Minchin, E. 1991. The aristeia of Diomedes could easily become a listing of incidents, but Homer, controlling his material, has effectively improvised within the aristeia form in order to expose the empty soul of his traditional warrior. Homeric Conversation. For parallel similes from the vulture simileme, see note 101 earlier in this chapter. Antike und Abendland 41:1–33. Buxton, R. 2004. The closest parallels are 5.499 and 13.334. If the warrior stays fixed and unmoving, so does the tree; if the warrior falls, the tree falls. Dimock 1989:304: "To us it may well seem ‘natural,’ in accord with the nature of things, that the guilt-ridden suitors should undergo panic at this point. Edwards, M. W. 1975. Today’s critic can only try to enter a mind—not necessarily the poet’s mind, but a mind that will deal with the full range of tradition and previous performances in order to give apt expression to a narrative moment.5 The mind entered is probably ours, not his, but such an experiment will at least make clear the elements that must be balanced. This support is clearly continued in book 22.

Homeric criticism has produced many comments about the power of the existing text based on the poet’s decision to include, rather than assessments of his choice to exclude. 21. Finally, since this simile will introduce a shifting of the balance of battle between Greeks and Trojans, I will introduce a phrase that makes the tree’s function widely visible: it will stand on the peak of a mountain to be seen from all sides. 15–41.

21.411, where the bow of Odysseus sang sweetly like a swallow. Such a simile provides variation in several catalogues.91. The simile describing the fallen warrior is a double simile of a stele29 or a tree (437), a conscious echo emphasizing the continuing strength of Idomeneus (cf. But the analysis of the elements that his mind had to process in creating a complex passage enables a critic to better understand the resulting simile.

Athena’s words of persuasion to Achilles at 1.207–14, especially ai ke pitheai (207). In Homer: Beyond Oral Poetry, edited by J. M. Bremer, I. J. F. de Jong, and J. Kalff. The closest parallels in subject are 16.259 and 2.87; the tone seems appropriately warlike, but in the general category of insects the breadth of elements is remarkable: see 3.151, 16.641, 17.570, and 21.12. In Speaking Volumes, Orality and Literacy in the Greek and Roman World, edited by J. Wilson. 93. There are guideposts in the book revealing the developing theme to the audience, but even the participants are little aware of an orderly direction. We are invited to compare and infer, to ponder each event in relation to the rest" (Fenik 1986:21). The suppression of elements that could be associated with the phrase but would be misleading, The enhancement of elements focusing on the desired meaning, The combination of selected items from among the customary alternatives in order to control the meaning to be assigned by the audience, introduction of the simileme without retarding the narrative movement, introduction of a subject that will appear later (cross-referencing or, introduction of a subject with no need for developing it into a small story. It is clear that Sarpedon is a stronger and more threatening opponent that Cebriones, but Sarpedon is fated to die and thus is vulnerable in a way that Cebriones is not. In analyzing Homeric composition scholars have compellingly supported a generative process dependent on mental constructs. When the poet suppresses any suggestion that the lion is killed or the lion is triumphant, he leaves his audience to imagine the continuation with an enhanced respect for the capabilities and resources of Penelope. Between these two books there is a series of vignettes focusing on Agamemnon, Menelaus, Paris, Diomedes, Hector, Ajax, and Odysseus. 74–118. 61.

While lions and boars are notoriously vicious creatures, sure to raise a hackle or two on a Greek reader, and when exercised on Diomedes it brings their ferocity home. Zurich. When he returns to the Myrmidon camp at the beginning of book 16, he is overwhelmed by his awareness of human suffering—a very different reaction from the strained and stoic insularity of Achilles. "This is more than I can bear, I tell you -- share that coward's bed once more" (3.474-475). In a literal sense the simile is an extraneous repetition of action already in the narrative; but in terms of the poetic effect the simile makes Zeus’ aid a tangible force in Hector’s success. The horses in the similes at 22 and 162 receive the same epithets (aethlophoros/oi = "prize-winning") and also provide a prelude to book 23 (Dunkle 1981:11–18).