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it would appear to have been a young tree cut from the root and stripped of its branches. It was the custom of Kings to swear by their sceptres.

For an account of the contest between the Centaurs and Lapiths here referred to, see Grecian and Roman Mythology.

In antiquity, a sacrifice of a hundred oxen, or beasts of the same kind; hence sometimes indefinitely, any sacrifice of a large number of victims.

[The original is here abrupt, and expresses the precipitancy of the speaker by a most beautiful aposiopesis.—Tr.]

The Iliad, in its connection, is, we all know, a glorification of Achilles by Zeus; for the Trojans only prevail because Zeus wishes to show that the reposing hero who sits in solitude, can alone conquer them. But to leave him this glorification entirely unmixed with sorrow, the Grecian sense of moderation forbids. The deepest anguish must mingle with his consciousness of fame, and punish his insolence. That glorification is the will of Zeus; and in the spirit of the ancient mythus, a motive for it is assigned in a divine legend. The sea-goddess Thetis, who was, according to the Phthiotic mythus, wedded to the mortal Peleus, saved Zeus, by calling up the giant Briareus or Ægæon to his rescue. Why it was Ægæon, is explained by the fact that this was a great sea-demon, who formed the subject of fables at Poseidonian Corinth, where even the sea-god himself was called Ægæon; who, moreover, was worshipped at several places in Eubœa, the seat of Poseidon Ægæus; and whom the Theogony calls the son-in-law of Poseidon, and most of the genealogists, especially Eumelus in the Titanomachy, brought into relation with the sea. There is therefore good reason to be found in ancient belief, why Thetis called up Ægæon of all others to Jove's assistance. The whole of the story, however, is not detailed—it is not much more than indicated—and therefore it would be difficult even now to interpret it in a perfectly satisfactory manner. It bears the same relation to the Iliad, that the northern fables of the gods, which serve as a back-ground to the legend of Nibelungen, bear to our German ballad, only that here the separation is much greater still—Muller.

Homer makes use of this fable, without reference to its meaning as an allegory. Briareus seems to symbolize a navy, and the fable refers to some event in remote history, when the reigning power was threatened in his autocracy, and strengthened by means of his association with the people against some intermediate class.—E.P.P.

επαυρωνται.

[A name by which we are frequently to understand the Nile in Homer.—Tr.]

Around the sources of the Nile, and thence south-west into the very heart of Africa, stretching away indefinitely over its mountain plains, lies the country which the ancients called Ethiopia, rumors of whose wonderful people found their way early into Greece, and are scattered over the pages of her poets and historians.

Homer wrote at least eight hundred years before Christ, and his poems are well ascertained to be a most faithful mirror of the manners of his times and the knowledge of his age. *  *  *  *  *  *

Homer never wastes an epithet. He often alludes to the Ethiopians elsewhere, and always in terms of admiration and praise, as being the most just of men, and the favorites of the gods. The same allusions glimmer through the Greek mythology, and appear in the verses of almost all the Greek poets, ere yet the countries of Italy and Sicily were even discovered. The Jewish Scriptures and Jewish literature abound in allusions to this distant and mysterious people, the annals of the Egyptian priests are full of them, and uniformly, the Ethiopians are there lauded as among the best, the most religious, and most civilized of men.—Christian Examiner.

The Ethiopians, says Diodorus, are said to be the inventors of pomps, sacrifices, solemn meetings, and other honors paid to the gods. From hence arose their character of piety, which is here celebrated by Homer. Among these there was an annual feast at Diospolis, which Eustathius mentions, when they carried about the statues of Jupiter and other gods, for twelve days, according to their number; to which, if we add the ancient custom of setting meat before statues, it will appear to be a rite from which this fable might easily have arisen.

[The original word (πολυβενθεος) seems to express variety of soundings, an idea probably not to be conveyed in an English epithet.—Tr.]

The following passage gives the most exact account of the ancient sacrifices that we have left us. There is first, the purification by the washing of hands; second, the offering up of prayers; third, the barley-cakes thrown upon the victim; fourth, the manner of killing it, with the head turned upwards; fifth, selecting the thighs and fat for their gods, as the best of the sacrifice, and disposing about them pieces cut from every part for a representation of the whole (hence the thighs are frequently spoken of in Homer and the Greek poets as the whole victim); sixth, the libation of wine; seventh, consuming the thighs in the fire of the altar; eighth, the sacrificers dressing and feasting on the rest, with joy and hymns to the gods.

The Pæan (originally sung in honor of Apollo) was a hymn to propitiate the god, and also a song of thanksgiving, when freed from danger. It was always of a joyous nature. Both tune and sound expressed hope and confidence. It was sung by several persons, one of whom probably led the others, and the singers either marched onward, or sat together at table.

It was the custom to draw the ships entirely upon the shore, and to secure them by long props.—Felton

Suppliants threw themselves at the feet of the person to whom the supplication was addressed, and embraced his knees.—Felton.

