Homer Iliad 1.312

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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.) — 1.312 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.) — 1.312 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.) — 1.320 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.312 focus
Then they went on board and started sailing along the watery pathways. But the son of Atreus bade the people purify themselves; so they purified themselves and cast their impurities into the sea. [315] Then they offered hecatombs of bulls and goats without blemish on the sea shore, and the smoke with the savor of their sacrifice rose curling up towards the sky. Thus did they busy themselves throughout the army of warriors.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.312 focus
The army thus in sacred rites engaged,
Atrides still with deep resentment raged.
To wait his will two sacred heralds stood,
420
Talthybius and Eurybates the good.
'Haste to the fierce Achilles' tent,' (he cries,)
'Thence bear Briseïs as our royal prize:
'Submit he must; or, if they will not part,
'Ourself in arms shall tear her from his heart.'
425
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.312 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.312 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.312 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)) — 1.312 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 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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The mētis ‘mind, intelligence’ of the local goddess Thetis is linked with the heroic potential of her son Achilles.

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The monstrous figures of Briareos and Aigaion, synthetized as one person in this context, conjure up the theme of the-Achilles-who-would-have-been if his father had been the god Zeus instead of the hero Peleus. This Achilles-who-would-have been is connected with the primal themes of biē ‘force, violence, strength’. (Here and everywhere, I transcribe this word by way of its Homeric form, biē, instead of its later form, biā.)

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In the words of the mortal hero Achilles, speaking to his immortal mother Thetis, the status of the hero as ‘best of the Achaeans’ is linked with the akhos ‘grief’ that he experiences over the damage to his tīmē—damage caused by the insult inflicted by Agammemnon in the quarrel between the two heroes. The akhos ‘grief’ of Achilles leads to his mēnis ‘anger’, which in turn will lead to the collective akhos of all the Achaeans. The horkos ‘oath’ of Achilles, Ι.01.233, which he will swear by as he holds the skēptron ‘scepter’, I.01.234, and which he then throws to the ground to mark his oath, is coextensive with the akhos ‘grief’ that the Achaeans will suffer because of the hero’s mēnis. To the extent that the Oath of Achilles is sacred, so too is the coextensive plot of the Iliad. This plot or narrative arc, leading to devastation for the Achaeans, will be enhanced by the mētis or ‘intelligence’ of Thetis, immortal mother of Achilles; and it will be enacted by the Will of Zeus.

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The status of Achilles as ‘best of the Achaeans’ is primarily formalized by way of the epithet aristos Akhaiōn ‘best of the Achaeans’. For Agamemnon to dishonor this status of Achilles is a sign of the over-king’s atē ‘aberration’.

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The theme of le morceau du héros, which is the ‘champion’s portion’ of meat awarded to a dominant hero, is coextensive with the theme of a hero’s epic ‘destiny’, one word for which is aisa, as here. Literally, such a ‘destiny’ is the hero’s ‘portion’ or ‘allotment’. In the Iliad, the focus is on the destiny of this epic’s most dominant hero, Achilles.

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When the Olympian gods are away from their home situated on Mount Olympus, they customarily attend a dais ‘feast’, Ι.01.424, in the Land of the Aithiopes ‘Aethiopians’, Ι.01.423, whose home is situated at the two farthest imaginable extremities of the known world, that is, both in the Far East and in the Far West, on the banks of the world-encircling river named Ōkeanos, Ο.01.022–024. The idea that the Aethiopians live at both extremes of the world is an example of a theme that can best be described as a coincidence of opposites. When the gods attend the stylized feast of the Aethiopians, as when Poseidon visits them at O.01.022–026, they cannot pay attention to the feasts arranged by mortals in the central world of the heroes’ here-and-now. Such feasts would be sacrifices, involving a dais or literally a ‘division’ of meat. The word dais means ‘feast’ because any occasion of feasting in the heroic world requires a ritualized ‘division’ of the cooked meat of animals sacrificed for the occasion. See the comment on O.08.061. The word dais does not distinguish between an occasion where gods and humans feast together, as in the case of marginal figures like the Aethiopians, and an occasion where humans offer sacrifice to the gods, as in the case of central figures like the heroes in the Iliad and Odyssey. For an example of dais with reference to a feast shared by Poseidon with the Aethiopians, see O.01.026 and the comment on O.01.022–026. For an example of dais with reference to a feast resulting from a sacrifice of animals to the gods, see O.08.061.

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Leonard Muellner

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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analysis of the sacral-secular split in formulas with akouein and eukhesthai and where these words occur not in the same verse but with enjambment

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analysis of Achilles’ story of Thetis’ service to Zeus as a part of his asking Thetis to ask Zeus for a favor on his behalf

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in a list of attestations of secular eukhesthai reporting speech (absolute usage)

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analysis of the meaning of secular eukhesthai reporting speech

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Achilles’ prayer specifically entailing that Trojans should prevail until they reach the ships of the Achaeans

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solidarity at work in contexts of mēnis, here Agamemnon’s offense and its consequences for the people, in comparison with the Hesiodic religious ideas

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Agamemon’s atē leading to punishment by mēnis, in the context of Phoenix’s speech to Achilles in I.09 implying that the rule of heroic mēnis (that heroes with mēnis are just as likely to incur it as to express it) applies to the case of Achilles

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analysis of the verbal legitimating of Achilles’ mēnis and it’s exceptional nature

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the source Agamemnon’s and Achilles’ grievance against each other bound up with the mēnis theme, here explicitly attached to Achilles

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Richard Martin

Thetis refers to the message she will carry to Zeus as an epos, not a muthos: "I will go back to snowy Olympus to tell Zeus, who delights in thunder, this epos if he may obey" (1.419-20). Looking forward to the moment when she will transmit the message, Thetis uses the word that, unlike muthos, refers to the secondary transmission of an original speech-act by someone else: the focus is on the message itself (Martin 1993:26).

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