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THE WORKS OF HOMER

ACCOBDJNO TO TIIK ΤβΧΤ OP BARUMI RIM

THE ILIAD

WITH ΒΚΟΜβΗ NOTES, CItlTICAL 4WD BXPLANATOHr

By the Rev. T. H. L. LEARY, D.C.L•.

LATE SCHOLAR OP BBABRNOSU COLLEOR, OXPOBD, «TC.

BOOK VI.

ST. STANISLAUS NOVITIATE

HOUSE LIBRARY

TOBONTO

THE COPP CLARK Co., Limite»

London (England) CROSBY LOCKWOOD & SON

1890

THE LIFE OF HOMEE.

The Iliad and Odyssey, ascribed to Homer, have, in our time, like the waters of ancient Nile, no known and universally acknowledged fountain-head. And yet — ^^long before the sublime genius of -^schylus " breathed liorror" upca the Athenian stage ; long before Herodotus told his quaint stories to his admiring countrymen — the name of Homer had become a spell to the ear and heart of Hellas, and the sunny legends of this vates (emphatically, both prophet and poet) had become the oracular sources of all knowledge, human and divine ; had, in fact, become to the Greek public all that the Bible, the press, and Sliakespeare combined, are to the public of our own day. It is, then, but a natural and justifiably passionate form of curiosity wo indulge, when we long to know much concerning the life and career of him whose lays, after the lapse of twenty-seven centuries, still live in the brains and hearts of a civilised humanity, that fondly looks back upon him as the fountain source of all poetry, and the crystal mirror of the old Hellenic world.'

The age, the country, and even the very personality of Homer have all been disputed points ; and time has thrown over them a mist of uncertainty that for ever forbids the full 8s\tisfaction of the intense interest we cannot but feel respecting them. The best authorities place the date of the poet after the Ionic migration. Herodotus (bk. ii. 53)

Η

THE LIFE OF HOMEB.

tuakes it 400 years before his own timee, i.e., about 880 b.o. while Thucydides reckons it long after the Trojan war. No less than nineteen cities have been mentioned in ancient writers as his birth-place. The greater amount of evidence is in favour of Smyrna and Chios. Aristotle takes the lead of those who advocate the claims of Smyrna. Thucydides however, with many others, asRigns this high honour to Chios. Smyrna was first founded by lonians from Epheeus, who were driven out by Cohans from Cyme. The expelled lonians took refuge in Colophon for a time, but subse- quently recaptured Smyrna. This account assists us mate- rially in explaining the extensive mixture of Ionic and -Alolic dements everywhere visible in the Homeric language, if we follow the authority of those who regard Homer as a native of Smy.-na. Apparently there is much in the works of the poet to militate against the concurrent testimony of antiquity to his being an Ionian Asiatic. His poems cele- brate the triumphs of European princes over Asiatics ; they recognise the Thessalian Olympus, and not a mountain in Asia Minor, as the mountain-home of the Gods and the Muses. Such comparisons as that of Nausicaa to Artemis (Odyssey, vi. 102), walking on Taygetus or Erymonthus, and his frequent topographical descriptions and local epithets (80 applicable in many cases even to the present day), indi- cate not only a more intimate acquaintance with Europe than with Asia, but a more affectionate regard for the former than for the latter continent. Such internal indica- tions cannot be allowed to stand against the overwhelming external evidence to the Asiatic birth of Homer ; and espe- cially wnen we find an easy solution of the difliculty, in regarding such as the strongest possible attestation to the minute truthfulness with which the Ionian bard recorded the

THE LIPB OP HOMBR.

Ui

legends of the Trojnn war, carried over from Europe to Asia, by the Ionian and -Slolic coloniats. Had Homer invented the mythology of the Greeks (aa Herodotus erroneously states, bk. ii. 53), he would not have fixed upon the traditionary Olympus as the Heaven of his Gods ; his scrupulous fidelity to the legends of his race alone can account for his setting aside, in this and similar cases, the various and powerful influences of local association. Had Homer invented the catalogue of ships (Iliad, bk. ii ), which is, by the way, the very back-bone of the Iliad, it is not unreasonable to suppose that he would have rendered it more consistent with the subsequent tenor of his poem. With child-like faith, here, as elsewhere, he introduces the traditionarjf genealogies as he found them ; and though, probably, most- conscious of discrepancies, sought not to alter or tamper with what he regarded with feelings of mingled pride and reverence. The utter absence of all attempt to guard against such inconsistency, especially respecting genealogies, is, we conceive, an unquestionable evidence to the legendary truthfulness of the poet.

In connection with the catalogue, we ought further to remark, that it would be only natural to suppose that had Homer himself originated it, he would have given a greater prominence than he has done to the Trojan allies, who dwelt with him and around him on the eastern shores of the ^gean.

THE UOMERIC CONTROVERSY OP WOLP.

lar the year 1795, Wolf made the startling announce- ment that the Iliad and Odyssey had neither a common author nor a common purpose, but being made up of eepa-

IV

THE LIFE OP HOMER.

rate and unconnected aongs, they were for the first time written down and composed into a whole by the plastic taste of Peisistratus and his literary friends. The founda- tion jf the Wolfian Theory rests on the assumption of the non-existence of writing at the time the Homeric poems were composed. In favour of this, among other arguments, he alleges the late introduction of papyrus into Greece, the only material suitable in those days to a long composition ; and also the i'act, that the first toritten laws we hear of are those of Zaleucus, B.C. 664. His most telling evidence is drawn from the poems themselves. In Iliad vi., 168, the σήματα Χυγρά are fairly considered by Wolf to be a kind of arbitrary symbolical marks, not conventional characters of language. -Again, in Iliad, bk. vii., 175, we find Ajax is able to recognise the mark he had made on his own lot. Now, had the mark been a written alphabetical symbol, how does it come to pass that it could not be read by the other chiefs and the herald, to whom it was a riddle until it reached Ajax ? Further evidence is adduced from the universal silence that pervades both poems respecting coins, epitaphs, and inscriptions. Yet the dialect of the poet affords the most convincing internal evidence on this point.* Whether writing existed in Homer's time or not (and that it did then exist, we think Nitzsch f has clearly shown against Wolf, though he has failed to bring it home to the Homeric poems), we find in the language an incontrovertible proof that it was not originally applied to the composition of these poems, which possess a pliability and softness best suited for versification, a co-existent variety of larger and shorter forms, a licenticus freedom in contracting vowels

♦ See Biieumiein, Commentatio de Horaero ejusque Carminibus, seot. 1. + De Hifitoiia Homcri meletemtta, Fas. i. et. ii., 1837.

THE LIFB OP HOMBR. r

and syllables (eynizesis) ; and in revolving the same, taking one example out of many, we find £i}»/, ^ev, ήην, for ^t>. Such anomalies would have been removed by the practice ot written composition, had it in this case exercised its neces- sary and peculiar power of narrowing and determining the forms of language,

A further proof of their not being composed in a written form, is the iEolic Digamma,* which undoubtedly existed at the time when the poems were composed, and disappeared when the earliest copies were written. It has been main- tained that some of the Ehapsodists, and even Homer himselt^ was blind, and that therefore the lat^ could not have written, while to the former a manuscript would be useless. Believing, as we do, that the poems were not written by the poet who composed them, we are under no necessity to meet this objection of blindness ; yet we may observe that poems, and long poems, have been composed, as in Milton's case, by the blind; and, as all authorities seem to concur in making the recital of the Homeric Rhapsodists a joint undertaking, different rhapsodists having different parts, yet all acting in concert, we see nothing unreasonable in supposing the existence of a manuscript among them, even though some of them were blind. Such persons, most probably, were selected on account of their extraordinary memories, and trained by their colleagues. Nor is it irre- levant to observe that, generally speaking, blind men have in all ages been distinguished, not only by their powerful memories, but by a positive passion for music, poetry, and legendary lore. Now such an aptitude, and their compa• rative incapacity for other pursuits, would render the

Sr« Vol. ii., Appendix on the Digamma.

