Homer Iliad 2.109

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

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Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 2.109 focus
Iliad Perseus (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.) — 2.120 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.109 focus
Leaning, then, on his scepter, he addressed the Argives.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.109 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 2.109 focus
On this bright sceptre now the king reclin'd,
And artful thus pronounced the speech design'd;
'Ye sons of Mars! partake your leader's care,
'Heroes of Greece, and brothers of the war!
140
'Of partial Jove with justice I complain,
'And heavenly oracles believ'd in vain.
'A safe return was promis'd to our toils, 1
'Renown'd, triumphant, and enrich'd with spoils.
'Now shameful flight alone can save the host,
145
'Our blood, our treasure, and our glory lost.
'So Jove decrees, resistless lord of all!
'At whose command whole empires rise or fall:
'He shakes the feeble props of human trust,
'And towns and armies humbles to the dust.
150
'What shame to Greece a fruitless war to wage,
'Oh lasting shame in every future age!
'Once great in arms, the common scorn we grow,
'Repuls'd and baffled by a feeble foe.
'So small their number, that, if wars were ceas'd,
155
'And Greece triumphant held a general feast,
'All rank'd by tens; whole decades, when they dine,
'Must want a Trojan slave to pour the wine.
'But other forces have our hopes o'erthrown,
'And Troy prevails by armies not her own.
160
'Now nine long years of mighty Jove are run,
'Since first the labours of this war begun;
'Our cordage torn, decay'd our vessels lie,
'And scarce ensure the wretched power to fly.
'Haste then, for ever leave the Trojan wall!
165
'Our weeping wives, our tender children call;
'Love, duty, safety, summon us away,
''Tis nature's voice, and nature we obey.
'Our shatter'd barks may yet transport us o'er,
'Safe and inglorious, to our native shore.
170
'Fly, Grecians, fly! your sails and oars employ,
'And dream no more of heaven-defended Troy.' 2
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.109 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.109 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.109 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

contrast between Nestor who affirms the positive sign from Zeus regarding the Achaeans return and Agamemnon who denies it

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comment on the formulaic language of Zeus’ promising and nodding in assent in response to prayer (of returning from Troy)

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in the context of interpreting Menelaos as “he who incites the warfolk”; example of laos as referring to one’s own even with ōlese

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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 is the second occurrence of the noun therapōn in the Iliad; the plural form here is therapontes. The surface meaning of therapōn in Homeric diction is ‘attendant’, and a fitting example is the word’s first occurrence in the Iliad, at I.01.321; the deeper meaning, however, is ‘ritual substitute’. In contexts where the plural therapontes in combination with Arēos ‘of Ares’ is applied to the Achaeans=Danaans=Argives (at I.02.110, to the Danaans) as a grouping of warriors, the deeper meaning is more evident than in other contexts. When a warrior is killed in war, he becomes a therapōn or ‘ritual substitute’ who dies for Ares by becoming identical to the war god at the moment of death; then, after death, the warrior is eligible to become a cult hero who serves as a sacralized ‘attendant’ of the war god in contexts of hero cult.

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The words of this challenge directed against the over-king Agamemnon by Sthenelos, chariot driver of Diomedes, recall the epic traditions of the Epigonoi = Sons-of-the-Seven-against-Thebes. Since Sthenelos figures as a character in two epic traditions, both the Iliadic and the Epigonic, his wording here can be seen as a cross-reference from the Iliadic tradition to the Epigonic. The cross-reference sets up a rivalry between the two epic traditions: the question is, are the Epigonoi as heroic characters superior to the heroic characters of the Iliad?

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analysis of the coexistence of the Attic and the Koine usage in this verse and the claim that ‘Homer’ was capable of both

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Leonard Muellner

evidence for counting in arithmetic systems that lack a zero as indistinguishable from grouping

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