Homer Iliad 1.531

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.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

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.) — 1.531 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.) — 1.520 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.531 focus
When the pair had thus laid their plans, they parted—Zeus to his house, while the goddess left the splendor of Olympus, and plunged into the depths of the sea. The gods rose from their seats, before the coming of their father. Not one of them dared [535] to remain sitting, but all stood up as he came among them. There, then, he took his seat. But Hera, when she saw him, knew that he and the Old One’s daughter, silver-footed Thetis, had been hatching mischief, so she at once began to upbraid him. [540] “Trickster,” she cried, “which of the gods have you been taking into your counsels now? You are always settling matters in secret behind my back, and have never yet told me, if you could help it, one word of your intentions.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.531 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 1.531 focus
The shining synod of th' immortals wait
690
The coming god, and from their thrones of state
Arising silent, rapt in holy fear,
Before the majesty of heaven appear.
Trembling they stand, while Jove assumes the throne, 1
All, but the god's imperious queen alone:
695
Late had she view'd the silver-footed dame,
And all her passions kindled into flame.
'Say, artful manager of heaven,' (she cries,)
'Who now partakes the secrets of the skies?
'Thy Juno knows not the decrees of fate,
700
'In vain the partner of imperial state.
'What fav'rite goddess then those cares divides,
'Which Jove in prudence from his consort hides?'
To this the Thunderer: 'Seek not thou to find
'The sacred counsels of almighty mind:
705
'Involv'd in darkness lies the great decree,
'Nor can the depths of fate be pierced by thee.
'What fits thy knowledge, thou the first shalt know:
'The first of gods above and men below:
'But thou, nor they, shall search the thoughts that roll
710
'Deep in the close recesses of my soul.'
Full on the sire, the goddess of the skies
Roll'd the large orbs of her majestic eyes,
And thus return'd; 'Austere Saturnius, say,
'From whence this wrath, or who controls thy sway?
715
'Thy boundless will, for me, remains in force,
'And all thy counsels take the destin'd course,
'But 'tis for Greece I fear: for late was seen
'In close consult the silver-footed queen.
'Jove to his Thetis nothing could deny,
720
'Nor was the signal vain that shook the sky.
'What fatal favour has the goddess won,
'To grace her fierce inexorable son?
'Perhaps in Grecian blood to drench the plain,
'And glut his vengeance with my people slain.'
725
Then thus the god: 'Oh restless fate of pride,
'That strives to learn what heaven resolves to hide;
'Vain is the search, presumptuous and abhorr'd,
'Anxious to thee, and odious to thy lord.
'Let this suffice: th' immutable decree
730
'No force can shake: what is, that ought to be.
'Goddess submit, nor dare our will withstand,
'But dread the power of this avenging hand;
'Th' united strength of all the gods above
'In vain resists th' omnipotence of Jove.'
735
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.531 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.531 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.531 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)) — 1.531 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 reference here to the Will of Zeus, as recapitulated in the words of the goddess Hērā, repeats a main theme in the plot or narrative arc of the Iliad: the damaging of the tīmē ‘honor’ of Achilles by the Achaeans will lead to the akhos ‘grief’ that they will experience at the Battle for the Ships, when their very survival will be threatened by the fire of Hector. What Achilles had wished for has by now become the Will of Zeus: the Achaeans-as a group- will from now on keep losing until the fire of Hector reaches the ships.

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Leonard Muellner

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

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analysis of Zeus’ and Hera’s exchange and its diction recalling the mēnis theme

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analysis of Zeus’ and Hera’s exchange and its diction recalling the mēnis theme

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analysis of Zeus’ and Hera’s exchange and its diction recalling the mēnis theme

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analysis of Zeus’ and Hera’s exchange and its diction recalling the mēnis theme

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Richard Martin

Hephaistos attempts to patch up the quarrel between Zeus and Hera "by code-switching, as it were": instead of aggravating the confrontation between two powerful performers, in which Hera has just challenged the muthos of her husband (1.565), he advises Hera to use soft language instead (1.582-83) (Martin 1993:21).

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