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Table of Contents: List of the Table of List of Books 1. List of the Table 1. Apercy and peripheral phrase 2. Des Solesty (бјЂОіОЇ 4. (2): О» П… 9. Adjectives representing beauty (3): ОєО±О»ОјОї, ОєО±О»ПЂО¬ 10. Relatives 11. бЅђПЂО± ОО± 12. Consideration about the derogatory name of relatives and the derogation of beauty 2. Name Helen Appendix 3. Appendix about motifs 4. Helen's epic quotation index index name / regional index in lyric poems

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Toward Helen's personality in Lowel Edmans Homeros

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Editor: Franco Montanari, Antonios Lengacos Deputy Editor: Stabross Frang Ridis, Faust Montana, Lara Pagani, Selena Perone, Evinna Sistakou, Curos Tsugaris, Alberto Bernabe, Margalete Villa Beck Clords Karame, Jonas Golestrain, Philip R. Hardie Stephen J. Harrisso n-CHRISTINA KRAUS GIUSEPPE MASTROMARC O-GREGORY THEODORE D. PAPANGHELIS TITMARS h-bernhard zimmermann

Intilation of Helen's characteristics in Homeros, inverted legal name, noun-official of epic

ISBN 978-3-11-062602-5 E-ISBN (PDF) 978-3-11-062612-4 E-ISBN (EPUB) 978-3-11-062648-3 ISSN 1868-4785 German National Library Published Books Information Information The German National Library publishes this publication in Deutsche NationalBibliography. Detailed bibliographic data is available on the Internet (http://dnb. dnb. de). В© 2019 Walter de Gruyter Gmbh, Boston Editorial Office: ALESSIA FERRECCIO, Katerina Zianna Logo: CHRISTOPHER SCHNEIDER Reck www. degruyter. com Did you like this paper and download? You can release your own PDF file for free for a few minutes! sign up

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Toward Helen's personality in Lowel Edmans Homeros

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Intilation of Helen's characteristics in Homeros, inverted legal name, noun-official of epic

ISBN 978-3-11-062602-5 E-ISBN (PDF) 978-3-11-062612-4 E-ISBN (EPUB) 978-3-11-062648-3 ISSN 1868-4785 German National Library Published Books Information Information The German National Library publishes this publication in Deutsche NationalBibliography. Detailed bibliographic data is available on the Internet (http://dnb. dnb. de). В© 2019 Walter de Gruyter Gmbh, Boston Editorial Office: ALESSIA FERRECCIO, Katerina Zianna Logo: CHRISTOPHER SCHNEIDER Reck www. degruyter. com Did you like this paper and download? You can release your own PDF file for free for a few minutes! sign up

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Toward Helen's personality in Lowel Edmans Homeros

Classic tide-another volume

Intilation of Helen's characteristics in Homeros, inverted legal name, noun-official of epic

Helen's Helen's Homeros epic, which is handled in this book, is the first stage of Helen's personality in "Ilias" and "Odysseia". While studying these derogations, it is immediately unable to understand Helen's name, euphemistic name, such as "Sisters in Warriors," and the terms that represent Helen's remorse. It was revealed. Such a reference to Helen is made by the characters of the epic. Most of the characters describe Helen is "ARGIVE" (10/13x). Helen's other derivative is by the narrator. The name of Helen (23x), which does not accompany a derogatory, is not a neutral one, always reflects a specific viewpoint (13/23x) or a narrator's perspective (10/23X). Before the study of Helen's speech, there is a chapter on other methods that refer to Helen, including the derogatory term "arguive". The guideline for my research on the derogatory was the question of whether the context was meaningful. In conclusion, Brian Hainzworth's arbitration seems to be correct: "but in most cases, these vitality is within the scope of relevance, except" ОєО±О» 15. 123). " It is not a derogatory name. This conclusion is another answer by many other people to the concept of Milman Parry's "Des Solesty,". Helen's Helen's Homeros epic, which is handled in this book, is the first stage of a larger study on Helen's personality in "Ilias" and "Odysseia". While studying these derogations, it is immediately unable to understand Helen's name, euphemistic name, such as "Sisters in Warriors," and the terms that represent Helen's remorse. It was revealed. Such a reference to Helen is made by the characters of the epic. Most of the characters describe Helen is "ARGIVE" (10/13x). Helen's other derivative is by the narrator. The name of Helen (23x), which does not accompany a derogatory, is not a neutral one, always reflects a specific viewpoint (13/23x) or a narrator's perspective (10/23X). Before the study of Helen's speech, there is a chapter on other methods that refer to Helen, including the derogatory term "arguive". The guideline for my research on the derogatory was the question of whether the derogatory term had meaning in context. In conclusion, Brian Hainzworth's arbitration seems to be correct: "but in most cases, these vitality is within the scope of relevance, except" ОєО±О» 15. 123). " It is not a derogatory name. This conclusion is another answer by many other people to the concept of Milman Parry's "Des Solesty,". Helen's Helen's Homeros epic, which is handled in this book, is the first stage of Helen's personality in "Ilias" and "Odysseia". While studying these derogations, it is immediately unable to understand Helen's name, euphemistic name, such as "Sisters in Warriors," and the terms that represent Helen's remorse. It was revealed. Such a reference to Helen is made by the characters of the epic. Most of the characters describe Helen is "ARGIVE" (10/13x). Helen's other derivative is by the narrator. The name of Helen (23x), which does not accompany a derogatory, is not a neutral one, always reflects a specific viewpoint (13/23x) or a narrator's perspective (10/23X). Before the study of Helen's speech, there is a chapter on other methods that refer to Helen, including the derogatory term "arguive". The guideline for my research on the derogatory was the question of whether the context was meaningful. In conclusion, Brian Hainzworth's arbitration seems to be correct: "but in most cases, these vitality is within the scope of relevance, except" ОєО±О» 15. 123). " It is not a derogatory name. This conclusion is another answer by many other people to the concept of Milman Parry's "Des Solesty,".

He was anonymous and was not called Homeros (Graziosi 2002: 21-50; West 2011b [1999]: 413-21). (In this monograph, the name "Homeros" is sometimes used as a metonim of Copath consisting of "Ilias" and "Odyssey"). Gregory Nagy (Gregory Nage) proposed another evolution model a long time ago. He distinguished the five stages where https: //doi. org/10. 1515/9783110626124-202 gradually decreased.

The fluid oral text is a completely fixed text of Aristo Calcos (Nage 1992, Rev. In Nage 1996A; Nage 1996B: Ch. 5; Defended in Nage 2014). This model is accepted and reconstructed in the English translation of Basel's English translation (Bierl 2015: 21-31). The results of this research on Helen's derogatory can be explained in any of these models, but does not apply to one of the arguments. Few people now deny the pr e-history of oral art. This previous history is often called "tradition" and is the basis of the time of the time (see "for" Tradition "). This monograph tries to interpret Helen's derogatory names in a time and context, and its traditional or inherited meaning is sometimes indicated, but adds a meaningful depth. Not only can it not be possible, but it concludes that it is a wrong guidance. (The term "symbolic" is quoted from the application of the concept of traditional reference by Kelly 2007: 9-14.) The quote from T. W. Allen is the quote of "Odysseia". гѓ» It clearly states that there is a divergence from the muer text. Most Greek nouns and adjectives are indicated in Latin or Latin translation. The monograph began as a joint project with Kristen Bakster (Pennsylvania State University). She had to decline due to time, but she is grateful for her first cooperation. Thanks to Aaron Beck-Schachter, he was anonymous, not called Homeros (Graziosi 2002: 21-50; West 2011b [1999]: 413-21). (In this monograph, the name "Homeros" is sometimes used as a metonim of Copath consisting of "Ilias" and "Odyssey"). Gregory Nagy (Gregory Nage) proposed another evolution model a long time ago. He distinguished the five stages where https: //doi. org/10. 1515/9783110626124-202 gradually decreased.

The fluid oral text is a completely fixed text of Aristo Calcos (Nage 1992, Rev. In Nage 1996A; Nage 1996B: Ch. 5; Defended in Nage 2014). This model is accepted and reconstructed in the English translation of Basel's English translation (Bierl 2015: 21-31). The results of this research on Helen's derogatory can be explained in any of these models, but does not apply to one of the arguments. Few people now deny the pr e-history of oral art. This previous history is often called "tradition" and is the basis of the time of the time (see "for" Tradition "). This monograph tries to interpret Helen's derogatory names in a time and context, and its traditional or inherited meaning is sometimes indicated, but adds a meaningful depth. Not only can it not be possible, but it concludes that it is a wrong guidance. (The term "symbolic" is quoted from the application of the concept of traditional reference by Kelly 2007: 9-14.) The quote from T. W. Allen is the quote of "Odysseia". гѓ» It clearly states that there is a divergence from the muer text. Most Greek nouns and adjectives are shown in Latin or Latin translation. The monograph began as a joint project with Kristen Bakster (Pennsylvania State University). She had to decline due to time, but she is grateful for her first cooperation. Thanks to Aaron Beck-Schachter, he was anonymous, not called Homeros (Graziosi 2002: 21-50; West 2011b [1999]: 413-21). (In this monograph, the name "Homeros" is sometimes used as a metonim of Copath consisting of "Ilias" and "Odyssey"). Gregory Nagy (Gregory Nage) proposed another evolution model a long time ago. He distinguished the five stages where https: //doi. org/10. 1515/9783110626124-202 gradually decreased.

The fluid oral text is a completely fixed text of Aristo Calcos (Nage 1992, Rev. In Nage 1996A; Nage 1996B: Ch. 5; Defended in Nage 2014). This model is accepted and reconstructed in the English translation of Basel's English translation (Bierl 2015: 21-31). The results of this research on Helen's derogatory can be explained in any of these models, but does not apply to one of the arguments. Few people now deny the pr e-history of oral art. The previous history is often called "tradition" and is the basis of the time of the tim e-related interpretation (see "Introduction" for "Tradition"). This monograph tries to interpret Helen's derogatory names in a time and context, and its traditional or inherited meaning is sometimes indicated, but adds a meaningful depth. Not only can it not be possible, but it concludes that it is a wrong guidance. (The term "symbolic" is quoted from the application of the concept of traditional reference by Kelly 2007: 9-14.) The quote from T. W. Allen is the quote of "Odysseia". гѓ» It clearly states that there is a divergence from the muer text. Most Greek nouns and adjectives are indicated in Latin or Latin translation. The monograph began as a joint project with Kristen Bakster (Pennsylvania State University). She had to decline due to time, but she is grateful for her first cooperation. Thanks to Aaron Beck-Schachter,

Table of contents . п„І п„± п„і п„± п„±.п„ґ

Adjective and inverted method п—° 15 ПЌ ПЌ О№ п—° 15 ПЌОјП†О± П†ОЇ ОЇ 16 П†ОЇ О вЂњDear ChildвЂќ And Slip; бј„ П‚ and бј„ П‡ бј„ бј„ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ е°Ћ пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€

Call for contempt п—° 26 ОєОјО®О±ОЅ Оє 26 ОєoПѓО· (Il. The meaning of Пѓ ОіОµ О® п—° 30 Пѓ П„ ОЇ (I) . 1. 414) п—°31 ПЌП‰ОЅ (I. 6. 344, 356) п—° 33 П… ПЂО№ and affair п—° 36 ОјОїОјПЃ (I. 24. 773) п—° 38 Conclusion п—° 39

бј€ОіОЇ п—° п—° 40 вЂњAlgiv HelenвЂќ as a legitimate claim п—° 42 вЂњAlgiv HelenвЂќ in вЂњOdysseiaвЂќ п—° 46 вЂњArgiv HelenвЂќ in the context of the home п—° 46

"Arguive Helen" as a past person п—° 49 Conclusion п—° 50 Appendix п—° 50

THE NAME HELEN UNMODIFIED п—° 52 Helen and the War п—° 52 THREE SCENES п—° 56 Helen as a wife п—° 62 Conclusion п—° 63

О”бї–О± ОіП…О± О№ О№ бї¶ бї¶ бї¶ бї¶ бї¶ бї¶ п—° й« й« й« й« й« й« й« п—° п—° п—° п—° п—° п—° п—° п—° п—° п—° п—° п—° п—° п—° п—° п—°

П„О±ПЌПЂОµПЂО» "Long Cloth": п—° 73 "гѓ‡О±ПЌПЂОµПЂО» 74" Odysseyia "15. 305 п—° 77 Helen in Odysseia

Other descriptions representing beauty (1): бј О° ОјОї п—° 81 End type used for people other than Paris 81 Helen as the husband of "White Helen with Herry" п—° 87 Conclusion п—° 88 Appendix: бј‘ 'бј П‹' бј П‹ОјОї ПЊ ПЊ ПЊ ПЊ п—° 89

Others about beauty (2): Helen's О» П… п—° 93 вЂњWhite ArmвЂќ in Helen in вЂњOdysseiaвЂќ 96 Helen 96 Athena 101 Conclusion п—° 101

Beauty (3): ОєО±О»ОјОї, ОєО±О»О¬ О¬ О¬ 103 ОєО±О»ОјОї 103 ОєО±О»ПЂО¬ 105

Comparison of formal behavior of ОєО±О»ОјОї and О±О±О»ПЂО¬ 110 Conclusion п—° 112 п—° 114 бј‘ бЅё бЅё ОіО±бї–О±бї–О± О”бЅё бј° бј° ОіПЊ ((426) п—° 116 Оґ бЅёОіП…бї–О±П…бї–О± (Odyssey 4. 184) п—° 118 О”бЅёОіОіОµОіОµО±П…бї–О± (Odyssey 4. 219), Оґ П…ОіО¬ (Odyssey 227) п—° 119 Оґ бЅёОіОµОіО±П…бї–О± (Odyssey 23. 218) п—° 124

бЅђПЂО± ОµО± п—° п—° п—° п—° п—° п—° п—° </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> О± п—° п—° 128 In the catalog of Odysseus Another example, parallel in "Kipria" п—° 129 Conclusion п—° 132

Consideration about the epic and beauty of beauty п—° 134 Holding Dimension п—° 140 Conclusion п—° 144

Supplementary Remarks 1: Helen's epic in Homeros п—° 151 Sogo 2: п—° 153 Appendix 3: Motif п—° 155 Appendix 4: Helen's epic in poetry п—° 157 quotes п—° 159 Index Nominum et Rerum п—° 171 Index Locorum п—° 173

Abbreviation B Bakes BK

B-S-V 2003 CHANTRAINE CHICAGO HOMER D-F DGE2 DINDORF EM ERBSE Оµt. Magne. Eust.

FriedlГ¤nder Frisk H

Hansen He LFGRE LIMC "A." Former behavior of ОјО±О»ПЂО¬ 110 Conclusion п—° 112 бј‘ Оґ бЅё 114 бј‘ ОіП…О±бЅёО±бЅёО±бЅёО±бЅёО±бЅё Оі Оі Оі П…ОіО±бї–О± (Elius 3. 418), Оє бј° О±бј° ОіПЊПЊ (426 ) п—° 116 ОґОіОµОіОµО±П…бї–О± (Odyssey 4. 184) п—° 118 Оґ Оґ Оі Оі П…бї–О±П…бї–О± (Odyssey 4. 219), Оґ бЅё П… П… П… (Odyssey 227) п—° 119 ОґОіОіО±2 18) п—° 123 Conclusion п—° 124

Consideration about the epic and beauty of beauty п—° 134 Holding Dimension п—° 140 Conclusion п—° 144

Abbreviation B Bakes BK

B-S-V 2003 CHANTRAINE CHICAGO HOMER D-F DGE2 DINDORF EM ERBSE Оµt. Magne. Eust.

FriedlГ¤nder Frisk H

Hansen He LFGRE LIMC "A." ОєО±О»ОјОї and ОєО±О»ПЂО¬ 110 Conclusion п—° 112 Colonial Equipment О± (Ilias 3. 418), Оє бЅё бј° бј° ОіПЊ ((426) п—° 116 О” бЅё бјђОіОµО±П…бї–О± (Odyssey 4. 184) п—° 118 Оґ бјђ бјђ Оі П…бї–О±П…бї–О± (Odyssey 4. 219), Оґ П…ОіО¬ (Odyssey 227) 3 Conclusion п—° 124

бЅђПЂО±ОО± п—° п—° п—° п—° п—° п—° п—° п—° </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> </s> О± п—° п—° 128 In the catalog of Odysseus Another example, parallel in "Kipria" п—° 129 Conclusion п—° 132

Consideration about the epic and beauty of beauty п—° 134 Holding Dimension п—° 140 Conclusion п—° 144

Supplementary Remains 1: Helen's epic in Homeros п—° 151 Specifications 2: п—° 153 Appendix 3: Motif п—° 155 Appendix 4: Helen's epic in poetry п—° 157 quotes п—° 159 Index Nominum et Rerum п—° 173

Abbreviation B Bakes BK

B-S-V 2003 CHANTRAINE CHICAGO HOMER D-F DGE2 DINDORF EM ERBSE Оµt. Magne. Eust.

FriedlГ¤nder Frisk H

Hansen He LFGRE LIMC "A."

BernabГ©, Albertus, ed. 1987. Poettum epicorum Graecocum: testimmonia et fragmenta. Leipzig: Tubner. Brains, Robert S. P. 2010. п‚®гѓЄг‚· qiп¬Ѓnected, г‚ў locratecy driverate п¬Ѓ-F. Leadenпјљ Brill. Basler Kommentar = Latacz, Joachim and Anton Birl, eds. гѓ›гѓјгѓгѓгѓрќ‘Ѓг‚¤г‚ўп‚ўs г‚№П‚raгЂЏе…І TV: Basler Comman (BK)п¬Ѓntze-Chent (1868вЂ“1913)п‚їв„ўs Treasy: Surveys: Four гѓЃв„ўn: Survey. Berlin: the Gruyter. BrГјgger, Claude, Magdalena Stovesand and Edzard Visser. 2003. Birl and Latacz, eds. 2000- . security е·»пј€Book 2пј‰гЂ‚Fasc. 2пј€relatedпїЅвЂ‰вЂ‰ received пЂ‚Minich: Surget. Chanticine, Pierre. 1968-1980. Dictionnary alignary alignificance the la long-time glorque: historically all you have to. 2 full. Paist: Klincksick. Ahuvia Kahane and Martin Mueller, eds. The Chicago Homer. http://homer. library. northwestern. eu/ Davies, Malcolm, ed. 1988. Epicocorum Graecorum fragmenta. Givenпјљ Vandenhoeck and Regulator. Davies, Malcolm and P. J. Finglass. 2014 Stechorus: The Poms. Cambridge: Cambridge University Press. Adrados, Francisco R. ed. 2008- . Dicciario graino gravespaГ±ol. % qi. гѓћгѓЄгѓјгѓ‰: Consent Superior the Submitted CentatГ¬fix. Dindorf, Wil helmet. 1755 Oxford: Clares Press. Ranks, Curt, ed. 1977-. Encycledia or Fairy Tales: Hand Dictionary or Histrical and Comparative Narrative Research. 14 full. Berlin: the Gruyter. Erbse, Hartmut. 1969. Schoolia Graeca in Homeri Iliadem (schoolia Vetera). 7 full. Berlin: the Gruyter. Etymologic Magnum. Eastathy

пѓљпѓјп‚ёпЂ‚494-529.

