Homeric scholarship has tended to take the Muse at her word—she who is the daughter of Memory, the all-knowing, the keeper of tradition—or rather, more correctly, specifically not at her word, since she never speaks. But the Homeric Muse must speak: she must bring the words and knowledge of the epic past to the singer at the moment of performance and thus underwrite the relationship between the Homeric poet and the Homeric tradition. In the wake of Milman Parry, the general consensus that the Homeric poems are the product of a long performance tradition and yet are also to be read as literary texts has only made the Muse all the more important in her role as the mediator between the individual poem and its tradition. In what follows, I propose to examine the connection between the figure of the Muse and the presuppositions of Homeric scholarship. How is the way in which we understand the voice and the silence of the Muse linked to the ways in which we think about Homer and the Homeric tradition? Next to the voice and the silence of the Muse, which serves as an image of or an emblem for questions of origin, continuity, and authority in the Homeric tradition, the core of my argument is the concept of kleos, meaning “fame, glory, or rumour.” If kleos is what, in important ways, holds the Homeric tradition together—since kleos is what the hero wants and what the Homeric poet celebrates—then how we understand kleos is intimately connected with how we understand the Muse. It is possible, although I do not think anyone does this, to bring together Muse and kleos in a very literal configuration and say that the Muse conveys the kleos of the hero to the poet who celebrates him, thus guaranteeing the continuity and authority of the Homeric tradition with the Muse as its origin. Against this configuration of Muse, kleos, and tradition, we might raise the most basic and most trivial objection: “Sing of the wrath,” says the poet of the

中文翻译：

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缪斯的沉默

荷马的学术研究倾向于相信缪斯的话——她是记忆的女儿、无所不知、传统的守护者——或者更准确地说，特别是不相信她的话，因为她从不说话。但是荷马缪斯必须说话：她必须在表演的那一刻将史诗般的过去的文字和知识带给歌手，从而巩固荷马诗人与荷马传统之间的关系。在米尔曼·帕里 (Milman Parry) 之后，人们普遍认为荷马诗歌是长期表演传统的产物，但也应作为文学文本来阅读，这使缪斯作为个人之间的调解人变得更加重要。诗歌及其传统。在下文中，我提议考察缪斯的形象与荷马学术的预设之间的联系。我们理解缪斯的声音和沉默的方式与我们思考荷马和荷马传统的方式有何关联？除了作为荷马传统起源、连续性和权威问题的形象或象征的缪斯的声音和沉默之外，我的论点的核心是 kleos 的概念，意思是“名誉、荣耀”。 ，或者谣言。” 如果 kleos 在重要方面将荷马传统结合在一起——因为 kleos 是英雄想要的东西，也是荷马诗人庆祝的东西——那么我们如何理解 kleos 与我们如何理解缪斯密切相关。有可能，虽然我认为没有人这样做，将缪斯和克利奥斯以一种非常字面的形式结合在一起，并说缪斯将英雄的克利奥传达给赞美他的诗人，从而保证了以缪斯为起源的荷马传统的连续性和权威性。针对缪斯、克利奥斯和传统的这种配置，我们可能会提出最基本、最微不足道的反对意见：“愤怒之歌”，古代诗人说。