analysis of Demodokos as an idealization of an artist by the art form of epic
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Odysseus as implicitly the “best of the Achaeans” in the epic compositions of Demodokos, and Odysseus’ earning the title for what he did within the Odyssey rather than at Troy
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analysis of the song of Demodokos on the neikos of Achilles and Odysseus as compared with themes that surface in the Iliad, and in terms of a tradition that contrasted the heroic worth of Odysseus and Achilles in terms of mētis and biē
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comparison of the themes in the quarrel of Odysseus and Achilles in Demodokos’ song with those in the embassy scene in I.09 in an argument for the existence of a common epic heritage on the enmity between Achilles and Odysseus on which they draw
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analysis of the passage against the background of the patterns of traditional diction to do with pēma and Dios boulē, and Demodokos’ alluding to an Iliad that would have featured Odysseus as the prime offender of Achilles and his chief resentment as centering on the slighting of his biē
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analysis of the name of Achilles, as associated with pēma decreed by the Will of Zeus
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analysis of the references to Delphi in the Odyssey, the thematic correlation of the death of Achilles with Delphi/sacrifice/quarrel, and its parallels to a variant myth about the death of Pyrrhos
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analysis of Achilles’ (and the Aeacids) connections with the themes of dais and neikos, and comparison of this passage on the song of Demodokos with the Cypria and Achilles’ and Agamemnon’s quarrel at the beginning of the Iliad
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analysis of Achilles’ connections with the themes of dais and neikos, and comparison of this passage on the song of Demodokos with Odysseus’ words regarding dais to Achilles in I.09.225-228
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analysis of the thematic correlation of the death of Achilles with Delphi/sacrifice/quarrel and its parallels to a variant myth about the death of Pyrrhos, of Achilles’ (and the Aeacids) connections with the themes of dais and neikos, and the song of Demodokos on the quarrel of Achilles and Odysseus as incorporating Delphic lore
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Odysseus’ and Achilles’ quarrel as serving as a context to define the themes of mētis of Odysseus and biē of Achilles (comparison with the neikos of Hesiod and Perseus in W&D)
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comparison of Demodokos’ first song with the newer Iliad, both featuring Zeus as the implicit hymnic subject of the epic about the Trojan War, inspired by a singular Muse and subsuming the divine agency of Apollo under the Plan of Zeus----- Merged Content -----
The genitive of oimē 'thread' here marks the point of departure for the performance of the first song of Demodokos.
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Here oimē can be translated as ‘song’ in the context of analyzing the meanings of prooimion, oimos, oimē.
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analysis of the parallelism of Odysseus’ restarted outpouring of tears and Demodokos’ restarted epic, and of the plot of the epic about the Trojan War as equated with the prophecy of Apollo and the plan of Zeus----- Merged Content -----
argument that oimos/oimē/prooimion and humnos derive from roots referring to fabric making, and the metaphors of fabric making for composition of song----- Merged Content -----
analysis of the metaphors from weaving for the composition of song, here especially oimē as ‘thread’----- Merged Content -----
analysis of Demodokos’ first and third song as parts of the same humnos, restarted, provoking the same response of tears in Odysseus, and Zeus as the cause of the pains and as the ultimate hymnic subject----- Merged Content -----
analysis of the kind of epic that the first song of Demodokos is, that is, older kind of epic analogous to what would have been introduced by the Homeric Hymns----- Merged Content -----
analysis of the kind of epic that the first song of Demodokos is, that is, older kind of epic, in the context of arguing that the poetic form of the epic of Demodokos is cognate with the poetic form of the epic Cycle----- Merged Content -----
analysis of the parallels between the prooimion in Herodotus and Homer (here, use of relative clauses as indirect questions)----- Merged Content -----
analysis of the dais of the Phaeacians as a stylized festival, here with reference to its epithet thaleiēi----- Merged Content -----
argument that a hymnic prooimion is not obligatory if Zeus is the implied hymnic subject authorizing the epic, here exemplified by Demodokos’ first and third song
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comparison of the Cypria and Demodokos’ first and third song in terms of the Plan of Zeus as the frame of narration for the Trojan War
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analysis of the Plan of Zeus as a sign of Homeric poetry
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analysis of the Plan of Zeus, here Hector’s not returning to Andromache (in these verses) as the most special and most Iliadic view of the Plan of Zeus, and its being connected with the Plan of Zeus in the singing of Demodokos
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analysis of the dais of the Phaeacians as a stylized festival