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By Seth L. Schein
'Homeric Epic and its Reception', comprising twelve chapters - a few formerly released yet revised for this assortment, and others showing the following in print for the 1st time - bargains literary interpretations of the Iliad, the Odyssey, and the Homeric Hymn to Aphrodite.
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36 35 Kakridis 1954: 111. I am grateful to Nancy Felson for criticism and suggestions that improved this essay. 1 Page (p. ’ There is a sequel in which the hero mocks the giant and is almost captured by him. Page concludes that the story told in Odyssey 9 differs from the common tale in five main particulars: (1) Polyphemos eats his victims raw, not cooked on a spit; (2) he is blinded by a heated olive-wood stake, not by the spit used for the cooking; (3) he is put to sleep by ‘excessive indulgence in wine’ (p.
421–2). As I have already pointed out, this passage recalls the scene in Book 17 where the horses stand motionless in mourning for Patroklos. 791–2). Then ôïF ä’ Iðe ìbí ŒæÆôeò ŒıíÝÅí âܺå ÖïEâïò Úðüººøí· äb ŒıºØíäïìÝíÅ ŒÆíÆåcí åå ðïóódí ç’ ¥ððøí ÆPºHðØò ôæıçܺåØÆ, ìØÜíŁÅóÆí äb ŁåØæÆØ Æ¥ìÆôØ ŒÆd ŒïíßÅØóØ· ðÜæïò ªå ìbí ïP ŁÝìØò qåí ƒððüŒïìïí ðÞºÅŒÆ ìØÆßíåóŁÆØ ŒïíßÅØóØí, Iºº’ Iíäæeò ŁåßïØï ŒÜæÅ åÆæßåí ôå ìÝôøðïí Þýåô’ ÚåغºBïò. 795 Phoibos Apollo threw the helmet from his head, and the plumed headpiece with holes for the eyes clattered as it rolled 29 Kim 2000: 44 n.
V. v. çıºßÅ. 7 Segal 1962: 62 n. 31 (cf. 63 n. 41) mentions ‘the saving aspect of the olive tree for Odysseus’. 190–1, 195, 204, ‘an elaborate recurrent image which punctuates . . the narrative, marks its major stages . . by symbols evoking the idea of death and rebirth’. Dimock 1963 [1956]: 72 speaks of ‘the fruitfulness . . hinted at . . particularly by the image of the olive’. 8 It is worth noting that both the absence of a metal spit and Polyphemos’ eating his victims raw emphasize an important trait of the giant: his technological primitiveness.