Homer Iliad 2.200

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

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.) — 2.188 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.) — 2.188 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.188 focus
Whenever he met a king or chieftain, he stood by him and spoke to him fairly. [190] “Sir,” said he, “this flight is cowardly and unworthy. Stand by your post, and bid your people also keep their places. You do not yet know the full mind [ noos] of Agamemnon; he was sounding us, and before long will visit the Achaeans with his displeasure. We were not all of us at the council to hear what he then said; [195] see to it lest he be angry and do us harm; for the honor [ tīmē] of kings is great, and the hand of Zeus is with them.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.188 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.188 focus
Each prince of name, or chief in arms approv'd,
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He fir'd with praise, or with persuasion mov'd:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.188 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.188 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.188 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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commentary on Odysseus’ restraining and Nestor’s inciting the Achaeans, corresponding to the contrast between them on their nostos (as the mortal and immortal twins, respectively)

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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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This word indicates the language of blame vs. praise. Such words can refer to blame as a foil for epic.

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The expression erizemenai basileusin ‘engage in strife against kings’ is a programmatic way of referring to the language of blame as a challenge to royalty. In the Iliad, Thersites is a prime exponent of blame poetry. He has a “speaking name” (nomen loquens), since Thersī́tēs is related to the noun thersos/thrasos, which refers to a negative kind of ‘boldness’ in contexts of blame poetry: see the comment at O.18.001–004.

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The programmatic representation of Thersites as an exponent of blame poetry is summed up in the description of this character as aiskhistos ‘most disgraceful’. In the Poetics of Aristotle (1449a), the semantics of the underlying (a) noun aiskhos ‘disgrace, shame’ and (b) adjective aiskhron ‘disgraceful, shameful’ can be seen as the basic context of blame poetry.

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The content of the words of Thersites as blame poetry is matched by the form of the blame poet: just as the content is ugly, the form too is ugly. Thersites actually looks ugly. If we compare the figure of Thersites with the figure of Aesop, who is represented in myth as an exponent of blame as well as praise whenever he performs an ainos ‘fable’, those aspects of Aesop that gravitate toward blame are reflected in the portrayals of this character as markedly ugly.

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As an exponent of blame poetry, which is antithetical to the poetry of epic as a vehicle for praising what is good about heroes, Thersites is truly ekhthistos ‘most hateful’ to the primary two heroes of epic poetry as represented by the Homeric Iliad and Odyssey, who are of course Achilles and Odysseus respectively. As we read at I.02.220–221, Thersites has his quarrels especially with these two heroes, and the verb neikeîn ‘quarrel with’ as used here at I.02.221, together with the corresponding noun neikos ‘quarrel’ as used elsewhere, refers programmatically to the poetics of blame.

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Besides the noun neikos (plural neikea) ‘quarrel’ and the verb neikeîn ‘quarrel with’, on both of which see the comment on I.02.221, another set of words referring to the poetics of blame as antithetical to the poetics of praise in general and of epic in particular is the noun oneidos (plural oneidea), as here, meaning ‘words of insult’, and the verb oneidein, meaning ‘say words of insult’, as elsewhere.

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Here again, the verb neikeîn ‘quarrel with’ refers to the poetics of blame.

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Epic quotes here directly the poetry of blame as displayed by Thersites. His words of blame are introduced and concluded at I.02.224 and I.02.243 respectively by way of the word neikeîn ‘quarrel with’. Although Thersites addresses Agamemnon, insulting him directly, he insults indirectly all the Achaeans, including Achilles. Among the specific insults hurled at Agamemnon are accusations of greedy behavior, I.02.237.

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Thersites directs his blame at the Achaeans, ridiculing them by feminizing them. The noun elenkhos ‘disgrace’ is meant to shame the persons insulted by the poetics of blame.

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Richard Martin

With the common soldiers Odysseus uses a different register: "Whatever man of the people he saw or found shouting he would drive on with the scepter and berate with a muthos: 'Strange one, sit still and listen to the muthos of others who are stronger, while you are unwarlike and strengthless'" (2.198-201). When the lines of power are clearly drawn, the speaker who uses a muthos prevails (Martin 1993:23).

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The description of Thersites (a foil for Odysseus) concentrates on his inability to organize the discrete small units of his talk, the epea: "he who knew many disordered epea in his mind, rashly, not according to good order" (2.212-14). Muthoi are the large units, epea the small (Martin 1993:17).

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The first critical term to examine in the analysis of Thersites' speech is the insult Odysseus throws at him: akritomuthos (2.246). The admiring description of Menelaos' style, ou polumuthos (3.214), was correlated with a style that did not miss the mark by tossing words about aimlessly: oud' apharmatoepēs (3.215). When Thersites appears for the first time, the poet draws attention to qualities in his speech that directly oppose the good style of Menelaos: he speaks a great deal and he does not put his words in good order (epea . . . akosma . . . polla, 2.213). The implication that Thersites misses the mark of proportionate speech comes in Homer's observation that the blamer says whatever he thinks will get a laugh (2.215). In other words, he is just an entertainer, not a "performer" in the heroic sense (Martin 1993:109-10).

Thersites' style deserves no respect because he does not have the heroic martial performance record needed to back up his words: style for the hero is a total notion, a proportion of words and deeds. Because Thersites does not have a valid poetic memory for his own career, the audience of Achaean heroes and epic hearers cannot perform the critical judgment necessary to validate his muthos. It remains "indeterminate" or "undiscriminated." The verbal idea contained in the first part of the compound adjective akritomuthos is one of careful selection, what a commander must exercise to pick out the best troops (2.362, krin'), the opposite of massing things together—in a word, critical ability. The term, then, underscores a performance value: the capacity to judge one's own acts and be judged for them (Martin 1993:110-11).

In the other passage where muthoi are called "undiscriminated," the lack of connection between verbal behavior and martial performance is prominently foregrounded. Iris rebukes Priam (2.796-97): "Old man, to you unjudged words are always dear as once during peace. But war inescapable has arisen." "Unjudged muthoi" is a contradiction in terms; such words would be a masquerade of martial speech in the context of peace. Real muthoi require action (Martin 1993:110-11).

The evidence of meter reinforces the stylistic analysis. When Thersites' speech (2.225-42) is performed aloud, it contains massive correption—the reduction of long vowels and diphthongs from their usual metrical value as "heavy" syllables to "light," short values. A count of correptions per number of lines shows that Thersites' eighteen verses contain this feature ten times, a rate of 55 percent. By contrast, Nestor's correption rate in the speech of 1.254-84 is 30 percent (nine times in thirty lines). The average rate of correption for narrative verses in the poem is 20 percent; for speeches it is 40 percent. Nestor, "of sweet speech," sounds like Homer as we first hear him; Thersites is quite literally "without meter" in his performance, markedly more so than the average hero (Martin 1993:112-13).

References

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

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