Homeric Question - Homer As The Manifestation of An Oral Tradition

Homer As The Manifestation of An Oral Tradition

Following the seminal work of Milman Parry, most classicists agree that, whether or not there was ever such a composer as Homer, the poems attributed to him are to some degree dependent on oral tradition, a generations-old technique that was the collective inheritance of many singer-poets (or ἀῳδοί, aoidoi). An analysis of the structure and vocabulary of the Iliad and Odyssey shows that the poems contain many regular and repeated phrases; indeed, even entire verses are repeated. Could the Iliad and Odyssey have been products of oral-formulaic composition, composed on the spot by the poet using a collection of memorized traditional verses and phases? Milman Parry and Albert Lord have pointed out that such elaborate oral tradition, foreign to today's literate cultures, is typical of epic poetry in an exclusively oral culture. The crucial words here are "oral" and "traditional". Parry starts with the former: the repetitive chunks of language, he says, were inherited by the singer-poet from his predecessors, and were useful to him in composition. Parry calls these chunks of repetitive language "formulas".

Many scholars agree that the Iliad and Odyssey underwent a process of standardization and refinement out of older material, beginning in the 8th century BC. This process, often referred to as the "million little pieces" design, seems to acknowledge the spirit of oral tradition. As Albert Lord notes in his magnum opus, The Singer of Tales, poets within an oral tradition, as was Homer, tend to create and modify their tales as they perform them. Although this suggests that Homer may simply have "borrowed" from other bards, he almost certainly made the piece his own when he performed it.

The 1960 publication of Lord's book, which focused on the problems and questions that arise in conjunction with applying oral-formulaic theory to problematic texts such as the Iliad, the Odyssey and even Beowulf influenced nearly all subsequent work on Homer and oral-formulaic composition. In response to his landmark effort, Geoffrey Kirk published a book entitled The Songs of Homer, in which he questions Lord's extension of the oral-formulaic nature of Serbian literature (the area from which the theory was first developed) to Homeric epic. He holds that Homeric poems differ from those traditions in their "metrical strictness", "formular system" and creativity. Kirk argued that Homeric poems were recited under a system that gave the reciter much more freedom to choose words and passages to achieve the same end than the Serbian poet, who was merely "reproductive".

Shortly afterwards, Eric A. Havelock's book Preface to Plato revolutionised how scholars looked at Homeric epic by arguing not only that it was the product of an oral tradition but that the oral-formulas contained therein served as a way for ancient Greeks to preserve cultural knowledge across many different generations. In his 1966 work Have we Homer's Iliad?, Adam Parry theorised the existence of the most fully developed oral poet up to his time, a person who could (at his discretion) creatively and intellectually form nuanced characters in the context of the accepted, traditional story; in fact, Parry altogether discounted the Serbian tradition to an "unfortunate" extent, choosing to elevate the Greek model of oral-tradition above all others. Lord reacted to Kirk and Parry's respective contentions with Homer as Oral Poet, published in 1968, which reaffirmed his belief in the relevance of Serbian epic poetry and its similarities to Homer, and downplayed the intellectual and literary role of the reciters of Homeric epic.

In further support of the theory that Homer is really the name of a series of oral-formulas, or equivalent to "the Bard" as applied to Shakespeare, the Greek name Homēros is etymologically noteworthy. It is identical to the Greek word for "hostage". It has been hypothesised that his name was back-extracted from the name of a society of poets called the Homeridae, which literally means "sons of hostages", i.e., descendants of prisoners of war. As these men were not sent to war because their loyalty on the battlefield was suspect, they would not be killed in conflicts, so they were entrusted with remembering the area's stock of epic poetry, to remember past events, from the time before literacy came to the area.

In a similar vein, the word "Homer" may simply be a carryover from the Mediterranean seafarers' vocabulary adoption of the Semitic word base ’MR, which means "say" or "tell". "Homer" may simply be the Mediterranean version of "saga". It has also been suggested by Pseudo-Plutarch that the name comes from a word meaning "to follow" and another meaning "blind". Other sources connect Homer's name with Smyrna for several different etymological reasons.