Yamagata, p. 21; Hard, p. 31; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. Padel, in discussing Homer's use of atē (p. 174), calls this sequence the "atē-sequence" and "Homer's damage-chain": "In most but not all Homeric contexts, atē and aaō seem to mark inner, prior 'damage' done to the mind, which then causes a terrible outward act. Call it the X-act. it is a mistake, a crime, with consequences: further outward 'damage.' Damage in the world. Atē belongs in a causal chain. Damage, X-act, damage. This chain is the word's main point"; and when discussing Ate as personified by Homer, Padel notes (p. 181) that Ate can represent either the first place or last place in this sequence (or both at once, as she does in the Iliad's "allegory of the Prayers", see below). Sommerstein 2013, p. 3 has a somewhat more expanded view, seeing this atē-sequence as a "process ... starting with a divine initiative and finishing with a human catastrophe, whose beginning, middle and end can all be called atē", and that this "whole process" can be thought of "as a single instance of atē".
Coray, pp. 50–51 on 86b–138, 57 on 94, 72 on 128–130; Padel, p. 182; Davies, p. 2.
Coray, p. 56 on 91 πρέσβα; Padel, p. 182; Homer, Iliad19.90. Murray and Padel translate Homer's πρέσβα here as 'eldest'. According to Coray, the word πρέσβα "means 'venerable', perhaps in rank and dignity in the case of goddesses", while noting that "the meaning 'eldest' ... may be heard here as well".
Whether to capitalize atē or its translation, to indicate personification or not, is an editorial choice made "according to the degree of prsonification suggested by the phrase." (West 1978, p. 210 on 213 Δικης). So "occurs" here means the capitalization of the word by the editor/translator being cited, while at the same time understanding that, according to Padel, p. 181: "orthography makes no difference to how she [Ate] operates". For discussions of the use of both Ate, and the much more frequently occurring atē (particularly as used in Homer and Greek tragedy), see: Dodds, pp. 2–8, 37–41; Doyle 1984; Padel, pp. 167–196 (Chapters 16, 17, 18), pp. 249–259 (Appendix); Sommerstein 2013.
Dodds, p. 5, describes the instances of the personification of atē in the Iliad as "transparent pieces of allegory". Cairns, pp. 24–25, calls Ate an ad hoc Homeric invention, and says that it is only for the purposes of the argument Homer is presenting that "Atē is actually a goddess". Coray, p. 59 on 95–133, says that it is an open question "whether Ate is a Homeric creation". Padel, p. 169, notes that such modern distinctions between, for example "concrete and metaphorical", may have little meaning for Homer, and, p. 181, that "Homer personifies atē twice. Here, according to conventions of scholarship and poetry which imitates Greek, we start calling her Ate. But orthography makes no difference to how she operates".
For discussions of Ate (and atē) in Homer see: Padel, pp. 167–187 (Chapters 16, 17); Cairns 2012.
Padel, p. 181; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. For a discussion of the so-called "Parable of the Prayers", see: Held 1987, Yamagata 2005.
Padel, pp. 174, 181, which sees Ate here as part what Padel calls "Homers damage-chain": mental damage, causing a bad act, causing damage in the world, with Ate occupying both the front and back of this causal chain.
Hard, p. 31; Dodds, pp. 2–3. For a detailed commentary on Book 19 see Coray 2016.
West 1966, p. 232 on 230 Δυσνομίην τ’ Ἄτην τε; Hesiod, Theogony230. The phrase "much like one another" might apply to all the previously listed children of Eris, however according to Doyle, p. 25, the usual interpretation is that the phrase applies just to Dysnomia and Ate.
For discussion of tragic usage see Doyle 1984; Padel, pp. 188–196 (Chapter 18), 249–259 (Appendix); Sommerstein 2013.
Yamagata, p. 21; Hard, p. 31; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. Padel, in discussing Homer's use of atē (p. 174), calls this sequence the "atē-sequence" and "Homer's damage-chain": "In most but not all Homeric contexts, atē and aaō seem to mark inner, prior 'damage' done to the mind, which then causes a terrible outward act. Call it the X-act. it is a mistake, a crime, with consequences: further outward 'damage.' Damage in the world. Atē belongs in a causal chain. Damage, X-act, damage. This chain is the word's main point"; and when discussing Ate as personified by Homer, Padel notes (p. 181) that Ate can represent either the first place or last place in this sequence (or both at once, as she does in the Iliad's "allegory of the Prayers", see below). Sommerstein 2013, p. 3 has a somewhat more expanded view, seeing this atē-sequence as a "process ... starting with a divine initiative and finishing with a human catastrophe, whose beginning, middle and end can all be called atē", and that this "whole process" can be thought of "as a single instance of atē".
