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THE

ILIAD OF HOMER

BOOKS I VI

WITH AN INTRODUCTION AND NOTES

BY

ROBERT P. KEEP

Boston

JOHN ALLYN, PUBLISHER1883

Copyright, 18S3,

By John Allyn.

University Press:

John Wilson and Son, Cambridge.

PREFACE.

The germ, but only the germ, of the present volume, isArthur Sidgwick's Iliad, Books I. and II. (Rivingtons : London,

1877). In 1879, at the request of Mr. John Allyn, and byarrangement with Mr. Sidgwick, the present editor enlarged

Mr. Sidgwick's little book by the addition of Book III., textand notes, and made such changes in the notes of the Englisheditor as seemed for the advantage of scholars in Americanschools. The book which thus resulted was received withfavor from the first, and has met with an increasing demand.Several prominent teachers, in secondary schools and in col-leges, have expressed the wish that it might be still furtherenlarged so as to include the first six books of the Iliad, andthe editor has not felt at liberty to disregard a request whichwas in accordance with his own views of what is desirable.A school edition of Homer should contain, in addition to thebare amount sufficient to satisfy the ordinary requisition for

admission to college, abundant matter for practice in rapidreading and in reading at sight. It is also for the advantageof teachers to be able to vary somewhat the work of theirclasses, from year to year. The editor has deemed it bestto assume the entire responsibility for the present volume,

and he has accordingly wholly rewritten the Notes uponBooks I. and II.

A few words seem called for in reference to the somewhatvaried introductory matter which precedes the text.

IV PREFACE.

The object of the Introduction is to open the way to thestudy of Homer, by giving the student some idea of EpicPoetry, in general, and information upon the origin, history,

and transmission of the Homeric poems, in particular. Asufficient account of Homeric criticism is also given to ena-ble the reader to enter intelligently into the discussion which

is wont to arise among educated men when the name Ho-mer is mentioned.

The Essay on Scanning has been inserted on account ofthe difficulty which the writer has observed that his own

pupils have always found in learning to scan well. Thedactylic hexameter is not usually treated in our Greek gram-

mars as a distinct subject by itself, but boys are ordinarilyleft to depend entirely upon the metrical knowledge whichthey have acquired in connection with their study of Vergil.

The Homeric hexameter can never be well understood bythis process, and it is believed that no teacher of experi-

ence will refuse his attention to the attempt here made topresent the subject of scanning by itself, in a simple, un-technical way.

The Sketch of the Peculiarities of the Homeric Dialect wasoriginally prepared for the American edition of Autenrieth'sHomeric Dictionary, and it is inserted here by the kind per-mission of Messrs. Harper & Brothers. It is translated andcondensed from the first Appendix of Koch's Griechische Gram-matik. The project was seriously considered of expandingthis sketch so that it should include a summary of the pecu-liarities of Homeric Syntax, and particularly of the uses ofthe Moods in Homer, but was at length abandoned on accountof the belief that these peculiarities are best explained andeasiest understood as they are met with in their connection.

This is especially the case with the Moods, which show an elas-ticity of usage quite different from that of the Attic dialect,

and not easily exhibited in a brief outline.

PREFACE. V

In the judgment of the editor, the thorough acquisition by thepupil of all the introductory matter just referred to Intro-

duction, Essay on Scanning, Sketch of Dialect (excepting

perhaps the latter sections) should be insisted upon. TheTable of Contents furnishes a full summary of this matter, and

may suggest questions for examination upon it.The text is substantially that of La Roche, 1877. The only

important variations are that the forms of the article 6, 17, 01,

at, are printed as in prose, (instead of o, 77, 01, at,) and that the

dat. sing, tw, ' therefore,' is printed with a subscript 1 (instead of

toi) . A fuller punctuation than that of La Roche, and a morefrequent use of the diaeresis, will also be noticed, especially

'in Books I. and II., where Sidgwick's edition is followed.The notes have been made quite full, but they are designed

not so much to aid in translation as to supply that collateralinformation which is so much needed in the study of Homer.A constant attempt will be noticed, by very frequent cross-references, to make Homer his own interpreter. The sourcesfrom which the editor has chiefly drawn in the preparation of

the notes will be seen by reference to the List on p. 157.It is emphatically true of this edition that it is an outgrowth

of the editor's experience of the needs of the class-room.

What would be the direction of his aim and effort in the teach-ing of Homer will sufficiently appear as the notes are read, but

a suggestion or two may not be out of place. Respecting the

style of translation, the rule he would follow is contained in two

words : " Be Homeric." Imitate in general, with scrupulous

care, the order of words and the constructions of the original

as far as our language permits. The cases are few in whichit is impossible to translate a passage with literal fidelity and,

at the same time, into idiomatic English. The ideal methodin teaching is one which combines variety with thoroughness,

and emphasizes different matters at successive stages in the

pupil's progress. At the outset, while the lessons are very

VI PREFACE.

short (the editor usually devotes fifteen lessons to the first

150 lines of the Iliad), it is of course indispensable to go over,

with minutest care, translation, scanning, comparison of every

Homeric form with the corresponding form in the Attic dia-lect and all those points respecting inflection and syntax

which naturally suggest themselves. But when the pupil hasacquired some familiarity with the dialect and begins to trans-

late twenty lines at each lesson, it will no longer be possible

to proceed with such minuteness ; and the scholar's interest

in Homer will be heightened if, without tolerating super-ficial preparation in any particular, the teacher is able to bring

some one point into prominence at each lesson. On one day,for example, etymologies and the composition of words maycome to the foreground ; on another, the use of moods, run-

ning back perhaps through a hundred lines ; on a third, met-

rical peculiarities ; on a fourth, words may be examined whichillustrate Grimm's law of the interchange of mutes ; on a fifth,

a metrical (hexameter) version of a part of the advance lessonmay be required ; on a sixth, an essay may be assigned onsome point of custom or morals suggested by the lesson. It is

indeed surprising how much grammar, philology, literature, folk-lore, religion may be taught in natural connection with the Ho-meric poems. They are like the great ocean, e ov-mp 7ravTcsTrora/xoi /ecu 7racra Odkafraa,

CONTENTS.

PagkFrontispiece. Facsimile of a page of Codex Venetus. Text and Scholia.Titlepage -Preface iiTable of Contents vi:Introduction :

I. Epic Poetry. II. Ancient traditions concerning Homer.III. Birthplace and early history of the Homeric Poems.IV. Rhapsodes. V. Place of the Homeric Poems inGreek Culture. Civic Editions. VI. Homeric studiesat Alexandria.Three great Alexandrian critics.Scho-lia. VII. Codex Venetus A. VIII. F. A. Wolf's Theoryand its influence. IX. Present aspect of the HomericQuestion. X. Outline of Plot of the Iliad ix

On Scanning Homeric Verse:i. Structure of the Homeric Hexameter. 2. Metrical accent.

Arsis and Thesis. 3. Diaeresis and Caesura. 4. Syn-izesis and Hiatus. 5. Rules of Quantity and Hints forScanning. 6. Prerequisites to good Scanning. 7. Speci-mens of English Hexameters. 8. Translation into Eng-lish Hexameters xxiii

Chief Peculiarities of the Homeric Dialect :1-8. Phonology: i. Vowel changes. 2. Concurrent vow-

els, how treated. 3. Hiatus. 4. Elision. 5. Apocope.6. Anastrophe. 7. Consonant changes. 8. Digamma.9-14. Declension : 9. Suffixes having force of case-endings. 10. First Declension. 11. Second Declension.12. Third Declension. 13. Declension of Adjectives.14. Declension of Pronouns. 15-25. Conjugation:15. Augment and Reduplication. 16. Endings. 17.Mood-vowels of subjunctive. 18. Contract-verbs. 19.Formation of Present-stem. 20. Formation of Future

Vlll CONTENTS.Page

and First Aorist active and middle. 21. Formation ofSecond Aorist without thematic vowel. 22. Formationof Perfect and Pluperfect. 23. Passive Aorists. 24.Verbs in

-fii. 25. Iterative Forms xxxiText 1List of Books of Reference on Homer and the Iliad . 157List of Abbreviations 158Notes = - 159Appendix A. Contents of Iliad, I.-VL, distributed with reference

to rapid reading 303Appendix B. Explanation of Facsimile 305Grammatical References to Goodwin and Hadley . . . 308Indexes 316

INTRODUCTION.

I. EPIC POETRY.

The Iliad and the Odyssey are the earliest extant works ofGreek literature, and they are also the best examples of whatare called Epic Poems. They are the survivors of an immenseEpic literature which was produced by Greeks in the periodprior to 700 b. c. Three things may be mentioned as charac-teristic of Epic poetry : a grand, stirring theme (usually ofheroic adventure), unfolded in a more or less elaborate plot

;

an elevated diction, somewhat removed from the language ofcommon intercourse ; a peculiar metrical form. The Greekdesignation for epic poems is /tol hnj,' lit. ' utterances,' ' sen-tences.' The same name was also applied to the responses oforacles, for the most important oracles, those given from theshrine at Delphi, were similar to Epic poems, both in dictionand in meter.

Examples may be given of epic poems in other literaturesthan the Greek. Thus we have : in Latin, the Aeneid of Ver-gil ; in Italian, Dante's Divina Commedia ; in English, Milton'sParadise Lost. Of these, only the first is written, like theHomeric poems, in dactylic hexameter : but in the style andthought of all, the influence of the great master of epic song

may be traced. The accepted meter for English epic or heroic,as for dramatic, poetry is the so-called " heroic verse," a ten-

syllabled line containing five feet/ It is, however, proper toadd, that since the hexameter has been seriously attempted by

X INTRODUCTION.

English poets, and has become naturalized in English poetry,several poems in this meter have been produced which have

some of the qualities of epics, though they lack length and an

absorbing theme. Such are Kingsley's Andromeda, Clough'sBothie of Tober-na-Vuolich, Longfellow's Evangeline.'

II. ANCIENT TRADITIONS CONCERNING HOMER.

The Iliad and the Odyssey contain no allusion to theirauthor; and although Homer has become a household word,and even a familiar Christian-name, we know nothing of hispersonality. Several ancient " Lives of Homer " exist, whichdescribe with minuteness various details of the poet's life. Twoof them, according to their titles, were composed by Herodotusand Plutarch ; but it is certain that neither of these great authorshad anything to do with their composition, and their only valueis in showing what was the popular tradition respecting Homerat or before the commencement of the Christian era. It is apassage from the Hymn to Apollo 1 which has given rise to thelegend of the poet's blindness. Many towns in antiquity wherethe Homeric poems were especially studied and admired claimedthe honor of being Homer's birth-place, and the names of sevenclaimants are preserved in the following epigram :

'E7rrct w6\(is fxapvavTo

INTRODUCTION. xi

III. BIRTHPLACE AND EARLY HISTORY OF THEHOMERIC POEMS.

The IlTad and the Odyssey undoubtedly originated on theIonian coast of Asia Minor and in the islands of the Aegean sea.Here the dialect was developed in which they were composed,and such indications of locality as can be discovered in thepoems point to this region. Various stories explain how theywere transmitted to Greece proper. Lycurgus (about 776 b. c.)is said to have brought them to Sparta, where they furnished theLacedaemonians with the model for the perfect soldier. But itwas at Athens that the poems received that care to which theirpreservation is due. Here, even before the time of Solon(600 B.C.), there seems to have grown up the custom of re-citing portions of the poems at popular festivals, which recita-tions Solon appears to have regulated. To Pisistratus, however,tyrant of Athens (560-527 b. c), the gratitude of lovers ofHomer is due beyond all others. He collected, through acommission of four competent men, the Homeric rhapsodies

*

which were previously sung separately, and united them into thetwo poems which bear the names of Iliad and Odyssey.

IV. RHAPSODES, OR RHAPSODISTS.

The singers or reciters of the Homeric poems were calledrhapsodes. The word rhapsode (/ki/wSo's) is variously explained.

Some would derive it airb tov oSuv pcwrra hrrj,2 ' from singing

verses fitted (lit. sewed ') together.' Verses * sewed together

'

might refer to the weaving into songs what had previously

been separate verses, or might have reference to the metrical

1 The word ' rhapsody,' as here used, is not to be understood as iden-tical with the twenty-four divisions or books into which each poem wassubsequently divided by Aristarchus.

