Iliad. Homer. Samuel Butler (Translator). London. 1898.
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Iliad (English) (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.)
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.) — 10.128 focus
τὸν δʼ ἠμείβετʼ ἔπειτα Γερήνιος ἱππότα Νέστωρ·
ὣς εἰπὼν ἔνδυνε περὶ στήθεσσι χιτῶνα,
τὸν δʼ ἠμείβετʼ ἔπειτα Γερήνιος ἱππότα Νέστωρ·
ὣς φάθʼ, ὃ δὲ κλισίην δὲ κιὼν πολύμητις Ὀδυσσεὺς
ὣς φάθʼ, ὃ δʼ ἐξ ὕπνοιο μάλα κραιπνῶς ἀνόρουσε,
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.) — 10.128 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 10.128 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 10.128 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 10.128 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 10.128 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 10.128 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 10.128 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 10 focus
BOOK X
New Alexandria Commentaries
Casey Dué
πονέεσθαι
There is a cluster of three occurrences of this verb: here, in 10.117, and in Agamemnon’s response in 10.121. It is also used in 10.70, and the noun from which it is derived, πόνος, appears at 10.89, 10.164, 10.245, and 10.279. These words are also used for the hardships of (daytime) battle, but see our essay “Poetics of Ambush” for a discussion of the associations that “hard labor” has with ambush fighting.
πολλάκι γὰρ μεθίει
Douglas Frame (2009:214–216) demonstrates that “giving way,” especially in deference to his brother, is a traditional characteristic of Menelaos. In addition to here, the verb μεθίημι is used of Menelaos in two other places: at Odyssey 4.372 and most tellingly at Iliad 23.434, where Menelaos gives way to Antilokhos in the chariot race. Frame connects that event in particular with Menelaos’ nostos, in which he displays hesitancy, lack of incitement, and a lack of noos. These same qualities will make him a poor choice for the spying mission: Agamemnon seems to know this, as we see in his fear that Diomedes will choose Menelaos based on status alone (see 10.237–240). As we have noted elsewhere (see 10.31), Menelaos is portrayed as a successful ambusher in the Odyssey, but that portrayal seems quite separate from his relationship with his brother, whom, as we have seen earlier on this night, he looks to for direction, even as he is the first to voice the idea of the spying mission.
χλαῖναν
Nestor does not put on an animal skin, but rather an impressive cloak (khlaina). For the traditional language of these dressing scenes, compare 10.21–22. See also below on 10.149.
βῆ δ᾽ ἰέναι
See on 10.32.
Ὀδυσῆα Διὶ μῆτιν ἀτάλαντον
This is not the first time that Odysseus’ name is mentioned in Iliad 10 (see 10.109), but it is the first place that he appears in the narrative, and the first place in our text that he is given a description of any kind. Here and twice in Iliad 2, Odysseus is called “the equivalent of Zeus in craft [mētis].” Odysseus rivals the gods in this kind of intelligence, by which he engineers alternative warfare and the daring escapes that are his specialty in the Odyssey. One of Odysseus’ most common epithets in the Iliad and Odyssey, πολύμητις (as at 10.148), likewise highlights this central aspect of Odysseus’ character. Odysseus is the hero who takes down the Cyclops by a carefully orchestrated ambush, and the attack on the suitors is structured like an ambush in many ways. We have noted as well that the sack of Troy is an ambush, of which Odysseus is the mastermind. (For more on mētis in the Doloneia, see on 10.19 and “The Poetics of Ambush” above. On Odysseus as the hero of mētis, see above on 10.5–9, Haft 1990, and Holmberg 1997:14–15. For Odysseus’ epithets in the Odyssey, see Austin 1975:25–53.
φθεγξάμενος· τὸν δ᾽ αἶψα περὶ φρένας ἤλυθ᾽ ἰωή
Note the emphasis on the sound of Nestor’s voice as he rouses Odysseus from sleep. On the aural aspects of this episode, see above pp. 62–68 and on 10.85.
