Showing posts with label Memorial. Show all posts
Showing posts with label Memorial. Show all posts

Monday, 11 June 2012

Myth on the Map

English: Map of Homeric Greece with English la...
English: Map of Homeric Greece with English labels Česky: Mapa homérského Řecka s anglickými popisky (Photo credit: Wikipedia)
Organizational day for the website project, "Myth on the Map".  I have enough money to get a functioning website up with 2 works mapped, Apollodorus and the Catalog of Ships. Question: should I then map the rest of the Iliad, or map a test book of Pausanias?  If so, which book?  Not sure yet.  Would link to the project but it doesn't appear to be working yet. The plan is, at any rate, to finish Apollodorus and the Catalog by the end of the summer, and have a map which, when one searches for stuff, finds it and displays it.

Tweaked the outline for the "sacrificial virgins" conference paper, and resolved another Oswald simile: a list of five (dead) Greeks, followed by the simile of the eagle attacking the geese by the river.  In Homer, it's about Hector, who's the eagle.  In Oswald, the geese are named but the eagle is not; the attacker is impersonal; the war.

THE WAR! RAHR! (Source)
(Okay, so I am foolishly reminded of Loki, leaping from the upper level upon Thor. "There is only - THE WAR! RAHR!" The only truly awful line in the Avengers...)
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Thursday, 7 June 2012

Medon the donkey

Cover of "How to Read a Poem"
Cover of How to Read a Poem
Oswald skips several Trojan deaths here, and then attaches the simile of the island town on fire from invaders, lighting beacon fires asking for help, which Homer uses of the light from Achilles' head when he terrifies the Trojans by his scream alone, to the deaths of Stichius and Arkesilaus; but instead of the light (of the beacon fires) being like the light from Achilles' head, it is the smoke from the fires Oswald uses as a comparison, that vanishes from the earth like Stichius and Arkesilaus.

Then Aeneas kills off Medon and Iasus, with a line of description for each of them; Oswald concentrates on Medon, bastard son of Oileus, who killed his stepmother's kinsman, fled to Phylace, and wound up (after Philoctetes was abandoned) leading the Phthians at Troy.  Oswald adds that he then went on to Troy, and died in the 9th year.  To him she attaches the simile Homer uses of Ajax attacked by a flock of Trojans, who can't be moved by them any more than a sluggish donkey who's gotten into a cornfield and just keeps eating until he's had his fill and decides to move on, utterly unresponsive to the blows of the boys trying to drive him out with clubs.   Only she attaches this to Medon. How? Medon stubbornly killed a man, fled, fled on to Troy, kept fighting until he'd decided in his own sweet time that he was ready to die?

The translation, as always, is wonderful.  Oswald amplifies the mention of his father's wife (μητρυιῆς Ἐριώπιδος) to "grew up under the smile of a slim respectable stepmother", for example.  And the description of the donkey, who "thinking good I will wade and eat sideways/ ... does just that eats and eats sunk in a pond of corn".

I've begun reading Terry Eagleton "How to Read a Poem", since it's not something I've been trained in really (nor indeed something my teachers were trained in I think).  Eagleton identifies this problem in his students, that modern work tends to be content analysis which is largely oblivious to whether the "content" comes encased in a novel, a poem, or a real-life happening.  He says (instead of dealing with the 'literariness' of the work),
"... they treat the poem as though its author chose for some eccentric reason to write out his or her views on warfare or sexuality in lines which do not reach to the end of the page.  Maybe the computer got stuck." 
                                    (Terry Eagleton, How to Read a Poem; Blackwell, Oxford 2007: 3.) 

That, embarrassingly, would be me; but Memorial makes me want to really up my game, and be able to say precisely what's so cool about it, which isn't just content, or even just its relationship to Homer.
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Wednesday, 6 June 2012

a death scene today: Ilioneus

Ilioneus Statue (1850s copy after ancient gree...
Ilioneus Statue (1850s copy after ancient greec original) (Photo credit: Wikipedia)
For a look at her translation practice here's Oswald 52-53, on the death of Ilioneus:


Ilioneus an only child ran out of luck
He always wore that well-off look
His parents had a sheep farm
They didn't think he would die
But a spear stuck through his eye
He sat down backwards
Trying to snatch back the light
With stretched out hands