»i THE LIFE OP HOKEK.

blind, we presume, not altogether unfit for the office of rbapeodieing.

Wolf further maintained that the original fragmentary eonga, which were subsequently composed into an Iliad and Odyssey, were singly recited by the Ehapsodiats ; and yet, in the very teeth of this theory, he derives the name frou) pditTttv ωδήν — "heroica carmina modo et ordine public» recitationi apto connectere." If the Ehapsodists recited thess "heroica carmina" singly, hovt comes it that they derive their name from uniting poems ? Once admit that the Homeric Poems existed originally as wholes, then it becomes suflSciently intelligible why they were called con- nectors of songs — connecting the single parts of those wholes for public recital. Wolf argued against the single authorship of the Iliad from the incongruities, inequalities, gaps, and contradictions observable therein. His heaviest artillery is brought to bear upon the six last Books of the Iliad and the Catalogue of Ships in the Second Book. In his view, the closing songs of the Iliad have nothing in common with the avowed object of the Poem— the wrath of Achilles ; and some statements in the Catalogue are, he considers, at variance with the succeeding songs. What then becomes of the Catalogue, if we withdraw it from the Homeric unity, to save its consistency ? It becomes an integer without meaning, without poetical interest or organic con- nection: if we look at it as a list of men and cities, actors in the grand drama before the walls of Troy, it will appear, as it is, a fundamental and constitutive portion of a long heroic poem. In answer to the first objection, we will quote the language of Baeumlein : • •' Tidimus argu-

• Oommentatio de Homero, eeot•. 14.

THE LIFE or iiCMER.

Vll

mentum fabulse necessitate quadam ita produci, ut et continuae omnes partes sint, invicemque sese excipiaut, et in superiore aliqua quam in extremis partibus subsistere nequeamus. Neque enitn ipsata iram omissis iis, qu» inde consequuta essent, celebrare idonea materia, immo ne fas quidem poetae esse videbatur, neque Patroclo cjbso finem carmini facere poterat, quippe in qua re nihil inesset, quod ad relaxandam animorum contentionem pertineret. Nam Achillem quidem ad novam iram novosque animos eo casu excitari necesse erat, neque, priusquam satisfecisset quo- dammodo irae atque luctui, nuimo in araore, odio, ira, moerore nimio conveniebat ad juatum modum componi. Ineptum quoque erat, viri fortissimi desidiam enarrare, fortitudinem, interrupto fabulcB βΙο, tacere:' We deem it a sufficient answer to the charge of incoherency to remind objectors that Aristotle, the first and greatest of critics, has drawn the very laws of epic poetry from the principles carried out in the composition of the Iliad.* Some passages have been adduced by Wolf as spurious and superinduced additions, witK more justice than consistency in one who denied the original unity of the poems, as it is inconceivable how a man can discover and reject that which does not belong to a poetical whole, without assuming the existence of an original poetical whole. The unbroken tenor of antiquity speaks for the single authorship of the Iliad and Odyssey, and even, though the internal difficulties, which seem to repudiate this verdict, were such as we could not solve, yet we cannot allow them to nullify the force of such cumulative evidence ; we are content to think what Plato, Aristotle, Thucydides, and Herodotus thought on this

• See Mullet's Greek Literature, puge 48, eect. 5.

VIU

THE LIFE OP HOMER.

topic. Again, moat of the objections brought against the single authorship of these poems, are frivolous in the extreme, and if applied and consistently followed out in the case of Shakespeare's plays, we should make the reign of Elizabeth three-fold more illustrious by the necessary inference that those immortal works of the world's greatest poet had at the least three different authors. There exist, however, far and wide, throughout the Iliad and Odyssey, unmistakeable evidences of designed adaptation in their several parts, more numerous and more demonstrative than the apparent incongruities ; surely no sound criticism can allow a few apparent gaps to outweigh the overwhelming evidence of uniform coherence, and of symmetrical ante- cedence and consequence in structure, everywhere pointing out a common purpose and a common author. "We are told, forsooth, that whatever coherency and unity they possess, originated with Peisistratus, who first committed them to writing. No attempt has been made to support this assumption with evidence ; on the contrary, there is very strong presumptive evidence that they were committed to writing even before Solon's time, and that Peisistratus merely compared and revised the different copies then extant, and formed from them a" standard text for the use of the Athenian festivals. Long before the tyranny of Peisistratus, we are told that Solon regulated the recitation of the Homeric Lays at the Panathenaic Festival. The object of the illustrious legislator was to secure by a com- pulsory supervision a correct order of recitation, with a prompter to assist the Ehapsodists — a proof of the exist- ence at that time of a manuscript copy of these poems — • the best guide the guiding prompter could possess. It is hard, too, to conceive how a tyrant (in the Greek sense of

THE LIFE υΡ HOMER.

the term) like Peiaistratus could or would dare so far to outrage the hereditary sympathies and traditions of hia countrymen, as to superinduce innovations on these tlie consecrated and the common treasures of universal Hellas. Still less can we believe it possible that Athens or her tyrant could so far revol utionise the traditionary poetry of Greece, at a time, too, when that city possessed neither literary nor political ascendancy. The little said for the glory of Athens and her share in the war against Troy is a strong presumption against such a supposition, which is utterly ignored by the Alexandrine critics, who in no case allude to any such recension among their different manu- scripts. How then could this have happened, had Peisis- tratus been the centre and origin of Homeric unity ? Can we believe it possible that he gave those poeins so much of their character without leaving in them a single vestige of the hand and the times which moulded them ? And yet, it is in vain we seek in Homer a trace of the age of Peiais- tratus; we tnere find no allusion to coined monev, to con- stitutional government, to changed religious sentiments, or to altered customs, as we might fairly expect, and even Wolf himself acknowledged the air of antiquity that invests them from beginning to end.

The voice of history is silent respecting such poetical attributes of Peisistratus. How can we believe that the glorious Iliad aud Odyssey, the boast of the ancient world and the delight of our own, arose out of atoms not origi- nally designed for the places they now occupy, at the bidding of the Athenian usurper and his colleagues ? We wonder whether the time will ever come, when it shall be said and actually believed, that the Paradise Lost and the Paradise Regained of John Milton bloomed forth into

χ THE LIFE OP HOMER.

perfect beauty at the bidding of a modern usurper, calling thorn forth from the lifeless forms of a raediteval Latin poet, to whom Milton may have been indebted for a few trivial suggestions in the composition of hie imperishable poems.