XII п—± Л•иЄћ LIMC'

SLG п‚№ вЂx cer cer with charcingcing

"HГ©lГЁne" = Kahil, Lilly. 1988. In John Boardman et al. Eds., Lexicon iconographicum mythology classice. In Limc IV. 1 Zurich: Artemis. pp. 498-563. "Menelaos" = Kahil, Lilly. 1997. In Limc VIII. 1 (Suppl.). Pp. 834-41, PLS. 562-65. Boardman, John et al. 1981-1999. Lexicon iconographicum mythology classice. 9 Vols. Zurich: Artemis. Latacz, Joachim, RenГ© NГјnlist and Magdalena Stoevesandt. 2000. In Bierl and Latacz, eds. 2000-. Vol. 1 (Book 1). Fasc. 2 (Commentary). Munich: Saur. Most, Glenn W. 2006-2007. HesioD: The Shield; Catalog of Women; Other Fragments. Meillet, A. and J. Vendryes. 1963 3rd ed. Paris: Librairie Ancienne Paris: LibraiRie Ancienne HonorГ© Champion. Paduano, Guido and Maria Serena Mirto. 1997. Omero: Iliad. Turin: Einaudigallimard. Montanari, Franco. 2013. Vocabulary of the Greek language. Vocabulary of the Greek language. 3rd ed. Turin: Loescher. Merkelbach, Reinhold and M. L. West. 1967 Oxford: Clarendon Press. Neri, Camillo and Federico Cinti. 2017. Sappho: poems, fragments and testimonies. Santarcangelo di Romagna: Rusconi. NГјnlist, RenГ© and Irene J. F. De Jong. 2000. "Homerische Poetik in StichwГ¶rtern." In graf et al. 2000: 159-71 = BK vol. 1. Oed Online = Oxford English Dictionary online. http://www. oed. com. Paduano, Guido and Maria Serena Mirto. 1997. Omero: Iliad. Turin: Einaudigallimard. Page, Legislative Decree 1962. Poetae Oxford: Clarendon Press. Davies, Malcolm.

Fan del Falk Marquinus 1971-1987. 4 Vols. Leiden: Brill. West, M. L. 2013. The Epic Cycle: The Epic Cycle: a Commentary on the Lost Troy Epics.

List of Table 1: Arguv's Helen CH. 3 | 40 Tab. 2: Helen's Speech Ch. 4 | 59 Tab. : Helen: The derogatory name of beauty, with the speaker, ch. 8 | 97 tab. 5: "White arm" ch. 8 | 99 Tab. Chapter 3 and Odysseia Chapter 4 Seekens ch. 10 | 118 Tab. 8: Des Signant for Helen's beauty Ch. 12 | 135 Tab. Kipria, comparison with the lyric poem CH. 12 пЅњ 137 Tab. 10: Helen's relatives deroved: frequency, distribution, speaker ch. Note of Homeri Ilianem. 4 Vols. Leiden: Brill. West, M. L. 2013. The Epic Cycle: The Epic Cycle: a Commentary on the Lost Troy Epics.

List of Table 1: Arguv's Helen CH. 3 | 40 Tab. 2: Helen's Speech Ch. 4 | 59 Tab. : Helen: The derogatory name of beauty, with the speaker, ch. 8 | 97 tab. 5: "White arm" ch. 8 | 99 Tab. Chapter 3 and Odysseia Chapter 4 Seekens ch. 10 | 118 Tab. 8: Des Signant for Helen's beauty Ch. 12 | 135 Tab. Kipria, Comparison with Lyric Poetry CH. 12 пЅњ 137 Tab. 10: Helen's relatives deroved: frequency, distribution, speaker ch. 12 пЅњ 139 Fan del Farkinus 1971-1987. Note ". 4 Vols. Leiden: Brill. West, M. L. 2013. The Epic Cycle: The Epic Cycle: a Commentary on the Lost Troy Epics.

List of Table 1: Arguv's Helen CH. 3 | 40 Tab. 2: Helen's Speech Ch. 4 | 59 Tab. : Helen: The derogatory name of beauty, with the speaker, ch. 8 | 97 tab. 5: "White arm" ch. 8 | 99 Tab. Chapter 3 and Odysseia Chapter 4 Seekens ch. 10 | 118 Tab. 8: Des Signant for Helen's beauty Ch. 12 | 135 Tab. Kipria, comparison with description in lyric poems Ch. 12 пЅњ 137 Tab. 10: Helen's relatives deroved: Frequency, distribution, speaker ch. 12 пЅњ 139

Introduction This research mainly deals with Helen's Homeros epic, asks what context it and how it contributes to Helen's personality. Helen is also characterized by other methods, especially its speech. Research on Helen's personality (Fr. Personnage, Germ. Figur, Ital. Personaggio, Span. However, when Helen gives a speech, Helen is already known to other characters and the audience, whether Helen's name is described in the preference in the preference. Helen's most common speech in Ilias, and is used by more speech than any other speech, is the бјЂОіОЇОЇ "Argive", especially from Acaia's perspective, as a subject of Helen. It is pointed as a prey in which the war fights (Chapter 3). Furthermore, the name Helen has not been changed in 23 times out of 59 times (including Оїd. 19x, including IL. 40x, 23. 81A, 23. 81A). In this usage, Helen is not neutral, but always reflects the specific viewpoint or speaker's point of view of the characters. The definition of Epithet adopted by Milman Parry from Ferdinan Brunno includes Helen T. In order to handle Helen's Helen's Homeros epic, asks how they have the meaning in the context and how they contribute to Helen's personality. Helen is also characterized by other methods, especially its speech. Research on Helen's personality (Fr. Personnage, Germ. Figur, Ital. Personaggio, Span. However, when Helen gives a speech, Helen is already known to other characters and the audience, whether Helen's name is described in the preference in the preference. Helen's most common speech in Ilias, and is used by more speech than any other speech, is the бјЂОіОЇОЇ "Argive", especially from Acaia's perspective, as a subject of Helen. It is pointed as a prey in which the war fights (Chapter 3). Furthermore, the name Helen has not been changed in 23 times out of 59 times (including Оїd. 19x, including IL. 40x, 23. 81A, 23. 81A). In this usage, Helen is not neutral, but always reflects the specific viewpoint or speaker's point of view of the characters. The definition of Epithet adopted by Milman Parry from Ferdinan Brunno includes Helen T. Introduction This research mainly deals with Helen's Homeros epic, asks what context it and how it contributes to Helen's personality. Helen is also characterized by other methods, especially its speech. Research on Helen's personality (Fr. Personnage, Germ. Figur, Ital. Personaggio, Span. However, when Helen gives a speech, Helen is already known to other characters and the audience, whether Helen's name is described in the preference in the preference. Helen's most common speech in Ilias, and is used by more speech than any other speech, is the бјЂОіОЇОЇ "Argive", especially from Acaia's perspective, as a subject of Helen. It is pointed as a prey in which the war fights (Chapter 3). Furthermore, the name Helen has not been changed in 23 times out of 59 times (including Оїd. 19x, including IL. 40x, 23. 81A, 23. 81A). In this usage, Helen is not neutral, but always reflects the specific viewpoint or speaker's point of view of the characters. The definition of Epithet adopted by Milman Parry from Ferdinan Brunno includes Helen T.

п—±п—± 1 Finkelberg 2011. 3: 819: Speech is a "main means of features". 2. Contrary to the Parry 1971 [1928]: 140: "... The audience became indifferent to which fixed derogatory name was used in a certain line. This indifference is used and omitted. It complements the indifference that I felt (emphasized). 3 OED S. V. "Epithet" 4. b. (OED Online version September 2015). Dee 2000 includes these epithet in Helen's list. 4 Brunot 1922: 633. (Parry 1971 [1928a]: 153 n. 1: "... Brunot's definition includes various uses of words called epic in Greek and Latin poems. It has sufficient accuracy and size. " 2. Contrary to the Parry 1971 [1928]: "... The audience was indifferent to the fixed derogatory name. See Epithet on Helen 2000 (OED online version), which complements the indifference. Included 4 BRUNOT 1922: 633. Including usage, it has sufficient accuracy and size "https://doi. org/10. 1515/978310626124-001 2. Contrary to the Parry 1971 [1928]: "... The audience was indifferent to the fixed derogatory name. See the OED S. V. "Epithet" (OED online version September 2015). 4 Brunot 1922: 633. Includes a usage and has sufficient accuracy and size to define it. "Https://doi. org/10. 1515/978310626124-001.

2 п—± The Homeric prefaces for Helen are О”О№бЅёП‚ ОёП…ОіО¬П„О·ПЃ and ОєОїПЌПЃО· О”О№ПЊП‚. Three levels of derogatory names for Helen can be distinguished, ranging from disapproval to approval. At the lowest level are all derogatory names, except those used by Helen herself, by Aphrodite (Ill. 3. 414), and by Achilles (Ill. 19. 325). At the middle level is the ethnic бј€ПЃОіОµОЇО·, the most common name for Helen, used by nine speakers. There are also family names (ch. 1). At the highest level are derogatory names that praise her beauty and those that indicate her status as the daughter of Zeus. At this level is also the metaphor that compares Helen to Artemis the golden spindle. The level is consistently speaker-related. The insults come from the sources just mentioned. Anyone can call Helen бј€ПЃОіОµОЇО·, so to speak, and of course the members of Helen's Trojan family use the proper title for her (Helen names her Trojan kin appropriately). The epithets that glorify Helen are all speaker-specific, with the exception of Achilles (Il. 9. 339) and Athena (Od. 22. 227, but not for the purpose of praising Helen, Chapter 8). Similarly, the epithets of kinship are all speaker-specific, with the sole exception of Penelope (Od. 23. 218). The formula for Helen's epithets of kinship is largely manifested in the "subtle rhetoric of the invisible but powerful narrator."

Regarding the views on the distinction between Homeros and the speaker in the epic, Edmunds 2014: 5-6. I am discussing. 8 Nage 1976: 247-48; NAGY 1999 [1979]: 17: Singer knowledge comes from the muse. See the Griffin 1980: 18, 128-30 and his Index S. V. "Divine Perspective". GonzГЎlez 2013: 7. 2. 3 (singer, a tool of muse). Regarding the distinction between Homeros and speakers in epic poems, Edmunds 2014: 5-6. He discusses this approach. 8 Nage 1976: 247-48; NAGY 1999 [1979]: 17: Singer knowledge comes from the muse. See the Griffin 1980: 18, 128-30 and his Index S. V. "Divine Perspective". GonzГЎlez 2013: 7. 2. 3 (singer, a tool of muse). Regarding the views on the distinction between Homeros and the speaker in the epic, Edmunds 2014: 5-6. I am discussing. 8 Nage 1976: 247-48; NAGY 1999 [1979]: 17: Singer knowledge comes from the muse. See the Griffin 1980: 18, 128-30 and his Index S. V. "Divine Perspective". GonzГЎlez 2013: 7. 2. 3 (singer, a tool of muse).

He studied the names of the gods, the usage of ОёПЊ and ОґО±ОЇОјО©ОЅ, and found that the narrator was distinguished from himself and the characters expressed as the narrator. They don't know the identity of the gods who usually recognize that they are intervening in their own problems (they use ОёПЊ or О”О±ОЇОјО©ОЅ), but the narrator, and eventually his audience is always accurate. I know. He knows what the gods know and tells the audience. The narrator talks about the truth about Helen. The narrator talks about Helen's truth. The proposal for Helen's research on the meaning of the derogatory name reveals an old controversy. As is well known, Milman Parry has denied that it is meaningless to have a fixed or decorative derogatory name (distinguished from a identified derogatory name). Regarding further discussions and the classification of Helen's derogatory name using the PARRY method, he strongly asserted this point as evidence of the oral texture, inherited by the traditional evidence of this poet (. In other words, this point was extremely important for his papers on the style that is not original. Parry's view was immediately objection to 12. п—±п—± 9 JГ¶rgensen 1904: 381 "Gezetsu". La He studied the names of the gods, the usage of ОёПЊ and ОґО±ОЇОјО©ОЅ, and found that the narrator was distinguished from himself and the character expressed as a narrator. They don't know the identity of the gods who usually recognize that they are intervening in their own problems (they use ОёПЊ or О”О±ОЇОјО©ОЅ), but the narrator, and eventually his audience is always accurate. I know. He knows what the gods know and tells the audience. The narrator talks about the truth about Helen. The narrator talks about Helen's truth. The proposal for Helen's research on the meaning of the derogatory name reveals an old controversy. As is well known, Milman Parry has denied that it is meaningless to have a fixed or decorative derogatory name (distinguished from a identified derogatory name). Regarding further discussions and the classification of Helen's derogatory name using the PARRY method, he strongly asserted this point as evidence of the oral texture, inherited by the traditional evidence of this poet (. In other words, this point was extremely important for his papers on the style that is not original. Parry's view was immediately objection to 12. п—±п—± 9 JГ¶rgensen 1904: 381 "Gezetsu". La studied the names of the gods, the usage of ОёПЊ and ОґО±ОЇОјО©ОЅ, and found that the narrator was distinguished from himself and the characters expressed as the narrator. They don't know the identity of the gods who usually recognize that they are intervening in their own problems (they use ОёПЊ or О”О±ОЇОјО©ОЅ), but the narrator, and eventually his audience is always accurate. I know. He knows what the gods know and tells the audience. The narrator talks about the truth about Helen. The narrator talks about Helen's truth. The proposal for Helen's research on the meaning of the derogatory name reveals an old controversy. As is well known, Milman Parry has denied that it is meaningless to have a fixed or decorative derogatory name (distinguished from a identified derogatory name). Regarding further discussions and the classification of Helen's derogatory name using the PARRY method, he strongly asserted this point as evidence of the oral texture, inherited by the traditional evidence of this poet (. In other words, this point was extremely important for his papers on the style that is not original. Parry's view was immediately objection to 12. п—±п—± 9 JГ¶rgensen 1904: 381 "Gezetsu". La

Affirmation of Homer the Artist to Parry A quarter century later, Combellack wrote about the conflict between literary critics and the Parryites: "Conscious that in post-Homeric literature the adjectives used by the great poets usually mean something..., critics have naturally tried to treat Homeric poetry in the same way; and, in the post-Parry period, this kind of criticism is no longer so simple, but [it]... still appears... in various forms" (Combellack 1959: 196; cited by A. Parry 1971: lv.). In 1967, Albert Lord, in "Homer the Oral Poet," criticized Anne Amory Parry's (A. A. Parry 1966) treatise on the interpretation of Homer as "subjective criticism." She responded to Lord with a piece entitled "Homer the Artist" (A. A. Parry 1971; see Hoekstra 1991: 471-72 for the debate). 1971

4 п—± Prepositions for the same character or object, which may reflect compositional decisions, were obvious cases. Parry discusses this phenomenon, but is of course skeptical: "the special meaning of equivalent derogatory terms is by no means a necessary conclusion"13. He finds only three formulaic phrases that cannot be explained "by analogy or word association", along with several cases that do not occur frequently enough to draw conclusions from the distribution of derogatory terms14 (such as the single use of Helen's ОєО±О»О»О№ПЂО¬ПЃЗјОїП‚ вЂ‹вЂ‹in Od. 15. 123; see Chapter 9). For Parry, the contextual irrelevance of equivalent derogatory terms was a given at this point in his overall argument. Although scholars have argued against Paris's idea of вЂ‹вЂ‹equivalent epics, 16 few today would deny that the Homeric epics can have contextual meaning. When we combine these formulas for Helen with the first semisyllable бј€ПЃОіОµОЇО·/ОЅ бј™О»ООЅО·/ОЅ, we find a fairly complete repertoire, or "system."

In the preface to his father's collection, A. Parry participated in the controversy from the perspective of literature criticism. He has rarely criticized after Calfoon, saying, "I understand both the existence of the standard and the poetic effect, and to show how it has become part of the artistic configuration (A. PARRY 1971: LXII). Parry's quote: Armstrong 1958; N. Austin 1966; Whitman 1958 Chapter 10; his two papers (A. Parry 1956; A. Parry 1966). In the first half of this preference (Lv N. 2), Parry quoted A. A. Parry 1973 as a recent publication. The historic sketches mentioned now covers almost the first 40 years of reaction to M. Parry. 13 Parry 1971A [1928]: 155. 14 Parry 1971A [1928]: 187. 15 Parry 1971A [1928]: 187: 176. 31-39; Shanko 1981 (Refer to Boedeker 1974 and Shannon 1975: 251 N. 6); Cosset 1983; Schmiel 1984 (Reply to JANKO 1981) Sacks 1987: 161-75 Olson 1994 (response to Janko 1981); SBARDELLA 1994 (especially for the use of the quantitative equivalent in some Homeros hymns 26-27). HAINSWORTH 1978: 45 n. 5 story. The position of Jahn 1987 is slightly different. At the end of the research on бј¦, бї†, бї†, ОєО±etch, ПЂО±ПЂОЇ, ПЂО±ПЂОЇ, П†О±, ОёП…, ОјО, ПЊ, П…, П…, П…, П…, П…, П…, П…, П…, П… П…, he examines the possibility of meaning and reached the following compromise. I am. п—±п—± In the preface to his father's collection, A. Parry participated in the controversy from the perspective of literary criticism. He has rarely criticized after Calfoon, saying, "I understand both the existence of the standard and the poetic effect, and to show how it has become part of the artistic configuration (A. PARRY 1971: LXII). Parry's quote: Armstrong 1958; N. Austin 1966; Whitman 1958 Chapter 10; his two papers (A. Parry 1956; A. Parry 1966). In the first half of this preference (Lv N. 2), Parry quoted A. A. Parry 1973 as a recent publication. The historic sketches mentioned now covers almost the first 40 years of reaction to M. Parry. 13 Parry 1971A [1928]: 155. 14 Parry 1971A [1928]: 187. 15 Parry 1971A [1928]: 187: 176. 31-39; Shanko 1981 (Refer to Boedeker 1974 and Shannon 1975: 251 N. 6); Cosset 1983; Schmiel 1984 (Reply to JANKO 1981) Sacks 1987: 161-75 Olson 1994 (response to Janko 1981); SBARDELLA 1994 (especially for the use of the quantitative equivalent in some Homeros hymns 26-27). HAINSWORTH 1978: 45 n. 5 story. The position of Jahn 1987 is slightly different. At the end of the research on бј¦, бї†, бї†, ОєО±etch, ПЂО±ПЂОЇ, ПЂО±ПЂОЇ, П†О±, ОёП…, ОјО, ПЊ, П…, П…, П…, П…, П…, П…, П…, П…, П… П…, he examines the possibility of meaning and reached the following compromise. I am. In the preface to his father's collection, A. Parry participated in the controversy from the perspective of literature criticism. He has rarely criticized after Calfoon, saying, "I understand both the existence of the standard and the poetic effect, and to show how it has become part of the artistic configuration (A. PARRY 1971: LXII). Parry's quote: Armstrong 1958; N. Austin 1966; Whitman 1958 Chapter 10; his two papers (A. Parry 1956; A. Parry 1966). In the first half of this preference (Lv N. 2), Parry quoted A. A. Parry 1973 as a recent publication. The historic sketches mentioned now covers almost the first 40 years of reaction to M. Parry. 13 Parry 1971A [1928]: 155. 14 Parry 1971A [1928]: 187. 15 Parry 1971A [1928]: 187: 176. 31-39; Shanko 1981 (Refer to Boedeker 1974 and Shannon 1975: 251 N. 6); Cosset 1983; Schmiel 1984 (Reply to JANKO 1981) Sacks 1987: 161-75 Olson 1994 (response to Janko 1981); SBARDELLA 1994 (especially for the use of the quantitative equivalent in some Homeros hymns 26-27). HAINSWORTH 1978: 45 n. 5 story. The position of Jahn 1987 is slightly different. At the end of the research on бј¦, бї†, бї†, ОєО±etch, ПЂО±ПЂОЇ, ПЂО±ПЂОЇ, П†О±, ОёП…, ОјО, ПЊ, П…, П…, П…, П…, П…, П…, П…, П…, П… П…, he examines the possibility of meaning and reached the following compromise. I am.