I've bolded the parts that appear in the Greek.  Here's the Greek, with a literal translation - the bolded parts, in Greek, are translated by Oswald:

ὃ δ’ οὔτασεν Ἰλιονῆα
υἱὸν Φόρβαντος πολυμήλου, τόν ῥα μάλιστα
Ἑρμείας Τρώων ἐφίλει καὶ κτῆσιν ὄπασσε·
τῷ δ’ ἄρ’ ὑπὸ μήτηρ μοῦνον τέκεν Ἰλιονῆα.
τὸν τόθ’ ὑπ’ ὀφρύος οὖτα κατ’ ὀφθαλμοῖο θέμεθλα,
ἐκ δ’ ὦσε γλήνην· δόρυ δ’ ὀφθαλμοῖο διὰ πρὸ
καὶ διὰ ἰνίου ἦλθεν, ὃ δ’ ἕζετο χεῖρε πετάσσας
ἄμφω· 

"And he (Peneleos, a Greek) wounded Ilioneus, the son of Phorbas of the plentiful flocks, whom especially among the Trojans Hermes loved and granted possessions; to him his mother bore the single (child) Ilioneus.  Him then he wounded under the eyebrow down through the base of the eye, and drove out his eyeball; and the spear went first through the eye and through the nape of the neck, and he sat down, stretching out both his hands."

Cool things: 
  1. switching object to subject (Ilioneus is the object of the Greek, in the accusative until the last phrase, but is the subject in Oswald). 
  2. switching personal to impersonal: in the Iliad the important thing is who killed him (Peneleos); in Oswald that's elided, and the spear killed him by itself.  A move Oswald frequently makes, because "who killed him" is not important to Memorial as it is to the Iliad.
  3. "μοῦνον" = "an only child".
  4. "μάλιστα Ἑρμείας Τρώων ἐφίλει καὶ κτῆσιν ὄπασσε" (Hermes loved him and gave him stuff, the most of all the Trojans) = "he always wore that well-off look", but also.
  5. "ran out of luck" - also a reference to Hermes, because a ἑρμαῖον is a "lucky find", a "thing sent by Hermes".  So Hermes loved his father, but eventually, he, or his father, ran out of Hermes.
  6. ὃ δ’ ἕζετο χεῖρε πετάσσας ἄμφω gets amplified with "trying to snatch back the light", which then leads to the simile, which actually is fascinating, but this is enough for today.
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Promachus dies

Similes
Similes (Photo credit: teotwawki)
This was pretty straightforward.  I hunted around for stuff on Homeric similes; turns out others have noticed the similes in Homer.  Quite a few.  Wilamowitz among them.  Fortunately I'm not writing about the similes in Homer, hah, because if I were I'd be reading for 3 years before I could write a word.  I read Taplin's review of Moulton's book on similes (Homeric Similes, 1977, certainly much has been written since, but it was the first thing that came to hand). (See, for a very cursory list, my rapidly growing "Secondary Literature" page.  This is not, I need hardly say, a list of works I have already read.  It is aspirational.)

Moulton assumes that when he sees subtlety in Homer it's because it's there, not because it accidentally accreted into the poem.  I'm inclined to agree but again I am not writing about that, I am so very grateful to say; I am writing about Oswald, and I can certainly argue that subtlety in Memorial is "part of the poem and not there by coincidence" (Taplin, 184).  I have to admit though that Memorial's reading of the Iliad highlights a great deal of subtlety in the original text; I suspect that's by design too.
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Monday, 4 June 2012

Archelochus and the changing will of Zeus

English: Picture 47 of the Ambrosian Iliad, Ac...
English: Picture 47 of the Ambrosian Iliad, Achilles sacrificing to Zeus. Français : Image 47 de lIliade ambrosienne, Achille dédiant un sacrifice à Zeus. (Photo credit: Wikipedia)
In Homer, the gods decide to kill Archelochus, so a spear flung at someone else hits him.  In Memorial, the spear decides of its own free will to miss the other guy and hit Archelochus.

