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By Tom Winnifrith

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22-5): Agamemnon's authority at this moment is absolute. V. ) to him, but whose own power and sway ( apx n,oxnnpov and n]JaC: P. v. ) are vulnerable to further attempts to seize it from him by force. V. 200), and it has a political sophistication to it that is once more foreign to the world of the Homeric poems. In line with this, we cannot be surprised if the image of warfare that we find in the plays of Aeschylus seems very different from the Iliadic image. Not just in the presentation of actual contemporary experience of war in Persians, but even in the imagined experience of the great subject of Homeric epic, war at Troy, in Agamemnon.

With admirable discrimination and precision, with great learning and with judicious use of the analogies provided both by anthropological studies of intellectual change in primitive societies and by the history of the great riverine cultures of the ancient Near East, he has succeeded both in significantly refining the thesis and in dealing seriously with some of the most important prima facie objections to it. 266). Such, then, is the thesis of the 'tragic moment'. Its relevance to my subject in this paper is clear enough.

Hector, then, departs for Troy, and there follows the description of an intriguing and seemingly independent encounter between Glaucus and Diomedes. In one way it is part of the Diomedeia , the aristeia or triumph of Diomedes; and Herodotus quotes an extract from it as precisely from that source. In another way it is one of those inorganic scenes that could be inserted in the epic or omitted from it according to a poet's wishes - or even moved elsewhere as Aristonicus reported to be the case with this particular episode.

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