It is also economical except for the wel l-known exception of Helen's three reply in Volume 3 (Chapter 6 В§1) and another exception (already quoted ОєО±О»ПЂО¬О¬пј‰). Helen's name-Epitetet fixed phrase is still a normal scheme. Furthermore, at least one of the other characters, except for Helen's derogatory name (бїҐОіОµО± ОґО± О® 19. 325; ch. 2В§3), is the same as one of the other characters. The following Helen's paralytic analysis of the epic has two purposes: Providing a Survey of epic discussed in this monograph, and how they configure the systems of Paraly. It is to show. Before that, we will conduct a simple quantitative survey. In this survey, the data of "Ilias" and "Odysseia" is added. This is because Helen uses the same epitese in both episodes, except for a very small number of exceptions (Chapter 6, 3, Chapter 10, and 7). Parry's scheme is simply obeyed for explanation. The general definition of Homeros, which has become an interest in academic since the Parry era, would not be useful for this purpose. There are two aspects of Parry's job: his first standard, and a mouthwriting label derived from regular research. Nowadays, regular research has receded, and research on Homerus's aspects, especially performance, is on the front. 19 Except for the wel l-known exception of Helen's three times in Volume 3 (Chapter 6 В§1) and another exception (already quoted ОєО±О»ПЂО¬), it is economical. It is. Helen's name-Epitetet fixed phrase is still a normal scheme. Furthermore, at least one of the other characters, except for Helen's derogatory name (бїҐОіОµО± ОґО± О® 19. 325; ch. 2В§3), is the same as one of the other characters. The following Helen's paralytic analysis of the epic has two purposes: Providing a Survey of epic discussed in this monograph, and how they configure the systems of Paraly. It is to show. Before that, we will conduct a simple quantitative survey. In this survey, the data of "Ilias" and "Odysseia" is added. This is because Helen uses the same epitese in both episodes, except for a very small number of exceptions (Chapter 6, 3, Chapter 10, and 7). Parry's scheme is simply obeyed for explanation. The general definition of Homeros, which has become an interest in academic since the Parry era, would not be useful for this purpose. There are two aspects of Parry's job: his first standard, and a mouthwriting label derived from regular research. Nowadays, regular research has receded, and research on Homerus's aspects, especially performance, is on the front. 19 is also economical, except for the wel l-known exception of Helen's three reply in Volume 3 (Chapter 6 В§1) and another exception (already quoted ОєО±О»ПЂО¬О¬пј‰). Helen's name-Epitetet fixed phrase is still a normal scheme. Furthermore, at least one of the other characters, except for Helen's derogatory name (бїҐОіОµО± ОґО± О® 19. 325; ch. 2В§3), is the same as one of the other characters. The following Helen's paralytic analysis of the epic has two purposes: Providing a Survey of epic discussed in this monograph, and how they configure the systems of Paraly. It is to show. Before that, we will conduct a simple quantitative survey. In this survey, the data of "Ilias" and "Odysseia" is added. This is because Helen uses the same epitese in both episodes, except for a very small number of exceptions (Chapter 6, 3, Chapter 10, and 7). Parry's scheme is simply obeyed for explanation. The general definition of Homeros, which has become an interest in academic since the Parry era, would not be useful for this purpose. There are two aspects of Parry's job: his first standard, and a mouthwriting label derived from regular research. Nowadays, regular research has receded, and research on Homerus's aspects, especially performance, is on the front. 19

п—±п—± </s> </s> </s> </s> Official including speech system". The usage of Parry's "system" is inconsistent. See M. SALE 2001: 59-60. 18 New Definition: Especially HAINSWORTH 1968, that is, has already been defined while A. Parry is alive, and he has cited this book for the time being (1971: Xlix N. 3) гЂ‚ He was also a previous paper (1964) (XXXIIIIi N. 1, Again XLIX N. 3), Hoekstra 1965 (XXI N. 2, XXXIIIi N. 1, XLIX N. 3), Russo 1963 , Russo is also quoted in 1966. FRIEDRICH 2011: FRIEDRICH 2011: 54-57 will be the peak of NAGLER 1974, following the gradual expansion of Parry's standard theory. For the overview of this field of Homeros research, see Russo 1997; Edwards 1997, especially pp. 272-77; russo 2011; Finkelberg 2012; Bozzone 2015: 16-24. Bakker 1997: 159 N. 9 : 57 says: "Debackul is from the friction of the form, brought an alternative function in form theory. Their claim is here." "Friedrich 2007 is an example. Finkerberg 2004 focuses on the standard form of mout h-i n-law literary theory, and how to expand the fixed definition by the standard research (Visser 1987, VISSER 1989, Bakker 1997, which is also discussed). It is a historic resonae that shows whether there is a tendency to weaken oral theory. She follows Hoekstra 1965 and HAINSWORTH 1968 (Cantilena 1982, W. Sale 1989, Finkelb 1997).

The name of the quantitative survey uses 53 derogers in Homeros. This number also includes the names used by the narrator and the characters to name Helen. It also includes a derogatory name for Helen itself, which is three times in the oblique в†Єl_110в†©ma (IL. 6. 344, 24. 773; OD. 4. 145). Only once has a form without her name (Od. 4. 227). The list of her derogers is as follows. 2 0-ОјОјОјбј„ 1x Il. -бј€ОіОЇ 9x IL. Od. -ОјОјОї 7x IL. -ОєО±О»О±ОЅ 1x IL., 1x Od. ПЌП‰ОЅ 2X IL. - О» П… 1x Il., 1x Od., 1x Od. -бїҐОіОµО±О± 1X Il. вЂ‹вЂ‹-Пѓ Пѓ 1x Il. -Пѓ 1x 1x 1X Il. вЂ‹вЂ‹-П„О±ПЌО± 1x Il., 2X OD. It contains ОёП…ОіО¬ and Оє ПЊ. П„ (Il. 24. 761; explanation in Chapter 11), the derogatory name used by Hector on Helen, ОіП…П… бЅђО® (П… 3. 48 [to paris])) and ОёО±О» ПЂО±О¬ (IL. 3. 53 [to paris]) Paris]) 21 (See Chapter 1 В§5 for other words that mean "wife".) О ОїО±П„ (Оїd. 15. 126) is another problem (see Chapter 9 В§2). In other words, this study is a different derogatory term in "Ilias" and "Ilias".

п—±п—± 20 This list is different from the list of the cruiser 1976: 41-44 in two points: (1) Doses of insults, (2) бјЂОіОЇ, Оґ, and бјђОіОµОіО±П…бї–О±, and бјђОіОµОіО±П…бї– П…бї–. 21 Clader 1976: 41-44 lists бјЂОіОЇ, Оґ, ОґmaП…бјђmaОЇma Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі Оі sho, the derogatory term used in Helen by other characters and narrators.

Helen with epic in the second half of hexameter п—± 7

Odyssey Helen has the derogatory titles listed here 35 times in the Iliad and 17 times in the Odyssey. Some of the derogatory titles for Helen appear only in the Iliad: бј П…ОєПЊОјОїП‚, ОєО±ОєОїОјО®П‡О±ОЅОїП‚, ОєОїПЌПЃО· О”О№ПЊП‚, ОєПЃП…ПЊОµО№П‚, ОєПЌП‰ОЅ, бїҐО№ОіОµОґО±ОЅО®, ПѓП„ОµП…ОіОµПЃО®, ПѓП‡ОµП„О»ОЇО·. Six of the eight are derogatory titles, five of which are attributable to Helen herself: "О”О№бЅёП‚" and "ОєО±О»О»О№ПЂО¬ПЃбїѓОїП‚" ("I am the daughter of Zeus"); "I am the daughter of Zeus" ("I am the daughter of Zeus"); "I am the daughter of Zeus" ("I am the daughter of Zeus"); "I am the daughter of Zeus" ("I am the daughter of Zeus"); "I am the daughter of Zeus" ("I am the daughter of Zeus"); "I am the daughter of Zeus" ("I am the daughter of Zeus"); "I am the daughter of Zeus" ("I am the daughter of Zeus"). There is also the ethnic "Argive" and Оґбї–О± ОіП…ОЅО±бї–ОєП‰ОЅ. Helen's name occurs 23 times in the Iliad and Odyssey (App. 2), without a derogatory title. Homer has five instances where Helen has two derogatory titles in the same line: in Il. 3. 228 and Od. 4. 305, she is called Оґбї–О± ОіП…ОЅО±бї–ОєП‰ОЅ and П„О±ОЅПЌПЂОµПЂО»ОїП‚; in Od. 4. 184 and 23. 218, she is called бј€ПЃОіОµОЇО· and О”О№бЅёП‚ бї–О±; and in Od. 22. 227, she is called О»ОµП…ОєПЋО»ОµОЅОїП‚ and ОµЕђПЂО±П„ОПЃОµО№О±. There is also an instance where Helen has three derogatory titles (ОєП…ОЅбЅёП‚ ОєО±ОєОїОјО·П‡О¬ОЅОїП… бЅЂОєПЃП…ОїОПѓО·П‚, Il. 6. 343). (In the Hesiodian Catalogue, Helen is called бј€ПЃОіОµОЇО· and Д П…ОєПЊОјОїП‚ three times in the same line. 22 In a line of an anonymous lyric fragment, Helen is called Оґбї–О± and ПЂОїО»П…ОЅОµО№ОєО®П‚ (fr. adesp. 96 PMG).

Helen's name with epic in the second half of the hexameter Parry's paradigm of the noun-epic formula is the formula from the troche or feminine kesra to the end of the line. 23 All the main characters in the Iliad and the Odyssey have a noun-epitate formula beginning with a simple consonant, filling the stanza from the troche kesra in the third leg to the end of the stanza, if their names can fit into the second half of the stanza with the epithet... 24, Оґбї–ОїП‚ (- бЅ€ОґП…ПѓОµПЌП‚) (- вЏ‘ - -) (60x), ПЂОїО»ПЌОјО·П„О№П‚ (бЅ€ОґП…ПѓОµПЌП‚ (вЏ‘ - вЏ‘ -) (81x), ПЂОїО»ПЌПѓОµПЌП‚ (бЅ€ОґП…ПѓОµПЌП‚ (вЏ‘ - вЏ‘ -) (38x). At the end of a lengthy footnote, he includes бј™О»ООЅО· in a list of eleven names of prominent Homeric characters that fall outside these systems. 25 п—±п—± 22 Fr. 200. 2 M-W = 156e. 2 M (not in H); fr. 204. 43, 55 M-W = 110. 43, 55 H = 155. 43, 55 M. 23 Parry 1971a[1928]: 9-13. 24 Parry 1971[1930]: 277. 25 Parry 1971[1930]: 278 sub fin. (i. e. n. 2 at the top of the previous page).

It is the only introduction of the 8 п—± list that has a measurement form of вЏ‘вЏ‘, which can be used as the beginning of the nouns that fills the second half of the scales after the male noun or five-syllamred quasura. Therefore, Helen's name is not an absolute barrier to the Hemistic type. Among the combinations of Helen's name and Epitate, the most commonly used in this position is бј‘ бј‘ ПЂПЊoПЊОјОїОї, and before that, it becomes бјЂО±О±ОЅОґ, бјЂО±ОЅО± ПЂПЊoПЊОјОї (6x).

In the "Hesiodos Catalog", this formal deformation appears 5 times, бјЂОіОЇ ПЊ ПЊОјПЊО± [О№ бј П… ПЊОјПЊОјОї "" to be the husband of fire-haired argive helen "26 or ОјП‰О©ОЅ О· ПЂПЊПЊбј” ОјОµО±О№ "Desiring to be the husband OF Fairhaired Helen 27 This Hesiodos deformation does not accompany the бј П… ОјОї бј П… ОјОї йџі зЇЂ зЇЂ. "27 This Hesiodos variant is not accompanied by the length of Homeros in front of бј‘ бј‘ бј‘ бј‘ бј‘ бј‘ бј‘ йџі йџі йџі йџі йџі зЁ® зЁ® 2 2 2 2 2 2 2 2 2 2 2 2гЂ‚гЂ‚гЂ‚ It is stated: "The poets were not aware of the time itself, but were quite aware of the reflections in the languag e-proven standard, and as a free change. In interpretation, it has been used as a measured option. "29, the poet used by the poet in the Homeros standard in the discussion in the discussion. (If Hesiodos fits his purpose, he would have done the same 31). It is the only introduction of the poet in the 8 п—± list, which has a measurement form of вЏ‘вЏ‘, so it is a noun that fills the second half of the scales after the male noun or the five-syllamredes. Can be used as the beginning. Therefore, Helen's name is not an absolute barrier to the Hemistic type. Among the combinations of Helen's name and Epitate, the most commonly used in this position is бј‘ бј‘ ПЂПЊoПЊОјОїОї, and before that, it becomes бјЂО±О±ОЅОґ, бјЂО±ОЅО± ПЂПЊoПЊОјОї (6x).

In the "Hesiodos Catalog", this formal deformation appears 5 times, бјЂОіОЇ ПЊ ПЊОјПЊО± [О№ бј П… ПЊОјПЊОјОї "" to be the husband of fire-haired argive helen "26 or ОјП‰О©ОЅ О· ПЂПЊПЊбј” ОјОµО±О№ "Desiring to be the husband OF Fairhaired Helen 27 This Hesiodos deformation does not accompany the бј П… ОјОї бј П… ОјОї йџі зЇЂ зЇЂ. "27 This Hesiodos variant is not accompanied by the length of Homeros in front of бј‘ бј‘ бј‘ бј‘ бј‘ бј‘ бј‘ йџі йџі йџі йџі йџі зЁ® зЁ® 2 2 2 2 2 2 2 2 2 2 2 2гЂ‚гЂ‚гЂ‚ It is stated: "The poets were not aware of the time itself, but were quite aware of the reflections in the languag e-proven standard, and as a free change. In interpretation, it has been used as a measured option. "29, the poet used by the poet in the Homeros standard in the discussion in the discussion. (If Hesiodos fits his purpose, he would have done the same 31). It is the only introduction of the poet in the 8 п—± list of 8 п—±, which has a measurement form of вЏ‘вЏ‘, so it is used as the beginning of the second and a half scales after the male noun or five-syllamredes. can. Therefore, Helen's name is not an absolute barrier to the Hemistic type. Among the combinations of Helen's name and Epitate, the most commonly used in this position is бј‘ бј‘ ПЂПЊoПЊОјОїОї, and before that, it becomes бјЂО±О±ОЅОґ, бјЂО±ОЅО± ПЂПЊoПЊОјОї (6x).

п—±п—± 26 FR. 200. 2 m-W = 156e. 2 m (not in H); FR. 204. 43, 55 m-W = 110. 43, 55 H = 155. 43 In the two inscriptions excavated from the 28 Sparta Menerion, the initial Digamma Helen is found: SEG 26: 457-58; 36: 356. 175, 182. Nicole Raneses is a recent book, arguing that the next word cannot be read as Helen from the end of "Оґ 'О¬'ДЃ'О О П‡) П‡О±ПЃ [Н Н]) f (О»О±). HAINSWORTH 1993: 267 (ONIL. 11. 369: О±Е‘О±ОЅО±ОЅО± ПЊПЊПЊ ПЊ ОјОї ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ ПЊ. In the epic, в†Є в†Є Lu_1f- is implied by omitting the vowel (29 times in 58 times). REECE 2009: 316 ON бј”ПЂОµО±. 30 Hoekstra 1989: 197: Od. 14. 68, about the Helen of Digamma in the two inscriptions in the 6th century: "For the epic, if Helen's abduction was one of its old themes, However, the traces of such a Digameter must have been the most prominent in Homeros. Helen's abduction is the central motif of her story, and is argued at Edmunds 2016a that it may be derived from the European epic in India. 31 See the following discussions.

Helen's name with epic in the second half of hexameter п—± 9

By writing Helen's name in the second half of Hexameter, Helen's name can be remembered. Parry states: ... [T] Digamma was lost from the early Greek hero poem, as it was lost from everyday conversation. гЂ‚ But the singers, which had to be strictly and had to compose in a very conservative poems, were still using old phrases and nodes because they were how to make their poems.

