Homer Iliad 1.33

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 1.33 focus
Translations (9)
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.) — 1.40 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.33 focus
The old man feared him and obeyed. Not a word he spoke, but went by the shore of the sounding sea [35] and prayed apart to King Apollo, whom lovely fine-haired Leto had borne. “Hear me,” he cried, “O god of the silver bow, you who protects Khrysē and holy Killa and rules Tenedos with your might, hear me O Sminthian God of Plague Apollo. If I have ever decked your temple with garlands, [40] or burned your thigh-pieces in fat of bulls or goats, grant my prayer, and let your arrows avenge these my tears upon the Danaans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.33 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.33 focus
The trembling priest along the shore return'd,
And in the anguish of a father mourn'd.
Disconsolate, not daring to complain,
Silent he wander'd by the sounding main:
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Till, safe at distance, to his god he prays,
The god who darts around the world his rays.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.33 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.33 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.33 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)) — 1.33 focus

Notes on the current edition

Iliad

1. 1

New Alexandria Commentaries

Douglas Frame

in the context of discussing ērato and Arētē

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comment on Apollo’s arrows indicating death by disease, in the context of discussing O.07.063-066

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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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The adverb aiei ‘forever’ is the old locative case of the noun aiōn ‘life-force, lifetime’. The use of the locative indicates that the ‘life-force’ keeps coming back to life by way of a ‘recircling of time’. So, aiei means literally ‘in a recircling of time’, signaling an eternal return, a perpetual starting-over.

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Leonard Muellner

Homeric prayers, of which this is a relatively standard example, are predicated upon the system of gift exchange that also prevails in human social interaction. Their form and content is a function of that and of the way in which oral traditional poetry composes themes, which are chunks of conventional discourse that exemplify fixed and variable dictional and semantic elements that vary depending upon the particular context of each instance. What we see in this particular prayer are three structural elements that are generalizable but also variable both as to their content and in their presence or absence: 1) an address to a particular divinity; 2) a statement that either generates a reciprocal relationship between the speaking human and the divinity by speech-acting the giving of an obligatory gift now or in the future, or a statement that points to the past existence of a reciprocal relationship between the speaking human and the divinity on the basis of previous successful interactions based on exchanges; 3) a request on the part of the speaking human that the divinity accomplish something on the human's behalf as a function of the divinity's present, past, or future obligation to do so because of the exchange relationship that is being generated, will be generated, or has existed in the past.

So here, Chrysēs first 1) names the divinity in local terms (1.37-39) for the god Apollo — he is not so named but has been identified by his Olympian name in the narrative preceding the prayer as its addressee (1.35); 2) states that in the past, he has put the roof on temples (in other words, completed their construction) and burnt thigh pieces, the choicest part of the sacrificial animals, bulls and goats, as gifts to the divinity that serve as the basis of the request that is coming next; and 3) requests that the divinity fulfill his wish, namely, "may the Danaans pay for my tears with your weapons," an example of negative reciprocity in which bad is returned for bad, just as the overall prayer itself is based on the exchange of good for good.

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This line is a multiform of the regular formula for concluding prayers that are labelled with the verb eukhomai, which is a word that designates three different kinds of discourse by using mutually exclusive formulas for each of the three. It has a two-part structure extending  from the line-beginning to the oblgatory word-break within the third foot and from the obligatory word-break to the end of the line. The first chunk, hōs ephat'/ephan eukhomenos/ē/oi/ai, whose subject is always a previously identified mortal or mortals, designates that the discourse that precedes the line was a prayer and is concluded, and the second chunk, tou d' eklue |¯˘˘ | ¯˘#, designates that the divinity addressed, whose name + epithet combination is specified in the space at the end of the line, 'heard' (eklue, cognate with the English word '(k)listen') the prayer (for Poseidon, just the epithet kuanokhaitēs 'with a glossy blue mane' occurs, since his name + epithet combinations are too long to fit the metrical space) . 'Heard' is functionally unmarked in English, but in only one of the 25 occurrences of this formulaic line does it mean anything less than accepted and agreed: at Iliad 16.250, where Zeus accepts one part of Achilles' request about Patroklos and refuses (the verb is aneneue 'was refusing') the other. When the response to the prayer is (exceptionally) negative, the expression tou/tēs d' eklue 'and he/she heard him/her' is replaced with aneneue de + name + epithet (once, Iliad 6.311) 'and she was refusing'  or nemesēse de + name + epithet (once, Iliad 8.198) 'and she was outraged'. There are also two places where tou/tēs d' eklue is replaced with different verbs and divine names to express an exceptionally positive response on the part of the divinity (Odyssey 2.267 and Iliad 15.377). There are also two attestations when the beginning of this line, hōs ephat' eukhomenos, is attested in a non-sacral context that evokes one of the other meanings of the verb eukhomai, 'boast (of warriors in battle)'; see Iliad 5.106 and Iliad 20.393, but in both those cases (and in no others) good medieval manuscripts attest a metrically equivalent variant hōs phat' epeukhomenos which is actually attested in the meaning 'boast' without variants in Homeric Hymn to Apollo 370; so it is clear that just the first half of this formulaic line is, despite a plausible ambiguity, traditionally associated with the meaning 'pray' in sacral contexts.

In short, this line is a manifestation of a superbly efficient and expressive system for concluding a prayer.

