Homer Iliad 2.1

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.) — 2.1 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.) — 2.1 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.) — 2.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.1 focus
Now the other gods and the armed warriors on the plain slept soundly, but sweet sleep did not take hold of Zeus, for he was thinking how to do honor to Achilles, to destroy many people at the ships of the Achaeans. [5] In the end he thought it would be best to send a false dream to Atreus’ son King Agamemnon; so he called one to him and said to it, “False Dream, go to the ships of the flowing-haired Achaeans, [10] into the tent of Agamemnon, and say to him word to word as I now bid you. Tell him to get the Achaeans instantly under arms, for he shall take Troy. There are no longer divided counsels among the gods; [15] Hera has brought them to her own mind, and woe to the Trojans!”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.1 focus
Now pleasing sleep had seal'd each mortal eye,
1
Stretch'd in the tents the Grecian leaders lie,
Th' immortal slumber'd on their thrones above;
All but the ever-wakeful eyes of Jove.
To honour Thetis' son he bends his care,
5
And plunge the Greeks in all the woes of war:
Then bids an empty phantom rise to sight,
And thus commands the vision of the night:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

Notes on the current edition

Iliad

1. Miss—absence, or loss.
2. Allowance—approbation.
"A stirring dwarf we most allowance give / Before a sleeping guest."
— SHAKESPEARE. Troil. and Cress. II. 3.

New Alexandria Commentaries

Gregory Nagy

The False Dream that is sent by Zeus to the sleeping Agamemnon is a false Will of Zeus. Whereas the true Will of Zeus is the real plot or narrative arc of the Iliad, as noted in the comments on I.01.005 and on I.01.558–559, the false Will of Zeus is a false plot for the epic, since the eventual victory of the Achaeans over the Trojans in the tenth year of the Trojan War will not be quick and easy and painless but prolonged and difficult and painful. In the real plot of the Iliad, the Achaeans will suffer a new pain: they will find themselves on the losing side of the Trojan War while the Trojans will now be on the winning side. This temporary reversal in the tenth year of the Trojan War goes back to the moment when Agamemnon damages the tīmē ‘honor’ of Achilles. Because this damage was tolerated by the Achaeans, they will suffer—and keep on suffering—the akhos ‘grief’ of being on the losing side until the fire of Hector finally reaches the ships of the Achaeans at the climax of the Battle for the Ships. By way of this reversal, through the Will of Zeus, Achilles will recover the tīmē or ‘honor’ that he had lost. At I.02.003-004, Zeus is shown in the act of planning this reversal: it is the Will of Zeus that he will give tīmē ‘honor’ to Achilles, and this honor, it is said here, will require the destruction of many warriors at the Battle for the Ships. Such destruction will be a source of great grief for the Achaeans. For them, victory at Troy will now become a most prolonged and difficult and painful goal to achieve. Such is the real plot of the Iliad, whereas the false plot that tells of a quick and easy and painless victory is only a dream. Nevertheless, the dream of this false plot is still a part of the real plot, since the Will of Zeus subsumes the false plot. The dream, then, is a subplot. After all, it is the boulē ‘will’ of Zeus to send the dream at I.02.005, and this boulē is here described as the ‘best’ boulē in the sense of a ‘best plan’ for now. The plan of Zeus here is a subplot that is the best of all possible subplots because it is part of the overarching plot of the Iliad, a master epic that subsumes all of its various subplots.

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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 False Dream, personified, is instructed by Zeus to tell Agamemnon that the victory of the Achaeans over the Trojans will be quick and easy and painless, since the goddess Hērā at a council of the divinities has supposedly persuaded the other gods to acquiesce to such a victory. The instructions of Zeus as formulated at I.02.011–015 are carried out by the False Dream, who delivers the formulation to the sleeping Agamemnon at I.02.028–032. Later on, at I.02.065-069, Agamemnon retells this formulation. I note that Zeus does not instruct the False Dream to say that these instructions are the Will of Zeus, though the wording of the False Dream implies it. The implication happens in an additional verse that follows the False Dream’s formulation as the messenger of Zeus at I.02.028–032. In this additional verse, at I.02.033, the False Dream says that the ultimate doom of the Trojans will be caused by Zeus. And the same addition is made in the retelling of Agamemnon, at I.02.070 following I.02.065–69. But there is no such corresponding addition after the verses containing the original formulation of Zeus at I.02.011–015. In any case, what results from the formulation delivered by the False Dream as messenger of Zeus is that Agamemnon will misunderstand what the god really wants. Agamemnon will think that victory over the Trojans will now be quick and easy and painless. But Zeus plans instead just the opposite: in order to restore the tīmē ‘honor’ of Achilles, Zeus will make sure that the struggles awaiting the Achaeans will be prolonged and difficult and painful, so that the Achaeans will now be on the losing side until the fire of Hector finally reaches the ships of the Achaeans at the Battle for the Ships. Likewise in the “micro-Iliad” of O.8.072–083, which is the First Song of Demodokos, Agamemnon misunderstands the Will of Zeus, not knowing what pains the god is planning to inflict on the Achaeans as well as the Trojans.

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reference to Hintenlang’s discussion of issues of interpretation (Hintenlang 1961.76n1)

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The False Dream, personified, describes himself here as the Dios angelos ‘messenger of Zeus’. Later on, at I.02.063, Agamemnon himself describes the personified False Dream as the Dios angelos ‘messenger of Zeus’. Still later on, at I.02.93, the False Dream will be equated with Ossa, personification of an ossa ‘oracular voice’. And this personified Ossa is then described at I.02.94 as Dios angelos ‘messenger of Zeus’.

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The False Dream tells Agamemnon that he will capture Troy ‘now’. It is a promise of instant gratification.

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Leonard Muellner

Achilles’ prayer specifically entailing that Trojans should prevail until they reach the ships of the Achaeans

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Richard Martin

The three mediated commands of Zeus called muthoi occur at crucial moments in the Iliad's first half, all relating directly to the promise Zeus made to Thetis. The first, in Book 2, takes the form of a message from Dream telling Agamemnon to arm for battle (2.7-15). Zeus specifies the exact destination, the speed of arming, and an explanation (note the triple gar of 2.12-14). This message is marked as a directive by the formula "winged words" and by the word Zeus uses to send the message, "I order" (2.10). When Zeus speaks here with what seems greatest accuracy, he is in fact contradicting what the audience knows from the previous scene—complete discord among the gods. Zeus speaks ironically in saying that Hera "bent" all the gods to her will (epegnampsen hapantas, 2.14), since this rare verb had described Hera's own fearful submission to Zeus at 1.569 (Martin 1993:51-52).

Dream then becomes creative on his own, modifying the message to persuade Agamemnon by his impersonation of Nestor. Dream's persuasive disguise restrains the self-regarding elder hero from dismissing the message entirely. Zeus' authority has been deconstructed within the first few lines of Book 2 when Homer demonstrates that muthos speech does not require truth so much as an effective representation (Martin 1993:52).

For the ideal of muthos commands as demonstrated by Zeus, see the comment on Iliad 8.5-27.

References

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

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