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Book Eleven<br />

require a causative agent) and the perfect passive (of which the question<br />

OTTO T(VOS can always in principle be asked). The variation is rather pointless,<br />

for the epic style would not object to the repetition of the formula<br />

T6TIT|6TI 0UUCO.<br />

558-62 The simile of the ass in the cornfield is unparalleled, but like<br />

many other topics used once only is clearly drawn from daily life. It may<br />

not, however, be 'original'; there was a proverb ovos (3a5i££is sis ocx u P a<br />

TpayrjuaTcov (Philemon fr. 188). Heroes are normally compared to 'noble'<br />

animals, lions, boars, or stallions, whose courage is easily imputed to the<br />

hero even if it is not the point of comparison. Ideas of Aias' characterization<br />

have not been helped by the contrast drawn between him and Odysseus -<br />

in the poems of the Cycle, not in the Iliad - as if Aias symbolized brute<br />

unthinking brawn in opposition to the other's sharpness and subtlety. The<br />

Iliadic Aias was characterized by !5peir| (7.198), at least in his own estimation,<br />

and Hektor recognized his TrivuTT) (7.289). Hektor's jeer at 13.824<br />

ATav duapToeTres, (3ouydi£, is mere abuse. Here the point of the simile is that<br />

Aias shrugs off the Trojan attacks and retreats only when he is ready to do<br />

so. It implies tenacity not stupidity, or even obstinacy, and so illustrates<br />

Aias' forte, the ocuTooraBiri, in which he did not yield even to Akhilleus<br />

(see Idomeneus' comment, 13.321-25). The eventual departure of the ass<br />

foreshadows the eventual escape of Aias from his present predicament. In<br />

general, Homeric similes, being drawn from the concrete world of nature,<br />

maintain the same observer's style as the narrative. They do not directly<br />

affirm permanent ethical traits. bT have an elaborate note on this comparison<br />

(cited by Edwards, vol. v 30).<br />

This the fifteenth and last simile of the Book. Similes find typical slots in<br />

the pattern of battle narrative of which they form the characteristic TTOIKIAIOC<br />

(see 62n, 67-9^). The character of the narrative changes shortly, at 596,<br />

from the ferocity of the battlefield to the leisurely discourse of Nestor and<br />

Patroklos, and with the change ornamentation by simile drops out.<br />

559 Hocyn: the long -d- is hard to explain, see LfgrE s.v. dyvuui and<br />

Wyatt, ML 78-9. Confusion with the perfect stem seen in sdya (Hesiod,<br />

Erga. 534) is possible, though (KOCT)eriya is the usual Ionic form.<br />

564-74 With this picture of Aias fending off the Trojans compare the<br />

retreat of Antilokhos at 13.551-9. The details are similar: the ineffective<br />

bombardment with spears and the tactic of alternate retreat and turning to<br />

fight (cf. Fenik, TBS 98). The diction of the two passages, however, has<br />

nothing in common.<br />

564 = 6.111 = 9.233 (see n.). The reading TroAuriyepees (for TrjAeKAeiToi)<br />

is due to Aristarchus (Did/AT). TroAuriyepses, a hapax legomenon, is apposite<br />

here, though that does not guarantee that it is right. The formular verse,<br />

with Tr)AeKAeiToi, is in the vocative case.<br />

284

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