Homer Iliad 2.301

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 2.301 focus
εὖ γὰρ δὴ τόδε ἴδμεν ἐνὶ φρεσίν, ἐστὲ δὲ πάντες
μάρτυροι, οὓς μὴ κῆρες ἔβαν θανάτοιο φέρουσαι·
χθιζά τε καὶ πρωΐζʼ ὅτʼ ἐς Αὐλίδα νῆες Ἀχαιῶν
ἠγερέθοντο κακὰ Πριάμῳ καὶ Τρωσὶ φέρουσαι,
ἡμεῖς δʼ ἀμφὶ περὶ κρήνην ἱεροὺς κατὰ βωμοὺς
305
ἕρδομεν ἀθανάτοισι τεληέσσας ἑκατόμβας
καλῇ ὑπὸ πλατανίστῳ ὅθεν ῥέεν ἀγλαὸν ὕδωρ·
ἔνθʼ ἐφάνη μέγα σῆμα· δράκων ἐπὶ νῶτα δαφοινὸς
σμερδαλέος, τόν ῥʼ αὐτὸς Ὀλύμπιος ἧκε φόως δέ,
βωμοῦ ὑπαΐξας πρός ῥα πλατάνιστον ὄρουσεν.
310
ἔνθα δʼ ἔσαν στρουθοῖο νεοσσοί, νήπια τέκνα,
ὄζῳ ἐπʼ ἀκροτάτῳ πετάλοις ὑποπεπτηῶτες
ὀκτώ, ἀτὰρ μήτηρ ἐνάτη ἦν ἣ τέκε τέκνα·
ἔνθʼ ὅ γε τοὺς ἐλεεινὰ κατήσθιε τετριγῶτας·
μήτηρ δʼ ἀμφεποτᾶτο ὀδυρομένη φίλα τέκνα·
315
τὴν δʼ ἐλελιξάμενος πτέρυγος λάβεν ἀμφιαχυῖαν.
αὐτὰρ ἐπεὶ κατὰ τέκνα φάγε στρουθοῖο καὶ αὐτήν,
τὸν μὲν ἀρίζηλον θῆκεν θεὸς ὅς περ ἔφηνε·
λᾶαν γάρ μιν ἔθηκε Κρόνου πάϊς ἀγκυλομήτεω·
ἡμεῖς δʼ ἑσταότες θαυμάζομεν οἷον ἐτύχθη.
320
ὡς οὖν δεινὰ πέλωρα θεῶν εἰσῆλθʼ ἑκατόμβας,
Κάλχας δʼ αὐτίκʼ ἔπειτα θεοπροπέων ἀγόρευε·
τίπτʼ ἄνεῳ ἐγένεσθε κάρη κομόωντες Ἀχαιοί;
ἡμῖν μὲν τόδʼ ἔφηνε τέρας μέγα μητίετα Ζεὺς
ὄψιμον ὀψιτέλεστον, ὅου κλέος οὔ ποτʼ ὀλεῖται.
325
ὡς οὗτος κατὰ τέκνα φάγε στρουθοῖο καὶ αὐτὴν
ὀκτώ, ἀτὰρ μήτηρ ἐνάτη ἦν ἣ τέκε τέκνα,
ὣς ἡμεῖς τοσσαῦτʼ ἔτεα πτολεμίξομεν αὖθι,
τῷ δεκάτῳ δὲ πόλιν αἱρήσομεν εὐρυάγυιαν.
κεῖνος τὼς ἀγόρευε· τὰ δὴ νῦν πάντα τελεῖται.
330
ἀλλʼ ἄγε μίμνετε πάντες ἐϋκνήμιδες Ἀχαιοὶ
αὐτοῦ εἰς ὅ κεν ἄστυ μέγα Πριάμοιο ἕλωμεν.
Translations (8)
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.) — 2.320 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.301 focus
For I know this well in my heart, and you all 302 are witnesses, those of you who have not been carried off by the demons of death. 303 It is as if it was yesterday or the day before, when the ships of the Achaeans at Aulis 304 were gathered, portending doom to Priam and the Trojans. [305] Standing around a spring, at a sacred altar, 306 we were sacrificing perfect [ telēessai] hecatombs to the immortal ones 307 under a beautiful plane tree, in a place where sparkling water flowed. 308 Then there appeared [ phainesthai] a great sign [ sēma], a serpent [ drakōn] with blood-red markings on its back. 309 Terrifying it was. The Olympian [= Zeus] himself had sent it into the zone of light. [310] It darted out from underneath the altar, and it rushed toward the plane tree. 311 Over there were the nestlings of a sparrow, helpless young things. 312 In the highest branch amidst the leaves they were hiding in fear, 313 eight of them. The ninth was the mother that had hatched the young ones. 314 Then it devoured them, in a way that is pitiful [ eleeina], while they were chirping. [315] And their mother was fluttering above, lamenting [ oduresthai] for her dear little things. 316 Then it threw its coils around her, catching her by the wing as she was wailing over [ amphiakhuia] them. 317 And when it devoured the young ones of the sparrow and the mother as well, 318 the same god that had made it visible [ phainein] now made it most visible [ arizēlos]. 