Homer Iliad 1.130

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Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 1.130 focus
Translations (9)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 1.130 focus
Iliad Perseus (Homer. The Iliad of Homer, rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. London: Longmans, Green, and Co, 1898.) — 1.120 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.130 focus
Then the warlord Agamemnon said, “Achilles, valiant though you be, you shall not thus get the better of me in matters of the mind [ noos]. You shall not overreach and you shall not persuade me. Are you to keep your own prize [ geras], while I sit tamely under my loss and give up the girl at your bidding? [135] Let the Achaeans find me a prize [ geras] in fair exchange to my liking, or I will come and take your own, or that of Ajax or of Odysseus; and to whomsoever I may come shall regret my coming. [140] But of this we will take thought hereafter; for the present, let us draw a ship into the sea, and find a crew for her expressly; let us put a hecatomb on board, and let us send Khrysēis of the lovely cheeks also; further, let some chief man among us be in command, [145] either Ajax, or Idomeneus, or godlike Odysseus, or yourself, son of Peleus, mighty warrior that you are, that we may offer sacrifice and appease the anger of the Arch-Destroyer god.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.130 focus
Then thus the king. 'Shall I my prize resign
'With tame content, and thou possess'd of thine?
'Great as thou art, and like a god in fight,
'Think not to rob me of a soldier's right.
170
'At thy demand shall I restore the maid?
'First let the just equivalent be paid; 1
'Such as a king might ask; and let it be
'A treasure worthy her, and worthy me.
'Or grant me this, or with a monarch's claim
175
'This hand shall seize some other captive dame.
'The mighty Ajax shall his prize resign,
'Ulysses' spoils, or e'en thy own be mine.
'The man who suffers, loudly may complain;
'And rage he may, but he shall rage in vain.
180
'But this when time requires. It now remains
'We launch a bark to plough the watery plains,
'And waft the sacrifice to Chrysa's shores,
'With chosen pilots, and with lab'ring oars.
'Soon shall the fair the sable ship ascend,
185
'And some deputed prince the charge attend.
'This Creta's king, or Ajax shall fulfil,
'Or wise Ulysses see perform'd our will;
'Or, if our royal pleasure shall ordain,
'Achilles' self conduct her o'er the main;
190
'Let fierce Achilles, dreadful in his rage,
'The god propitiate, and the pest assuage.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.130 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.130 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.130 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 1 focus
English Bridge (Amelia Parrish and Gregory Crane, 2021) (OCR draft) Experimental (English Bridge (Amelia Parrish and Gregory Crane, 2021)) — 1.130 focus

New Alexandria Commentaries

Gregory Nagy

The comments I offered in Classical Inquiries 2016-2017 on Iliad Rhapsody 1 through Rhapsody 24, starting here with Rhapsody 1, were based mostly on details that derive from seven books that I indicate in the Bibliography by way of these abbreviations: BA, GMP, H24H, HC, HPC, HQ, HR, MoM, PasP, PH. Each one of these books has its own index locorum. My colleague Anita Nikkanen, an Associate Editor for the online project A Homer commentary in progress, tracked the sequences of Homeric verses as listed in the indices for six of these books and then summarized my comments on those verses. Following up on her meticulous work, I am in the process of converting her summaries into a form of commentary that is being incorporated into AHCIP. My comments on the Iliad as I presented them in Classical Inquiries 2016-2017 are merely samplings of the content that I hope to contribute to the overall commentary, to which a number of other colleagues are also contributing their own comments. That said, I now proceed to offer a sampling of comments on Rhapsody 1. At this point, my comments about this beginning of beginnings need no further introduction of their own.

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“The Rage of Achilles,” by Giovanni Battista Tiepolo, 1757, [public domain], via Wikimedia Commons.

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In Agamemnon’s language of blame as directed against Achilles, eris ‘strife’ is a defining feature of Achilles.

