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| Acknowledgments | |
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| Introduction | |
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| The presentation of the material and its methodological implications | |
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| The material and its characteristics | |
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| Characteristics of scholia | |
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| Topics other than literary criticism | |
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| The sources of the scholia | |
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| Translation | |
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| Note on quotations and references | |
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| Plot | |
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| Motivation and narrative coherence | |
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| Excursus: a special type of narrative coherence | |
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| Prolepsis | |
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| Excursus: the terms �������<$$$>����� and &rlalpha;���<$$$>����� | |
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| Analepsis | |
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| Narratorial choice: save for later | |
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| Introduction of characters | |
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| Transitions and changes of scene | |
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| Digressions | |
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| Not to destroy the story | |
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| Conclusion | |
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| Time | |
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| Day structure | |
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| Story time vs. narrative time | |
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| Simultaneous events | |
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| Fill-in technique | |
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| Anachronies | |
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| Conclusion | |
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| Narrative and speech | |
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| The three principal forms of literary art: narrative, dramatic and mixed | |
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| Transition from narrator-text to speech | |
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| Other applications of the terms for 'narrative' and 'dramatic' | |
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| Other classifications | |
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| Excursus: the various applications of the term &rlalpha;�������<$$$> ('apostrophe') | |
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| Conclusion | |
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| Focalisation | |
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| Excursus: ancient literary criticism and the narrative voice | |
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| Conclusion | |
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| Effects on the reader | |
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| Attention | |
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| Emotional effects | |
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| Expectation | |
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| Relaxation | |
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| The reader as spectator | |
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| Conclusion | |
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| Gaps and omissions | |
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| The cooperation of the reader | |
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| Other applications of the expression ���<$$$> �<$$$> ����<$$$>����� | |
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| Excursus: Seleucus and the meaning of ���<$$$> �<$$$> ����<$$$>����� | |
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| Other narratorial omissions | |
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| Conclusion | |
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| Poetic licence | |
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| Conclusion | |
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| Authentication | |
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| Conclusion | |
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| Style | |
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| Graphic quality (enargeia) | |
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| Variation and avoidance of monotony | |
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| Explanation (epexegesis) | |
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| Elaboration (epexergasia) | |
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| Brevity | |
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| Indirect presentation | |
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| Irony | |
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| Iconic relation between form and content | |
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| Stylistic differences between genres | |
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| The three styles | |
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| Minor stylistic phenomena | |
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| Conclusion | |
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| Allusions, hints, hidden meanings | |
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| Allusions | |
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| Hints | |
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| Hidden meanings | |
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| Conclusion | |
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| Characters | |
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| Cast | |
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| Characterisation | |
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| Excursus: the meaning of <$$$>� <$$$>��� and <$$$>���<$$$>� | |
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| Conclusion | |
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| Mythography | |
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| Mythological exempla | |
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| Conclusion | |
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| The gods in Homer | |
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| Divine interventions | |
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| Gods like you and me | |
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| Excursus: Zenodorus on divine scenes in Homer | |
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| Conclusion | |
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| Homeric similes | |
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| Interpretations of Homeric similes | |
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| Conclusion | |
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| Epithers | |
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| Conclusion | |
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| Type scenes | |
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| Arming | |
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| Battle scenes | |
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| Deliberation scenes | |
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| Messenger reports | |
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| Typical numbers | |
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| Conclusion | |
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| Homeric speeches | |
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| Speech introductions and their function | |
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| No rapid dialogue in Homer | |
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| Ring-composition in speeches | |
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| Other structural analyses of speeches | |
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| Three-way conversation | |
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| Interior monologue | |
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| Omission of speeches | |
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| Speech within speech | |
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| Conclusion | |
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| Reverse order | |
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| Conclusion | |
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| Staging, performance and dramaturgy | |
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| Identification of speakers and addresses | |
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| Entrances and exits | |
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| Delivery | |
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| Acting | |
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| Masks, constumes and props | |
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| D�cor | |
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| Special technical devices | |
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| Dramaturgical conventions | |
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| Critique of contemporary productions | |
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| Excursus: the meaning of ����������<$$$> | |
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| Conclusion | |
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| Epilogue | |
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| Glossary of Greek terms | |
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| Editions of scholia | |
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| Other abbreviations | |
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| Bibliography | |
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| Thematic index | |
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| Index locorum | |