all the Homer things

This is not the same Polydorus.

Have been working away steadily for the last week but not updating, because I have to give a paper on Oswald next week and haven't got time to work, teach, write the paper and update too.  I've got 8 more death scenes and about 16 similes to nail down.  Whenever I see a new simile my heart sinks because I know it will likely be hard to find where Oswald has transplanted it from.  On the other hand it's rewarding work.  She did something particularly cool with the death of Polydorus as his father Priam looks for him, which she juxtaposed with the simile of Ajax guarding Patroclus' body like a lion guarding its cubs.

Still, it really is time to stop researching and start actually putting it together as a paper.  But I'm so close to being done!  This is a mistake I always make mind you - I always think that once the research is done the paper will write itself, possibly overnight while I'm sleeping, if I leave out a bowl of milk for the fairies...

In fact once the research is done the paper will take every bit as long to write as the research took to do, something Mac Wallace told me (frequently; over and over; in the hope that someday I would take note), and something I tell my students all the time as well.

 I don't know if my students pay attention.  I know I never do because there's always this One! Last! Thing! I want to find out first ... which of course will lead to another interesting thing ... but I must stop now.  It's not as if I don't have enough material.

But I'm so close!

Patroclus' aristeia, not

Ulysses (with a pilos) and Greek warriors around the body of Patroclus. Detail of a silver oinochoe dedicated ,by Q. Domitius Tutus, made in Italy, first half of the 1st century AD. From the Berthouville treasure. (Photo credit: Wikipedia)

Homer now gives us 200 lines of Greeks slaughtering Trojans.  First every Greek leader kills his own Trojan, a kind of bring-your-own-(dead)-Trojan buffet; then Patroclus starts slaughtering them wholesale.  We get descriptions of how each one died as long as they're being killed by different Greek chieftains, but when Patroclus steps in we just get a list of names of the Trojans he slaughters.  Oswald gives us nothing but a list of 21 names; we aren't told who killed each one and she doesn't differentiate between the ones killed by other Greeks and the list of those killed by Patroclus.  The list ends with the name of Sarpedon's charioteer, Thrasymelos, which in Homer is preceded by the lengthy discussion between Zeus and Hera about the coming death of Zeus' son Sarpedon, which Zeus would like to avoid (and which is important because he is Zeus' son).

The importance of the slaughter in Homer is that the tide of battle has now turned back, and the Greeks are winning again; and that Patroclus may be primarily important as Achilles' close friend and companion, but he is a formidable warrior in his own right.  Since he's going to die soon he needs to be given weight and importance of his own, and this aggregation of deaths gives him that.  Even the Trojans killed by the other Greeks redound to Patroclus' credit because they occur after his arming scene and because his appearance has heartened the Greeks to go back on the attack.  Oswald elides the foreshadowing of the death of Sarpedon, which gives weight to all the deaths, and to the death of Thrasymelos, because here as elsewhere she lets individual deaths stand on their own.

After this list Oswald gives us this simile:

Like hawk wings cut through a sheet of starlings
Like wing-scissors open and close
Through a billow of jackdaws

This comes from a simile that actually shows up fairly close to this scene in Homer.  After Patroclus kills Sarpedon, a Trojan kills a Greek (whom we've never heard of before) over his body, and Patroclus, enraged at his sudden new BFF's death, returns to the Sarpedon's corpse:

"And he went straight through the fore-fighters like a hawk
swiftly, who terrifies the jackdaws and starlings;
so you, horse-driving Patroklos, drove off the Lykians and Trojans,
and your heart was angered for your companion."

I initially thought that Oswald was using the simile exactly the same way, and even about the same person (Patroclus), but actually not quite.  In Homer, the hawk is the subject.  In Oswald, the hawk doesn't appear; only the hawk wings, the hawk's effect, like scissors, cutting through a sheet of starlings, a billow of jackdaws.  Homer's hawk is Patroclus; Oswald's hawk is death, impersonal; the starlings and jackdaws are the living beings here.

Pyraikhmes and Paeonian bison (?)

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)

Prolonged absence during which I discovered I have arthritis in one hip and moped about it. However, I have bought an expensive chair that makes my hip hurt less, so, back to work.

