Iliad 19.154

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 19.154 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.) — 19.154 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.) — 19.125 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 19.154 focus
Then resourceful Odysseus said, [155] “Achilles, godlike and brave, send not the Achaeans thus against Ilion to fight the Trojans fasting, for the battle will be no brief one, when it is once begun, and the gods have filled both sides with fury; [160] bid them first take food both bread and wine by the ships, for in this there is strength and stay. No man can do battle the livelong day to the going down of the sun if he is without food; however much he may want to fight [165] his strength will fail him before he knows it; hunger and thirst will find him out, and his limbs will grow weary under him. But a man can fight all day if he is full fed with meat and wine; his heart beats high, and his strength will stay [170] till he has routed all his foes; therefore, send the people away and bid them prepare their meal; King Agamemnon will bring out the gifts in presence of the assembly, that all may see them and you may be satisfied. [175] Moreover let him swear an oath before the Argives that he has never gone up into the couch of Brisēis, nor has lain down with her, even though it is right [ themis] for humans, both men and women, to do this; and do you, too, show yourself of a gracious mind; 179 But let him [Agamemnon] make amends to you with a rich feast [ dais] in the tents, [180] so that you may have no lack in dikē. As for you, son of Atreus, treat people more righteously in future; it is no disgrace even to a king that he should make amends if he was wrong in the first instance.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 19.154 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 19.154 focus
The great in councils, Ithacus the wise:
‘Though, godlike, thou art by no toils oppress'd,
155
‘At least our armies claim repast and rest:
‘Long and laborious must the combat be,
‘When by the gods inspir'd, and led by thee.
‘Strength is deriv'd from spirits and from blood,
‘And those augment by generous wine and food;
160
‘What boastful son of war, without that stay,
‘Can last a hero through a single day?
‘Courage may prompt; but, ebbing out his strength,
‘Mere unsupported man must yield at length;
‘Shrunk with dry famine, and with toils declin'd,
165
‘The drooping body will desert the mind:
‘But built anew, with strength-conferring fare,
‘With limbs and soul untam'd, he tires a war.
‘Dismiss the people then, and give command,
‘With strong repast to hearten every band;
170
‘But let the presents to Achilles made,
‘In full assembly of all Greece be laid.
‘The king of men shall rise in public sight,
‘And solemn swear, (observant of the rite,)
‘That, spotless as she came, the maid removes,
175
‘Pure from his arms, and guiltless of his loves.
‘That done, a sumptuous banquet shall be made,
‘And the full price of injur'd honour paid.
‘Stretch not henceforth, O prince! thy sovereign might,
‘Beyond the bounds of reason and of right;
180
‘'Tis the chief praise that e'er to kings belong'd,
‘To right with justice whom with power they wrong'd.’
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 19.154 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.154 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 19 focus

New Alexandria Commentaries

Douglas Frame

comment on the collocation ornuthi laous (as in this verse) and the name Orsilaos in the context of analyzing the meaning of Menelaos

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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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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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In seeking to settle his quarrel with Achilles, Agamemnon claims that he was not aitios ‘responsible’, I.19.086. Rather it was atē ‘aberration’ or ‘derangement’ that made him ‘act deranged’, aâsthai, I.19.091. This word aâsthai, which can be translated more literally as ‘veer off-course’, functions here as the verb for the noun atē, which can be translated correspondingly as ‘veering off-course’. In what follows, I can even translate the noun atē simply as ‘mistake’ and the verb aâsthai as ‘making a mistake’. In the verses that are being covered in this general comment, here are the occurrences of aâsthai in the sense of ‘make a mistake’ and functioning as the verb that matches the noun atē: I.19.091, I.19.095, I.19.113, I.19.129, I.19.136, I.19.137. In juridical terms, atē can refer either to a mistake that you made or to the damages that you have to pay to remedy that mistake. The mistake is the cause of the damages, and the damages are the effect of the mistake. And, since atē can refer either to the cause or to the effect of the mistake, it can be personified as a malevolent goddess Atē who presides over the whole process of cause-and-effect. That is why Agamemnon can say that I am not aitios ‘responsible’, but Zeus and his entire divine apparatus are responsible, since they inflicted on me the goddess Atē. In effect, the goddess Atē made me do it. In the verses that are being covered in this general comment, here are the occurrences of atē/Atē: Ι.19.088, Ι.19.091, Ι.19.126, Ι.19.129, I.19.136. Agamemnon has more to say about the personified Atē: this goddess had once upon a time caused even Zeus himself to make a big mistake. That mistake resulted in the epic traditions about Hēraklēs, to be analyzed in the comment on I.19.95–133. But, happily for the gods, Atē no longer lives in Olympus: she was thrown out of there by Zeus for having caused him to make a mistake, and she landed on Earth, where she could now cause trouble only for us humans. We are the ones who make mistakes, while the Olympians no longer make mistakes—now that Atē cannot go back to Olympus. I see at work here a theological fact of life: in the age of myth, gods used to make mistakes, but not today in the age of ritual.

