By Emily Baragwanath
In his impressive tale of the defence of Greece opposed to the Persian invasions of 490-480 BC Herodotus sought to speak not just what occurred, but in addition the heritage of ideas and perceptions that formed these occasions and have become severe to their interpretation afterwards. a lot because the modern sophists strove to find fact concerning the invisible, Herodotus used to be acutely involved to discover hidden human motivations, whose depiction used to be important to his venture of recounting and explaining the earlier. Emily Baragwanath explores the subtle narrative options with which Herodotus represented this such a lot elusive number of ancient wisdom. therefore he used to be capable of inform a lucid tale of the prior whereas still exposing the methodological and epistemological demanding situations it provided. Baragwanath illustrates and analyses a variety of those strategies over the process a big variety of Herodotus' so much exciting narratives - from these on Athenian democracy and tyranny to Leonidas and Thermopylae - and therefore provides a style for analyzing the Histories extra regularly.
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Additional resources for Motivation and Narrative in Herodotus (Oxford Classical Monographs)
167–9: ‘in his great cunning he bade his wife set before the suitors his bow and the grey iron to be a contest for us ill-fated men and the beginning of death’). Goldhill suggests that ‘Amphimedon’s speech is not only a critical problem but also—in the question of misrecognition in representation— the problem of criticism’ (404). We might regard it as encapsulating also the problem of psychological—and historical—interpretation: 18 Cf. Silk (2004), 44: ‘The shape, like the scope, of the Odyssean epic enforces its restless, exploratory character: ends are opened, questions raised, alternative voices let loose’; cf.
Connor (1993) Wnds the roots of ‘histo¯r’ in the traditional community judge. Szegedy-Maszak (1987), 173–4 likens the Herodotean narrator to an Athenian juror. Fowler (2006), 32 with n. 16 notes that Herodotus dramatizes ‘judging’ in relation to his own inquiries as well as that of his characters. Plutarch’s response 19 in the processes of speakers’ debates, in their various contexts— lawcourt, assembly, sophistic epidexis, tragic performance, and so forth—and at all levels, public and formal through to private and informal,51 and accustomed to the need to take a stand and make a judgement.
Eite . . formulation. g. divine and human). At times, however, they clearly are. 1. 47 In his account of the shield signal following Marathon,48 Plutarch describes Herodotus ‘pretending to speak in defence (IðïºïªåEóŁÆØ) on behalf of the Alcmaeonids against the very charges (KªŒºÞìÆôÆ) he had been Wrst to lay against them’ (862f). He complains: ‘Wrst you prosecute (ŒÆôçªïæåEò), then you defend (Iðïºïªﬁ B); and against famous men you bring false accusations (ªæÜöåØò . . 49 Plutarch here alights upon a most interesting feature of Herodotus’ presentation.
Motivation and Narrative in Herodotus (Oxford Classical Monographs) by Emily Baragwanath