We find night likewise described in Iliad 10.142. Ambrosia, the food of both the gods (see Odyssey 5.93, 5.199, 9.359) and their divine horses, is used by the gods for a variety of other purposes in Homer, including as perfume (Odyssey 4.445), as a cosmetic (Iliad 14.170), and as a preservative for the corpses of Patroklos and Sarpedon (Iliad 16.670 and 680 and 19.38). At Iliad 1.529, Zeus’ hair is described as ambrosios, as is sleep at 2.19. In Iliad 18.268 and 24.363, night is again ambrosial. There is, as we can see, a wide range of associations for this word.\r\n\r\nIn Iliad 10.83, 10.276, and 10.386, the metrically equivalent phrase νύκτα δι᾽ ὀρφναίην is used in the same position in the line. This phrase has a spondee where ἀμβροσίην has a dactyl, but both phrases occupy the same metrical space. νύκτα δι᾽ ὀρφναίην is also found at Odyssey 9.143 and the Homeric Hymn to Hermes 578. Although it is not impossible to have two metrically equivalent formulas expressing the same essential idea, such duplications are rare in Homer, so we should expect the two adjectives to convey different things. The context of νύκτα δι᾽ ὀρφναίην in Odyssey 9 is the ambush-like episode of the Cyclops (see Dué and Ebbott 2010), and its use of Hermes (whose nighttime thievery and cunning are celebrated in the Homeric Hymn) is likewise suggestive of an association between this word and nighttime escapades. Norman Austin (1975:71–73) sees ὀρφναίη as being particularly evocative of night’s darkness, which is of course appropriate for both ambush and thievery. Night is in general ambrosial, according to Austin, because of the welcome rest it brings at the end of the day, but it is particularly so in the Iliad: “Night [in the Iliad] means the end of a day’s fighting. It is relief from weary battle, but, more importantly for the Homeric hero, it means survival through another day.” But the night of Iliad 10 is marked by anxiety, fear, and a raid on the enemy camp, hence the appropriateness of νύκτα δι᾽ ὀρφναίην. (For alternate views on why night is ambrosial, see Hainsworth 1993 ad 10.41 and Heubeck, West, and Hainsworth 1988 ad 4.429, 4.445, and 5.93 with bibliography ad loc.)\r\n\r\nGeorg Danek (1988:80) has interpreted the alternation between the formulas νύκτα δι᾽ ἀμβροσίην and νύκτα δι᾽ ὀρφναίην as an intentional variation on the part of the composer of this book. (For more on Danek’s arguments about the composer of Iliad 10, see Dué and Ebbott 2010. Danek views the attempt to vary traditional phraseology as a hallmark of this poet’s individual style. As we note in the above referenced essay, this approach is problematic from the standpoint of the methodology developed by Parry and Lord in studying oral traditions. It rests on the assumption that a singer within a traditional system would strive to “break free” of that tradition and compose in a new way. Austin’s approach is helpful, because it finds two different ways that night can be characterized and shows how context affects the choice of either formula. Throughout his 1975 work, however, Austin himself seeks to counter Parry’s demonstration of the economy of Homeric diction, and uses these words as an example of how the poet of the Iliad can achieve various literary goals, unconstrained by formulaic diction. But another way to look at it is to say that Austin’s account of the different conceptualizations of the night enhances and clarifies Parry’s arguments about the economy of Homeric diction, which Parry describes as “free of phrases which, having the same metrical value and expressing the same idea, could replace one another” (Parry 1971:86). There is more than one way to say “night” here, because night is not a monolithic concept. When a poet wants to invoke night with its associations with relief and rest, νύκτα δι᾽ ἀμβροσίην would be easily summoned. The night encompassed by Iliad 10, however, is of a different sort, and as a result, the formula νύκτα δι᾽ ὀρφναίην is used three or four times. This interpretation seems strengthened by Iliad 24.363, which is identical to 10.83, with the exception of the formula for night:\r\n\r\nτίς δ᾽ οὗτος κατὰ νῆας ἀνα στρατὸν ἔρχεαι οἶος\r\n\r\nνύκτα δι᾽ ὀρφναίην, ὅτε θ᾽ εὕδουσι βροτοὶ ἄλλοι,\r\nIliad 10.82–83
\r\n“Who is this that comes down to the ships through the encamped mass of warriors all alone\r\n\r\nthrough the dark night, when other mortals are sleeping?”\r\n\r\n \r\n\r\nπῇ πάτερ ὧδ’ ἵππους τε καὶ ἡμιόνους ἰθύνεις\r\n\r\nνύκτα δι’ ἀμβροσίην, ὅτε θ’ εὕδουσι βροτοὶ ἄλλοι;\r\nIliad 24.362–363
\r\n“Where, father, are you driving your horses and mules like this\r\n\r\nthrough the ambrosial night, when the other mortals are sleeping?”\r\n\r\nIn Iliad 24, Priam is attempting to sneak into Achilles’ camp during the night undetected; the formula νύκτα δι᾽ ὀρφναίην would seem to be appropriate. (See above on 10.1ff. for more on how Priam’s journey has thematic associations with other nighttime missions to the enemy’s camp.) But the speaker of these lines is the disguised Hermes, talking to Priam in the form of a young man who should be unaware of Priam’s mission. Accordingly, he uses the more innocent-sounding and divine νύκτα δι’ ἀμβροσίην. Alternatively, we can interpret the absence of ὀρφναίην as significant within the system that generated the two formulas. As we have seen, the theme of the night raid/ambush attracts its own subset of formulas, which are not typically found outside of this context in Homer. If Priam’s expedition to Achilles, though it takes place at night, is not being characterized as an ambush, night is therefore not dark, but the more generic “ambrosial.” (For a more expanded discussion of how this formula works within the theme of ambush, see, in addition to Dué and Ebbott 2010, Dué 2011.\r\n\r\n \r\n\r\nReferences\r\n\r\nAustin, N. 1975. Archery at the Dark of the Moon: Poetic Problems in Homer’s Odyssey. Berkeley.\r\n\r\nDanek, G. 1988. Studien zur Dolonie. Vienna.\r\n\r\nDué, C. and Ebbott, M. 2010. Iliad 10 and the Poetics of Ambush: A Multitext Edition with Essays and Commentary. Cambridge, MA.\r\n\r\nDué, C. 2011. “Maneuvers in the dark of night: Iliad 10 in the twenty-first century.” In Homeric Contexts: Neoanalysis and the Interpretation of Oral Poetry (eds. F. Montanari, A. Rengakos, and C. Tsagalis) 165–173. Berlin.\r\n\r\nHainsworth, J. B. 1993. The Iliad: A Commentary III. Books 9–12. Cambridge.\r\n\r\nHeubeck, A., West S., and Hainsworth, J. eds. 1988. A Commentary on Homer’s Odyssey. Vol. I. Oxford.\r\n\r\nLord, A. B. 1960/2000. The Singer of Tales. Cambridge, MA. 2nd ed, 2000. ed. S. Mitchell and G. Nagy. Cambridge, MA.\r\n\r\nParry, A., ed. 1971. The Making of Homeric Verse: The Collected Papers of Milman Parry. Oxford.\r\n\r\n
On the theme of “need,” see above on 10.85.
