Oxford. He is not presented as. Goatly, A. See Güntert 1919 for a full analysis of allusions to wider mythical sources and the function of Calypso’s realm in Odysseus’ travels. The surrounding narrative provides the noise and confusion (9–10 and 16), while the similes concentrate on the fear caused by destructive forces. 97. This is a unique juxtaposition of two similes that intensify the comparison through their opposition; the first is the negative statement that is then reversed in the following positive statement. Together these chapters demonstrate my major point: the individual simile—even the shortest one—is the result of a complex process that requires the participation of both poet and audience. Schoeck, G. 1961. In contrast, the strongest similes developed from the wind simileme are 15.624 and 16.765. From Mycenae to Homer. Munich. In each of these four pivotal passages the poet uses a simile at a traditional location, but he chooses a nontraditional topic for a warlike context—a choice emphasizing the unreal quality of human victories largely attributable to Zeus. Two similes, both from the wind simileme, describe the storm itself. In contrast, book 2 focuses on Agamemnon and book 22 opposes the responses of Achilles and Hector to the heroic code’s demands. Although Hector had assumed that the successes of the previous book were continuing, at the end of this unit the poet states openly that he has little knowledge of the course of the battle and that the Trojan attack has been blunted by a fairly broad group of Greek warriors. ———. 23. Redfield 1994:187: "The recurrent themes of the similes can be taken to reflect and express a substratum of the poet’s mind or—since probably few similes are his original invention—of the poetic tradition in which he is at home"; J. M. Foley 1991:23–24: "A poet steeped in the traditional idiom and its necessary implications has harnessed them brilliantly, achieving an individual realization of traditional potentials and through the single text or performance providing his audience entry into the world of mythos.". Journal of Hellenic Studies 106:36–57. In this section the poet focuses attention on the actions of men; later, when it suits his theme, similes will call attention to the actions of divinities. The Homeric simile is easily recognized. This introduction is short, but strong, since it uses the god who exemplifies war; this provides a proper introduction for Meriones, who will stand with the Ajaxes when they are finally able to snatch away Patroclus’ body.57 The second describes the shouting of the Trojans, who advance noisily like a wave (263).58 This is a customary simile subject for an advancing army, but there are more potent elements available in the simileme; here the wave only makes noise. But because the section concerning Sarpedon is a preliminary stage in the larger narrative movement that builds toward Hector bursting open Troy’s gates, Sarpedon’s act is described without elaboration. : alk. These are the most commonly used similemes and are arranged in the order of their number of occurrences in both the Iliad and the Odyssey. Iliad 22.138 repeats the bird of prey simile to describe Achilles; similarly aggressive eagles appear at 15.690, 17.674, 22.308, and Ody. In Kriegswesen 1: Schutzwaffen und Wehrbauten, edited by H. Buchholz and J. Wiesner. The events of the immediate narrative have a focused meaning for him because his view, as that of any mortal, is limited; but the poet has a broader perspective and is able to present his hero caught up in larger events. 39 and 53); the Trojans’ attempt to regain their position in the battle is supported by a wind simile (795), which is echoed from the earlier simile at line 39. His strength is immediately shown to be sound when he slays Euphorbus just as a tempest uproots a young olive tree (53), and he is compared to an enraged lion as he terrifies the Trojans cowering around him (61). At line 1 there is an obvious occasion for a simile when Odysseus suddenly reveals himself before the suitors as the returned king, but such a simile would be more appropriate for a single hero entering a full-fledged aristeia emphasizing battle strength.94. Mnemosyne 53:387–402. 44. 79. The basis for this approach to Homeric composition is not new. One of the finest examples of the distinctive emphasis and coloration an inserted simile can provide to a traditional scene is a portion of Achilles’ arming scene at 19.369–80: The first five lines are repeated at the beginning of the three other parallel arming scenes of the Iliad. 119. The broad traditional background of the Homeric poems allows plot and character to have separate lives. 