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The noun kēla that occurs in line is attested in Homeric and Hesiodic poetry by these three formulae at line initial position, line final position, and after the word break in the third foot:

κῆλα Διός 'kēla of Zeus' Hesiod, Theogony 708 and Fragment 204.138

κῆλα θεοῖο# 'kēla of a/the god' Iliad 1.53=1.383

||πιφαυκόμενς τὰ ἂ κῆλα 'showing those kēla of his' Hymn to Apollo 444, Iliad 12.280

The formulas designate the weapons of Zeus in three places (Iliad 12.280 and the two Hesiodic passages) and the arrows of Apollo in three places (Homeric Hymn to Apollo 444 as well as here and in the repetition of this passage at Iliad 1.383). In the case of Zeus' kēla, it is evident that the reference is to his fiery thunderbolts. What is not immediately apparent is that Apollo's kēla are in fact also fire-bearing. Here is the line from the Homeric Hymn:

ἔνθ' ἄρ' ὅ γε φλόγα δαῖε πιφαυσκόμενος τὰ ἃ κῆλα

'there he was making fire blaze, revealing those kēla of his...

And in this passage, in the line that just precedes the occurrence of the formula shared by Zeus and Apollo, kēla theoio 'the god's kēla', we read of the fire of pyres as the immediate consequence of Apollo's arrow-shooting in the line immediately before the current one:

Iliad 1.52 βαλλ'· αἰεὶ δὶ πυραὶ νεκύων καίοντο θαμεῖαι

'he was hitting them; and immediately the pyres of corpses were burning thick and fast'

It is as though the kēla cause the pyres to burn. In seeking the etymology of this term, an underlying assumption has been, I believe, that what Zeus and Apollo share are arrows or things like them (thunderbolts), and so the etymology of kēla has been sought, unsuccessfully, in words in other Indo-European languages for arrows or 'shafts'. But every occurrence of the word in Epic diction evokes fire as an aspect of the kēla. What is happening on a thematic level is also relevant, because Apollo is here exercising mēnis 'cosmic anger' (see Iliad 1.75) by way of cosmic arrows — in fact he is functioning as a variant of Zeus, since striking victims with the thunderbolt is the conventional manifestation of Zeus' mēnis. And we will see that fire and in fact cosmic fire that goes up to the sky can become an expression of Achilles' mēnis as well (on this topic, see also now G. Nagy, "Cataclysm and Ecpyrosis, two symmetrical actions of Zeus as sky-god," Classical Inquiries, May 19, 2016, http://classical-inquiries.chs.harvard.edu/cataclysm-and-ecpyrosis-two-symmetrical-actions-of-zeus-as-sky-god/). On this level, one might prefer to define this word as 'fiery shafts' rather than just 'shafts'. It is not surprising that a connection was made in the Hesiodic scholia and in a late Byzantine Homeric gloss of this line which perhaps reflects earlier exegetical traditions:

Scholion on Theogony 708: <κῆλα Διός:> τὰ καυστικὰ σημεῖα "Zeus's kēla: burning signs/omens";

13th Century Byzantine on Iliad 1.51: ...ᾤχετο κῆλα θεοῖο. παρὰ τὸν κήσω μέλλοντα τὸν δηλοῦντα τὸ καύσω. ὅθεν καὶ τό· πυρὶ κηλέῳ, τουτέστι καυστικῷ,  "kēla of the god:  [derived] from the future [form] κήσω, which shows the [verbal form] καύσω. From where also the [phrase]: πυρὶ κηλέῳ 'with blazing fire' (Iliad 8.217, etc.), that is, καυστικῷ 'burning'") from Pseudo-Zonaras Lexicon, ed. E. Crusius 1808, rear. 1967, alphabetic letter kappa, p. 1206, line 3

It is reasonable to believe that the poetic tradition also sensed the relationship between κῆλα and the verb καίω, whether by way of folk etymology or, perhaps, by way of an inherited etymological relationship.

The adjective κηλέῳ 'blazing' is attested only in the formula πυρὶ κηλέῳ 'blazing fire', in synizesis, six times in line final position, once after the triphthemimeral caesura, and once in the form πυρὶ κηλείῳ before the penthehemimeral caesura.  The form cited just above from the  as the future of the verb καίω, namely κήσω, is not otherwise attested and may be a mistake, but the form ἔκηα (Iliad 1.40 etc.), which is an archaic athematic aorist with the 1st person singular ending -ṃ that was later misunderstood as a first aorist ending -α, attests to the verbal root for 'burn' with that vocalism (κη-). That form should be reconstructed as *ἔκηϝα, to which we can compare the Thessalian εκηυα attested in a ?? inscription.

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autoisi anticipating the lifelessness of the men inflicted by Apollo

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commentary on Achilles’ solidarity in calling an assembly to face the consequences of Apollo’s mēnis

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comment on the relationship between ‘coming home’ and ‘escaping death’

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Richard Martin

The introduction of Achilles in the poem pinpoints the central quality of his commanding style. Achilles directs the Achaeans to ask a seer, priest, or dream-interpreter the cause of Apollo's anger (1.62-67); he authorizes speech by his command, and defends the speaker, Kalkhas. The plot unfolds because Achilles has taken the initiative to call an assembly, another indication of his respect for speech. In the course of Book 1 he relies on words rather than the sword to face down Agamemnon; casts down the scepter, a gesture of impatience with the degraded state of discourse; narrates his own story to Thetis; and even coaches her in techniques of argumentation to win him honor from Zeus. His style is open, communicative, adaptable (Martin 1993:138-39).

Achilles' commands are remarkable in that they seem to "negate" the notion of the speaker's authority to order. Achilles uses command to pass on that authority to others. In speech-act terms, one "felicity" condition for a directive—that the speaker be in a position to issue the order—is actually jeopardized by the directives themselves. This strategy fits with Achilles' preference for two-way communication between speaker and addressee, and the denial of command only increases respect for the hero who can risk such apparent undercutting: it is a sign of higher authority (Martin 1993:140).

For the broader analysis of Achilles' distinctive speech style, see the comment on Iliad 9.646-647.

References

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

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