Homer Iliad 2.155

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E'en then the Greeks had left the hostile plain,
And fate decreed the fall of Troy in vain;
190
But Jove's imperial queen their flight survey'd,
And sighing thus bespoke the blue-ey'd maid:

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

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.) — 2.155 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.) — 2.155 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.) — 2.160 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.155 focus
Then surely the Argives would have had a return [ nostos] after a fashion that was not fated. But Hera said to Athena, “Alas, daughter of aegis-bearing Zeus, the one who cannot be worn down, shall the Argives flee home to their own land over the broad sea, [160] and leave Priam and the Trojans the glory of still keeping Helen, for whose sake so many of the bronze-armored Achaeans have died at Troy, far from their homes? Go about at once among the army of warriors, and speak fairly to them, man by man, [165] that they draw not their ships into the sea.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 2.155 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.155 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 2.155 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.155 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 2 focus

New Alexandria Commentaries

Douglas Frame

commentary on the dream sent by Zeus to Agamemnon in the form of Nestor

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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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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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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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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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The False Dream tells Agamemnon that he will capture Troy ‘now’. It is a promise of instant gratification.

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These verses describe most accurately how Agamemnon, dreaming his False Dream, misunderstands the Will of Zeus. As we read at I.02.036 here, Agamemnon is thinking things that will definitely not ‘come to fulfillment’, teleîsthai, through the will of the god. As we read further at I.02.037, Agamemnon thinks that he will now capture Troy in just one day, in accordance with the Will of Zeus. Of course he is wrong to think this, as we read still further at I.02.038–040, since Zeus is now planning to inflict many more algea ‘pains’ in battle not only for the Trojans but also, more pertinently, for the Achaeans. The Trojan War is about to be prolonged for the Achaeans, causing them much more hardship and pain.

  • Here and elsewhere, I cite verbs via the infinitive, not via the indicative first person singular.
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When Agamemnon wakes up from dreaming the False Dream, he experiences the sensation of an omphē ‘oracular voice’ that has just now been poured all over him. This idea of omphē as an ‘oracular voice’ (the word is cognate with English song) is picked up by the word ossa ‘oracular voice’ at I.02.093, which refers there to the personified False Dream who had announced himself as the Dios angelos ‘messenger’ of Zeus to the sleeping Agamemnon at I.02.026. In the context of Theognis 1.808 and elsewhere, omphē refers to the oracular voice of the Oracle of Apollo at Delphi. Such contexts show that omphē in the sense of ‘oracular voice’ is relevant to the misunderstanding experienced by Agamemnon in Iliad 2. Just as Agamemnon misunderstands the oracular voice that is mediated by the False Dream, so also he misunderstands the oracular voice of the god Apollo himself in the First Song of Demodokos O.08.072–083. At verses 77–78 of that “micro-Iliad,” it is said that Agamemnon was happy to see Odysseus and Achilles quarelling; at verses 79–83, it is said that such a quarrel was predicted by the Oracle of Apollo at Delphi to Agamemnon when this over-king went there for an oracular consultation. And at verses 81–82 it is said that this quarrel was really a sign that foretold a great pēma ‘pain’ that was about to befall the Achaeans as well as the Trojans in the Trojan War.

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The skēptron ‘scepter’ that is held by Agamemnon is described as golden, and gold is the symbol for the artificial continuum of immortality as expressed by the epithet aphthito- in the sense of ‘imperishable, unwilting’. But this scepter was originally wooden and then covered over in gold; and wood is a symbol for the natural discontinuity of mortal life as expressed by the verb phthinesthai in the sense of ‘wilt’. This aspect of the skēptron ‘scepter’ as a symbol for the natural discontinuity of mortal life is highlighted by the Oath of Achilles at I.01.233–246.

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The False Dream, personified, announces himself to the sleeping Agamemnon, describing himself as the Dios angelos ‘messenger of Zeus’.

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Countering the claim of Achilles to be the ‘best of the Achaeans’, Agamemnon here lays claim to the same title, and the verb for expressing such a claim is eukhesthai ‘claim’.

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This expression needs to be added to the cumulative evidence showing that a person who holds a skēptron ‘scepter’ speaks with the authority of a king—an authority emanating from Zeus.

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In this verse, I.02.094, the epithet Dios angelos ‘messenger of Zeus’ applies to the noun ossa ‘oracular voice’ as found in the previous verse, I.02.093.

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In the Homeric Iliad, the hero Pelops figures as an archetype of political power. The sequence of kings in the Peloponnesus is limited to the dynastic lineage starting with Pelops.

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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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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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Leonard Muellner

argument for the contextual unity of eukhesthai einai + comparative/superlative expressions regarding superiority in age on the one hand and prestige, physical prowess and physical beauty on the other (secular contexts)

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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

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example of handing on of the scepter in the context of discussing Achilles’ hurling it to the ground after his oath in I.01

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analysis of Agamemnon’s skēptron and gold as symbol for the artificial continuum of immortality (aphthito-) and the relevance of this for Achilles’ oath

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analysis of philotēs and timē going together, and here, Odysseus’ misapprehension regarding the object of Zeus’ timē, corrected by Agamemnon’s acknowledgement in I.09.116-118

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Richard Martin

When Odysseus addresses the kings and leaders in the testing scene of Book 2, he uses "mild words (epeessin)" to hold them back (2.188-89): Odysseus speaks to his social equals and uses epea. With the common soldiers he uses a muthos instead (2.198-201) (Martin 1993:23).

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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 three mediated commands of Zeus called muthoi occur at crucial moments in the Iliad's first half, all relating directly to the promise Zeus made to Thetis. The first, in Book 2, takes the form of a message from Dream telling Agamemnon to arm for battle (2.7-15). Zeus specifies the exact destination, the speed of arming, and an explanation (note the triple gar of 2.12-14). This message is marked as a directive by the formula "winged words" and by the word Zeus uses to send the message, "I order" (2.10). When Zeus speaks here with what seems greatest accuracy, he is in fact contradicting what the audience knows from the previous scene—complete discord among the gods. Zeus speaks ironically in saying that Hera "bent" all the gods to her will (epegnampsen hapantas, 2.14), since this rare verb had described Hera's own fearful submission to Zeus at 1.569 (Martin 1993:51-52).

Dream then becomes creative on his own, modifying the message to persuade Agamemnon by his impersonation of Nestor. Dream's persuasive disguise restrains the self-regarding elder hero from dismissing the message entirely. Zeus' authority has been deconstructed within the first few lines of Book 2 when Homer demonstrates that muthos speech does not require truth so much as an effective representation (Martin 1993:52).

For the ideal of muthos commands as demonstrated by Zeus, see the comment on Iliad 8.5-27.

References

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

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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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