319 For the son of crafty Kronos now made it into stone. [320] We just stood there, struck with awe [ thauma] at what happened, 321 how such frightful portents invaded the hecatombs of the gods. 322 Then, right away, Kalkhas spoke, speaking the words of seers [ theopropeîn]: 323 “Why are you speechless, Achaeans with the elaborate hair? 324 Zeus, master of craft, made visible [ phainein] this great portent [ teras]. [325] It is late in coming, late in reaching its outcome [ telos], and its fame [ kleos] will never perish. 326 Just as this thing devoured the young ones of the sparrow and the mother as well, 327 eight in number, while the mother made it nine, the one that hatched the young ones, 328 so also we will wage war for that many years in number, 329 and then, on the tenth year, we will capture the city with its broad streets.” [330] Thus spoke that man. And now I see that all these things are reaching their outcome [ telos]. 331 So come now, all of you, hold your place, all you Achaeans with the fine shin-guards, 332 stay here until we capture the great city of Priam.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.301 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.301 focus
'What pass'd at Aulis, Greece can witness bear,
'And all who live to breathe this Phrygian air.
'Beside a fountain's sacred brink we rais'd
'Our verdant altars, and the victims blaz'd;
'('Twas where the plane-tree spread its shades around;)
370
'The altars heav'd; and from the crumbling ground
'A mighty dragon shot, of dire portent;
'From Jove himself the dreadful sign was sent.
'Straight to the tree his sanguine spires he roll'd,
'And curl'd around in many a winding fold.
375
'The topmost branch a mother-bird possess'd;
'Eight callow infants fill'd the mossy nest;
'Herself the ninth: the serpent, as he hung,
'Stretch'd his black jaws, and crash'd the crying young;
'While hovering near, with miserable moan,
380
'The drooping mother wail'd her children gone.
'The mother last, as round the nest she flew,
'Seiz'd by the beating wing, the monster slew:
'Nor long surviv'd; to marble turn'd he stands
'A lasting prodigy on Aulis' sands,
385
'Such was the will of Jove; and hence we dare
'Trust in his omen, and support the war.
'For while around we gaz'd with wondering eyes,
'And trembling sought the powers with sacrifice,
'Full of his god, 1 the reverend Calchas cried,
390
'Ye Grecian warriors! lay your fears aside:
'This wondrous signal Jove himself displays,
'Of long, long labours, but eternal praise.
'As many birds as by the snake were slain,
'So many years the toils of Greece remain;
395
'But wait the tenth, for Ilion's fall decreed:
'Thus spoke the prophet, thus the fates succeed.
'Obey, ye Grecians, with submission wait,
'Nor let your flight avert the Trojan fate.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.301 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.301 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.301 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

