Of fire, his hands, his strength as burnished steel.

Sometimes certain insertions are made and they are repeated, as in (O.
i. 22):--

Howbeit Poseidon had now departed for the distant Ethiopians,
the Ethiopians that are sundered in twain, the uttermost
of men.

This is a figure revealing the feeling of the speaker and at the same
time affecting the hearer.

Of the same kind is Relation; when at the commencement of several
members of a sentence the same part is repeated. An example of this from
the poet is (I. ii. 671):--

Nireus three well-trimmed ships from Syme brought.
Nireus to Charops whom Aglaia bore.
Nireus the goodliest man of all the Greeks.

This figure is likewise adapted to excite the emotions and give
sweetness to the expression.

He has also Regression. This is when one puts forward two names of
objects. When the sense is not yet complete, the poet returns to both of
the names, completing what is lacking in the sense, as (I. v. 518).--

Followed the thronging bands of Troy, by Mars and fierce
Bellona led: she by the hand wild uproar held; while Mars
a giant spear brandished aloft.

The characteristic of this figure is variety and perspicuity.

He has also the figure called Homoioteleuton in which the parts of the
sentence have endings similar in sound and have the same syllables at
the end (O. xv. 74):--

Men should love a guest while he is with them, and send
him on his way when he would depart,--

and in the following (O. vi. 42):--

And she departed to Olympus, where they say is the seat of the gods that
standeth fast forever. Not by the wind is it shaken nor ever wet with
rain nor doth the snow come nigh thereto, but most clear air is spread
about it cloudless and the white light floats over it.

When periods or their members end in nouns which are of the same
declension this is properly called Homoioptolon, as the following (I.
ii. 87):--

[Greek omitted]

As swarms of bees, that pour in ceaseless stream
From out the crevice of some hollow rock.

The above and others like them add grace and attractiveness to the
narrative.

As a proof of his care in composition we often see he employs two
figures in the same verses, as Epanaphora and Homoioteleuton (I. ii.
382):--

Each sharpen well his spear, his shield prepare
Each to his fiery steeds their forage give.

Belonging to these is the fig