Homer Iliad 10.1

Samuel Butler (Translator)

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Now the other princes of the Achaeans slept soundly the whole night through, but Agamemnon, son of Atreus, shepherd of the people, was troubled, so that he could get no rest. [5] As when lovely-haired Hera’s lord flashes his lightning in token of great rain or incessant hail or snow when the snow-flakes whiten the ground, or again as a sign that he will open the wide jaws of hungry war, even so did Agamemnon heave many a heavy sigh, [10] for his spirit trembled within him. When he looked upon the plain of Troy he marveled at the many watchfires burning in front of Ilion, and at the sound of pipes and reeds and of the hum of men, but when presently he turned towards the ships and armies of the Achaeans, [15] he tore his hair by handfuls before Zeus on high, and groaned aloud for the very restlessness of his spirit. In the end he thought it best to go at once to Nestor, son of Neleus, and see if between them they could find any way [20] of the Danaans from destruction. He therefore rose, slipped on his tunic, bound his fair sandals about his comely feet, flung the skin of a huge tawny lion over his shoulders—a skin that reached his feet—and took his spear in his hand.

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 10.1 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.) — 10.1 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.) — 10.1 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 10.1 focus
ALL the night long the captains of the Greeks
1
Slept at the ships, and pleasant was their sleep, —
All only Agamemnon, Atreus' son,
The shepherd of the people. Not to him -
Vexed with a thousand cares-came gentle sleep.
5
As when the husband of the light-haired queen
Of heaven sends forth his thunders, ushering in
Some wide-involving shower, -rain, hail, or snow
Whitening the fields, - or opening o'er some land
The ravenous jaws of unrelenting war, -
10
So frequent were the groans which from his heart
Atrides uttered; for within his breast
His heart was troubled. Looking toward the plain
Of Troy, he wondered at the many fires
Blazing before the city, and the sound
15
Of flutes and fifes, and tumult of the crowd.
But when he turned him toward the fleet and host
Of Greece, he tore his hair, and flung it up
To Jove, and vented his great heart in groans.
And now at length it seemed to him most wise
20
To seek Neleian Nestor, and with him
Devise some plan by which to turn aside
The threatened evil from the Greeks. He rose,
And drew his tunic o'er his breast, and laced
The graceful sandals to his well-shaped feet;
25
And o'er his shoulders threw the blood-stained hide
Of a huge tawny lion, that reached down
Even to the ground; and took in hand his spear.
Meantime with like uneasy thoughts oppressed
Was Menelaus, to whose eyes there came
30
No slumber, - dreading lest calamity
Should light upon the Greeks, who for his sake
Had crossed the sea to carry war to Troy.
And first he threw a leopard's spotted hide
O'er his broad back, and placed the brazen helm
35
Upon his breast, and took in his strong grasp
A spear, and went to bid his brother wake, —
His brother, the chief ruler over all
The men of Greece, and honored like a god.
He found him at his galley's prow in act
40
To sheath his shoulders in the shining mail,
And pleased to greet his coming. To the king
Thus Menelaus, great in battle, spake : -
"Why arm thyself, my brother? Wouldst thou send
A warrior to explore the Trojan camp?
45
None will accept the task, I fear, to creep
Alone at dead of night, a spy, within
The hostile lines; - a bold man must he be."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 10.1 focus
ALL night the chiefs before their vessels lay,
1
And lost in sleep the labours of the day:
All but the king; with various thoughts oppress'd,
His country's cares lay rolling in his breast.
As when by lightnings Jove's ethereal power
5
Foretells the rattling hail, or weighty shower,
Or sends soft snows to whiten all the shore,
Or bids the brazen throat of war to roar;
By fits one flash succeeds as one expires,
And heaven flames thick with momentary fires:
10
So bursting frequent from Atrides' breast,
Sighs following sighs his inward fears confess'd.
Now, o'er the fields, dejected, he surveys
From thousand Trojan fires the mounting blaze;
Hears in the passing wind their music blow,
15
And marks distinct the voices of the foe.
Now, looking backwards to the fleet and coast,
Anxious he sorrows for th' endanger'd host.
He rends his hairs, in sacrifice to Jove, 1
And sues to him that ever lives above:
20
Inly he groans; while glory and despair
Divide his heart, and wage a doubtful war.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 10.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 10.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 10.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 10 focus

