Homer Iliad 1.400

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.) — 1.386 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
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.386 focus
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.
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

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

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The monstrous figures of Briareos and Aigaion, synthetized as one person in this context, conjure up the theme of the-Achilles-who-would-have-been if his father had been the god Zeus instead of the hero Peleus. This Achilles-who-would-have been is connected with the primal themes of biē ‘force, violence, strength’. (Here and everywhere, I transcribe this word by way of its Homeric form, biē, instead of its later form, biā.)

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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.

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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’.

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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.

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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.

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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

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

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

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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

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

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

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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).

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