νύκτα δι᾽ ἀμβροσίην
In the Venetus A, the oldest complete medieval manuscript of the Iliad, ὀρφναίην is written in the margin next to νύκτα δι᾽ ἀμβροσίην at this line (see Figure 5), and a thirteenth-century manuscript (Vaticanus Graecus 26) prints ὀρφναίην here instead of ἀμβροσίην. On the significance of the two adjectives and the variation we find here, see above on 10.41.
διογενὲς Λαερτιάδη πολυμήχαν’ Ὀδυσσεῦ
Nestor, who is the most diplomatic of the heroes in the Iliad, addresses Odysseus in connection with both his lineage and with two of his traditional epithets, thereby using an entire hexameter to address him. He does the same with Agamemnon in 10.103 (Ἀτρεΐδη κύδιστε ἄναξ ἀνδρῶν Ἀγάμεμνον), in precisely the way that Agamemnon instructs Menelaos to wake up the heroes in 10.68–69. And as with Agamemnon, Nestor chooses what is perhaps the most honorific of Odysseus’ traditional epithets. In the Iliad, the epithet διογενὲς ‘descended from Zeus’ is applied to several heroes, including Patroklos (1.337), Achilles (1.489), Ajax (4.489), and Menelaos (23.294), but in the Odyssey it is restricted to Odysseus. πολυμήχανος, on the other hand, is Odysseus’ distinctive epithet. It is used of him and him alone, and, with one exception, always in the vocative. That one exception is the signature description of Odysseus by Athena, who in the guise of Mentes tells Telemakhos that his father is on his way home, “since he is a man of many devices (πολυμήχανος, Odyssey 1.205).”
It is a testament to the economy of Homeric diction that other than the full verse phrase that appears here (and six other places in the Iliad, as well as fifteen times in the Odyssey) there are only three ways to address Odysseus in the vocative in our Iliad, each with a different metrical configuration: ὦ πολύαιν’ Ὀδυσεῦ μέγα κῦδος Ἀχαιῶν (9.673, 10.544), ὦ Ὀδυσεῦ πολύαινε (11.430), and [ὦ] Ὀδυσεῦ (9.346, 14.104). This does not mean, however, that the epithets are without semantic weight (see especially the formulation of Lord 1960/2000:66, quoted on 10.3 above). The full verse formula is particularly flexible and can be used or not at a composer’s discretion. Its contexts suggest that it conveys formality and respect. In the Iliad, the goddess Athena and the heroes Agamemnon, Diomedes, Achilles, and Ajax address Odysseus this way. In the Odyssey, Athena, Calypso, and Circe do, as do the shades of Teiresias, Agamemnon, and Achilles.
Diomedes, by contrast, does not get quite the same respect as Agamemnon and Odysseus. In 10.159, Diomedes is addressed as simply “the son of Tydeus.” In Iliad 9.32–49, Diomedes is the first to speak after Agamemnon’s address to the assembled warriors and is sharply critical of him. Nestor praises Diomedes for his abilities as a warrior and for his speaking ability but qualifies the latter: he is the best in counsel for his age group (Iliad 9.54). It seems that Diomedes is still too junior in relation to Nestor to get the full honorific address. Three times, however, he is addressed by others with the affectionate full-line formula Τυδεΐδη Διόμηδες ἐμῷ κεχαρισμένε θυμῷ (Iliad 5.242, by Sthenelos; Iliad 5.826, by Athena; Iliad 10.234, by Agamemnon).
