Homer Iliad 2.600

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.) — 2.615 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.) — 2.615 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.615 focus
The men, moreover, of Bouprasion and of radiant Elis, so much of it as is enclosed between Hyrmine, Myrsinos upon the sea shore, the rock Olene and Alesion. These had four leaders, and each of them had ten ships, with many Epeioi on board. [620] Their chiefs were Amphimakhos and Thalpios—the one, son of Kteatos, and the other, of Eurytos—both of the lineage of Aktor. The two others were Diores, son of Amarynkes, and godlike Polyxenos, son of King Agasthenes, son of Augeas.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.615 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.615 focus
Those, where fair Elis and Buprasium join;
Whom Hyrmin, here, and Myrsinus confine,
And bounded there, where o'er the valleys rose
Th' Olenian rock; and where Alisium flows;
750
Beneath four chiefs (a numerous army) came:
The strength and glory of th' Epean name.
In separate squadrons these their train divide,
Each leads ten vessels through the yielding tide.
One was Amphimachus, and Thalpius one;
755
(Eurytus' this, and that Teätus' son;)
Diores sprung from Amarynceus' line;
And great Polyxenus, of force divine.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.615 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.615 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.615 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

analysis of the Epeian entry in the Catalogue of Ships and comparison with the geography in I.11

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analysis of Amarynkeus’ and Augeias’ “age”/order (in terms of generations) and comparison with I.11 and I.23 regarding them

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analysis of the construction in combination of the construction in I.02.617 as suspect, therefore making its relationship to I.11.757 uncertain (where the expansion seems to be based on I.02.617)

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comparison of the line with I.11.757 and the geography in both passages

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analysis of the location of the Olenian Rock and other features of the geography in the passage and I.11

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comment on the names of the Molione and comparison with Hesiod fr. 17a14-16 MW

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analysis of Amarynkeus’ and Augeias’ “age”/order (in terms of generations), here the possibility that Amarunkeidēs in the line in question means “descendant of Amarynkeus” rather than “son of Amarynkeus”

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discussion of asmenos as root aorist participle with zero-grade of the root *nes and García Ramón’s argument that apenassato in this line is from neomai, not naiō

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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 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.

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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.

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