THE POETRY OP HOMER,

The literature of no other nation has been so true nn

exponent of its history as that of Greece, and therefore, on

this ground, there never was a literature more worthy of

the most profound study. Ancient Hellae has bequeathed

us no treasure more valued or valuable, liiHtorically or

aesthetically, than these immortal iuapirations of her earliest

and sweetest muse. These poems are almost the only

record of the age that produced them, and they bear in

themselves the strongest evidence of being the exactest

transcripts of that age. In them we see a truthful image

of primitive Greek society, in all its greatness and little-

ness. The poet (us the nation that idolised him loved to

call him) drew directly from the existing materials he

observed in the world around him, and we have reason to

believe that he did not sacrifice the current genealogies of

men, and the legendary attributes of tribes and cities to

If hat he deemed the exigencies of his poems ; and we have

still stronger reason to believe that he pictured the manners

the institutions, the feelings, and the intelligence of the

heroic age from what he saw, felt, and observed in his own

times. Indeed, he could scarcely have done otherwise in

euch an age.

The horrors of war, not glossed over or softened down, but drawn ;a their fullest dimensions, and painted in colours

THE LIFE OP HOMER. χί

most truthful — the hard lot of captives, the wrongs of women, the sacred rights of hospitality most sacredly observed, the strength and sanctity of ties of blood, the honourable pursuit of piracy and free-booting, the inves- titure of the Olympian Deities with human motives, passions, and frailties— all these (taking a few examples out of many) find a place in the Homeric picture, for they were all in keeping with the character of his own times: and it is thus, that these compositions are the unconscious expositors of their own contemporary society. We have no parallel in ancient or modem history to measure and denote the supreme and universal inauence Homer had on the Greek mind, sympathies, and character. At school the Greek learned his Homer by heart, and was taught all he knew or cared to know of history, geography, genealogy, religion, morality, and criticism, from this authorised and standard text-book. In international dis- putes this poet was appealed to as an infallible authority, as in the dispute between Athens and Megara respecting Salamis. In religious solemnisations Homer was to the soul of devotion what the Bible is to ourselves. In die- cussions of moral philosophy, history, and genealogy, his authority was held decisive. And on all questions of literary taste the only orthodox canons of criticism were thoae drawn from, or sanctioned by, this —

"dead but sceptred sovereign, who still ruled Their spirits from hia urn."

It is not without reason that these poems have occupied 60 large a space in the thoughts and affections of mankind. It was not, indeed, without reason that the haughty soul of Alexander the Great yielded only to their irresistible powe nnd beauty, and that, over them alone the philosophic Plato

xu

THE LIFE OF HOMER.

lingered with a loving fondness, that while it conipromiaed the consistency of his political creed, did honour to the best sympathies of his heart. The unmistakeable beauties of this the King of Epic poets are easy to recognise, and, in their highest degree, they are peculiar to himself. His supremacy is well maintained by the perfect artlesauess of his narrative, in which he never seeks to show his powers, but rather allows them to develop themselves as they are called for by the exigencies of the scene. This artless and quiet style of Homer always rises into sublimity and energy as the interest deepens and the scenes become more impassioned — when his hexameters Quiver with emotion, and the forms of his heroes seem to dilate and to move before us — amidst the ringing of bronze and the shouts of battle. In scenes of pathos Homer has no superior, and but one equal, — the Bard of Avon. Jn the parting of Hector and Andromache, and the story of the Orphan, he pours forth the most exquisite pathos, and the most touching tenderness, proving that every pas- sion and every feeling of the human heart was within the reach of his master mind. Here, however, we must glance at, if we cannot expatiate upon, his concrete forms of speech — his energetic formulas — his emphatic and solemn repeti- tions, and especially his life-like pictures of living agents, which have touched the sympathies and commanded the interest of all ages and all countries, to an extent im- measurably beyond the influence of any other poet.

The Epic of Virgil, in its sweetest strains, is but the echo of the blind old bard, whose songs, like the songs of a bird, singing for very exuberance of joy, overflow with a gladness, an animation, and a freshness that cannot be found in the artificial and polished hexameters of the Mantuan Poet,

THE LIFE OP HOAIEB

siii

The Bible alone excepted, no book has been more severely or unfairly assailed by modern criticism than Homer. In addition to cavils already alluded to, it may be suflBcient here to mention that objections have been started to some portions of the Homeric Ballads, as representing what ia revolting to human nature or inconsistent with the dignity of the Epic Muse ; and on this ground we are asked to con• demnthe tears of the great Acliilles, the caprice of Agamem- non, the laundressing of queenly Nausicaa, the carpentry of King Ulysses. and Paris, the full inventory of Thersites' deformities and his coarse invectives, as well as all details of murder, outrage, and agony. If such are to be considered faults, in what liglit should we regard the greater faults and incongruities of Milton, and especially of Shakespeare, incomparably the greatest of all poets ? In this respect however, the great masters of poetry have been followed by the most amiable of painters — Eaphael — who did not shrink from painting on his imperishable canvas, cripples, beggars, and demoniacs, alongside of forms of transcendaiit graceful- ness and unearthly beauty. Salvator Eosa, too, we know, absolutely revelled in painting martyrdoms and savage soli- tudes infested by banditti.* No such idle conception, ol what was revolting to human nature, led the great sculptors to deem it unworthy their chisels to immortalise, in marble, the savage figure of a Satyr and the agonies of a Niobe, a Laocoon, or a Dying Gladiator.

* The smooth landscape ia not the work of a great artist. The excel- lency of such an artist is to imitate the texture of all surfaces which the world arotxnd him presents ; and if he paints, as an artist ought to paint— the bold, rough rock, the shaggy goat, the broken foreground, the horse in its natural rough state, with its mane and tail uncut, νϋ! be all faithfully rendered.— See Plvumr, on Painting,

XIV

THE LIFE OP HOMER.

Extract I.

" Great as the power of thought afterwards became among the Oreeks, their power of expreesion was still greater. In the former, othe» nations have built upon their foundations, and surpassed them. In the latter they still remain unrivalled. It is not too much to say that this flexible, emphatic, and transparent character of the language as an instrument of communication— its perfect aptitude for narrative and discussion, as well aa for stirring all the veins of human emotion, without ever forfeiting that character of simplicity which adapts it to all men and all times, may be traced mainly to the existence and the wide- spread influence of the Iliad and Odyssey. To us these compositions are interesting as beautiful poems, depicting life and manners, and unfolding certain types of character, with the utmost vivacity and art• lessness. To their original hearer, they poseeseed all these sources of attraction — together with others more powerful still — to which we are now strangers. Upon him they bore with the full weight and solemnity of history and religion combined, while the charm of the poetry was only secondary and instrumental. The poet was then the teaoher and preacher of the community, not simply the amuser of their leisure hours. They looked to him for revelations of the unknown past, and for expositions of the attributes and dispensations of the gods, just as they consulted the prophet for his privileged insight into the future."— ΰΐτοίβ** History of Greece, vol. ii. page 158.

Extract IL

"Here lie the pith and soul of history, which has faoc for its body. It does not appear to me reasonable to presume that Homer idealised hu narrative with anything like the license which was indulged in the Carlovingian romance— yet even that did not fail to retain, in many of the most essential particulars, a true historic character ; but conveys to us partly by fact, and partly through a vast parable, the inward life of a period pregnant with forces that were to operate powerfully upon our own characters and condition .... The immense mass of matter con- tained in the Iliad, beyond what the action of tho poem requires, and likewise in its nature properly historical, of itself supplies the strongest proof of the historic aims of the poet. Whether in the introduction of all this mattor, he followed α set and conscious purpose of his own mind,

THE LIFE OP HOMER.

