Homer Iliad 2.35

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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.) — 2.35 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.) — 2.35 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.) — 2.40 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.35 focus
The dream then left him 36 thinking in his thūmos about things that were not to be: 37 for he thought that he would capture Priam’s city on that very day, 38 the fool; he did not know what things Zeus was planning to do. 39 For he [Zeus] was yet to inflict pains [ algea] and groaning [40] on both Trojans and Danaans in battles of power [ kratos]. Then presently he woke, with the divine message still ringing in his ears; so he sat upright, and put on his soft khiton so fair and new, and over this his heavy cloak. He bound his sandals on to his comely feet, [45] and slung his silver-studded sword about his shoulders; then he took the imperishable [ aphthiton] staff of his father, and came forth to the ships of the bronze-armored Achaeans.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.35 focus
The phantom said; then vanish'd from his sight,
Resolves to air, and mixes with the night.
A thousand schemes the monarch's mind employ;
45
Elate in thought, he sacks untaken Troy:
Vain as he was, and to the future blind;
Nor saw what Jove and secret fate design'd;
What mighty toils to either host remain,
What scenes of grief, and numbers of the slain!
50
Eager he rises, and in fancy hears
The voice celestial murmuring in his ears.
First on his limbs a slender vest he drew,
Around him next the regal mantle threw,
Th' embroider'd sandals on his feet were tied;
55
The starry falchion glitter'd at his side:
And last his arm the massy sceptre loads,
Unstain'd, immortal, and the gift of gods.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.35 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.35 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.35 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

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 skēptron ‘scepter’ that is held by Agamemnon is described as golden, and gold is the symbol for the artificial continuum of immortality as expressed by the epithet aphthito- in the sense of ‘imperishable, unwilting’. But this scepter was originally wooden and then covered over in gold; and wood is a symbol for the natural discontinuity of mortal life as expressed by the verb phthinesthai in the sense of ‘wilt’. This aspect of the skēptron ‘scepter’ as a symbol for the natural discontinuity of mortal life is highlighted by the Oath of Achilles at I.01.233–246.

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The False Dream, personified, announces himself to the sleeping Agamemnon, describing himself as the Dios angelos ‘messenger of Zeus’.

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Countering the claim of Achilles to be the ‘best of the Achaeans’, Agamemnon here lays claim to the same title, and the verb for expressing such a claim is eukhesthai ‘claim’.

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This expression needs to be added to the cumulative evidence showing that a person who holds a skēptron ‘scepter’ speaks with the authority of a king—an authority emanating from Zeus.

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In this verse, I.02.094, the epithet Dios angelos ‘messenger of Zeus’ applies to the noun ossa ‘oracular voice’ as found in the previous verse, I.02.093.

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Leonard Muellner

argument for the contextual unity of eukhesthai einai + comparative/superlative expressions regarding superiority in age on the one hand and prestige, physical prowess and physical beauty on the other (secular contexts)

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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