The poet may also find a way to make up for the loss. 34 Other name-epitite types in the second half of the line are: 1x Od.) - Eleni enek' eykomio (1x Il.) - Eleni ПЂО¬ПЃО± ОєО±О»О»О№ОєПЊОјОїО№Ої (1x Od.) - Eleni П†ОПЃОµ, ОґО№О± ОіП…ОЅО±О№ОєП‰ОЅ (1x Od.) - Eleni ПЂПЊПѓО№П‚/ОЅ eykomio (6x Il.) - Eleni enek' eykomio; (1x Il.) We can compare Kirk's tally of the epithetes for Aphrodite with 35, 5x Il., 1x Od.) - Aphrodite (miscellaneous) (5x Il., 5x Od.) - Aphrodite the Goddess (5x Il., 1x Od.) - Aphrodite, daughter of Dio (8x Il., 1x Od.) - ОµП‹ПѓП„ОµП†О¬ОЅОїП… П„' О‘П†ПЃОїОґОЇП„О·П‚ (1x Od.), cf. ОµП‹ПѓП„ОµП†О±ОЅОїП‚/ОїП… ОљП…ОёОПЃОµО№О±/О±П‚ (2x Od.) The fourth and fifth items in this list are semisyllables extending from the trochГЁre or feminine kesura to the end of the line, and fall under Parry's rule cited above. (П†О№О»ОїОјОјОµО№ОґО·П‚ and О”О№ОїП‚ ОёП…ОіО¬П„О·ПЃ are metrically interchangeable36) Nevertheless, Aphrodite follows such a rule. п—±п—± 32 So the "anraut with 'positionsbildendem' etymologischem Digamma" (Krieter-Spiro 2009: 120 on Il. 3. 329) is not the whole truth. 33 Parry 1971[1934]: 393. For the disappearance of digamma especially in front vowel position, see S. West 1988: 70, lines 3-4. 34 Reece 2009: For an example of ОЅ-ephelcystikon (and its extensive consequences through a meta-analysis), see Reece 2009: 178-89. 35 Kirk 1985: 326, with some amplification of alternative forms and references. See also another, somewhat fuller (but less convenient for present purposes) table of derogatory names for Aphrodite: Boedeker 1974: 20. 36 This violation of economy is the subject of Kirk's discussion.

10 п—± Although there are very few examples for Helen, it is clear that her derogatory names belong to the same description as those for the other major characters.

Helen Helen with a descriptive term in the first half of the hexameter Parry defines a much smaller noun-descriptive term pattern occurring between the beginning of a line and a kesra in the quintet, which is always used as the subject of the verb in the previous line. 37 The metrical form of the name Helen makes such a pattern impossible, but something similar is again achieved by the pattern between the beginning of a line and a feminine kesra (П„О±ОЅПЌПЂОµПЂО»ОїП‚ 3x), in which the verb occurs later in the same line. бј€ПЃОіОµОЇО· бј™О»ООЅО· is the most frequent derogatory name for Helen, and there are instances where the verb is in the first half of a line and at the beginning of the next line (Il. 6. 323-24). бј€ПЃОіОµОЇО· always occurs in the first half of a line (Il. 9x, Od. 4x), but when it occurs at the beginning of a line (3x) or at the foot of the second or third line (6x), it is usually accusative (9x in total). In the latter position, the name Helen following the epithet can be, for example (Il. 7. 350): ОґОµбї¦П„бѕЅ бј„ОіОµП„бѕЅ бј€ПЃОіОµОЇО·ОЅ бј™О»ООЅО·ОЅ ОєО±бЅ¶ ОєП„О®ОјО±ОёбѕЅ бј…ОјбѕЅ О±бЅђП„Зј

or in the noun form (four times in total, two times in this position), for example (Od. 4. 184): ОєО»О±бї–Оµ ОјбЅІОЅ бј€ПЃОіОµОЇО· О”О№бЅёП‚ бјђОєОіОµО±П…бї–О±

In other words, the noun-epithet combination can itself move between initial and middle positions. Thus, Helen's formula constitutes a fairly complete syntactic repertoire, preferring the nominative case in the second half of the line and the causative case in the first half. The noun-epistate formula could also be used in the dative, but was avoided in this case; it occurs only once (бјѕПЃО№П‚ Оґ' О±бЅ–Оё' бј™О»ООЅбїѓ О»ОµП…ОєП‰О»ООЅЗї бј„ОіОіОµО»ОїП‚ бј¦О»ОёОµОЅ, Il. 3. 121). However, in a prepositional phrase in a line beginning with "вЏ• бјЂОјП†' бј™О»ООЅбїѓ", the dative is formulaic (see App. 3). п—±п—± 37 Parry 1971a[1928]: 55.

Helen with epigram in the first half of the hexameter п—± 11

Finally, let me tell you Parry's description, "Helen is the only woman in Homeros with her own characteristic derogatory." He lists as follows: 3 8-бј‘ О Оґ бЅё бЅёОіОµОіО±П…бї– О±-бјЂОіОЇ бјЂ Оі Оі ОЇ бїѓ бїѓгЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚. The three derogers listed by Parry are not Helen's characteristic. First, бјЂОіОЇОЇ ОЇ ОЇ и”‘ и”‘ бјђ бјђОіОіОµО±П…бї–О± is also used in Athena (Il. 6. 229; CF. Hes. THEOG. 76: ОґОіmaОµОіО±П…бї–О±О№, of the muses). бЅђПЂО±ОО± is also used for tilo (Od. 11. 235). In other words, these three derogers seemed to be common, although there is no abundant testimony, using terms compared to the characteristic of Parry. 39 In fact, Helen's only distinctive form is бїҐОіОµО±О®О® ("Il" 19. 331) used by Akireus. Not only has Helen has no characteristic phrase, but also from the parry rules of 40, "Most of Homeros's main heroes are a singl e-hearted name and a specific title." There is. Helen's descriptive phrase is all shared with other women, except for Helen's and Achilleus бї¤ОіОµО¬ (IL. 19. 325), except for some of the phrases that represent the accusations, but sometimes one of the other women. It is only shared with women or only one other woman. It is presumed that the reason why the same derogation is used in different women is due to the derogatory stock inherited by the composer. Finally, let me explain Paraly's description, "Helen is the only woman in Homeros with her own characteristic derogatory." He lists as follows: 3 8-бј‘ О Оґ бЅё бЅёОіОµОіО±П…бї– О±-бјЂОіОЇ бјЂ Оі Оі ОЇ бїѓ бїѓгЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚. The three derogers listed by Parry are not Helen's characteristic. First, бјЂОіОЇОЇ ОЇ ОЇ и”‘ и”‘ бјђ бјђОіОіОµО±П…бї–О± is also used in Athena (Il. 6. 229; CF. Hes. THEOG. 76: ОґОіmaОµОіО±П…бї–О±О№, of the muses). бЅђПЂО±ОО± is also used for tilo (Od. 11. 235). In other words, these three derogers seemed to be common, although there is no abundant testimony, using terms compared to the characteristic of Parry. 39 In fact, Helen's only distinctive form is бїҐОіОµО±О®О® ("Il" 19. 331) used by Akireus. Not only has Helen has no characteristic phrase, but also from the parry rules of 40, "Most of Homeros's main heroes are a singl e-hearted name and a specific title." There is. Helen's descriptive phrase is all shared with other women, except for Helen's and Achilleus бї¤ОіОµО¬ (IL. 19. 325), except for some of the phrases that represent the accusations, but sometimes one of the other women. It is only shared with women or only one other woman. It is presumed that the reason why the same derogation is used in different women is due to the derogatory stock inherited by the composer. Finally, let me tell you Parry's description, "Helen is the only woman in Homeros with her own characteristic derogatory." He lists as follows: 3 8-бј‘ О Оґ бЅё бЅёОіОµОіО±П…бї– О±-бјЂОіОЇ бјЂ Оі Оі ОЇ бїѓ бїѓгЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚. The three derogers listed by Parry are not Helen's characteristic. First, бјЂОіОЇОЇ ОЇ ОЇ и”‘ и”‘ бјђ бјђОіОіОµО±П…бї–О± is also used in Athena (Il. 6. 229; CF. Hes. THEOG. 76: ОґОіmaОµОіО±П…бї–О±О№, of the muses). бЅђПЂО±ОО± is also used for tilo (Od. 11. 235). In other words, these three deroved terms seemed to be common, using a term that compared the characteristic of Parry, despite the abundant testimony. 39 In fact, Helen's only distinctive form is бїҐОіОµО±О®О® ("Il" 19. 331) used by Akireus. Not only has Helen has no characteristic phrase, but also from the parry rules of 40, "Most of Homeros's main heroes are a singl e-hearted name and a specific title." There is. Helen's descriptive phrase is all shared with other women, except for Helen's and Achilleus бї¤ОіОµО¬ (IL. 19. 325), except for some of the phrases that represent the accusations, but sometimes one of the other women. It is only shared with women or only one other woman. It is presumed that the reason why the same derogation is used in different women is due to the derogatory stock inherited by the composer.

Formulas are "formulas conditioned by the traditional themes of oral poetry" and "meter".

12 п—± Introduction". "Traditional elements range from the immediate instance in which they occur to the rich totality of the whole tradition... and are charged with a meaning as broad and deep as the traditions they contain."43 The concept of tradition underlying these statements dates back to the theories of A. L. Kroeber (1876-1960), an anthropologist with whom Parry studied at the University of California, Berkeley (1921-1923). Kroeber's cultural theory emphasized the collective accumulation of knowledge and skills and minimized the importance of the individual. The influence of this concept on Parry is clear from his master's thesis (1923). 45 In 1952, long after Parry's death, Kroeber retracted the superorganism as an "unjustified redefinition."46 Just one year after the anthropologist made this statement, a classical scholar made the same criticism: "Instead of defining tradition, Homerists tend to redefine tradition.

The п—±п—± is produced at the time of the official, and is not the opposite. Already referring to NAGY 1976: 244: "The passive perspective suggests that the main control factors, especially Homeros, and the main control factors of the common standard, are more traditional than the current beats. "(Emphasis)). Such a conceivable standard is from a deep past, and in fact, the concept of Nagigy is based on comparative studies in Greek and Sanskrit. See NAGY 1974 (Summary of Official and Meter in 140-49). 43 Forley 1991: 6. See Edwards 1997: 275 for importing of this concept. Reference: DuГ© 2012: "All formulas are traditional, but all formulas have a lot of accumulated meaning. Traditional reference": Kelly 2007: 9-14. 44. Cruber 1917. 45 Garcia 2001: 68-69, quoted from the dissertation. 46 KROEBER 1952: 23, "KROEBER 1917" reprinted edition. GARCOA 2001: 67 states the withdrawal. (Parry died in 1935). 47 Garcia 2001: 70-71. 48 Skodel 2002: 4. 9 Redade 2018: 62-64.

Helen п—± 13

On the side of the symbol, few scholars hesitate to call the Homeros epic language as traditional. It is difficult for the Sinifian to express the opinions of the majority. According to this view, the tradition is slightly updated to the latest, but now the traditional style is ostensible. In short, the style of the synifian is traditional, and the sinifier is no n-traditional. This distinction has been proved in Helen's speech research. On the other hand, it is traditional, and on the other hand is used to mean a new Helen. As a traditional derogatory name, these derogations were brought by someone who was more powerful than the narrator, that is, the person who created "Ilias" and "Odysseia", and they created these derovation. Not 54. On the symbol, few scholars hesitate to call the Homeros epic language a traditional. It is difficult for the Sinifian to express the opinions of the majority. According to this view, the tradition is slightly updated to the latest, but now the traditional style is ostensible. In short, the style of the synifian is traditional, and the sinifier is no n-traditional. This distinction has been proved in Helen's speech research. On the other hand, it is traditional, and on the other hand is used to mean a new Helen. As a traditional derogatory name, these derogations were brought by someone who was more powerful than the narrator, that is, the person who created "Ilias" and "Odysseia", and they created these derovation. Not 54. On the side of the symbol, few scholars hesitate to call the Homeros epic language as traditional. It is difficult for the Sinifian to express the opinions of the majority. According to this view, the tradition is slightly updated to the latest, but now the traditional style is ostensible. In short, the style of the synifian is traditional, and the sinifier is no n-traditional. This distinction has been proved in Helen's speech research. On the other hand, it is traditional, and on the other hand is used to mean a new Helen. As a traditional derogatory name, these derogations were brought by someone who was more powerful than the narrator, that is, the person who created "Ilias" and "Odysseia", and they created these derovation. Not 54.

Formulas are "formulas conditioned by the traditional themes of oral poetry" and "meter".

14 п—± First, 56, which is clear at the level of typical scenes (sacrifice, meals, armed, etc.). In the same language, it describes a different character doing the same, but does not indicate that these characters are similar. Similarly, the similarity between Helen and other women is not superior to the derogatory name 57. In addition to such a limited similarity, the audience may not be out of perception, but as Helen is used in Helen in Odysseia (4. 227; Ch. 10) В§4), sometimes uses the derogatory name of others to obviously excessive sel f-consciousness. The derogatory name used in Helen is sometimes considered to belong to the class of women who do not belong to Helen (Chapter 9). What has been described in Helen's derogatory name is that there are three derogations shared with the goddess in addition to the Helen's derogatory name (Chapter 10), бЅђПЂО±ОО± (Chapter 11), which is used only for Helen and Tiro. гЂ‚ Her relatives can be seen as a choice from the inherited stock and new distribution, like her beauty epic.

п—±п—± 56 NГјnlist-de jong S. v. See вЂњTypical sceneвЂќ. 57 In such a case, Roman's "distant connection" does not work. See: LOHMANN 1970: 181: "Poirs draw a recognized connection line between somewhat poetic intentions and sometimes far away, with some poetic intentions for careful listeners and readers. Calculate for.

п„±ОјОјП†О± П† ОЇ О· О· О· О· О· О· О· ОЇ ОЇ Ої О вЂњDear ChildвЂќ, ОіПЌО±О№ вЂњLADYвЂќ 1. Both Paris and Menellius use these last names for Helen (Il. 3. 438; Od. 4. 148, 266). Helen also uses appropriate names for Priam (3. 172; later В§3) and Hector (6. 344, 355; later В§4). All of these names were born in family and marital relationships. In addition, the terms used by Helen for Troia's famil y-i n-law are to some extent to the terms used for Sparta's family (В§4). In addition to the words used by other people who call Helen and Helen, there are many words that represent Helen as a wife: ОіП…П…О® (other than a person) and the other three words (В§5). The word ОіП…П…О® is particularly referred to as a capture of POWs, which is backed by a verb meaning Helen's abduction (В§6). Finally, all the words described so far may be called Helen's "Periphrastic Denominations", but in this chapter, this phenomenon is distinguished from the name used by the person who speaks directly to Helen. п„±ОјП†О± П†ОЇО· "Dear Bride", П†ОЇ О О "Dear Child", ОіПЌО±О№ "Lady" 1. Both Paris and Menellius use these last names for Helen (Il. 3. 438; Od. 4. 148, 266). Helen also uses appropriate names for Priam (3. 172; later В§3) and Hector (6. 344, 355; later В§4). All of these names were born in family and marital relationships. In addition, the terms used by Helen for Troia's famil y-i n-law are to some extent to the terms used for Sparta's family (В§4). In addition to the words used by other people who call Helen and Helen, there are many words that represent Helen as a wife: ОіП…П…О® (other than a person) and the other three words (В§5). The word ОіП…П…О® is particularly referred to as a capture of POWs, which is backed by a verb meaning Helen's abduction (В§6). Finally, all the words described so far may be called Helen's "Periphrastic Denominations", but in this chapter, this phenomenon is distinguished from the name used by the person who speaks directly to Helen. п„±ОјОјП†О± П† ОЇ О· О· О· О· О· О· О· ОЇ ОЇ Ої О вЂњDear ChildвЂќ, ОіПЌО±О№ вЂњLADYвЂќ 1. Both Paris and Menellius use these last names for Helen (Il. 3. 438; Od. 4. 148, 266). Helen also uses appropriate names for Priam (3. 172; later В§3) and Hector (6. 344, 355; later В§4). All of these names were born in family and marital relationships. In addition, the terms used by Helen for Troia's famil y-i n-law are to some extent to the terms used for Sparta's family (В§4). In addition to the words used by other people who call Helen and Helen, there are many words that represent Helen as a wife: ОіП…П…О® (other than a person) and the other three words (В§5). The word ОіП…П…О® is particularly referred to as a capture of POWs, which is backed by a verb meaning Helen's abduction (В§6). Finally, all the words described so far may be called Helen's "Periphrastic Denominations", but in this chapter, this phenomenon is distinguished from the name used by the person who speaks directly to Helen.

п„± п„± п„± п„± Оі ПЌО±О№ вЂњLadyвЂќ Helen's husbands both call Helen ОіПЌО±О№. When Paris asks not to scold himself who failed in a single duel (3. 438), Menellius follows Helen twice (Od. 4. 148, 266). (Hector calls Andromake in 6. 441 in 6. 441. When Antenor talks to Helen on IL. 3. 204, ОіПЌО±О№ is a "lady." 3. 204, when talking to Helen on the Trojan wall, the ОіПЌО±О№ "Lady" is derived from the Akaian Xenos. As he recalls, when Menerous and Odysseus came to Troy before the battle began, he won Menellaus and Odysseus (Il. 3. 204-24; Apollod.) About the form and meaning of ПЌОјП†О±, the husband of LaodicД“ (LaodicД“), one of the daughters, and thus Helen's siste r-i n-law п—±п—± 1 ПЌОјП†О·. : 281 line 130. 2. The complete definition of Denomination is "a method in which a person is referred to by (1) or (2) by a certain noun or a series of proper nouns in a literary text" (2). De Jong 1993: 290). In this article, we will call it "Periphrastic Denomination". 3 This episode is spoken in "Cyprus" (Arg. Pp. 42. 55-57 B = P. 32. 72-74 d = P. 116 Arg. It was dramatized by Sofocles by "бј‘бјЂ ПЂО±ОЇПѓО№" ("Helen's return request") (FRS. 176-180A Radt [TRGF 4. 177-80]). Col

16 п—± Apeli ATIVES ATIVES AND PERIPHRASTIC DENOMINATIONS (IL. 3. 121-24). п„± ПЌ Оі ПЌО±О№ "Lady" Helen's husbands both call Helen ОіПЌО±О№. When Paris asks not to scold himself who failed in a single duel (3. 438), Menellius follows Helen twice (Od. 4. 148, 266). (Hector calls Andromake in 6. 441 in 6. 441. When Antenor talks to Helen on IL. 3. 204, ОіПЌО±О№ is a "lady." 3. 204, when talking to Helen on the Trojan wall, the ОіПЌО±О№ "Lady" is derived from the Akaian Xenos. As he recalls, when Menerous and Odysseus came to Troy before the battle began, he won Menellaus and Odysseus (Il. 3. 204-24; Apollod.) About the form and meaning of ПЌОјП†О±, the husband of LaodicД“ (LaodicД“), one of the daughters, and thus Helen's siste r-i n-law п—±п—± 1 ПЌОјП†О·. : 281 line 130. 2. The complete definition of Denomination is "a method in which a person is referred to by (1) or (2) by a certain noun or a series of proper nouns in a literary text" (2). De Jong 1993: 290). In this article, we will call it "Periphrastic Denomination". 3 This episode is spoken in "Cyprus" (Arg. Pp. 42. 55-57 B = P. 32. 72-74 d = P. 116 Arg. It was dramatized by Sofocles by "бј‘бјЂ ПЂО±ОЇПѓО№" ("Helen's return request") (FRS. 176-180A Radt [TRGF 4. 177-80]). Col

16 п—± Apeli ATIVES ATIVES AND PERIPHRASTIC DENOMINATIONS (IL. 3. 121-24). п„± п„± п„± п„± Оі ПЌО±О№ вЂњLadyвЂќ Helen's husbands both call Helen ОіПЌО±О№. When Paris asks not to scold himself who failed in a single duel (3. 438), Menellius follows Helen twice (Od. 4. 148, 266). (Hector calls Andromake in 6. 441 in 6. 441. When Antenor talks to Helen on IL. 3. 204, ОіПЌО±О№ is a "lady." 3. 204, when talking to Helen on the Trojan wall, the ОіПЌО±О№ "Lady" is derived from the Akaian Xenos. As he recalls, when Menerous and Odysseus came to Troy before the battle began, he won Menellaus and Odysseus (Il. 3. 204-24; Apollod.) About the form and meaning of ПЌОјП†О±, the husband of LaodicД“ (LaodicД“), one of the daughters, and thus Helen's siste r-i n-law п—±п—± 1 ПЌОјП†О·. : 281 line 130. 2. The complete definition of denomination is "a method in which a person is referred to by (1) or (2) by a certain noun or a series of proper nouns in a literary text" (2). De Jong 1993: 290). In this article, we will call it "Periphrastic Denomination". 3 This episode is spoken in "Cyprus" (Arg. Pp. 42. 55-57 B = P. 32. 72-74 d = P. 116 Arg. It was dramatized by Sofocles by "бј‘бјЂ ПЂО±ОЇПѓО№" ("Helen's return request") (FRS. 176-180A Radt [TRGF 4. 177-80]). Col

16 п—± Apeli ATIVES ATIVES AND PERIPHRASTIC DENOMINATIONS (IL. 3. 121-24).

