Homer Iliad 19.276

Samuel Butler (Translator)

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Then he broke up the assembly, and every man went back to his own ship. The Myrmidons attended to the presents and took them away to the ship of godlike Achilles. [280] They placed them in his tents, while the attendants [ therapontes] drove the horses in among the others.

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.) — 19.276 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.) — 19.276 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.) — 19.249 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 19.276 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 19.276 focus
The speedy council at his word adjourn'd;
To their black vessels all the Greeks return'd:
290
Achilles sought his tent. His train before
March'd onward, bending with the gifts they bore.
Those in the tents the squires industrious spread;
The foaming coursers to the stalls they led.
To their new seats the female captives move:
295
Briseïs, radiant as the queen of love,
Slow as she pass'd, beheld with sad survey
Where, gash'd with cruel wounds, Patroclus lay.
Prone on the body fell the heavenly fair,
Beat her sad breast, and tore her golden hair;
300
All-beautiful in grief, her humid eyes,
Shining with tears, she lifts, and thus she cries:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 19.276 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 19.276 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.276 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 19 focus

New Alexandria Commentaries

Gregory Nagy

The time has come for Achilles to re-enter the war against the Trojans. For this to happen, Agamemnon must first settle with Achilles. But the over-king feels the need to say more than simply to formulate his proposed terms of settlement. His aim is to excuse himself from responsibility for dishonoring Achilles, and the story that he tells in order to achieve this aim is a retelling of a cosmic atē ‘aberration’ that resulted in the Labors of Hēraklēs. Such a retelling, however, is destined to backfire: it will result in further damage to Agamemnon’s own royal status and in further advancement for the heroic prestige of Achilles, for whom Hēraklēs now becomes a perfect model.

draft js image errorHerakles at the tree of the Hesperides, holding three of the golden apples in his left hand. Behind him is the apple tree with the guardian serpent clinging around it. Bronze, 104.5cm (Roman, 1st century C.E.). Image via The British Museum.

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