Homer Iliad 19.184

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Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 19.184 focus
Translations (8)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 19.184 focus
Iliad Perseus (Homer. The Iliad of Homer, rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. London: Longmans, Green, and Co, 1898.) — 19.125 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 19.184 focus
And King Agamemnon answered, [185] “Son of Laertes, your words please me well, for throughout you have spoken wisely. I will swear as you would have me do; I do so of my own free will, neither shall I take the name of a superhuman force [ daimōn] in vain. Let, then, Achilles wait, though he would fain fight at once, [190] and do you others wait also, till the gifts come from my tent and we ratify the oath with sacrifice. Thus, then, do I charge you: choose [ krinein] some noble young Achaeans to go with you, and bring from my tents the gifts [195] that I promised yesterday to Achilles, and bring the women also; furthermore let Talthybios find me a boar from those that are with the army, and make it ready for sacrifice to Zeus and to the sun.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 19.184 focus
‘For this’ (the stern Æacides replies)
‘Some less important season may suffice,
‘When the stern fury of the war is o'er,
‘And wrath extinguish'd burns my breast no more.
200
‘By Hector slain, their faces to the sky,
‘All grim with gaping wounds our heroes lie:
‘Those call to war! and, might my voice incite,
‘Now, now this instant, should commence the fight.
‘Then, when the day's complete, let generous bowls,
205
‘And copious banquets, glad your weary souls.
‘Let not my palate know the taste of food,
‘Till my insatiate rage be cloy'd with blood:
‘Pale lies my friend, with wounds disfigur'd o'er,
‘And his cold feet are pointed to the door.
210
‘Revenge is all my soul! no meaner care,
‘Interest, or thought, has room to harbour there;
‘Destruction be my feast, and mortal wounds,
‘And scenes of blood, and agonizing sounds.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 19.184 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 19.184 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.184 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 19 focus

New Alexandria Commentaries

Douglas Frame

in a list of passages where theōi enaligkios is used

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Gregory Nagy

The time has come for Achilles to re-enter the war against the Trojans. For this to happen, Agamemnon must first settle with Achilles. But the over-king feels the need to say more than simply to formulate his proposed terms of settlement. His aim is to excuse himself from responsibility for dishonoring Achilles, and the story that he tells in order to achieve this aim is a retelling of a cosmic atē ‘aberration’ that resulted in the Labors of Hēraklēs. Such a retelling, however, is destined to backfire: it will result in further damage to Agamemnon’s own royal status and in further advancement for the heroic prestige of Achilles, for whom Hēraklēs now becomes a perfect model.

draft js image errorHerakles at the tree of the Hesperides, holding three of the golden apples in his left hand. Behind him is the apple tree with the guardian serpent clinging around it. Bronze, 104.5cm (Roman, 1st century C.E.). Image via The British Museum.

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This speech is relevant to the need felt by Achilles to get his equitable share.

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The application of this noun to Zeus as the ultimate ‘divider’ of the portions of war is relevant to the need felt by Achilles to get his equitable share.

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The seven Aeolian women that Achilles had captured when he conquered the island of Lesbos—all of whom had originally been allotted to Agamemnon—are now re-allotted to Achilles, along with Briseis as an additional eighth woman. On the seven captive women from Lesbos, see the anchor comment at I.09.128–131 / 270–272. Once again, we see the dominantly Ionic traditions of Homeric poetry showing signs of influence from a dominantly Aeolic tradition as attested in the songs of Sappho and Alcaeus. Of special interest, with regard to such a tradition, is the emphasis here at I.19.245–246 on the expertise of the seven captive women of Lesbos in working on elaborate fabrics. The sub-text of such work, here and elsewhere, is the craft of pattern-weaving. See the comment on I.09.130.

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Leonard Muellner

analysis of Achilles’ compensation as not a gift from Agamemnon but a distribution from the group

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