τοῖον γὰρ ἄχος βεβίηκεν Ἀχαιούς
See also above on 10.85. The sorrow (akhos) that Nestor cites here is of course ultimately the result of the withdrawal of Achilles and its disastrous consequences, and Nestor uses an equivalent phrase when the strife between Agamemnon and Achilles begins (see Iliad 1.254; see Nagy 1979:69–72, 94–95 for the equivalence of ἄχος and πένθος in Homeric diction). The Trojans have had a great deal of success in Achilles’ absence and are now encamped on the plain. This sorrow is what keeps Agamemnon and Menelaos awake at the opening of this book. Likewise, in Iliad 9.9, Agamemnon is “struck in his heart by great sorrow” (ἄχεϊ μεγάλῳ βεβολημένος ἦτορ). Achilles had predicted that Agamemnon would feel sorrow (ἀχνύμένος, Iliad 1.241) when the Greeks fell dying. The akhos that Achilles experiences when Agamemnon threatens to take and then in fact takes Briseis in Iliad 1 initiates his wrath, which in turn leads to the sorrow of the Achaeans. Nagy has argued that there is a “pervasive nexus between ἄχος and Ἀχιλ(λ)εύς” in Homeric diction that is “integrated in the inherited formulaic system and hence deeply rooted in the epic tradition” (Nagy 1979:79). This akhos seems to be the root of Achilles’ name, which Nagy etymologizes as *Akhí-lāṷos ‘whose host of men is sorrowful [= grieving]’. (See Nagy 1979:69–93 and Nagy 2004:131–137, as well as Palmer 1963:78–79 and Holland 1993.)
πολύμητις Ὀδυσσεὺς
On Odysseus’ associations with mētis, see on 10.5–9 and on 10.137 above. Polumētis ‘who is crafty in many ways’ is one of Odysseus’ most commonly used epithets. Other than Odysseus it is only used of Hephaistos (πολυμήτιος, Iliad 21.355), who is the god of a different sort of craft. (The English word ‘craft’, like the Greek mētis, encompasses both meanings.) Milman Parry says of this particular epithet: “δῖος and πολύμητις, for the audience, describe the Odysseus of all the epic poems which sang his deeds” (MHV 171). πολύμητις is one of the distinctive epithets of Odysseus, while δῖος is a generic epithet of heroes (see Parry MHV 145 for πολύμητις as a distinctive epithet, and MHV 84 for δῖος as generic). Parry writes:
Epic lines without epithets would have seemed to them like a heroic character without his traditional attributes. But even now, who among those of us who have any knowledge of the legend has asked why Odysseus should be crafty in this or that particular episode? Just so, Homer’s listeners demanded epithets and paid them no attention, showing thereby the same lack of exact observation that becomes a habit with the modern reader. And it is this lack of exact observation that explains uses of the epithet which appear to us unmotivated, because we look for their motivations in the lines where they occur, rather than in all the poetry Homer’s audience had already heard before they ever heard him sing.
Parry MHV 137–138
As we discussed on 10.3 in connection with the phrase ποιμένα λαῶν, the phrase πολύμητις Ὀδυσσεὺς can be used of Odysseus even in situations in which he is not being particularly crafty; the distinctive noun-epithet combination is, to quote the formulation of Nagy once again, “like a small theme song that conjures up a thought-association with the traditional essence of an epic figure” (Nagy 1990b:23). The phrase is not without significance in an ambush context, however, because Odysseus is a pre-eminent ambusher within the tradition as a whole. Odysseus is called πολύμητις just as he leaves his tent, which marks the beginning of what will become a spying mission/ambush episode that will prominently feature Odysseus’ mētis. Once that episode is well underway, Odysseus will be again called πολύμητις when he interrogates Dolon (10.382; see also 10.488, where he handles the horses so they are not spooked).
ποικίλον ἀμφ᾽ ὤμοισι σάκος θέτο
Agamemnon and Diomedes each wear a lion skin, Menelaos wears a leopard skin, Nestor wears a khiton and khlaina, and all take a weapon (egkhos or doru), but Odysseus takes only a shield and leaves without putting on any outerwear of any kind. This seemingly mundane detail actually serves two significant narrative functions. First and foremost, it sets up the extended arming scene that takes place at the assembly, just before the raid itself (see below on 10.254–272). Odysseus’ lack of appropriate gear here means that he will have to borrow armor at the assembly. Second, Odysseus’ lack of an animal skin has an intriguing corollary the Odyssey, where, in one of his Cretan lies to Eumaios in Odyssey 14, Odysseus comes close to revealing his true identity, at least from the perspective of a traditional audience of epic. Odysseus describes how once on a cold night at Troy he went out on an ambush. All the other heroes were dressed for the weather, but he himself had no cloak, and had to come up with a clever scheme to get one from one of his companions on the lokhos. Odysseus’ Cretan lie may well be playfully alluding to a Doloneia tradition, in which case the story is a coded verbal message (ainos) directed at both the internal audience (Eumaios) and the external audience, who will “get” the inside reference. Such a reference is possible if we understand the Iliad (including the Doloneia) and Odyssey to be co-existing oral traditions, evolving in conjunction with one another. (On the ainos as a coded verbal message in Odyssey 14, see both Muellner 1976:97 and Nagy 1979:234–237, with further reference ad loc.) On the multiple significances of the shield being “intricately patterned” (poikilos), see above on 10.30.
ἐκτὸς ἀπὸ κλισίης σὺν τεύχεσιν
Diomedes and his comrades are so ready for battle that they are not even inside their tent. Agamemnon had earlier stated his concern that the Trojans might be planning a night attack (10.100–101), and the preparedness seen here may also reflect the same “state of emergency” that is also prompting the night meeting and spying mission.
