the simile in lines 21 22 primarily serves to illustrate
The Greek wall does not receive a simile in either the opening or closing sections of the book; such indirect emphasis would divert the audience from the restricted importance of the object. 6 for a further analysis of Homer’s compositional method. The only precise parallel is at 11.66. From its first scene book 2 is built from intrigue, deceit, and mistaken judgment.
Book 18 splits easily into two halves: the first (1–367), Achilles’ decision to revenge the death of Patroclus; the second (368–617), the provision and design of his new armor. Fraenkel 1921:29 makes clear that the narrow comparison to the single Vergleichungspunkt is far from the full contribution of this simile to the scene; in fact, the poet fails to keep simile and narrative separate (cf. Our aesthetic perceptions of the freshness of Homeric similes have blinded us to the fact that the similes, no less than the formulae, the type scenes, and the themes, are part and parcel of the oral tradition.". Thus the simile is placed to call attention to the punishment that Odysseus metes out to the disloyal servants (468ff.). There are certainly reversed similes (Foley), oddly contorted similes that develop in unexpected directions (Ody. Finally, while the last section contains only one short simile describing men, six extended similes focusing on divine actions enhance the magnitude of the gods as they intermingle in human events.
Moulton 1977:81–82 develops the implications of using such similes. 20.243); Stanley 1993:84f. Sarpedon is thus targeted as Patroclus’ assigned victim, and the two heroes join in a vignette built directly on the now closely linked themes of the book: the self-destructive triumph of Patroclus and the dominance of the plan of Zeus. Fenik 1968:125–28 offers the most detailed analysis of the typical elements that underlie this scene. Patzer, H. 1971. 3.
At the beginning of the second section Hector enters the battle with four juxtaposed similes and a list of those he kills; but this lavish introduction collapses as Homer fails to develop a formal and glorious aristeia. ———. When book 13 opens with the clear assertion that Zeus believed none of the immortals would descend to Troy, the groundwork has been laid for the major theme of the resulting three-book interlude—the contest of wills between Zeus and the other gods. The promise inherent in Odysseus’ choice to leave Calypso is realized as Odysseus returns to his family, his house, and his community as king. Agamemnon is presented as the supreme king of the Greek army with two more juxtaposed similes. This analysis makes clear the special richness and significance of the run of books from Iliad 13–18, when the plan of Zeus must be acknowledged and dealt with by the heroes. I will argue in this chapter that the close relationship between narrative and similes found elsewhere in Homeric epic offers significant clues to the structuring and interpretation of these problematic books. Some heroes merely perform a list of indiscriminate killings.
And, of course, it is important to the interpretation of the individual similes to acknowledge that the audience had a firm knowledge of the alternatives the poet considered and thereby could evaluate what he was accepting, modifying, and suppressing in structuring his narrative. A continued awareness of the open communication between poet and audience allows a closer approach to the artistry of Homer himself.
In Signs of Orality, edited by A. Mackay.
90. 16. The same direction is clear in lion similes: Menelaus and Ajax are both described as successful lions (61, 133, and 28l), but at the end of the book Menelaus is like a lion who is driven away by dogs and men (657, cf. Bakker 1997b:87. Vernant, J. P. 1991. Such. The juxtaposition of these first two sections firmly establishes Achilles’ uncompromising intent. In that book Hera and Aphrodite attempted to enter the battle but were forcibly stopped by Zeus’ threats. 34–107: the introduction of Hector as leader of the Trojans, 195–289: general battle stressing the successful resistance of the Greeks and the determination of Hector, 290–412: the attack of Sarpedon against the wall, 1–165: Diomedes enters three times, slaying groups of Trojans, 460–710: Ares reenters and rallies the Trojans, 711–909: Ares continues his support of the Trojans, but Athena and Hera encourage Diomedes to wound him. In these books the theme is important both in the structure of the individual book and in its contribution to the greater plan of the poem.
In almost every case the tone of the simile reflects the surrounding narrative. But there is no physical description of the wound or the scar; rather, the incident seems developed in order to provide an early foundation for the consistent behavior of Odysseus as a man of cleverness as he seeks and wins victories even against seemingly superior strength.
He kills Pyraichmes and puts out the fire on the Greek ships; this leads to a full-scale Trojan retreat. Rome. Odysseus, the voice of cool intelligence and perspective, and Nestor, the voice of authority and inherited wisdom,53 organize the Greeks to march on the Trojans—thus furthering Zeus’ plan and unwittingly guaranteeing many deaths. I'm also only allowed to … The emphasis within the simile seems to be on steadfastness. First, Homer presents Achilles, the maniacally committed warrior, in such a way that the audience cannot avoid evaluating his actions. Patroclus: Achilles as ignorant of death of, 149–50; Plot: and character as mutually reinforcing in traditional storytelling, 42; Homer’s use of similes for delineation of, 42–93, Poseidon: Achilles protected by, 66; Adamas’ spear rendered harmless by, 142; Alcathous paralyzed by, 134, 140; anger at death of Amphimachus, 136; Antilochus guarded by, 134; Apollo urged into battle by, 67; battle’s course reversed by, 99; bird simile for, 135; chaos ensues when he takes over battle, 131–32; Greeks encouraged by, 131, 133, 134, 135, 138–39, 149, 176; Greek wall swept away by, 95; on Hector as leader of opposition, 133; on Hector fighting like fire, 143; Idomeneus challenged by, 137; Odysseus escapes from, 121, 122, 233n107; speech against Zeus, 132–33; Teucer encouraged by, 135, 140, 177, Richardson, N. J., 219n72, 219n80, 220n89, Roaring river similes.
97–125. Berkeley. American Journal of Philology 103:4–18. 1999. The similes at 12.451, 15.263, and 15.271 are so well designed to underline the themes developing in the surrounding narrative that they become clear guideposts to the poet’s broader concerns. This scene, built on an exchange between gods who support opposed sides, is appropriate for a moment when Diomedes is on the verge of a series of strong acts that will turn the battle in favor of the Greeks; in addition, it emphasizes the constant interplay between gods and mortals that is the major theme of the book. This is a series of similes focused on the same object in the narrative from two different perspectives—Ajax’s reluctance and the frustration of the Trojans’ effort. But boasting is the prerogative of a warrior, and Patroclus is now one and will soon play the full role to its end.115 In many ways Homer has structured the narrative to show that Patroclus grows to be a worthy opponent for Hector, not least of all in the next similes, where Patroclus is compared to a lion or boar risking its life. Repeated similes are evidence that there were some passages carried in the poet’s mind as units, and repeated sections of similes and even individual lines reveal certain phrases or blocks of lines that could be added to or deleted from the basic form.23 Thus the short lion simile, "like a lion," can be regarded as the basic lion simile with all elements but one—the subject—deleted; extended lion similes can likewise be considered adaptations of the basic lion simile made by deleting those elements that provide incorrect guidance to the precise meaning of the passage. The only direct reference to the judgment of Paris is 24.28–30, but there are allusions to Aphrodite’s special regard for the Trojans at 3.374–420 and 5.423.
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