Homer Iliad 2.301

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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.) — 2.301 focus
εὖ γὰρ δὴ τόδε ἴδμεν ἐνὶ φρεσίν, ἐστὲ δὲ πάντες
μάρτυροι, οὓς μὴ κῆρες ἔβαν θανάτοιο φέρουσαι·
χθιζά τε καὶ πρωΐζʼ ὅτʼ ἐς Αὐλίδα νῆες Ἀχαιῶν
ἠγερέθοντο κακὰ Πριάμῳ καὶ Τρωσὶ φέρουσαι,
ἡμεῖς δʼ ἀμφὶ περὶ κρήνην ἱεροὺς κατὰ βωμοὺς
305
ἕρδομεν ἀθανάτοισι τεληέσσας ἑκατόμβας
καλῇ ὑπὸ πλατανίστῳ ὅθεν ῥέεν ἀγλαὸν ὕδωρ·
ἔνθʼ ἐφάνη μέγα σῆμα· δράκων ἐπὶ νῶτα δαφοινὸς
σμερδαλέος, τόν ῥʼ αὐτὸς Ὀλύμπιος ἧκε φόως δέ,
βωμοῦ ὑπαΐξας πρός ῥα πλατάνιστον ὄρουσεν.
310
ἔνθα δʼ ἔσαν στρουθοῖο νεοσσοί, νήπια τέκνα,
ὄζῳ ἐπʼ ἀκροτάτῳ πετάλοις ὑποπεπτηῶτες
ὀκτώ, ἀτὰρ μήτηρ ἐνάτη ἦν ἣ τέκε τέκνα·
ἔνθʼ ὅ γε τοὺς ἐλεεινὰ κατήσθιε τετριγῶτας·
μήτηρ δʼ ἀμφεποτᾶτο ὀδυρομένη φίλα τέκνα·
315
τὴν δʼ ἐλελιξάμενος πτέρυγος λάβεν ἀμφιαχυῖαν.
αὐτὰρ ἐπεὶ κατὰ τέκνα φάγε στρουθοῖο καὶ αὐτήν,
τὸν μὲν ἀρίζηλον θῆκεν θεὸς ὅς περ ἔφηνε·
λᾶαν γάρ μιν ἔθηκε Κρόνου πάϊς ἀγκυλομήτεω·
ἡμεῖς δʼ ἑσταότες θαυμάζομεν οἷον ἐτύχθη.
320
ὡς οὖν δεινὰ πέλωρα θεῶν εἰσῆλθʼ ἑκατόμβας,
Κάλχας δʼ αὐτίκʼ ἔπειτα θεοπροπέων ἀγόρευε·
τίπτʼ ἄνεῳ ἐγένεσθε κάρη κομόωντες Ἀχαιοί;
ἡμῖν μὲν τόδʼ ἔφηνε τέρας μέγα μητίετα Ζεὺς
ὄψιμον ὀψιτέλεστον, ὅου κλέος οὔ ποτʼ ὀλεῖται.
325
ὡς οὗτος κατὰ τέκνα φάγε στρουθοῖο καὶ αὐτὴν
ὀκτώ, ἀτὰρ μήτηρ ἐνάτη ἦν ἣ τέκε τέκνα,
ὣς ἡμεῖς τοσσαῦτʼ ἔτεα πτολεμίξομεν αὖθι,
τῷ δεκάτῳ δὲ πόλιν αἱρήσομεν εὐρυάγυιαν.
κεῖνος τὼς ἀγόρευε· τὰ δὴ νῦν πάντα τελεῖται.
330
ἀλλʼ ἄγε μίμνετε πάντες ἐϋκνήμιδες Ἀχαιοὶ
αὐτοῦ εἰς ὅ κεν ἄστυ μέγα Πριάμοιο ἕλωμεν.
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.) — 2.301 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.) — 2.320 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.301 focus
For I know this well in my heart, and you all 302 are witnesses, those of you who have not been carried off by the demons of death. 303 It is as if it was yesterday or the day before, when the ships of the Achaeans at Aulis 304 were gathered, portending doom to Priam and the Trojans. [305] Standing around a spring, at a sacred altar, 306 we were sacrificing perfect [ telēessai] hecatombs to the immortal ones 307 under a beautiful plane tree, in a place where sparkling water flowed. 308 Then there appeared [ phainesthai] a great sign [ sēma], a serpent [ drakōn] with blood-red markings on its back. 309 Terrifying it was. The Olympian [= Zeus] himself had sent it into the zone of light. [310] It darted out from underneath the altar, and it rushed toward the plane tree. 311 Over there were the nestlings of a sparrow, helpless young things. 312 In the highest branch amidst the leaves they were hiding in fear, 313 eight of them. The ninth was the mother that had hatched the young ones. 314 Then it devoured them, in a way that is pitiful [ eleeina], while they were chirping. [315] And their mother was fluttering above, lamenting [ oduresthai] for her dear little things. 316 Then it threw its coils around her, catching her by the wing as she was wailing over [ amphiakhuia] them. 317 And when it devoured the young ones of the sparrow and the mother as well, 318 the same god that had made it visible [ phainein] now made it most visible [ arizēlos]. 319 For the son of crafty Kronos now made it into stone. [320] We just stood there, struck with awe [ thauma] at what happened, 321 how such frightful portents invaded the hecatombs of the gods. 322 Then, right away, Kalkhas spoke, speaking the words of seers [ theopropeîn]: 323 “Why are you speechless, Achaeans with the elaborate hair? 324 Zeus, master of craft, made visible [ phainein] this great portent [ teras]. [325] It is late in coming, late in reaching its outcome [ telos], and its fame [ kleos] will never perish. 326 Just as this thing devoured the young ones of the sparrow and the mother as well, 327 eight in number, while the mother made it nine, the one that hatched the young ones, 328 so also we will wage war for that many years in number, 329 and then, on the tenth year, we will capture the city with its broad streets.” [330] Thus spoke that man. And now I see that all these things are reaching their outcome [ telos]. 331 So come now, all of you, hold your place, all you Achaeans with the fine shin-guards, 332 stay here until we capture the great city of Priam.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.301 focus
'What pass'd at Aulis, Greece can witness bear,
'And all who live to breathe this Phrygian air.
'Beside a fountain's sacred brink we rais'd
'Our verdant altars, and the victims blaz'd;
'('Twas where the plane-tree spread its shades around;)
370
'The altars heav'd; and from the crumbling ground
'A mighty dragon shot, of dire portent;
'From Jove himself the dreadful sign was sent.
'Straight to the tree his sanguine spires he roll'd,
'And curl'd around in many a winding fold.
375
'The topmost branch a mother-bird possess'd;
'Eight callow infants fill'd the mossy nest;
'Herself the ninth: the serpent, as he hung,
'Stretch'd his black jaws, and crash'd the crying young;
'While hovering near, with miserable moan,
380
'The drooping mother wail'd her children gone.
'The mother last, as round the nest she flew,
'Seiz'd by the beating wing, the monster slew:
'Nor long surviv'd; to marble turn'd he stands
'A lasting prodigy on Aulis' sands,
385
'Such was the will of Jove; and hence we dare
'Trust in his omen, and support the war.
'For while around we gaz'd with wondering eyes,
'And trembling sought the powers with sacrifice,
'Full of his god, 1 the reverend Calchas cried,
390
'Ye Grecian warriors! lay your fears aside:
'This wondrous signal Jove himself displays,
'Of long, long labours, but eternal praise.
'As many birds as by the snake were slain,
'So many years the toils of Greece remain;
395
'But wait the tenth, for Ilion's fall decreed:
'Thus spoke the prophet, thus the fates succeed.
'Obey, ye Grecians, with submission wait,
'Nor let your flight avert the Trojan fate.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.301 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.301 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.301 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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comment on the formulaic language of Zeus’ promising and nodding in assent in response to prayer (of returning from Troy) and the variation on it in this passage

