By Jonathan L. Ready
Jonathan L. prepared deals the 1st entire exam of Homer's similes within the Iliad as arenas of heroic festival. This examine concentrates totally on similes spoken via Homeric characters. the 1st to provide a sustained exploration of such similes, prepared exhibits how characters are made to contest via and over simile not just with each other but additionally with the narrator. prepared investigates the narrator's similes to boot. He demonstrates that Homer amplifies the feat of a profitable warrior through offering a aggressive orientation to sequences of similes used to explain conflict. He additionally bargains a brand new interpretation of Homer's prolonged similes as a method for the poet to visualize his characters as rivals for his consciousness. all through this examine, prepared makes leading edge use of ways from either Homeric experiences and narratology that experience no longer but been utilized to the research of Homer's similes.
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Extra resources for Character, Narrator, and Simile in the Iliad
35 36 37 38 On timê, see Wilson 2002a: 18–19 and Scodel 2008b (passim). For Nestor’s performance through recollection here, see Martin 1989: 106–7 and cf. 61 and 81. Cf. Taplin 1992: 175. Alden (2000: 98–99) and Martin (2000: 54–55) show that Nestor’s speech is aimed at Patroklos as much as it is at Achilleus. Rabel (1997: 104, 146–48, 155, and 162) argues that although Nestor intends to communicate a message to Achilleus, Patroklos is so taken by Nestor’s speech that he tries himself to emulate Nestor.
For the theme of the beginning of kholos, see Walsh 2005: 127–39 with Appendix Two, pp. 251–52; for the theme of the “continuation” of kholos, see his 133 and 134 with Appendix Two, p. 250; for the theme of stopping or ceasing from kholos, see his 112–26 with Appendix Two, esp. pp. 249–50. Cf. ” See also Walsh (2005: 193) on the intersections between Phoinix’s history with kholos and Achilleus’. Arieti (1986: 21) observes that oidanô only appears in these two instances, as does Clarke (1999: 94) (cf.
The narrator compares the dust kicked up by the advance of the Aiantes and their men to a cloud that brings a whirlwind (lailapa) along with it and prompts a shepherd to retreat to a cave (Il. 277–79). A wind accompanied by a great whirlwind (lailapi) uproots a tree in an orchard: thus does Euphorbos die (Il. 53–60). On his return home, Odysseus repeatedly finds himself beset by these storms. Only when the wind stops “blowing with a whirlwind (lailapi)” (Od. 400) is he able to set sail from Helios’ island.