ἔγχεα δέ σφιν/ ὀρθ᾽ ἐπὶ σαυρωτῆρος ἐλήλατο, τῆλε δὲ χαλκὸς / λάμφ᾽ ὥς τε στεροπὴ πατρὸς Διὸς
Their spears are planted in a kind of palisade, perhaps as a defense while they sleep on this dangerous night, or perhaps so that they are easy to reach in case of attack. The shining of the bronze like lightning is a frequent image in Homeric poetry (see Iliad 11.66, which is also an explicit simile, and the metaphorical uses of στεροπή with bronze at Iliad 11.83 and 19.363, and Odyssey 4.72 and 14.268 = 17.437). In most of those cases, just as here, the gleam of the bronze has a threatening or awe-inspiring quality to it. That the bronze shines this way at night is suggestive in terms of what is visible in the dark.
ὄρσεο
The manuscripts are divided between this reading and ἔγρεο. The scholia indicate that Aristarchus had both readings: ὄρσεο· διχῶς ὁ Ἀρίσταρχος, ἔγρεο καὶ ὄρσεο [A intermarginal scholia]; ἔγρεο· γράφεται καὶ ὄρσεο. διχῶς αἱ Ἀριστάρχου [T interlinear scholia]. This is possible because two separate editions or ekdoseis of the text of Homer were attributed to Aristarchus (= αἱ Ἀριστάρχου in the scholia), both of which were known to his student Didymus. From Didymus’ scholarly work many of the scholia derive. (On the ekdoseis of Aristarchus, see Montanari 1998 and Nagy 2004:85–86. On the sources for the Homeric scholia, see Nagy 2004:3–24 and Blackwell and Dué 2009.)
The sources, both ancient and medieval, are perhaps divided here because both verbs are well attested in the formulaic diction. ἔγρεο occurs here and in two places in the Odyssey; ὄρσεο is attested four times in the Iliad and once in the Odyssey. Clearly, both verbs could be generated by a poet composing in performance. Here is a perfect illustration of the difficulty a modern editor of Homer faces when trying to choose between two or more equally Homeric (= formulaic) variations. We, as the editors of this volume, have for this very reason rejected a traditional text critical approach, and instead have advocated a multitextual approach that accounts for the multiformity of the Homeric poems at different historical points in their transmission. (See above, “Iliad 10: A Multitextual Approach.”)
Τυδέος υἱέ
See on 10.144 above. See also Schnapp-Gourbeillon 1981:96–100 for more on Diomedes’ patronymic and his youth.
The third-century CE scholar and poet Diogenes Laertius relates an anecdote (6.53) that features the hexameter line μή τίς τοι εὔδοντι μεταφρένῳ ἐν δόρυ πήξῃ. This verse is probably a literary play on Iliad 8.95: μή τίς τοι φεύγοντι μεταφρένῳ ἐν δόρυ πήξῃ. The twelfth-century scholar Eustathius may be in fact thinking of Diogenes and not Homer when he writes (in 519.32) ὁ Νέστωρ τῷ Διομήδῃ κειμένῳ πού φησιν· ἔγρεο, μή τις τοι καθεύδοντι μεταφρένῳ ἐν δόρυ πήξῃ (“Somewhere Nestor says to the sleeping Diomedes, ‘Wake up, lest someone pierce you in the back with a spear while you sleep’”; cf. Diogenes Laertius’ ἐπέγειραι, ἔφη … ). It is possible that Eustathius had a text of the Iliad with this line following 10.159, but the verse is attested nowhere else in our manuscripts.
Douglas Frame
analysis of Menelaus’ characterization as a follower in his relationship with Agamemnon (though here with an example where Menelaus suggests the plan first, although seeking Agamemnon’s advice)
analysis of Menelaus’ characterization as a follower in his relationship with Agamemnon, here in particular the use of the verb methiēmi of him in this line and in I.23.434-435
Gregory Nagy
There is a pronounced shift in mood in Rhapsody 10. Unlike the narratives in the rest of the Iliad, this narrative focuses on how heroes behave at nighttime, as distinct from daytime. What dominates now is a poetics of ambush, which is a different kind of warfare. And a prime exponent of such poetics is the wolfish figure of Dolon. My comments here on Rhapsody 10 are mere supplements to the extensive commentary of Dué and Ebbott 2010.
Dolon. Detail from an Attic red-figure lekythos (460 BCE). Image via Wikimedia Commons.
Leonard Muellner
comment on Odysseus’ lack of a cloak in the Doloneia in contrast to the other heroes’ elaborately described cloaks, in the context of analyzing O.14.463-466, where the disguised Odysseus tells Eumaios a story of when he tricked Thoas out of his cloak during an ambush
comment on Odysseus’ lack of a cloak, but only carrying a shield (this verse) in the Doloneia in contrast to the other heroes’ elaborately described cloaks, in the context of analyzing O.14.463-466, where the disguised Odysseus tells Eumaios a story of when he tricked Thoas out of his cloak during an ambush
Commentary
Commentary (Casey Dué and Mary Ebbott, 2010) (OCR draft) (Commentary (Casey Dué and Mary Ebbott, 2010)) focus
116. mvp-comment-41-1 10.116 πονέεσθαι There is a cluster of three occurrences of this verb: here, in 10.117, and in Agamemnon’s response in 10.121. It is also used in 10.70, and the noun from which it is derived, πόνος, appears at 10.89, 10.164, 10.245, and 10.279. These words are also used for the hardships of (daytime) battle, but see our essay “Poetics of Ambush” for a discussion of the associations that “hard labor” has with ambush fighting.
