Homer Iliad 1.386

Samuel Butler (Translator)

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I myself was first to say that we should appease him. 387 Then an anger took hold of the son of Atreus, and straightaway he stood up 388 and boastfully promised [verb apeileō] a mūthos, which now has come to fulfillment [= verb teleō, from noun telos‘fulfillment’]. The Achaeans are now taking the girl in a ship [390] to Khrysē, and sending gifts of sacrifice to the god; but the heralds have just taken from my tent the daughter of Brisēs, whom the Achaeans had awarded to myself.

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 1.386 focus
αὐτίκʼ ἐγὼ πρῶτος κελόμην θεὸν ἱλάσκεσθαι·
Ἀτρεΐωνα δʼ ἔπειτα χόλος λάβεν, αἶψα δʼ ἀναστὰς
ἠπείλησεν μῦθον ὃ δὴ τετελεσμένος ἐστί·
τὴν μὲν γὰρ σὺν νηῒ θοῇ ἑλίκωπες Ἀχαιοὶ
ἐς Χρύσην πέμπουσιν, ἄγουσι δὲ δῶρα ἄνακτι·
390
τὴν δὲ νέον κλισίηθεν ἔβαν κήρυκες ἄγοντες
κούρην Βρισῆος τήν μοι δόσαν υἷες Ἀχαιῶν.
ἀλλὰ σὺ εἰ δύνασαί γε περίσχεο παιδὸς ἑῆος·
ἐλθοῦσʼ Οὔλυμπον δὲ Δία λίσαι, εἴ ποτε δή τι
ἢ ἔπει ὤνησας κραδίην Διὸς ἠὲ καὶ ἔργῳ.
395
πολλάκι γάρ σεο πατρὸς ἐνὶ μεγάροισιν ἄκουσα
εὐχομένης ὅτʼ ἔφησθα κελαινεφέϊ Κρονίωνι
οἴη ἐν ἀθανάτοισιν ἀεικέα λοιγὸν ἀμῦναι,
ὁππότε μιν ξυνδῆσαι Ὀλύμπιοι ἤθελον ἄλλοι
Ἥρη τʼ ἠδὲ Ποσειδάων καὶ Παλλὰς Ἀθήνη·
400
ἀλλὰ σὺ τόν γʼ ἐλθοῦσα θεὰ ὑπελύσαο δεσμῶν,
ὦχʼ ἑκατόγχειρον καλέσασʼ ἐς μακρὸν Ὄλυμπον,
ὃν Βριάρεων καλέουσι θεοί, ἄνδρες δέ τε πάντες
Αἰγαίωνʼ, ὃ γὰρ αὖτε βίην οὗ πατρὸς ἀμείνων·
ὅς ῥα παρὰ Κρονίωνι καθέζετο κύδεϊ γαίων·
405
τὸν καὶ ὑπέδεισαν μάκαρες θεοὶ οὐδʼ ἔτʼ ἔδησαν.
τῶν νῦν μιν μνήσασα παρέζεο καὶ λαβὲ γούνων
αἴ κέν πως ἐθέλῃσιν ἐπὶ Τρώεσσιν ἀρῆξαι,
τοὺς δὲ κατὰ πρύμνας τε καὶ ἀμφʼ ἅλα ἔλσαι Ἀχαιοὺς
κτεινομένους, ἵνα πάντες ἐπαύρωνται βασιλῆος,
410
γνῷ δὲ καὶ Ἀτρεΐδης εὐρὺ κρείων Ἀγαμέμνων
ἣν ἄτην ὅ τʼ ἄριστον Ἀχαιῶν οὐδὲν ἔτισεν.
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.) — 1.386 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.) — 1.400 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.386 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.386 focus
'Myself the first th' assembled chiefs incline
500
'T' avert the vengeance of the pow'r divine;
'Then, rising in his wrath, the monarch storm'd;
'Incens'd he threaten'd, and his threats perform'd.
'The fair Chryseïs to her sire was sent,
'With offer'd gifts to make the god relent;
505
'But now he seiz'd Briseïs' heav'nly charms,
'And of my valour's prize defrauds my arms,
'Defrauds the votes of all the Grecian train; 1
'And service, faith, and justice, plead in vain.
'But, goddess! thou thy suppliant son attend,