п„±.п„І ОЅПЌОјП†О± П†ОЇО»О· "dear bride" Iris, disguised as Laodice, addresses Helen as ОЅПЌОјП†О± (Il. 3. 130). The narrator, expressing Helen's point of view, addresses Laodice as ОіО¬О»ОїП‰П‚ (Il. 3. 122). 5 Eustathius comments on the difference between the two ways of addressing the sister-in-law: ОіО¬О»П‰П‚ П„Оµ ОібЅ°ПЃ ОЅПЌОјП†О·П‚ бјђПѓП„бЅ¶ ОіО¬О»П‰П‚ ОєО±бЅ¶ бјЎ ОЅПЌОјП†О· ОіО±О»ПЊбїі бјђПѓП„бЅ¶ ОЅПЌОјП†О· (I. 617 . 23). The sister-in-law is the bride's "sister-in-law" and the bride is the bride to her sister-in-law. ОЅПЌОјП†О± is found only twice in Homer, once in the Odyssey, when Eurycleia speaks of it to Penelope (4. 743). 6 From these two instances it can be concluded that it is "a form of address used by women who have married into a family"7 (cf. Helen's ОЅПЌОјП†О± in Stesichorus fr. 209 PMG / PMGF = fr. 170 DF.)

п„±.п„і П†ОЇО»ОїОЅ П„ООєОїП‚ "dear child" Priam twice calls Helen П†ОЇО»ОїОЅ П„ООєОїП‚ (Ill 3. 162, 192). It is a common term of endearment for children, used by parents to children or by elders п—±п—± in the recounting of Helen's return to Menelaus (11. 122-25 [Narrator]). Antimachus urges the Trojans to kill Menelaus on the spot (11. 138-42 [Agamemnon]). (This n. is taken primarily from Edmunds 2016: 142) 4 Krieter-Spiro 2009: 83, line 204: "verwandtschaftlich-familiГ¤r". In LfgrE s. v. ОіП…ОЅО®, this place is mentioned in B 2 d under "Anrede", but without definition or comment. 5 The form here is ОіО±О»ПЊбїі. The same form is used in the nominative plural ОіО±О»ПЊП‰ОЅ in Il. 22. 473; Il. 6. 378, 383; 24. 769. 6 S. West in Heubeck, West and Hainsworth 1988: 239 on lines 743-44: "This may seem a surprising way to address a woman who have been married over 20 years, but it reminds us that Eurycleia has been a member of Odysseus household than Penelope." 7 LfrgE s. v. ОЅПЌОјП†О· II. 5. Bettini 1998: 332 n. 71 suggests a more general, perhaps too general, definition. Despite a thorough survey of ОЅПЌОјП†О· and related terms in Greek literature, AndГІ 1996:54 notes that in Il. 3. 130 and Od. 4. 743 "In the first case, the term is intended to distinguish Elena, who assumed the role of "amante" in the Iliadic poetry after her death."

Helen used for Troia's parent s-i n-law and the family of Sparta п—± 17

The adjective of П†ОЇ Ої Ої used by 8 Priam also has another meaning. When Oedipus was expelled from the bee, he said to his brothe r-i n-law, Creon (бЅё П… П… П… 'бї¦' бї¦ 'П„'П„'бј¦'бј¦ бј¦П† бј¦ бј¦П† бј¦ бј¦П†П† "This family relationship was not something important to you at that time" (SOPH) OC 771) (Helen calls Priam "Pea r-friendly" (IL. 3. 172). [IL. 24. 770], which is used only when Helen talks about Priamos or Priamos, is a mere constant, as seen from an unerved example. Not 12

п„±.п„ґ Titles used by Helen to her Trojan stepfamily and her Spartan family Five of Helen's titles appear in Iliad Book 3 and two in Odyssey Book 4. In the Iliad, all of them, except Antenor's use of ОіПЌОЅО±О№, relate to her Trojan family relations, as does Helen's address of Priam (В§3). In Book 6, she calls Hector ОґЗ¶ОµПЃ "brother-in-law" (344, 355), and Hector calls her "Helen" (360). In Book 24, she becomes the third woman to mourn Hector's body, after his mother Hecuba and his wife Andromache (762-75). 13 In this mourning she bequeathed Hector the ОґО±ОПЃП‰ОЅ ПЂОїО»Зє п—±п—± 8 5. 373 (Dione to Aphrodite); 8. 39 (Zeus to Athena); 9. 437 (Phoenix to Achilles), 444 (id.); 14. 190 (Hera to Aphrodite); 18. 63 (Thetis of Achilles); 21. 509 (Zeus to Artemis); 22. 38 (Priam to Hector), 183 (Zeus to Athena); 24. 373 (Priam to young man = Hermes); Od. 4. 611 (Menelaus to Telemachus); 16. 25 (Eumaeus to Telemachus); 19. 474 (Eurycleia to Odysseus); 23. 5 (Eurycleia to Penelope). There is also the variant П†ОЇО»Оµ П„ООєОЅОїОЅ / П„ООєОЅОїОЅ П†ОЇО»Оµ (Il. 22. 84; Od. 2. 363, 3. 184, 15. 125, 15. 509). 9 Landfester 1966: 21-22. 10 She says: The first man was a prophet, and the second was a son of his mother. Cf. Hector to Helen: The first man was a prophet, and the second was a son of his mother (Il. 6. 360). Regarding the family name, see Tsagalis 2008: 11 The complete list of attestations for this word in DGE2 s. v. is canonical.

18 п—± Appellatives and Periphrastic Denominations П†ОЇО±П„ ПЂО¬П‰ОЅ О¬П‰ ОЅ П‰П‰ ОЅП‰ ОЅП‰ ОЅП‰ ОЅП‰ ОЅ П‰ П‰ ОЅ П‰ ОЅ П‰ П‰ П‰ ОЅ П‰ П‰ ОЅ П‰ О© П‰ П‰ О© П‰ П‰ П‰ ОЅ П‰ П‰ ОЅ Her husband (noun ПЂПЊПѓО№, 763) was Paris and brought her to Troy (and brought the war together in an tacit), but she was kind to her. Reminiscence 14. She listed her brothe r-i n-law (noun О”О¬), her siste r-i n-law (noun ОіО¬П‰П‚, Il. 122 mentioned above), her brothe r-i n-law's wife (noun iМ‡iМ‡), and her mothe r-i n-law (noun бј‘) Nouns бј‘ П…) added that she was always kind (769-70). 15 Helen does not mention specific accusations, but the distinction between his fathe r-i n-law (always kind) and mothe r-i n-law (letting you guess that he was not always kind) is a long long in Troy. He suggested that they may have blamed her during the period (765-66). In Volume 3, Helen is also worried about his family left in Sparta. She uses four relatives: Е‘ Е‘О±ПѓО№maП‰П‰ (238, brothers), О¬О¬ (180, Agamemnon), ОјО® (see the; 6. 345 of Leda), ПЂО±бї– (175, Hermione's), and ПЂПЊПЊ (also ПЂПЊПЊ (see) 429, Menerous) 18. 18 п—± Appellatives and Periphrastic Denominations П†ОЇО±П„ ПЂ О¬П‰ О¬П‰ О¬П‰ ОЅП‰ ОЅП‰ О¬П‰ П‰П‰ ОЅП‰ П‰ П‰ ОЅП‰ П‰ П‰ О© П‰ П‰ ОЅ П‰ П‰ ОЅ П‰ П‰ ОЅ П‰2. Her husband (noun ПЂПЊПѓО№, 763) was Paris and brought her to Troy (and brought the war together in an tacit), but she was kind to her. Reminiscence 14. She listed her brothe r-i n-law (noun О”О¬), her siste r-i n-law (noun ОіО¬П‰П‚, Il. 122 mentioned above), her brothe r-i n-law's wife (noun iМ‡iМ‡), and her mothe r-i n-law (noun бј‘) Nouns бј‘ П…) added that she was always kind (769-70). 15 Helen does not mention specific accusations, but the distinction between his fathe r-i n-law (always kind) and mothe r-i n-law (letting you guess that he was not always kind) is a long long in Troy. He suggested that they may have blamed her during the period (765-66). In Volume 3, Helen is also worried about his family left in Sparta. She uses four relatives: Е‘ Е‘О±ПѓО№maП‰П‰ (238, brothers), О¬О¬ (180, Agamemnon), ОјО® (see the; 6. 345 of Leda), ПЂО±бї– (175, Hermione's), and ПЂПЊПЊ (also ПЂПЊПЊ (see) 429, Menerous) 18. 18 п—± Appellatives and Periphrastic Denominations П†ОЇО±П„ ПЂО¬П‰ОЅ О¬П‰ ОЅ П‰П‰ ОЅП‰ ОЅП‰ ОЅП‰ ОЅП‰ ОЅ П‰ П‰ ОЅ П‰ ОЅ П‰ П‰ П‰ ОЅ П‰ П‰ ОЅ П‰ О© П‰ П‰ О© П‰ П‰ П‰ ОЅ П‰ П‰ ОЅ Her husband (noun ПЂПЊПѓО№, 763) was Paris, and despite her brought her to Troy (and the war was implicitly brought together), she was kind to her. Reminiscence 14. She listed her brothe r-i n-law (noun О”О¬), her siste r-i n-law (noun ОіО¬П‰П‚, IL. 122 mentioned above), her wif e-i n-law's wife (noun iМ‡iМ‡), and her mothe r-i n-law (noun бј‘). Nouns бј‘ П…) added that she was always kind (769-70). 15 Helen does not mention specific accusations, but the distinction between fathe r-i n-law (always kind) and mothe r-i n-law (letting me guess that it was not always kind) is a long long in Troy. He suggested that they may have blamed her during the period (765-66). In Volume 3, Helen is also worried about his family left in Sparta. She uses four relatives: Е‘ Е‘О±ПѓО№maП‰П‰ (238, brothers), О¬О¬ (180, Agamemnon), ОјО® (see the; 6. 345 of Leda), ПЂО±бї– (175, Hermione's), and ПЂПЊПЊ (also ПЂПЊПЊ (see) 429, Menerous) 18.

п—±п—± In п—±п—± 14. 156, the narrator uses an accented singular form to explain Hera's perception of Poseidon. HULD 1988: 424 reports on Homeros usage discusses the etymology of this word and a new phonemus leather in Homeros. He pointed out that after Homeros, "very rare ... only half of the number of times appeared in epic." "It represents isolation in Greek relatives, and is a simultaneous sign of relics." 14 About her reasoning: Richardson 1993: 357, IL. 24. 763-67. For more useful discussions on this utterance, see many documents: TSAGALIS 2004: 161-65; PERKELL 2008: 104-107. The mourning is one of the ten editions by close friends and families appearing in "Il". See De Jong 2012: 185-86 (22. 477-514) for outline and references. 15 Richardson 1993: 157: Оі О±ПЊП‰П‚ and бј°ПЊО¬ "Tend to Cluster Around and Andromache". In response to the section If the point of De Benedet 1994: 128 n. 30 is correct, is it a kind of Helen tissue to a difficult stepmother? Priam's kindness to Helen is 3. 161-70. The frank remarks in front of Hekuba are natural, and there is no doubt that they were lamenting. It can be considered as a formal degree of 17 speech. Hainzworth 1968: 111-12 analyzed this speech, "The fixed density can be shown at least by accurate repetition, but it has dropped dramatically compared to such a fixed density. "Is concluded.

The ОіП…П… is a slope, and Helen is бј„ and бј„ Ої п—± 19

бј„ О№, бј„ П‡. Helen is not afraid of being accused of Sparta's family (it is natural in the case of Menerous), but he speculates that his brothers who are misunderstanding in Troy may have withdrawn from the battle. (Naturally in the case of Menerous), I guess that the brothers who are misunderstanding in Troy have retired from the battle because they are afraid of being accused of many accusations (О±бјґбјґП‡О± О± О”ПЊ). ОєО±бЅ¶ бЅЂО± ОµО± ПЂ ПЊ 'бј… ОјОЇбјђ бјђ бјђ, 3. 242) . 19

п„±.п„µ ОіП…ОЅО® in nominative and oblique cases, and Helen in бј„ОєОїО№П„О№П‚ and бј„О»ОїП‡ОїП‚ The nominative case of ОіП…ОЅО® has already been mentioned (В§1). The word is also used five times in Book 3 in nominative and oblique cases for Helen (as in Hector's indirect reference in line 48, but see В§7 below). бј„О»ОїП‡ОїП‚ ("fellow-bed-shaker", -П‰) is an example from Homer that illustrates the distinction between change in the history of the Greek language and the creation of synonyms in a formulaic system. An example of the former is бјЈ Оґ' бј„ПЃО± ПЂОПЂО»ОїОЅ бј‘О»Оїбї¦ПѓО± ООµО±ОЅЗ· ОєО±О»О№ПЂО¬ПЃбїѓОїП‚ ("And Theano of the fair cheek, who takes the garment" Il. 6. 302). О О·ПЃПЋ in the line quoted above is an example of the latter. Hoekstra has suggested that the name of this pseudocontraction may come from an expression in which О О·ПЃПЋ was once the subject. In Hesiod's Catalogue, Pero is indeed the subject of the sentence (she gives birth to Thalaus), but her name comes first in the line, which does not match the formula in Odyssey 11. 287. 18 Hoekstra distinguishes between the pattern that constitutes the second chromatic part of this line in the Odyssey and in the Cypria fragment, бјЈ ОґбЅІ О”О№ПЋОЅП…ПѓОїОЅ ОЈОµОјОО»О· П„ООєОµ П‡О¬ПЃОјО± ОІПЃОїП„ОїЗ¶ПѓО№ОЅ- ("And Semele gave birth to Dionysus" Il. 14. 325) and бј¦ бЅҐП‚ ПѓОµ ПЂПЃбї¶П„ОїОЅ О›О·П„бЅј П„ООє

132 п—± ОµбЅђПЂО±П„ОПЃОµО№О± ОµбЅђПЂО±П„ОПЃОµО№О± is a contraction, but a very widespread suffix, used especially in the formation of female names and still productive in Modern Greek.) Hoekstra's example is even more interesting because of П‡О¬ПЃОјО± ОІПЃОїП„Оїбї–ПѓО№ОЅ. The similarity between О›О·П„бЅј П„ООєОµ П‡О¬ПЃОјО± and ОІПЃОїП„Оїбї–ПѓО№ О О·ПЃбЅј П„ООєОµ ОёО±бї¦ОјО± ОІПЃОїП„Оїбї–ПѓО№ is obvious. (Hoekstra also notes the possible relevance of Leto's formula for conceiving Apollo, бЅѓОЅ / П„бЅёОЅ бј 0ОєОїОјОїП‚ П„ООєОµ О›О·П„ПЋ19.) In two of Hoekstra's examples, we note that the female name in the metrical slot after the masculine kesura is in noun form. A contrast of the grammatical cases in these examples with the lines in the Cyprian fragment illustrates the main conclusion to be drawn from Hoekstra's observations: for the composers of these poems, the grammatical ambiguity of names was an asset. In Odysseus' catalogue, Pero is the object. Similarly, in the Cypria, Helen is the begetter, and for a reason. 21 The Cypria exploits for its own purposes the vocabulary and syntax associated with the catalogue, providing an example of the capacity of composers of one kind of hexameter to draw on the resources of another kind of poetry.

