In making Apollo author of the plague, he was confounded with Helios, which was frequent afterwards, but is not seen elsewhere in Homer.  The arrows of Apollo were “silent as light,” and their emblem the sun’s rays.  The analogies are multitudinous between the natural and intellectual sun; but Helios and Apollo were two.—­E.P.P.

2.  There is something exceedingly venerable in this appearance of the
   priest.  He comes with the ensigns of the gods to whom he belongs,
   with the laurel wreath, to show that he was a suppliant, and a
   golden sceptre, which the ancients gave in particular to Apollo, as
   they did one of silver to Diana.

3.  The art of this speech is remarkable.  Chryses considers the army of
   Greeks, as made up of troops, partly from the kingdoms and partly
   from democracies, and therefore begins with a distinction that
   includes all.  Then, as priest of Apollo, he prays that they may
   obtain the two blessings they most desire—­the conquest of Troy and
   a safe return.  As he names his petition, he offers an extraordinary
   ransom, and concludes with bidding them fear the god if they refuse
   it; like one who from his office seems to foretell their misery,
   and exhorts them to shun it.  Thus he endeavors to work by the art
   of a general application, by religion, by interest, and the
   insinuation of danger.

4.  Homer is frequently eloquent in his silence.  Chryses says not a
   word in answer to the insults of Agamemnon, but walks pensively
   along the shore.  The melancholy flowing of the verse admirably
   expresses the condition of the mournful and deserted father.

5. [So called on account of his having saved the people of Troas from
   a plague of mice, sminthos in their language meaning a
   mouse.—­TR.]

6.  Apollo had temples at Chrysa, Tenedos, and Cilla, all of which lay
   round the bay of Troas.  Mueller remarks, that “the temple actually
   stood in the situation referred to, and that the appellation of
   Smintheus was still preserved in the district.  Thus far actual
   circumstances are embodied in the mythus.  On the other hand, the
   action of the deity as such, is purely ideal, and can have no other
   foundation than the belief that Apollo sternly resents ill usage of
   his priests, and that too in the way here represented, viz., by
   sending plagues.  This belief is in perfect harmony with the idea
   generally entertained of the power and agency of Apollo; and it is
   manifest that the idea placed in combination with certain events,
   gave birth to the story so far as relates to the god.  We have not
   yet the means of ascertaining whether it is to be regarded as a
   historical tradition, or an invention, and must therefore leave
   that question for the present undecided.”