Homer Iliad 2.560

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.) — 2.546 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.) — 2.546 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.546 focus
And those who held Athens, well-founded city, 547 the district [ dēmos] of stout-hearted Erekhtheus, whom once Athena 548 nourished, daughter of Zeus, but the grain-giving earth gave birth to him. 549and she [Athena] established him in Athens, in her own rich temple, [550] And there he is supplicated, with sacrifices of bulls and rams, 551 by the young men of Athens, each time the seasonal moment comes round. 552 And their leader was Menestheus, son of Peteoos. 553 Never before had there been a mortal man who was equal to [ homoios] him [= Menestheus] 554 in marshaling [ kosmeîn] the horse-drawn chariot teams and the shield-bearing warriors. [555] Nestor could alone rival him, for he was older. With him there came fifty ships.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.546 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.546 focus
Full fifty more from Athens stem the main,
655
Led by Menestheus through the liquid plain;
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.546 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.546 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.546 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

on Agamemnon’s Mycenae as not standing alone but as one of twelve towns in its entry in the Catalogue of Ships

source

example of an attested interpolation of one letter (Gonoessan for Donoessan)

source

discussion of location of Aigialos

source

example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

source

analysis of how alive the meaning of the name Agelaos was based on the collocation of agein with laos

source

comparison of the geography in I.11.722-736 with that in the passage (esp. regarding the Minyan river, Arene, and Thryon)

source

comparison of the geography in Hom. Hymn to Apollo 418424 with that in the passage (esp. regarding the Alpheios river)

source

comparison of the geography in I.11.711-713 with that in the line (esp. regarding the identification of Thryoessa and Thryon in the two passages)

source

comparison of the geography in I.11.711 with that in the line (esp. regarding Thryoessa and Thryon in the two passages)

source

analysis of the Hom. Hymns’ quoting the Homeric poems (here, Hom. Hymn to Apollo 423 quoting this line)

source

identification of Thryon and Epitalion, and Strabo’s alternative interpretation of the line according to which Epitalion was Aipu and Thryon the ford of Alpheios rather than a town

source

analysis of the location of Thryon/identification with Epitalion

source

analysis of a pattern violating Hermann’s bridge and this feature in the Hom. Hymn to Apollo’s quoting this line (and contra Richard Martin 2000a)

source

identification of Thryoessa of I.11 with Thryon of this line

source
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 narrative as presented here is significantly different from the corresponding narrative as presented in Hesiod F 204.44–51.

source

The Iliadic entitlement of Achilles as the ‘best of the Achaeans’ is confronted here with a rival theme: Agamemnon too claims the title.

source

This verse expands on the rivalry of Achilles and Agamemnon for the title of ‘best of the Achaeans’.

source

This negative encounter between Thamyris and the Muses in the Iliad is to be contrasted with the positive encounter between Homer and the Delian Maidens in the Homeric Hymn to Apollo.

source
Richard Martin

The story of Thamyris returning from Oikhalia when he loses his poetic craft at the hands of the Muses (2.594-600) is the primary basis for a belief that early Greek poetry was composed under agonistic conditions. The detail that Thamyris is returning from Oikhalia is significant: this place, the city of Eurytus, has important connections in myth and poetry, for it is the city which Herakles sacked in anger after being refused the king's daughter, Iole. The exploit was commemorated in an epic, the Oikhalias Halosis, ascribed by some ancient sources to Homer. Walter Burkert has shown that this lost poem shares with the Iliad a focus on a tragic episode in the hero's life involving a woman and leading soon to the hero's death, and that both omit description of the hero's immortality and dwell instead on the tragic quality of the impending deaths. When Homer says that a poet returning from Oikhalia was deprived of his art, he can hardly be more explicit: this is a claim that the Herakles tradition is faulty, that it suffered a break in historical transmission from the event itself. By contrast, Homer in Book 2 makes clear that his narrative has continuity with the past guaranteed by his own contact with the Muses (2.484-86). Although the story of Thamyris is on the surface about an agon between singers, it is also a statement about the agon between Homer and previous singers (Martin 1993:229-30).

For Achilles' quantitative surpassing of Herakles within the poem, see the comment on Iliad 9.328-329.

References

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

source