But then Oswald continues (p. 52),

Like the changing mind
That moves a cloud off a mountain
And makes rocks and cliffs appear
Pushing the landscape's sharp edges up
Through more and more air
This simile comes from Bk 16, where Patroclus has just suited up in Achilles' armour and is leading the Greeks to fight back the Trojans, who have just set fire to Protesilaus' ship.  The Greeks take heart and beat back the Trojans and put out the flames, the way (says the Iliad) Zeus lightning-gatherer moves a cloud etc etc., but (says the Iliad) not forever; this gives them a breather, but the war doesn't stop.  ("Changing mind" I take as a translation of στεροπηγερέτα Ζεύς, since nothing changes more quickly than lightning.) 

So in the Iliad, Greeks pushing back the Trojans and putting out the flames = Zeus (temporarily) moving a cloud off a mountain. In Oswald, a spear decides to kill one man rather than another, the way a "changing mind" moves a cloud off a mountain and reveals the (sharp, clear) landscape.  Oswald highlights the changeability of the spear and of the mind; one man could have been killed just as easily as another.  And where the Iliad's simile focuses on those who are benefitting by the divine choice (of the moment) - the Greeks are forcing the Trojans back and putting out the flames - Oswald's simile, as always, focusses on the one that did not benefit; Archelochus, who died because of the will of the gods, rather than Poulydamas who lived.

A further point of context: Zeus' favour is not going to rest with Patroclos forever, either; this simile, in the Iliad, also foreshadows his eventual death.  Its use here in Oswald grants the all but unknown Trojan Archelochus' death the importance of Patroclus's eventual death. Finally: I have yet to find anywhere in Oswald that the gods get a mention. But should re-check that.

I need to start collecting these points, and decide what matters most, and what article to write.  I'd like to just write an article on the similes, and how they work in Oswald.  I would need to talk about how they work in Homer, for comparison.

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Euchenor goes to heaven

English: Arabian mare standing in a show halte...
English: Arabian mare standing in a show halter pose (Photo credit: Wikipedia)
Was prepared to find nothing much interesting happening here, but Oswald has cleverly turned another simile on its ear.  The simile about the well-fed, pampered aristocrat of horses, happily breaking its halter and running off to the river and where the mares are, is applied by Homer to Paris when he runs off home to visit Helen in the middle of a battle in Book 6 (granted, with Aphrodite's help); Paris is exactly that pampered, over-nourished, over-sexed, gleaming, self-centred figure, beautiful but wholly dedicated to his own pleasure, and inclined to break his halter and run away from his duty when he sees a mare.  

But here the simile is turned round and it is used of Euchenor, whom Paris has just killed. (So once again, subject to object, or object to subject; Euchenor, the object of the arrow, becomes the subject of the simile, whose former subject was the man who killed him).  Euchenor was happy to die because his father the seer told him it was die gloriously and quickly at Troy or miserably of illness at home.  So he knew this was going to happen.  And the simile is of a horse breaking free of its halter - its duty, its life - and going running on, a young happy horse, forever, in Paradise. 
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Saturday, 2 June 2012

Harpalion, and more deer

Homer Simpson
Homer Simpson (Photo credit: Wikipedia)
Didn't get far today.  Harpalion, son of Pylaemenes, gets killed by Meriones (who kills a lot of people, without ever really having much of a story himself).  His weeping father follows his body back to Troy.  Which is odd, because his father died in book 5.  Did Homer/ the bardic collective/ the oral tradition forget?  I bet someone has written a lot about this.

A simile about panic-stricken deer.  I may not have found the right one, because the deer is described as fearing her guests, and guests don't appear in the Greek (but they do, in the passage about the death of Harpalion, so maybe that's it).  Harpalion is apparently a scaredy-cat.  Like the deer. Though unlike the deer around here, who are scared of nothing, and have just eaten all our spinach.  Maybe we should import some wolves.

  I suspect I'm missing something.
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Thursday, 31 May 2012

Antilochus, the Iliad's Mary Sue

Antilochus. Side A from an Attic red-figure ne...
Antilochus. Side A from an Attic red-figure neck-amphora, ca. 470 BC. (Photo credit: Wikipedia)
Oswald lists seven deaths that, in Homer, are given in 120 lines of hard fighting: Oinomaos, Askalaphos, Aphareus, Thoon, Antilochus, Deipuros, and Peisander.  Except one of these things is not like the others: Antilochus doesn't actually die here.  This is the second time she's killed Antilochus, quietly embedding him in a list of dead warriors,  when in fact Antilochus killed someone else in this passage (who isn't listed among the dead).  And here she's done it again: Adamas, son of Asios (who has just died), attacks Antilochus, but Poseidon likes Antilochus and saves him.  Adamas ducks in behind his friends but Meriones follows him and kills him particularly painfully (spear in the gut, midway between the navel and the privates, and he writhes around painfully until Meriones pulls out the spear and he dies).  Oswald skips all this and lists Antilochus among the dead.