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in the context of discussing the contrast between Odysseus and Nestor in terms of their referring to signs from gods (Odysseus recalls one interpreted by Calchas, Nestor one he saw for himself)

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in the context of discussing the contrast between Odysseus and Nestor in terms of their referring to signs from gods (Odysseus recalls one interpreted by Calchas, Nestor one he saw for himself)

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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citation of formulaic use of haloûsá te perthoménē te as example where halṓō means “to be seized” in Homer

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Gregory Nagy

The narrative of Rhapsody 2 now follows up on the dire consequences of the quarrel between Achilles and Agamemnon as narrated in Rhapsody 1. Achilles has already withdrawn from the war because of his anger. So, now that this greatest hero of the Achaeans is out of the picture, what will happen next? How will the absence of Achilles affect the story of the Trojan War? Many new doubts and fears set in, and the resolve of the Achaeans is harshly tested. There is negative talk, and there are omens. Thus the story of the Trojan War, as told and retold countless times in the distant past, must now be retold yet again, and Rhapsody 2 will set the terms for the retelling still to come. For setting the terms, Rhapsody 2 will need a new Catalogue of Ships, now happening in the tenth year of the war, as a replacement for any old Catalogue that would have logically happened already in the first year. This new Catalogue is of course not really new: rather, it is the oldest possible Catalogue that is now being renewed for the newest possible retelling of the Trojan War, reconsidered in the glaring light of the grim consequences facing the Achaeans now that Achilles has withdrawn from the war. With these consequences in view, the Catalogue will reassess all the Achaean heroes involved in the Trojan War. Of special interest will be the role of Protesilaos, who had been the first Achaean to die in the war, as a model for Achilles. As the Master Narrator notes most ruefully, Protesilaos is now terribly missed by his fellow warriors. So too will Achilles be missed.

draft js image errorOn the reverse side of the coin: Inscription: ΘΗΒΑΙΩΝ. Pictured: the Greek hero Protesilaos, the first Achaean to step on Trojan soil and, according to the myth, the first to die in the Trojan War. The myth is retold in Iliad 2.695–709.

