The study of lyric epiphany, essential to any coordination
of sociolinguistics and literature, is defined in terms
of five considerations (e.g., its role in political rhetoric),
and linguistic criteria such as phonic compression. One
track in the argument deals with lyric epiphany in ordinary
language (e.g., M.L. King's speeches), in prose (e.g.,
Cather and Tolstoy), and in the long poem. The second,
intermittently intersecting track consists of intense analyses
of four cases of linguistic epiphany in The Odyssey
that involve (1) semantically ramifying root symbols such
as the olive in Greece, (2) simile concentration, as in
the reverse similes that commute antithetical subcategories,
(3) phonic texturing (e.g., alliteration, phonaesthesia),
and as a limiting case, (4) epiphany through chiasmus.
The conclusions suggest the universal, cross-language and
cross-cultural reality of lyric epiphany (e.g., not just
classic Russian and Homeric Greek, but Quechua, Eskimo,
and Sanskrit and Hebrew religious texts). Lyric epiphany
is a subtype of generic epiphany: an intuition or revelation
of truth values beyond language and empirical experience.
Lyric epiphany, while a component of classical poetics
– both Western and Eastern – and a subcategory
of ideologies of Primitivism and, within that, of Modernism,
is also, like the human body, part of the human experience
that can and should be studied as part of cultural linguistics
and sociolinguistics.