The first time Oswald did this I thought it was a mistake, but this isn't a mistake.  Why does she keep killing off Antilochus?  He doesn't even die in the Iliad.  (He's killed later, by Memnon, or possibly by Paris at the same time as Achilles, or according to Hyginus Hector kills him, which would be a surprise to Homer, because Antilochus is still alive in the next book of the Iliad to put in a mediocre performance in the funeral games for Patroclus).  And everyone likes him, and he's Achilles' good buddy, and everyone likes his dad, and he's always up to fight some Trojans, bouncy and courageous and gay,  he is, in fact, the Mary Sue of the Iliad, the one that has puzzlingly been made way, way too likeable, as if Homer (or the entirety of the oral tradition really really liked him and thought the rest of us should too for no obvious reason.

But she keeps killing him off.  As if we should get in our mourning for Antilochus now, because he keeps being mentioned, but he doesn't get a proper death scene in the Iliad, but the fact is he is going to die before he makes it home, so let's mourn him in advance, as the only Greek warrior that everybody really likes, and she wants to remind us that he doesn't make it either?

Or, I don't know.  I wonder if Antilochus' inclusion in Memorial might be my way into writing about the poem.  It's odd in so many ways.  I could talk about the ways.
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Wednesday, 30 May 2012

Alcathous' beating heart


Poseidon holding a trident. Corinthian plaque,...
Poseidon holding a trident. Corinthian plaque, 550–525 BC. From Penteskouphia. (Photo credit: Wikipedia)
Going through Oswald's translation of Alcathous' death scene line by line, the amazing thing is how much it retains of Homer, while giving us a very different version.  It begins "Somebody's husband somebody's daughter's husband" - Homer's begins "γαμβρὸς δ’ ἦν Ἀγχίσαο,/ πρεσβυτάτην δ’ ὤπυιε θυγατρῶν Ἱπποδάμειαν" "son-in-law of Anchises, he married the eldest of his daughters, Hippodamia" - and throughout, Oswald retains most of the Greek version, but what she leaves out is instructive: first, leaves out the first line (that Alcathous was the dear son of Aisyetes - usually she does give the parents, especially the mother, but this is not the mother); and throughout, leaves out the names of his wife, his father-in-law, the man who killed him (Idomeneus) and the god that charmed him so he couldn't move when Idomeneus attacked (Poseidon).

In place of this, Oswald says rather he was frozen with fear.  She then turns a simile into narrative: where Homer says he stood fixed "like a pillar or a high leafy tree", Oswald says
Like a pillar like a stunted tree
He couldn't bend his stones
He couldn't walk his roots
And so he dies, the spear swaying, ("tick tick tick" says Oswald), for a while, in his still-beating heart.

And then the simile, drawn from the beginning of book 13, where Poseidon enters the battle to ginger up the Greeks, and having given strength to the Aiantes he flies off "like a swift-winged hawk set out to fly, that having been raised up over a high rock destitute even of goats, rushes to pursue another bird of the plain" - to go ginger up some more Greeks.  And the next one he comes to is Idomeneus, who is the one who kills Alcathous, explicitly with Poseidon's help.  

Oswald's version:
Like a knife-winged hawk
Balanced on a cliff with no foothold
Not even a goat can climb there
Like when he lifts his blades and begins
That faultless fall
Through the birds of the valley 
And here as elsewhere it's perfectly clear she's going from the Greek, because no translation mentions goats; that comes from the Greek "αἰγίλιπος", "destitute even of goats" is what it actually means but it's usually translated as "sheer"; and "knife-winged and 'lifts his blades"" where translations have "swift-winged", because Oswald is not reading ὠκύπτερος, the Oxford text, but the variant ὀξύπτερος. 

This simile is wonderfully used: it is Poseidon who has fallen like a hawk knife-winged on poor Alcathous; at the same time it is Alcathous who is poised, about ("tick tick tick") to begin his fall.

