Homer is not a Grimm fairy-tale aunt who passes on traditional stories,
nor has he translated any poetry into written form that is already orally available.
Homer is also not the lonely genius who produces a great poem out of nothing. Rather, he has transferred the current story of the demise of a great culture that he wants to tell into the heroic Mycenaean early period in order to exaggerate and alienate it.
My letter to the editor from 5 February 2008 (3rd continuation):
Schrott is to be agreed when he draws the bow to the Gilgamesh epic: There, too, it is about the end of an age. It is the age of the constellation Taurus, the Heavenly Bull, which Gilgamesh kills in the middle of the epic (Table VI).
V 14 Mark’s Gospel
5.14.1.
The dominant master narrative about Mark’s Gospel states that the Christians passed down their memories of Jesus
orally in the church community. When those who had known Jesus personally grew older, Mark collected their memories, wrote them down and published them as the Gospel.
5.14.2.
The new theses about Mark’s Gospel:
Mark’s Gospel is an epic narrative. The author modelled it on Homer’s Iliad.
5.14.3.
Mark formed the Passion narrative within his Gospel according to the Praetexta Octavia des Pseudo-Seneca.
III 3 The Jewish elite and the national solution
3.3.1.
The Jewish elite favoured a national solution for the reorientation and the search for an identity in Galilee,
looking back to the great figures of Jewish and Samaritan history and how they were embedded in the history of the Middle East.
3.3.2.
The national solution recalls the solutions represented by the poet Virgil and his great epic, the Aeneid, written a generation previously in Rome. Virgil found the great Roman past in the Roman tradition, but followed Rome’s origins even further back into the past.
According to this narrative, the heroes of Troy, whose downfall Homer narrated, were the true ancestors of the Romans. One of them, Aeneas, was the forebear of the Roman kings.