510
'To high Olympus' shining court ascend,
'Urge all the ties to former service ow'd,
'And sue for vengeance to the thundering god.
'Oft hast thou triumph'd in the glorious boast
'That thou stood'st forth, of all the ethereal host, 2
515
'When bold rebellion shook the realms above,
'Th' undaunted guard of cloud-compelling Jove.
'When the bright partner of his awful reign,
'The warlike maid, and monarch of the main,
'The traitor-gods, by mad ambition driv'n,
520
'Durst threat with chains th' omnipotence of heav'n.
'Then call'd by thee, the monster Titan came;
'(Whom gods Briareus, men Ægeon name;)
'Through wondering skies enormous stalk'd along;
'Not he 3 that shakes the solid earth so strong:
525
'With giant-pride at Jove's high throne he stands,
'And brandish'd round him all his hundred hands.
'Th' affrighted gods confess'd their awful lord,
'They dropp'd the fetters, trembled and ador'd.
'This, goddess, this to his rememb'rance call,
530
'Embrace his knees, at his tribunal fall;
'Conjure him far to drive the Grecian train,
'To hurl them headlong to their fleet and main,
'To heap the shores with copious death, and bring
'The Greeks to know the curse of such a king:
535
'Let Agamemnon lift his haughty head
'O'er all his wide dominion of the dead,
'And mourn in blood, that e'er he durst disgrace
'The boldest warrior of the Grecian race.'
'Unhappy son!' (fair Thetis thus replies,
540
'While tears celestial trickle from her eyes,)
'Why have I borne thee with a mother's throes,
'To fates averse, and nurs'd for future woes?
'So short a space the light of heav'n to view!
'So short a space! and fill'd with sorrow too!
545
'O might a parent's careful wish prevail,
'Far, far from Ilion should thy vessels sail,
'And thou, from camps remote, the danger shun,
'Which now, alas! too nearly threats my son.
'Yet (what I can) to move thy suit I'll go
550
'To great Olympus crown'd with fleecy snow.
'Meantime, secure within thy ships from far
'Behold the field, nor mingle in the war.
'The sire of gods, and all th' etherial train,
'On the warm limits of the farthest main,
555
'Now mix with mortals, nor disdain to grace
'The feasts of Æthiopia's blameless race: 4
'Twelve days the pow'rs indulge the genial rite,
'Returning with the twelfth revolving light.
'Then will I mount the brazen dome, and move
560
'The high tribunal of immortal Jove.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.386 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.386 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.386 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)) — 1.386 focus

