Homer Iliad 1.206

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

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Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (10)
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.) — 1.206 focus
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.) — 1.200 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.206 focus
And Athena said, “I come from the sky, if you will hear me, to bid you stop your anger [ menos]. Hera has sent me, who cares for both of you alike. [210] Cease, then, this quarreling, and do not draw your sword; rail at him if you will, with words, and your railing will not be vain, for I tell you—and it shall surely be—that you shall hereafter receive gifts three times as splendid by reason of this present outrage [ hubris]. Hold, therefore, and obey.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.206 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.206 focus
'Forbear!' (the progeny of Jove replies)
'To calm thy fury I forsake the skies:
'Let great Achilles, to the gods resign'd,
275
'To reason yield the empire o'er his mind.
'By awful Juno this command is giv'n;
'The king and you are both the care of heav'n.
'The force of keen reproaches let him feel,
'But sheath, obedient, thy revenging steel.
280
'For I pronounce (and trust a heav'nly pow'r)
'Thy injur'd honour has its fated hour,
'When the proud monarch shall thy arms implore,
'And bribe thy friendship with a boundless store.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.206 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.206 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.206 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)) — 1.206 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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There are three Homeric contexts where the word menos ‘mental power’ seems to be the functional equivalent of mēnis ‘anger’. But the question is, can we say that such functional equivalence is relevant to the derivation of both nouns menos and mēnis from the root men-, which refers to a mental activity or a mental state? This question is relevant to another question: in the language of Homeric poetry, how do we define a synonym? As we will see in comments to come, an answer to such a question depends on our understanding of Homeric language as a formulaic system. On the terms formula and formulaic system*, see the inventory of Words and Ideas.

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This insult, kunos ommat’ ekhōn ‘having the looks of a dog’, directed at Agamemnon by Achilles, exemplifies the language of blame. As also at cross-ref. I.01.159, the translation ‘having the looks of a dog’ conveys the idea that vision is treated as a “two-way street.” When you look at Agamemnon and he looks back at you, he both looks like a dog and he looks back at you just as a dog would be looking back at you. The English word look conveys a comparably two-way attitude: I can say “I look at a disgraceful person” and I can also say “this person looks disgraceful to me.” To convey the two-way attitude in the original Greek here, the wording of the translation gives ‘having the looks of a dog’ instead of merely ‘having the eyes [ommata] of a dog’.

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This insult directed at Agamemnon by Achilles exemplifies the language of blame. Another aspect of the blame here is the double meaning of dēmo- in the compound formation dēmoboros: it could refer either to dēmos ‘community, district’ or to dēmós ‘fat, grease’. Metaphorically, Agamemnon is a ‘devourer of the community’ because he is like a predatory beast that devours the fat of his prey. On metaphor, see the inventory of Words and Ideas; also MoM 0§01, 0§1 Extract 0-A.

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The skēptron ‘scepter’ by which Achilles swears his Oath is here viewed as a thing of nature transformed into a thing of culture, by contrast with the scepter that is pictured in the Electra of Sophocles, 417-423.

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Achilles swears by the skēptron ‘scepter’ that he holds and then throws down to the ground. This oath of Achilles is correlated with the plot or narrative arc of the Iliad, starting from a point in time when Achilles declares his mēnis ‘anger’ all the way to the point in time when he un-declares or unsays it.

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The insulting of Achilles by Agamemnon takes on a special meaning in the Iliad because the Master Narrator recognizes Achilles as the ‘best of the Achaeans’.

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Leonard Muellner

Achilles’ responding to Athena’s holding him back from attacking Agamemnon with a proverb about reciprocal obligations

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

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meaning of themis, and disagreeing with Benveniste’s statement that themis concerns the genos and that dikē is inter-familial

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commentary on Achilles’ oath, which he takes on the scepter wielded by Achaeans who have preserved the themistes from Zeus

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discussion of themistes as coming from Zeus who provides them to the king along with the scepter

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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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mēnis and loss of solidarity in Achilles’ oath, the language of which betrays the cost of the loss

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mēnis and loss of solidarity in Achilles’ oath contrasted with I.19.151-152 where Achilles likewise speaks of himself in the third person (end of mēnis and bond of philotēs)

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scope of Achilles’ oath in the perspective of the mēnis theme

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Richard Martin

Athena's warning to Achilles is referred to by the narrator as a muthos (1.221). The formula "nor did he disobey the muthos of Athena" (1.220-21) is another of the audience-response formulas the poet uses to emphasize the moment of persuasion (Martin 1993:23).

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Athena's command to Achilles at 1.207-18 appears to be less the unfettered directive of a beneficent goddess and more a bargain struck among equals. The phrase "if you will obey" (1.207) takes on new resonance in the context of the distribution of muthos commands: Athena is a low-status divinity in this hierarchy, merely the messenger of Hera, and her rhetorical strategy relies on citing this higher authority (1.207-9). Her pronoun use slips into an authoritative plural at 1.214, "obey us," a phrase that, by raising the issue of persuasion again after only six lines, characterizes her lack of authority. She is portrayed through Homer's phrasing as more like a messenger of her father, announcing the motivation of Hera in the manner that Dream describes Zeus' motives in Book 2 (2.26-27). In this light, Achilles' reply to her muthos becomes more relevant to the situation: in commenting on the superior nature of obedience to the gods (1.217-18), he signals to Athena that he realizes her dilemma and will contribute to boosting her status by deigning to obey, at the price of being listened to later. The brief scene proceeds as if Achilles were the one demanding submission (Martin 1993:48-49).

For the comment on the comment on muthos as the ideal form of authoritative speech and Zeus' paradigm commands, see the comment on Iliad 8.5-27.

References

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

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The combination khrē men with which Achilles opens his reply to Odysseus in Book 9 (9.309) occurs only one other time in the Iliad: in Achilles' reply to Athena at 1.216-18. Just as Achilles meditates slaying Agamemnon and Athena intervenes, asking twice for him to be persuaded, Achilles makes the choice of words instead of deeds and affirms the theological correctness of his choice with a gnomic statement: "It is necessary (khrē men), goddess, to keep your word, even for one angered in spirit, since it is better--- the gods pay heed to the one who obeys them" (1.216-18). The particle men is never complemented explicitly by the expected de, but the string kai mala per in line 217 might substitute for this: in effect, Achilles says "I will obey (on the one hand) but I am still angry (on the other)." His immediate cessation of speech puts these words into action (Martin 1993:197-98).

The two speeches form a diptych: in Book 1, Achilles grants divine speech a privileged position; in Book 9, he draws attention to his own speech, which is, paradoxically, a denial of the possibility of persuasion. As in Book 1, the context in Book 9 is explicitly a battle of rhetoric, Achilles' word against that of Agamemnon. There is a strong hint that the young warrior deserves to be ranked with the oldest as both speaker and instructor of the niceties of speech (Martin 1993:198, 200-201).

For the khrē men opening of the Book 9 speech and its analytical implications, see the comment on Iliad 9.307-429.

References

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

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