п„±п„±. Conclusion Other than Homeros, Е‘ПЂО±ОО± appears only once in an ancient poem, only once in IBYCUS FR. S174 SLG / PMGF, but identifies the person who is too scarce and applies the subject or porcelain. I can't. The next one appears in Euripides, which is an irregularly applied to the inventory of Zeus's courtyard in Hippolttos and the Altemis (Hipp. 68). Apollonius on the island uses this word for Artemis itself (1. 570). According to a piece of poetry on the foundation of Nauklatis in Apolonius, Chesias was conceived in the river and was given a beautiful Ocuroe (from FR. 7 Powell, Athenios 7. 283E). Apollon fell in love with her, and the story continues. RHIANUS is бјЂО±П…бЅђ бЅђПЂО±ОО± ("Alakintos", "Alakintos", Athena at the beginning of an unknown poem, "no noble master", FR. 56 п—±п—± 19 HOM. 1. 36, 19. 413, 19. 413 Od. 11. 318, Hymn. Hom. AP. 178. 20 Pellos as a person who gives birth to AP. Rhod. 1. 122: бјґП†ОёОјПЊ ПЋ Оє, бЅ“ бЅ“ ПЂ ПЂО·. This is because it is part of the Zeus plan: Edmunds 2016b; Sammons 2017: 35, 60, 188. п„±п„± Е‘ Е‘О± ОО± is only once in IBYCUS FR. SLG / PMGF in the ancient poem, but the subject and speech are applied. The next person cannot be identified, and in Hippoltos and his servants, they are irregularly applied to Zeus's innocent. 22. In the 3rd century, Apollonius on Rhodes uses this word for Ukratis in the Rodonius, and has been conceived in the river. It is said (FR. 7 Powell, Athenaos 7. 283E) falls in love with her, and the story continues, бјЂО±бЅ°бЅђО±. After the Alakintos Mountain in Bootia, "no noble lord", FR. 56 п—±п—± 19 HOM. Il. 1. 36, 19. 413, Od. 11. 318, Hymn. Hom. This is because ap. Rhod. Argon. 1. 122: бјґП†ОёО№ОјПЊ ПЋ Ої, бЅ“ О ПЂ ПЂО·. See: Edmunds 2016b; Sammons 2017: 35, 60, 188. See also the reconnaissance of Sipria by Summons: 211. 22 Barrett 1964 is silent about this word. п„±п„±. Conclusion Other than Homeros, Е‘ПЂО±ОО± appears only once in an ancient poem, only once in IBYCUS FR. S174 SLG / PMGF, but identifies the person who is too scarce and applies the subject or porcelain. I can't. The next one appears in Euripides, which is an irregularly applied to the inventory of Zeus's courtyard in Hippolttos and the Altemis (Hipp. 68). Apollonius on the island uses this word for Artemis itself (1. 570). According to a piece of poetry on the foundation of Nauklatis in Apolonius, Chesias was conceived in the river and was given a beautiful Ocuroe (from FR. 7 Powell, Athenios 7. 283E). Apollon fell in love with her, and the story continues. RHIANUS is бјЂО±П…бЅђ бЅђПЂО±ОО± ("Alakintos", "Alakintos", Athena at the beginning of an unknown poem, "no noble master", FR. 56 п—±п—± 19 HOM. 1. 36, 19. 413, 19. 413 Od. 11. 318, Hymn. Hom. AP. 178. 20 Pellos as a person who gives birth to AP. Rhod. 1. 122: бјґП†ОёОјПЊ ПЋ Оє, бЅ“ бЅ“ ПЂ ПЂО·. This is because it is part of the Zeus plan: Edmunds 2016b; Sammons 2017: 35, 60, 188. I am.

Powell). Athena in Odysseia will not be pleased. In the middle of the second century, Moscas uses this word in Eropa in the Pocket Eropa for Eropa's colleagues collected to accompany the seaside to pick flowers (29). So Zeus sees her and the story continues. The menander is 23 used in the nike (in the form of бЅђПЂО¬О±). In the Greek mythology collection and the Olphix hymn, the scope of those receiving the бЅђПЂбЅђО± shogun is continuing to expand. In these posterity places, a woman called бЅђПЂО±ОО± is either a human or a god. These ancient women are human, and most women in the catalog are also human. Of course, it has been pointed out that there is a clear difference between Tiro, Peroto, and Chloris' standard phrases between "Odysseia" and "Catalog", but the explanation for it is more than one parallel. The tradition, the continuous configuration and reconstructive style of the performance 24. At the same time, in order to answer the question of differentiation, they are clearly trying to present women in various lights, using means that they can use freely.

п—±п—± 23 Austin 1973: FRAG. A "poet Similarly, the material was obtained from the old epic tradition, but at the same time, there was 235-59 in front of him. (In this way, Hoybeck partially combines the opinions of the ora l-basedist and the "Shahotoist"). See Hoibeck 225-332N for the credibility of the Catalog of Odysseia. 25 Irwin 2005: 49. 26 Irwin 2005 discusses the symposium as the context of the catalog. 27 Edmans 2016b. Powell). Athena in Odysseia will not be pleased. In the middle of the second century, Moscas uses this word in Eropa in the Pocket Eropa for Eropa's colleagues collected to accompany the seaside to pick flowers (29). So Zeus sees her and the story continues. The menander is 23 used in the nike (in the form of бЅђПЂО¬О±). In the Greek mythology collection and the Olphix hymn, the scope of those receiving the бЅђПЂбЅђО± shogun is continuing to expand. In these posterity places, a woman called бЅђПЂО±ОО± is either a human or a god. These ancient women are human, and most women in the catalog are also human. Of course, it has been pointed out that there is a clear difference between Tiro, Peroto, and Chloris' standard phrases between "Odysseia" and "Catalog", but the explanation for it is more than one parallel. The tradition, the continuous configuration and reconstructive style of the performance 24. At the same time, in order to answer the question of differentiation, they are clearly trying to present women in various lights, using means that they can use freely.

п—±п—± 23 Austin 1973: FRAG. A "poet Similarly, the material was obtained from the old epic tradition, but at the same time, there was 235-59 in front of him. (In this way, Hoybeck partially combines the opinions of the ora l-basedist and the "Shahotoist"). See Hoibeck 225-332N for the credibility of the Catalog of Odysseia. 25 Irwin 2005: 49. 26 Irwin 2005 discusses the symposium as the context of the catalog. 27 Edmans 2016b. Powell). Athena in Odysseia will not be pleased. In the middle of the second century, Moscas uses this word in Eropa in the Pocket Eropa for Eropa's colleagues collected to accompany the seaside to pick flowers (29). So Zeus sees her and the story continues. The menander is 23 used in the nike (in the form of бЅђПЂО¬О±). In the Greek mythology collection and the Olphix hymn, the scope of those receiving the бЅђПЂбЅђО± shogun is continuing to expand. In these posterity places, a woman called бЅђПЂО±ОО± is either a human or a god. These ancient women are human, and most women in the catalog are also human. Of course, it has been pointed out that there is a clear difference between Tiro, Peroto, and Chloris' standard phrases between "Odysseia" and "Catalog", but the explanation for it is more than one parallel. The tradition, the continuous configuration and reconstructive style of the performance 24. At the same time, in order to answer the question of differentiation, they are clearly trying to present women in various lights, using means that they can use freely.

п„±п„І Consideration of the Falling Poetry and Beauty Studies The approach to Helen's epic in this monograph is simultaneous because it was described in "Introduction". In most cases, the simultaneous, or a context, is more or less than one context. After repeating the words of Heinzworth in the preface, "(official) relevance and redundancy are both ends of the spectrum." At the same time, the Synchronics approach also shows strange points, especially when Helen shares a derogatory name that has nothing to do with other women and goddesses. Such no n-functional similarity escapes from a simultaneous explanation. At this point, what Joshua Kats calls the "Historic linguist's mantra" is applied: "In the second half of this chapter (В§2), this kind of explanation is given.

п„±п„ІгЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚. Compare Helen's diploma with Hesiodos's Catalog (В§1. 1. 1).

п„±п„І.п„±. п„± Helen has four beauty descriptions (бј О°ОјОї, ОєО±О»ОјОї, ОєО±О»ПЂО¬), except that Hector calls her diagonally with "П…Ој,, ОєО±О»ОјОї, ОєО±О»ПЂО¬). The meaning is quite different, and in most cases it is possible to explain how they are related in the context of them. However, the characters do not act to reflect the feelings of her beautiful. The reaction of the old people who saw Helen is no exception. When they say Helen, "It's like an immortal goddess and can't be seen" (О±бј° бјЂО±О±бїѓ ОёбЅ¦ бЅ¦ПЂО± 3. 158; cf. ch. 7 Intro.) It's just better.

п—±п—± 1 KATZ 2010: 360; KATZ 2013; KATZ 2013b: 90. Catalog-like thing: KRIETER-SPIRO 2009: 32 line 48. https://doi. org/10. 1515/9783110626124-013

Solem dimensions п—± 135

3 (бјђПЉ бјђПЉ Оё Оё ЗЅ, 19. 286) and other women are often talked about 3 (Buriseis and other women are "similar to golden Aphrodite") 4. Helen is said to be the most beautiful woman and implies only once, and the compensation that Agamemnon offers to Achilleus contains 20 Treia women (beautiful next to Helen. " 9. 140 = 282). Table 8: Helen for Helen's beauty Helen

Narrator п„¶ x, Achilles п„± x

Regarding the beauty of Helen as a cause of the war, Helen was promised by Aphrodite as the world's best beauty at the time of the referee in a story assumed by Eirth. But the war is happening because Helen is abducted and in Troy, not beautiful. Therefore, Menellaus pray to Zeus for revenge, which will show to the future men as to what will happen to the friendship as a guest (3. 351-54). In other words, it was Paris that caused the war in which the Akaian was fighting. Not Helen. From the point of view of Akireus, it is

п—±п—± 3 cases: Castyanailer (8. 305), Hekamade (11. 638). For example, Kelly 2007: LEXICON #152 ("Goddess metaphor"). For comparison with ПЂбї†ОјО± (3. 161) and the contrast with other parts compared to those who are named the goddess or goddess, Kelly 2007: Lexicon #152 ("GodDess Similes"): READY 2011: READY 2011:: 110-13. 4 бј° ОєОО»О· П‡ПЃП…ПѓОбїѓ бј€П†ПЃОїОґОЇП„бїѓ, 19. 282; гЃѕгЃџг‚«гѓѓг‚µгѓігѓ‰гѓ© (24. 699); гѓ†г‚Јгѓ (fr. 30. 25 M-W = 20. 25 H = 27. 25 M). 5 гѓўгѓіг‚µг‚Їгѓ¬ 1984: 132. 6 гѓгѓгѓ‰гѓ€г‚№гЃ®гѓ€гѓг‚¤ж€¦дє‰пј€гѓгѓ¬гѓігЃЇгѓ€гѓг‚¤гЃ«гЃ„ In the theory, Troy's destruction was (despite the Trojans did not have a Helen), and for humanity, the destruction of the dead (such as hospitality violations) was a great penalty from the gods. (2. 120. 5). narrator п„¶ x, Achilles п„± x

136 п—± Relatives: A matter of consideration of the epic of beauty and beauty. Akireus says to Agamemnon, "to win the honor of you and Menellaus" (П„ОјО®, 1. 159). In Volume 17, Menerous says that Patrocross died for his honor (П„ОјО®, 17. 92; CF. 5. 550-53). 8. Comparing the two derogers mentioned in Helen's hair, it can be seen that the function of a different meaning is different in the meaning of "having beautiful hair", but in the formula that has different meanings. ОєО±О»ОјОї refers to sexual charm in private context (Chapter 9 В§1). бј О°ОјОї refers to the beauty of women as part of public identity. О» П… пј€(chapter 8) and ОєО±О»ПЂО¬ (chapter 9) also have what to be called as a secondary meaning that cannot be predicted from vocabulary definitions. However, among these derogers applied to Teao and Helen, the second speech is difficult to explain. Below the beauty of Hesiodos 'catalogs, the beauty of Helen's beauty and the statement of Hesiodos' catalogs are briefly compared, but even if this poem is more later than Homeros poetry We will proceed with the premise that we will take over the inventory tradition that we would have knew. In the order of existing papils fragments, the "catalog" ends with the illusion of Helen's courtship and the end of heroes. 136 п—± Conventional issues on the episode of the folklore and the beauty of beauty. Akireus says to Agamemnon, "to win the honor of you and Menellaus" (П„ОјО®, 1. 159). In Volume 17, Menerous says that Patrocross died for his honor (П„ОјО®, 17. 92; CF. 5. 550-53). 8. Comparing the two derogers mentioned in Helen's hair, it can be seen that the function of a different meaning is different in the meaning of "having beautiful hair", but in the formula that has different meanings. ОєО±О»ОјОї refers to sexual charm in private context (Chapter 9 В§1). бј О°ОјОї refers to the beauty of women as part of public identity. О» П… пј€(chapter 8) and ОєО±О»ПЂО¬ (chapter 9) also have what to be called as a secondary meaning that cannot be predicted from vocabulary definitions. However, among these derogers applied to Teao and Helen, the second speech is difficult to explain. Below the beauty of Hesiodos 'catalogs, the beauty of Helen's beauty and the statement of Hesiodos' catalogs are briefly compared, but even if this poem is more later than Homeros poetry We will proceed with the premise that we will take over the inventory tradition that we would have knew. In the order of existing papils fragments, "catalog" is a matter of honor about the episode of Helen's noddy and the end of heroes. Akireus says to Agamemnon, "to win the honor of you and Menellaus" (П„ОјО®, 1. 159). In Volume 17, Menerous says that Patrocross died for his honor (П„ОјО®, 17. 92; CF. 5. 550-53). 8. Comparing the two derogers mentioned in Helen's hair, it can be seen that the function of a different meaning is different in the meaning of "having beautiful hair", but in the formula that has different meanings. ОєО±О»ОјОї refers to sexual charm in private context (Chapter 9 В§1). бј О°ОјОї refers to the beauty of women as part of public identity. О» П… пј€(chapter 8) and ОєО±О»ПЂО¬ (chapter 9) also have what to be called as a secondary meaning that cannot be predicted from vocabulary definitions. However, among these derogers applied to Teao and Helen, the second speech is difficult to explain. Below the beauty of Hesiodos 'catalogs, the beauty of Helen's beauty and the statement of Hesiodos' catalogs are briefly compared, but even if this poem is more later than Homeros poetry We will proceed with the premise that we will take over the inventory tradition that we would have knew. In the order of existing papils fragments, the "catalog" ends with the illusion of Helen's courtship and the end of heroes.

Soliminatic dimension п—± 137

Helen has already become Helen in the Troy War before marrying Menellius. In Hessiodos's "Works and Daily", the first of these derogers is implicitly attached to her in her last role (165). In the Catalog, the courtships are attracted to Helen with beautiful hair and do not know that they are fate by swearing. The other four derogers used for Helen in the Catalog are not used elsewhere. ОєО±О»ПѓП†П… (2 times), П„О±ОЇПѓП†П… (1x), П…О±бї¶ПЂО№ (1x), Е‘П… (1x). Helen also has the name бјЂОіОµ (2x), which has not been proven to Helen in other places. These are a typical "catalog" heroine, which is characterized by especially beautiful and sexual charm, and at the same time plays an ominous role in the history of heroes 13. 9: "Homeros. Comparison between the expression of Helen in Helen and the expression in Hesiodos, Chipria, and Lyric Poet (App. 4). Double brackets show suspicious fragments. Homeros

(Other women)

П„О±ПЌПЂОµПЂО» (another woman)

ОєО±О»ПѓП†П… П„О±ОЇПѓО¦П… П‚О±бї¶ПЂО№

Е‘ПЋ Оµ (pello)

cf. ОёО±бї¦ОјО± бј°бј°ООёО±О№, бј°бј° [бї–бї–] (other woman)

(Other women)

ОѕО±ОЅОёО¬ / О¬ОёО± бЅ‘ОјОї (other women)

п—±п—± 11 Cingano 2005: 126 and n. 30. 12 Hes. Cat. fr. 217. 6 M-W = 102. 6 H = 160. 6 M unknown, but not Helen. 13 Koning 2017: 105: "She is the agent of Zeus' will, who triggered the Trojan War, and plays a rather unique role in terms of divine decision-making." The other heroines in the poem do not seem to be specifically conceived to fulfill some kind of destiny.

138 п—± Reflections on the Kinship Epic and the Epic of Beauty Reflections on the Epic of Beauty of Helen in Hesiod's Catalog lead to the conclusion that the Homeric Helen is distinct from the Hesiodic Helen.

п„±п„І.п„±.п„І Kinship epics The epics that refer to Helen as the daughter of Zeus, like the epics of beauty, characterize her outside the knowledge of other characters. In the Iliad, only the narrator knows that Helen is the daughter of Zeus; no other characters know this fact, not even Helen herself. In the Odyssey, Penelope calls Helen О”О№бЅёП‚ бјђОєОіОµОіП…бї–О±; at this point, Helen is a "historical" figure, and this derogatory title refers to her older identity (Chapter 10, В§5). In the Odyssey, Menelaus also learns of Helen's parentage. Proteus says to him (Od. 4. 561-69): ПѓОїбЅ¶ ОґвЂ™ ОїбЅђ ОёОПѓП†О±П„ПЊОЅ бјђПѓП„О№, ОґО№ОїП„ПЃОµП†бЅІП‚ бЅ¦ ОњОµОЅОО»О±Оµ, бјЊПЃОіОµО№ бјђОЅ бј±ПЂПЂОїОІПЊП„бїі ОёО±ОЅ ООµО№ОЅ ОєО±бЅ¶ ПЂПЊП„ОјОїОЅ бјђПЂО№ПѓПЂОµбї–ОЅ, бјЂО»О»О¬ ПѓвЂ™ бјђП‚ бјЁО»ПЌПѓО№ОїОЅ ПЂОµОґОЇОїОЅ ОєО±бЅ¶ ПЂОµОЇПЃО±П„О± ОіО±ОЇО·П‚ бјЂОёО¬ОЅО±П„ОїО№ ПЂООјПѓП€ОїП… О№ОЅ, бЅ…ОёО№ ОѕО±ОЅОёбЅёП‚ бї¬О±ОґО¬ОјО±ОЅОёП…П‚, - П„бї‡ ПЂОµПЃ бїҐО·ОђПѓП„О· ОІО№ОїП„бЅґ ПЂОО»ОµО№ бјЂОЅОёПЃПЋПЂОїО№ПѓО№ОЅ- Оїl_1F50в†© ОЅО№П†ОµП„ПЊП‚, Оїl_1F54в†©П„' бј‚ПЃ П‡ОµО№ОјЗ·ОЅ ПЂОїО»бЅєП‚ ОїбЅ”П„Оµ ПЂОїП„' бЅ„ОјОІПЃОїП‚, бјЂО»О»' О±бј°ОµбЅ¶ О¶ОµО№ОібЅє ПЂОЅОµОЇОїОЅП„ОїП‚ бјЂО®П„О±П‚ бЅЁОєОµО±ОЅбЅёП‚ бјЂОЅОЇО·ПѓО№ОЅ It is not fate, Menelaus, brought up by Zeus, that you should die and meet your fate in Argos, where horses are raised; there shall be no snow, no tempest, no rain, but the sharp west breeze, which the ocean continually sends down to revive man.

Menerous replied that Telemacos asks his father's entitlement. It was the morning after the visitors arrived and the feast was held to praise him and Paisistratus. However, in this story, Menellius does not seem to recognize Helen as Zeus's daughter. From the point of view of Menellaus, Helen is just a wife (4. 148, 266; 15. 93). By calling Helen the daughter of Zeus, the narrator was a matter of course in the ancient Vulgate, but the derogatory system inherited by Wurgate is a matter of course.

