f. Illustrations are furnished by all experiences of life, from the lightning of Zeus and the conflict of opposing winds, from the snow-storm and the mountain torrent, to a child playing with the sand on the seashore, and a little girl clinging to her mother's gown; from lions and eagles, to a stubborn ass which refuses to be driven from a cornfield by children, and to a greedy fly; from the evening star to women wrangling in the street. The lion is a special favorite, and appears in comparisons thirty times in the Iliad. The Iliad has but few illustrations drawn from the actions of men, such as weaving (760 ff.), tanning (P 389 ff.), or the grief of a father for his dead son († 222 ff., cf. the delight of children at their father's recovery from wasting disease, e 394 ff.); and but one from the operations of the mind (O 80 ff.), where a traveler thinks of different places in rapid suc

cession.

g. Homer, like Milton, could not think of an army in motion without thinking of its resemblance to something else. Just before the Catalogue of the Ships, the movements of the Achaean armies are described by six detailed comparisons, B 455-483: the brightness of their armor is compared with the gleam of fire upon the mountains; their noisy tumult, with the clamor of cranes or swans on the Asian plain; in multitude, they are as the innumerable leaves and flowers of spring-time; they are impetuous and bold as the eager flies around the farm buildings; they are marshalled by their leaders as flocks of goats by their herds; their leader (Agamemnon) is like to Zeus, to Ares, to Poseidon, he is preeminent among the heroes as a bull in a herd of cattle.

h. The Iliad has 182 detailed comparisons, 17 briefer (as παισὶν ἐοικότες ἠγοράασθε | νηπιάχοις οἷς οὔ τι μέλει πολεμήια ěpya B 337 f.), and 28 of the briefest sort; the Odyssey has 39 detailed comparisons, 6 briefer, and 13 very brief. The first book of the Iliad has only two comparisons, and those

of the briefest, ὁ δ ̓ ἤιε νυκτὶ ἐοικώς Α 47, ἠύτ ̓ ὁμίχλη Α 359. All the other books of the Iliad contain detailed comparisons; II and P have 20 each, N and O have 15 each, A has 14.

i. In comparisons, the poet sometimes makes reference to customs that do not seem to have prevailed in the siege of Troy to riding on horseback (O 679), to the use of a kettle for boiling meat ( 362), to the use of the trumpet in war (219). This seems to imply a consciousness of change of customs between heroic and Homeric times.

j. Comparisons are introduced by ❝s te, os ei, ŵs öte, ws περ κτλ.

Praepositive as is not used in comparisons. In the briefest comparisons, postpositive as is often used, generally lengthening the preceding syllable (§§ 12 l, 41 m).

k. The aorist indicative (the so-called Gnomic aorist) is often used in comparisons. The imperfect is found but twice (O 274, 495).

1. ASYNDETON. In the Homeric period more frequently than in later Greek, sentences were left unconnected by conjunctions, i.e. asyndeton (H. 1039) was allowed more freely. It has been noticed above that ornamental epithets are not connected by kai, and sometimes in animated discourse the poet uses no conjunction between clauses or words, as ἀπριάτην ἀνάποινον Α 99.

m. Asyndeton of sentences is most frequent where the second sentence explains the first and is in a kind of apposition with it, repeating the thought in a different form: ảλλà καὶ ὡς ἐθέλω δόμεναι πάλιν εἰ τό γ' ἄμεινον· [ βούλομ ̓ ἐγὼ λαὸν σόον ἔμμεναι ἢ ἀπολέσθαι Α 116 f., ὢ πόποι, ἢ μέγα πένθος ̓Αχαιίδα γαῖαν ἱκάνει· | ἢ κεν γηθήσαι Πρίαμος Πριάμοιό τε παῖδες Α 254 f., ἀλλ ̓ ὅδ ̓ ἀνὴρ ἐθέλει περὶ πάντων ἔμμεναι ἀνδρῶν, | πάντων μὲν κρατέειν ἐθέλει πάντεσσι δ ̓ ἀνάσσειν Α 287 f. In Β 299, τλῆτε φίλοι καὶ μείνατ ̓ ἐπὶ χρόνον gives the sum of the preceding sentence, and the asyndeton marks the speaker's warmth of feeling. Thus the second sentence

may express the result of the former, as ξεῖνε κακῶς ἀνδρῶν τοξάζεαι· (therefore) οὐκέτ ̓ ἀέθλων | ἄλλων ἀντιάσεις Χ 27 f. An adversative relation is occasionally expressed by asyndeton, especially with ye μév in the second clause, as B 703, E 516, 642.

