Homer Iliad 1.206

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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.) — 1.206 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.) — 1.206 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.) — 1.200 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.206 focus
And Athena said, “I come from the sky, if you will hear me, to bid you stop your anger [ menos]. Hera has sent me, who cares for both of you alike. [210] Cease, then, this quarreling, and do not draw your sword; rail at him if you will, with words, and your railing will not be vain, for I tell you—and it shall surely be—that you shall hereafter receive gifts three times as splendid by reason of this present outrage [ hubris]. Hold, therefore, and obey.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.206 focus
'Forbear!' (the progeny of Jove replies)
'To calm thy fury I forsake the skies:
'Let great Achilles, to the gods resign'd,
275
'To reason yield the empire o'er his mind.
'By awful Juno this command is giv'n;
'The king and you are both the care of heav'n.
'The force of keen reproaches let him feel,
'But sheath, obedient, thy revenging steel.
280
'For I pronounce (and trust a heav'nly pow'r)
'Thy injur'd honour has its fated hour,
'When the proud monarch shall thy arms implore,
'And bribe thy friendship with a boundless store.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.206 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.206 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.206 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)) — 1.206 focus

New Alexandria Commentaries

Douglas Frame

commentary on Nestor’s comparison between the heroes of his youth and those at Troy as possible model for comparisons of men of today with heroes at Troy

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evidence for the description of D.B. Monro’s understanding of the verb anései, as a compound verb meaning “to place” or “set upon”

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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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Here is one of the three Homeric contexts where menos ‘mental power’ seems to be a functional equivalent of mēnis ‘anger’. But note the further comments at I.01.207.

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Agamemnon as speaker refers to the oneidea ‘words of insult’ directed at him by Achilles, who has been resorting to the language of blame in his quarrel with the over-king.

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example of epei me (enclitic) in the context of the analysis of EPEISE read as epei sé (non-enclitic) as opposed to epei se (enclitic), according to Herodian

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Leonard Muellner

comparison of the representation of Minos and Zeus (here, regarding dispensing themistes), in the context of comparing Plato’s Hippias to Minos

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comment on the process of exchange and value of the terms proposed by Chryses as meeting the social approval of the whole group, as Mauss’ principles would require

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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doubt that Agamemnon’s greater age commands more respect than Achilles’ genealogy, in the context of commentary on the relative status of Agamemnon and Achilles

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commentary on the relative status of Agamemnon and Achilles, with Nestor (contra Agamemnon) considering Achilles’ divine birth as part of his status

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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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Nestor’s call to Agamemnon to put an end to his mēnis, in the context of commentary on the relative status of Agamemnon and Achilles and who therefore has right to mēnis

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comparison of the situation between Achilles and Agamemnon with that between Poseidon and Zeus (I.15), where Achilles and Poseidon differ in that the first does not give in while the second does

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commentary on the establishment of a zero relationship between Achilles and the Achaeans with Agamemnon, in which Achilles expresses his mēnis

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comment on the process of exchange and value of the terms proposed by Chryses as meeting the social approval of the whole group, as Mauss’ principles would require

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comment on the social exile of Achilles

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Richard Martin

In his first intervention in the poem, Nestor uses the device of recalling the past in order to legitimate his claim on authority in the present: "But obey. You are both younger than I. Already I have been with men better than you and they never slighted me" (1.259-74). The act of recalling here focuses precisely on Nestor's ability to command: "And they understood my counsels and obeyed the muthos" (1.273). The ability to command—mastery of the first muthos genre—is enhanced when the speaker has the ability to foreground his own directives by retrojecting the act of command through another rhetorical genre, recollection. This latter genre, apart from commands and flyting, is the only other one to be labeled muthos (Martin 1993:79-80).

The master of the genre of memory is Nestor. What the Iliad seems to leave as a gap—having been shown the persuasive power of Nestor, based on his ability to remember and remind, an audience might expect him to be the one capable of convincing Achilles to rejoin the battle—is resolved by the fact that Odysseus takes on the job, and fails; Nestor succeeds, but with the wrong audience, Patroklos. The central trope in both these speeches is explicitly an act of memory. Odysseus says of Peleus' speech: "Thus the old man instructed, but you forget" (9.259). The same line recurs in Nestor's words to Patroklos (11.790). Nor is the strategy of dramatic memory limited to these two speakers: Phoinix, who stands in for Nestor in the embassy scene, uses a long discourse from memory as the centerpiece of his attempt to induce Achilles to return (9.527) (Martin 1993:80-81).

As a general rule, characters in the Iliad do not remember anything simply for the pleasure of memory. Recall has an exterior goal. Memory bestows a mantle on its practitioners: in recalling the words of Kalkhas, for example, Odysseus exhibits a seerlike ability to describe and interpret what is not present (Martin 1993:81). The crucial difference between the memory performance of Odysseus and that of Nestor has to do with the self-presentation of the speaker. Odysseus foregrounds himself as performer, explicitly quoting another authority whom he can be seen to overcome in the contest of speaking. Nestor, on the other hand, presents himself not as a speaker but as a heroic performer of both words and deeds. His narrative of personal experience is convincing because it calls for emulation, even challenge. It becomes the mainspring of memory that powers the entire second half of the poem's action (Martin 1993:82).

References

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

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Nestor of Pylos enters the Iliad just when it seems all speech must fail, and his very first effort at persuasion succeeds. In a system that judges style by results, Nestor holds a preeminent place; this characteristic marks all his speech in the poem. The speech he makes on arrival is highly inventive in attempting to appease three separate audiences: the two flyting heroes and the Achaeans in camp. Moreover, the syntax and discourse structure of the speech enact, at a poetic level, the notion of mutual support aimed at in Nestor's words. Binary structures abound, presenting a rhetorical model for two-sidedness (Martin 1993:101-2):

"A great sorrow has come to Akhaia / There might rejoice Priam / and Priam's children / Other Trojans might be glad / if they hear of these two fighting / Who excel at counsel / and at fighting / Both are younger than me / I once consorted with better than you..."

Agamemnon's comment, that Nestor has spoken kata moiran, can be taken literally: the command to be reconciled is rigorously "proportionate" at the poetic level, down to the rhythm and structure of each verse, as it is at the rhetorical level, according praise and blame equally to Agamemnon and Achilles. Nestor resembles the perfect praise-poet in the ideology of the Indo-European tradition precisely because he enacts this equal distribution. The epithet "having sweet words," hēduepēs, with which he is introduced in the Iliad (1.248), has a long heritage in this tradition, and furthermore refers to divine speech within Greek archaic poetry (Martin 1993:102).

The application of gnomic precedents and the employment of recollection present two more features characteristic of Nestor in this speech and in all his performances. The two strategies, proverbs and recollections, are related, in that both require the formal presentation of "memory," one on the level of narrative, the other that of the phrase. And memory is active throughout Nestor's rhetoric at yet another level, that of praise: he is continually "memorializing" his audience, in a manner akin to the poet's. We find that the totality of his performances marks Nestor as a unique orator, a speaker whose rhetoric rests on eulogy. It is exactly his role as praise-poet—therefore, as one who practices the craft of the epic itself—that gains Nestor the most explicitly favorable depiction of any speaker in the poem (Martin 1993:102-9).

For the broader analysis of Nestor as master of the memory genre and his use of commands, see the comment on Iliad 1.259-274.

References

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

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