21.06.2013 Views

Untitled - Get a Free Blog

Untitled - Get a Free Blog

Untitled - Get a Free Blog

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

Book Eleven<br />

first to a series of slayings by different heroes. It is natural to begin such a<br />

section with TTpcoTos, cf. 4.457, 5.38, 6.5, 13.170, 16.284. Here there is no<br />

space for the exploits of a second or third warrior (see 67-9in.), and the<br />

poet plunges forthwith into Agamemnon's aristeia. irpcoTOS has point, however;<br />

Agamemnon is impetuous; he also jumps in first at 5.38 and 7.162.<br />

92-100 Slaying of Bienor and Oileus. Aristarchus (Arn/A) read the<br />

Attic form Bidvopa, for an unknown reason. Oileus is the name of the lesser<br />

Aias' parent and an odd choice for a minor Trojan: it is unlikely that the<br />

Ionian singer recognized that 'OIAEUS represented FIAEOS ([Hesiod] fr. 235<br />

M-W etc., see 12.365^) and connected it with (F)IAios. The '0- is necessarily<br />

vocalic in at least 13 of the 21 Iliadic occurrences of 'OIAEUS and<br />

'OiAidBris. Both this Oileus and Bienor are otherwise unknown to the archaic<br />

epic and their choice here seems arbitrary. Oileus is the charioteer,<br />

not because of his epithet TrAf|£nTTros (a generic epithet used of Pelops and<br />

two other fighting men in the Iliad), but because the regular sequence is to<br />

slay the fighting man first and his driver second, e.g. 6.i2ff. Oileus, however,<br />

shows more spirit than most fjvioxoi, who in present circumstances are<br />

paralysed with fear, e.g. Asios' driver at 13.3946°. and Thestor at 16.4016°.<br />

Note that even these minor figures are thought to have a chariot at hand.<br />

The battle scenes are the stock scenes of the Iliad and presumably an<br />

indispensable and ancient part of heroic poetry, see Introduction to vol. 11,<br />

ch. 2, and Mueller, Iliad 78-83. Fenik, TBS passim (pp. 78-114 deal with<br />

book 11), has supplied a masterly analysis of their thematic content which<br />

it would be otiose to reproduce in detail. It may, however, be useful to<br />

analyse the diction of 92-100 as an example of the way in which such scenes<br />

are constructed at the formula level (ciphers refer to Iliadic occurrences):<br />

92 TTpcoTos opoucj(e): also 11.217 (note the tendency to repeat a<br />

phrase after a short interval).<br />

EAE 6' (or EAOV) av8poc: 3X .<br />

u-uu 7roi|i6va (-1) Aacov: 6x .<br />

93 OCUTOV, ETTEITOC 5': only here, in spite of the hero's so frequently<br />

pouncing without delay on his next victim.<br />

u TrAf|£nT7rov: also at 4.327.<br />

94 fjTOi 6 y': 7X .<br />

E£ iTTTTCOv KaTETT&Auevos: only here, but cf. EirdAuEvos 6x before the<br />

diaeresis, and E£ (KCCO', d

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!