Homer Iliad 1.428

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.) — 1.428 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.) — 1.440 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 (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.428 focus
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.

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

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Chryses uses the same words in praying to Apollo as Achilles does in praying to Zeus at I.16.237.

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Leonard Muellner

Apollo’s name-epithet formulas which have the same metrical shape as the divine names in the dative in the eukhomai + dative formulas, but which are not used in this system because, unlike the others, they begin with a vowel (here, words occurring before Apollo’s two dative formulas that always end with a consonant)

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commentary on ‘gracious’ in the context of appeasing Apollo’s mēnis through ritual

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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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example of a transformation parallel to that of formula (A) to formula (B), where eukhomenos is deleted because of the change of context from sacral to secular [MRBTP: 'ff']

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in a list of examples of absolute use of eukhesthai to report prayers (kluein + eukhesthai formulas)

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analysis of kluein + eukhesthai formulas (here, examples of absolute eukhesthai)

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analysis of ipsao and Apollo’s epithet Smintheus (as not only one who kills mice but who uses mice to kill)

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Richard Martin

While Agamemnon's excessive style fails to persuade us that he can undertake action to equal his language, and Nestor's speech has some effect but remains unsupported by any action on his part, Odysseus, in a simple speech, accomplishes the healing restitution of Khryseis with an utterance that matches exactly the act he is performing at the moment: "Khryses, the lord of men Agamemnon has sent me to bring you the child and sacrifice a holy hecatomb to Phoibos for the Danaans" (1.442-44). The narrative confirms the efficacy of this speech, as sacrifice is made and the mission departs (Martin 1993:120).

Odysseus extends the description of his task slightly with a graceful but strictly unnecessary relative clause: "Phoibos, who now has set much-lamented griefs on the Achaeans." The seemingly insignificant relative clause is a sign that Odysseus gives his audience more than it needs, for its own sake. This is not the same as Agamemnon's cumulative style, which adds detail only to shore up sagging rhetoric or to sting his audience with taunts. Beneath the similar citations of seemingly gratuitous detail lie opposed visions of the audience's need (Martin 1993:120-21).

For the broader analysis of Odysseus' style as "positioning," see the comment on Iliad 3.212-223.

References

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

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