Writing and the Origins of Greek Literature, and: Written Texts and the Rise of Literate Culture in Ancient Greece (review)

These two works, published within a year of each other, exist in an uneasy but complementary relationship. Each illustrates the merits and drawbacks of the other's approach, and neither enters into dialogue with the central premises of its opposite number. But, together, they do illustrate the point (or impasse) at which a central question in classical scholarship now stands. Almost a half decade since the ground-breaking studies by Goody and Watt, Havelock, and others, scholars still puzzle over the precise impact that the spread of the alphabet had on Greek society and mentality, and they document Greece's gradual transformation from an oral or song culture to a text-based one. While Barry Powell focuses on the early history of this transformation, and the essays in Harvey Yunis' study cast a broader temporal and thematic net, many of the same preoccupations mark both inquiries. What are the chief areas of difference between oral and literate modes of reception and transmission? How and why do texts come into being? How are they deployed?

Powell's work is very much a continuation and refinement of his controversial publication of the early 1990s, Homer and the Origin of the Greek Alphabet(Cambridge, 1991). There, he argued that the Greek alphabet, unique for its capacity to record the sounds of speech, was invented by a single individual, at a single time and place, and for the express purpose of preserving the Iliadand Odyssey. There, too, he emphasized that writing, whatever the notational form it assumed, imperfectly mirrors speech and that the two systems of communication are fundamentally different. His position remains largely unchanged, although now the focus shifts. In this new work, he sets theories concerning the origins of the Homeric songs within the context of the particular nature of alphabetic writing, mounting a critique against those who neglect the "special role that alphabetic writing . . . played in the preservation, creation, and dissemination of archaic and classical Greek poetry" (188). It is an enterprise that takes him on a circuitous path. In a seemingly rather random concatenation of chapters ("Text," "Orality and Genre," "Myth," to name a few) Powell spends a substantial portion of the work showing how the existing terms used to debate the Homeric question are riddled with vagaries and contradictions. But while he excellently illustrates how loose is the deployment of these expressions and concepts in existing scholarship, he fails to supply new and more exact terms. The reader is left with a rather dispirited sense that we cannot even talk about such things as "Tradition" or "Literacy" (persuasively shown to be no monolithic concept) without falling into a morass of confusion. A similar spirit of destruction, rather than reconstruction, marks his treatment of M. L. West's The East Face of Helicon(Oxford, 1997). If, for all the evidence that West (and Powell himself) amasses for the deep penetration of Eastern myth and literary forms on the Greek tradition, West's study neglects the special nature of alphabetic writing, then how exactly did the novel system change the material borrowed by the Greeks?

More satisfying are later chapters where Powell grounds some of the observations made in these early, often brief and schematic discussions, in actual case studies, demonstrating his admirable knowledge of, and facility in, the decipherment of the writing systems of the Near and Far East. Particularly rich is the contrast that emerges between the multilingual Near East, with the possibility of cultural transmission through texts that multilingualism allows, and the monolingual culture of Greece. Fascinating, too, are the close readings of Egyptian and Chinese texts as part of an illustration of the...