Ambrosia, the food of the gods, conferred upon them eternal youth and immortality, and was brought to Jupiter by pigeons. It was also used by the gods for anointing the body and hair. Hence the expression, ambrosial locks.

The original says, "the ox-eyed goddess," which furnishes Coleridge with one of the hints on which he proceeds in historically identifying the Argive Juno with Io and Isis, &c. There is real wit in Homer's making her say to Jupiter, "I never search thy thoughts," &c. The principle of conservatism asks nothing of the intellectual power, but blindly contends, reposing upon the instinct of a common sense, which leads her always to surmise that something is intended by the intellectual power that she shall not like.—E.P.P.

This refers to an old fable of Jupiter's hanging up Juno and whipping her. Homer introduces it without reference to its meaning, which was undoubtedly some physical truth connected with the ether and the atmosphere.—E.P.P.

[The reader, in order that he may partake with the gods in the drollery of this scene, should observe that the crippled and distorted Vulcan had thrust himself into an office at all other times administered either by Hebe or Ganymede.—Tr.]

As Minerva or Wisdom was among the company, the poet's making Vulcan act the part of peace-maker, would appear to have been from choice, knowing that a mirthful person may often stop a quarrel, by making himself the subject of merriment.

Footnotes for Book II:

The poem now becomes more exciting; the language more animated; the descriptions more lively and figurative. Homer seems to kindle with his subject, and to press all the phenomena of nature into his service for the purpose of illustration and adornment. Jupiter prepares to keep his promise of avenging Achilles, by drawing Agamemnon into a deceitful expectation of taking the city. The forces are arranged for battle, which gives occasion for the celebrated catalogue.—Felton.

The whole action of the Dream is natural. It takes the figure of one much beloved by Agamemnon, as the object that is most in our thoughts when awake, is the one that oftenest appears to us in our dreams, and just at the instant of its vanishing, leaves so strong an impression, that the voice seems still sounding in his ear.

The Dream also repeats the words of Jupiter without variation, which is considered as a great propriety in delivering a message from the father of gods and men.

King of Pylus, an ancient city of Elis.

[Agamemnon seems to entertain some doubts lest the army should so resent his treatment of their favorite Achilles, as to be indisposed to serve him.—Tr.]

[Mercury.]

[Argus.]

Homer, in a happy and poetical manner, acquaints us with the high descent of Agamemnon, and traces the origin of his power to the highest source, by saying, that the sceptre had descended to him from the hand of Jupiter.

The power of Agamemnon as a monarch refers to his being the leader of an army. According to the form of royalty in the heroic age, a king had only the power of a magistrate, except as he held the office of priest. Aristotle defines a king as a Leader of war, a Judge of controversies, and President of the ceremonies of the gods. That he had the principal care of religious rites, appears from many passages in Homer. His power was nowhere absolute but in war, for we find Agamemnon insulted in the council, but in the army threatening deserters with death. Agamemnon is sometimes styled king of kings, as the other princes had given him supreme authority over them in the siege.

[The extremest provocation is implied in this expression, which Thersites quotes exactly as he had heard it from the lips of Achilles.—Tr.]

The character of Thersites is admirably sketched. There is nothing vague and indistinct, but all the traits are so lively, that he stands before us like the image of some absurd being whom we have ourselves seen. It has been justly remarked by critics, that the poet displays great skill in representing the opponents of Agamemnon in the character of so base a personage, since nothing could more effectually reconcile the Greeks to the continuance of the war, than the ridiculous turbulence of Thersites.—Felton.

[Some forπονος here readποθος; which reading I have adopted for the sake both of perspicuity and connection.—Tr.]

The principal signs by which the gods were thought to declare their will, were things connected with the offering of sacrifices, the flight and voice of birds, all kinds of natural phenomena, ordinary as well as extraordinary dreams.

An epithet supposed to have been derived from Gerenia, a Messenian town, where Nestor was educated.

In the pictures which Homer draws of him, the most striking features are his wisdom, bravery, and knowledge of war, his eloquence, and his old age.

For some general remarks upon the heroes of the time, see Grecian and Roman Mythology.

In allusion to the custom of pouring out a libation of pure wine, in the ceremony of forming a league, and joining right hands, as a pledge of mutual fidelity after the sacrifice.—Felton.

[Nestor is supposed here to glance at Achilles.—Tr.]

Homer here exalts wisdom over valor.

[Money stamped with the figure of an ox.]—Tr.

The encouragement of a divine power, seemed all that was requisite to change the dispositions of the Grecians, and make them more ardent for combat than they had previously been to return. This conquers their inclinations in a manner at once poetical and in keeping with the moral which is every where spread through Homer, that nothing is accomplished without divine assistance.

Homer's rich invention gives us five beautiful similes on the march of the army. This profusion and variety can never be sufficiently admired.

The superior knowledge that the poet here attributes to the Muses as divine beings, and then his occasional invocations to them, gives an air of importance to his subject and has an imposing effect.

However fabulous the

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