Abstract

This article posits three categories of Homeric figures-similes, comparisons, and likenesses-in exploring the various implications of and goals behind saying "A (is) like B" in the Homeric poems. Attention to modern research in the field of psycholinguistics on the differences between simile and metaphor, as well as to Aristotle's discussions of metaphor, brings into focus the spectrum of degree of likeness between tenor and vehicle in the epics. The Odyssey poet in particular exploits the existence and nature of this comparative spectrum for thematic and rhetorical effects. The spectrum emerges most clearly when one focuses on the words that introduce Homeric figures.