Homer Iliad 2.224

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.) — 2.224 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.) — 2.224 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.) — 2.240 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.224 focus
but nevertheless he kept on brawling and bawling at the son of Atreus.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.224 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.224 focus
Thus with injurious taunts attack'd the throne:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.224 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.224 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

Notes on the current edition

Iliad

1. Preys—booty. See Judges, ch. v. ver. 30.

New Alexandria Commentaries

Douglas Frame

contrast between Nestor who affirms the positive sign from Zeus regarding the Achaeans return and Agamemnon who denies it

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comment on the formulaic language of Zeus’ promising and nodding in assent in response to prayer (of returning from Troy)

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in the context of interpreting Menelaos as “he who incites the warfolk”; example of laos as referring to one’s own even with ōlese

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commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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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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These verses describe most accurately how Agamemnon, dreaming his False Dream, misunderstands the Will of Zeus. As we read at I.02.036 here, Agamemnon is thinking things that will definitely not ‘come to fulfillment’, teleîsthai, through the will of the god. As we read further at I.02.037, Agamemnon thinks that he will now capture Troy in just one day, in accordance with the Will of Zeus. Of course he is wrong to think this, as we read still further at I.02.038–040, since Zeus is now planning to inflict many more algea ‘pains’ in battle not only for the Trojans but also, more pertinently, for the Achaeans. The Trojan War is about to be prolonged for the Achaeans, causing them much more hardship and pain.

  • Here and elsewhere, I cite verbs via the infinitive, not via the indicative first person singular.
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When Agamemnon wakes up from dreaming the False Dream, he experiences the sensation of an omphē ‘oracular voice’ that has just now been poured all over him. This idea of omphē as an ‘oracular voice’ (the word is cognate with English song) is picked up by the word ossa ‘oracular voice’ at I.02.093, which refers there to the personified False Dream who had announced himself as the Dios angelos ‘messenger’ of Zeus to the sleeping Agamemnon at I.02.026. In the context of Theognis 1.808 and elsewhere, omphē refers to the oracular voice of the Oracle of Apollo at Delphi. Such contexts show that omphē in the sense of ‘oracular voice’ is relevant to the misunderstanding experienced by Agamemnon in Iliad 2. Just as Agamemnon misunderstands the oracular voice that is mediated by the False Dream, so also he misunderstands the oracular voice of the god Apollo himself in the First Song of Demodokos O.08.072–083. At verses 77–78 of that “micro-Iliad,” it is said that Agamemnon was happy to see Odysseus and Achilles quarelling; at verses 79–83, it is said that such a quarrel was predicted by the Oracle of Apollo at Delphi to Agamemnon when this over-king went there for an oracular consultation. And at verses 81–82 it is said that this quarrel was really a sign that foretold a great pēma ‘pain’ that was about to befall the Achaeans as well as the Trojans in the Trojan War.

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The skēptron ‘scepter’ that is held by Agamemnon is described as golden, and gold is the symbol for the artificial continuum of immortality as expressed by the epithet aphthito- in the sense of ‘imperishable, unwilting’. But this scepter was originally wooden and then covered over in gold; and wood is a symbol for the natural discontinuity of mortal life as expressed by the verb phthinesthai in the sense of ‘wilt’. This aspect of the skēptron ‘scepter’ as a symbol for the natural discontinuity of mortal life is highlighted by the Oath of Achilles at I.01.233–246.

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The False Dream, personified, announces himself to the sleeping Agamemnon, describing himself as the Dios angelos ‘messenger of Zeus’.

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Countering the claim of Achilles to be the ‘best of the Achaeans’, Agamemnon here lays claim to the same title, and the verb for expressing such a claim is eukhesthai ‘claim’.

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This expression needs to be added to the cumulative evidence showing that a person who holds a skēptron ‘scepter’ speaks with the authority of a king—an authority emanating from Zeus.

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In this verse, I.02.094, the epithet Dios angelos ‘messenger of Zeus’ applies to the noun ossa ‘oracular voice’ as found in the previous verse, I.02.093.

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In the Homeric Iliad, the hero Pelops figures as an archetype of political power. The sequence of kings in the Peloponnesus is limited to the dynastic lineage starting with Pelops.

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This is the second occurrence of the noun therapōn in the Iliad; the plural form here is therapontes. The surface meaning of therapōn in Homeric diction is ‘attendant’, and a fitting example is the word’s first occurrence in the Iliad, at I.01.321; the deeper meaning, however, is ‘ritual substitute’. In contexts where the plural therapontes in combination with Arēos ‘of Ares’ is applied to the Achaeans=Danaans=Argives (at I.02.110, to the Danaans) as a grouping of warriors, the deeper meaning is more evident than in other contexts. When a warrior is killed in war, he becomes a therapōn or ‘ritual substitute’ who dies for Ares by becoming identical to the war god at the moment of death; then, after death, the warrior is eligible to become a cult hero who serves as a sacralized ‘attendant’ of the war god in contexts of hero cult.

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The words of this challenge directed against the over-king Agamemnon by Sthenelos, chariot driver of Diomedes, recall the epic traditions of the Epigonoi = Sons-of-the-Seven-against-Thebes. Since Sthenelos figures as a character in two epic traditions, both the Iliadic and the Epigonic, his wording here can be seen as a cross-reference from the Iliadic tradition to the Epigonic. The cross-reference sets up a rivalry between the two epic traditions: the question is, are the Epigonoi as heroic characters superior to the heroic characters of the Iliad?

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analysis of the coexistence of the Attic and the Koine usage in this verse and the claim that ‘Homer’ was capable of both

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Leonard Muellner

argument for the contextual unity of eukhesthai einai + comparative/superlative expressions regarding superiority in age on the one hand and prestige, physical prowess and physical beauty on the other (secular contexts)

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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evidence for counting in arithmetic systems that lack a zero as indistinguishable from grouping

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example of handing on of the scepter in the context of discussing Achilles’ hurling it to the ground after his oath in I.01

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analysis of Agamemnon’s skēptron and gold as symbol for the artificial continuum of immortality (aphthito-) and the relevance of this for Achilles’ oath

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analysis of philotēs and timē going together, and here, Odysseus’ misapprehension regarding the object of Zeus’ timē, corrected by Agamemnon’s acknowledgement in I.09.116-118

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Richard Martin

When Odysseus addresses the kings and leaders in the testing scene of Book 2, he uses "mild words (epeessin)" to hold them back (2.188-89): Odysseus speaks to his social equals and uses epea. With the common soldiers he uses a muthos instead (2.198-201) (Martin 1993:23).

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With the common soldiers Odysseus uses a different register: "Whatever man of the people he saw or found shouting he would drive on with the scepter and berate with a muthos: 'Strange one, sit still and listen to the muthos of others who are stronger, while you are unwarlike and strengthless'" (2.198-201). When the lines of power are clearly drawn, the speaker who uses a muthos prevails (Martin 1993:23).

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