Hard, p. 31; Homer, Iliad19.95–133. It is unknown to what extent this story was part of the existing mythology of Heracles, or was an ad hoc Homeric invention, see Coray, p. 59 on 95–133.
Hard, p. 31; Dodds, pp. 2–3. For a detailed commentary on Book 19 see Coray 2016.
Hard, p. 31; Gantz, p. 10; Homer, Iliad19.95–124. For a description of the parallel structure between the preceding section of the Iliad and this section, showing the links Agamemnon is trying to make between himself and Zeus, see Coray, p. 51 on 86b–138.
Yamagata, p. 21; Hard, p. 31; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. Padel, in discussing Homer's use of atē (p. 174), calls this sequence the "atē-sequence" and "Homer's damage-chain": "In most but not all Homeric contexts, atē and aaō seem to mark inner, prior 'damage' done to the mind, which then causes a terrible outward act. Call it the X-act. it is a mistake, a crime, with consequences: further outward 'damage.' Damage in the world. Atē belongs in a causal chain. Damage, X-act, damage. This chain is the word's main point"; and when discussing Ate as personified by Homer, Padel notes (p. 181) that Ate can represent either the first place or last place in this sequence (or both at once, as she does in the Iliad's "allegory of the Prayers", see below). Sommerstein 2013, p. 3 has a somewhat more expanded view, seeing this atē-sequence as a "process ... starting with a divine initiative and finishing with a human catastrophe, whose beginning, middle and end can all be called atē", and that this "whole process" can be thought of "as a single instance of atē".
Padel, p. 181; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. For a discussion of the so-called "Parable of the Prayers", see: Held 1987, Yamagata 2005.
Rose and Dietrich, s.v. Ate; compare Solon, fr. 4 Gerber [= fr. 4 West = fr. 3 GP], 30–35 [= Demosthenes, On the Embassy19.255.33–38], where "Lawfulness [Eunomia], weakens insolence [hybris], and dries up the blooming flowers of ruin [atē]".
West 1966, p. 232 on 230 Δυσνομίην τ’ Ἄτην τε; Hesiod, Theogony230. The phrase "much like one another" might apply to all the previously listed children of Eris, however according to Doyle, p. 25, the usual interpretation is that the phrase applies just to Dysnomia and Ate.
Rose and Dietrich, s.v. Ate; compare Solon, fr. 4 Gerber [= fr. 4 West = fr. 3 GP], 30–35 [= Demosthenes, On the Embassy19.255.33–38], where "Lawfulness [Eunomia], weakens insolence [hybris], and dries up the blooming flowers of ruin [atē]".
Yamagata, p. 21; Hard, p. 31; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. Padel, in discussing Homer's use of atē (p. 174), calls this sequence the "atē-sequence" and "Homer's damage-chain": "In most but not all Homeric contexts, atē and aaō seem to mark inner, prior 'damage' done to the mind, which then causes a terrible outward act. Call it the X-act. it is a mistake, a crime, with consequences: further outward 'damage.' Damage in the world. Atē belongs in a causal chain. Damage, X-act, damage. This chain is the word's main point"; and when discussing Ate as personified by Homer, Padel notes (p. 181) that Ate can represent either the first place or last place in this sequence (or both at once, as she does in the Iliad's "allegory of the Prayers", see below). Sommerstein 2013, p. 3 has a somewhat more expanded view, seeing this atē-sequence as a "process ... starting with a divine initiative and finishing with a human catastrophe, whose beginning, middle and end can all be called atē", and that this "whole process" can be thought of "as a single instance of atē".
Padel, p. 181; Rose and Dietrich, s.v. Ate; Dräger, s.v. Ate. For a discussion of the so-called "Parable of the Prayers", see: Held 1987, Yamagata 2005.
Coray, p. 56 on 91 πρέσβα; Padel, p. 182; Homer, Iliad19.90. Murray and Padel translate Homer's πρέσβα here as 'eldest'. According to Coray, the word πρέσβα "means 'venerable', perhaps in rank and dignity in the case of goddesses", while noting that "the meaning 'eldest' ... may be heard here as well".
Hard, p. 31; Homer, Iliad19.95–133. It is unknown to what extent this story was part of the existing mythology of Heracles, or was an ad hoc Homeric invention, see Coray, p. 59 on 95–133.
Hard, p. 31; Gantz, p. 10; Homer, Iliad19.95–124. For a description of the parallel structure between the preceding section of the Iliad and this section, showing the links Agamemnon is trying to make between himself and Zeus, see Coray, p. 51 on 86b–138.