n. The absence of a conjunction often gives rapidity to the style and thus is found often where the second sentence begins with αὐτίκα or αἶψα, as εἰ δ ̓ ἄγε μὴν πείρησαι αἶψά τοι αἷμα κελαινὸν ἐρωήσει περὶ δουρί Α 302 f., αὐτίκα κερτομίοισι Δία Κρονίωνα προσηύδα Α 539, cf. Β 442. For the tone of rapidity thus given to a narration, ef. δούπησεν δὲ πεσών, ἀράβησε δὲ τεύχε' ἐπ' αὐτῷ· [ αἵματί οἱ δεύοντο κόμαι κτλ. Ρ 50 f.

Conjunctions are often omitted in excitement, as when Achilles sees the flame flickering among the ships of the Achaeans and calls to Patroclus ὄρσεο διογενές Πατρόκλεις . . | λεύσσω δὴ παρὰ νηυσὶ πυρὸς δηίοιο ἰωήν· | μὴ δὴ νῆας ἕλωσι . . | δύσεο τεύχεα θᾶσσον Π 126 f.

0. CHIASMUS.1 For emphasis, the poet sometimes so arranges the words of two clauses that the extremes, as also the means, are correlative with or are contrasted with each other, as παϊδά τε σοὶ ἀγέμεν, Φοίβῳ θ ̓ ἱερὴν ἑκατόμβην Α 443, where παῖδα and ἑκατόμβην, σοί and Φοίβῳ respectively are contrasted. Cf. ὡς ̓Αχιλῆα | τιμήσῃς ὀλέσῃς δὲ πολέας Α 558 f., δυσμενέσιν μὲν χάρμα, κατηφείην δὲ σοὶ αὐτῷ Γ 51, ἄρν ̓, ἕτερον λευκόν, ἑτέρην δὲ μέλαιναν, | Γῇ τε καὶ Ἠελίῳ Γ 103 f., where the black lamb was for Γῆ and the white for Ἠέλιος, βασιλεύς τ ̓ ἀγαθὸς κρατερός τ' αἰχμητής Γ 179, where the adjectives are brought together; αὐτόν τ ̓ ἰσχανάασκον ἐρητύ

1 The name is given from the Greek letter X, there being a crossing of ideas as βασιλεύς ἀγαθός

κρατερός Τ αἰχμητής Γ 179.

It should be noticed that this chiastic arrangement is often the most simple and natural, as in the first example above, where σoí at once suggests the other person interested, Φοίβος.

οντό τε λαόν Ο 723. Cf. Milton's Sweet is the breath of morn, her rising sweet," Par. Lost IV 641, " Adam the goodliest man of men since born His sons, the fairest of her daughters Eve," Par. Lost IV 323 f.

p. EPANALEPSIS. Sometimes a word (generally a proper name) or a clause is repeated in the same sentence at the beginning of a new verse, as ἀλλ ̓ ὁ μὲν Αἰθίοπας μετεκίαθε τηλόθ ̓ ἐόντας, | Αἰθίοπας τοὶ διχθὰ δεδαίαται κτλ. α 22 f. (the only example in the Odyssey); τῷ δ ̓ ἐγὼ ἄντιος εἰμι καὶ εἰ πυρὶ χεῖρας ἔοικεν, | εἰ πυρὶ χεῖρας ἔοικε, μένος δ' αἴθωνι σιδήρῳ T 371 f. but I will go to meet him even if his hands are like to fire, if his hands are like to fire and his might is like to bright ίνον; οὐ μέν πως νῦν ἔστιν . . [ τῷ ὀαριζέμεναι ἅ τε παρθένος ἠίθεός τε, | παρθένος ἠίθεός τ ̓ ὀαρίζετον ἀλλήλοισι Χ 126 f. it is in no way possible now to chat with him as a maiden and a young man, a maiden and a young man chat together. Cf. Milton's Lycidas 37 f. "But O the heavy change, now thou art gone, Now thou art gone and never must return." The name is repeated at the beginning of three successive verses (Νιρεύς . . Νιρεύς . . Νιρεύς) Β 671 ff. Cf. also Β 838, 850, 871, Z 154, H 138, M 96, Þ 86, 158, ¥ 642. The name when repeated is attracted into the case of the following relative pronoun in 'Ανδρομάχη, θυγάτηρ μεγαλήτορος Ηετίωνος, | Heτίων ὃς ἔναιεν ὑπὸ Πλάκῳ ὑληέσσῃ Ζ 395 f. Andromache daughter of the great-souled Eetion, Eetion who dwelt at the foot of woody Placus.