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Tuesday, 29 May 2012

Asius the chickpea

I have forty deaths and a dozen similes after that to work through; at the rate of one a day, I'm - not going to be done by the end of May.  But what Oswald does is always interesting.  With Asius for example, she combines the four places he's mentioned in the Iliad, briefly in the Catalog and at some length in book 12 and 13, into 11 stripped-down lines that tell us everything we need.  Asius had great horses; they brought him all the way from Arisbe; but he couldn't leave them behind when he should have, and that's what killed him.

But it's the simile, once again, that really nails it.  It's the simile about beans and chickpeas getting blown away in all directions by the impact and the wind of the winnowing-shovel, and Homer uses it to describe how an arrow bounces off Menelaus' breastplate.   What's it doing here, though?  Once again, subject and object interchange.  In Homer, chickpea = object = arrow, driven by the winnower/Helenos, and bouncing off Menelaus (the subject's) breastplate.  Here, the chickpea = object = Asius, driven by his horses/the winds of fate/ his own foolish error, and bouncing off - well, in some direction, but not under his own control, and to his death.
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Monday, 28 May 2012

Cassandra the deer

Ajax drags Cassandra from Palladium
Ajax drags Cassandra from Palladium (Photo credit: Wikipedia)

Oswald p. 47:
Like a deer in the hills wounded
Keeps running in pain
There are dogs following her bloodprints
But she goes on and on escaping into loneliness
To the very breaking of her being
Until it happens in some shadowy wood on a hilltop
She gives up
And the dogs set about eating her
But at last at evening a lion appears
A huge angel wandering the hills laying claim to the dead
And the dogs scatter

This is Oswald's translation of the simile from book 11 when Odysseus is fighting desperately, on his own, surrounded by Trojans, until Ajax (the greater) gets there to save his bacon.  And it's a weird simile in Homer, because the wounded deer, in Homer, has run as far as it can, and died, and is being eaten by the jackals. The lion (sent by a god, says Homer) isn't there to save the deer, which is dead anyway. The lion scatters the jackals so it can devour the deer itself.  But the deer is Odysseus, the jackals are the Trojans he's fending off, and the lion, Ajax, arrives to save, not kill him; so Odysseus is not the victim at all, and may even be the lion.

Oswald makes two changes that shift everything.  One is the placement of the simile, which Oswald puts after the death of Othryoneus, who came to Troy and offered to drive off the Greeks in exchange for the hand of Cassandra, and went off to battle and died, "and everyone laughed and laughed, except Cassandra".  And second, Oswald makes the deer feminine; in Homer it's masculine.  So the deer is Cassandra, wounded and bleeding, attacked by jackals - Ajax the lesser - and finally made a meal of by the lion, Agamemnon, who scatters the other rapists and takes her home to the slaughter.  In fact Oswald didn't have to change this simile at all, in her usual fashion; all she had to do was re-point it, towards an actual victim.

Have a look at the Poem of the Week (below).  A more sympathetic look at Penelope than Atwood gave us, but that's not hard.


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undefeated (I think)

English: Historic reconstruction of the landsc...
English: Historic reconstruction of the landscape of Troy from Vol.2 of Alexander Popes The Iliad of Homer (Photo credit: Wikipedia)
Like a stone 
Stands by a grave and says nothing

This is the first simile that I cannot locate in the Iliad.  It's too short for me to get a grip on it using Perseus, and I just don't have that encyclopedic knowledge of the Iliad that would enable me to fish it out of my own brain.  There are two stones marking a grave in the funeral games for Patroclos but they don't say nothing.  I mean, they do say nothing, but they aren't mentioned as saying nothing.

Sad now.  So far I've been batting 100%.

Several more Trojans have died, and one Greek.  Interesting simile that reveals, on close examination, that Homer knew all about Heisenberg and certainty deriving from collapsing wave formations (Bk 14).

ETA: must be Achilles' horses, standing still as a gravestone and weeping for their charioteer, because that's the only simile in the Iliad that is about gravestones.   Which makes it very interesting, because the horses are standing stock still and weeping, in Homer.  Here, it's the sea: Amphimachos has just died, who's descended from Poseidon, and you'd think Poseidon could do something, but the sea (says Oswald) just "lifted and flattened, lifted and flattened".  Doing, apparently, nothing, like a stone.  But actually Poseidon (in Homer) is very upset at Amphimachos' death; can't do anything about his death, but goes and riles up Idomeneus and other Greek warrios to go kill a lot of Trojans as a result.  So the sea/Poseidon seems to be doing nothing, but is doing a lot; and the horses seem to simply be standing there silently, but in fact they're mourning.