2 Another explanation of fiatyceSSs, perhaps quite as plausible as the

one mentioned above, gives it the sense of ' stitchers of song,' curb tov

dirriv wSds.

Xli INTRODUCTION.

combination of words in the hexameter. The term pai^wSo?describes ' singers ' (aSeii/), not merely ' reciters ; ' and it is prob-able that in early times the song was constantly accompanied bythe music of the lyre. Later the singing passed into a sort ofintonation, the chord being struck, before commencing, on thelyre. Finally it became a dramatic recitation or declamation. Inthe earliest times the rhapsodes were poets, and often originatedthe songs which they sang, like a Neapolitan improvisator or aScotch minstrel. In later times they had little poetical tasteor talent, and plied their art simply as a means of livelihood.The rhapsodes are spoken of several times by Xenophon andPlato, and by both contemptuously, as not always understandingthe sense of what they declaimed. They made a study of theirpersonal appearance, sometimes adorning themselves with gaygarments and wearing a gold crown upon their heads. They re-cited with much action and with impassioned gesture. Was thepassage sad, they wept ; was it horrible, their hair stood on end.

Thus, like many modern actors, they strove, by overdoing themanifestation of the sentiment contained in the passage recited,

to stir the feelings of their auditors. To persons of the besttaste, their recitation became, in later times, offensive : but to thepeople in general of the period about 400 b. c, it must have beenagreeable ; and the popular conception of many passages of bothpoems must have been formed upon the rhapsode's interpreta-tion of them.

V. PLACE OF THE HOMERIC POEMS IN GREEKCULTURE. CIVIC EDITIONS.

We can hardly form an adequate idea of what the Homericpoems were to the ancient Greeks. What the influence of a greatepic may be upon the religious belief of a nation, we see fromMilton's Paradise Lost, which has unquestionably contributedmuch to form the popular theology of both English and Ameri-cans. It should of course be remembered that the Homericpoems do not profess either to be or to rest upon a divinerevelation, and that they are not didactic in the sense of laying

INTRODUCTION. xili

down formal rules of conduct. But they contain passages whichwere accepted by the Greeks as the best description of the powerand majesty of their deities, and they abound in illustrations ofall the virtues of a patriarchal age. Plato often quotes a pas-

sage from Homer in finishing an argument, as a theologian quotesfrom Scripture.

A verse of Homer was an important make-weight in settling adisputed boundary or in establishing a doubtful pedigree. BothIliad and Odyssey were often learned entire at school, and largeportions of them were carried in memory through subsequentyears. Copies of them were so multiplied that it was easy topossess them, as is illustrated by the story told of Alcibiades, whois said in righteous indignation to have beaten his teacher, whoconfessed that he did not own a copy of the Iliad. The poemsserved too as a standard of taste ; and though their origin datesback to the very beginning of Greek literature, they influenced toa surprising degree the works of subsequent writers. Herodo-tus, Plato, and even the late writer Lucian (160 a. d.), illustratehow familiar Homer was to educated men. That they shouldhave retained their charm so long is indeed the highest proof oftheir merit. Fresh and spontaneous, they gave delight at thesimple popular festivals which called them into existence nearlythree thousand years ago ; and yet they had such perfection ofform as to attract and satisfy the exacting criticism of the Alex-andrian and later periods. One of the very latest works of eru-dition in the twelfth century only three centuries before the fall

of Constantinople (1453 a.d.) is the commentaiy on Homerby Eustathius, Bishop of Thessalonica.

Different ancient cities had their civic or public editions,

perhaps prepared at the public expense, and from which copiescould be made for private individuals. The best known of theseeditions were those of Massilia (Marseilles), Chios, Sinope,Argos, Cyprus, Crete. Private editions, supervised by indi-viduals, were also numerous. One of the most famous of thesewas the edition prepared by Aristotle for his pupil, Alexander.This was called the ' edition of the casket,' from the jewelled

XIV INTRODUCTION.

case (said to have been part of the spoils taken, after the battleof Arbela, from the tent of Darius) in which the conqueror car-ried it with him in his campaigns in Asia.

VI. HOMERIC STUDIES AT ALEXANDRIA. THREEGREAT ALEXANDRIAN CRITICS. SCHOLIA.

When the Greek mind ceased to be productive, it turneditself toward the study of what it had created. The earliest andfor many centuries the chief seat of Greek learning was Alex-andria. This city, from the time of its foundation by Alexander,grew with wonderful rapidity ; and in the second generation afterits founder, under the peaceful reign of the Ptolemies, literaturewas cultivated here with a zeal and success unparalleled else-where in the Greek world. Ptolemy II., called Philadelphus(285-247 B.C.), established the Museum (Movcrelov), an insti-tution combining the functions of a university and a learnedacademy, like the French Academy. It was provided with acorps of salaried professors, who gave public lectures in thevarious departments of human knowledge. But it was also in-tended to promote research ; and the most important work ofthe scholars who were maintained under stipends at the Mu-seum, and of the eminent men who directed their labors, was tosift, classify, and elucidate the immense collection of manuscriptswhich the Ptolemies had gathered together at lavish expense inthe two great libraries. 1 The names of three heads of the Mu-

1 The number of volumes in the Alexandrian libraries is said to havebeen 500,000. By volumes we are to understand rolls of parchment or ofpapyrus containing the equivalent of a book of Homer, a single tragedy,or a philosophical dialogue. It may be worth while to mention here thatJewish tradition represents that the Greek translation of the Old Testa-ment, known as the Septuagint, was made at the direction of PtolemyPhiladelphus, that it might be placed in the Alexandrian library. Anotherstory relates how foreigners, who brought with them treatises of value,were liable to have them confiscated, and were obliged to be content withreceiving copies, while the originals went to enrich the Alexandrian library.The Alexandrian library, or what remained of it, was burned 641 A. D.

INTRODUCTION. XV

seum of Alexandria are particularly famous for Homeric criticism,though their work was not confined to Homer, Zenodotus

of Ephesus, Aristophanes of Byzantium, Aristarchus of Samo-

thrace. They flourished about 250-150 B.C.; and they fol-lowed certain common principles of criticism, as was natural,

since Aristophanes, who was the pupil of Zenodotus, was theteacher of Aristarchus. The time had been when not only theIliad and the Odyssey, but a vast mass of epic poetry known asthe Epic Cycle, had been ascribed to Homer. This period wasnow passed, and Zenodotus restricted the authorship of Homerto the Iliad and the Odyssey. He edited the text of the twopoems without commentary, and his revision gained such a repu-tation that it eclipsed all predecessors. He was the first toemploy the obelus (6{3e\6

xvi INTRODUCTION.

this great critic, the views of Hellanicus, who maintained theseparate authorship of the Iliad and Odyssey, gained someprominence. A school formed itself about Hellanicus ; and thedoctrine of what were called the Chorizontes (ol Xw/di^ovtc?)

,or

' Separatists,' might have gained more adherents had not Aris-tarchus thrown the whole weight of his authority against it, andcrushed it so completely that it was hardly heard of again until

within the last hundred years.It does not appear that the great Alexandrian critics published

anything but text-editions. They lectured, however, upon theclassic authors, and much of their comments (vTrofiv^/jLara) waspreserved in the meagre notes of their students. These noteswere never carefully edited, but were copied, with more or less

correctness, by successive generations of grammarians of infe-rior knowledge ; and it is in this way that they have reached us.Didymus, a grammarian of the Roman period, and a contem-porary of Cicero, may be mentioned for his services in the wayjust described. He was called XaA/ceVrepo?, ' Tough-gut ' (cf.Carlyle's Z'dhdarm), from his wonderful industry. He is said tohave written 3,500 books. 1

The manuscript copies of the Greek authors upon which ourprinted editions rest were mostly made in the period from thetenth to the fifteenth century by Greeks who had received theireducation at Constantinople or Athens. These copyists had accessto a great mass of grammatical commentary which originated atAlexandria, and was preserved by such men as Didymus ; andthey often selected from it to the best of their judgment, andfilled with it a broad margin of the parchment page upon whichthey wrote the text of their author. Such explanatory notes,written in Greek, usually upon lines much closer together thanthe main text, and often in so fine a character as not to be easilydecipherable, are called scholia;

1

* and their original author, inmany cases unknown, is called a Scholiast.

1 Book is of course to be taken in the same sense as was the wordvolume in the note on page xiv.

2 We see the singular of this word employed in Geometry, where scho-lium signifies a remark appended to a proposition.

INTRODUCTION. X\ii

VII. CODEX VENETUS A.

Our oldest complete manuscript 1 of the Iliad, which is also oneof the most legible and beautiful of all existing classical manu-scripts, was probably written in the tenth century. Where it waswritten, or "how it came to its present resting-place, the libraryof the Church of St. Mark at Venice, is purely a matter ofconjecture. It is known to scholars as the Codex Venetus A . -

being thus distinguished from another manuscript of the Iliad

in the same library, the Codex Venetus B. It is written uponvellum or parchment leaves, in size about 13 X 10 inches, andoriginally contained the entire Iliad upon 327 leaves, of whichonly 19 have disappeared. It was first published in the year

1788 at Venice by the Abb Villoison, a French scholar, and itsgreat importance was immediately recognized. It is interesting

in three respects: (1) It contains the best text of the Iliad;

(2) it preserves many of the critical marks (obelus, asterisk, etc.)used by the Alexandrian grammarians ; (3) it contains the bestcollection of scholia upon the Iliad, with the information that

these scholia are derived from four grammarians ranging in datefrom the first century before Christ to the second century after

Christ. One of these grammarians was Didymus, who has beenjust mentioned.The publication of the Venetian scholia shed a new light upon

Homeric studies. Up to the date of their publication, it hadbeen generally assumed that the received text of the Iliad hadcome down to us from about the time of the poet himself, whichwas sometimes placed at n 44 b. c. But the Venetian scholiamade it plain that the Alexandrian scholars had had before themno complete accepted text of the Iliad ; that they dependedchiefly upon the civic editions, and sought by comparing them onewith another to determine the form which the poem had origi-nally borne. None of the civic editions dated farther back thanthe age of Pericles (450 B.C.), and the earliest date which could

1 See Frontispiece for facsimile of a page of the Codex Venetus.

XVlii INTRODUCTION.

be called historical in connection with the poems was that ofthe revision of Pisistratus, less than a century earlier, which,

strange to say, there is no evidence that the great Alexandrian

critics used. The question soon arose : " How account for thepreservation of the poem, substantially unaltered, during the

five centuries and more prior to Pisistratus? "

VIII. F. A. WOLF'S THEORY AND ITS INFLUENCE.

F. A. Wolf, Professor in the University of Halle, maintained

in his famous Prolegomena ad Homerumf published in 1 795, thatthe preservation of the poems during this long period was impos-sible. The earliest Greek inscription, he pointed out, scarcelyantedated 600 b. c, and writing was not in general use beforethe time of Pisistratus. Without the common use of writinghe affirmed that the preservation of the poems in an unalteredform was impossible. They neither originated so early as hadbeen supposed, nor was the present their original form. Theirorigin was to be sought in the numerous songs which bards(doiSot) sang at the popular festivals at a time when the giftof epic song was common to many. Each song was pouredforth spontaneously by some gifted singer without any thoughtof the whole, the Iliad, of which by the version of Pisistratusit long after became a part. This view explained the manybirth-places attributed to Homer ; for the name of the poet wasto be interpreted as really the name of a style of composition.

Wherever schools of bards flourished, there was a Homer. Thistheory, which saw in the Homeric poems only the spontaneousoutgrowth of a certain phase of the Greek language and life,speedily gained warm adherents ; and the world was soon di-vided into Wolfians and anti -Wolfians. It is a theory the con-clusions of which have the most important bearing upon thecredibility of all early history, and are by no means limited intheir application to the Homeric poems.

1 Prolegomena = Introduction.

INTRODUCTION. XIX

The admission, which would" not now be made, that the artof writing was scarcely known or little used before the time ofPisistratus is not fatal, as Wolf supposed, to the oral transmission

(*. e. transmission by the voice and by the power of memory) froma remote past of poems as long as the Iliad. Upon this point,many interesting facts illustrating the power of memory may bebrought forward. In antiquity, when the number of books wasmuch smaller than at the present time, and the variety of sub-jects which one was compelled to keep hi mind much lessgreat, the memory often performed feats which now seem in-credible. It was, for example, no infrequent accomplishmentof educated men at Athens to repeat the entire Iliad and theentire Odyssey. In these days, on the contrary, we content our-

selves with remembering where things are to be found, instead ofattempting to remember things themselves. Yet, in our time,Macaulay found that he could on occasion repeat half of Para-dise Lost, and some of De Quincey's exploits of memory wereeven more extraordinary than Macaulay's. On the whole, then,it is impossible to set limits to the power of memory in suchmatters as these. It is probable that the poems could have beentransmitted substantially unaltered, if it be granted that theycould have been composed, without the aid of writing.