XT

or whetlior he only fod the appetite of his hearere with what he found

agreeable to them, is little materinl to the question I have

particularly in view the grent ujultitnde of genoalogiea; their extra- ordinary consistency with each oiher, and with the other historical indications of the poems ; their extoneiou to a very large number, especially in the catalogue of secondary persons ; the Catalogue itself, that most rcmaikable production, as a whole ; the accuracy with which the names of the various races are handled and bestowed throughout the poems ; the particularity of the demand regularly made upon strangers for information concerning themselves, and especially the constant inquiry who were their parents, what was, for each person, as he appears, his relation to the past ?— and again the numerous narra- tives of prior occurrences with which the poems, and particularly the more historic « Iliad/ are so thickly studded. Now this appetite for commemoration on the part of those for whom Homer wrote, does not fix itself upon what is imaginary It tolerates fiction by way of accessory and embellishment ; but, in the main, it relies upon what it takes to be solid food But there is, I think, another argu-

ment to the same effect, of the highest degree of strength which the nature of the case admits. It is to be found in the fact that Homer haa not scrupled to make some sacrifices of poetical beiiuty and propriety to these historic aims. For. if any judicious critic were called upon to specify the chief poetical element of the ' Iliad,' would he not reply by pointing to the multitude of stories from the past, having no connec- tion OP. at best a very feeble one. with the war, which arc found in it I "—£$»ay on Homer, by lugnt Hom.urable W E. Gladstone, M.P.

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Την δ' αυτ€ προσ€(ΐ7Γ€ με^α? κορυθαίοΚοί "Εκτωρ' " 7] και (μοι rabe πάντα μ4\€ΐ, γύναί• άλλα μάλ' atVas οιδ^ομαι Τρώα? καΐ Τρωάδα? Μ κεσι πέπλου?, αϊ κ€ κακο9 Δ? νόσφιν άΚνσκάζω πολεμοιο, oi>b4 με θυμοί άνωγ^ν, imt μάθον ίμμίναι ecrOXos αίίΐ και πρώτοΐιτι μετά Τρώεσσι μάχεσβαι, αρννμ^νοζ ττατρο? τε μίγα kKcos rib' ίμον αυτοΰ, fZ yap ε)/ώ robe alba κατά φρένα καΐ κατά θυμόν ίσσίταί ημαρ, δτ* αν ττοτ* όΚώΚτ} "Ιλιο? iprf και Πρίαμο? και λαό? εϋμμελίω Πριάμοιο. αλλ' ου μοι Ύρωων τόσσον με'λει akyo^ (5πίσσω, οίτ' airrijs Έκάβηί οΰτ€ Πριάμοιο άνακτοί οϋτ€ κασιγνητων, οΐ κΐν ττολε'ε? τε και 4σθ\ο\ iv κονί-ρσι ττ4σοΐ€ν ΰπ' άνδράσι bυσμev4(σσιv. δσσον σεΰ, δτΐ κ4ν τΐί Άχαιων χαλκοχιτώνων δοκρυο'εσσαν άγηται, ΙΚ^ύθ^ρον ημαρ άττούρας. και Kiv iv "Apyei 4οΰσα irpos &\ληί Ιστον ύφαίνοι?, και Kiv ϋbωp φορέοΐί Μεσσηϊδο? η 'Τττερείί;? ΤΓο'λλ' άίκαζομίνη, κρατερή δ' ΐττικΐίσΐτ* ανάγκη, και ττοτ4 τι? είπτ/σιν ίδών κατά baKpv χ4ουσαν' '"Εκτοροί ή'δε γννη, δ? άριστειίεσκε μάχεσβαι Τρώων Ιπποδάμων, δτε "ΊλιΟΓ άμφΐμάχοντο* ώ? ποτ^ τι? ερε'ει• σοι δ' αυ v4ov Ισσεται άλ^ο» χτ^τεϊ τοιοΰδ' avbpos άμύνζίν bov\iov ■ήμαρ. αΚλα μ€ τζθνηωτα χυτή κατά γαία καλυπτοι πριν •/ in crijs re βοήί σον Θ* ίλκηθμοιο τη}Θ4σθαι"

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ΙΛΙΑΔ02 β.

18

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*Ωϊ (Ιττων ου τιαώος όρίζατο </>αιδιμο9 "Εκτοορ, &\/r δ' 6 πάϊ5 ττρόί κόλτΐον Ιϋζώνοίο τιθηνηί (κΚίνθη Ιάχων, Trarpos φί\ου όψιν άτνχθίίς, ταρβησαί χαΚκόν τ€ Ibk Κόφον ίτττηοχαίτην, beivov απ' ακρότατης κόρνθος νίύοντα νόησαν. 470

ίκ δ' ίγ4Κασ<Γ€, πατήρ Τ( φίΚος και ττότνια μήτηρ, αντίκ* από κράτος κόρυθ' €Ϊ\€Το φαίδιμος "Εκτωρ, καΐ την μίν κατέβηκαν «π» χθονί τταμφανόωσαν' αυταρ 5 γ' ον φίλον νΐον i-πύ Kvat πήλε re \€paCv, ίΐιτ€ν ίΐΐ€υξάμ(νοί Αύ τ' αΚΚοισίν τί θίοΐσιν 4Γβ

" Ζίΰ άλλοι τ€ 0eoi, bore δη καΐ Tovbe γ(ν(σθαι παιδ' ίμόν, ω? και €γώ irep, αρητρ^-ηία Ύρώίσσιν, ώδί βίην τ' αγαθόν, και ' Ιλίου ιφι άνάσσαν. και ποΓί TIS eiinjat ' -πατρός δ' δ γ€ πολλοί άμ€ίνων\ ίκ τΐο\€μον ανιόντα' φίροί δ' ίναρα βροτΟ€ντα 480

KTCtvas δήϊον άνδρα, χαρύη δε φρίνα μητηρ," Ω,ς (Ιττων ά\όχοίθ φίΚης (ν χίρσίν 4θηκίν τταίδ' eoV ή δ' αρα μιν κηώδζϊ δέξατο κόΚτίω δακρνόβν γξλάσασα. πο'σι? δ' (λ4ησ€ vorjaai^ χαρί Τί μιν κατ(ρ(ξ(ν, Ιπο5 τ' 4φατ', Ικ τ' ονόμαζαν 485 " δαιμονίη, μη μο( τι Κίην ακαχίζίο θνμω' ου γάρ τίί μ' υπέρ αισαν άνηρ "Αϊδι ττροϊάφΗ' μοΐραν δ' ου τινά φημι "Πζφνγμίνον ίμμ^ναι ανδρών» ου κακόν, ονδ\ μ\ν (σθΚόν, ^ττην τα πρώτα γ^νηται' αλλ' fts οίκον Ιοΰσα τα σ* αυτής tpya κόμιζε, 490

Ιστόν 7* ηλακάτην τ€, κα\ άμφιττόλοισι KfXfve 4ργον ^ττοίχίσθαι. τΐόλίμος δ' ανδρίσσι μίλησζΐ ττασιν, ίμοί δέ μάλιστα, τοί Ίλιω iyyeyaaaiv."

