Homer Iliad 1.285

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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.) — 1.285 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.) — 1.285 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.) — 1.280 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.285 focus
And Agamemnon answered, “Sir, all that you have said is true, but this man wants to become our lord and master: he must be lord of all, king of all, and chief of all, and this shall hardly be. [290] Granted that the gods have made him a great warrior, have they also given him the right to speak with railing?”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.285 focus
Here on the monarch's speech Achilles broke,
And furious, thus, and interrupting, spoke:
'Tyrant, I well deserv'd thy galling chain,
'To live thy slave, and still to serve in vain,
'Should I submit to each unjust decree:
390
'Command thy vassals, but command not me.
'Seize on Briseïs, whom the Grecians doom'd
'My prize of war, yet tamely see resum'd;
'And seize secure; no more Achilles draws
'His conqu'ring sword in any woman's cause.
395
'The gods command me to forgive the past;
'But let this first invasion be the last:
'For know, thy blood, when next thou dar'st invade,
'Shall stream in vengeance on my reeking blade.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.285 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.285 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.285 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)) — 1.285 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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The hero Achilles is linked with the word pontos in the sense of a ‘crossing’ of the sea—a ‘crossing’ that is dangerous but sacralizing.

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The word penthos is used here to indicate the ‘grief’ of Achilles. Both words akhos ‘grief’ and penthos ‘grief’ refer to the emotion felt by Achilles over the damage done to his tīmē by Agamemnon when the over-king insults him. In general, penthos ‘grief’ is a synonym of akhos ‘grief’ in Homeric diction. On Homeric diction, see the inventory of Words and Ideas.

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The theme expressed by the verb daiesthai ‘feast; divide (meat), apportion, distribute’ at I.01.368 is at work in the Strife Scene at the beginning of the Iliad—although a ‘feast’ as expressed by the noun dais is not literally the setting. Still, the grievance of Achilles has to do with his being deprived of his equitable portion of the spoils of war.

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Leonard Muellner

variation of the formula hōs phat’ eukhomenos in I.01.357 of Achilles’ prayer to his mother with hōs phato dakru kheōn, tou d’eklue…

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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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apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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in a list of examples of absolute use of eukhesthai to report prayers (kluein + eukhesthai formulas)

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classification and analysis of attestations of eukhesthai + (aorist) infinitive

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analysis of kluein + eukhesthai formulas, here, with akouein instead of kluein, and formulas with akouein as formally related to eukhomenos || toud’ eklue (= formula A)

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commentary on ‘gracious’ in the context of appeasing Apollo’s mēnis through ritual

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Achilles’ 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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Richard Martin

The formula ἔν τ' ἄρα οἱ φῦ χειρί, ἔπος τ' ἔφατ' ἔκ τ' ὀνόμαζεν—"she put her hand on him and spoke a word and called"—and its variant χειρί τέ μιν κατέρεξεν ἔπος τ' ἔφατ' ἔκ τ' ὀνόμαζεν introduce motherly, comforting language: Thetis to Achilles (1.361, 19.7, 24.127), Dione to Aphrodite (5.372), Hekabe to Hektor (6.253), or words between intimates such as Hektor and his wife (6.406, 485). The "hand-and-speech" lines represent a consistent poetic expression drawing the audience's attention to a single genre of speech: consolation (Martin 1993:18-19).

What is important in these formulas is the coordinated hand and speech gesture rather than any usefulness for introducing vocatives. Lines that include the "hand" phrase consistently introduce consolation; lines that share only the second segment—"spoke a word and called"—are employed far more freely, introducing speeches full of taunts and insult, simple questions, berating speech, concession, and invitations to pray. The lines sharing only the second segment seem to represent an innovation, a reuse of the original full-line formula without a sense of its original poetic purpose. Epos in the coordinated formula is conceived as a physical thing: gesture and utterance, the latter imagined to be just as physical as the former, claim notice (Martin 1993:19-20).

References

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

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Achilles, in his colloquy with Thetis, views both of Agamemnon's acts—against Chryses and against himself—as authoritative misuse of muthoi: "But he sent him off badly, and ordered a hard muthos" (1.379), and "anger took hold of Atreus' son, and quickly standing, he threatened with a muthos which indeed has been fulfilled" (1.387-88) (Martin 1993:22).

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