So: death of Pyraikhmes. (I've worked through a few others since I last posted, but today was Pyraikhmes.) He's important, in the Iliad, because his is the first death after the Greeks are actually chased back to the ships - apparently with very little loss of life, since about a dozen Trojans die for every Greek. Antilochus gets another Trojan, just before the Greeks retreat with the Trojans in headlong pursuit. The Trojans actually manage to set fire to a ship. And at this point, Patroclus persuades Achilles to let him suit up in Achilles' armour and chase off the Trojans. Achilles sacrifices (in vain) to Zeus for Patroclus' safety. Pyraikhmes is the first of the many Trojans Patroclus kills in his subsequent aristeia, culminating, of course, in his own death.

None of this context matters to Oswald; we don't know which side Pyraikhmes is on or that his death is made significant, in Homer, by the fact that Patroclus is the one who kills him. Here's Homer:

"(Patroklos) hit Pyraikhmes who had led his Paeonian horsemen from the Amydon and the broad waters of the river Axios; the spear struck him on the right shoulder, and with a groan he fell backwards in the dust; on this his men were thrown into confusion, for by killing their leader, who was the finest warrior among them, Patroklos struck panic into them all." (Perseus translation.)

Now here's Oswald:

The River Axius has the silverest sweetest water
It flows through Paeonia
Where there are bison in the hills
And men make curved bows from their horns
To get there you have to go miles over mountains
Some of his men might make it
But not Puraichmes

Some of this she got from the Catalog, where Pyraikhmes and the Paionians are again described, with the addition of the 'crooked bows" (ἀγκυλότοξος) they use and the beauty of the water in the Axios river. I was distracted however by the bison. Homer does not, as far as I can find, mention any bison or mountains anywhere. However, an increasingly obsessed search eventually brought me to Aristotle's History of Animals, which tells me

Aristotle, History of Animals,630a20

Ὁ δὲ βόνασοϛ γίνεται μὲν ἐν τῇ Παοιονία ἐν τῷ ὄρει τῷ Μεσσαπίῳ, δ'ὁρίζει τὴν Παοιονικὴν και τὴν Μαιδικὴν χώραν, καλοῦι δ'αὐτὸν οἱ Παίονεσ μόναπον.". "The 'βόνασος' (bison) lives in Paionia on Mt. Messapion, which borders the lands of Paionia and Media, and the Paionians call it a "monapos".

So as far as I can tell, Oswald takes the 'crooked bows" from the Catalog, adds them to the bison mentioned in Aristotle, and throws in the mountain as well, in a casual display of naked erudition. Pyraikhmes' men get a mention (actually not many of them are going to make it).

A puzzling thing: she then uses the most famous simile in the Iliad, the one where Achilles is chasing Hector around the walls of Troy:

Like a man running in a dream
Can never approach a man escaping
Who can never escape a man approaching (Oswald p. 58)

But here, it's about how Puraichmes is never going to make it home.  But why use it here?  It leaves Puraichmes, and all the other warriors, and us, trapped in the limbo of constant combat, in which no one, including Puraichmes, will ever make it home.   Perhaps that's the point. And also, of course, to increase the significance and magnitude of Puraichmes' death by attaching such a famous simile to it.

In breaking things down into such small bits I am missing such overarching patterns as Oswald's poem has.  But I'll continue doing this for now; I don't have that much farther to go with it; and then go back, and see if I notice larger patterns.

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Poets and Profs ~ Homer as Slam Poetry

Dolops, and whirlwinds

English: Menelaus (Ancient Greek: Μενέλαος) was a king of Sparta, the husband of Helen, and a central figure in the Trojan War. (Photo credit: Wikipedia)

A particularly dense passage today.  In Homer, Dolops tries to kill Meges, remains hopeful of victory even after his spear bounces off Meges' armour and Meges slices off his helmet crest (or possibly yanks off the whole helmet), but is killed by Menelaus, who gets around him and rams a spear through him from behind.  Oswald renders this as Dolops not believing he could die even after his spear fails, even after he loses his helmet:

"It was not until the beak of death
Pushed out through his own chest
That he recognized the wings of darkness".

