Homer Iliad 2.511

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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.) — 2.511 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.) — 2.511 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.) — 2.520 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.511 focus
Askalaphos and Ialmenos, sons of Arēs, led the people that dwelt in Aspledon and Orkhomenos the realm of Minyas. Astyokhe a noble maiden bore them in the house of Aktor son of Azeus; for she had gone with Arēs secretly into an upper chamber, [515] and he had lain with her. With these there came thirty ships.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.511 focus
To these succeed Asplendon's martial train,
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Who plough the spacious Orchomenian plain.
Two valiant brothers rule th' undaunted throng,
Iälmen and Ascalaphus the strong,
Sons of Astyochè, the heavenly fair,
Whose virgin charms subdued the god of war:
615
(In Actor's court as she retired to rest,
The strength of Mars the blushing maid compress'd:)
Their troops in thirty sable vessels sweep,
With equal oars, the hoarse-resounding deep.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.511 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.511 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.511 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

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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comment on the names of the Molione and comparison with Hesiod fr. 17a14-16 MW

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analysis of Amarynkeus’ and Augeias’ “age”/order (in terms of generations), here the possibility that Amarunkeidēs in the line in question means “descendant of Amarynkeus” rather than “son of Amarynkeus”

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discussion of asmenos as root aorist participle with zero-grade of the root *nes and García Ramón’s argument that apenassato in this line is from neomai, not naiō

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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 ships of Odysseus here are described by way of the epithet milto-parēioi ‘with cheeks of red’; at O.09.125, the same epithet describes generic ships. To be contrasted is another epithet for ships, phoinīko-parēioi ‘with cheeks of purple’, applied to generic ships at O.11.124 and O.23.271. Inventories of chariots in the Linear B tablets of Knossos show a parallel dichotomy of red and purple in descriptions of colors painted on chariots: the noun i-qi-ja ‘chariot’ is described as either mi-to-we-sa = miltówessa ‘red’ as in Knossos tablet Sd 4407 or po-ni-ki-ja = phoinikíā ‘purple’ as in Knossos tablet Sd 4402.

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We see here the earliest attestation of a reference to ktisis-poetry, which is a special form of poetry centering on the colonization of daughter-cities by mother-cities.

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The division of the island of Rhodes into three cities is comparable to the division of any given Dorian city into three phūlai ‘subdivisions’.

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The name of Hēraklēs is linked with the epic theme of biē in the sense of martial ‘force, violence, strength’; even the name of Hēraklēs can be formulated periphrastically as ‘the force of Hēraklēs’.

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See anchor comment at I.12.188.

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