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Insulted by Agamemnon, Achilles experiences instantaneous akhos ‘grief’, I.01.188, which will then undergo a metastasis into mēnis ‘anger’. As we will see in what follows, that anger will then cause akhos ‘grief’ for the Achaeans as an aggregate, and that collective akhos ‘grief’ will end only after Achilles unsays his mēnis ‘anger’, as signaled finally at I.19.074–075.

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The epithet applied to the hair of Achilles, xanthos/xanthē ‘golden’, is a marker of the hero’s future immortalization.

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There are three Homeric contexts where the word menos ‘mental power’ seems to be the functional equivalent of mēnis ‘anger’. But the question is, can we say that such functional equivalence is relevant to the derivation of both nouns menos and mēnis from the root men-, which refers to a mental activity or a mental state? This question is relevant to another question: in the language of Homeric poetry, how do we define a synonym? As we will see in comments to come, an answer to such a question depends on our understanding of Homeric language as a formulaic system. On the terms formula and formulaic system*, see the inventory of Words and Ideas.

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Leonard Muellner

commentary on timē as ‘prestige’ in this context

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Agamemnon’s misapprehension about being the object of Zeus’ affection and esteem (later corrected in I.09)

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Agamemnon’s response to Achilles’ oath, question of social rank (with reference to timē he receives from many, including Zeus)

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Agamemnon’s social prestige is at issue when he is dishonored (in the context of discussing mēnis as incurred by violations of the value system based on group distribution and reciprocal exchange)

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Agamemnon’s response to Achilles’ oath, question of social rank (with reference to Achilles’ claim to superiority that Agamemnon dismisses as violence)

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Agamemnon’s response to Achilles’ oath, question of social rank (with reference to Achilles’ claim to superiority that Agamemnon dismisses as physical prowess)

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commentary on the relative status of Agamemnon and Achilles, with Agamemnon’s being presented as superior because of his wider rule, but he seems to lack superior force or cunning (cp. myth of Zeus’ kingship)

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Agamemnon’s response to Achilles’ oath, question of social rank, and making an analogy between Apollo’s depriving him of Chryseis and his depriving Achilles of Briseis (geras)

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Agamemnon’s response to Achilles’ oath, question of social rank, making an analogy between Apollo’s depriving him of Chryseis and his depriving Achilles of Briseis (geras), and Apollo’s mēnis as a response to an offense in the domain of status (justifying Agamemnon’s seizing of Briseis)

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Agamemnon’s mēnis (in the context of discussing mēnis as incurred by violations of the value system based on group distribution and reciprocal exchange)

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comment on the conflict between Agamemnon and Achilles being couched in the same language as that between Zeus and Poseidon, and the same relationship obtaining between them, too

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comment on the conflict between Agamemnon and Achilles being couched in the same language as that between Zeus and Poseidon, and the same relationship obtaining between them, too

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Achilles’ responding to Athena’s holding him back from attacking Agamemnon with a proverb about reciprocal obligations

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Richard Martin

The formula epea pteroenta serves two functions within the poem. On a purely imagistic level, the phrase evokes the swiftness, irrevocability, directness, and reciprocal nature of speech—the adjective affirms the basic notion in the noun. On the narrative level, as a synonymous phrase for muthos, this formulaic line can be used to introduce highly marked speeches. Only sixty-one of the poem's approximately six hundred speeches are described as "winged words," and this selectivity has real meaning (Martin 1993:30-31).

These sixty-one speeches share a common pragmatic speech situation: winged words are spoken by one person to one other—rarely to two—and the addressee is in close contact with the speaker, usually as a comrade-in-arms. More significantly, every speech called "winged words" constitutes one specific speech-act class: in the terminology of speech-act theory, all sixty-one are "directives"—every speech thus introduced is meant to make the listener do something. The underlying unity is not immediately apparent because diverse surface structures—direct imperatives, hints, statements of need, questions, narratives—can each perform the same illocutionary function in an appropriate context (Martin 1993:31-32).

