Homer Iliad 2.459

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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.) — 2.459 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.) — 2.459 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.) — 2.440 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.459 focus
As when some great forest fire is raging upon a mountain top and its light is seen afar, even so as they marched the gleam of their armor flashed up into the firmament of the sky.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.459 focus
Not less their number than th' embodied cranes,
540
Or milk-white swans in Asius' watery plains, 1
That o'er the windings of Cäyster's springs
Stretch their long necks, and clap their rustling wings,
Now tower aloft, and course in airy rounds;
Now light with noise; with noise the field resounds.
545
Thus numerous and confus'd, extending wide,
The legions crowd Scamander's 2 flowery side;
With rushing troops the plains are cover'd o'er,
And thundering footsteps shake the sounding shore;
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.459 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.459 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.459 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

on Agamemnon’s Mycenae as not standing alone but as one of twelve towns in its entry in the Catalogue of Ships

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example of an attested interpolation of one letter (Gonoessan for Donoessan)

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discussion of location of Aigialos

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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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analysis of how alive the meaning of the name Agelaos was based on the collocation of agein with laos

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comparison of the geography in I.11.722-736 with that in the passage (esp. regarding the Minyan river, Arene, and Thryon)

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comparison of the geography in Hom. Hymn to Apollo 418424 with that in the passage (esp. regarding the Alpheios river)

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comparison of the geography in I.11.711-713 with that in the line (esp. regarding the identification of Thryoessa and Thryon in the two passages)

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comparison of the geography in I.11.711 with that in the line (esp. regarding Thryoessa and Thryon in the two passages)

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analysis of the Hom. Hymns’ quoting the Homeric poems (here, Hom. Hymn to Apollo 423 quoting this line)

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identification of Thryon and Epitalion, and Strabo’s alternative interpretation of the line according to which Epitalion was Aipu and Thryon the ford of Alpheios rather than a town

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analysis of the location of Thryon/identification with Epitalion

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analysis of a pattern violating Hermann’s bridge and this feature in the Hom. Hymn to Apollo’s quoting this line (and contra Richard Martin 2000a)

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identification of Thryoessa of I.11 with Thryon of this line

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analysis of the location of Oichalia (and connections to Makhaon and Podaleirios), in the context of the analysis of Thessaly’s and Messenia’s claims to be Makhaon’s homeland

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analysis of the Epeian entry in the Catalogue of Ships and comparison with the geography in I.11

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analysis of Amarynkeus’ and Augeias’ “age”/order (in terms of generations) and comparison with I.11 and I.23 regarding them

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analysis of the construction in combination of the construction in I.02.617 as suspect, therefore making its relationship to I.11.757 uncertain (where the expansion seems to be based on I.02.617)

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comparison of the line with I.11.757 and the geography in both passages

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analysis of the location of the Olenian Rock and other features of the geography in the passage and I.11

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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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Tradition has it that the Athenian statesman Solon once cited these verses in the context of a territorial dispute between the city-states of Athens and Megara. Such a tradition shows that myths were used as juridical evidence. Especially useful were myths mediated by prestigious forms of poetry like the Homeric Iliad. In earlier phases of Homeric poetry when this medium could still be described as a living oral tradition, any verses that would commonly be recognized as part of this poetry could thereby become acceptable as a form of proof in arguing a territorial claim. In later phases of Homeric poetry, however, when it was no longer a living oral tradition, antiquarians were prone to interpret verses once cited in territorial disputes as interpolations promoted by those whose political interests were served by tampering with the textual transmission of Homeric poetry.

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The narrative as presented here is significantly different from the corresponding narrative as presented in Hesiod F 204.44–51.

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The Iliadic entitlement of Achilles as the ‘best of the Achaeans’ is confronted here with a rival theme: Agamemnon too claims the title.

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This verse expands on the rivalry of Achilles and Agamemnon for the title of ‘best of the Achaeans’.

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This negative encounter between Thamyris and the Muses in the Iliad is to be contrasted with the positive encounter between Homer and the Delian Maidens in the Homeric Hymn to Apollo.

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Leonard Muellner

in a list of usages contextually parallel to the death-eukhesthai usage

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in a list of secular eukhesthai reporting speech (absolute usage)

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Richard Martin

The story of Thamyris returning from Oikhalia when he loses his poetic craft at the hands of the Muses (2.594-600) is the primary basis for a belief that early Greek poetry was composed under agonistic conditions. The detail that Thamyris is returning from Oikhalia is significant: this place, the city of Eurytus, has important connections in myth and poetry, for it is the city which Herakles sacked in anger after being refused the king's daughter, Iole. The exploit was commemorated in an epic, the Oikhalias Halosis, ascribed by some ancient sources to Homer. Walter Burkert has shown that this lost poem shares with the Iliad a focus on a tragic episode in the hero's life involving a woman and leading soon to the hero's death, and that both omit description of the hero's immortality and dwell instead on the tragic quality of the impending deaths. When Homer says that a poet returning from Oikhalia was deprived of his art, he can hardly be more explicit: this is a claim that the Herakles tradition is faulty, that it suffered a break in historical transmission from the event itself. By contrast, Homer in Book 2 makes clear that his narrative has continuity with the past guaranteed by his own contact with the Muses (2.484-86). Although the story of Thamyris is on the surface about an agon between singers, it is also a statement about the agon between Homer and previous singers (Martin 1993:229-30).

For Achilles' quantitative surpassing of Herakles within the poem, see the comment on Iliad 9.328-329.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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