Homer Iliad 1.280

Samuel Butler (Translator)

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

Current edition Perseus

Iliad (English) (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.)

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.) — 1.285 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.) — 1.285 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.285 focus
And Agamemnon answered, “Sir, all that you have said is true, but this man wants to become our lord and master: he must be lord of all, king of all, and chief of all, and this shall hardly be. [290] Granted that the gods have made him a great warrior, have they also given him the right to speak with railing?”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.285 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.285 focus
Here on the monarch's speech Achilles broke,
And furious, thus, and interrupting, spoke:
'Tyrant, I well deserv'd thy galling chain,
'To live thy slave, and still to serve in vain,
'Should I submit to each unjust decree:
390
'Command thy vassals, but command not me.
'Seize on Briseïs, whom the Grecians doom'd
'My prize of war, yet tamely see resum'd;
'And seize secure; no more Achilles draws
'His conqu'ring sword in any woman's cause.
395
'The gods command me to forgive the past;
'But let this first invasion be the last:
'For know, thy blood, when next thou dar'st invade,
'Shall stream in vengeance on my reeking blade.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.285 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.285 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.285 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)) — 1.285 focus

New Alexandria Commentaries

Douglas Frame

evidence for the description of D.B. Monro’s understanding of the verb anései, as a compound verb meaning “to place” or “set upon”

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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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Here is one of the three Homeric contexts where menos ‘mental power’ seems to be a functional equivalent of mēnis ‘anger’. But note the further comments at I.01.207.

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Agamemnon as speaker refers to the oneidea ‘words of insult’ directed at him by Achilles, who has been resorting to the language of blame in his quarrel with the over-king.

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example of epei me (enclitic) in the context of the analysis of EPEISE read as epei sé (non-enclitic) as opposed to epei se (enclitic), according to Herodian

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Leonard Muellner

comparison of the representation of Minos and Zeus (here, regarding dispensing themistes), in the context of comparing Plato’s Hippias to Minos

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doubt that Agamemnon’s greater age commands more respect than Achilles’ genealogy, in the context of commentary on the relative status of Agamemnon and Achilles

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commentary on the relative status of Agamemnon and Achilles, with Nestor (contra Agamemnon) considering Achilles’ divine birth as part of his status

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commentary on the relative status of Agamemnon and Achilles, with Agamemnon’s being presented as superior because of his wider rule, but he seems to lack superior force or cunning (cp. myth of Zeus’ kingship)

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Nestor’s call to Agamemnon to put an end to his mēnis, in the context of commentary on the relative status of Agamemnon and Achilles and who therefore has right to mēnis

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comparison of the situation between Achilles and Agamemnon with that between Poseidon and Zeus (I.15), where Achilles and Poseidon differ in that the first does not give in while the second does

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commentary on the establishment of a zero relationship between Achilles and the Achaeans with Agamemnon, in which Achilles expresses his mēnis

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comment on the process of exchange and value of the terms proposed by Chryses as meeting the social approval of the whole group, as Mauss’ principles would require

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comment on the social exile of Achilles

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Richard Martin

Nestor of Pylos enters the Iliad just when it seems all speech must fail, and his very first effort at persuasion succeeds. In a system that judges style by results, Nestor holds a preeminent place; this characteristic marks all his speech in the poem. The speech he makes on arrival is highly inventive in attempting to appease three separate audiences: the two flyting heroes and the Achaeans in camp. Moreover, the syntax and discourse structure of the speech enact, at a poetic level, the notion of mutual support aimed at in Nestor's words. Binary structures abound, presenting a rhetorical model for two-sidedness (Martin 1993:101-2):

"A great sorrow has come to Akhaia / There might rejoice Priam / and Priam's children / Other Trojans might be glad / if they hear of these two fighting / Who excel at counsel / and at fighting / Both are younger than me / I once consorted with better than you..."

Agamemnon's comment, that Nestor has spoken kata moiran, can be taken literally: the command to be reconciled is rigorously "proportionate" at the poetic level, down to the rhythm and structure of each verse, as it is at the rhetorical level, according praise and blame equally to Agamemnon and Achilles. Nestor resembles the perfect praise-poet in the ideology of the Indo-European tradition precisely because he enacts this equal distribution. The epithet "having sweet words," hēduepēs, with which he is introduced in the Iliad (1.248), has a long heritage in this tradition, and furthermore refers to divine speech within Greek archaic poetry (Martin 1993:102).

The application of gnomic precedents and the employment of recollection present two more features characteristic of Nestor in this speech and in all his performances. The two strategies, proverbs and recollections, are related, in that both require the formal presentation of "memory," one on the level of narrative, the other that of the phrase. And memory is active throughout Nestor's rhetoric at yet another level, that of praise: he is continually "memorializing" his audience, in a manner akin to the poet's. We find that the totality of his performances marks Nestor as a unique orator, a speaker whose rhetoric rests on eulogy. It is exactly his role as praise-poet—therefore, as one who practices the craft of the epic itself—that gains Nestor the most explicitly favorable depiction of any speaker in the poem (Martin 1993:102-9).

For the broader analysis of Nestor as master of the memory genre and his use of commands, see the comment on Iliad 1.259-274.

References

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

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