Another argument against the unity of authorship of the Iliad

is drawn from inconsistencies in the narrative. This line of in-vestigation has been followed up with the minutest diligence inGermany during the last fifty years, and Lachmann has dividedthe Iliad into eighteen originally distinct songs. But inconsist-

encies in an epic poem are not necessarily fatal to unity of author-ship ; and so differently do such inconsistencies affect differentpersons that, while they lead Bonitz (a Wolfian) to find the secretof the power of the Iliad " in the overpowering charm of the" separate pictures, which draw away the attention from their con-nection with each other," they allow Gladstone (a defender ofthe unity of authorship) to remark that " the plot of the Iliad" is one of the most consummate works known to literature. Not" only is it not true that a want of cohesion and proportion in the

XX INTRODUCTION.

" Iliad betrays a plurality of authors, but it is rather true that a" structure so highly and so delicately organized constitutes in" itself a powerful argument to prove its unity of conception and" execution."

IX. PRESENT ASPECT OF THE HOMERIC QUESTION.

The following is a statement of conclusions which may beconsidered as established after nearly a century of agitation ofthe Homeric Question. The language is that of ProfessorR. C. Jebb, a most candid and judicious English scholar :

" The Iliad and Odyssey belong to the end, not to the begin-ning of a poetical epoch. They mark the highest point" reached by a school of poetry in Ionia which began by shap-"ing the rude war-songs of Aeolic bards into short lays, and"gradually developed a style suited to heroic narrative.""The Iliad has been enlarged and remodelled by several

" hands from a shorter poem, by one poet, on the ' Wrath of Achil-"les.' This original 'Wrath of Achilles,' probably composed" about 940 b. c, was not merely a short lay, but a poem on a" large plan, in which the central motive gave unity to a varied" action, and which might properly be called an epic. It may" have been only the last and best of a lost series of similar" poems. But if it was the first of its kind, then its author was" the Founder of the Epic art, who made the advance, not from" the primitive war-song to the epic on a grand scale, but from" the lay to the short epic." l

X. OUTLINE OF PLOT OF THE ILIAD.

The word Iliad means Poem about Ilium. Ilium, or Troy, wasa city of what was later called Mysia, in the northwest of AsiaMinor, and was situated three miles south of the Hellespont.2

1 Primer of Greek Literature, p. 36.2 See map of region in Autenrieth's Homeric Dictionary, Plate V.

INTRODUCTION. xxi

The poem describes only an episode in the ten years' siege ofTroy by the Greeks.The following are the chief facts mentioned, or assumed as

known, in the Iliad. Paris, also called Alexander, had carriedoff the fairest woman in Greece, Helen, wife of Menelaos,

King of Sparta. Helen had had many suitors, all of whom hadpromised her father Tyndareos, at his daughter's wedding, thatthey would maintain her husband's rights, should any one interfere

with them. So Menelaos's brother Agamemnon, King of Myke-nae, then the leading sovereign in Greece, called together all the

suitors and some other heroes, and the whole force in i ioo shipssailed to besiege Troy. For ten years they besieged it without

result, not being able to come to a pitched battle with the Tro-

jans, who would not venture forth from the city-walls on accountof their dread of the Greek hero Achilles, the son of Peleus, kingof Phthiotis, and Thetis, a sea-goddess. But, in the tenth year ofthe siege, Achilles suffered an affront from Agamemnon, whotook away from him his prize, the captive maiden Briseis, whohad been assigned to him after the sack of Lyrnessos, one of thelesser-towns of the Troad, or plain about Troy. In consequencehe withdrew from the conflict, and retired to his tent by thesea shore. This is the point at which the Iliad begins. Thewrath of Achilles its causes, its effects, and how it was appeased is the subject of much of the poem. The immediate conse-quence of Achilles's retirement is that the Trojans now dare tocome forth and engage in combat with the Greeks. Fifteen outof the twenty-four books describe the varying strife. Finally(in n) Patroclos begs Achilles to lend him his armor, and goeswith it into the combat. The Trojans flee before him, think-ing that Achilles has re-entered the fray ; but at last Patroclos is

slain by Hector aided by Apollo. Achilles's desire for ven-geance on the slayer of his friend now overcomes his resentment

against Agamemnon (in 2). A new and splendid suit of armoris prepared for him by Hephaistos, Hector had stripped hisformer armor from the corpse of Patroclos, and he rushes intothe combat, slays Hector, and drags his body back to the ships(inX).

xxii INTRODUCTION.

The last scene of the Iliad presents King Priam begging ofAchilles, the slayer of his son, the body of Hector. His prayeris granted, and a truce is observed while Hector is buried. 1

1 For a detailed outline of that portion of the Iliad contained in thepresent volume, see the summaries printed with the Greek text.

ON SCANNING HOMERIC VERSE.

1. STRUCTURE OF THE HOMERIC HEXAMETER.Two different feet occur in the Homeric hexameter : the

dactyl and the spondee. The dactyl consists of a long syllablefollowed by two short syllables ; the spondee, of two long syllables.As a long syllable occupies in pronunciation twice the time of ashort syllable, the two feet may be represented to the eye in twoways: (i) by marks of long and short quantity, dactyl w w

,

spondee "~; (2) by quarter and eighth notes, dactyl ft ft ft

,

spondee ft ft. 1

The unit, or fundamental foot, of the verse is the dactyl. Thisgreatly preponderates in the first five of the six feet of which theline is composed. Occasionally, as A 10, each of the first five feetis a dactyl ; more often, spondees interchange with dactyls, exceptin the fifth foot which is so commonly a dactyl that, when a spon-dee is found there, the verse receives the special name of ' spondaicverse.' Examples of spondaic verses are A 14, 21, 74, 102. Aboutone verse in every twenty is spondaic. The last foot of the verseis never a dactyl, but always consists of two syllables. 2 We seethen that the number of syllables in a verse may vary betweenseventeen (all the feet dactyls except the last) and twelve (allthe feet spondees, of which the only example in Books I-VI, isB 544).

1 Dactyl is derived from SguctvAos 'finger,' more probably from the use of the fingerin beating time than because the finger, like the dactyl, contains one long and two shortportions. Spondee is a derivative from aircvUonai, 'pour libation' (airovSrj, 'libation'),because slow solemn chants in this measure were sung in propitiating the gods.

2 The last foot of a verse is sometimes an apparent trochee (- u or f J), since the slightpause which always occurs at the end of the line tends to obscure the difference betweena preceding long or short syllable. A similar remark may be made respecting short sylla-bles used as long before a caesura. See 5, 4.

xxiv ON SCANNING HOMERIC VERSE.

2. METRICAL ACCENT. ARSIS AND THESIS.The first syllable of each foot receives, in scanning, a metrical

accent. This is entirely distinct from the written accent, withwhich it may, or may not, coincide. Each hexameter verse has sixmetrical accents. The stress which the metrical accent gives to theaccented syllable is called ictus. The accented part of each footis called the arsis; the unaccented part, the thesis. In the dactylthe thesis consists of two syllables ; in the spondee, of one. Asthe spondee is the precise equivalent of the dactyl (f * = |* 8 8),the length of the arsis is precisely equal to that of the thesis.

3. DIAERESIS AND CAESURA.Pauses, both those indicated by punctuation and those not thus

indicated, are as important to good scanning as they are to thegood reading of prose. They may occur at the end of a foot or inthe heart of a foot ; a pause of the first kind is called a diaeresis;one of the second kind, a caesura. A diaeresis at the end of thethird foot, which would divide the verse exactly at the center, isavoided ; but diaereses, at the end of the second and especially atthe end of the fourth foot, are not infrequent. This latter is calledthe Bucolic diaeresis, because more frequent in Bucolic or Pastoralpoetry than in Epic poetry. Examples are A 4, 14, 15, 30.

Caesura {caesura, the Latin equivalent of the Greek ropr), lit.'cutting') designates that break in the verse which is causedwhenever a word ends in the heart of a foot. Caesurae can occurin any foot, and there are usually several in a verse ; but the mostimportant or main caesura is always near the middle of the line,and commonly in the third foot. This caesura of the third footmay come after the arsis, as is the case in A 1, 8, 11, and in 247out of the 611 verses in Book I. This is the favorite Vergiliancaesura. Or, if the third foot is a dactyl, so that the thesis con-

sists of two syllables, the caesura may come in the thesis ; e.g.A 5, 6. This latter caesura is the most frequent in the Homericpoems. It occurs 356 times in Book I. 1

1 The caesura after the arsis is sometimes called the masculine caesura ; it was also calledby the ancients toju.t) ireeSjifu/uepts, i.e. ' the caesura after the first five half-feet ' (nevre,rj/iu-, ne'pos). The caesura in the thesis, also called the feminine caesura, was often calledtoju.t) koto rbv Tplrov tpoxaiov , ' caesura at the end of the third trochee,' because, by cut-

ting off the last syllable of a dactyl in the third foot, it left a trochee. Much less commonthan the caesurae just described is the caesura in the fourth foot, generally accompaniedby a caesura in the second foot ; e.g. A 7, 10, 16.

ON SCANNING HOMERIC VERSE. XXV

4. SYNIZESIS AND HIATUS.Two successive vowels (or a vowel and diphthong) are often

fused in pronunciation. This is called synizesis (avvifoo-is, lit. ' set-tling together'). The contiguous vowels maybe in different wordsor in the same word. Synizesis differs from the elision so commonin Vergil in that neither vowel is lost, for where vowels are elided inutterance in Greek they are omitted in writing

; it differs from con-traction because the vowels are merged only in utterance, thoughwritten out in full. It might be said to add other diphthongs tothose commonly recognized as such. Examples are A I, 15, 18.Hiatus is said to exist when two vowels immediately follow one

another, either as the final and initial vowel in two successive words,or in the parts of a compound word. There are certain conditions,specified in the Sketch of the Dialect, 3, in which hiatus is tol-erated. There are many other cases where it is only apparent.In these the second of the two words had originally an initial con-sonant, the effect of which was remembered, though the consonantitself was no longer written and not always uttered. Examples arein A 4, 7, 24. See also Sketch of Dialect, 3, 2.

5. RULES OF QUANTITY AND HINTS FOR SCANNING.In order to divide a line correctly into feet, we need to know the

quantity of each syllable. This is more easily recognized in Greekthan in Latin. A few rules of special importance may be given :

1. t], a, and all diphthongs are long by nature.2. t, o are short by nature.3. A vowel naturally short is made long by position when it

stands before two consonants or a double consonant. One orboth of these consonants may be in the following word, and a mutewith a liquid usually gives long position. A single liquid maygive long position ; e.g. A 283.

4. A vowel naturally short is often used as long in the arsisbefore the caesura. The ictus, or stress of voice, doubtless has atendency to prolong the vowel, and so does the slight pause accom-panying the caesura (cf. 1, note 2). Examples of this lengtheningare found in A 45, 153.

5. A long final vowel or diphthong is frequently used as shortwhen the following word begins with a vowel, i.e. before a hiatus. 1

1 This apparent sh ortening may perhaps be best explained by saying that the long vowelor diphthong loses, as if by elision, half of its quantity.

XXVi ON SCANNING HOMERIC VERSE.

This shortening occurs, of course, only in the thesis of the foot.Examples are A 14, 15.The beginner will be aided in his first attempts to divide a line

into feet by remembering that dactyls decidedly predominate abovespondees. He should also understand that there is no suchgeneral principle in Greek as that expressed by the common rulein Latin ' a vowel before another vowel is short.' Examples ofthe contrary are 'A^tXX^oj A I, rjpaav A 4. The marks of accentaid in many cases in determining the quantity of the doubtfulvowels a, 1, v, as does also the fact that most inflectional and forma-tive suffixes are short.