Achilles' winged words upon recognizing Athena in Book 1 (1.201-5) illustrate this at once: the speech takes the form of an interrogative—"Why have you come, child of aegis-bearing Zeus? Is it to see the hubris of Agamemnon, son of Atreus?"—yet functions as a directive: Athena should perceive things the way Achilles does. Her reply confirms that she fully reads the illocutionary force of his words rather than responding as if they constituted an actual request for information. Because form and function can vary in the employment of directives, the individual speaker has opportunity to perform and to exercise expressive creativity (Martin 1993:32-33).

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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Athena's warning to Achilles is referred to by the narrator as a muthos (1.221). The formula "nor did he disobey the muthos of Athena" (1.220-21) is another of the audience-response formulas the poet uses to emphasize the moment of persuasion (Martin 1993:23).

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Athena's command to Achilles at 1.207-18 appears to be less the unfettered directive of a beneficent goddess and more a bargain struck among equals. The phrase "if you will obey" (1.207) takes on new resonance in the context of the distribution of muthos commands: Athena is a low-status divinity in this hierarchy, merely the messenger of Hera, and her rhetorical strategy relies on citing this higher authority (1.207-9). Her pronoun use slips into an authoritative plural at 1.214, "obey us," a phrase that, by raising the issue of persuasion again after only six lines, characterizes her lack of authority. She is portrayed through Homer's phrasing as more like a messenger of her father, announcing the motivation of Hera in the manner that Dream describes Zeus' motives in Book 2 (2.26-27). In this light, Achilles' reply to her muthos becomes more relevant to the situation: in commenting on the superior nature of obedience to the gods (1.217-18), he signals to Athena that he realizes her dilemma and will contribute to boosting her status by deigning to obey, at the price of being listened to later. The brief scene proceeds as if Achilles were the one demanding submission (Martin 1993:48-49).

For the comment on the comment on muthos as the ideal form of authoritative speech and Zeus' paradigm commands, see the comment on Iliad 8.5-27.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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The combination khrē men with which Achilles opens his reply to Odysseus in Book 9 (9.309) occurs only one other time in the Iliad: in Achilles' reply to Athena at 1.216-18. Just as Achilles meditates slaying Agamemnon and Athena intervenes, asking twice for him to be persuaded, Achilles makes the choice of words instead of deeds and affirms the theological correctness of his choice with a gnomic statement: "It is necessary (khrē men), goddess, to keep your word, even for one angered in spirit, since it is better--- the gods pay heed to the one who obeys them" (1.216-18). The particle men is never complemented explicitly by the expected de, but the string kai mala per in line 217 might substitute for this: in effect, Achilles says "I will obey (on the one hand) but I am still angry (on the other)." His immediate cessation of speech puts these words into action (Martin 1993:197-98).

The two speeches form a diptych: in Book 1, Achilles grants divine speech a privileged position; in Book 9, he draws attention to his own speech, which is, paradoxically, a denial of the possibility of persuasion. As in Book 1, the context in Book 9 is explicitly a battle of rhetoric, Achilles' word against that of Agamemnon. There is a strong hint that the young warrior deserves to be ranked with the oldest as both speaker and instructor of the niceties of speech (Martin 1993:198, 200-201).

For the khrē men opening of the Book 9 speech and its analytical implications, see the comment on Iliad 9.307-429.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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Zachary Rothstein-Dowden

As Thomson argues, the metaphor is for words as fletched arrows that fly straight to their mark. With this image can be contrasted the adjective ἁμαρτοεπής 'whose words miss the mark' of Il. 13.824. The same conception of words as missiles is implicit in the use of ἵημι in the sense of 'utter' (LSJ I.A.2, cf. Il. 3.221-2).

Thomson, J. A. K. “Winged Words.” The Classical Quarterly, vol. 30, no. 1, 1936, pp. 1–3.

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