"Ω,ς άρα φωνήσας κορυθ* €Ϊλ€το φα^ιμος "Εκτωρ ϊτητονριν αλοχος δέ φίΚη οΐκόνδε βίβηκίΐ 495

Ιντροτΐαλιζομίνη, θαλ.€ρον κατά δάκρυ χίουσα, άιψα δ' Ιπ€ ιβ' ικανέ δόμους (υναΐίτάοντας Εκτορος άνδροφόνοιο, κιχήσατο δ' ίνδοθι πολλάί άμφιττόΚους, τρσιν δε γόυν ττάσησιν €νωρσ€ν» αί μ€ν Ιτι ^ωόζ^ γόον "Εκτορα ώ ivi οϊκω' $09

ου γάρ μιν €τ^ άφαντο ΰτΐότροττον εκ πολε'μοιο ΐζ€σθαι, ττροφυγόντα μ4νος και χείρας * Αχαιών»

Ovbk ΐΐάρις υήΟυΐ'ίν iv νψηλοΐσι δόμοισιν, άλλ' δ γ', iiTfl κατίδυ κλυτά τενχεα, ποικίλα χαλκφ.

14

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σίΐίαΓ* intiT* άνα Αστυ, ττοσι κραιττνοϊσί πβποιΰώ*• 505

ωϊ δ' 07 « Tts ararus ϊπποϊ, άκο7Γ7)ιΓαί €π•ΐ φάτι^-η,

6(σμυν άπορμήξα^ Θ(ίτι ττβδίοιο κρυαίνων,

ίΐωθωί Κούίσϋαι «lippcius ττοταμοίο,

κυδιόωι/' ύψοΰ bk κάρη ίχ(ΐ, άμφΐ bk χαίται

ωμο($ άίσσοΓΓαι• ό δ' άγ\αΐΐ)φι. τκποιϋώί, 610

ρίμφα ί yoCra φ^ρίΐ /χ€τά r' ήθία καΧ νομον ίτττιων

Δί vios Πριάμοιο Πάρι? κατά Ilepya^ou ακρηί,

τ(ύχ(σι τιαμφαίνων, ώστ' ηΚίκτωρ, €β(βήκ(ΐ

καγ\α\όων, ταχ^α be -noba φΐρυν. α'ιψα δ' Κττξίτα

Έκτυρα διον ίτ(τμ(ν άbt\φ(όι>, eCr' &ρ' «μίλλίν 514

στρέφίσθ' CK χώρη^, υθι p οάρίζί γυναίκί.

τον irpOTfpos irpoaedTTcv A\iξavbpoί θίοίώη^.

" ηΘ(ΐ', ή μά\α δη σί και ΐσσύμίνον κατίρνκω

δηθύνων, oib' ϊ\\θον ίναίσιμυν, m fKeKcvts."

Τον b' άτιαμ^ιβόμζνοί ττροσίφη κορυθαίυΚος "Εκτωρ• 620 *' δαμόρί*, ουκ 6,ν τίί τοι avi\p, 6s άναίσιμοί (ϊη, ifryov άτίμησ€ί€ μάχης, €7rct άλκιμο? €σσι. t λλά iKcap μίθίίΐς τ€ και ουκ ciJeAets' το δ' ^μόί^ κήρ ι χρυται kv θυμ^, 6Θ' ΰπ^ρ aidtv αίσχζ' άκουα) 7 pbs Ύρώων, οί ίχουσι ττοΚυν ττόνον ίΐνίκα σ€Ϊο, 525

( λλ' ϊομ€ν' τα b' οττίσθίν άρ^σσόμΐθ', αΐ κ4 -ηοθί Zcifi ( ώτι ίττονρανίοισι θίοΐί αΐ€ΐγ(ν4ττ{σιν > ρητηρα στήσασθαι kkivdepov Ιν μΐγάροίσα^ tK Ύρο(η5 iKaffoPTas ίϋκνήμώαί *A\otoiis.'

>e

NOTES TO BOOK VI.

Abouicent. — While the Greeks are conquering, Helenue adv'see Hector to order a public supplication to Athene in the Pergamiis, to remo\'e Diomed irom the battle. While Hector is thus engaged in the city, Glaucus and Diomed come to the knowledge of the hospitality that had taken place between their ancestors, and in friend- ship thev exchange arms. Hector executes the orders of Helenns, per- suades Paris to return to the battle-field, and takes a tender leave of his wife Andromache and his son Astyanax.

1 — 00. οίώθη : SuhotiaHt, ίμονώΟη rr/S τών Qtav συμμαχία^• — f'vffo «αϊ ίνθ' Ιθυσι μάχη =: " the tight directed itself to this side and to that."

*

ΤΗΒ ILIAD, β.

l/i

X,9\Hiipta βοΰρα r=i " ipear-8h»ftH fitted with bronae" — χΛ\κοβάρ*ΐ in the Odymoy.—Edveoio : so culled by the god* ; called Soamauder by men : see II. xx. 73,

wpuToj (irii* = •' wae the first to break thruugh " = primue juec rupit, Lat. or/-

faut ... ί&ηκίν = "gave the light of (joy or hope) : " bo Virgil, 0 lux Dardaniio," and Horace, "Luctm roddo tu», dux bone, patriw ; " » common metaphor in all poetry.

Tif . . . . ίβαλ• .... φά\οι>, not = " he etiiick that helmet-plate," but Β " he struck or hit that man on hia helmet-plate ; " the accu- sative of nearer definition : this is seen more clearly in the phrase (ver. 11), rbv Si σκότοα ίσσ* κάλν^^ν,

φίλοι S' ^μ Μρύηοισι = ««ho was the friend of mankind:" notice the extension of the term, employed by Homer.

wdvrai yhp <pi\UaKtv = " for it vyas his custom to befriend (or entertain) all."

άλλίί ol o6 τίϊ, κ.τ.λ., " ay, but not a single one of those (he enter• tamed) availed him then to ward oflF the deadly ruia." Somewhat similar ie the lament of the dying Marmion (see Scott),

" Is there none.

Of all my halls have nw»t, Page, squire, or groom, one cup to bring Of blessed water from the spring,

To slake my dying thirst."— Canio vi.

KoJ μ\ν ΐτπίΚυσΐ μ4νοί, κ.τ.Κ : a zeugma = " and of those he unnerved (m death) the limbs below, and their battle, riigo." iy^paro Sovpl φαΐΐνψ = "sent to nether gloom with his flashing

IcluCOi

&τυζομ4νω vtSloto = "flying bewildered over the plain;" (gen. of the space, traversed by the motion.)

άξαι-τ' iv νρώτψ (ιυμφ = " having broken (the chariot) at the top of the pole.' Scholiast explains by &κρφ.

"Μρηστοί .... iwicctro. Compare the mythical Adrastue suppli- oatmg MenelauB, with the historical Adraatus supplicatini Crcesus (Herod, bk. i.) " °

iv άφι/iwD ηατρ6$ = '• in the (house) of my wealthy sire ; " supply οίκψ.

πολύκμητόί rt σ/δτιροϊ == " iron wrought with much difficultv • " hence we hear bo little of it in Homer ; it was the last metal the Greeks learned to work.

50—100. τάχ ίμ(\\9 = " was just on the point of."

καταζ*μίν = Lat. dtducendum.

