Iliad 1.428

View: By Book

Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 1.428 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.) — 1.428 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)) — 1.428 focus
Then she left him, still furious at the loss of the slim-waisted girl [430] that had been taken by force [ biē] from him. Meanwhile Odysseus reached Khrysē with the hecatomb. When they had come inside the harbor they furled the sails and laid them in the ship’s hold; they slackened the forestays, lowered the mast into its place, [435] and rowed the ship to the place where they would have her lie; there they cast out their mooring-stones and made fast the hawsers. They then got out upon the sea shore and landed the hecatomb for Apollo the Archer; Khrysēis also left the ship, [440] and Odysseus led her to the altar to deliver her into the hands of her father. “Khrysēs,” said he, “King Agamemnon has sent me to bring you back your child, and to offer sacrifice to Apollo on behalf of the Danaans, that we may propitiate the god, [445] who has now brought sorrow upon the Argives.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.428 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.428 focus
The goddess spoke: the rolling waves unclose;
Then down the deep she plunged, from whence she rose,
And left him sorrowing on the lonely coast
In wild resentment for the fair he lost.
565
In Chrysa's port now sage Ulysses rode;
Beneath the deck the destin'd victims stow'd:
The sails they furl'd, they lash'd the mast aside,
And dropp'd their anchors, and the pinnace tied.
Next on the shore their hecatomb they land,
570
Chryseïs last descending on the strand.
Her, thus returning from the furrow'd main,
Ulysses led to Phoebus' sacred fane;
Where at his solemn altar, as the maid
He gave to Chryses, thus the hero said:
575
'Hail, reverend priest! to Phoebus' awful dome
'A suppliant I from great Atrides come:
'Unransom'd here receive the spotless fair;
'Accept the hecatomb the Greeks prepare;
'And may thy god, who scatters darts around,
580
'Aton'd by sacrifice, desist to wound.'
At this the sire embraced the maid again,
So sadly lost, so lately sought in vain.
Then near the altar of the darting king,
Dispos'd in rank their hecatomb they bring:
585
With water purify their hands, and take
The sacred offering of the salted cake; 1
While thus with arms devoutly raised in air,
And solemn voice, the priest directs his prayer:
'God of the silver bow, thy ear incline,
590
'Whose power encircles Cilla the divine;
'Whose sacred eye thy Tenedos surveys,
'And gilds fair Chrysa with distinguish'd rays!
'If, fir'd to vengeance at thy priest's request,
'Thy direful darts inflict the raging pest;
595
'Once more attend! avert the wasteful woe,
'And smile propitious, and unbend thy bow.'
So Chryses pray'd, Apollo heard his prayer:
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.428 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.428 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)) — 1.428 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.

draft js image error📷

“The Rage of Achilles,” by Giovanni Battista Tiepolo, 1757, [public domain], via Wikimedia Commons.

source

The mētis ‘mind, intelligence’ of the local goddess Thetis is linked with the heroic potential of her son Achilles.

source

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.

source

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’.

source

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.

source

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.

source
Leonard Muellner

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

source

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

source

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

source

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

source

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

source

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

source
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).

source