculties, they are not so entirely immersed in its present that they do not remain continually conscious of what has happened to them earlier and elsewhere; their thoughts and feelings have more layers, are more entangled.

Such a problematic psychological situation as this is impossible for any of the Homeric heroes, whose destiny is clearly defined and who wake every morning as if it were the first day of their lives: their emotions, though strong, are simple and find expression instantly.

How fraught with background, in comparison, are characters like Saul and David! How entangled and stratified are such human relations as those between David and Absalom, between David and Joab! Here we are confronted not merely with the psychological processes of characters whose depth of background is veritably abysmal, but with a purely geographical background too.

For David is absent from the battlefield; but the influence of his will and his feelings continues to operate, they affect even Joab in his rebellion and disregard for the consequences of his actions; in the magnificent scene with the two messengers, both the physical and psychological background is fully manifest, though the latter is never expressed.

The Homeric poems, then, though their intellectual, linguistic, and above all syntactical culture appears to be so much more highly developed, are yet comparatively simple in their picture of human beings; and no less so in their relation to the real life which they describe in general. Delight in physical existence is everything to them, and their highest aim is to make that delight perceptible to us.

Homer can be analyzed, as we have essayed to do here, but he cannot be interpreted. Later allegorizing trends have tried their arts of interpretation upon him, but to no avail. He resists any such treatment; the interpretations are forced and foreign, they do not crystallize into a unified doctrine. The general considerations which occasionally occur in our episode, for example, v.

It is all very different in the Biblical stories. Their aim is not to bewitch the senses, and if nevertheless they produce lively sensory effects, it is only because the moral, religious, and psychological phenomena which are their sole concern are made concrete in the sensible matter of life. But their religious intent involves an absolute claim to historical truth.

The story of Abraham and Isaac is not better established than the story of Odysseus, Penelope, and Euryclea; both are legendary. Woe to the man who did not believe it! Indeed, we must go even further. All other scenes, issues, and ordinances have no right to appear independently of it, and it is promised that all of them, the history of all mankind, will be given their due place within its frame, will be subordinated to it.

Since so much in the story is dark and incomplete, and since the reader knows that God is a hidden God, his effort to interpret it constantly finds something new to feed upon. If the text of the Biblical narrative, then, is so greatly in need of interpretation on the basis of its own content, its claim to absolute authority forces it still further in the same direction.

Far from seeking, like Homer, merely to make us forget our own reality for a few hours, it seeks to overcome our reality: we are to fit our own life into its world, feel ourselves to be elements in its structure of universal history. This becomes increasingly difficult the further our historical environment is removed from that of the Biblical books; and if these nevertheless maintain their claim to absolute authority, it is inevitable that they themselves be adapted through interpretative transformation.

This was for a long time comparatively easy; as late as the European Middle Ages it was possible to represent Biblical events as ordinary phenomena of contemporary life, the methods of interpretation themselves forming the basis for such a treatment. But when, through too great a change in environment and through the awakening of a critical consciousness, this becomes impossible, the Biblical claim to absolute authority is jeopardized; the method of interpretation is scorned and rejected, the Biblical stories become ancient legends, and the doctrine they had contained, now dissevered from them, becomes a disembodied image.

As a result of this claim to absolute authority, the method of interpretation spread to traditions other than the Jewish. The Homeric poems present a definite complex of events whose boundaries in space and time are clearly delimited; before it, beside it, and after it, other complexes of events, which do not depend upon it, can be conceived without conflict and without difficulty.

The Old Testament, on the other hand, presents universal history: it begins with the beginning of time, with the creation of the world, and will end with the Last Days, the fulfilling of the Covenant, with which the world will come to an end.

But this process nearly always also reacts upon the frame, which requires enlarging and modifying. Thus while, on the one hand, the reality of the Old Testament presents itself as complete truth with a claim to sole authority, on the other hand that very claim forces it to a constant interpretative change in its own content; for millennia it undergoes an incessant and active development with the life of man in Europe.

If certain elements survived which did not immediately fit in, interpretation took care of them; and so the reader is at every moment aware of the universal religio-historical perspective which gives the individual stories their general meaning and purpose. The greater the separateness and horizontal disconnection of the stories and groups of stories in relation to one another, compared with the Iliad and the Odyssey, the stronger is their general vertical connection, which holds them all together and which is entirely lacking in Homer.

Each of the great figures of the Old Testament, from Adam to the prophets, embodies a moment of this vertical connection. Herein lies the reason why the great figures of the Old Testament are so much more fully developed, so much more fraught with their own biographical past, so much more distinct as individuals, than are the Homeric heroes.

Even Odysseus, in whose case the long lapse of time and the many events which occurred offer so much opportunity for biographical development, shows almost nothing of it. Odysseus on his return is exactly the same as he was when he left Ithaca two decades earlier. But what a road, what a fate, lie between the Jacob who cheated his father out of his blessing and the old man whose favorite son has been torn to pieces by a wild beast!

The old man, of whom we know how he has become what he is is more of an individual than the young man; for it is only during the course of an eventful life that men are differentiated into full individuality; and it is this history of a personality which the Old Testament presents to us as the formation undergone by those whom God has chosen to be examples.

Fraught with their development, sometimes even aged to the verge of dissolution, they show a distinct stamp of individuality entirely foreign to the Homeric heroes.

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Odysseus' scar (Auerbach)

While the former can be various and arbitrary, multilayered in its characterization of people and events, the latter is the epitome of detailed, organized and logical storytelling informed by the rhetorical tradition. Although he acknowledged that both works exercised an enormous influence over subsequent Western literature , Auerbach held that the true motivation behind the representations of reality in both the Bible and the Odyssey lay within and without aesthetic considerations. For Homer , it lay in the rhetorical tradition of the poet to "represent phenomena in a fully externalized form, visible and palpable in all their parts. Furthermore, the two works were written for very different purposes; the Odyssey , as a piece of entertainment to "make us forget our own reality for a few hours," while the Bible , as religious doctrine , to "make us fit our own life into its world. As an example, he points out how, with the careful insertion of a flashback "retarding element" term coined by Goethe and Schiller into the middle of the story, Homer creates a relaxing excursion to defer suspense. By keeping the focus always on the present narrative, the "procession of phenomena" Homer presents always remains illuminated in the foreground, even as the story itself jumps back and forth between times and locations.

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ERICH AUERBACH ODYSSEUS SCAR PDF

Zologor In medias res Between Scylla and Charybdis. Thus the journey is like a silent progress through the indeterminate and the contingent, a holding of the breath, a process which has no present, which is inserted, like a blank duration, between what has passed and what lies ahead, and which yet is measured: There is also room and time for orderly, perfectly well-articulated, uniformly illuminated descriptions of implements, ministrations, and gestures; even in the dramatic moment of recognition, Homer does not omit to tell the reader that it is with his right hand that Odysseus takes the old woman by the throat to keep her from speaking, at the same time that he draws her closer to him with his left. Credits New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. And very often, indeed generally, this element of development gives the Old Testament stories a historical character, even when the subject is purely legendary and traditional. Feelings though they are, with only a slight admixture of the most general considerations upon human destiny, the syntactical connection between part and part is perfectly clear, no contour is blurred. In it the idea is subjected to the problematic character and desperate injustice of earthly happening.

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