New Alexandria Commentaries

Gregory Nagy

By saying ‘sing, goddess [theā]’, the Master Narrator is saying that the song that he will perform is something that he hears from the Muse. The addressing of the Muse as theā ‘goddess’ is an Aeolian signature, as it were, since the form theā is Aeolic, as opposed to the form (hē) theos, which is Ionic. See the anchor comment at I.01.463 on Aeolians as speakers of Aeolic, vs. Ionians as speakers of Ionic.

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The mēnis of Achilles is a special kind of ‘anger’. The hero feels this anger after his tīmē ‘honor’ is damaged by the over-king Agamemnon. The Master Narrator says at verse 2 that this special anger caused algea ‘pains’ for the Achaeans. The name Akhaioi ‘Achaeans’ here at verse 2 refers to the heroes who were viewed by the ancient Greeks in a later age as their prototypes in an earlier age of heroes; two synonyms for ‘Achaeans’ in the Iliad are Danaoi ‘Danaans’ and Argeioi ‘Argives’. The word mēnis at verse 1 does not yet refer to the anger of persons other than Achilles in the Iliad. As the narration continues, however, it becomes clear that the god Apollo felt mēnis ‘anger’ at the Achaeans even before the hero Achilles felt his own mēnis.

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On mēnis ‘anger’: see especially the comment on I.01.001–002

On eris ‘strife’: see the comment on I.01.008–012

On neikos ‘quarrel’: see the comment on I.02.221

The main theme of the narration is signaled right away. By theme I mean a basic unit of content or meaning in Homeric poetry: see the inventory of Words and Ideas. The signaling is accomplished by way of the first word of the very first verse of the Homeric Iliad. The word is mēnis ‘anger’, I.01.001, and it refers to the anger of Achilles. A definitive book on this word is Muellner 1996. The Master Narrator begins his narration by focusing on this anger: he invokes a Muse, as a goddess of inspiration whom he addresses here simply as theā ‘goddess’, and he calls on her to sing for him this anger, I.01.001. On the term Master Narrator, see the inventory of Words and Ideas; on the idea of the Muse(s) as the goddess(es) of poetic inspiration, see the general comment at I.02.484–487 and the special comments at I.02.484 and at I.02.761. The subject that the Master Narrator has chosen to narrate, the anger of Achilles, is the grammatical object of the verb aeidein ‘sing’. So, the narrative subject is the grammatical object. The Master Narrator is calling on the Muse to sing the anger, not just sing about the anger. The song is not only about the anger: it is the anger itself. The song captures the total reality of the anger. The Master Narrator proceeds to tell about this anger: it happened because of a quarrel, as signaled especially by the words erizein ‘have strife’ at I.01.006 and eris ‘strife’ at I.01.008. This quarrel in the Iliad is parallel to another quarrel that is narrated in a “micro-Iliad” that we find embedded in the Odyssey. This micro-Iliad is the First Song of Demodokos, O.08.072–083, and the quarrel there is signaled especially by the word neikos ‘quarrel’ at O.08.075. It has been debated whether the quarrel scene in this “micro-Iliad” was modeled on a quarrel-scene in the Cypria, which was part of the epic Cycle. On the terms epic and epic Cycle, see the Inventory of terms and names. But the quarrel scenes of the Iliad, the Cypria, and the “micro-Iliad” can be seen as stemming from epic traditions that were originally independent of each other. On the term epic, used here for the first time in these comments on the Homeric Iliad, see again the inventory of Words and Ideas.

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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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Leonard Muellner

This line features a syntactic formula of the type described by Milman Parry (Parry 1928:17-19 =  Parry 1971:14-16). It consists of the accusative of the noun mênis (μῆνιν, usually translated as 'rage, wrath, anger') at the beginning of the line followed by a subjective genitive name (of the person whom the mênis inhabits) with epithets that concludes the line, as in Iliad 1.75, 5.444, 16.711, 19.75 (in the last attestation, the grammatical pattern is the same except that the genitive is not subjective or objective); another multiform of this syntactic pattern occurs in Iliad 19.35, where a dative of the object of the anger (Agamemnon) occurs whereas a subjective genitive is found in the other examples. Either epithets for the name or a verb governing the accusative fill up the space between line-initial μῆνιν and the name + epithet combinations at the end of the line; the current line is the only example we have in which an imperative verb and a term of address, θεά, occur in that space, but then again, this is the prooimion of the poem, not the narrative proper. One expects variation in traditional dictional patterns when the context varies, and in this case the variation pertains exactly to the conventional content of this context. One can also say that the traditional diction points at or highlights a conventional narrative usage by placing it in an extra-narrative context.

Like every word in the epic song-generating system, mênin, the first word of the poem has expressive dimensions that were disclosed to its original audiences and performers through age-old, recurrent exposure to this poetry in performance. Those dimensions are invisible to us — unless we strive to rebuild them from the existing corpus of Homeric poetry. So this word  means potentially more and potentially different things than the English words “rage” or “anger” with which it is usually translated. A contextual analysis that this commentary will track over the course of the poem supports one point that we anticipate here. mēnis is a keyword of a 'theme' or relatively formalized, larger unit of traditional content (for a working definition of the term ‘theme’ in the study of traditional poetry, see Lord 2000: ch. 4). That theme recurs within a more or less consistent set of episodes and diction elsewhere in the Homeric corpus, so its occurrence evokes a set of narratives that have a discernible pattern or patterns. We will signal the details of the patterns and their recurring diction as they reach the reader’s eyes. However, we signal now that a most illuminating instance of the mênis theme, which would make good reading before reading or re-reading the beginning of the Iliad, occurs at Iliad 15.1-142.

References

Lord, A. 1960, 2nd ed. 2000. The Singer of Tales. Cambridge.

Parry, A., ed. 1971. The Making of Homeric Verse: The Collected Papers of Milman Parry. Oxford. update

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Lia Hanhardt

The mēnis ‘anger’ of Achilles at I.01.001 towards Agamemnon the over-king is parallel to the mēnis of Aeneas at I.13.459–461 towards Priam the over-king.

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