Homer Iliad 19.238

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 1857))

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.) — 19.238 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.) — 19.238 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 (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 19.238 focus
When he had thus spoken he took with him the sons of glorious Nestor, with Meges son of Phyleus, Thoas, Meriones, Lykomedes [240] son of Kreontes, and Melanippos, and went to the tent of Agamemnon son of Atreus. The word was not sooner said than the deed was done: they brought out the seven tripods which Agamemnon had promised, with the twenty metal cauldrons and the twelve horses; [245] And they led forth right away the women, skilled in flawless handiwork, 246 seven of them, and the eighth was Brisēis of the fair cheeks. Odysseus weighed out the ten talents of gold and then led the way back, while the young Achaeans brought the rest of the gifts, and laid them in the middle of the assembly.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 19.238 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 19.238 focus
And now the delegates Ulysses sent,
To bear the presents from the royal tent.
The sons of Nestor, Phyleus' valiant heir,
245
Thoas and Merion, thunderbolts of war,
With Lycomedes of Creiontian strain, 1
And Melanippus, form'd the chosen train.
Swift as the word was given, the youths obey'd;
Twice ten bright vases in the midst they laid:
250
A row of six fair tripods then succeeds;
And twice the number of high-bounding steeds;
Seven captives next a lovely line compose;
The eighth Briseïs, like the blooming rose,
Clos'd the bright band: great Ithacus before,
255
First of the train, the golden talents bore:
The rest in public view the chiefs dispose,
A splendid scene! Then Agamemnon rose:
The boar Talthybius held: the Grecian lord
Drew the broad cutlass sheath'd beside his sword;
260
The stubborn bristles from the victim's brow
He crops, 2 and, offering, meditates his vow.
His hands uplifted to th' attesting skies,
On heaven's broad marble roof were fix'd his eyes;
The solemn words a deep attention draw,
265
And Greece around sat thrill'd with sacred awe.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 19.238 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.238 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 19 focus

Notes on the current edition

Iliad

1. 246 Took say—assay, sample. NARES has fully illustrated this word. "To give the say at court, was for the royal taster to declare the goodness of the wine or dishes. In hunting the say was taken of the venison, when the deer was killed, in this form :- "The person that takes say is to draw the edge of the knife leisurely along the very middle of the belly, beginning near the brisket, and drawing a little upon it, to discover how fat the deer is.' - Gent. Recreat. p. 75.

New Alexandria Commentaries

Douglas Frame

example of the contrast between Odysseus’ nóēma and Achilles’ strength in Odysseus’ address to Achilles before the final battle of the Iliad

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contrast between age and wisdom of Odysseus and the strength of Achilles compared with those of Patroclus and Achilles

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in a list of passages where theōi enaligkios is used

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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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The wording of Odysseus here refers to the special relationship of Achilles to the dais ‘feast’, I.19.179, as a ‘division’ of meat that needs to be equitable. See the comment on I.01.468 with regard to expressions like δαιτὸς ἐίσης ‘equitable dais’, referring to an ‘equitable’ (adjective isos/isē) division of meat on the occasion of a feast; see also the comments on I.04.048, I.07.319–322, I.08.228–235, I.09.225-228, I.19.044. In the present context, this kind of equitability is drawn into a parallel with the noun dikē in the sense of a ‘judgment’, I.19.180. Such ‘judgment’ likewise needs to be equitable. And for a ‘judgment’ to become so equitable, it can become idealized as absolute ‘justice’.

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The use of this word moira in the sense of ‘portion; fate, destiny’ is relevant to the need felt by Achilles to get his equitable share. See the comment on I.03.059.

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This speech is relevant to the need felt by Achilles to get his equitable share.

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The addressing of Achilles here as phertatos ‘best’ of the Achaeans is most distinctive. See the comment on I.16.021.

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This speech is relevant to the need felt by Achilles to get his equitable share.

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The application of this noun to Zeus as the ultimate ‘divider’ of the portions of war is relevant to the need felt by Achilles to get his equitable share.

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The seven Aeolian women that Achilles had captured when he conquered the island of Lesbos—all of whom had originally been allotted to Agamemnon—are now re-allotted to Achilles, along with Briseis as an additional eighth woman. On the seven captive women from Lesbos, see the anchor comment at I.09.128–131 / 270–272. Once again, we see the dominantly Ionic traditions of Homeric poetry showing signs of influence from a dominantly Aeolic tradition as attested in the songs of Sappho and Alcaeus. Of special interest, with regard to such a tradition, is the emphasis here at I.19.245–246 on the expertise of the seven captive women of Lesbos in working on elaborate fabrics. The sub-text of such work, here and elsewhere, is the craft of pattern-weaving. See the comment on I.09.130.

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In this brief speech by Achilles, he seems to be holding Zeus responsible for causing the atai ‘aberrations’ that have led to this point in the epic. See the comment on I.19.086–088. The context here at I.19.268–275 shows that Achilles has in mind not only the atai ‘aberrations’ of Agamemnon but also his own. On the atē ‘aberration’ of Achilles himself, see the comment on I.09.502–512. See also the comment on I.09.115–120: there too we see atai ‘aberrations’ in the plural.

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The property that Agamemnon promised to give as compensation to Achilles is now being delivered for possession. This property to be possessed by Achilles includes not only material objects but also women who are awarded as objectified war-prizes. Achilles the Aeolian will now be awarded possession of the seven captive women whom he had originally captured from Aeolian Lesbos. More than that, he will now get to repossess the captive woman Briseis, whom he had originally captured from Lyrnessos and who had originally been awarded to him by the Achaeans—before Agamemnon had forcibly taken Briseis away from him at the beginning of the Iliad, thus causing the monumental dishonor that had given shape to the entire narrative arc of the epic, up to this point.

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Leonard Muellner

analysis of Achilles’ compensation as not a gift from Agamemnon but a distribution from the group

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analysis of the application of ilaos (and cognates) to gods (and heroes) with mēnis, here Achilles

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analysis of Agamemnon’s apology to Achilles in the context of the exchange process in I.19, where the compensation to Achilles is placed in the middle and thus is a distribution by the group, not a gift from Agamemnon, and here, Agamemnon’s addressing Achilles in the third person throughout

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analysis of Agamemnon’s apology to Achilles in the context of the exchange process in I.19, where the compensation to Achilles is placed in the middle and thus is a distribution by the group, not a gift from Agamemnon, and here, Achilles’ addressing Agamemnon in the second person although Agamemnon speaks of him in the third person in this scene

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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analysis of Achilles’ compensation as not a gift from Agamemnon but a distribution from the group

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