q. Similar to epanalepsis is the so-called επιπλοκή, where the finite verb is repeated in a participle, as μείδησεν δὲ βοῶπις πότνια Ηρη, | μειδήσασα δ ̓ ἔπειτα ἑῷ ἐγκάτθετο κόλπῳ Ξ 222 f. ; Τεύκρος δ' ὁρμήθη μεμαὼς ἀπὸ τεύχεα δῦσαι, | Εκτωρ δ ̓ ὁρμηθέντος ἀκόντισε δουρί φαειν Ν 182 f. Teucer rushed, eager to strip off his armor, but at him as he rushed, Hector hurled his shining spear ; Εκτωρ ὡρμήθη.. | Αἴας δ ̓ ὁρμηθέντος ὀρέξατο Εκτορος Ν 188 f.

r. LITOTES (λιτότης or μείωσις), a simplicity of language,

or understatement of the truth, is common to all languages; Milton's “ unblest feet” is stronger than cursed feet. Homeric examples abound, as οὐκ ̓Αγαμέμνονι ἥνδανε θυμῷ Α 24 it was not pleasing to the soul of Agamemnon, i.e. it was hateful, etc.; αψ δ' ἐς κουλεὸν ὦσε μέγα ξίφος οὐδ ̓ ἀπίθησεν | μύθῳ 'Αθηναίης Α 220 f. back into the sheath he thrust his great sword nor did he disobey the word of Athene, i.e. he obeyed ; "Εκτωρ δ ̓ οὔ τι θεᾶς ἔπος ἠγνοίησεν Β 807; οὐ κακόν ἐστιν | τειρομένοις ἑτάροισιν ἀμυνέμεν αἰπὺν ὄλεθρον Σ 128 f., i.e. it is a noble thing, etc.; οὔ μιν ἀφαυρότατος βάλ' Αχαιῶν O 11.

s. PERIPHRASIS. Certain periphrases occur frequently, as ἄξετε δὲ Πριάμοιο βίην Γ 105 bring the might of Priam, i.e. the mighty Priam; μετέειφ ̓ ἱερὴ ις Τηλεμάχοιο β 409 the strength of Telemachus, etc.; Παφλαγόνων δ ̓ ἡγεῖτο Πυλαιμένεις λάσιον κῆρ Β 851, ὡς ἔπεσ ̓ Εκτορος ὦκα χαμαὶ μένος Ξ 418; ἐλθὼν γὰρ εκάκωσε βίη Ηρακληείη Λ 690, where the gender of the participle shows that βίη Ηρακληείη is equivalent to Ἡρακλέης, which (--) was not suited to dactylic verse; τοίου γὰρ κλέος ἐσθλὸν ἀπώλεσαν ἡνιόχοιο Ψ 280, for τοῖον εὐκλεῖα ἡνίοχον κτλ.; τὰ τείρεα πάντα .. τό τε σθένος Ωρίωνος Σ 485 f. all the constellations . . the force of Orion; ἢ ἔπει ὤνησας κραδίην Διὸς ἠὲ καὶ ἔργῳ Α 395.

δούλιον ἦμαρ Ζ 463 is simply a poetic expression for slavery, ἐλεύθερον ήμαρ Υ 193 for freedom, ὀλέθριον ήμαρ Τ 294 for destruction, ἦμαρ ὀρφανικόν Χ 490 for the state of orphanage, νόστιμον ἦμαρ α 9 for return.

t. ZEUGMA. Sometimes two connected subjects or objects are made to depend on a verb which is appropriate to but one of them, as ἢ μὲν ἔπειτα | εἰς ἅλα ἆλτο . . ] Ζεὺς δὲ ἑὸν πρὸς δῶμα (sc. ἔβη) Α 531 ft. she then leaped into the sea, but Zeus went to his own house; ἧχι ἑκάστου | ἵπποι ἀερσίποδες καὶ ποικίλα τεύχε' ἔκειτο Γ 326 f. where the high-stepping horses of each were standing and the bright armor was lying; ἔδουσί τε πίονα μῆλα | οἶνόν τ ̓ ἔξαιτον μελιηδέα Μ