The following hints for scanning, beginning anywhere in a hex-ameter verse, will be found useful :

1. When a long syllable is followed by a short syllable, the longsyllable always has a metrical ictus ; eg. -L w.

2. The syllable following two short syllables always has a met-rical ictus ; e.g. \j \j -* w v^.

3. A short syllable always indicates the presence of a dactyl.4. Two contiguous long syllables always indicate the presence

of a spondee which either (a) ends with the first long syllable,or () begins with it.

The beginner will find it a useful exercise to scan half a lineat a time, making a long pause near the middle of the verse,i.e. in the third foot. One must begin in the first half with anictus on the first syllable ; in the second half of the line, the firstictus will come on the first long syllable not immediately followingthe pause.

It will also be well to select a few verses of which the first fivefeet are dactyls (ort^oi 6Xo8uktuXoi), e.g. A 10, 12, 13, and topractise these until one is familiar with the rhythm. There are120 such verses in Book I of the Iliad. Then one may passto verses containing two "spondees, and gradually increase thecomplexity.

6. PREREQUISITES TO GOOD SCANNING.The three prerequisites to good scanning are : a correct di-

vision of the verse into feet ; the placing of the metrical accentupon the first syllable of each foot (ictus on the arsis) ; the cor-rect location of the main caesura. The scholar should distinctlyunderstand that attention to the second of these points often in-

ON SCANNING HOMERIC VERSE. XXvii

volves the neglect of the written accent, which he has hithertocarefully observed. 1

Attention to the marks of punctuation will often aid in fixing theplace of the main caesura, as will also the fact that many verses areso constructed that the sense is already complete at the middle ofthe third (or of the fourth) foot, while the part that remains issimply explanatory, and serves to round out the verse. Examplesare A 17, 18, 19, 20, 21.Three prerequisites to good scanning have been named ; two other

essential things must now be mentioned, without which scanning,though it maybe correct, will be lifeless and intolerable. One musthave such familiarity with the Greek words as to recognize and utterthem without hesitation or conscious effort; one must also be famil-iar with the movement, the swing, of the hexameter. A good way tosecure this familiarity is by memorizing selected hexameters, whichmay be repeated by pupils singly or by a class in concert. The follow-ing passages are suitable for this purpose : A 38-49, Chryses's prayerto Apollo, and Apollo's speedy answer ; A 148-157, Achilles's angryreply to Agamemnon. If memorizing hexameters is considered tomake too great demands upon the time of a class, simple reading inconcert, at first with the lead of the teacher, then without his lead,

will give that idea of the rhythm without which there can be no goodscanning. It may be well to expressly remind the pupil that heshould never, in scanning, forget the sense, and to suggest thatseveral words closely connected in sense may be uttered withhardly more pause between them than between the parts of acompound word ; e.g. rtyXrjidScw 'A^iX^os, A I ; olavol

XXV111 ON SCANNING HOMERIC VERSE.

The following example is from Kingsley's Andromeda :

Smiling, she | answered in | turn, || that | chaste Tri | tonid A | thene,Dear unto | me, no | less than to | thee, || is the | wedlock of | heroes,Dear who can | worthily | win him || a | wife not un | worthy and | noble,Pure with the

|pure to be-

1get brave | children || the | like of their | father.

I add two translations of detached passages of the Iliad and Odys-sey. First, from the Iliad, r 233-242, by Dr. Hawtrey, former Head-master of Eton College :

Clearly the | rest I be | hold of the | dark ey'd | sons of A | chaia.Known to me | well are the | faces of | all ; their | names I re | member

;

Two, two,I

only re | main whom I | see not a | mong the com | manders, Kastor | fleet in the | car, Poly | deukes | brave with the | cestus;Own dear | brethren of | mine, one | parent | loved us as | infants.Are they not | here in the | host, from the | shores of | lov'd Lake | daimon,Or, though they

|came with the | rest, in | ships that | bound through the | waters

Dare they not | enter the | fight or | stand in the | council of | Heroes,All for

Ifear of the | shame and the | taunts my j crime has a | wakened ?

Second, from the Odyssey, c 55 -69, by William Cullen Bryant

:

a

Now as he | reached, in his | course, that | isle far | off in the | ocean,Forth fromthe|dark blue|swell of the|waves helstepped on the | sea-beach,Walking right|on till hejcame to the | broad-roofed | cave where the 'goddessMade her a | bode that | bright-haired | nymph, in | her dwelling he |

found her.There, on the | hearth, was a | huge fire | blazing, and | over the | islandFloated the | odorous | fume sent | up from the | cedar and | cypress,Cloven and | burning, while | she sat | far in the | grotto and | sweetlySang, as the | shuttle of | gold was | flung through the | web from her | fingers.Round that

|grot grew | up, on all | sides, a lux | uriant | forest.

Alders were|there, and|poplars, and|there was the|sweet smelling|cypress,Haunted by | broad-winged | birds which | build their i nests in the | branches,Owls of the

Iwood, and | falcons, and | crows with | far-sounding | voices,

Birds of the | shore which | seek their | food on the | beaches of | ocean.There, all | over the | rock from | which that | grotto was | hollowed,Clambered a | strong-growing | vine whose | fruit hung | heavy in I clusters.

The reader of the selections just given will observe how greatlythe dactyl preponderates in English hexameters. This is indeed

1 This translation, never elsewhere published, so far as I know, than in the " Evening

Post," was made by Mr. Bryant as an experiment, before he had decided what meter toemploy in his translation of the Odyssey.

ON SCANNING HOMERIC VERSE. xxix

their great defect, because fatal to variety. Another defect is thefrequent occurrence of the diaeresis at the end of the third foot (see

3). It will be also noticed that the same syllable is now used as long,

now as short. Little regard, in fact, is had for quantity, which iswholly subordinated to accent. The last two specimens (from Haw-trey and Bryant) show a regard for quantity much greater than isusually found in English hexameters.

8. TRANSLATION INTO ENGLISH HEXAMETERS.

It is a good exercise to turn a few lines of Homer into Englishhexameter. Some verses will go into the same English measure withlittle effort ; e.g. B 23 :

ESSets, "\rptos vie $a(

XXX ON SCANNING HOMERIC VERSE.

ply so readily the short syllables for the dactyls. The translatorhas no alternative but to expand ; and it is perhaps this inevitableintroduction of foreign matter, more than anything else, whichexplains the failure of hexameter translations of extended por-tions of the Iliad to interest the reader. Of course, this fact con-stitutes no objection to the hexameter as an English meter, nor toits use for original English poems. But it is a question whether itdoes not render it an unsuitable meter for a translation of Homeras a whole.

THE CHIEF PECULIARITIES OF THEHOMERIC DIALECT. 1

PHONOLOGY.

1. Vowel Substitutions.

i. 17 is used in Homer after p, e, 1, where the Attic uses a;& ayoprj [ayopa], opoir) [opota], ir(ipr}(Topai [ireipao-opai].

2. Similarly, ei is found for t , ov for o ; e.g. l-fivos [Vor], \pv-afios [xpvcreos, xpvcrovs], rrovXvs [ttoXvs], povvos [_p6vos].

3. More rarely, ot is found for o, at for a, n for e ; e.g. irvoifj [Trror/],alfros [derck], Tidtjpevos [nOepevosj.

4. By what is called metathesis quantitatis, transposition ofquantity,' do becomes tw ; e.g. 'ArpeiSea interchangeable with 'Arpei-dao. Similarly, we find ecus and efor [eW]> anrepeto-ios for anapeo-ios[ajmpos], kt\.

2. Treatment of Concurrent Vowels.

1. Contraction, when it occurs, follows the ordinary rules, exceptthat eo and tov contract only into tv ; e.g. ddpo-evs [ddpcrovs], fidXKtv[fidWov'].

2. But contraction often does not take place ; e.g. dUw [kg>i>],oXyea faXyrj] ; and, on the other hand, a few unusual contractionsoccur ; e.g. evppews, instead of evppeovs from evppce'os.

3. Two vowels (or diphthongs) are often blended in pronuncia-

1 The Homeric dialect, also called the Epic or older Ionic, is the oldest form of theGreek language of which we have knowledge. To this the newer Ionic in which Herodo-tus wrote, and the Attic dialect which became the accepted standard for ordinary compo-sition, stand related as younger sisters. The Homeric dialect was undoubtedly based uponthe Greek as spoken, during the tenth and ninth centuries, in the islands of the Aegean Seaand on the Ionian coast of Asia Minor. But the variety of forms which it contains is greaterthan could have been employed at one time in any spoken dialect. Hence it is inferred thatthe originators of Epic poetry created in fact their dialect, developing and amplifying itin the direction of certain tendencies which they found existing in common every-dayspeech.

XXXli THE HOMERIC DIALECT.

tion (synizesis); e.g. 'ArpetSea (pronounce -dyo), 8fj av, eWi ov, fj ov.See Essay on Scanning Homer, 4.

3. Hiatus.

1. Hiatus is allowed (i.e. may be considered regular) in the fol-lowing cases :

(a) after the vowels 1 and v;

(b) when the two vowels are separated by a principal caesura, adiaeresis, or a mark of punctuation

;

(c) when the final vowel of the first word is long and stands inthe accented part of the foot

;

(d) when the first of the two vowels, though naturally long, standsin the unaccented part of the foot, and loses half of its quan-tity before the following vowel.

{e) when the last vowel of the first word has been lost by elision.

These cases are illustrated by the following examples :

\j\yI uu.(a) faarripi aprjp6rt.

(t>) KaOrjaro, iiriyvdpipaaa, kt\. v | w vy | |

(c) avridfcp 'Odwrji. v^^/| uu| w-(d) 6'iffTol AT &IX03V. ^1 \ wy| .(e) fivpi ' 'Axa.io7s &\yt ' edrjKev. w v_/

l l

\y\j

2. Hiatus in other circumstances is generally only apparent, anddisappears on supplying the original consonant (now no longer writ-ten) ; e.g. rbv 8' Tjixfifar' tntira Fdvatj dv8pa>v 'Ayaptpvav. See 8 ;also see Essay on Scanning Homer, 4, and Apparent Hiatus inIndex.

4. Elision.

Elision is allowed in some cases where it would not occur in prose.a, e, 1, o are elided in declension and conjugation ;

THE HOMERIC DIALECT. XXX111

6. Anastrophe.

Anastrophe, or the retraction of the accent from the ultima to thepenult, may occur in the case of all oxytone prepositions exceptan

XXXVI THE HOMERIC DIALECT.

14. Pronouns.

i. The following table shows the personal and possessive pro-nouns as they occur in Horner. Fcr Attic forms, see the gram-

mars.

SlNG. N. e'-yw, eydv

THE HOMERIC DIALECT. XXXV11

4. The following are the forms in use of the interrogative and ofthe indefinite pronoun. For Attic forms, see the grammars.

Interrogative.

Singular. Plural.

N. tIs, ntr. rl rives, ntr. tiVo

G. TtO TtUV

D. re).

Examples of a very peculiar reduplication are : Ms-anm (eVnn-o))and (pvK-aic-ov (f'pvKw). Here the last consonant of the stem is re-peated after a connecting a.

3. There are a few examples of a reduplicated future of similarformation with the reduplicated aorist ; e.g. 7re(/>tij

XXXVlii THE HOMERIC DIALECT.

16. Endings.

i. The older endings of the singular number, -fit, -

THE HOMERIC DIALECT. xxxix

2. Verbs in -ew are generally uncontracted, but sometimes form from ee and ra, fv from eo or tov. In uncontracted forms, the stem-vowel e is sometimes lengthened into ft ; e.g. rrtXeitro [eYeXeiro].

3. Verbs in -oa> are generally contracted, except in a few caseswhere assimilation, see 18, 1, occurs; e.g. dpcWi [dpeoo-i].

19. Peculiarities in the Formation of the Present Stem.

1. Many presents in-fa are formed as if from stems ending in y ;

e.g. Tro\tfiia> (fut. ffoXepi^opev [noXepiaopev, or 7roXe/xioipei']), paarifa(aor. fxa.(m^(v). The stem of 7rXdco is rrXayy- (nAdy^-c^ aor.pass.).

2. Several presents in -ao-co are formed from lingual stems ; e.g.Kopv

Xl THE HOMERIC DIALECT.

21. Formation of Second Aorist without Thematic Vowel.Many verbs have a second aorist active and middle without a the-

matic vowel, formed similarly to the second aorist of verbs in-pi.

