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, the terms are used, as elsewhere, to cover metalworking in general; cf. ix 391 ff., where the ??????? works with iron. Here the tools which the smith brings (434) are more appropriate to iron-working, which alone requires the heavy hammering of red-hot metal; gold is hammered cold, with a light hammer. The poet was evidently impressed by the spectacular and mysterious processes of the blacksmith's forge, and imported the equipment into a context where it has no place. The only way in which the horns of a living ox could be gilded is by affixing gold foil, 1954.

, here 'pile up' a heap or 'spread' one material over another. The word gives no clue to the technology-of which the poet was ill-informed if he supposed that anvils, hammers, and tongs were required" (see iii 433-5): on the techniques (probably involving the use of gold leaf) see D. H. F. Gray, JHS lxxiv, 1954, 4). See particularly Gray's n, Heubeck, vol.308, 1988.

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, one of gold, one of silver, one of steel; p.e. of iron alloy; 2) Nabuchadnezzar's dream, in the Book of Daniel, of a large stature with a head of gold, breast and arms of silver, belly and thighs of brass, legs of iron, feet or iron mixed with clay; 3) the Yugas mentioned in Indian literature, i.e. the world four ages (without metal symbolism). A common element to Sumerians and Babylonians is "the progressive shortening of man's life, West 1978 are: 1) the vision seen in the lost books of the Avesta by Zor?aster: a tree with four branches, 1997.

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