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Saturday, 26 May 2012

and yet more Trojan dead

Trojans and Greeks from the Vergilius Romanus
Trojans and Greeks from the Vergilius Romanus (Photo credit: Wikipedia)
Another list of Trojan dead, this one even odder, because it occurs (in the Iliad) in the context of a panic-stricken rout of the Greeks desperately fleeing for their own gates.  All their best men have been wounded and withdrawn.  Hector and the Trojans are in full baying pursuit.  Two Lapiths, Peripoites and Leonteus, are holding the gates while the Greeks stream inside.  But every NAMED warrior that dies is a Trojan, and Oswald just gives them in a list, one after another, one per line.  She doesn't tell us they're Trojan or which Lapith kills them, unlike Homer; just the list:
And Pylon
Ormenos
Hippomachos
Antiphates
Menon
Iamenos
Orestes
Then a simile, based on the simile at the beginning of book 3, right after the catalog of ships and of Trojans.

Like the war cries of cranes going south escaping the rainEvery winter the clang of their wings going over usAnd the shock of their parachutes
Landing on someone else's fields

"Clang" translates κλαγγη, which appears 3 times in these lines in Greek.  "Someone else's fields" translates "bringing slaughter and death to the Pygmy men, and evil strife" in Homer.  Like the rest of this translation it is a marvel of compression. But what does it mean here?

In Homer, this simile describes the army of the Trojans and their allies, moving and calling noisily (unlike the Greeks, marching silently and, one gathers, breathing steam from their nostrils), carrying war the way the cranes carry war over the ocean to the pygmies.  But that was nine books ago.  Who is like the cranes here?  The Trojans aren't landing on someone else's fields in Book 12; they are directly attacking the Greek camp.  

But who is "us"?  "We" aren't the Greeks; we're just reading the Iliad. We're spectators.  The Trojans may be landing directly on the Greek fields and attacking their camp, but for us, they're still just flying overhead, parachuting onto someone else's fields.

And the simile isn't "like cranes"; it's "like the war cries of cranes".   The war cries of cranes sound like something: they sound like the list of names, being read out.  THOSE are the war cries; the names of the Trojan dead.  The cranes here like the cranes in the Iliad are flying over our heads, carrying, telling, the deaths of someone else.

And the cranes are out there because they've been forced out by winter storms and rain; torrent imagery again, where torrent = war. Perhaps not here though.

Not sure about why it's a regular event.  Perhaps because we know the Iliad so well.


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Wednesday, 23 May 2012

yet more Trojans die: Dorycles, Pandocus, Lysander, Pyrasus, Pylartes, Apisaon

In Homer, Ajax has just killed a whole whack of Trojans. Then a break in which Hector (we're told) kills a whole whack of Greeks, only we aren't given any of their names. Then one last Trojan, Apisaon, is killed by a friend of Ajax, and then the Greeks run hell for leather for the ships, pursued by ravening Trojans who don't, however, apparently manage to kill any of them. There will then be a break of a few hundred lines, well into the next book, while Nestor tells us at great length about how many Eleans he killed when he was a lad and how amazed everyone was, until finally someone else with a name dies (another Trojan). One can't help but notice that although Homer is at pains to tell us over and over either how even the battle is, or even that the Trojans are winning hands down, it's the Greeks who keep killing people with actual names.

Oswald just lists the names, doesn't tell us whether they're Greek or Trojan, or who killed them. This is only the second time she's used the same simile Homer does in the same place, of a river swollen with winter rains rushing down through the plains carrying all before it, trees, mud, everything, into the sea. She's fond of the torrent imagery; this is the 3rd or 4th such simile she's used. However Homer compares Ajax to the river in flood, carrying all before him (butchering - δαίζων, literally "cleaving" - horses and men alike in his charge across the field). (Just realised - this line must be the origin of the story that he responded to Achilles' armour being given to Odysseus at the end of the war by torturing and slaughtering a lot of sheep, under the impression they were the Greek high command; or, at least, the characterization harmonizes.  Who butchers horses?)