She follows this with a short simile: 

"Like when god unwinds his whirlwind
A single cloud moves into the middle sky "

which, like most weather similes, took awhile to locate; but it seems to be the beginning & end of a simile from book 16, where Patroclus has routed the Trojan army and the cloud of dust whirling up from their chaotic retreat is like a cloud sent by Zeus when he's sending a storm.  There is  a double shift here from Homer to Oswald.

First,  the single cloud from Zeus heralding a storm = the 'beak of death' heralding Dolops' own death (the "wings of darkness").

But using a simile from the route of the Trojans in this passage, where they're still winning, reminds us of their coming defeat; so the spear through his chest heralds Dolops' death to him, as a single cloud augurs a storm; but Dolops' death, in turn, is the single cloud for us, that augurs the whirlwind of the coming Trojan rout.

Then spent the afternoon, or some of it, contemplating sacrificial virgins.  We have decided to write the easy version of the paper - that is, the chunk that will be the easiest to write, about S1 Buffy - and see if we can find a journal that wants it.

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Archelochus and the changing will of Zeus

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.

Antilochus, the Iliad's Mary Sue

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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Rhesus, Isos, and Antiphos

Odysseus (wearing the pilos hat) and Diomedes stealing the horses of Thracian king Rhesus they have just killed. Apulian red-figure situla by the Lycurgus Painter, ca. 360 BC. Stored in the Museo Nazionale Archaeologico in Naples. Français : Ulysse (portant le pilos) et Diomède volant les chevaux du roi thrace Rhésos qu'ils viennent de tuer. Situle apulienne à figures rouges du Peintre de Lycurgue, vers 360 av. J.-C. Conservé au Musée national archéologique de Naples. (Photo credit: Wikipedia)

The improbable exploit of Diomedes and Odysseus against Rhesus is next.  (I say improbable, because how likely is it that one man could kill thirteen men with an edged weapon, I don't care how tired they are, without the screams and thrashings of at least one of them waking up the rest? Also, Rhesus and his men were sleeping closest to the enemy ships; why on earth didn't they post a sentry? But I digress.)

Oswald's translations, as always, vivid and spot-on.  Homer describes the Thracian weapons as κάλα and κέκλιτο εὖ κατὰ κόσμον, 10.472; she translates as ""cleaned and layed down like cutlery" (κέκλιτο εὖ κατὰ κόσμον, 10.472), quite wonderful, as is her description of Diomedes killing the Thracians, "red faced quietly like a butcher keeping up with his order/Got rid of them", instead of "As a lion springs furiously upon a flock of sheep or goats when he finds them without their shepherd" as Homer has it.  (ὡς δὲ λέων μήλοισιν ἀσημάντοισιν ἐπελθὼν

αἴγεσιν ἢ ὀΐεσσι κακὰ φρονέων ἐνορούσῃ, 10.485-486),.  However then Oswald goes on to use a sheep image involving wolves for Odysseus & Diomedes; ; this one from Patroclus' aristeia and the Greeks are chasing the Trojans all the way back to Troy and the Trojans are scattering terrified.  Odysseus & Diomedes are presumably the wolves; the sheep are the Thracians, their shepherd is Rhesus; but they're all asleep.  Perhaps "wolves" rather than lions in a gesture towards the wolf-skin poor craven Dolon was wearing.

Oswald skips the first two deaths in Agamemnon's aristeia in book 11, Bienor and Oileus his charioteer, and moves on to Isos and Antiphos, whom she doesn't mention are sons of Priam, one legitimate, one not.  They're farmboys, who got taken on a great adventure once when Achilles captured them and took them to meet Agamemnon. They came home "proud as astronauts", joined the army, and were killed by Agamemnon.

The wave-simile she then uses is used in Homer of Hector at the ships in book 15, raging around the Greeks; in Oswald the focus isn't the wave, but the sailors engulfed in it, "star(ing) at mid-air"; poor Isos and Antiphos, never expecting this.

