Homer Iliad 2.280

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.) — 2.265 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.) — 2.265 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.265 focus
Then he beat him with his staff about the back and shoulders till he dropped and fell weeping. The golden scepter raised a bloody welt on his back, so he sat down frightened and in pain, looking foolish as he wiped the tears from his eyes. [270] The people were sorry for him, but they laughed heartily, and one man would turn to his neighbor saying, “Odysseus has done many a good thing before now in fight and council, but he never did the Argives a better turn [275] than when he stopped this man’s mouth from barking any further. He will give the kings no more of his insolence.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.265 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.265 focus
He said, and cowering as the dastard bends, 1
The weighty sceptre on his back descends,
On the round bunch the bloody tumours rise;
The tears spring starting from his haggard eyes:
Trembling he sat, and, shrunk in abject fears,
330
From his vile visage wiped the scalding tears.
While to his neighbour each express'd his thought:
'Ye gods! what wonders has Ulysses wrought!
'What fruits his conduct and his courage yield,
'Great in the council, glorious in the field!
335
'Generous he rises in the crown's defence,
'To curb the factious tongue of insolence.
'Such just examples on offenders shewn,
'Sedition silence, and assert the throne.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.265 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.265 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.265 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

in the context of discussing the contrast between Odysseus and Nestor in terms of their referring to signs from gods (Odysseus recalls one interpreted by Calchas, Nestor one he saw for himself)

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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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one of Watkin’s three passages where menos is used as a functional equivalent of mēnis

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

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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.

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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.

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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.

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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.

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