THE Synchronic Dimension п—± 139

"Ilias" and "Odysseia" have something to be organized. The same can be said to blame Helen. Like the phrase "on account of" that symbolizes an old Valgate. For the narrators of Ilias and Odysseia, it is natural to blame Helen, but he replaces it with Helen's own words. Wolfgang Kumbuman compared the periodic epic with Homeros, and said that it was a minimum, on the other hand, 14. "Homeros depicts what is happening in the abducted Helen in Saga [Ilias before]. Helen got a new life in suffering. He pointed out the directing method, especially directly, as a means of converting facts psychologically. Tab Table 10: Helen's relatives derogatory: Frequency, distribution, speaker Helen

The narrator, Penelope (п„±x)

Narrator (п„± x), Athena (п„±x)

Helen's father in Hessiodos's "catalog", Zeus Zeus is not described as Helen's father in any of the catalogs, and Helen has no focus in this poem. However, he is Helen's father and can think he gave birth to Helen for the same reason in Kipria. Menerous replied that Telemacos asks his father's entitlement. It was the morning after the visitors arrived and the feast was held to praise him and Paisistratus. However, in this story, Menellius does not seem to recognize Helen as Zeus's daughter. From the point of view of Menellaus, Helen is just a wife (4. 148, 266; 15. 93). By calling Helen the daughter of Zeus, the narrator was a matter of course in the ancient Vulgate, but the derogatory system inherited by Wurgate is a matter of course.

Е‘ПЋ Оµ (pello)

The narrator, Penelope (п„±x)

Narrator (п„± x), Athena (п„±x)

Helen's father in Hessiodos's "catalog", Zeus Zeus is not described as Helen's father in any of the catalogs, and Helen has no focus in this poem. However, he is Helen's father and can think he gave birth to Helen for the same reason in Kipria. Menerous replied that Telemacos asks his father's entitlement. It was the morning after the visitors arrived and the feast was held to praise him and Paisistratus. However, in this story, Menellius does not seem to recognize Helen as Zeus's daughter. From the point of view of Menellaus, Helen is just a wife (4. 148, 266; 15. 93). By calling Helen the daughter of Zeus, the narrator was a matter of course in the ancient Vulgate, but the derogatory system inherited by Wurgate is a matter of course.

THE Synchronic Dimension п—± 139

The narrator, Penelope (п„±x)

Narrator (п„± x), Athena (п„±x)

п—±п—± 14 KULLMANN 1960: 382-88. 15 Taplin 1992: 11 has more than 30 characters in Homeros with consistent attributes and life stories. It is estimated. 16 "Homeros is what happens to the stolen Helen in Saga [Ilias before Ilias ..." It leads to strengthening personality again. See Chapter 11 Chapter 11, Section 5 and 14.

140 п—± REFLECTIONS ON KINSHIP EPITHETS AND EPITHETS OF BEAUTY. According to her mother, her mother is the daughter of Zeus and Oceanis, according to the theory of Pindal Nemea 10. It happened to be a fragment of the Catalog, including the three daughters of Leda and Tindleus, Timandra, Critemestra, and Philonoe, and no Helen. Herchberger combined the fragment with a fragment of the "Catalog" about the Oceanians, but did not consider the latter as a "catalog" fragment, and that Reda had three daughters instead of four. The fragment of "Catalog" was used. She observed that the ability to change the shape of Helen's final mother, Nemesis, in Cipria, would apply well to Oceanido. Other sea creatures, Tetis and Proteus, also have this ability. If Nemesis laid eggs, the eggs later reached Reda's hand and hatched by Reda, Oceanians may have also laid eggs and Helen may have been born from there. However, no matter who Helen's mother in Catalog is, Helen is the daughter of Zeus, so Helen plays a role in this poem, even if he does not have a folklore in this poem.

п„±п„ІгЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚ Such a pseudo similarity can be explained in the hypothesis of redistributing the stock for women's epic that was inherited from Homeros. Similarly, the religious epic, which Helen shares with the goddesses, is not a similarity to the goddess, but a difference in Helen.

п—±п—± 18 WEST 1985: 123 and N. 211 on Fr. 24 m-W = Fr. 21m (Not in H): "This isolated testimony cannot be considered a reliable one." 10 m-W = FR. 15. 7-10 H = 19. 7-10 M. 20 H: 207-208 (ON HER FR. 15). 21 Nagy 2016a: В§2: "... [T] The dominant gene in the genetic codes of ancient Greek mythology is death, and the inferior gene is immortal. In other words, the ancestors that can be killed by one of you. If so, it's enough to make you dead.

Passive dimension п—± 141

п„±п„І. п„І. бј О° п„±гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚. In such a correspondence relationship, various explanations are given 22. It is more appropriate to think that Homeros epic uses the accumulation of shared epic, as in the case of ОєО±О»О¬ПЂО¬ (ch. 9). ОєО±О»ОјОї (ch. 9) seems to have a similar background, which is used by Helen's mother in Cipria. If О» П… ПЋ was once a "general derogatory name of a woman", it would be remarkably distributed among women in "Ilias" and between "Ilias" and "Odysseia". I'm doing it. п—±п—± 18 WEST 1985: 123 and 211 on fr. 24 m-w = fr. 21 m (not in h): "This isolated testimony cannot be considered a reliable one." . 7-10 M-W = Fr. 15. 7-10 H = 19. 7-10 M. 20 H: 207-208 (ON HER FR. 15). 21 Nagy 2016a: В§2: "... [T] The dominant gene in the genetic codes of ancient Greek mythology is death, and the inferior gene is immortal. In other words, the ancestors that can be killed by one of you. If so, it's enough to make you dead.

Passive dimension п—± 141

п„±п„І. п„І. бј О° п„±гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚гЂ‚. In such a correspondence relationship, various explanations are given 22. It is more appropriate to think that Homeros epic uses the accumulation of shared epic, as in the case of ОєО±О»О¬ПЂО¬ (ch. 9). ОєО±О»ОјОї (ch. 9) seems to have a similar background, which is used by Helen's mother in Cipria. If О» П… ПЋ was once a "general derogatory name of a woman", it would be remarkably distributed among women in "Ilias" and between "Ilias" and "Chapter 8). I'm doing it. п—±п—± 18 WEST 1985: 123 and N. 211 on Fr. 24 m-W = Fr. 21m (Not in H): "This isolated testimony cannot be considered a reliable one." 10 m-W = FR. 15. 7-10 H = 19. 7-10 M. 20 H: 207-208 (ON HER FR. 15). 21 Nagy 2016a: В§2: "... [T] The dominant gene in the genetic codes of ancient Greek mythology is death, and the inferior gene is immortal. In other words, the ancestors that can be killed by one of you. If so, it's enough to make you dead.

Passive dimension п—± 141

п„±п„І п„І п„±п„І п„±п„І ж—Џ ж—Џ ж—Џ ж—Џ ж—Џ п„І п„І гѓ¬ п„І гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€ The other three (ОґОіОіОµО±П…бї–О±, ОґбЅё П…ОіО¬, Оє Оґ) are not all used for Helen. The principle of differentiation is not as obvious as the derogatory name of beauty, but ОґОіmaОµОіО±П…бї–О±, which has been used five times in Helen, is mostly Helen. Ilias is twice and twice in Odysseia. Penelope used this derogatory name for Helen (Od. 23. 218) can be regarded as "historical" as suggested above. Athena only has this pouring, and only Helen has this derogatory name. The religious epic can see some minimal duplication between the goddess and Helen, between the goddesses. The distinction between Aphrodite and Athena is clear. The former goddess is ОґбЅё П… П…П… гЃ§гЃЇ in "Ilias" ("Ilias" 8 times, "Ododo" 1x). The latter is Оє бј° О±бј°ОіПЊПЊПЊ пј€(10 times, Athena exclusively) in Odysseia. See Helen's main derovation of Aphrodite by implicit exclusion principles related to these derogations. The 23 distribution is as follows. (1) О”бЅё ОёП…ОіО¬: Aflodite (8x IL., 1x Od.); Athena (3x IL., 3x Od.); Persephone (1x Od.); Muses (1x О№l.); Ate (1x IL.); Helen (1X OD.). (2) Оє бЅё бј° ОіПЊбј°: Athena (2x IL., 10x Оїd. [Athena dedicated]) Оџd.) Is called ОєО±О№ Оґ О±бј°ОіПЊПЊО№О№ОїОї. See other relatives epitet. п„±п„І.п„І. п„±п„І п„±п„І п„±п„І п„І ж—Џ ж—Џ ж—Џ ж—Џ п„І гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤. The other three (ОґОіОіОµО±П…бї–О±, ОґбЅё П…ОіО¬, Оє Оґ) are not all used for Helen. The principle of differentiation is not as obvious as the derogatory name of beauty, but ОґОіmaОµОіО±П…бї–О±, which has been used five times in Helen, is mostly Helen. Ilias is twice and twice in Odysseia. Penelope used this derogatory name for Helen (Od. 23. 218) can be regarded as "historical" as suggested above. Athena only has this pouring, and only Helen has this derogatory name. The religious epic can see some minimal duplication between the goddess and Helen, between the goddesses. The distinction between Aphrodite and Athena is clear. The former goddess is ОґбЅё П… П…П… гЃ§гЃЇ in "Ilias" ("Ilias" 8 times, "Ododo" 1x). The latter is Оє бј° О±бј°ОіПЊПЊПЊ пј€(10 times, Athena exclusively) in Odysseia. See Helen's main derovation of Aphrodite by implicit exclusion principles related to these derogations. The 23 distribution is as follows. (1) О”бЅё ОёП…ОіО¬: Aflodite (8x IL., 1x Od.); Athena (3x IL., 3x Od.); Persephone (1x Od.); Muses (1x О№l.); Ate (1x IL.); Helen (1X OD.). (2) Оє бЅё бј° ОіПЊбј°: Athena (2x IL., 10x Оїd. [Athena dedicated]) Оџd.) Is called ОєО±О№ Оґ О±бј°ОіПЊПЊО№О№ОїОї. See other relatives epitet. п„±п„І п„І п„±п„І п„±п„І ж—Џ ж—Џ ж—Џ ж—Џ ж—Џ п„І п„І гѓ¬ п„І гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гѓ¬ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ гЃ¤ пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€пј€ The other three (ОґОіОіОµО±П…бї–О±, ОґбЅё П…ОіО¬, Оє Оґ) are not all used for Helen. The principle of differentiation is not as obvious as the derogatory name of beauty, but ОґОіmaОµОіО±П…бї–О±, which has been used five times in Helen, is mostly Helen. Ilias is twice and twice in Odysseia. Penelope used this derogatory name for Helen (Od. 23. 218) can be regarded as "historical" as suggested above. Athena only has this pouring, and only Helen has this derogatory name. The religious epic can see some minimal duplication between the goddess and Helen, between the goddesses. The distinction between Aphrodite and Athena is clear. The former goddess is ОґбЅё П… П…П… гЃ§гЃЇ in "Ilias" ("Ilias" 8 times, "Ododo" 1x). The latter is Оє бј° О±бј°ОіПЊПЊПЊ пј€(10 times, Athena exclusively) in Odysseia. See Helen's main derovation of Aphrodite by implicit exclusion principles related to these derogations. The 23 distribution is as follows. (1) О”бЅё ОёП…ОіО¬: Aflodite (8x IL., 1x Od.); Athena (3x IL., 3x Od.); Persephone (1x Od.); Muses (1x О№l.); Ate (1x IL.); Helen (1X OD.). (2) Оє бЅё бј° ОіПЊбј°: Athena (2x IL., 10x Оїd. [Athena dedicated]) Оџd.) Is called ОєО±О№ Оґ О±бј°ОіПЊПЊО№О№ОїОї. See other relatives epitet.

142 п—± п—± п—± </s> </s> </s> </s> </s> </s> </s> </s> </s> П… ОіО¬ (Aphrodite of "Eirth") is used only once for Helen of "Odysseia" , Ољ Оі Оґ О№_1f78в†© (Athena of Odysseia) is used only once for Helen of "Ilias". There are some overlaps between the two goddesses, but there are big differences. In the case of Helen, the two epic, which I mentioned now, is mainly the convenience of the main system, the first epic up to the fiv e-hal f-scale Caissura, the second epic up to the second Caissula after the Caissura. be. In the two derogers mentioned now, Helen seems to be a borrower. Returning to ОґОіmaОµОіО±П…бї–О±, the бјђОіОµОіО±П…бї–О± does not appear in Homeros other than this formula. However, from the distribution of "О”бЅё П… П…П…" and "Оє бЅё О±бј°бј°", Helen appears to borrow one of the "Оґ ОёП…maО¬" and "Оє Оґ О±бј°бј°П…бї–". Helen is also a borrower It looks like, but "Ilias" and "Odysseia" concealed that fact. бјђОіОіОµОіО±П…бї–О± is unique only in these epic, and is not found in a wide range of alchaic hexameter. Hesiodos calls the "nine daughters born from great Zeus" (бјђО± П…ОіО±О Ој О¬ О¬ ОіОіО±П…бї– П…бї– О№, 76), and decay was born from Zeus (ОґОіОµО±П‚) an > 142 п—± Reflections on Kinships and Epithets of Or Atena ONLY in The Poem Whis Not Ufem. ОёП…ОіО¬ (Aphrodite of "Eirth") is used only once for Helen of "Odysseia" We are used only once for Helen of "Ilias" (Athena of Odysseia). There are some overlaps between the two goddesses, but there are big differences. In the case of Helen, the two epic, which I mentioned now, is mainly the convenience of the main system, the first epic up to the fiv e-hal f-scale Caissura, the second epic up to the second Caissula after the Caissura. be. In the two derogers mentioned now, Helen seems to be a borrower. Returning to ОґОіmaОµОіО±П…бї–О±, the бјђОіОµОіО±П…бї–О± does not appear in Homeros other than this formula. However, from the distribution of "О”бЅё П… П…П…" and "Оє бЅё О±бј°бј°", Helen appears to borrow one of the "Оґ ОёП…maО¬" and "Оє Оґ О±бј°бј°П…бї–". Helen is also a borrower It looks like, but "Ilias" and "Odysseia" concealed that fact. бјђОіОіОµОіО±П…бї–О± is unique only in these epic, and is not found in a wide range of alchaic hexameter. Hesiodos calls the nine daughters born from the great Zeus (бјђО± П…П…maО± Оґ О¬ Оі ОіОіО±П…бї– П…бї– П…бї–, 76), and the decay was born from Zeus Lingering Reflections ONSHIP EPITHETS APITHETS OF BEAUTY OR ATHENA ONLY THEM WISEM WIS EPITHET ISED OF THE CODDESS. ПЃ (Aphrodite of "Ilias") is used only once for Helen of "Odysseia" and Оє О”О№О№_1F78в†© (Athena of Odysseia) is used only once for Helen of Eirs. There are some overlaps between the two goddesses, but there are big differences. In the case of Helen, the two epic, which I mentioned now, is mainly the convenience of the main system, the first epic up to the fiv e-hal f-scale Caissura, the second epic up to the second Caissula after the Caissura. be. In the two derogers mentioned now, Helen seems to be a borrower. Returning to ОґОіmaОµОіО±П…бї–О±, the бјђОіОµОіО±П…бї–О± does not appear in Homeros other than this formula. However, from the distribution of "О”бЅё П… П…П…" and "Оє бЅё О±бј°бј°", Helen appears to borrow one of the "Оґ ОёП…maО¬" and "Оє Оґ О±бј°бј°П…бї–". Helen is also a borrower It looks like, but "Ilias" and "Odysseia" concealed that fact. бјђОіОіОµОіО±П…бї–О± is unique only in these epic, and is not found in a wide range of alchaic hexameter. Hesiodos calls the Musee as "nine daughters born from the great Zeus" (бјђО± ОёП…ОіО±О ОјОіО¬ Оґ Оі ОіОµОі бјђ П…бї– О№, THEOG. 76), and decay was "born from Zeus" (О”бјђОіОµО±П‚, Op.) This is.

"25 (His chronological assumptions about the date of the Homeric epics are not important here.) Hackstein's conception must also include the idea of вЂ‹вЂ‹these epics as new instances of formulas as differential systems, even if they are not complete. Helen can be considered a borrower, on the assumption that she was important in the Homeric epics but not in the circular epics. п—±п—± 24 Naafs-Wilstra 1987: item 7. 25 Hackstein 2010: 418.

Diachronic dimension п—± 143

28 An example that was not taken up here is the Menellius. His various heroism emphasizes his inconspicuous qualities other than Volume 17. See Rousseau 1990: 325-27 for the derogatory name of the Menerous: Rousseau 1990: 325-27. Volume 3 is distinguished from the example of other duel. These derogers (at the pace of Rousseau) were attached to Menellius in other hexametail poems related to the Troy War, and can be explained that Il has continued somewhat inconsistent.

144 п—± Consideration of religious epic and beauty epic in "Ilias" and "Odysseia". He had to oppose Helen's special position in response to the "realism" of other characters' attitude toward Helen. Again, the narrator has immediately introduced Helen's guilt problem through Priam, instead of using the motif of "because of the blame" that appears many times in the Alchaic Valgate version. Helen himself can guess what he thinks of this problem is that Helen uses the speech that blame himself. 28 Here is an example of not covered here. His various heroism emphasizes his inconspicuous qualities other than Volume 17. See Rousseau 1990: 325-27 for the derogatory name of the Menerous: Rousseau 1990: 325-27. Volume 3 is distinguished from the example of other duel. These derogers (at the pace of Rousseau) were attached to Menellius in other hexametail poems related to the Troy War, and can be explained that Il has continued somewhat inconsistent.

144 п—± Consideration of religious epic and beauty epic in "Ilias" and "Odysseia". He had to oppose Helen's special position in response to the "realism" of other characters' attitude toward Helen. Again, the narrator has immediately introduced Helen's guilt problem through Priam, instead of using the motif of "because of the blame" that appears many times in the Alchaic Valgate version. Helen himself can guess what he thinks of this problem is that Helen uses the speech that blame himself. 28 An example that was not taken up here is the Menellius. His various heroism emphasizes his inconspicuous qualities other than Volume 17. See Rousseau 1990: 325-27 for the derogatory name of the Menerous: Rousseau 1990: 325-27. Volume 3 is distinguished from the example of other duel. These derogers (at the pace of Rousseau) were attached to Menellius in other hexametail poems related to the Troy War, and can be explained that Il has continued somewhat inconsistent.

144 п—± Consideration of religious epic and beauty epic in "Ilias" and "Odysseia". He had to compete against Helen's special position in response to the "realism" of other characters' attitude toward Helen. Again, the narrator has immediately introduced Helen's guilt problem through Priam, instead of using the motif of "because of the blame" that appears many times in the Alchaic Valgate version. Helen himself can guess what he thinks of this problem is that Helen uses the speech that blame himself.

