Homer Iliad 14.64

ed. Robert Southey

View: By Book

Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 14.64 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.) — 14.64 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.) — 14.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.64 focus
And King Agamemnon answered, [65] “Nestor, if the Trojans are indeed fighting at the rear of our ships, and neither the wall nor the trench has served us—over which the Danaans toiled so hard, and which they deemed would be an impregnable bulwark both for us and our fleet—I see it must be the will of Zeus [70] that the Achaeans should perish ingloriously here, far from Argos. I knew when Zeus was willing to defend us, and I know now that he is raising the Trojans to like honor with the gods, while us, on the other hand, he bas bound hand and foot. Now, therefore, let us all do as I say; [75] let us bring down the ships that are on the beach and draw them into the water; let us make them fast to their mooring-stones a little way out, against the fall of night—if even by night the Trojans will desist from fighting; we may then draw down the rest of the fleet. [80] There is no sense of nemesis in fleeing ruin even by night. It is better for a man that he should flee and be saved than be caught and killed.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.64 focus
And then the royal Agamemnon said: -
"Since at our ships, beneath their very sterns,
The combat rages; since the wall we built
Avails not, nor the trench, at which the Greeks
80
Labored and suffered, hoping it might be
A sure defence for us and for our fleet,
Certain it is that to Almighty Jove
It hath seemed good that here the Greeks, afar
From Argos, should be shamefully cut off;
85
For well was I aware when he designed
To aid the Greeks, and well can I perceive
That he is honoring now the men of Troy
Like to the blessed gods, and fettering
Our valor and our hands. Hear my advice,
90
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.64 focus
To him the monarch: 1 'That our army bends,
'That Troy triumphant our high fleet ascends,
'And that the rampart, late our surest trust,
'And best defence, lies smoking in the dust:
'All this, from Jove's afflictive hand we bear,
75
'Who, far from Argos, wills our ruin here.
'Past are the days when happier Greece was bless'd,
'And all his favour, all his aid, confess'd;
'Now heaven, averse, our hands from battle ties,
'And lifts the Trojan glory to the skies.
80
'Cease we at length to waste our blood in vain,
'And launch what ships lie nearest to the main;
'Leave these at anchor till the coming night;
'Then, if impetuous Troy forbear the fight,
'Bring all to sea, and hoist each sail for flight.
85
'Better from evils, well foreseen, to run,
'Than perish in the danger we may shun.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.64 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.64 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

New Alexandria Commentaries

Douglas Frame

example of Nestor as the symbol of nóos

source

analysis of the connection of Nestor with noos, he as its personification

source

comparison of Nestor and Polydamas, the counselors on their respective sides, in terms of noos (in the context of interpreting them in terms of the twin myth)

source

example of the inherent opposition between verbs pheúgein and halonai. Compare to Il. XXI.493-495

source

provides evidence for contention that Homer no longer understood the context and traditional meaning of ásmenoi because it has here lost its verbal force and functions as an adjective

source

analysis of asmenos as having lost its original meaning and being understood as an adjective meaning “happy” in Homer, with this verse as an example

source
Gregory Nagy

The momentum of the attacking Trojan warriors gets stalled here, since Hērā interrupts the ongoing Plan of Zeus. The goddess seduces the god, and the setting for their divine sexual encounter is the spectacular landscape of Mount Ida, which is the private abode of the thundering almighty. During the tryst of the god and the goddess, the Achaeans regain the upper hand in the fighting. But this new momentum is soon headed for a downturn. The divine interruption, despite all its cosmic sexual energy, becomes retrospectively a mere interlude in the narrative arc of the Iliad—once the tryst is over and the Plan of Zeus resumes its relentless course of action.

draft js image errorJuno and Jupiter. Detail from “Loves of the Gods,” fresco by Annibale Carracci (1560–1609). Annibale Carracci [Public domain], via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Carracci_-_Jupiter_et_Junon.jpeg.

source

Again, as at I.13.227, the fear is expressed that the invading Achaean warriors could die nōnumnoi ‘nameless’ at Troy. On the connotations, which can be seen by way of comparing Hesiodic poetry, see the comment on I.12.079.

source

example of ‘standard’ usage in Homeric quotations of Plato

source
Leonard Muellner

analysis of the meaning of thēmis and the role of Themis

source

in a list of attestations of genos eukhesthai einai and its transformations

source

analysis of the classification and interrelationship of the different genos eukhesthai einai formulas

source
Richard Martin

Diomedes' employment of genealogical recitation at 14.110-27 is a device for accomplishing his entry into the world of heroic speakers. The recitation of genealogy in poetic form is recognized throughout Africa as an essential social genre and holds a good claim to be one of the oldest Indo-European genres, attested in Irish, Welsh, Avestan, Old English, Norse, and non-Homeric Greek poetry. The role of genealogical memories within Iliadic speeches is oriented toward the hero's marking of his own deeds or to shaming another to act: Agamemnon and others use genealogical recitation with Diomedes himself at 4.375 and 5.813. Aeneas' use of the genre is ambiguous—he is characterized as "a master of poetic skills in the language of praise and blame," as his very name asserts, yet seems to spend an inordinate amount of time recounting his genealogy to face down Achilles before a duel (20.200-258), compared with Achilles, who can afford to wait until after the victim is dead (Martin 1993:85-86).

For the broader analysis of memory as a muthos genre, see the comment on Iliad 1.259-274.

References

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

source

The style of giving more information by adding clauses can best be seen in longer stretches of Odysseus' speech. His reply to Agamemnon's proposal in Book 14 features at least one such clause in nearly every sentence: "Nor should you rule us, to whom Zeus granted . . . the raveling of wars" (14.85); "You wish to abandon Troy . . . for which we suffer many evils" (89); "Silence, lest another Achaean hear the muthos / which a man, at least, might not draw all through the mouth, a man who knew to speak close-fitting things" (91, 92). These eight lines contain four relative clauses, compared with Agamemnon's immediately preceding speech, in which only two occur over seventeen lines (67, 81). The difference in their preferred syntactic strategies explains a good deal of the tone of each hero's speech: curt and hard-bitten for Agamemnon, fluid and accommodating for Odysseus (Martin 1993:122-23).

The realization that speech can be good or bad prompts Odysseus' remark that Diomedes should neither praise nor blame too much among a knowing audience (10.249). The urge for proportionate speech explains his criticism of Agamemnon's style, since Agamemnon's call to retreat is out of all proportion with the heroic ethos: it is, to Odysseus, a muthos that one can hardly pronounce, the opposite of an act of speech (Martin 1993:122-23).

For the broader analysis of Odysseus' style, see the comment on Iliad 3.212-223.

References

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

source