Notes on the current edition

Iliad

1. 1

New Alexandria Commentaries

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 omen of the serpent in Iliad 2 is comparable to the omen of the serpent in Virgil Aeneid 2.199–227.

source

Here in the Iliad, the telos or ‘fulfillment’ of the plot is being realized only in the form of a prophecy—by contrast with the epic Cycle, where the conquest of Troy is the ultimate telos. On the epic Cycle, see the inventory of Words and Ideas. There are comparable themes in Virgil Aeneid 8.615-629, 729-731, featuring the Shield of Aeneas.

source

The omen of the serpent that devours the nine birds is a sēma ‘sign, signal’ that calls for interpretation. This interpretation is needed, in terms of the poetry itself, for understanding the plot of the Iliad.

source

The serpent, once it is petrified, is arizēlon / aridēlon ‘most visible’; according to an alternative version, the serpent does not get petrified but rather is made suddenly aïzēlon ‘invisible’.

source

The reading aïdēlon ‘invisible’ at I.02.318, adduced by Aristarchus, is incompatible with this verse, I.02.319, which is accordingly athetized by him. On athetesis, see the inventory of Words and Ideas.

source

comparison of the petrified serpent with Aeneas’ Shield, as prophecies of the story of Troy and the story of Rome, respectively

source

The expression kleos oupot’ oleitai ‘its glory [kleos] will never perish’ (κλέος οὔποτ’ ὀλεῖται), as here at I.02.325, is parallel with kleos aphthiton estai (κλέος ἄφθιτον ἔσται) at I.09.413, which can be translated ‘the glory [kleos] will be imperishable [aphthiton]’. This parallelism shows that aphthito- at I.09.413 and elsewhere was understood to be not just long-lasting, as some have thought, but eternal. As for the interpretation ‘the glory [kleos] will be imperishable [aphthiton]’, we will see in the comment on I.09.413 that an alternative interpretation is also possible: ‘and there will be a glory [kleos] that is imperishable’.

source

The petrified serpent is equated with the story of Troy, and the word teleîn ‘reach an outcome’ here conveys the inevitable outcome of that story. The prophecy expressed by teleîn reveals a poetics of unchangeability in narrating the story. And the concretization of such unchangeability is visualized as the petrifaction of the serpent. The imperfective aspect of the verb teleîn ‘reach an outcome’ here is referring to the story of Troy as it is still being told, as it is still in progress.

source
Leonard Muellner

among examples of formal divergence between phrases which are functionally parallel but occur in spoken dialogue as against narrative (transformations of (A) paralleled in a secular series, of which this verse is an example)

source
Richard Martin

Odysseus' speech to the Achaeans in Book 2, recalling the divine sign at Aulis, is introduced by Athena herself restraining the audience so that he may speak the elaborate muthos at 2.284-332 (Martin 1993:63-64). One could score the speech by noting the shifts in genres of muthos within it: Odysseus begins with flyting, comparing the troops to children or women anxious to get home; memory takes over, noting it is the tenth year at Troy; a command intrudes ("Bear up, friends," 2.299-300); and this triggers a long rendition of an earlier prophecy by Kalkhas at Aulis, when the sign of the snake who ate the swallows appeared (Martin 1993:81).

Precise details—the altar and the springs near it, the snake's color, the number of birds and their cries—are remembered in the service of dramatic rhetoric intended to convince the Achaeans of the authenticity of the event, but also to raise the status of the one who remembers it. For Odysseus, in recalling the words of Kalkhas, exhibits a seerlike ability to describe and interpret what is not present. Memory bestows a mantle on its practitioners (Martin 1993:81-82).

The crucial difference between this type of performance and that of Nestor in his long narrative in Book 2 (656-803) has to do with the self-presentation of the speaker. Odysseus foregrounds himself as performer, explicitly quoting another authority—Kalkhas—whom he then can be seen to overcome in the contest of speaking: Kalkhas, as we saw in Book 1, does not even cite his own previous acts, whereas Odysseus remembers all, apparently. Nestor, on the other hand, presents himself not as a speaker but as a heroic performer of both words and deeds. His narrative of personal experience is convincing because it calls for emulation, even challenge (Martin 1993:82).

References

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

source

Odysseus' description in Book 2 of the divine sign at Aulis (2.308-29) provides one of the most important parallels for Achilles' bird simile in Book 9. In the augury passage, a blood-red snake devours eight sparrows while their mother, soon to be eaten herself, hovered nearby. Odysseus calls the nestlings phila tekna—an example of the pathetic fallacy consistently applied by Homeric augurs—and says the mother was grieved. This description in the discourse of augury is compared by Kalkhas on purely numerical grounds; the Trojan Polydamas similarly combines sentiment with advice in his allegorical reading of a bird-sign (12.209-22). Both augurs draw a prospective moral from the bird image. Achilles, before comparing himself to a bird and drawing conclusions from the equation, uses a phrase similar to Polydamas' preface (autar egōn ereō hōs moi dokei einai arista, 9.314; cf. nun aut' exereō hōs moi dokei einai arista, 12.215). Like Odysseus, Achilles fills out his description of the parent bird in the pathetic manner. But his individual shaping of this piece of description consists in pointing the moral toward himself and toward the past: "So, too, I slept sleepless nights," says Achilles. The fall of Troy, and the outcome of battle, are not his concern, as they are in the other, similar bird auguries (Martin 1993:203-4).

For the bird simile itself and its context in Achilles' speech, see the comment on Iliad 9.323-326. For the broader analysis of Achilles' speech, see the comment on Iliad 9.307-429.

References

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

source