Of this formation there are many instances ; e.g. '4ktg, eKrav, {ktuto(stem /era-, KT(v-), (tvto (creva>), i'xvro (^ea)), Xvto (Xvco), optatives (p8l-firjv, (fcdiro, infin. cpdiadai, ptc. (pdlpevos, (cpdl-v-co), imperatives kX6i.kXutc (k\vo>), ZfiXrjTo, jSXrjo-dai (/3a\X&>), aXro (SXXopai), 8skto (5s'x"pat), e/itKT-o and fiLKTo (niywui) S)pTo, op

THE HOMERIC DIALECT. xli

Remark. A peculiar form is Tpandofxfv, 2 aor. pass, from rtpna>.This arises by metathesis from rapneiopev [rapmi>p.tv].

24. Verbs in-fu.

1. By the side of the ordinary forms of the present indicative ofverbs in -pt, there occur also forms as if from presents in -ew and -ow

;

e.g. Tidfl [riBrjai], 8180'i [81'ficocri].

2. As the ending of the third person plural of the imperfect andsecond aorist indicative active, v often takes the place of -aav

;

eg. leu [ifo-ai>], (

xlii THE HOMERIC DIALECT.

25. Iterative Forms.

The endings - by the intermediate vowele, rarely a ; e.g. ex-e-o-nov, pLirr-a-a-icov, (pvy-e-aKf. When joined tothe first aorist stem, these endings follow directly after the thematic

vowel* of the aorist indicative ; e.g. eXdo-a-cr*:e. Verbs in / append

the iterative endings directly to the stem ; e.g. ard-aKev, favvv-

THE ILIAD.

BOOK I.

Sing, Muse, the Wrath of Achilles, fatal, butforeordained.

Mrjviv^afihe, defi,- IIrjfi.7iidfie(t),

Ayc^.i]Of;,

GvXofxejjrjv, i)%fjbvpC

,

Aq(cuoI^ d\ye kflrjicev,iroWas 8' l

2 IAIAA02 A

And thus addressed the Greeks :ArpetBai re /cat aXkoi iv/cvr)p,i8e ii 'Amatol,

vplv pev Oeol 8ouv ' OXvparia Scofiar e^ovre.

f3rj 8 d/cecov irapd diva TroXvfyXolcrfioLO 6aXdo~

IAIAA02 A. 3

Tavpa>vt

r}8' alyeov, ToBetp.oi Kprjjivov eeXBcop'

riaeiavt

Aavapl ep,d fod/cpva^aoiai fieXeaaiv.

Apollo hears : and begins to slay the Greeks with his bolts.

*f2

4 IA1AA02 A.

Calchas, the soothsayer, asks leave to speakfreely :

JtlTOL OJ O)? 6LTT(0V KOUT ap erT0. TOLCTt O aueOTTJ

KaX^a^ @

IAIAA02 A. 5

aX'x' eve/c ao^T 7/009, ov rjTifnja'

Ayap.ep,vwv,

ovB' direXvae dvyarpa, /cal ov/c direBe^ar airoiva. 95

rovveic dp1

aXye' eBwKev 'EicrifioXos, ?}S' ert Bd>aei

ovB' 6 ye irpXv Aavaolatv deucea Xotyov airwaet,

irplv y dirb irarpi (piXa) Bo/xevai eXcKcoiriBa KovprjvaTrpidrrjv, avdiroivov, dyecv 6' leprju efcaTop.{3r)v

e'j Xpvarjv ' tot tciv p,cv iXao~adp,evot jreTrldoifiev* lo

Agamemnon wrathfully consents, but insists on obtaininganother gift in place of her.

"Htol oy &>? eliratv /car dp e^ero ' roiai B dvea-rr}

rjpco

IAIAA02 A.

Achilles says he shall have it when Troy is sacked: Agamemnonreviles and threatens him, yet orders Chryseis to be restored.

Tov 8' r/fieifieT eirena 7roBdp>cr)v yepas, r) 'OBvafjosd^a) eXcov 6 Be icev Ke^oXdiaerat,, ov tcev i/coofiai.aXX rjToi fiev ravra fieracppaaofieada real avrt

IAIAA02 A. 7

Achilles replies : We havefought and toiledforyou, and nowyouthreaten to take our spoilfrom us : I will return to Phthia.

Tbv S' dp viroBpa IBwv Trpoaefa] 7ro'Sa? o)/ei>

8 IAIAAOS A.

Xiacropai eiveic epelo pukveiv * Trap epotye icai aXXoc

01 kg fie rtprjaovcn, p.dXicna Be prjTiera Zevs. *75ej0rTO9 Be fxoi iacn Aiorpecpecav ^acrCXrj(ov'alel yap tol epis re (piXrj, iroXepoi re, p,dyai re.el pudXa tcaprepos eacrt, 6eo avv vrjt r efifj ical e/xois erdpotaiv

7refiyfra>, iyo) Be k dyco BpiarjiBa tcaXXnrdprjov,avrov KXtairjvBe, to gov yepa$' 6

IAIAA02 A. 9

TYttt avr, alyio%oio Aibs t4ko7n,

lO IAIAA02 A.

ovre Xo-^ovS' levai crvv dpiar^eaatv 'AycuiavrerXTjicas dv/ao) to Be rot, tcrjp etBerai ehvai.t) ttoXv Xco'iov iart Kara arparov evpvv 'Ayaitav

8&p aTroaipelcrOal, 6'crTi? aeOev dvriov eiirrj. 230Srjfiofiopos fiacriXevs, iirel ovriBavolcnv avdacreis

'

r) yap civ, ArpetBr), vvv varara Xw^rjcrato.dX~\! etc roi ipeco, tcai iirl pteyav opicov bp,ovp,ai

val /xa roBe crrcrJTTTpov, to puev oinrore (pvXXa teal obi>9cpvcrei, eTretSr) rrpwra rop,rjv iv opeacri XeXonrev, 235

ovB' dvaOrjXrjcrei, irepl

26o

I A I A A O 2 A. II

*fl 7ro7rot, ?} fieya irevdos 'Amentia yalav itcdvei'

77 Kev yrjOtjaat Upiap.0?, Upidfxoio re 7ral8es, 255

aXXoi re Tpwes p,eya Kev Ke^apoiaTO dvfiw,

el acptolv rd8e irdvra irvdoiaro p.apvap,evouv,

0$ irepl fiev fiovXrjv Aavawv, irepl 8' e'crTt" fid^eaOai.

dX\a iriQeaff aficpco 8e vecorepco earbv ifielo.q8t) ydp ttot eyco Kal dpei'oaiv, rjeirep vfiiv,dv8pdaiv difiLXrjaa, kcu ovwore fi 01 y ddepifrv.

ov ydp ttco roioufiat,,olov Heipidoov re Apvavrd re, iroifieva Xacov,Kaivea r 'E^d&iov re Kal dvriOeov IIoXv(p7]fiov.[Qrjaea r AlyetSrjv, eirteiKeXov dOavdroiaiv.] 2&iKapTurroi 87} Ketvoi hriyQovLuiv rpdre Zevs kv8o e8coKev.el 8e

12 I A I A A O 2 A.

Agamemnon pleads that Achilles'pride is intolerable : and Achillesreplies that he will not obey. Asfor the maiden, he will not re-sist her surrender : but he defies them to take any thing else.

Tov S' a.7ra/ietySo/ievo? nrpoaetyrj Kpeiwv 'Ayape/mvcov ' 2&5

val Br) ravrd ye irdvra, yepov, Kara fiolpav eenres.aXX? oB' dvrjp iOeXec irepl Trdvrcov efi/mevai dWa>v,irdvrwv fiev /cpareeiv edeKec, iravreaai, S' avacrcreiv,

iraai, Be arj/xalvecv, d riv ov irelaeaOai, 6ta>.el Be fiiv al^firirrjv eOeaav deol alev e'oWe?, 29

Tovve/cd oi irpodeovcnv ovelBea fivdr]craa6at,

;

Tov 8* dp" v7ro/3Xr]Brjv rjpbeijBero Bios 'i^tXXeu?'rj yap Kev BetXos re real ovTiBavos KaXeoipbrjv,el Br) crol irav epyov virel^ofiai, ottl Kev etTrrjs'

dXXoicriv Br) ravr eTriTeXXeo, fir) yap efioiye 295arjfiaiv ' ov yap eyd) y en o~ol ireiaeadai, otco.aXXo Be toi epeco, o~v S' ivl v 8' dXXoov, a fioi ecm dor} irapd vrjl' fieXalvrj, 3

twv ovk dv Tt (f>epoi

IAIAA02 A. 13

/S/)ere Beat' dvd Be XpuarjiBa /caWnrdpyov J 13elcrev dycov kv 8' dpyo? eiiriav irpotei, xparepbv 8' eirl fivdov ereWev.

They go reluctantly : but Achilles welcomes them andgives themthe maiden, making them witnesses ofhis wrongs.

TQi 8' de/covre fid\rr)v irapd 6lv Xo? fiTpvyejoio,MvpfiiBovcov 8' e7ri re /cXicrt'a? ical vrjas iiceaQT)v.

tov 8' evpov irapd re icXiairj koX vrji /j,e\aivrj

tffievov ' ov8' dpa rco ye IBoov y^drjaev 'i^iXWs. 33cto) fiev Tapf3i']o-avre koX alBofievco ^aai\.i)aari]T7]v, ovBe ri fiw irpoae

14 I A I A A 2 A.

daaov It ov tl pot, vppes eirairioL, aX\! 'Ayapepvcov, 335o cr

1 A I A A O 2 A. 15

teal pa Trapoiff avroto fcade^ero Bdicpv ^eovro^, 360

yeipl re fiiv icarepe^ev, eVo? r ecpar, etc r ovofia^ev

Teicvov, tl fcXalet? ; rl Be ere r)fir)G~av 'Ayaioi,alBeiaOai #' tepija, teal dy\ad Be^dai airoiva'dXX' ovk 'ArpetBr)

y

Ayafiefivovi ijvBave dvfiu>,dXkd aw? d

16

IAIAA02 A.

^Arpeiwva ' eireira ^0X09 Xdftev afya S' avacrrasrjirelXwaev pbvdov, o Br) TereXecrfxevos eartv.rr)v fiev yap avv vrfc dor} iXl/ccoTres 'Amatol65 Xpvarjv irepuirovo'tv, ayova c Be Bwpa ava/cTC 39tt)v Be vkov Kkiairjdev eftav KrjpvKes dyovresKovprjv Bptarjos, rrfv fioc Boaav vies 'A^aicov.

And bids her ititercede with Zeus, by herformer services to him,to aid the Trojans.

dXka crv, el Bvvaaal ye, irepia^eo iraiBbs 6*709eXdovcr Ov\vp,ir6vBe Ala \iaat, el irore Br] rirj eiret wz/^cra? KpaBlr/v Aios, r)e koX epym. 395

TroWd/ci yap aeo irarpos evl fieydpoiaiv aKovcraev^opLevris, or e(pt]a6a Ke\aive

IAIAA02 A. 17

She grievesfor Aim, but (promises to pray Zeus, when he return*from his banqueting with the Aethiopians. Then she departs.

Tov S' rjiielfieT eireiTa Qti' OT 8rj \ip,Vo$ 7ro\v(3evdio eVro9 ckovto,io~Tia p.ev GTeCkavTO, Oecrav ' iv vrfc pekaivy

icttov 8' icrTohoKr) TreXaaav, TrpoTovoitnv ixpevTes,

Kap7ra\ip,a>

18

IAIAA02 A.

i/c &e teal avrol ftalvov iirl piqypZvi daXdaarj^'i/c 8* eKarofi^Tjv /3i]crav tcr)/36Xa> 'AttoXXwvck he Xpvcr7}i fcXeirrjv /caT6p,/3rjv

^eL7]fi6vyepvtyavro o eiretra zeal qvXo-)(y^rcb

IAIAA02 A. 19

\et/3e ' veoi Be Trap* avrbv e%ov irefnrcofioXa yepcriv.

avrdp iirel Kara firjp' eKarj, koi airXdy-^v eirdo-avro,

p,iarvX\6v r dpa raXXa, KaX d/jb 6/3eXo7crcv erreipav, 45

anTTTja-dv re ireptcppaBecos, ipvaavro re iravra.^

avrap eirel iravaavro irovov, rervKOvrb re Sacra,

Balvvvr , ovBe ri 6vp,b eBevero BaLrbs e'i'b-779.

avrdp iirel iroatos ical iBrjrvos ei; epov evro,Kovpot /iev Kpr}rrjpa

20 IAIAAOS A.

ovre ttot ei9 dyopr/v rreoXeaieero KvBudvetpav, 49

ovre ttot e? TroXefAov dWa

IAIAA02 A. 21

He in wrath bids her depart,forfear of Hera ; yet assentsto herprayer.

