Homer Iliad 2.35

ed. George Chapman

View: By Book

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.) — 2.35 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.) — 2.35 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.) — 2.40 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.35 focus
The dream then left him 36 thinking in his thūmos about things that were not to be: 37 for he thought that he would capture Priam’s city on that very day, 38 the fool; he did not know what things Zeus was planning to do. 39 For he [Zeus] was yet to inflict pains [ algea] and groaning [40] on both Trojans and Danaans in battles of power [ kratos]. Then presently he woke, with the divine message still ringing in his ears; so he sat upright, and put on his soft khiton so fair and new, and over this his heavy cloak. He bound his sandals on to his comely feet, [45] and slung his silver-studded sword about his shoulders; then he took the imperishable [ aphthiton] staff of his father, and came forth to the ships of the bronze-armored Achaeans.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.35 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.35 focus
The phantom said; then vanish'd from his sight,
Resolves to air, and mixes with the night.
A thousand schemes the monarch's mind employ;
45
Elate in thought, he sacks untaken Troy:
Vain as he was, and to the future blind;
Nor saw what Jove and secret fate design'd;
What mighty toils to either host remain,
What scenes of grief, and numbers of the slain!
50
Eager he rises, and in fancy hears
The voice celestial murmuring in his ears.
First on his limbs a slender vest he drew,
Around him next the regal mantle threw,
Th' embroider'd sandals on his feet were tied;
55
The starry falchion glitter'd at his side:
And last his arm the massy sceptre loads,
Unstain'd, immortal, and the gift of gods.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.35 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.35 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

Notes on the current edition

Iliad

1. Convent—convene.
2. Take in—conquer. Shakespeare —
"Is it not strange, Canidius, / He could so quickly cut th' Ionian sea, / And take in Toryne?"
— Anton and Cleop. III. 7.
3. Ruth—pity, tender care. A word in use even in Milton's time.
4. Address'd—prepared. A frequent word.
5. Weed—dress. Now generally used for mourning, but formerly for any dress. Thus Spenser, —
"A goodlie ladie, clad in hunter's weed."
— F. Q. 11. iii. 21.
6. Tame-horse—tamer of horses.
7. Addictions—will, inclinations.

New Alexandria Commentaries

Douglas Frame

commentary on the dream sent by Zeus to Agamemnon in the form of Nestor

source
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.

source

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’.

source

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

source

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.
source

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.

source

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.

source
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.

source