  Oswald just lists the names of the dead, then gives us the simile without Ajax; the river is transformed into an impersonal force, the war that charges across the plain, carrying all before it, broken and tumbled, Greeks and Trojans alike.

I am struggling with a cold here and feeling uninspired.
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Tuesday, 22 May 2012

more Trojans die

Achilles between Diomedes and Odysseus at Scyros.
Achilles between Diomedes and Odysseus at Scyros. (Photo credit: Wikipedia)
Agastraphus, (Agastrophus in Homer), Thoon, Ennomus, Chersidamas, Charops, Socus.  


Again, we aren't told which side these men are on (they're all Trojans), or who killed them ( Diomedes killed the first one, was shot in the foot by Paris and withdrew, wounded; Odysseus, surrounded by Trojans, kills the rest, fighting desperately).  Oswald is only concerned with the deaths.


Agastraphus gets no simile, and the next three are given in a list;  they get more of a description in Homer, especially Chersidamas, whom Odysseus stabs under his shield as he leaps down from his chariot, and he falls in the dust (ἐν κονίῃσι), clutching the earth with his hand.  Oswald uses a simile to supply this bit of narrative, taking it from Book 23, Patroclos' funeral games, when Epeios strikes Euryalos so hard that he leaps up like a fish thrown out of the water by the north wind, that lands on the shore: 

" Like a fish in the wind
Jumps right out of its knowledge
And lands on the sand"    (Oswald p. 42) 

Marvellous translations as usual; for example,  Odysseus taunting the dead Socus "φθῆ σε τέλος θανάτοιο κιχήμενον, οὐδ’ ὑπάλυξας.", "The end of death got ahead of you, and you didn't evade it" turns into 
"poor Socus
Trying to get away from his own ending
Ran out his last moments in fear of the next ones". (Oswald p. 43)
Nicely encapsulates Socus running away (he was caught in the back by Odysseus' spear), trying to evade the ending that caught him anyway.


There follows a very interesting interaction between narrative and simile, and I'm struggling with it.  In Homer Odysseus taunts Socus that birds will strip his flesh, beating their wings around him, and his parents will never close his eyes for him in death.  Oswald describes the birds eating him mouthful by mouthful, and then this simile:
"Like when the wind comes ruffling at last to sailors adrift
Trying to manage the broken springs of their muscles
And lever and lift those well-rubbed oars
Making tiny dents in the ocean"(Oswald p. 43)
My first reaction is, what does this have to do with anything?  The simile comes from the beginning of Book 7, where the brothers Hector and Paris re-enter the battle, as welcome to the weary Trojans as a fresh breeze to sailors worn-out with rowing.   To add to the confusion, in context, the ruffling wind seems to refer most immediately to the vultures, gathering to strip their dead flesh.  Oswald has here done what she frequently does, and flipped the simile around, so what was subject becomes object and what was object becomes - something else entirely.  I think it goes something like this:




simile

in Iliad

in Memorial

breeze the two Trojan brothers, Hector and Paris the fluttering ("ruffling") of the birds around the dead Socus (and Charops)
weary with rowingweary with fightingweary with fighting (or running from death?)
sailorsTrojan warriorsthe two Trojan brothers, Charops and Socus



So two Trojan brothers as subject, longed-for helpers,  become two Trojan brothers as object, helpless dead; the weariness of fighting is increased and the activity is futile ("making tiny", i.e. futile, "dents in the ocean"), and the helping breeze becomes the ruffling feathers of the vultures around the bodies; the end of death is welcome.  Except not, because Socus was running, and the breeze doesn't help the sailors, though it does, I suppose, end their labour.

Inclined to wonder if I'm over-thinking.  I am assuming, for one thing, that every time Oswald uses a simile from elsewhere in the Iliad,  we can reasonably consider as significant both its present and its previous context and referents; she has placed the simile where it makes sense in her poem, but has also chosen it from a context that also casts light on its meaning in its present position.  Perhaps however she just picks similes that make sense where she puts them, and doesn't much care where they come from.  Or perhaps she doesn't always care.  I'm dubious about that, though; the context seems significant far too often.  I think the problem I'm having here is that it doesn't make a lot of sense to me in its present context in Memorial.  Well, mark for later consideration.


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