Diomedes, usually regarded as a model hero, is indisputably the major human actor in this first aristeia of the Iliad. Classical Quarterly 14:141–54. See the analysis of 136–42 by Janko 1992: "The simile thus presages the failure not of this attack only, but of Hektor’s entire drive to the sea.". In this second sense there is no advantage in conjuring up a written version of the utterance; such an imagined structure is inherently irrelevant to the understanding of the oral statement or the appreciation of its form. I will treat the book divisions as suggestions that a unit is beginning somewhere in that area. Dichterische Kunst und Poetisches Handwerk im homerischen Epos. It is a mapping from one conceptual domain to another, and as such it has a three-part structure: two endpoints (the source and target schemas) and a bridge between them (the detailed mapping)" (Lakoff and Turner 1989:203). 28. One Greek hero has a quasi-aristeia, and the leader of the Trojans loses track of what is happening to his troops. Odysseus Polutropos: Intertextual Readings in the Odyssey and the Iliad. The Placement of "Book Divisions" in the Iliad. Part of the complexity of this simile is the two-part development in the simile that moves the narrative ahead in time.

Oxford. The basic outlines of the stories and their language are known to poet and audience; he continually draws upon this joint experience to recast each scene by shaping his own version of earlier tales. We worked long and hard to get and keep that in the vernacular for you teeny boppers to just cast it aside.) Both passages stress the agent (Idomeneus/Patroclus), who is fulfilling the plan of a god (Poseidon/Zeus). Homer’s similes are especially open to such analysis—and especially the longest of all similes, the Shield of Achilles.17, There seem to be two simultaneous movements organizing the Shield’s structure. A Homeric Simile, however, is used to redirect the reader’s attention in unexpected, humorous, gruesome or heroic ways. Never a perverse or evil hero, Diomedes is not criticized for his unhesitating performance of the ritual of warfare, yet he is presented as a limited hero, since all motivating forces are external and dependent upon the thinking of those who outrank him.

It is the conclusion of a series of themes that began in book l and have been developed through the mutually supportive activities of Achilles and Thetis, Zeus and the other Olympians, and the Greek and Trojan heroes and armies; but it also leads directly to Achilles’ forceful reentrance into battle, as well as his inevitable meeting with Hector. Beobachtungen über die Gleichnisse der Ilias Homers.

Homeric Metaphor. 10. Agamemnon’s Role in the Iliad. See also discussion in Bakker 1997a and 1999. See Moulton 1977:61 on reinforcement of the two similes. A parallel to the repeated simile occurs at 4.482, where a human uses the tree to make some object.

Swansea. 17.

In each section the poet chooses similes that underline the opposite ways in which men and gods perceive war. There are similes that suggest a sound even though no words directly express it; see the earlier discussion of the simile at 2.394. Erp Taalman Kip, A. Marie van. Martin, R. P. 1989. The first recorded use of this type of simile was found in two of Homer’s greatest epics; hence, the name. This reading is correct—in fact, the weakening of Hector’s strength is a continuing theme of the book and appropriately appears in this last scene. He does gain glory, as Athena intended—she gave him might and courage so that he could be preeminent among all and earn renown—but he remains a mechanical hero within a hollow and ineffective aristeia. Formen des Wiederholens bei Homer: Beispiele für eine Poetik des Epos. From a lifetime of hearing previous performances the audience could hear the enrichment of the narrative that Homer created through the indirectness of the simile as well his adjustments for its length or shortness. The reentrance of Ares (590–95), however, leads to a series of scenes that reverse the relative strength of the two armies:63 Hector rallies the Trojans; Aeneas, healed by Apollo, is returned to battle; Ares pulls a veil of night over the battle to aid the Trojan troops; Hector leads, with Ares and Enyo guiding him as Diomedes gives way; Hector and Ajax both kill enemy warriors but Ajax is unable to strip the armor from his victim and must fall back; in single combat Tlepolemus, a Greek, is killed while Sarpedon is saved; and the section concludes with a list of those Greeks slain by Hector and Ares.

———. Book 24. Only an awareness of the unified whole presents Achilles’ choice in its broadest dimensions. Even this statistic is misleading, since multiple similes often cluster around a single event, thus intensifying their effect. As Hera enlists other gods to aid in distracting Zeus, the Greeks press their attack, even wounding Hector. In spite of the limitations of the traditional diction, which usually ties the simile to the narrative through one and only one contact, it becomes mandatory for a critic to press for a broader interpretation that acknowledges that the simileme as a whole was present to both poet and audience whenever its subject was introduced.

Amsterdam.

If Zeus were merely warning Hector of danger, he would offer Hector choices; cf. For recent examples see the illustrations in Hardie 1985 and Heffernan 1993:13–14 (Flaxman’s sculpture); Heffernan concludes; "Exactly what Hephaestus wrought on the shield is ultimately impossible to visualize.". For a current attempt to sort out the precise meaning of this simile see Fernández-Galliano in Russo et al. Title. The word "Homeric", is based on the Greek author, Homer, who composed the two famous Greek epics, the Iliad and the Odyssey. The question is clear: does the current book division mark precisely—or even suggest imprecisely—the boundary of two integral units, or does the aristeia of Diomedes continue into book 6 to be joined to the scene where he confronts Glaucus? In this third segment, similes build Idomeneus’ strength. Hampe, R. 1952. This simile appears in the same form to describe the slaying of Sarpedon at 16.482, where Patroclus parallels the shipbuilders who cut down a tree for a determined purpose. For discussion of the subtleties in this artful simile see Fraenkel 1921:94–95; Mattes 1958:135–37; Podlecki 1971:88–89; Moulton 1977:129–30; Foley 1978:7–8; R. Friedrich 1981:133–37; and Jong 2001 on 394–99. They are also important, as it is through these similes that the narrator directly talks to the audience. In serious poetry and prose, however, their use is more fully conscious, more artistic, and much more subtle; it thus has a stronger intellectual and emotional impact, is more memorable, and sometimes contributes a range and depth of association and suggestion far beyond the scope of the casual colloquial use of imagery. They can function independently because each is based on discrete areas of the traditional storytelling material. The poet’s task is to make these three quite similar incidents seem big. PA4177.S5S28 2009 883'.01—dc22 2009016159. The placement and development of book 5’s similes support this interpretation. Webster, T. B. L. 1960. 21.307–400) as he threatens to string the bow.

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