Greek Literature

The notion of “self” is a non-technical one, bridging the areas of psychology and ethics or social relations. Criteria for selfhood include psychological unity or cohesion, agency, responsibility, self-consciousness, reflexivity, and capacity for relationships with others. “Self” is a modern concept with no obvious lexical equivalent in Greek (or Latin); the question therefore arises of the relationship between the modern concept and ancient thinking, as embodied in Greek literature. Three approaches to this question can be identified. One focuses on the idea that there is development within Greek literature towards an understanding of the self or person as a cohesive unit and bearer of agency and responsibility. Another approach sees certain aspects of Greek literature and philosophy as prefiguring some features of the modern concept of self. A third approach underlines the difference between the Greek and modern thought worlds in the formulation of concepts in this area, while also suggesting that Greek ideas and modes of presenting people can be illuminating to moderns, in part because of the challenge posed by their difference. These approaches draw on a range of evidence, including psychological vocabulary, characterization in Greek literature, and Greek philosophical analyses of ethical psychology. There are grounds for maintaining the credibility of all three approaches, and also valid criticisms that can be made of each of them.

Revision happens when a text is changed. Its most common name in Greek was διόρθωσις; in Latin, emendatio. It was practised by writers of all styles and levels of ability, working alone and in consultation with others, and in many different genres. Evidence for revision comes from papyri and from descriptions in ancient literature. It occurred on papyri, in wax tablets, and in authors’ minds as they prepared a text, and it was understood by ancient writers as either the inevitable consequence of error or as a valuable exercise leading to greater cognitive and political skill. In addition to reminding us of the fluidity of textuality and the always contingent nature of every literary formation, the study of revision provokes reflection on the relationship between literature and natural language, and on writing’s place in social exchange.

Folktales are traditional fictional stories. Unlike works of original literary fiction, they are normally anonymous narratives that have been transmitted from one teller to another over an uncertain period of time, and have been shaped by multiple narrators into the form and style that are characteristic of oral narratives. The transmission of traditional tales is predominantly oral, but in literate societies such as Greece and Rome, transmission also takes place via written works.

“Folktale” is an umbrella term for a number of subgenres: the wonder tale (commonly known as the fairytale), the religious tale, the novella, the humorous tale (with its subforms the joke and the tall tale), the animal tale, and the fable. Since there was no ancient notion of folktales as such, no compilation of folktales exists from antiquity—only compilations of particular genres of folktales such as the fable and the joke.

Unlike myths and legends, folktales are narrative fictions, make no serious claim to historicity, and are not ordinarily accorded credence. They differ from myths and especially from legends in their handling of the supernatural.