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The expression mōlos Arēos ‘struggle of Ares’ refers to a war-dance. It is as if the violence of warfare were primarily a war-dance. To be compared is the Arcadian festive event of the Mōleia, which is a ritualized dramatization of martial biē ‘force, violence, strength’.

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Epitome from Nagy 2015§85. Here at I.02.402–429, when Agamemnon sacrifices an ox to Zeus, I.02.402–403, 422, he makes a wish-in-prayer, as expressed by the verb eukhesthai, I.02.411, that he will conquer the city of Troy, I.02.414–415, and kill Hector together with as many other enemies as possible, I.02.416–418—all within the space of one single day, I.02.413. But Zeus refuses to bring this prayer to fulfillment, I.02.419—even though the god accepts the offering of the sacrifice, I.02.420, and even though Agamemnon and his guests go ahead and cook the meat after killing the ox, dividing the beef among themselves and then feasting on it together, I.02.421–429. Although the narrative leaves it open whether, one fine day, Agamemnon will still succeed in his wish to conquer the city, I.02.419, it is made clear that the present wish-in-prayer, as performed by the hero on the occasion of this particular sacrifice, is a failure, I.02.419. To paraphrase in Latin terms: the vōtum as a ‘wish-in-prayer’ is not granted here.

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Epitome from Nagy 2015§§103:

Menelaos seems to be idiosyncratic in his arrivals at sacrifices. A striking example is the passage here at I.02.402–429 where Agamemnon sacrifices an ox to Zeus, I.02.402–403, 422, and makes a wish-in-prayer, as expressed by the verb eukhesthai, I.02.411, that he will conquer the city of Troy, I.02.414–415, and kill Hector together with as many other enemies as possible, I.02.416–418. To attend this sacrifice as well as the feast that follows the sacrifice, Agamemnon invites six heroes, I.02.404–407. But the hero Menelaos is not included in this group of six. Nevertheless, Menelaos does manage to attend, arriving as the seventh hero, without having been invited to the sacrifice, I.02.408–409: rather, he comes automatos, which is conventionally interpreted to mean ‘of his own accord’, or, to put it into popular idiom, ‘automatically’, I.02.408. But the reason that is given here to explain why Menelaos comes automatos is uncanny: it is because, the narrative says, Menelaos can read the mind of his brother, I.02.408–409.

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Epitome from Nagy 2015 §104:

Point 1. The ability of Menelaos to read the mind of Agamemnon indicates a special meaning for the adjective automatos here. On the one hand, if Menelaos comes to the feast ‘on his own’, then we can expect his mind to be ‘operating by itself’—which is the meaning built into automatos as a compounding of the element auto- ‘self’ with the element ma-t-, derived from the root men-*/mn- meaning ‘mind’. So, Menelaos has a mind of his own. On the other hand, something unexpected is going on here: this mind of Menelaos, exceptionally, can read the mind of the brother, and so automatos in this context means not only ‘having a mind of his own’ but also ‘having the same mind’ as the brother has. In terms of this interpretation, Agamemnon and Menelaos have the same mind because they share their own selves with each other. We can find mythological patterns of twin-like behavior in Homeric descriptions of Agamemnon and Menelaos, and these patterns affect even their thinking. See Frame 2009:177, with a further reference at pp. 72–73 n. 156. More from Frame pp. 209–215: Also, Menelaos in the Iliad* consistently fails to take the initiative whenever he undertakes an activity together with his brother. In such situations, Menelaos is recessive in his twinned thinking, while Agamemnon is dominant.

Point 2. There is an allusion in Plato Symposium 174b-d to the wording here in I.02.408. And, on the basis of Athenaeus 1.8a, we can reconstruct a relevant proverb, to which Plato’s text is also alluding. This proverb can be reconstructed as αὐτόματοι δ’ ἀγαθοὶ ἀγαθῶν ἐπὶ δαῖτας ἴασι ‘automatically do the noble go to the feasts of the noble’. In such a context, I add, not only does each noble person have ‘a mind of his own’: that mind is also the ‘same’ mind that the other noble persons have. The point is, ‘like-minded’ or ‘same-minded’ people congregate with each other automatically at dinners.

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Menelaos in his thūmos ‘heart, mind’ knows what Agamemnon is feeling.

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reference to report of Demetrius’ negative judgment of ethos reflected in this line in Athenaeus 5.4 Kaibel (177ef)

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Leonard Muellner

analysis of the attestations of eukhesthai + aorist infinitive (and the series to which I.02.401 belongs) [MRBTP: 'f']

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analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor) [MRBTP: 'f']

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in a list of passages with eukhesthai + infinitive (aorist) [MRBTP: 'f']

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comparison with I.19.100, a non-formulaic attestation of eukhesthai introducing speech (formal parallelism between a sacral (I.02.410) and secular (I.19.100) eukhesthai formulas)

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comparison with I.19.100, a non-formulaic attestation of eukhesthai introducing speech (formal parallelism between a sacral (I.02.410) and secular (I.19.100) eukhesthai formulas)

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