Tijv Be fiey o^dijaas irpocrecpr] vecpeX-rfyepera Zevs

f) St] Xotyia epy\ 6 re fi e^doBoTrrjaac i? ftovXevaavre Bierp,ayev rj puev eirena

eh d\a dXro ftaOecav drrr aiyXrjevTos ' OXvp,7rov,Zeiss Be ebv irpbs Bcop,a. Oeol S' ap,a irdvre^ dvearave eBea)v, acpov 7rarpb

22 IAIAA02 A.

alei toc (plXov earlv, ifiev airovoafyiv eovra,

icpvirrdhia cppoveovra Sifca^epev ' ou&e tl iron poi

nrpbcppwv TerXrjicas elirelv e'77-09 otti vor)crr)

IAIAA02 A. 23

aW' diceovaa /cddrjo-o, e/ic3 8' iiwreideo fivdro 5^5yu.?; vu Tot ou xpaicr/Mocriv, oaoc deoi etV eV 'OXv/Mirtp,

dacrov lovB\ ore tcev toi ddirrovq ^elpas i.*/2

24 IAIAA02 A.

t]Srj yap fie koX aXXor d\eip,evai fiep,a(ora 59

pltye, 7ro8o9 reraycov, airo /3r)\ov OecnrecrioLO.

irav S' rjpap (pepofxrjv, ap,a S' rjeXlq) KaraBvvri,Kannrearov ev Arjfivq), 6\[yoaTO pueLBrjcrev Be Bed Xev/ccokevos "Upt] 595fjueiSijaaaa Be ,7raiB6

THE ILIAD.

BOOK II.

Zeus sends afalse Dream to Agamemnon, encouraging himto attack Troy.

"AXXoi fxev pa deoi re /cal^avepes 'nnroKopvcnaievBov iravvvyioi, Ala S' ov/c e^e vi)8vfio

26 IAIAA02 B.

evBovr ev /cXialr), irepX B' dp,/3p6aio p,cv eeicrdp,evov virvos dv^y.

Infalse confidence, Agamemnon awakes, arms himself, and atdawn summons the host to a?i assembly.

' iT2? apa (pG)vi](ra

IAIAA02 B. 27

ei'XeTO Be aKrjTTTpov TTctTpcoiov, acpdirov aleC'crvv to) e/3rj Kara vi)a

28 IAIAA02 B.

He will make trial of the Greeks' spirit, bidding them sailaway, while the chiefs must restrain them.

dXA,' dyer, al Kev 7TO)9 Owprj^o/xev via? *Ayaiu>v.irpcora S' eycov eirecriv Treiprjcrofiai, rj #e/U9 earlvtfcal (pevyetv crvv vijval TroXv/cXtfiai tceXevcra)

vfiei? S' dXkoOev aXA.09 epijrvew eTreecraiv. 75

Nestor replies : Another man we had doubted, but theKing's dream must be obeyed.

iiTOi o 7 a)? eiircov kclt ap e^ero. rotai o aveart]NeaToop, 09 pa'IIv\oio aval; rjv rjixadoevros

6 a(piv ev (fcpovecov dyopi)aaTO kcu fMereenrev 9/2 (j>i\oi,

,

Apyelcov r/yrJTopes rjhe fxeSovres,

el fjuev Ti9 tov ovetpov 'Ayaiosv aX\o9 evicrirev, 80yfrevSos Kev cpaifjuev /ecu voo-cpi&LfxeOa p,a\\ov

vvv 8' t'Sev, 09 p*ey aptaTosJ

A%aia>v enteral elvat.aXhJ dyer, at Kev 7TO)9 Ocoprf^o/xev vla

IAIAA02 B. 29

IXaBbv eh dyopyv p,erd Be acpiaiv oaaa BeByei,OTpvvova levai, Atbs dyye\oi\ov elvai,

05 By iroWdcov iroXicov Karekvae /cdpyva,178' en /cal \vaei rov yap icpdros earl p,eyiarov.~\alayjpbv yap roBe y earl ical iaaop,evoiai irvOeadai.

30 \ IAIAA02 B

.^

fjLaty ovrco roiovBe roaovBe re Xaov 'A^aicov

airprjKTOv ir6Xep,ov iroXepci^ecv rjBe pud^eaOavdvBpdcn Travporepoiat, reXo

IAIAA02 B. 31

&>9 8' ore Kivrjcrrj Zevpo

32 IAIAA02 B.

She bids himfor shame restrain the menj he runs to obey.Aioyeve? AaepTidBrj, 7ro\vp,7]^av 'OSvaaev,

ovrco Btj oltcovBe, (ptXrjv e'9 irarpCBa yalav,

v '^5

Be^aro oi o-/cf)7TTpov iraTpuiiov, acpOtrov alei'

avv rc3 eftr) Kara vijav.

The chiefs he warns to beware lest they mistake Agamemnon, andmake him wroth;

"OvTiva fiev fiacnXrja /cal e^o^ov dvBpa Kiyevr),rbv S' dyavols eireeacnv ip^rvaaaKe irapacrrd^

AaipbovC, ov o~e eoi/ce, tcaicov w?, BeiBicraeaOat 19

d)0C avTos re /cdOrjcro, /cal aXKovf iBpve Xaovs

'

ov ydp TTca adcpa 6lo~6\ olo? voos ^Arpetcovo^'vvv fjuev Treipdrai, rd^a B' iyjrerac vlas ^A^aicov.iv fiovkfi S' ov TrdvTes dicovcrap,ev olov eenrev.

H'V Tl yp\(i>crdplevo

IAIAA02 B. 33

the people, more roughly, to be quiet and obey their betters.

*0v 6" av Srjfiov t dvBpa tSoc, ftoocavra r i ivapidfiios, ovt evl fiovkfj.

ov flip 7tgk nravTes f3atri\evcrop,ev evOdB' 'Ayaioi'ovk dyadbv tro\vKoipavirj' et$ /coipavos ecrray,e49 ftaaikevs, &> eBcorce Kpovov irdi^ dyKvko/j.T]Tea>. 2S\aKVjTnp6v t rjBe depunas, iva o~(f>io~i fiovXevyai.]

Thepeople return to the assembly, allbut the hideous wretch Thersites,lS

fL$ 6 ye KOLpavkoav Bieire arparov ' ol 8' dyoprjvBeaims eirecrcrevovTo vecav airo /cal fcktatdcovVXV> ^ T6 ^A"1 7ro\u(p\oicr(3oco dakdcrcrri /3pep,erai, crfiapayel Be re ttovtos. 2l

"AWoi p.ev p a,05 p eirea cocrp,d re 7ro\\d re JJBtj,[tdyjr, drap ov Kara. Kocrp,ov, epi^e/xevat ftacriXevcriv,aXX 6 ri ol etcraiTO ye\ouov 'ApyeLoicnv 2*5efj,p.evat. aio-%io-Tos Be dvrjp viro "I\iov rjkOev(poXxos

7]v, ^a>Xo? 8' erepov troBa to) Be ol wpxo

Kvprco,7rl cnrjOos avvo^aiKOTe ' avrap vtrepdev

34 IAIAA02 B.

who reviles Agamemnonfor his greed, and the peoplefor theirslavishness.

^ArpetBr], reo Br) avr i7rip,ip,(peac, r/Be ^o.t/9; 22 5ifkeiai too ^cCKkov kXiglcli, 7roX\,al Be yvvaZtces

elalv evl /c\icrlr)

IAIAAOS B. 35

T&) ovk av ftaat\r)atv bvelBed re Trpo

36 IAIAA02 B.

Athena marshals the multitude to hear Odysseus.,N

iT29 cpdcrav r) TrXijdvs' dvd 8' o 7rroXi7ropdo

IAIAA02 B. 37

%04a re Kal irpdal^, or e

$8 IAIAAOS B.

dA-V d'ye, LiijAvere 7rdvre

1AIAA02 B. 39

airreaOoi ^9 1/7709 evcraeXfioio fieXaivrjs,

6(f)pa irpoadi' aWcov Qdvarov /cat irorfiov eiridirrj.aWd, ava%, avros t ev fiyjSeo, ireideo t aWfp 3

4 IAIAA02 B.

w? zee iravr)p,eptoi arvyepw KpiiHoped' "Apijl. 385ov yap iravcT(oKr\ ye p,ericraTat, ovS" r/ftaiov,el p,r) vv ekOovcra Bta/cpiveeL puevos dvBpwv.iSpaxret puev rev Te\ap,cbv aficfil crrydeaaivacnri8o

IAIAA02 B. 4'

Then offers this prayer.

Zev fcvBio-re, fieycare, /ceXaivecpes, aldepi vaicov,

fifj irpiv eir rjeXiov Bvvac /cal eirl tcvecpas iXdecv,irplv fie Kara Trpr)ve

42 IAIAA02 B.

afi/3aX\.(ojjLeda epyov, b Br) debs iyyvaXi^ei.

aXX dye, Kr)pvice

I A I A A O 2 B. 43

evda Kal evda iroroivrai, dyaXXopeva Tnepvyeacnv,KXayyrjBbv TrpoKadt^ovrcov, afiapayel Be re Xeifiwvco? rSiv edvea iroXXa vecov amo Kal KXcaidcov

e? ireBlov irpoykovro ^Ka/jidvBpiov avrdp vtto %da>v 4^5(TfiepBaXeov Kovdj3ie ttoBwv avrwv re Kal Xirirwv.earav 8' ev Xeifi&vi %>ca/j.av$pi

44 IAIAA02 B.

o'irives r)09 /cal 'IdXpevos, i/Ie? ' Aprjof,

IAIAA02 B. 45

ou? rifcevy

Aarvo^rj, 86fi

46 IAIAA02 B.

KrjptvOov r e(paXov, Aiov t alirv nrroXleOpov,ol re Kdpvarov %ov, r/S" o'i ^rvpa vaierdaaKovtcov avS' rjjefiovev 'EXecprjvcop, oo9 "ApTjos, 54XaXKaSovTidSr}^, pueyaOvpLCov apxS 'Afidvrav.rat S' dp! "AfiavTes eirovTO Oool, OTTidev fcopLOCovres,

al'XjjLijTal, pLepLacores dpe/CTrjcnv pLeXlrjcnv6dopr)ica

I A I A A O S B. 47

teal SdeveXos, Kcnravrjos aya/eXeirov t\.09 vlo^'rolai S' dp! EvpvaXos rpiTaTO*; Kiev, lcr66eo

48 IAIAAOS B.

teal &pvov, 'A\(petoto iropov, koI evKrtrov Alirv,

Kal Kviraptao-rjevra Kal *Ap,

IAIAA02 B. 49

twv av reaaapes apx01 ecrav 8e/ca 8' avSpl /cdcrT

50 IAIAA02 B.

Crete and Rhodes : with the story of Tlepolemos.

KprjTwv 8' 'ISofievevs 8ovpi/c\vTb

IAIAA02 B. 51

Nipev

52 IAIAA02 B.

/cal S0/X09 rjfiLTeXrfs' rov o e/crave AdpSavo? dvr\p,1/170? aTToOpuxTKovra irdXi) 7rpcoTicrrov 'Ayaicov.

ovde pev ouS' oi avapyoi eaav, iroOeov ye p,ev dpyovdXkd aTeai\ao

IAIAA02 B. 53

rcov av6' TfyelaOriv 'Ao-k\t)7tiov 8vo iralhe,

Ijjttjp' dyadco, IIo8a\eipio

54 IAIAA02 B.

Which were the best horses, and -which the best men.

Ovtoi ap rjyep,6ve

Tt? T ap tcov o% api(TTO er\v, av fiot evverre, puovcya,avTOiv, rjb^ Xirirfov, ot ap?

'

'ATpeiByo-tv cttovto.

"Iinrot ptev ptey dptarat ecrav ^rjpTjrtdBao,raKea

IAIAA02 B. 55

ol 8' ar/opas dyopevov eVt Tlpidp.010 Ovprjcnv,

irdvTe

56 IAIAA02 B.

addvaroi Be re arjp,a ir6\vo-Kap9p,oLo MvpLvr)^'evQa Tore Tpcoe'9 re Sietcpidev ^8' eiriKovpoi. 815

The muster.