σοϊ άριστα π«ΐΓοίτ>τάί = " you were most excellently treated : " ironi- cal allusion to the abduction of Helen.

aiirhv 6Κ(θρσν xdpas ff ί,μ(τ4ρα$ (Hendiadys) = « the ruin that shall descend from our hands." αΐπ. 6\(θ. = Lat. pemicies prceceps.

μηδ Siniya .... μηί' gj = «not even (the child) which, whatever It may be ... . not even that one (shall escape.") μηζ4 in both cases emphatic not connective: is is here, according to Homeric usaee. a demonatrattve, especially .ifter καΐ and yap.

The rebuke of Agamemnon has been often compared with SamuelV reproof of Saul for sparing Agag ; 1 Samuel, xv.

C

16

NOTES ON

άκήδ(στο( = prose form άκήδίυτο•, — " without sepulchral ritee." oiffi«tt TapuTtav = "having talked him over to what was fated." 4vipwv 4πίβα\Κόμΐνο$ = " giving himself to the spoils " (middle). (κηΚοι ^ Lat, secun.

vsKpobs rfeviiSn-as, a pleonasm, common in poetry. σιιλήσ€Τ€ : here governs a double accusative, as a verb of stripping.— Iίuμ^ .... έη/κ4κ\ιται = vobis incumbit. Compare,

" The lives of all your loving complices Lean on your health."

Shakspeare's King Hen. IV, Part ii.

^ei^yovTOj : this refeifl to \a6v (in ver. 80).

iiTfiyei = Lat. instat.

XapifarvTos ήδί μί'γίστοϊ : see on ηδβ, II. iii. 248.

θΐΊναι : inf. for imperative βίτ«. Compare the ritual and procession of the ΐΓίττλοϊ with those of the Panathensea at Athens.

ijm, ήκ^στοι = " yearlings " (from twy, «the year") "ungoaded," Scholiast explains by άκίντήτουι.

αί κ' iKffiap = " if haply she may take instant pity on " (and would that she may) : see on II. i. 66 ; so below (v. 96) of «w .... απόσχτ}.

100—150. τη\(κλΐΐτοΙ, not " summoned afar," but " far-famed." — Btiu -■ βώ, aor. 2 of βαίνω.

huariii/iav it re παΤδ(ϊ, κ.τ.λ. =

" Unhappy are the sires whose sons my force encounter."

Newmwn.

ουκ hv μαχοΐμην = "I could not possibly fight with " Hu always strengthens the negative sentence.

οΰδί yap ovSi = " no — for not even."

Αιωνύσοιο riOriPas = " the nurses of Bacchus," generally called Bacchse. Compai-e Horace, " Thracis et exitium Lycurgi."

θύσθ\α = *' the instruments of sacrifice " (from βι5α>).

(χ( τρόμοχ: see on Iliad iii. 342.

βίΐνόμίναι βονιτλη-γι. Compare Shamgar, the Judge of Israel, who •lew six hundred men with an ox-goad ; see Judges iii. 31.

ifol (ifia ζώοντ(5. Horace, "Deos securum agere aevum," and Milton. Ftu-adise Lost, ii. 553,

" To that new world of light and bliss, among The gods, who live at ease."

ot Ιφούρηί κΰψπ}>ν ίΒουσιν = " fruges consumere nati," Horace.

6\4θρου ηύραβ'. Compare " Mors ultima linea rerum." Horace, with whom this book of Homer was evidently a favourite, has drawn more upon it than upon any-other.— ο?η Ttfp φΐ/λλαν T-eye^. Compare Horace (Are Poetica),

" Ut aylvsB foliis pronos mutantur in annos. Prima cadunt; ita verborun vetus interit setae, Et juvenum ritu florent modo nata vigentque."

Compare also Aristoph. Aves, 685, and Ecclesiasticus (xiv. 18), 'Άβ of the gretu leaves on a thick tree, some fall, and some grow: »c

THE ILIAD. 6.

17

is the gece ration of flesh and blood, one cometh to an end and another ia born."

τά μkf . . . . άλλα δί = Attic form τα μ^ν . . . . τά S4.

150—200. Έφύρη : here, the old name of Corinth. In Iliad ii. 6.'9 is another Ephyra, • KfpiiffTos = " most cunning : " so Horace, " Vafer ille Sisyphua."

Σ/σίΛ^οί ΑίοΜδηί : properly, "the cunning wriggler" (σόφο! and alo\os).

BtKKepo<pov7riv, Hie original name was Hipponous : he took thia name, Βίλλήροι» (povfvs, after the murder of his brother Bellerua, ic con- Bequence of which he fled to the Court of Proatus, for purificatii n. The story of Antaea's frantic passion for him presents a marked re- semblance to that of Potiphar's wife for the patriarch Joseph, Grote considers him the mythic sou of Poseidon, the family god of the Solids: see vol. i. p. 167.

ίνακτα χόλ,ο! \άβ(ν : see on II. iii. 342.

olov ϋκουσΐ = οτι roiodrov, pro lis quce : Jelf 'a Greek Grammar.

σφάσσατο ykp κ.τ.λ. = "ay, for he had scruples about that in hia conscience."

σήματα. Kvypd, generally supposed to be ptcittre-writing, like the Mexican, and not alphabetical characters s see Introduction to Iliad.

■κίνακί ιττυκτφ : see Herod, vii. 239.

αμύμονι Ίτομιη} = "blameless escort ;" as oppaMd to the forbidden arts of sorcery, magic, &c. : so Iliad ix. 118.

Tt^fi/oj = 1. a piece of ground set apart for the chief, and so a king's demesm ; 2. land consecrated to a god, or attached to a temple {τίμίνυ$, "templum " = Lat. cujer sanctus) : here however in its ^rs< senee.

αρούρη$ = " ploughed laud,'' from αρόω, as arvum from aro in Latin.

Χίμαιραν, properly a "she-goat:" this mythic conception ia supposed to have arisen from the volcanic character of the country, in which these events took place. In the antiquities recently discovered in Lycia, we find figures of the Chimsera repreaented after the ahape of an animal atill found in that country. The old inhabitanta of Lycia were '' the Solymi," remains of whoae language have been lately diacovered : it ia a mixture of Greek and Semitic : it ia remarkable that Hellenic and Peraian intercourse had little or no influence upon the political and social character of the Solymi.

200 — 300. hv θνμίιν KareScov, So Spenser (Faerie Queene) has, " He could not rest — but did his etout heaH eat ; " and Scott has,

" Bitterer was the grief devoured alone."

rh 'ΑλήΓοί/. This plain was situated between the rivers Pyramtxs and Sinarus in Cilicia. "The plam of the wanderer," liccrally from ί\η. Compare Milton, Par. Lost, viL 17, ' '

" Lest from thia flying steed unreined. As once Bellerophon, though from a lower clime, Dismounted, on the Aleian field I fall, Erroneous there to wander and forlam.

Ά(ηβμι$ ίκτα: tudden deaths, especially of women and girls, are attnbutod to the arrows of Artemis: see II. vL 428 and xix. fttt.

I

18

NOTES ON

MnW y^vo" irartpuv αϊσχυν4μ(ν. So Thucydides, bk. i. χ/)<> rofti rtwTipoi/i .... ΐΓίφασβαί μ'ή αΙσχύνΜ rcks ■προσηκούσαχ iperds, aud Virgil, iEn. iii. 342, -r »

" .... in antiquam virtutem animosque viriles Et pater .^neaa, et avunculus excitat Hector."