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The death of the pathetic Dolon

Dolón atrapado por Odiseo y Diomedes. Museo Británico (Photo credit: elaios2008)

Oswald condenses 150 lines of Homer (the Doloneia) into 17, and includes pretty much everything essential.  (since she isn't interested in Odysseus or Diomedes).  She's skipped ahead 2 books, but nobody has died since Archeptolemos in Book 8: in the end of Book 8 the Greeks ran back to their ships, Book 9 is the embassy to Achilles, and Book 10 begins with the night councils. Finally two scouts sent out by Agamemnon, Diomedes & Odysseus, meet the scout sent out by Hector, Dolon, and Oswald picks up at the death scene.

I haven't been saying much about the death scenes, which are the whole point, or so I thought the first time I read Memorial.  Here Oswald begins with the mourning of women ("What was that shrill sound/Five sisters at the grave/ Calling the ghost of Dolon"), tells remarkably compactly the story of Dolon, "ugly but quick", caught by Odysseus and Diomedes and desperately telling them everything he knows, where the Trojans are, where the allies are, where Rhesus and his beautiful chariot and armour and wonderful horses are, offering a ransom, offering anything, and then they kill him anyway ("And was still pleading for his head/ When his head rolled in the mud").  She doesn't mention Odysseus or Diomedes; here as frequently elsewhere, the identity of the killer is not what Memorial focusses on. 

The simile, of the fly that keeps coming back to bite some more no matter how often it's warded off, is initially from the battle over the body of Patroclus (again); Menelaus is given the courage and persistence of an especially irritating fly by Athena.  This simile is transferred to the persistent and irritating Dolon, who however gets squashed.

This is the first place where I've found Homer's use of a simile a little more interesting than Oswald's, only because giving Menelaus the courage and persistence of a fly - meant positively - is so counter-intuitive; where describing Dolon, who does keep trying, desperately, over and over, to save his own life by telling them absolutely everything, and in Homer as in Oswald is both pathetic and contemptible, an insect in his little ferret-skin cap, it's an obvious comparison. Perhaps I'm missing something.

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Wanted short term: a charioteer for Hector

Menelaus Supporting the Body of Patroclus (Photo credit: rjhuttondfw)

Hector's lost two charioteers in 200 lines now, Eniopeus and Archeptolemos, both when someone took a shot at Hector and missed, and he will lose Cebriones in book 16 in the fight around Patroclus.  Might as well just paint a target on their armour (the breastplate, just under the nipple; that's how the first two went, at least). 

Oswald uses a "burning city" simile here, which she imports from the battle around Patroclus, which I couldn't place until I had a look at Bruce Louden's book, "The Iliad: Structure, Myth and Meaning" (Johns Hopkins University Press, Baltimore 2006).  Thank you,  Google Books.  Must read the rest of it.

Oswald has already used the following simile from this scene, in which Menelaus & Meriones are compared to mules, dragging a heavy log from a mountain.  But the Trojans and the battle they bring are fire engulfing them like a city; and of course like the fire that is going to engulf their city as a result of the death of Patroclus, because now Achilles is going to kill Hector, and after that, all falls.  I must take a look at how many of the similes she uses are drawn from the fight around the body of Patroclus, the one whose death is the most greatly mourned of all, if you measure by "causing more deaths that are described in the Iliad".  Beginning to wonder if where I started - that the whole Iliad can be read as a lament for Hector - was a misreading, and actually it can all be read as a lament for Patroclus, from which Hector's death (among others) results.

I am stunned as always by the brilliance of Oswald's retranslation.  Here's a literal translation:

And the battle was stretched against them savage as fire
That rushing on a city of men rising up suddenly burns it up, and the houses diminish
in a great blaze; and the force of the wind makes it roar.

Now here's Oswald (p. 32):

Like fire with its loose hair flying rushes through the city
The look of unmasked light shocks everything to rubble
And flames howl through the gaps 

So why this simile here? I think because she talks about Archeptolemos' absence, and then moves to the gaps in the walls caused by the fire, and the flame roars through the gaps; Archeptolemos' death is one of the gaps that's been created by the fire/war, and we can see the war through the gap in the defenses he's left behind.  I think.