TpcocrX p,ev rjyefioveve p,e

IAIAA02 B. 57

twv r)p-)l 'IttttoQoos re UvXaios t , oo9 Aprjos,vie Bvo> Arjdoio He\ao~yov Tevra/j.i8ao.Avrap Qpifixas rjy '.4/ca/za? kcl\ Heipoos rjpcos,

ocraowi 'EWijcnrovros dydppoos euros iepyei. ^45Ev

58 IAIAA02 B.

o? Kal yjpvcrov eywv irokefiovfi 'lev, rjure Kovprj*vr)iuos, ovSe re 01 to %ev Avklwv Kal TXavKOS dflVflCOV,Trfkodev i/c Avkvy]^, Hdvdov diro ZivrjevTOS.

THE ILIAD.

BOOK III.

Advance of both forces described.

Avrap e7ret KocrfirjOev dp? Tjyepbovecrcnv eKacrroi,

Tp&es fMev KXayyf} r ivoTrj} t icrav opviOes w?,rjVTe irep /cXayyi] yepdveov ireXei ovpavodi irpo,a'C t iirel ovv %eip,a>va r}ai N6ro

60 IAIAAOST.

vrdXXcov 'Apyeicov irpoKaXi^ero irdvra

iaiaaos r. 61

irovrov iimfkaxra^, erdpow; ipirjpas ayelpas,/u%#et? dWoBairoicri yuval/c eveiBe avfjyes

ef tt7TW79 yair)

t>2 IAIAA02T.

Apyo? e? lir7r6/3oTov Kal AyaitBa KaXXiyvvaiKa. 75' S2

I A I A A O 2 r. 63

redvalrj aWot Be BiaKpivOeire rd^iara.oicrere 8' apv, erepov \evKov, erepTjv Be p,e\atvav,

yfj re Kal r)e\l(0' Ad 8' i)fjLel olo~op.ev aWov.

Priam is sentfor to assist hi ratifying the compact.

"A^ere Be IIpuifMOto fii'rjv, ocpp^ op/cta rdfivrj 105

aiiTos, eirel ol 7rai8ep Be irporl aarv Bvco KrjpvKas eirepireKapira\lfxw

64 iaiaaos r.

ov? e0ev e'iveic eiracfyov vir "ApTjos ira\ap,dwv,dyyov 8' icrrapevt] irpocrecpr) 7r68a9 co/cea ''Ipis

'

Aevp Wi, vvfi(f>a cpiXr), Xva 0ecfce\a epya iSrjai x 3

Tpcocov & imrohdyutov teal ^Ayaiwv yaKKO-ycroivtov o't irpiv eir aWrjXotcrc (f>ipov woXvhaicpvv aprjaev TreSico, okoolo \t\cuop,evoi 7ro\ep,oio,

ol hr) vvv earat crtyfj (VoXe/no? 8e irerravraC)dtriricrL K/c\ifivoi, irapd 8' eyyea p,aicpa TreTrrjyev. '35

avrdp 'A\eav8po

iaiaaost. 65

01 8' &)? ovv eXhovO* 'EXevijv iirl irvpyov iovcrav,rjica 777369 ttW^Xou? eirea irrepoevT dyopevov *55Ou vep.ecnjp,t8a9 ofeXev ddvaTos p.oc d8eiv a09, QiriroTe 8evpovlii crco 7r6p,r)v ddXap-ov yvoirovs re Xnrovcra

iral8d re rrjXvyerrjv Kal OfirjXtKi'ijv iparecvqv. '75dXXa rd y ouk eyevovro to Kal KXaiovaa TerrjKa.tovto 8e toi epico, 6 fi dveipeai y)8e p.eraXXd^'

OVT09 7' 'ATpetdrj*;, evpv Kpeicav 'Ayafiep-vav,

66 IAIAA02 T.

ap,

IAIAA02 T. 67

toj)

68 IAIAA02 r.

As her eyes run over the host, theyfail tofind Castor andPolydeukes.

Nvv 8' aWov? p,ev iravra^ opw eXiKcoira^ '*Ayaiovs,oils K6P iv yvoirjv icai t ovvopua p,v87] 8 ov 8vvafJbcu I8eeiv KocrpbrjTope Xawv,KddTopd 0' 'nnr68apov feat 7ruf dyadbv Ho\v8evKea,avTOfcao-LyvrjTCt), r ical olvov iv

I A I A A O 2 T. 69

*/2v (f>dro, piyrjaev 8' 6 yepwv, eVeXeucre 8 eraipoisXirirov^ ^evyvvp.evai' rol 8' orpaXewi eiridovTO. 2

av 8' dp eftr) IIpiap.o$, Kara 8' rjvia relvev oirUrawirap 8e oi 'Ai'Ti'jvcop irepLKaXXea firjcreTO 8i(f>pov.

rot 8e 8id 'Zkcliwv 7re8iW8' exov t7T7rof?.'j4\\' crre 817 p lkovto p,erd Tpcoa? teal 'A^cuovs,

ig '(.ttttohv a7ro/3dvTe$ irrl ydova TrovXvfioTeipav 265

e? p.ecraov Tpeocov zeal 'A-^aiwv eoriyowvTO.

a>pvvro 8' avTiK emena ava% dvBpwv 'Ayafiifivcov,av 8' 'OBvaevs 7to\v/j,ijtc

JO IAIAA02 T.

r\ re Kal iaao/xevotcrc /xer avOpcoiroiai ireX/qrau

el 8' av e[xol Tifirjv JTp/a/xo? TLpidpuoib re 7ratSe?

riveiv ovk edeXcoaiv *A\e%dv8poio 7T(t6vto Kal eirena p.a^o'opiat eive/ca 7roivr)? Ke TeXos iroXe/xoto Ki-yeiw.*H, Kal diro aTOfj,d%ov

IAIAA02 T. 71

Hector and Odysseus measure off the lists, and shake the helmetuntil the lot of Paris leaps forth.

"Eicjcop Be Ilpidfioio irdi? koX 8lo

72 IAIAA02 I.

and stride into the lists.

01 8' eirel ovv etcarepOev 6/jliX.ov dcopij^drja-av, 34e? pueaaov Tpdxov Kal 'Ayaiaiv iaTL^ocovro8ecvbv BepKOfievoc 0dp,/3oTcoTptyOd tc Kal Terpa^Od 8iarpvev eKireae ^etpo?.^ArpetBr)^ S' oifico^ev I8cbv et'9 ovpavbv evpvvZev irdrep, ov Tt9 creio decov 6Xo(OTepo

IAIAA02 r. 73

rjtX^V Tra\dfiT]iv iraicriov, ov$ efidkov /mv.'if, /ecu eirai^as tcopvdo

74 IAIAA02 r.

KaXXet re cttiX/3cov Kai etp,acrcv ovBe zee (pair)? "

dvBpl fia-^Tja-d/uievov tov y eXOelv, dXXa yopovBeep%ead', r)e yopolo veov Xtfyovra KaQl^eiv.

,N

/2? (pdro, rfj ' apa dvpibv evl cnr\Qe dpyr)ri (paeivw,atyfj, 7rdcra

IAIAA02 r. 75

Aphrodite and Helen enter Paris's house.

At 8' or 'AXe^dvBpoLO Bopov ireptKaXXe Ikovto,dpcpiiroXoc fiev eireira #o

76 IAIAA02 r.

*H pa, zeal ap%e \e%o

THE ILIAD.

BOOK IV.

The Gods in council.

Ol Be Oeoc 7rcip Zrjvl Kadrf/j,evot r/yopoavroXpvcre

78 IAIAA02 A.

el 5' av Trca

IAIAAOS A. 79

threatening, however, to destroy such of her cities as he may please,in thefuture, as the price of his concession.

AXXo Be tol epeco, crv S' ivl cppecrl fidXXeo arjatv

'

oTTirore Kev Kal eyco fiefiaco

80 IAIAA02 A.

dOdvaroi.

rAIAAOZ A. 8l

evpe AvKaovos vlbv dp,vp,ovd Te Kparepov re

kcnaoT\ dfi

82 IAIAA02 A.

d(3\r)ra nrrepoevra, p,e\aivewv epp,' oBvvdavalilra 8' eVl vevpf) KareKocrfiei TTiKpbv oiaTOV,

evyero ' 'AttoWwvi XvKrjyevei kKvtoto^w

dpvwv irpwToybvwv pe^eiv K~\.eiTr)v efcaTOfiftrjv 120

ol/caBe vo(7Tr)aa

IAIAAOZ A. 83

afKporepov, Koap.05 #' itttto) eXarrjpi re kvBo$' 145roioi roi, MeveXae, p,idv6r)v atfiart prjpol

evcpvees Kpfjfiat re IBe acpvpa kuX' virevepOe.

Agamemnon is struck with dismay,

'Piyrjaev 8' ap* erreira aval; dvBpcov 'Ayap.ep.vcov,&>? elBev p,e'Xav alpia /carappeov ii; oyreiXr)^'piyrjaev Be /cat ai/ro

84 IAIAAOS A.

kclS Si Kev ev%(o\r)v Tlptdpw koX Tpcoal XtVot/iev'Apiyeirjv 'EXevrjv ceo 8 oared nzvaei apovpaKeip,evov iv Tpolrj dreXeVT^rw ivrl epyw. 175Kai Ke Tt? c5S' epeet, Tpcocov vireprjvopebvrwvTVfi/3a> eiTiBpdiO'Kwv MeveXdov KvhaXlp,oio

aW* ovTco

IAIAAOI A. 85

/3^ 8' levai Kara \abv 'Ayaicov yaXKoycTcovaivirairraLvtov ijpcoa M.ayiiova. rbv 8' evorjaev 200ko-raoT dp

86 IAIAA02 A.

ovSk KaraTrTOiacrovT\ ou8' ov/c eOeXovra fid^eadac,dXXa jjuaXa (Tirevhovra ixdyjiv e? KvSidvetpav. 225i7T7Tov

IAIAA02 A. 87

,v

.f2? o ye Koipaveeov 7re7r w? irep ifMOi, irieetv, ore Ov/jlos dvd>yr).

aXX' opaev 7r6\efi,6v8' , olos 7rdpo

88 IAIAA02 A.

ft>? 8' or' arrb a/coinf)? el8ev ve(po

IAIAAOS A. 89

MrjBe Tt? LTnroavvrj re Kal r)voper)Be koI 01 rrporepoi 7ro\ca9 ore Blov 'EpevOaXioova KareKrav.oU' ov 7ra)9 dp,a irdvra deol Boaav dv0paJ7roio~tv ' 320el rore Kovpos ea, vvv avre fie yrjpa? bira^ei.dWa Kal C05 iTTirevcn pbereaaopcac r/Be KeXevacof3ov\r) Kal fx,v0ocai ' to yap ye'pas earl yepovrccv.at^/x.a? 6" alxp.daaovat vecorepoc, o'i irep ifielooirKorepoi yeydaat ireiroldao-iv re f3lrjiv. 325

next, to Menestheus,

*/2? e

90 IAIAA02 A.

and to Odysseus,

Avrap 6 ttXtjctiov ecrrrj/cei 7ro\vfA7)Ti

IAIAAOS A. 91

Tov 8' eTTLfieiStjcras 7rpoo~e

92 IAIAAOZ A.

aWa Zevs erpeyfre Trapaicria cnjfiaTa cpaivcov.ol 8' eirel ovv oy^ovro I8e irpb 68ov iyevovro,

'A(TC07rbv S' ikovto QaQvayoivov Xe^eiroirjv,evd' avr' dyyeXcijv eVl Tv8i) areiXav 'Ayatoi.avrdp 6 fti), 7ro\e

IAIAA02 A. 93

tcetvot Be o~(perepr)o~iv drav 7rpoae(pT] Kparepbs Aiop,i]8r]v.dXX' aye 8rj teal vcb'C p,e8(bp,eda OovpiBos dXfcrj

94 IAIAAOZ A.

fivpiai aTt]Kacnv dp,eXy6p,evai ydXa Xevicov,ar}%e

IAIAAOI A. 95

tov p' efiaXe 7rp

g6 IAIAA02 A.

r) /jbiv r' d^ofxevrj Kelrcu iroTapLolo Trap' o^Oa?.

tolov ap' 'AvOep.iBrjv Stfxoetcrtou i^evdpi^evAlas Bioyevrj tov S' "AvTi(f)o

IAIAAOS A. 97

ov ixav oi/B' 'A%i\ev

98 IAIAA02 A.

"EvOa Kev ovkcti epyov avrjp ovocrairo fierekdwv,69 Tt? er a/3\r)Tos ical avovraro^ 6ei ^aX/ea> 540Bivevoi Kara /xecraov ayot Be e UaXXa? 'Adrjvq%eip6

THE ILIAD.