121. mvp-comment-42-1 10.121 πολλάκι γὰρ μεθίει Douglas Frame (2009:214–216) demonstrates that “giving way,” especially in deference to his brother, is a traditional characteristic of Menelaos. In addition to here, the verb μεθίημι is used of Menelaos in two other places: at Odyssey 4.372 and most tellingly at Iliad 23.434, where Menelaos gives way to Antilokhos in the chariot race. Frame connects that event in particular with Menelaos’ nostos, in which he displays hesitancy, lack of incitement, and a lack of noos. These same qualities will make him a poor choice for the spying mission: Agamemnon seems to know this, as we see in his fear that Diomedes will choose Menelaos based on status alone (see 10.237–240). As we have noted elsewhere (see 10.31), Menelaos is portrayed as a successful ambusher in the Odyssey, but that portrayal seems quite separate from his relationship with his brother, whom, as we have seen earlier on this night, he looks to for direction, even as he is the first to voice the idea of the spying mission.
133. mvp-comment-43-1 10.133 χλαῖναν Nestor does not put on an animal skin, but rather an impressive cloak ( khlaina). For the traditional language of these dressing scenes, compare 10.21–22. See also below on 10.149.
136. mvp-comment-44-1 10.136 βῆ δ᾽ ἰέναι See on 10.32.
137. mvp-comment-45-1 10.137 Ὀδυσῆα Διὶ μῆτιν ἀτάλαντον This is not the first time that Odysseus’ name is mentioned in Iliad 10 (see 10.109), but it is the first place that he appears in the narrative, and the first place in our text that he is given a description of any kind. Here and twice in Iliad 2, Odysseus is called “the equivalent of Zeus in craft [ mētis].” Odysseus rivals the gods in this kind of intelligence, by which he engineers alternative warfare and the daring escapes that are his specialty in the Odyssey. One of Odysseus’ most common epithets in the Iliad and Odyssey, πολύμητις (as at 10.148), likewise highlights this central aspect of Odysseus’ character. Odysseus is the hero who takes down the Cyclops by a carefully orchestrated ambush, and the attack on the suitors is structured like an ambush in many ways. We have noted as well that the sack of Troy is an ambush, of which Odysseus is the mastermind. (For more on mētis in the Doloneia, see on 10.19 and “The Poetics of Ambush” above. On Odysseus as the hero of mētis, see above on 10.5–9, Haft 1990, and Holmberg 1997:14–15. For Odysseus’ epithets in the Odyssey, see Austin 1975:25–53.
139. mvp-comment-46-1 10.139 φθεγξάμενος· τὸν δ᾽ αἶψα περὶ φρένας ἤλυθ᾽ ἰωή Note the emphasis on the sound of Nestor’s voice as he rouses Odysseus from sleep. On the aural aspects of this episode, see above pp. 62–68 and on 10.85.
141-142. mvp-comment-47-1 10.141–142 On the theme of “need,” see above on 10.85.
142. mvp-comment-48-1 10.142 νύκτα δι᾽ ἀμβροσίην In the Venetus A, the oldest complete medieval manuscript of the Iliad, ὀρφναίην is written in the margin next to νύκτα δι᾽ ἀμβροσίην at this line (see Figure 5), and a thirteenth-century manuscript (Vaticanus Graecus 26) prints ὀρφναίην here instead of ἀμβροσίην. On the significance of the two adjectives and the variation we find here, see above on 10.41.
144. mvp-comment-49-1 10.144 διογενὲς Λαερτιάδη πολυμήχαν’ Ὀδυσσεῦ Nestor, who is the most diplomatic of the heroes in the Iliad, addresses Odysseus in connection with both his lineage and with two of his traditional epithets, thereby using an entire hexameter to address him. He does the same with Agamemnon in 10.103 ( Ἀτρεΐδη κύδιστε ἄναξ ἀνδρῶν Ἀγάμεμνον), in precisely the way that Agamemnon instructs Menelaos to wake up the heroes in 10.68–69. And as with Agamemnon, Nestor chooses what is perhaps the most honorific of Odysseus’ traditional epithets. In the Iliad, the epithet διογενὲς ‘descended from Zeus’ is applied to several heroes, including Patroklos (1.337), Achilles (1.489), Ajax (4.489), and Menelaos (23.294), but in the Odyssey it is restricted to Odysseus. πολυμήχανος, on the other hand, is Odysseus’ distinctive epithet. It is used of him and him alone, and, with one exception, always in the vocative. That one exception is the signature description of Odysseus by Athena, who in the guise of Mentes tells Telemakhos that his father is on his way home, “since he is a man of many devices ( πολυμήχανος, Odyssey 1.205).”
