Homer Iliad 2.780

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.) — 2.780 focus
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.) — 2.760 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.780 focus
Thus marched the army like a consuming fire, and the earth groaned beneath them when the lord of thunder is angry and lashes the land about Typhoeus among the Arimoi, where they say Typhoeus lies. Even so did the earth groan beneath them [785] as they sped over the plain.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.780 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.780 focus
Now, like a deluge, covering all around,
The shining armies swept along the ground;
Swift as a flood of fire, when storms arise,
Floats the wide field, and blazes to the skies.
Earth groan'd beneath them; as when angry Jove
950
Hurls down the forky lightning from above,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.780 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.780 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.780 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

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 Achilles has already withdrawn from the war because of his anger.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.

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an example where ‘Homeric’ usage is clearly distinct from what is sunēthēs ‘customary’ for Aristarchus and his contemporaries [MRBTP: scholia]

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The word kolōnē ‘tumulus’ here at I.02.811 refers to the place where, as we read further at I.02.814, the sēma ‘tomb’ of an otherworldly female named Murinē is located; she is pictured here as polu-skarthmos ‘taking many leaps and bounds’. We may compare the word kolōnē ‘tumulus’ here to the word kolōnos ‘tumulus’ referring to the tomb of Protesilaos in Philostratus On heroes 9.1, where this same tomb is also called a sēma at 9.3, and to the tomb of Achilles in On heroes 51.12, where that same tomb is also called a sēma at 53.11 (also at 51.2, 52.3). The naming of the location known as ‘the sēma of Murinē who takes many leaps and bounds’ is said at I.02.814 to originate from the language of the immortal gods, whereas the same location is said at I.02.813 to be called Batieia in the language of mortal men. On Murine as both cult hero and Amazon, see Nagy 2017.10.18, with reference to Pausanias 1.2.1. On the picturing of an Amazon in the act of leaping, see Nagy 2018.01.12, with reference to Pausanias 1.17.2.

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Mary Ebbott

The formula πάντες ὁμηγερέες, ἠμὲν νέοι ἠδὲ γέροντες used to describe the gathered assembly of Trojans as composed of “both young men and old men” (ἠμὲν νέοι ἠδὲ γέροντες) has the underlying meaning of “all men of a certain group who count.” This meaning can be discerned by comparing the other contexts in which it is used. In Iliad 9 Diomedes uses this formula to say that both the young men and old men of the Argives (that is, all men of the Argives who count) know how Agamemnon spoke to Diomedes earlier (ταῦτα δὲ πάντα / ἴσασ’ Ἀργείων ἠμὲν νέοι ἠδὲ γέροντες, Iliad 9.35–36). Odysseus reminds Achilles that his father Peleus advised him to avoid strife so that both the young men and the old men of the Argives (that is, all the men of the Argives who count) would honor him (ληγέμεναι δ’ ἔριδος κακομηχάνου, ὄφρά σε μᾶλλον τίωσ’ Ἀργείων ἠμὲν νέοι ἠδὲ γέροντες, Iliad 9.257–258). These uses found in our Iliad are always in the same metrical position. By contrast, a formula found in the Odyssey describing “young men and old,” νέοι ἠδὲ παλαιοί, seems instead to emphasize the large number of men involved (Odyssey 1.395 and Odyssey 8.58), not the “completeness” or social importance of the set.

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