BOOK V.

Athena endues Diomede with might, and sends him into thefray.

"Evd' av TvBetBr) Aiop,r)8eC IlaXka^ 'AOqvr)

8a)K ixevos Kal Odpcros, tv' k8t]\o$ /xera iraaiv

'Apyeiouri yevoiro I8e /cX,eo

IOO IAIAAOS E.

ov8' t\t) 7repi/3r)vai d8eXetov KTap,evoiO'

ov8e yap ov8e tcev avros virei^pvye Krjpa p,eXaivav,dXX' " HcpatcrTOpovTTpcorw yap arpecpOevri p,era

IAIAA02 E. IOI

tov fiev dp' 'IBofxevevs Bovpl kXvtos ey%ei paicpio 45vv^' 'ittitoov i7ri/3ria6p,ei'ov Kara Be^iov wpovifpare 8' if; o^eoyv, crrvyepos o" dpa puv ctkotos elXe.

Tov fiev dp' I8op,evi)o

102 IAIAAOS E.

iaa (piXoKrt re/cecrai, yapi^opevT) rrbael a>.rbv pev 4>v\el8r)evyovra pera8popd8r)v eXacr'- oopov 80(pacrydva) d'i'^as, curb 8' e^ecre XLPa /^apetav.alparoeaura 8e %ei/j 7re8l(p rreae' rbv 8e rear' ocrae

eXXa/3e 7rop

IAIAAOS E. IO3

He is wounded by Pandaros,

Tbv 8' &>9 ovv evorjae Av/cdovo? ayXabs fto? 95Ovvovt* a/jb Trehiov, trpb eOev Kkoveovra (pdXayyas,at-v/r' eVl TvSetSr) eriralvero Ka/iirvXa ro^a,

/cal /3aA,' eiratacrovra TV%a>v Kara Se^tbv co/ulov,

6cop7)ico7jpbt,

S?7#' dvayjqo-eaQai /cparepbv /3eX,o?, el ireov p,eSipaev ava% Albs u/09 aTropvvp,evov Av/clrjOev. 105

*{2 etpar^ evj(o^evo^' rbv 8' ov /3e'Xo9

104 IAIAAOS E.

*V2? earJ

ev^ofxevos' tov 8' efcXve JTaXXa?'

'A0rjvr),

lyvia S' edij/cep i\apd, 7roSa? /ecu %eipa

IAIAA02 E. I05

tovs Liev eacr' 6 8' "Aftavra LLercoyero Kal IIo\vl8ov,

u/ea? Evpv8dpavro

106 IAIAA02 E.

09 Tt9 o8e Kpareei Kal Brj kclkcl iroWa eopye 175Tpaas, eirel 7roWa)v re Kal ecr&XSiv yovvar* ekvaevel [At) Ti? 0eo

IAIAA02 E. 107

d\\' iyco ov Tridofirjv, rj t' dv iroiXv KepBwv rjev,'iTnroiv (peiBo/xevos, fit] fjioc Bevotaro op/3f)9 \17rov, avrap 7reo

I08 IAIAAOS E.

Tbv 8' avre irpoaeeitre Av/cdovos dyXao? vl6'Alvela, av fiev avrb/cea9 Xttttovs. 240rovs Be iBe SdeveXos, Kcnravrjios dyXabs vlos,al^jra Be TvBeiBrjv eirea rrrepoevra 7rpoar)v8a'

TvBeiBrj AibfirjBes,fic3 Ke%apicrfieve Ovfiw,

avBp' opoco Kparepoi iir\ cot fiefiacore fidyecrQai,

Iv* direXeOpov e%ovra

IAIAAOS E. 109

ov yap fioi yevvalov dXvaicdovTL fid%

IIO IAIAAOS E.

rH pa, real afxireiraXatv Trpoiei BoXl^octklov ey^o?, 280Kal /3d\e TvBeiBao /car' dcnrLBa' t% Be Bid irpbal^purj 'yakKeir) irTafxevi] dcoprj/ct ireKaaOrj.rat B' 7rl p,atcpbv ducre Avkuovos dyXabs vios'

BeftXrjai Kevewva Biapsirepes, ovBe o- ' oi'coBrjpbv er' dvo-^aeo'dac' ifiol Be p,erf efr^o? eBcoKas. 285

Diomedes slays Pandaros and disables Aeneas, who is rescued byAphrodite.

Tbv B* ov Tapfijiaas irpoaecpr] fcparepbs A{,op,rfBr)

IAIAAOS E. Ill

6\d vir' 'Ay^icrrj reice /3ov/coXeovrt'dficpl 8' kbv (plXov vlbv i%evaro rrrj-^ee XevKco,irpoade Be ol TreirXoio (paeivov Trrvyfi' eicdXv-tyev, 3 X 5

epicos efiev f3eXeu)v, fir) Tt

112 IAIAAOS E.

aW' ore Bij p' eiclyave ttoXxjv icaO* ofxtXov OTrd^cov,eW e7rope^dfievo

IAIAAOS E. 113

Ares lends Aphrodite his steeds, which, Iris being charioteer, conveyher to her mother, Dione.

114 IAIAAOS E.

rerXaOi, r'eicvov e/xov, ical dvda^eo KrjBofievr) irep.iroXXol yap Btj rXrjfjbev 'OXvfirria Bcop^ar' e^ovre^eg dvBpcov, ^aXeir' aA/ye' eV dXXijXoiai ridevres.rXr) p,ev "Aprjfia> evi cmfiapai r/XrjXaro, Kr)8e Be Ovpubv. 400T&5 S' eir\ TIatrjcov 68vv7jv7)Keaar ' ov Liev yap ri Karadvr/ros, 7' erervKro.a^erXio

IAIAAOZ E. 115

i\66vr' eK iroXeptoto /cat alvrj? StjVottjtos.tu> vvv Tv8el8r)

Il6 IAIAAOS E.

yiyvcocr/ccov o ot, avrbs vireipeye yelpas ^AiroWoava\X o y ap ovoe oeov pbeyav a'ero, tero o aietAlvelav KTeZvat, kcli cltto kXvtcc, rev^ea Bvcrai. 435rpls fiev eireiT* eiropovcre KaraKrapevac p,eveaiv(OV,

rpls Be ol io-rvcpeXt^e cpaecvrjv a

IAIAAOS E. 117

who re-animates the Trojans.

*fls L7ra)v avrbs fiev icpe^ero IIepydp,(p a/cprj, 460Tpcoa? Be

Il8 IAIAAOS E.

tvvt) 8' ecTTTjicas, arap ov8' dXXotcrc /ceXevets 4S5Xaotacv /jueue/xev Kal dp,vvepevai topeacn.

fir] 7T9 dip-ten Xivov dXovre iravdypov,

dvhpdcn 8uap.eve'eaaiv eXcop Kal Kvppa yevrjcOe'ol 8e Td%' i/c^ipo-ovcr'

v vacop,ivr]v ttoXiv iipu-qv.

aol 8e xpr) TaSe irdvra fieXetv vvktcle/xo? ayvas (popeei lepa? kclt^ dXeods

dv8po3V XiKpuuiVTwy, ore Te fjavdr) ArjpurJTrjp 500/cpLvrj eTrecyopLevcov dvepcov Kapirov re Kal dyvas'al 8 vTToXevKaivovTai dyvppaat' a>? tot' AmatolXevxol virepde yevovTo Kovio-dXrp, ov pa 81' ai)TOivoupavbv e's iroXvyaXKov eTreirXrjyov ir68e

IAIAAOS E. II 9

Autos 8' Alvetav ptdXa iriovos e% dBvroto

^kc, /cat ev aT7)decrcri /xevos /3d\e Trotptevt \awv.Atvetas 8 erapotcrt pedio-Taro' toI 8' e^dprjaav,co? etBov ^(oov re /cat dprepea irpoatovra 515/cat ptevos ecrOXov k^ovra' perdWrjadv ye ptev ov re.ou yap ea irovos aXXos, bv dpyvpoTo^os eyetpev"Ap7]

120 IAIAA02 E.

tov pa kclt* dairiBa Bovpl /3a\e tcpelcov 'Aya/xepLvavrj B' ov/c eyxps epvro, Bid irpb Be eccraro ^ixXko^,

veiaiprj ' ev

IAIAAOS E. 121

to, (ppovecov, iva ^epcrlv inr' Alveiao BapLeirj.

top 8' i8ev 'AvtiXo^o^, p.eya8vp.ov Neo-ropos vtos, 565

ft?] Be Bid irpopudyjav irepl yap Bee iroip.evt Xawvfit} tl TrdOoL, fieya Be acpas drroacp^Xet-e ttovoco.

to) p.ev Br) %elpd

122 IAIAAOS E.

/cparepai' fjpxe $' apa i iidyeo-dai*

/2

IAIAAOS E. 123

o^ea, 7ra/j,(f)av6(ovTa' ad/cos 8' dveBe'ifaro iroXXa.

avrdp 6 Xd% 7rpo

124 IAIAAOS E.

Sarpedon replies, the spears are discharged at the same moment, andthe challengerfalls.

Tbv S' av Sap7rr)$eov, Av/cicov dyos, avrlov i)v8a'TXrjTroXep,' rj rot, /celvos dirajXeaev "IXiov Iprjvdvepos d, 650ov8' a7reSa)^' ittttovs, wv eweicd rrjXoOev rfkOe'col 8' iya> ivOdSe (prjpu 6vov koX Ki)pa pueXcuvav

ef ifiedev rev^eaOai, ipucp 8' vtto 8ovpl 8ap,evTa

v%o

IAIAAOS E. 125

p.epp/r)pi^e S' eirena Kara (ppeva Kal Kara 6vp.ov

rj Trporepco Acbs viov iptySoinroio Suokoi,rj o ye rcov irXeovcov Avklcov airo 6vp.bv eXocro.

ovB' dp' '08vo~o~fji p,eyaX/jTopi pLopcripov r)evi Kara 8' 6

126 IAIAAOS B.

aims 8' ifnrvvvdr), irepl Be 7rvoirj ftopeao&>ypet eTTLirvelovcra KaKcos Ketcacprjora Bvfxov.

'Apyeloi 8' vir' "Aprjl xal "E/cropt, j^aXKOKopvarrjovre Trore irpoTpeirovTO fieXatvdtov iirl vtjS>v 700

ovre 7tot' dvrefyepovTO f^^XV' dXX' cilev birCaam%dov0', co? iirvOovTO p,era Tpcoeaaiv "Aprja."EvBa Tiva irpwrov, rlva 8' vararov i^evdpitjav

"E/CTcop re IIpidp,oio irais ical ^dX/ceos "Aprjs

;

dvriBeov TevBpavr', eirl Be TrX^nnrov 'Opearrjv 705Tprjxpv t' alxfArjTtjv AItcoXcov Olvofxaov re,Olvo7rl8rjv 0' "EXevov real 'Opecrfitov aloXop,irpr}v,6? p' iv"TXrj valecnce fxeya ttXovtoio fie/jL7]X(o

IAIAAOS B. 127

"Hfir) 8' a/i

128 IAIAAOS E.

And the two goddesses, with Hera as charioteer, hasten toOlympus,

"Hprj Be fido-Tiyi Sows eVe/iou'ei-' dp 1 lttttovs'avTOfiarai, Be irvKai, p,vKov ovpavov, a? e%ov V^PaitT579 7ri,TeTpa7rrai /xeya? ovpavb

IAIAA02 E. 129

fjbe

I30 IAIAAOS E.

dcrirtBo^ ev/cv/ckov t&> retpero, tcdfive Be ^etpa,

av B' io~%a)v rekafjioiva KeXatvecpe? alfi dirofiopyvv.lirireiov Be 6ed vyov rjylraro (pcovrjaev re'

She begins by reproaching