144. mvp-comment-49-2 It is a testament to the economy of Homeric diction that other than the full verse phrase that appears here (and six other places in the Iliad, as well as fifteen times in the Odyssey) there are only three ways to address Odysseus in the vocative in our Iliad, each with a different metrical configuration: ὦ πολύαιν’ Ὀδυσεῦ μέγα κῦδος Ἀχαιῶν (9.673, 10.544), ὦ Ὀδυσεῦ πολύαινε (11.430), and [ ὦ] Ὀδυσεῦ (9.346, 14.104). This does not mean, however, that the epithets are without semantic weight (see especially the formulation of Lord 1960/2000:66, quoted on 10.3 above). The full verse formula is particularly flexible and can be used or not at a composer’s discretion. Its contexts suggest that it conveys formality and respect. In the Iliad, the goddess Athena and the heroes Agamemnon, Diomedes, Achilles, and Ajax address Odysseus this way. In the Odyssey, Athena, Calypso, and Circe do, as do the shades of Teiresias, Agamemnon, and Achilles.
144. mvp-comment-49-3 Diomedes, by contrast, does not get quite the same respect as Agamemnon and Odysseus. In 10.159, Diomedes is addressed as simply “the son of Tydeus.” In Iliad 9.32–49, Diomedes is the first to speak after Agamemnon’s address to the assembled warriors and is sharply critical of him. Nestor praises Diomedes for his abilities as a warrior and for his speaking ability but qualifies the latter: he is the best in counsel for his age group ( Iliad 9.54). It seems that Diomedes is still too junior in relation to Nestor to get the full honorific address. Three times, however, he is addressed by others with the affectionate full-line formula Τυδεΐδη Διόμηδες ἐμῷ κεχαρισμένε θυμῷ ( Iliad 5.242, by Sthenelos; Iliad 5.826, by Athena; Iliad 10.234, by Agamemnon).
145. mvp-comment-50-1 10.145 τοῖον γὰρ ἄχος βεβίηκεν Ἀχαιούς See also above on 10.85. The sorrow ( akhos) that Nestor cites here is of course ultimately the result of the withdrawal of Achilles and its disastrous consequences, and Nestor uses an equivalent phrase when the strife between Agamemnon and Achilles begins (see Iliad 1.254; see Nagy 1979:69–72, 94–95 for the equivalence of ἄχος and πένθος in Homeric diction). The Trojans have had a great deal of success in Achilles’ absence and are now encamped on the plain. This sorrow is what keeps Agamemnon and Menelaos awake at the opening of this book. Likewise, in Iliad 9.9, Agamemnon is “struck in his heart by great sorrow” ( ἄχεϊ μεγάλῳ βεβολημένος ἦτορ). Achilles had predicted that Agamemnon would feel sorrow ( ἀχνύμένος, Iliad 1.241) when the Greeks fell dying. The akhos that Achilles experiences when Agamemnon threatens to take and then in fact takes Briseis in Iliad 1 initiates his wrath, which in turn leads to the sorrow of the Achaeans. Nagy has argued that there is a “pervasive nexus between ἄχος and Ἀχιλ( λ) εύς” in Homeric diction that is “integrated in the inherited formulaic system and hence deeply rooted in the epic tradition” (Nagy 1979:79). This akhos seems to be the root of Achilles’ name, which Nagy etymologizes as * Akhí- lāṷos ‘whose host of men is sorrowful [= grieving]’. (See Nagy 1979:69–93 and Nagy 2004:131–137, as well as Palmer 1963:78–79 and Holland 1993.)
148.
mvp-comment-51-1
10.148
πολύμητις
Ὀδυσσεὺς On Odysseus’ associations with
mētis, see on 10.5–9 and on 10.137 above.
Polumētis ‘who is crafty in many ways’ is one of Odysseus’ most commonly used epithets. Other than Odysseus it is only used of Hephaistos (
πολυμήτιος,
Iliad 21.355), who is the god of a different sort of craft. (The English word ‘craft’, like the Greek
mētis, encompasses both meanings.) Milman Parry says of this particular epithet: “
δῖος and
πολύμητις, for the audience, describe the Odysseus of all the epic poems which sang his deeds” (MHV 171).
