The one exception to this rule is Aphrodite, whom Dimmest is encouraged to engage with vigor. This seems to illustrate one of the recurring characteristics of the Epic genre: a lifting up of the focus to things beyond the realms of mere mortality. By practically telling her champion to attack Love, Athena gives not only Dimmest, but also the reader themselves a blood rush that can only come from a challenge so much greater than simple combat. He must fight a goddess! Like a warm knife through butter, Dimmest cuts through the Trojan lines, accumulating for himself immense glory from his comrades and gaining the fear to his toes.
His brief story of revenge draws to a prompt close as his spear silences Panders’ jeers in death, cutting out his tongue at the roots and leaving him speechless. When Panders falls, his comrade Names steps into the melee to protect the formers body, narrowly escaping his own destruction when his mother, Aphrodite whisks him out of the battle following a near fatal wound from the Ergative, vouches rampage now places him face to face with Love herself Aphrodite is pierced in the wrist by Dimmest’ spear and all in a moment the received perfection of the gods drips away in the choir flowing from the pale skin of the most beautiful of immortals.
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It is characteristic of Greek and Roman epic literature to have the deities very involved in the affairs Of mortals and to see them jump in and out of the “action”. In this case, it has troubling consequences. Athena returns to the heavens and Dimmest continues to tread his path of destruction, encountering next Phoebes Apollo protecting Names. As he makes to engage the distant deadly Archer in battle, Apollo warns him not to attempt to triumph over the gods as there is such a gulf separating them from the mortals. As Dimmest pulls back, Apollo returns Names to safety and calls to Ares for help against this foe. That daredevil Dimmest, he’d fight Father Zeus! He’s just assaulted Love, he stabbed her wrist – like something superhuman he even charged at me! ” (526-28) Ares then steps into the tray and the battle continues to wage on, with the god of war at the head. As the Achaeans begin to tint themselves in desperate straights, Athena returns to Dimmest. Pending him by his chariot nursing the wound he received from Panders’ arrow, she begins to chide him for not being in the midst of the fight. Homer makes use of an interesting Asiatic structure within Ethane’s speech.
This schism, spanning lines 329-38, compares Dimmest with his father Études and displays him to be sorely lacking. Dimmest returns with the fact that it was Athena, herself who told him not to charge into battle against the gods, but it is Ares leading the Trojan charge. With blazing eyes, Athena regards her champion and rescinds her orders. She gives him full permission to attack Ares first Of all the opponents and the two stand together in a chariot charge against him. Ares hurls his shaft at Dimmest, but Athena turns it away.
Dimmest returns With a thrust Of his own spear, Which hit home in Ares’ bowels and send the god of war cowering back to Olympus where even he is chided by Zeus. This passage is most notable for its excellent, if graphic, descriptions of the battle for Troy. It is, perhaps, one of the best exhibitions of what would likely be a standard skirmish during the course of the long siege. As in all of Homer’s writings, there is a wealth of rich description, both of the scene and setting itself, as well as of the characters, their epithets functioning as remarkably concise yet accurate views of the people being described,