Homer Iliad 1.458

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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.) — 1.458 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.) — 1.458 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.) — 1.440 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.458 focus
When they had done praying and sprinkling the barley-meal, they drew back the heads of the victims and killed and flayed them. [460] They cut out the thigh-bones, wrapped them round in two layers of fat, set some pieces of raw meat on the top of them. 462 And the old man burned them [= the thigh bones] over splinters of wood, and bright wine did he 463 pour over them, while the young men were getting ready for him the five-pronged forks that they were holding in their hands. When the thigh-pieces were burned and they had tasted the innards, [465] they cut the rest up small, put the pieces upon the spits, roasted them till they were done, and drew them off: then, when they had finished their work [ ponos] and the feast was ready, they ate it, and every man had his full share, so that all were satisfied. As soon as they had had enough to eat and drink, [470] attendants filled the mixing-bowl with wine and water and handed it round, after giving every man his drink-offering.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.458 focus
And now the Greeks their hecatomb prepare;
Between their horns the salted barley threw,
600
And with their heads to heaven the victims slew: 1
The limbs they sever from th' inclosing hide;
The thighs, selected to the gods, divide:
On these, in double cauls involved with art,
The choicest morsels lay from every part. 2
605
The priest himself before his altar stands,
And burns the offering with his holy hands,
Pours the black wine, and sees the flame aspire;
The youths with instruments surround the fire:
The thighs thus sacrificed, and entrails drest,
610
Th' assistants part, transfix, and roast the rest:
Then spread the tables, the repast prepare,
Each takes his seat, and each receives his share.
When now the rage of hunger was repress'd,
With pure libations they conclude the feast;
615
The youths with wine the copious goblets crown'd, 3
And, pleas'd, dispense the flowing bowls around.
With hymns divine the joyous banquet ends,
The Pæans lengthen'd till the sun descends:
The Greeks, restor'd, the grateful notes prolong:
620
Apollo listens, and approves the song.
'Twas night; the chiefs beside their vessel lie.
Till rosy morn had purpled o'er the sky:
Then launch, and hoist the mast; indulgent gales
Supplied by Phoebus, fill the swelling sails;
625
The milk-white canvas bellying as they blow,
The parted ocean foams and roars below:
Above the bounding billows swift they flew,
Till now the Grecian camp appear'd in view.
Far on the beach they haul their barks to land,
630
(The crooked keel divides the yellow sand,)
Then part, where stretch'd along the winding bay
The ships and tents in mingled prospect lay.
But, raging still, amidst his navy sat
The stern Achilles, steadfast in his hate;
635
Nor mix'd in combat, nor in council join'd;
But wasting cares lay heavy on his mind:
In his black thoughts revenge and slaughter roll,
And scenes of blood rise dreadful in his soul.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.458 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.458 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.458 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)) — 1.458 focus

New Alexandria Commentaries

Douglas Frame

discussing Hephaistos’ being the son of Hera and Zeus in Homer, in contrast to in Hesiod

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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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A totalizing idea of song—including not only the actual singing but also the dancing and the instrumental accompaniment—is embodied in a performance by the Muses and Apollo combined in the idealized context of the divine abode on top of Mount Olympus.

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Leonard Muellner

analysis of Zeus’ and Hera’s exchange and its diction recalling the mēnis theme

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analysis of Hephaistos’ speech to Hera and its associations with the mēnis theme

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analysis of Hephaistos’ speech to Hera and its associations with the mēnis theme

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analysis of restorative social power of narration of mēnis akin to the activity of Apollo and the Muses

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Richard Martin

At 1.582-83, Hephaistos advises Hera: "Approach him with soft epea and right away, the Olympian one will be propitious to us." Words alone do not complete the reconciliation: Hephaistos' advice to Hera is joined to his gesture of offering her a cup (line 585) and to his comic autobiographical story (lines 586-94); the ensemble of word and action carries the scene to its harmonious end (Martin 1993:20).

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