Olvfhs yhp κ.τ.λ. CEneus, father of Tydeus, father of Diomed. Me- leager (II. ii. 642) was successor to his father CEneus in ifctolia; his brother TydeueniarriedadaughterofAdraatus,kingofArgos(andSicyon, II. ii. 572), son of Talaus (II. ii. 666). Hence Diomed succeeded to the principality of Argos, though his father was an JEtolian, Iliad iv. 399.

Τυδί'α δ' ου μίμνημαι. Verbs of " remembering " generally govern the genitive case; but in the sense of "commemorating," "keeping iu mind," they govern the accusative.

X€ipas . . . Χαβίτην, not = " they seized by the hand," but " they caught hold of, or held each other's hands : " the former sense would require a genitive case. ■K ίστώσαντο (middle) = " pledged their troths to each other." φ-ηη/όν = " the oak ; " not the Ltitm fagus, our " beech." efov = (Ofov, " they were running ; " but θΐόν = " god." αίθούσρσι = " corridora," open in front, which led from the court, ουλή. into the ιτρό^ρομο$, fronting the sun ; henco their name. μνηστ^! αΚάχοισι, " the won and wedded partners of their bed." Tfyfoi θάΚαμοι = " chambers near the roof," not " roofed." iv r &pa ol φϋ, κ.τ.λ., " and straightway she clung to his hands, and she thought the word and gave it utterance." In the lines following this, as before, there is no name mentioned, and therefore nothing to warrant the usual translation of ονόμαζα. On other occasions, when this affectionate formula is used, it begins with χιφΐ δί μιν κατ4ρφ : iu both cases we have the union of the hands, the heart, and the tongue in this expression of fondness.

aXKf ιτίρσθα="α haply thou wouldst drink it" (and would that thou mayest) : see on II. i. 66.

iwSpl Si κίκμνωτι. Hence Horace says, "Laudibus arguitur vioi vinosua Homerus." Compare Burns on Scotch drinJ^ " Thou clears the head o' doited Lear; Thou cheers the heart o' drooping Care ; Thou strings the nerves of Labour sair,

At's weary toil; Thou even brightens dark despair Wi* gloomy smile." Χ«ρσ1 8" iplnroifft : see Exodus xxx. 20. cvSt wjj 4στΙ. Compare Virgil, ^n. ii. 719,

" Me hello e tanto digressum et caede recenti Attrectare nefas, donee me fiumiue vivo Abluero."

Purification after touching the dead body was enjoined by the Μοβύβ

law : see Numb. xix. 11 — 13. άλλα ίτί» , , , ίρχ(ο, " but go, I pray thee go ; " see on II. i. 82. &s Kf, i.e. «i toCto Suvarhy rfrj =" would that it were possible." fi Ktivoy yt ϊδοίμι, κ.τ.λ. =" ay, if I could see that one (yonder»

ΤΗΚ ILIAD, θ.

19

I rott

}, aud

I. Me- Ei; his icyon, bo the 399. •n the Dg iu

'they vould

ourt,

I, and

I wing ig to when e: iu ngue

that

▼iai

osue

cf<pr»

descended to (the realma) of Hades, I would (then) haply, think ttat my soul had quite forgotten its joyless woe."

Σιίονίηθΐν, from Sid on, now Said. See Herodotus (ii. 117) for this voyage of Paris. In early times the Phoeuicians were celebrated for merchandise of every description, and their country was the recognised emporium of the East. See Judges xviii. 7, and Herod, i. 1.

300 — 3.')0. (ύχομίν-η δ' ijparo = "she prayed aloud." ΐΰχομίντι is here m its first sense.

aiov Si) tyxos — '* now, even now, shiver the lance : " see on Iliad i. 1 8. Notice also the long succession of aorists which follow to denote the rapidity of action.

oi/iveue = Lat. reiiwii, "refused," expressed by the act of throwing the head back, as κατανΐύω = Lat. annuere, " to nod assent to."

βφ•(]Κΐΐ (pluperfect) = " had gone (mean time)."

Ύροίτ] = "the Troad," and not the city " Troy," which Homer gene- rally designates "Ilios," or Ilioa.

ΐΓίρι«λυτά tpya, either " the glorious exploits " of the Trojan war, which were being wrought in embroidery (see Iliad iii. 126 — 128), or probably, " the offices of dignity " appointed the ίμφίττοΚοι (the free attendants) as opposed to the menial ofi&cesof the bondswomen.

irrdXe/iios . . . &μ<ριξ45τι^ : so in Latin, certamen ardere, bellum flagrare.

&va = " rouse thee " (verb) ; but iva = " up " (preposition).

θ(ρηται = " be warmed." i.e. burned ; a keen touch of irony.

ίθ(\ον 8' ίχίϊ ιτροτραπίσθαι = " as I was resolved upon surrendering myself up to anguish : " before ίθ(\ον supply Saoy, the correlative of τόσσον preceding, and see further on Hi d iii. 342.

νίκη δ' 4παμ(ίβ(Τί%ι &vSpai = " victory changes her men : " hence Ares ih called in a foi-mer passage άλλοπρίίσαλλοϊ. Compare Virgil, ^n.ii. 367, " Quondam etiam victis redit in praecordia virtus, Victoresque cadunt."

vdpos rdSe ipya ytviaOai = irplv ^ τάδβ, κ.τ.λ.

850 — 400. τούτφ δ' oCt' 6.ρ . . , οϋτ' &ρ, κ.τ.Κ, ^ "but my present spouse h&a just neither . . . nor . . ." — Jelf.

τψ Kttl μιν, κ.τ.λ. = " therefore I doubt not but that he will even reap the fruits of this."

δίφρψ = " a double chair " (to hold two) : see Iliad iii. 425.

iravos (ppevas ίμφιβ^βηκΐν = " toil hath encompassed thy mind." fpfvos is the accusative of closer definition : see also on Iliad iii. 342.

πίλώμ«β' αοίδιμοι = " continue to be sung." Compare Horace, " infelix totd cantabitur urbe."

αυρομίνη — " dissolved in tears."

τρ γάρ ?/ΐχίλλί = TOUT»? τρ ό9ψ Ιμ{λλ«.

ΙΓΟλύδοΐρον = 1Γθ\ύ(δΐΌί.

'Hfrluvos . . . 'Heriaiv. By anacolouthon, though the grammatical construction requires a genitive, the nominative is so placed as to express the subject of a new thought suggested by the former subetan• tive, the verb fhat being supplied by the mind.

uirh ηκάκφ ί\•η4σσγ = " beneath Placus, abounding in woods." Thebe. mentioned in the next line, must not be confounded with Boeotian Thebes, which Diomed and his confederacy destroyed.

400 — 4δ0. iAi'vicioi' αστίρι κακφ = " like s. fair Kt,n,r," Compare

" The e<ar-light smile of children."

20

NOTES ON

See Shelley — a poet, on whom

" there shone All stars of Heaven, except the guiding one.**

Άστυάνακτα. Pheronymoua name ; names derived from a characterietin of the parent were called φ^ρώνυμα, Compare Eurysaces, the son of Ajax ; Telemachus and Ptoliporthus, sons of Ulysses ; Nicostratus, son i>f Menelaus. So with the Jews.

if t' &pa oi φΰ : see on Iliad vi. 253.