п„±п„І. Conclusion Both Helen have five beautiful titles, both вЂњEirsвЂќ and вЂњCatalogвЂќ. Two poems are common to Helen, which is also used in Helen. Depending on the context, the meaning of Achilles in "Ilias" varies depending on the speaker. бј€ОіОЇОЇ refers to Helen in the same sense, both "Ilias" and "Catalog". At the same time, Helen is a typical heroine and also pays attention to Helen's role in Alchaic Valgate. Helen's beauty seems to be a synonym for a vocabulary, but is distinguished in Homeros and has different meanings in context. Similarly, Helen's religious epic seems to be a synonym, but has been distinguished between Helen and the goddesses shared these epic. The meaning of these two epics is all from the use in "Ilias" and "Odysseia", and it is definitely derived from the previous hexameter. In this way, pointing out the outlook on the time of the monograph, not synifiier, as described in the monograph "Introduction", is backed up. fact

п—±п—± 29 Alchaic Valgate and "Iri ..: Edmunds 2016b.

In the story of these two epic, neither epic is functional. There are no people who do something or say something because Helen is beautiful, both Ilias and Odysseia. About what Akireus says, "I am fighting" бј‘ 'бј П‹' бј П‹ОјОї (9. 339): Ch. 7В§7. For О». 8В§1.) For О». 8В§1.) For О». 8В§1.) Odysseia doesn't do anything or say something because Helen is the daughter of Zeus. (See the abov e-mentioned В§1. 2 for Penelope, which is an obvious exception of this rule). However, as stated in "Introduction" (p. 2), the inspired narrator provides a higher perspective on events and characters. The narrator tells the audience what the characters do not know to the audience. In conclusion, from this point of view, Helen's derogatory name works in the story. п„±п„І. Conclusion Both Helen have five beauty titles, both the "Eirth" and "Catalog". Two poems are common to Helen, which is also used in Helen. Depending on the context, the meaning of Achilles in "Ilias" varies depending on the speaker. бј€ОіОЇОЇ refers to Helen in the same sense, both "Ilias" and "Catalog". At the same time, Helen is a typical heroine and also pays attention to Helen's role in Alchaic Valgate. Helen's beauty seems to be a synonym for a vocabulary, but is distinguished in Homeros and has different meanings in context. Similarly, Helen's religious epic seems to be a synonym, but has been distinguished between Helen and the goddesses shared these epic. The meaning of these two epics is all from the use in "Ilias" and "Odysseia", and it is definitely derived from the previous hexameter. In this way, pointing out the outlook on the time of the monograph, not synifiier, as described in the monograph "Introduction", is backed up. fact

п—±п—± 29 Alchaic Valgate and "Iri ..: Edmunds 2016b.

In the story of these two epic, neither epic is functional. There are no people who do something or say something because Helen is beautiful, both Ilias and Odysseia. About what Akireus says, "I am fighting" бј‘ 'бј П‹' бј П‹ОјОї (9. 339): Ch. 7В§7. For О». 8В§1.) For О». 8В§1.) For О». 8В§1.) Odysseia doesn't do anything or say something because Helen is the daughter of Zeus. (See the abov e-mentioned В§1. 2 for Penelope, which is an obvious exception of this rule). However, as stated in "Introduction" (p. 2), the inspired narrator provides a higher perspective on events and characters. The narrator tells the audience what the characters do not know to the audience. In conclusion, from this point of view, Helen's derogatory name works in the story. п„±п„І. Conclusion Both Helen have five beautiful titles, both вЂњEirsвЂќ and вЂњCatalogвЂќ. Two poems are common to Helen, which is also used in Helen. Depending on the context, the meaning of Achilles in "Ilias" varies depending on the speaker. бј€ОіОЇОЇ refers to Helen in the same sense, both "Ilias" and "Catalog". At the same time, Helen is a typical heroine and also pays attention to Helen's role in Alchaic Valgate. Helen's beauty seems to be a synonym for a vocabulary, but is distinguished in Homeros and has different meanings in context. Similarly, Helen's religious epic seems to be a synonym, but has been distinguished between Helen and the goddesses shared these epic. The meaning of these two epics is all from the use in "Ilias" and "Odysseia", and it is definitely derived from the previous hexameter. In this way, pointing out the outlook on the time of the monograph, not synifiier, as described in the monograph "Introduction", is backed up. fact

п—±п—± 29 Alchaic Valgate and "Iri ..: Edmunds 2016b.

п—±п—± In this limit, in this limit, as long as Helen's derogatory is related to the time, Jeder Schrittt ГјBER DIE EBENE HINAUS Einem Schritt Ins Leere Gleichkomt Be inevitable Do not get. 31 Neither the source of the epic of "Paris Referee" not mentions Helen's beauty: IL. 24. 29-30; Cypria Arg. 4-9 B = 5-12 D = 1d (pp. 83-85). 32 The narrative is the first focuser. See nГјnlist and de jong 2000: 163 S. v. "Fokalisator".

Conclusion in Epistless 1. 2 Horace Writes from Praeneste to Maximus Lollius, A Young Man Practicing Oratory in Rome. Ently Lollius' Subject Matter. 1 at The Same Time, Horace is Rereading Homer, Who Provides More Usefull TheE Lesson of the iLIAD is Negative: 2 ONTINET AESTUM. Antenor Censet Belli Praecidere Causam: Regnet UIUATUS COGI POSSE NEGAT. ESTINAT Et Inter Atriden; Hunc AMOR, IRA Quidem Communiter Utrumque. Quid Quid Delirant Regess, Plector Achiuui. Ibidine et IRACOS ILIACOS Intra Muros Peccatur et EXTRA.

The story that Greece was in a boring war with barbarians because of Paris's love, depicts a foolish king and the people. Anthenol states that it will break the cause of the war. What do Paris do? Even if he reigns safely and lives happily, he cannot respond to it. Nestor strives to end the battle between Achilles and Agamemnon. Love ignites first and offends them equally. Regardless of the upset of the kings, the Akaian is punished. Bad things were done inside and outside the Trojan wall, for hingering, abusive, evil, desire, and anger.

In response to the concept of Eirth, the hole opposes the aggressive moral teaching of Odysseia (17-31). Helen is not mentioned, but the war is occurring in Paridis Propter Amorem (1), and Helen is the reason for refusing Paris to end the war (7. 362-64; 1 В§5) That is definitely the passion that Aphrodite gave her and had Paris in Paris.

п—±п—± 1 KIESSLING-HEINZE 1957: 24 AD LOC. 3 At the Troy rally in Volume 7, Helen and Helen to return their property to the Acaisans (347-53), Paris does not explain, but the property is returned, but the "woman" is returned (354- (354-) (354-) (354-). 64) Priam supports Paris without explanation (368-78). https://doi. org/10. 1515/9783110626124-014. п—±п—± 1 KIESSLING-HEINZE 1957: 24 AD Loc. 3 At the Troy rally in Volume 7, Helen and Helen to return their property to the Acaisans (347-53), Paris does not explain, but the property is returned, but the "woman" is returned (354- (354-) (354-) (354-). 64) Priam supports Paris without explanation (368-78). https://doi. org/10. 1515/9783110626124-014. п—±п—± 1 KIESSLING-HEINZE 1957: 24 AD LOC. 3 At the Troy rally in Volume 7, Helen and Helen to return their property to the Acaisans (347-53), Paris does not explain, but the property is returned, but the "woman" is returned (354- (354-) (354-) (354-). 64) Priam supports Paris without explanation (368-78). https://doi. org/10. 1515/9783110626124-014.

The Iliad has its own recognition of the possibility of Horatian acceptance in the figure of Thersites, where Odysseus defends the leaders, especially Agamemnon, Achilles, and himself, against Thersites's accusations (2. 212-77). 4 Menelaus expects divine judgment. While fighting Paris in Book 3, Menelaus prays to Zeus for revenge. He also scolds the Trojans for rebelling against Zeus Xenius and taking his wife and many of his possessions (13. 622-27). Herodotus' version of the Trojan War (Helen was not at Troy) also sees the fall of Troy (despite the fact that the Trojans did not have Helen) as a lesson to humanity that great sins (such as breaches of hospitality) will be meted out great punishment by the gods (2. 120. 5). The Achaean cause is also a reasonable one. Achilles says that the Achaeans are in Troy to do Agamemnon a favour, "to win the honour of you and of Menelaus" (П„О№ОјО®, 1. 159). Menelaus says that Patroclus died for his own honour (П„О№ОјО®, 17. 92; cf. 5. 550-53). Helen's Horatic interpretation of her act is clear when she says that all the Trojans tremble at her (24. 775). The Iliad has its own recognition of the possibility of Horatic acceptance in the figure of Thersites, whose punishment Odysseus uses to defend his leaders, especially Agamemnon, Achilles and himself, against Thersites' accusations (2. 212-77). Menelaus expects divine justice. In Book 3, while fighting Paris, he prays to Zeus for revenge. He also scolds the Trojans for rebelling against Zeus Zenios and taking his wife and many possessions (13. 622-27). Herodotus' version of the Trojan War (Helen was not at Troy) also holds that the destruction of Troy (despite the fact that the Trojans did not have Helen) was a lesson to mankind that great sins (such as breaches of hospitality) will be punished greatly by the gods (2. 120. 5). The Achaean cause is also reasonable: Achilles says that the Achaeans are in Troy to do Agamemnon a favour, "to win the honour of you and Menelaus" (П„О№ОјО®, 1. 159). 5 Menelaus says that Patroclus died for his own honour (П„О№ОјО®, 17. 92; cf. 5. 550-53). 6 Helen says that all the Trojans trembled at her (24. 775), making the Horatic interpretation of her act clear. The Iliad has its own recognition of the possibility of Horatic reception in the figure of Thersites, where Odysseus defends his leaders, especially Agamemnon, Achilles and himself, against Thersites's accusations (2. 212-77). 4 Menelaus expects divine justice. While fighting Paris in Book 3, Menelaus prays to Zeus for revenge. He also scolds the Trojans for rebelling against Zeus Zenios and taking his wife and many of his possessions (13. 622-27). Herodotus' version of the Trojan War (Helen was not at Troy) also holds that the fall of Troy (despite the fact that the Trojans did not have Helen) was a lesson to mankind that great sins (such as breaches of hospitality) are punished greatly by the gods (2. 120. 5). The Achaean cause is also reasonable: Achilles says that the Achaeans are at Troy to do Agamemnon a favour, "to win the honour of you and of Menelaus" (П„О№ОјО®, 1. 159). 5 Menelaus says that Patroclus died for his own honour (П„О№ОјО®, 17. 92; cf. 5. 550-53). 6 Helen says that all the Trojans trembled at her sight (24. 775), making the Horachian interpretation of her actions clear.

6 Honor in these passages could mean material rewards (first of all, all the property taken by Helen and Paris: cf. 3. 67-70), or the status lost, especially by Menelaus (cf. LfgrE s. v. П„О№ОјО® B1b), or both (cf. L-N-S 2000: 79-80, lines 159-60). 7 Ebott 1999: 20 concludes: Thus, the reproach Helen speaks of is not merely an internal shame, but more importantly an external reproach caused by her actions, that is, Helen speaks for the voice of an enemy who is not spoken of in the Iliad.

148 п—± Conclusion To Helen as the object of reproach, the narrator's derogatory title for her must be established. The derogatory comments about Helen's beauty and about her kinship come almost entirely from the narrator, and are often made in a way that contrasts his perspective with that of the characters. His descriptions of her beauty are often based on different familial, social, and utilitarian concepts. He knows more than the characters and in effect corrects them. Although Paris evokes the principle that "no line of epic is ever epic, but the whole epic is ornamented," Helen's epic has a specific function in the places where it appears. Helen, from the narrator's and, by extension, the audience's perspective, is a suitable target for the heroes' struggle. She herself looks forward to future fame, as she tells Hector, "Zeus has bestowed evil upon her and Paris, so that they may be sung of in the future" (Il. 6. 344-58). She already held this position during her lifetime, as seen in Telemachus' report to his mother about his visit to Sparta (Od. 17. 118) and in Penelope's reflections on Helen (Od. 23. 218-221, chap. 10, В§5). HГ©lГЁne Monsacre concludes her investigation of the subordinate status of women in the Iliad with a speculation about Helen's special status: "enter into a fierce war."6 Honor in these passages could refer either to material rewards (first of all Helen and all her property taken by Paris: cf. 3. 67-70), or to the status lost, especially by Menelaus (cf. LfgrE s. v. П„О№ОјО® B1b), or both (cf. L-N-S 2000: 79-80, lines 159-60). 7 Ebott (1999: 20) concludes: "Thus, the reproach Helen speaks of is not merely an internal shame, but more importantly an external reproach caused by her actions, a voice of a nemesis that is not spoken of in the Iliad."

148 п—± Conclusion To set up Helen as the object of reproach, the narrator's contempt for her must be established. The contempt for Helen's beauty and for her kinship come almost entirely from the narrator. They often appear in scenes that contrast his perspective with that of the characters. The narrator's descriptions of her beauty often come from various familial, social and pragmatic concepts of her. The narrator knows more than the characters and in effect corrects them. Although Parry evokes the principle that "the epic is not a line, but that it is the ornament of all epics," Helen's epic has a specific function in the places where it appears. From the narrator's and, therefore, the audience's point of view, Helen is a suitable target for the heroes' struggle. She herself looks forward to future fame, as she tells Hector: "Zeus has doomed her and Paris so that they may be sung of in the future" (Il. 6. 344-58). She already had this status in life, as seen in Telemachus' report to his mother on his visit to Sparta (Od. 17. 118) and in Penelope's reflections on Helen (Od. 23. 218-221, Chapter 10, В§5). HГ©lГЁne Montsacre concludes her investigation of the subordinate status of women in the Iliad with a speculation about Helen's special status. 6 Honor in these passages could mean material rewards (first of all, all the property taken by Helen and Paris: cf. 3. 67-70), or the status lost, especially by Menelaus (cf. LfgrE s. v. П„О№ОјО® B1b), or both (cf. L-N-S 2000: 79-80, lines 159-60). 7 Ebott 1999: 20 concludes: Thus, the reproach Helen speaks of is not merely an internal shame, but more importantly an external reproach caused by her actions, that is, Helen speaks for the voice of an enemy who is not spoken of in the Iliad.

148 п—± Conclusion To Helen as the object of reproach, the narrator's derogatory title for her must be established. The derogatory comments about Helen's beauty and about her kinship come almost entirely from the narrator, and are often made in a way that contrasts his perspective with that of the characters. His descriptions of her beauty are often based on different familial, social, and utilitarian concepts. He knows more than the characters and in effect corrects them. Although Paris evokes the principle that "no line of epic is ever epic, but the whole epic is ornamented," Helen's epic has a specific function in the places where it appears. Helen, from the narrator's and, by extension, the audience's perspective, is a suitable target for the heroes' struggle. She herself looks forward to future fame, as she tells Hector, "Zeus has bestowed evil upon her and Paris, so that they may be sung of in the future" (Il. 6. 344-58). She already held this position during her lifetime, as seen in Telemachus' report to his mother about his visit to Sparta (Od. 17. 118) and Penelope's reflections on Helen (Od. 23. 218-221, Chapter 10, В§5). HГ©lГЁne Montsacre concludes her investigation of women's subordinate status in the Iliad with a speculation about the special status of Helen.

Helen in the two epic stories is always a wife at all times, and nothing else (chapter 1), but she leaves and enters from the marital relationship twice (r e-entry in the case of Menellius). I was able to do it. Paris's name was amplified by the formula of "Helen's husband of gray hair" (CH. 7В§1), and his reputation increased by the marriage with her. Helen's special status appears in motherhood. She has no children with Paris. In addition, the relationship with her son, Hermione, does not characterize her as a mother. In Ilias, Helen only mentions Hermione (3. 175.) Odysseia, at the beginning of Volume 4, a feast to celebrate the marriage of her daughter and her child Mega Pentes. It is explained that Helen had no children since Hermione, named after Hermione.

п—±п—± 8 PARRY 1971 [1928]: 138. PARRY 1971 [1928B]: 249 "ONLY ... an Addent Quality of Epic Nobility.".

Is the first and last (4. 12B-14). Later, in the description of the arrival of Telemacos and Paisistratus, the wedding party was forgotten and replaced by a feast that honored them. Regarding Hermione, Helen has been forgotten at the end of Troy's speech about Odysseus, except that she mentions her name (4. 263). In Odysseia, they live under the same roof, but the relationship between Helen and Hermione is blank. Helen is out of marital relationships and paren t-child relationships. Monsakure's guess is applicable to both. Helen, unlike Penelope (Od. 24. 196-97), cannot be expected to Creos, and in Monsakure's words, he cannot be a "heroic person", but as he told Hector (6. 357-58) (6. 357-58. ) You can expect her and Paris to be remembered in the future. She is right, as we know and, as the original audience knows. Helen of this song is Helen of "Ilias" and Helen of "Odysseia", but not only Helen, who started talking with lamentation and remorse towards Hector, but also Helen, a disdain of a narrator. But there is. It is authoritative from the narrator, opposing Helen's sel f-presentation (as this monograph has argued, Helen has a reasonable reason), and Helen is a family and social. It is positioned at the top of the identity. Helen makes Helen a good thing to pair with the hero.

п—±п—± 10 de Jong 2001: 90 Refer to the 3-19 line.

Appendix 1: Helen's derogatory name in Homeros Il. п„І.п„±п„¶п„±

Algin Helen, who became many akaians

This Helen was born as a white angel.

Helen's myth was rewarded by a woman.

He was a do g-like dog who had never been born.

"Helen Dio, the son of the gods

"Helen's son was rewarded by the women.

Alexander Helen's drink

... he conquered ... he had a harsh face ...

... I didn't get frustrated ...

As Helen Dio said, as Helen Dio said.

Or in a high room with women.

Helen was sitting, a goat Dio sat, and a coward Dio was sitting.

We saw Helen of Argin.

This is to Argin Helen Menellaus

"There was a rat in Argin Helen's pocket

Helen's road became noble.

Argay Helen was a woman.

"Dairy farming, col d-blooded villain wife.

Second, Argeyhelen and its territory

Alexander Daio, Helen's sake, and Yukosome

"Alexander Daio, Helen's sake cup

Atlay death. Helen is not in the echo.

"Alexander, Alexander, Helen, Drink the sun.

If it is not Alexander, Helen drinks the sun.

"Drinking the sun in Alexander Helen, drinking Alexander Helen's sun, drinking Alexander Helen's sun, drinking Alexander Helen's sun, drinking the sun in Alexander Helen, drinking Alexander Helen's sun.

Fight Trozin

Hellenism Devil march in EchoChember

Elim Rim - Journalist, creative writer

Last modified 07.06.2025

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