The Oral Nature of the Homeric Simile

II. The Traditional Poet I: The Placement of the Similes	12
I. Similes Joined to Themes	15
1. The Journeys of Gods	15
2. Measurement	20
3. Actions of Divine Beings	24
3a. Actions of Spirits and Monsters	26
4. Themes of Specific Emotions	28
5. Similes for Variation of Standard Themes	31
6. General Scenes of the Armies	33
7. Summary Scenes before Battle	36
8. Entrance of the Hero	38
9. Withdrawal of the Hero	41
II. Similes as Poetic Technique	42
1. Emphasis on Anticipated Meetings	42
2. The Joining of Two Scenes	45
3. Emphasis in Short Episodes	46
4. Emphasis of Continuing Motifs throughout the Larger Narrative	49
III. Similes in Speeches	50
Conclusion: The Placement of the Similes	51

III. The Traditional Poet II: The Subject Matter of the Similes	56
1. The Lion Similes	58
2. Wind and Sea Similes	62
3. Fire Similes	66
4. Gods and Goddesses	68
5. Tree Similes	70
6. Wolf Similes	71
7. Deer Similes	71
8. Stele Similes	72
9. Diver Similes	72
10. Hunting Similes	72
11. Similes of Children	73
12. Swarms of Insects	74
13. Fish Similes	75
14. River Similes	76
15. Bird Similes	77
16. Farm Animal Similes	79
17. Fragments of Evidence for the Tradition	80
18. Similes from Outside the Tradition	81
Conclusion: Tradition and Subject Matter	83

IV. The Oral Composer: The Extended Simile	96
I. The Similes of the Iliad	98
1. Preparing for New Action	98
2. War and Peace	100
3. Peace in War	107
4. Series of Similes	113
5. The Aristeia of Achilles	114
II. The Similes of the Odyssey	120

V. The Oral Composition of the Similes	126
I. Homer's Repeated Similes	127
II. Methods of Extending the Simile	140
III. Conclusion: The Language of the Similes	161

VI. The Homeric Simile and the Oral Tradition	166
I. The Relationship between Art and Poetry	166
1. Mycenaean Art and Its Precursors	174
2. Proto-Attic Pottery	177
3. Clazomenian Sarcophagi	179
II. The Audience and Oral Tradition	183

Appendix: A Classification of the Similes by Location and Subject Matter

Books cited by Author's Name

Index

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