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Formulas<br />

However, the scenes are by no means typical and further restrict their<br />

application by naming Nestor.<br />

Runs occur as follows in the first hundred verses of book n: 1-2 =<br />

Od. 5.1-2; 5-9 = 8.222-6; 11 —14 = 2.451-4 (where c&paev for lu^aA');<br />

^-^ = 3-330-2 = 16.131-3 = 19.369-7 1 ; 4 J ~3 = 3-33^-8 = 16.137-9<br />

(with variants); 47-9 = 12.77 + 84—5; 84-5 = 8.66-7; 97-8 = 12.185-<br />

6 = 20.399-400 (with variants in the first verse).<br />

The variations found in typical scenes, even in those as regular as the<br />

sacrifice-meal and the arming, suggest that the cohesion of a run of verses<br />

is fragile. This observation is important, though disturbing, for the question<br />

of the stability of a poem and its constituent episodes in a truly oral milieu<br />

even in the mouth of the same &0160S.<br />

(xi) Ornamental epithets<br />

Epithets are typical of most narrative styles. 20 What distinguishes their use<br />

in Homer is that their advantages to the story-teller are put to the service<br />

of the versifier. Inevitably it is the 'ornamental' epithet that makes the most<br />

conspicuous contribution both to amplitude and utility. Amplitude has its<br />

aesthetic advantages, but so has stark simplicity, especially at moments<br />

when words are inadequate, cf. bT at 22.61 'It is marvellous how he<br />

briefly brings this scene into view, using his words without superfluity. He<br />

doesn't say uyopocpous or 8ai8aA6Ous OaAauous or OuyaTpas KOCAAIKOUOUS or<br />

KCcAAiacpOpous, but strips the disasters of epithets', a perceptive comment.<br />

An 'ornamental' epithet is appropriate to the noun considered in isolation<br />

and to the themes to which the noun belongs. It completes and sharpens<br />

the idea expressed by the noun, just as similes sharpen a scene in the<br />

narrative. So much is evident; what it adds to the noun, however, in a<br />

particular verse is still controversial. Parry dared to affirm that it was no<br />

more than a touch of heroic colour; Vivante maintains that valuable meaning<br />

is always present. 21 Rather it is the case that relevance and redundancy<br />

are the ends of a spectrum: the epithet in a whole-verse formula with a<br />

highly predictable use will be semantically superfluous in a particular<br />

context, e.g. TOV 8* O0T£ TrpoaesniEv ava£ v 'Ayaueuvcov (9.114 etc.),<br />

but significant in a less formalized context, e.g. 'ATpei8r|s TE ava£ dvSpcov<br />

Kori 8Tos 'AxiAAeus (1.7); an epithet that is neutral in most contexts acquires<br />

force when sense and context chime together: TTETTWUEVOS is the epithet of<br />

20<br />

Bowra, Heroic Poetry 225-6; even when the medium is prose, K. O'Nolan, CQ, 19 (1969)<br />

1-19.<br />

21<br />

Parry, MHV118-72, P. Vivante, The Epithet in Homer: a Study in Poetic Values (New Haven<br />

1982). Neither position gives enough weight to the historical factor (§xvii).<br />

21

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