(Thinking about this next morning): The flame has fed on Archeptolemos, and can now burn even hotter and brighter, because it's been fed by his death, and because he is not there to help defend against it; so there's a gap in the wall for the fire to get in. But this is all in Homer too, whom I am daily appreciating more.

(After conversation with Lauren) Completely missed the coolest thing about this simile: the "loose hair flying" rushing through the city is an image of a woman in mourning; the "unmasked light" is the anakalupsis of the bride.  The fire, like a woman in mourning, like a bride whose husband is lost, rushes through the city, howling.  And so Oswald reintroduces women, and mourning women, into a part of Homer that only has men.

data tidying

Similes (Photo credit: teotwawki)

Spent an hour tagging all of the various Homeric texts Oswald has used so as to have a sortable list of them.  This doesn't work quite as well as I had hoped, but oh well.  It is so easy to waste days, weeks, months fiddling with one's table of data instead of, you know, actually writing anything, because it's so much easier to tweak some tags and figure out how to print it out just so and should I put the texts that are similes in a different font, or the same font?  Or should I double-tag them "similes" too?  Is there some way to print that out?  Hey, wouldn't it be interesting to put this in, like, a graph, and show where she's getting all the texts from - oh I know, it would be even better to have TWO graphs, one for the similes and one for the death scenes, and show what order she's putting them in in the poem, and the death scenes  are linear but the similes are from all over the place, or wait, are they?  maybe I could have ANOTHER graph that shows the narrative order of the similes by book, and then ... or maybe I could, you know, actually write something.

So, why don't I pause and make a few general comments now (of the sort that I may back up with charts! And tables!  But not now):  So far the deaths are coming from (so far) books 5 through 8.  She's skipped a couple, well actually only one I think (Eioneus, beginning of Bk 7); but except that one, all the named deaths in those books are in "Memorial", and in the order given by Homer.  She sometimes gives the name of the parents of the dead, sometimes not, but if the mother's name is given she always records it.  She often doesn't bother to give the name of the killer, where in Homer that's usually the whole point (since the death is part of someone's aristeia.)

The similes on the other hand are drawn from all over the shop, and I have not looked for an order yet; interesting if there is one.  The similes are all drawn from "famous scenes" - battle over the body of Patroclus; the battle at the ships; the weaving-woman simile that everyone knows - and she always repurposes them, by attaching them to unknowns, and often by reversing the subject and object, or otherwise targeting them differently.  But she isn't making up any similes out of whole cloth; they're all Homeric too, so far.

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the rainbow

Greeks and Troyans fighting for the corpse of Patroklos - detail (Photo credit: Wikipedia)

No more men die in book 6, so Oswald jumps to the beginning of Book 7, where Paris and Hector re-enter battle after visiting their wives and Paris has killed his man, Menesthius, in the first 10 lines.   She mentions his mother Phylomedusa but not his father, here as elsewhere emphasizing women wherever they're named (and it's rare enough) and describes Paris as "running in a love-rage towards him/ With the smell of Helen still on his hands".  And it's here that she uses the simile from book 17, of Athena coming to the Greeks like a rainbow, a "bright banner of disruption" sent by Zeus, to stir them up to fight for Patroclus' body.  And again, what?

In context, aside from (again) assimilating a simile from a famous death, Patroclus, to the death of someone who gets 3 lines in the Iliad and that is all, ever, his name is mentioned only here once at his death - but in context, it seems as if Paris, or perhaps indeed Helen, is the rainbow, the one that perhaps only portends a minor disruption of work, a summer storm; or perhaps portends a war.  If Paris, he portends both a war, and the death of Menesthius; more than a minor disruption.  you can't tell until the omen, a rainbow, Helen, Paris running across a field towards you, is fulfilled.

Or ... (later thought) ... obviously Helen is an interruption to Paris' work, a 'bright banner of disruption' - as we are reminded by Hector, scolding him for running off to shag Helen when he should be out here killing people.  As we are reminded by Oswald, who has Paris running towards poor Menesthius with Helen still on his hands.  Duh. Helen is Paris' rainbow; Paris is Menesthius'; Athena has not yet come to the Greeks.

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