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Having finished at I.19.134 with the retelling of the epic narrative about Hēraklēs, Agamemnon now comes back to his admission that it was atē for him to dishonor Achilles, I.19.136. This word, as we have seen, can be translated as ‘aberration’ or ‘derangement’ or even simply ‘mistake’. In the present context, the noun atē is paired twice with the verb aâsthai, at both I.19.136 and I.19.137, and I translate this verb here simply as ‘make a mistake’. Agamemnon then declares his readiness to pay apoina ‘compensation’, I.19.138. This gesture brings us back to I.09.115, where Agamemnon had already admitted his atai ‘aberrations’ in dishonoring Achilles, adding at I.09.120 that he was ready to pay apoina ‘compensation’ for these aberrations. See the comment on I.09.115–120.

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Agamemnon here refers to his unnamed attendants as therapontes.

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This epithet theoeikelos ‘looking like a god’ occurs only two times in the Iliad. Besides the occurrence here, I.19.155, we see it also at I.01.131. In both cases, the referent is Achilles. In Song 44 of Sappho, “The Wedding of Hector and Andromache,” the same epithet theoeikeloi ‘looking like gods’ occurs in the plural at line 34 (θεοεικέλο[ις]), applying to Hector and Andromache together. The act of comparing humans to divinities is a conventional trope in the ritual context of weddings, and so the application of the epithet theoeikeloi ‘looking like gods’ to Hector and Andromache on the happy occasion of their wedding is perfectly understandable. Most commonly, the bride is equated with Aphrodite and the bridegroom, with Ares. See the comment on I.18.492 (also H24H 4§§14–21). But there may be an irony in the application of the same epithet theoeikelos ‘looking like a god’ to Achilles in the Iliad, since this hero tragically dies before he can ever get married (H24H 5§§98–102, 110–114). Conversely, there may also be an irony in the application of theoeikeloi ‘looking like gods’ to Hector and Andromache in Song 44 of Sappho, since the lives of this couple, once happy, will now tragically be ruined by Achilles in his role as the bridegroom that never was: he will kill Hector and make Andromache a widow. This is not to say that the use of the epithet theoeikeloi ‘looking like gods’ in Sappho Song 44.34 evokes the Iliad as we have it. The evocation may center on a local epic tradition that was current in the Aeolic song culture of Lesbos. The doomed triad of bride and bridegroom and killer of bridegroom was surely involved in such a local tradition as well. Another sign of such a free-standing Iliadic tradition originating from a distinctively Aeolian song culture is the occurrence of the expression kleos aphthiton ‘imperishable glory [kleos]’ in the same song, Sappho 44.5. This expression corresponds exactly to the expression we find in the Iliad, kleos aphthiton ‘imperishable glory [kleos]’, as spoken by Achilles himself about his own poetic glory at I.09.413. The two matching expressions, in Song 44 of Sappho and in Iliad 9, are cognate with each other both in wording and in metrical positioning. See the comment on I.09.413. So, the doomed triad of bride and bridegroom and killer of bridegroom are not only part of comparable stories about the different kinds of doom that await each one of the three: they are also part of two comparable media, both of which are meant to make eternal the poetic ‘glory’ or kleos of all three. One of these two media has just barely survived, in Song 44 of Sappho. The other of the two, by contrast, became the definitive form of epic, as represented by the Homeric Iliad.

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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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Leonard Muellner

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

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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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analysis of Achilles’ reintegration and solidarity with the Achaeans, and his use of the third person of himself at this point as in his speech at the beginning of his withdrawal (I.01.240-241)

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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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Richard Martin

Achilles' speech upon his return to battle at 19.146-53 uses both conventional and unconventional strategies of memory. He uses the formulaic mnēsōmetha kharmēs ("Let us be mindful of the battle"), then shifts in the same short speech to a more direct address: "In this way let any one of you, remembering, fight a man (memnēmenos andri makhesthō)." In the mechanics of the verb of remembering, memory is the mechanism for affirming social bonds and challenging the listener to uphold them, even when there is no overt lexical reference to a specific recalled event. Furthermore, Achilles' refusal of food in reply to Odysseus' elaborate speech on the necessity of eating (19.155-83) represents his overcoming of Odysseus by taking over his opponent's rhetorical strategy while refusing to acknowledge his presence: Odysseus had spoken of hunger; so does Achilles, but he turns it into a metaphor for his desire to avenge Patroklos' death (Martin 1993:64-65, 79).

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.

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