The first chapter shows how Homer has used expository digressions widely and effectively in telling his stories and how the similes can be approached as parallel narrative devices. The similes are not presented sequentially or in their order of appearance in the narrative rather, they are grouped by books and then analyzed as they fit broad functional categories. The means of expression and their memory of tales from the past as mutually helpful partners in creating Homer’s old-style "new" poetry. Poet and audience together used their understanding of No name has been assigned to this conglomerate of topics and scenes, of previously successful placements of similes, of multiple choices available to the poet, of the alternate narrative techniques that poet and audience bring to the moment, and of the highly developed traditional language that was the birthright of every Greek. The second study is rooted in the mixture of traditional materials present to the poet every time he considers adding a simile to his narrative. Thus the two books are meant to be a unified study of Homer’s similes as compositions derived from and dependent on an oral tradition. The major question for the second study is: how does the artist translate his thoughts into his chosen language? He does so through the indispensable participation of a co-creating audience. The focus moves from compositional modes to aesthetic choices-from the poetic background to the act of creation by the poet and the act of reception by his audience. The first study focused more on the traditional alternatives that occurred to Homer as he composed this second study explores the variations and modifications to each of the topics that Homer employs in order to make similes blend expressively with the larger context. The current book, directed at the aesthetic qualities that Homer sought in forming each simile, represents that work’s other side. My earlier book, The Oral Nature of the Homeric Simile, identified series of repeated simile topics and common locations in the narrative with the goal of revealing the oral basis for the content of many of the similes as well as their placement. They are basic paratactic additions to the narrative showing how the Greeks found and developed parallels between two scenes, each of which elucidated and interpreted the other, and then expressed those scenes in effective poetic language. But the similes also show Homer dealing with his tradition. They describe scenes of Greek life that are not presented in their simplest form anywhere else: landscapes and seascapes storms and calm weather fighting among animals aspects of civic life such as disputes, athletic contests, horse races, community entertainment, women carrying on their daily lives, and men running their farms and orchards. The similes in Homer are treasure troves. The Poet’s Choices in Forming the Individual Simile The Creative Poet and the Co-creating Audience Iliad, Book 17: Similes as Guides through a Series of Type Scenes Iliad, Book 13: The Ordering of Conscious Chaos Odyssey, Book 22: Similes to Interpret Typical Actions Iliad, Book 5: The Use of Parallel Similemes to Create a Unified Theme Iliad, Book 12: Direct Focus on a Single Theme Iliad, Book 11: Similes to Mark a Shifting Scene Iliad, Books 21 and 22: Similes to Show a Thematic Contrast
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Homer’s Use of Similes to Delineate Character and Plot The Simileme: The Background of the Homeric Simile
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Similes, the Shield of Achilles, and Other Digressions Includes bibliographical references and index. The artistry of the Homeric simile / William C.
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Library of Congress Cataloging-in-Publication Data The electronic version is available for downloadīy the public, free of charge, at the website of the Dartmouth College Version of this book is available from UPNE, One Court Street, Scott, asserts his rights asĬopyright holder for both print and electronic versions. This work has been published simultaneously in print and inĮlectronic form. Published by University Press of New England