Bruno Snell has made familiar a certain thesis about the Homeric poems, to the effect that these poems depict a primitive form of mindedness. The area of mindedness concerned is agency, and the content of the thesis is that Homeric agents are not agents in the fullest sense: they do not make choices in clear self-awareness of what they are doing; choices are made for them rather than by them; in some cases the instigators of action are gods, in other (...) cases they are forces acting internally on the agent and over which he has no control. Homeric heroes act in the way Descartes thought an animal acts: agitur, non agit. Such agents ‘handeln nicht eigentlich , sondern sie reagieren’. The model of the agent which we nowadays have is roughly of a self which determines, rather than is determined to, action; the self arrives at this determination by considering available reasons for action in the light of its overall purposes, and it moves to action in full self-consciousness of what it is doing, and why. This model of action, Snell claims, is not met in Greek literature before the tragedians. I think anyone ought to concede that there is some difference between the way Homer portrays decision-making and the way it is portrayed in tragedy ; but has Snell located the difference in the right place? I shall argue in this paper that he has not. (shrink)

Bruno Snell has made familiar a certain thesis about the Homeric poems, to the effect that these poems depict a primitive form of mindedness. The area of mindedness concerned is agency, and the content of the thesis is that Homeric agents are not agents in the fullest sense: they do not make choices in clear self-awareness of what they are doing; choices are made for them rather than by them; in some cases the instigators of action are gods, in other (...) cases they are forces acting internally on the agent and over which he has no control. Homeric heroes act in the way Descartes thought an animal acts: agitur, non agit. Such agents ‘handeln nicht eigentlich, sondern sie reagieren’. The model of the agent which we nowadays have is roughly of a self which determines, rather than is determined to, action; the self arrives at this determination by considering available reasons for action in the light of its overall purposes, and it moves to action in full self-consciousness of what it is doing, and why. This model of action, Snell claims, is not met in Greek literature before the tragedians. I think anyone ought to concede that there is some difference between the way Homer portrays decision-making and the way it is portrayed in tragedy ; but has Snell located the difference in the right place? I shall argue in this paper that he has not. (shrink)

‘It is supposed’, declared the poet Wordsworth in 1802, ‘that by the act of writing in verse an author makes a formal engagement that he will gratify certain known habits of association; that he not only thus apprizes the reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully excluded. This exponent or symbol held forth by metrical language must in different eras of literature have excited very different expectations.’ For (...) his own era of literature Wordsworth proposed a language derived from the ‘simple and unelaborated expressions’ of the ‘language really spoken by men’, at the expense of ‘devices to elevate the style’ and ‘what is usually called poetic diction’. (shrink)

‘It is supposed’, declared the poet Wordsworth in 1802, ‘that by the act of writing in verse an author makes a formal engagement that he will gratify certain known habits of association; that he not only thus apprizes the reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully excluded. This exponent or symbol held forth by metrical language must in different eras of literature have excited very different expectations.’ For (...) his own era of literature Wordsworth proposed a language derived from the ‘simple and unelaborated expressions’ of the ‘language really spoken by men’, at the expense of ‘devices to elevate the style’ and ‘what is usually called poetic diction’. (shrink)