New Alexandria Commentaries

Casey Dué

τρομέοντο

Zenodotus, the first head of the library at Alexandria and a well-known Homer scholar, knew of the reading φοβέοντο here, according to the scholia that survive in our medieval manuscripts, but the reading is not attested elsewhere. (The verb τρομέω is likewise used in the middle voice at 10.492. See also Iliad 6.151.) Hainsworth (1993 ad loc.) notes that Aristarchus, a successor of Zenodotus as head of the library and rival editor of Homer, asserted that “φοβοῦμαι and its cognates signified flight,” whereas here φοβέοντο would have the Classical meaning ‘fear’. Hainsworth adds the qualification “but that [Aristarchus’] doctrine may not be binding on this Book.” Hainsworth’s comment reflects his understanding of Iliad 10 as likely a later composition than the rest of the Iliad (see “Interpreting Iliad 10”). We suggest instead that φοβέοντο’s lack of manuscript attestation indicates that it was not a particularly old or well-known version of the verse, but this is not necessarily indicative of the lateness of the entire book. A version with φοβέοντο may well have entered the formulaic performance language at a later phase in the Homeric tradition than τρομέοντο, eventually becoming part of the textual tradition known to Zenodotus several centuries later. The third-century CE Stoic philosopher Chrysippus (fragment 906 in the edition of von Arnim 1903) quotes this line with still another variation: περὶ γὰρ δίε νηυσὶν Ἀχαιῶν. This phrase is attested at Iliad 9.433 and 13.557 and is in no sense “un-Homeric,” though it, like φοβέοντο, is not attested here in the manuscript tradition. These variations highlight the dynamic nature of Homeric diction, which evolved through time and was in a constant state of flux in its early stages. For more on the Alexandrian editors of Homer see on 10.51–52 below.

source
Gregory Nagy

There is a pronounced shift in mood in Rhapsody 10. Unlike the narratives in the rest of the Iliad, this narrative focuses on how heroes behave at nighttime, as distinct from daytime. What dominates now is a poetics of ambush, which is a different kind of warfare. And a prime exponent of such poetics is the wolfish figure of Dolon. My comments here on Rhapsody 10 are mere supplements to the extensive commentary of Dué and Ebbott 2010.

draft js image errorDolon. Detail from an Attic red-figure lekythos (460 BCE). Image via Wikimedia Commons.

source

Commentary

Commentary (Casey Dué and Mary Ebbott, 2010) (OCR draft) (Commentary (Casey Dué and Mary Ebbott, 2010)) focus

10. mvp-comment-5-1 10.10 τρομέοντο Zenodotus, the first head of the library at Alexandria and a well-known Homer scholar, knew of the reading φοβέοντο here, according to the scholia that survive in our medieval manuscripts, but the reading is not attested elsewhere. (The verb τρομέω is likewise used in the middle voice at 10.492. See also Iliad 6.151.) Hainsworth (1993 ad loc.) notes that Aristarchus, a successor of Zenodotus as head of the library and rival editor of Homer, asserted that “ φοβοῦμαι and its cognates signified flight,” whereas here φοβέοντο would have the Classical meaning ‘fear’. Hainsworth adds the qualification “but that [Aristarchus’] doctrine may not be binding on this Book.” Hainsworth’s comment reflects his understanding of Iliad 10 as likely a later composition than the rest of the Iliad (see “Interpreting Iliad 10”). We suggest instead that φοβέοντο’s lack of manuscript attestation indicates that it was not a particularly old or well-known version of the verse, but this is not necessarily indicative of the lateness of the entire book. A version with φοβέοντο may well have entered the formulaic performance language at a later phase in the Homeric tradition than τρομέοντο, eventually becoming part of the textual tradition known to Zenodotus several centuries later. The third-century CE Stoic philosopher Chrysippus (fragment 906 in the edition of von Arnim 1903) quotes this line with still another variation: περὶ γὰρ δίε νηυσὶν Ἀχαιῶν. This phrase is attested at Iliad 9.433 and 13.557 and is in no sense “un-Homeric,” though it, like φοβέοντο, is not attested here in the manuscript tradition. These variations highlight the dynamic nature of Homeric diction, which evolved through time and was in a constant state of flux in its early stages. For more on the Alexandrian editors of Homer see on 10.51–52 below.