ούδ' iAealpfis = " and thou pitiest not." oi94 is here absolute.

(μ' άμμορον = " roe, even me, all desolate," without a share or a lot in anything (observe the emphatic form of the pronoun). It is difficult to realise all the pathos tlmt a Greek would have felt in this single epithet. Moore baa well expressed it in those touching lines,

" Oh, grief, beyond all other griefs, when fate First leaves the young heart lone and desolate In the wide world, without that only tie For which it loved to live, or feared to die."

Serai f'iKvupii : compare Burns (First Epistle to Davie),-»

** It warms me, it charms me, To mention but her name : It heats me, it beets me, And set's me a' on flame."

Also compare ■ίγϋ1ι this touching address of Andromache, the appeal made by Tecmesta to Ajax, in Sophocles.

βουσΗ- ?7Γ* ei\tr.^f(rai = " with a view to the trailing-footed oxen."— arap σύ : observb thiit here ατάρ stands first in the sentence, as it refe.s e-iiphaticallv to what went before. She bad lost all that had been aeartjst and dearest toher, — father, mother, brothera, and city, — but, voiwithitanding all this, she sees in her Hector all, — nay more than all rhe had lost. Hector answers this assurance of the tenderest devotion in a strain worthy of both, when, in his prophetic soul, he waighs the downfall of Troy, and the butchery of his family, as affecting him bui little compared with the prospect of his wife's wrongs and degradation in bondage.

μ)) θΐίη$ ="be not after making," i.e. " make not now."

Tap' ipivfoy = "near the wild fig-tree." Choiseul-Qouflaer reports that near Bounai-bachi, a village supposed to be built on the site of ancient Troy, there is a place called Indjuli-dag, i.e., the mountain of the fig• trtes. See, however. Dint. Qeog. (Dr. W, Smith's.)

4•ζΙίρομον ίιτΛίτο = " ia wont to be assailable."

rph yapr^ y' (see on Iliad i. 60), "ay, for thrice in that spot"

ίλκίσιπίπΚουί : ladies of high rank wore the peplos trailing on the ground : the dreaa when worn so long as to drag was called σύρμα {" a eweeper").

ίσσίτοί ΙΙμαρ : see on Iliad ii. 482.

450—500. oth' αντηί Έκάβη5: see on II. i. 143.

0Ϊ Kfv . . . ■κίσοκν = qui forte occubitwi sint,

SoKpuataaav AyriTat = " he&ra thee (to his home) all tears:" observe the force of the middle.

THE ILIAD, β.

21

Ιλΐύθίρον ίμαρ = "*Ηβ day of freedom:" ίούΚιον ΙΙμαρ = ** tht day of bondage : " see on II. ii. 482.

iv 'tipytt, " the Pelaegian Argos in Thessaly," as the springs " Messeis " and " Hyperia" are in Ί hessaly.

■wphi i\\7is = " at the bidding of another." — Θα\ΐρ6$ (irapoutolrns) = •' Ml of life and bloom," Moore.

vSoip <popioit : observe the sad degradation implied in ihe frequentative verb here : the "drawer of water" was one of tlio lowest menials among the Greeks. The occasional drawing of water waa not degrading.

•KOW' &(καζομ4νη = Latin, multa reluctans.

iviyKii = "slavery," so also in Eurip. Hecuba, and Sophocles, Ajax.

καΐ ηοτ4 τ« ίίπ^σιν = " it may be at times (expected), that one would say."

ts ίριστίύσκ^ μάχΐσθαι = " who used to take the lead in fight." We frequently find in Homer the infinitive of the verb used for a substan- tive ; in Attic Greek the substantival form waa given to this infinitive by the addition of the article. The construction is sometimes met with in English poetry,— as in Scott's Marnaion, «When first we practise to deceive."

χήτ« = artp^aet, Scholiaist.

TOioCi* avSphs αμύναν = " capable of repelling."

Sore δή = " now, even now, grant •. " see ou II. i. 18.

Τρώίσσι (local dative) = "among the Trojans : " prose form iv Τρά. See II. 1. 247. - r f

«•ατρδϊ δ^ 'oytiro\\hv Ιίμαννν: compare Virgil, ^n. xii. 435; Soph. Ajax, 550, Λ πο7, ytvoio narphs ίϋτυχίστΐρο!, κ.τ.λ., and Bums' Lament of Mary, Queen of Scots,

So Campbell,

** My son I my son ! may kinder stars Upon thy fortune shine ; And may those pleasures gild thy reign, That ne'er wad blink ou mine."

" Bright as his manly sire the son shall be, In form and soul ; but, ah, more blest than he.** 9Μρυ&ΐργ(\άσασα=" smiling through her tears." The neuter accu• sative of the adjective is here used as an adveib; this construction ie common with verbs denoting /e-iingp or the expression of feeling. χ(φί τί μ^y Karfpt^ev, κ.τ.Κ. : see II. i. 361. οϋ ΚΛκ6ν, ovU μίν ίαθκάν, κ.τ.Κ Compare Horace, Od. i. 4, 13,

** Pallida more sequo pulsat pede pauperum tabemas Eeguuique turres."

ίιηροηαλιζομίνη (middle and frequentative;, "often lingerine. and' turnmg herself round," to look at the husband she was never to . ^ain: the iv m 4ντροτα\ιζομ(νη expremes the notion of "liugerinK" With this touching scene compare Byron's description of tue iutt departure of the Corsair from Medora,

<• And then at length her tears in freedom gM^hedi

^^, bright, and fast, unknown to her they folL • « » • β

22

NOTES ON THE ILIAD. «.

The tender blue of that large loving eje

Grew frozen with its gaze on vacancy,

Till — oh, how far/ — it caught a glimpse of him'*

500—527. ϊφαντο, "they thought:" see on II. i. 301. • "^δέ Π(ίρίί: see Virg. Geo. iii. 76, aeq.-, Miltou'e Paradise Lo«t IT. 8o7.

ii δ* 8τί Tiy στατί»5 ίπποι : compare Virg. ^n. xi. 492, and Shak• tpeare'e Henry IV. act i. 1, 9,

" Contention, like α horso, Full of high feeding, madly hath broke loose, And bears down all before him."

Compare also Ennius' Imitation in Macrobius.

λούίσβοι . . . ΊτοταμοΊο. The Venetian Scholiast understands an Blhpsis of ι/δατί. Jelf would make this the material genitive, [hoinv to wash all the body, and so, in middle, to wash oneself, i.e. to bathe,' aa here : vlitreiv, " to wash part of the body only," generally hand», and eometimea the feet : nxivuv, "to wash thmgi," not pereons, generally

wi^v Ιπιτω» = " the pasture of mares : " so Virgil, who imitates the wbole passage,

" Aut ille impaetus armentaque tendit equarum." ^ΐΚίκτωρ = " the beaming sun." «2t' dp' f/ueAAe = " when just on the point of." Mpaedev, not = " in place of you," but, "on your account." κρητηρα στ•ήσασθαι iMiOepov = " now to set up our bowl of freedom ' observe the force of the aoriat and the middle. 4k ΤροΙη! : Ββθ on Iliad ii. 237

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