Homer Iliad 1.312

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The army thus in sacred rites engaged,
Atrides still with deep resentment raged.
To wait his will two sacred heralds stood,
420
Talthybius and Eurybates the good.
'Haste to the fierce Achilles' tent,' (he cries,)
'Thence bear Briseïs as our royal prize:
'Submit he must; or, if they will not part,
'Ourself in arms shall tear her from his heart.'
425

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

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.) — 1.312 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.) — 1.312 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.) — 1.320 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.312 focus
Then they went on board and started sailing along the watery pathways. But the son of Atreus bade the people purify themselves; so they purified themselves and cast their impurities into the sea. [315] Then they offered hecatombs of bulls and goats without blemish on the sea shore, and the smoke with the savor of their sacrifice rose curling up towards the sky. Thus did they busy themselves throughout the army of warriors.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 1.312 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.312 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 1.312 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.312 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)) — 1.312 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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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 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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Apollo’s name-epithet formulas which have the same metrical shape as the divine names in the dative in the eukhomai + dative formulas, but which are not used in this system because, unlike the others, they begin with a vowel (here, words occurring before Apollo’s two dative formulas that always end with a consonant)

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commentary on ‘gracious’ in the context of appeasing Apollo’s mēnis through ritual

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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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While Agamemnon's excessive style fails to persuade us that he can undertake action to equal his language, and Nestor's speech has some effect but remains unsupported by any action on his part, Odysseus, in a simple speech, accomplishes the healing restitution of Khryseis with an utterance that matches exactly the act he is performing at the moment: "Khryses, the lord of men Agamemnon has sent me to bring you the child and sacrifice a holy hecatomb to Phoibos for the Danaans" (1.442-44). The narrative confirms the efficacy of this speech, as sacrifice is made and the mission departs (Martin 1993:120).

Odysseus extends the description of his task slightly with a graceful but strictly unnecessary relative clause: "Phoibos, who now has set much-lamented griefs on the Achaeans." The seemingly insignificant relative clause is a sign that Odysseus gives his audience more than it needs, for its own sake. This is not the same as Agamemnon's cumulative style, which adds detail only to shore up sagging rhetoric or to sting his audience with taunts. Beneath the similar citations of seemingly gratuitous detail lie opposed visions of the audience's need (Martin 1993:120-21).

For the broader analysis of Odysseus' style as "positioning," see the comment on Iliad 3.212-223.

References

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

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