36. At 299 Aeneas stands over the fallen Pandarus "like a lion confident in his strength. Primavesi, O. 57. The text specifically states that Athena did not give Odysseus strength sufficient to turn the battle (236). It is pointless to discuss junctures where Homer chose not to use a simile, because the battle section of this book contains one of the densest collections of similes in the Homeric poems. The second incident, Diomedes’ attack on Ares, leaves the hero in the background. Only an awareness of the unified whole presents Achilles’ choice in its broadest dimensions. The presentation of each object is sufficiently detailed that it has been possible to find fragmentary yet often rather precise remains that parallel the verbal descriptions.5 These descriptions focus sharply on physical features. In this case a lyrical scene of nature’s beauty describes the most warlike of the heroes at the moment when he kills the most human of the defenders.96 This discrepancy between peaceful simile and warlike narrative echoes the simile of the two men running in the dream at 199. See Jong 2001 on 381–89. The poet has chosen to express a fuller form of the fire simileme by adding a series of details to the picture. In contrast, in book 11 of the Iliad there are two clearly different sections—one with many similes and one with almost none (1–602 and 607–848). At 522 the Greeks are as unmoving as mists on the mountain tops.64 Wind is often used as a subject to describe an attacking warrior, but in this simile it is specifically stated that the winds are asleep;65 the traditional topic is drained of its normal strength to show that the force of the Greeks is blunted when the Trojan army is driven by Ares. 284–304. And Homer repeatedly used such subjects and phrases because they facilitated effective communication. At line 189 Zeus uses third-person imperatives, which are correctly communicated by Iris in line 204 as direct imperatives; cf. Even though the subject matter of the similes throughout the book is bewilderingly varied, their placement is often seen as merely typical, and one longer simile is repeated from another book.43 Nonetheless, the poet’s. Nimis 1987:18–19, drawing on Riffaterre 1978. This is clear in their customary placement and topics. 48. 24.538. The death of Sarpedon is a major moment in book 16. Or, the reverse—the poet may use scenes from more lyrical, gentler nature to describe warlike elements in the narrative: Again, knowledge of the tradition enriches communication. Yale Classical Studies 20:219–40. Here Fraenkel 1921:106 objects to the lack of parallelism between simile and narrative, and Macleod 1982 on 24.78–82 and Edwards 1991 on 17. For the other serial negative simile with a cumulative effect see 14.394 and Janko 1992. the chart on 87. 67. In his introduction to book 13 Leaf concisely presents the kind of criticism that is typical of this part of the Iliad:2, The most devoted Unitarian must admit that Leaf has identified some distressing features about the composition of book 13. While fire is a common simileme for a fighting warrior, Hector perhaps attracts this formulaic phrase because of his driving intention to burn the ships; see Whitman 1958:128–53 and Janko 1992 on 53. Lonsdale 1990:62 remarks on the simile’s mixture of tactical and animal vocabulary. 51. But the choice of topics and the development of those topics seem less ordered and are more likely the results of the poet seeking a common effect through a series of different simile families, all of which can be organized into a unity under the general concept "images of peace undercutting the army’s potential in war." 21.411, where the bow of Odysseus sang sweetly like a swallow. ———. 68. 22.301, which is repeated in Odysseus’ challenge to Eurymachus for an even, nondestructive contest in the countryside (Ody. He is also momentarily the parallel figure to Poseidon in section 1, the active instigator of the greater design, whereas Teucer in the first unit is only the initiator of a battle that was principally carried on through the direct planning and participation of Poseidon.27 The repetition of subject in a parallel location responds to the development from the first section as men now take direction of events.28. The story of Meleager is not just an abbreviated version of an older saga inserted into the Iliad as the static physical descriptions cited earlier are; rather, it presents behavior that has been sufficiently acceptable in the past to be cited as a normative story. Probably the strongest argument for the appropriateness of the divine council that opens book 5 is the powerful introduction of the theme of Zeus’ protection as Odysseus breaks from Calypso. The placement and development of book 5’s similes support this interpretation. 58. Third, neither the simileme nor its components are necessarily attached to repeated phrases; no one of the motifs listed on the chart is expressed through a limited set of formulae.
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