Homer Iliad 1.600

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.) — 1.568 focus
Translations (8)
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.) — 1.568 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.568 focus
Then ox-vision Hera was frightened, so she curbed her stubborn will and sat down in silence. [570] But the sky-dwellers were disquieted throughout the house of Zeus, till the cunning artisan Hephaistos began to try and pacify his beloved mother Hera of the white arms. “It will be intolerable,” said he, “if you two fall to wrangling [575] and setting the gods in an uproar about a pack of mortals. If such ill counsels are to prevail, we shall have no pleasure at our banquet. Let me then advise my mother—and she must herself know that it will be better—to make friends with my dear father Zeus, lest he again scold her and disturb our feast. [580] If the Olympian Thunderer wants to hurl us all from our seats, he can do so, for he is far the strongest, so give him fair words, and he will then soon be in a good humor with us.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.568 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.568 focus
The Thunderer spoke, nor durst the queen reply;
A reverend horror silenced all the sky.
The feast disturb'd, with sorrow Vulcan saw
His mother menaced, and the gods in awe;
Peace at his heart, and pleasure his design,
740
Thus interpos'd the architect divine:
'The wretched quarrels of the mortal state
'Are far unworthy, gods! of your debate:
'Let men their days in senseless strife employ,
'We, in eternal peace, and constant joy.
745
'Thou, goddess-mother, with our sire comply,
'Nor break the sacred union of the sky:
'Lest, rous'd to rage, he shake the blest abodes,
'Launch the red lightning, and dethrone the gods.
'If you submit, the Thunderer stands appeas'd;
750
'The gracious power is willing to be pleas'd.'
Thus Vulcan spoke; and, rising with a bound,
The double bowl 1 with sparkling nectar crown'd,
Which held to Juno in a cheerful way,
'Goddess,' (he cried,) 'be patient and obey.
755
'Dear as you are, if Jove his arm extend,
'I can but grieve, unable to defend.
'What god so daring in your aid to move,
'Or lift his hand against the force of Jove?
'Once in your cause I felt his matchless might,
760
'Hurl'd headlong downward from th' ethereal height;
'Toss'd all the day in rapid circles round;
'Nor, till the sun descended, touch'd the ground:
'Breathless I fell, in giddy motion lost;
'The Sinthians 2 raised me on the Lemnian coast.'
765
He said, and to her hands the goblet heav'd,
Which, with a smile, the white-arm'd queen receiv'd.
Then to the rest he fill'd; and, in his turn,
Each to his lips applied the nectar'd urn.
Vulcan with awkward grace his office plies,
770
And unextinguish'd laughter shakes the skies. 3
Thus the blest gods the genial day prolong,
In feasts ambrosial, and celestial song.
Apollo tun'd the lyre; the muses round
With voice alternate aid the silver sound.
775
Meantime the radiant sun, to mortal sight
Descending swift, roll'd down the rapid light.
Then to their starry domes the gods depart,
The shining monuments of Vulcan's art:
Jove on his couch reclin'd his awful head,
780
And Juno slumber'd on the golden bed.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.568 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.568 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.568 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 1 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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A totalizing idea of song—including not only the actual singing but also the dancing and the instrumental accompaniment—is embodied in a performance by the Muses and Apollo combined in the idealized context of the divine abode on top of Mount Olympus.

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Leonard Muellner

analysis of restorative social power of narration of mēnis akin to the activity of Apollo and the Muses

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