πολύμητις is one of the distinctive epithets of Odysseus, while
δῖος is a generic epithet of heroes (see Parry MHV 145 for
πολύμητις as a distinctive epithet, and MHV 84 for
δῖος as generic). Parry writes:
149. mvp-comment-52-1 10.149 ποικίλον ἀμφ᾽ ὤμοισι σάκος θέτο Agamemnon and Diomedes each wear a lion skin, Menelaos wears a leopard skin, Nestor wears a khiton and khlaina, and all take a weapon ( egkhos or doru), but Odysseus takes only a shield and leaves without putting on any outerwear of any kind. This seemingly mundane detail actually serves two significant narrative functions. First and foremost, it sets up the extended arming scene that takes place at the assembly, just before the raid itself (see below on 10.254–272). Odysseus’ lack of appropriate gear here means that he will have to borrow armor at the assembly. Second, Odysseus’ lack of an animal skin has an intriguing corollary the Odyssey, where, in one of his Cretan lies to Eumaios in Odyssey 14, Odysseus comes close to revealing his true identity, at least from the perspective of a traditional audience of epic. Odysseus describes how once on a cold night at Troy he went out on an ambush. All the other heroes were dressed for the weather, but he himself had no cloak, and had to come up with a clever scheme to get one from one of his companions on the lokhos. Odysseus’ Cretan lie may well be playfully alluding to a Doloneia tradition, in which case the story is a coded verbal message ( ainos) directed at both the internal audience (Eumaios) and the external audience, who will “get” the inside reference. Such a reference is possible if we understand the Iliad (including the Doloneia) and Odyssey to be co-existing oral traditions, evolving in conjunction with one another. (On the ainos as a coded verbal message in Odyssey 14, see both Muellner 1976:97 and Nagy 1979:234–237, with further reference ad loc.) On the multiple significances of the shield being “intricately patterned” ( poikilos), see above on 10.30.
151. mvp-comment-53-1 10.151 ἐκτὸς ἀπὸ κλισίης σὺν τεύχεσιν Diomedes and his comrades are so ready for battle that they are not even inside their tent. Agamemnon had earlier stated his concern that the Trojans might be planning a night attack (10.100–101), and the preparedness seen here may also reflect the same “state of emergency” that is also prompting the night meeting and spying mission.
152-154. mvp-comment-54-1 10.152–154 ἔγχεα δέ σφιν/ ὀρθ᾽ ἐπὶ σαυρωτῆρος ἐλήλατο, τῆλε δὲ χαλκὸς / λάμφ᾽ ὥς τε στεροπὴ πατρὸς Διὸς Their spears are planted in a kind of palisade, perhaps as a defense while they sleep on this dangerous night, or perhaps so that they are easy to reach in case of attack. The shining of the bronze like lightning is a frequent image in Homeric poetry (see Iliad 11.66, which is also an explicit simile, and the metaphorical uses of στεροπή with bronze at Iliad 11.83 and 19.363, and Odyssey 4.72 and 14.268 = 17.437). In most of those cases, just as here, the gleam of the bronze has a threatening or awe-inspiring quality to it. That the bronze shines this way at night is suggestive in terms of what is visible in the dark.
159. mvp-comment-55-1 10.159 ὄρσεο The manuscripts are divided between this reading and ἔγρεο. The scholia indicate that Aristarchus had both readings: ὄρσεο· διχῶς ὁ Ἀρίσταρχος, ἔγρεο καὶ ὄρσεο [A intermarginal scholia]; ἔγρεο· γράφεται καὶ ὄρσεο. διχῶς αἱ Ἀριστάρχου [T interlinear scholia]. This is possible because two separate editions or ekdoseis of the text of Homer were attributed to Aristarchus (= αἱ Ἀριστάρχου in the scholia), both of which were known to his student Didymus. From Didymus’ scholarly work many of the scholia derive. (On the ekdoseis of Aristarchus, see Montanari 1998 and Nagy 2004:85–86. On the sources for the Homeric scholia, see Nagy 2004:3–24 and Blackwell and Dué 2009.)
159. mvp-comment-55-2 The sources, both ancient and medieval, are perhaps divided here because both verbs are well attested in the formulaic diction. ἔγρεο occurs here and in two places in the Odyssey; ὄρσεο is attested four times in the Iliad and once in the Odyssey. Clearly, both verbs could be generated by a poet composing in performance. Here is a perfect illustration of the difficulty a modern editor of Homer faces when trying to choose between two or more equally Homeric (= formulaic) variations. We, as the editors of this volume, have for this very reason rejected a traditional text critical approach, and instead have advocated a multitextual approach that accounts for the multiformity of the Homeric poems at different historical points in their transmission. (See above, “ Iliad 10: A Multitextual Approach.”)
159. mvp-comment-55-3 10.159 Τυδέος υἱέ See on 10.144 above. See also Schnapp-Gourbeillon 1981:96–100 for more on Diomedes’ patronymic and his youth.
159a. mvp-comment-56-1 10.159a The third-century CE scholar and poet Diogenes Laertius relates an anecdote (6.53) that features the hexameter line μή τίς τοι εὔδοντι μεταφρένῳ ἐν δόρυ πήξῃ. This verse is probably a literary play on Iliad 8.95: μή τίς τοι φεύγοντι μεταφρένῳ ἐν δόρυ πήξῃ. The twelfth-century scholar Eustathius may be in fact thinking of Diogenes and not Homer when he writes (in 519.32 ) ὁ Νέστωρ τῷ Διομήδῃ κειμένῳ πού φησιν· ἔγρεο, μή τις τοι καθεύδοντι μεταφρένῳ ἐν δόρυ πήξῃ (“Somewhere Nestor says to the sleeping Diomedes, ‘Wake up, lest someone pierce you in the back with a spear while you sleep’”; cf. Diogenes Laertius’ ἐπέγειραι, ἔφη … ). It is possible that Eustathius had a text of the Iliad with this line following 10.159, but the verse is attested nowhere else in our manuscripts.