_______________________________
Homer
The
Anger of Achilles
Homer’s Iliad
translated by Robert Graves
London, 1960
[Sample from the Opening of the Poem]
BOOK
I
THE
QUARREL
INVOCATION
OF THE MUSE
Sing, MOUNTAIN
GODDESS, sing through me
That
anger which most ruinously
Inflamed
Achilles, Peleus’ son,
And
which, before the tale was done,
Had
glutted Hell with champions—bold,
Stern
spirits by the thousandfold;
Ravens
and dogs their corpses ate.
For
thus did ZEUS, who watched their fate,
See
his resolve, first taken when
Proud
Agamemnon, King of men,
An
insult on Achilles cast,
Achieve
accomplishment at last.
You
wish to know which of the gods originated the quarrel between these Greek
princes, and how this happened? I
can tell you: it was Phoebus Apollo, the son of Almighty Zeus and Leto the
Fair-Haired, who sent a fearful pestilence among the Greeks, by way of punishing
Agamemnon their High King. The
trouble began with Agamemnon’s insult of Apollo’s priest Chryses, when he
came to the Greek camp before Troy, armed with the Archer-god’s sacred woollen
headband bound on a golden wand. He
was offering a remarkably high ransom for his daughter Chryseis, whom the Greeks
held as a prisoner of war.
In an
address to the entire army, but especially their two leaders, Agamemnon and his
brother Menelaus, Chryses said: ‘Royal sons of Atreus, and all you other
distinguished warriors! I
sincerely pray that the Olympians will permit you to sack King Priam’s citadel
yonder, and to sail safe home: but only if you honour Zeus’ son Apollo, whom I
serve, by setting my daughter free.’
The
men uttered a generous roar of approval, yet Agamemnon sent Chrses about his
business. ‘Let
me catch you here again, old man,’ he shouted, ‘among these ships of war,
either now or later, and no wand nor priestly headband will protect you! Understand
this: I shall never release Chryseis. She
must spend her life as a royal concubine and weaver of tapestries in my palace
at distant Argos. Begone,
and not another word, or you can expect the worst!’
The
venerable Chryses, scared into obedience, walked silently away beside the rough
sea, until he found himself alone. He
then offered a prayer to Apollo:
‘God
with the bow of silver,
You
that take your stand
At
Chryse and holy Cilla,
Protector
of our land,
Great
Lord of Mice, whose sceptre
Holds
Tenedos in fee:
Listen
to my petition,
Consider
well my plea!
‘If
ever I built a temple
Agreeable
to your eyes,
Or
cut from goats or bullocks
The
fat about their thighs,
‘To
burn as a costly offering
At
KING APOLLO’S shrine:
Let
the Greeks pay with your arrows
These
burning tears of mine!’
Phoebus Apollo heard Chryses’ prayer, and his face grew darker than night. Shouldering the silver bow, he hurried down from Olympus. The arrows rattled in their quiver as he alighted at some distance from the ships, and his bow clanged dreadfully when he let fly. His first victims were mules and hounds; next, he shot their masters, whose pures were presently seen burning everywhere.
In his introduction Graves claims to be following the example of ancient Irish and Welsh bards by“as it were, taking up my harp and singing only where the prose will not suffice.” This procedure, he claims, “avoids the pitfalls of either an all-prose or an all-verse translation, and restores something of the Iliad’s value as mixed entertainment.” The intention is, in theory, interesting; however, the practice has its problems, mainly because Graves’ verse is (as in the sample above) too often mere doggerel which contributes nothing to the poetic quality of the lines. His prose is colloquial, even breezy at times, and for all its welcome rejection of thoroughly artifical ageing, tends to ride roughshod over interesting complexities in the Greek (as in his “rough sea” above for the evocative polufloisboio in Homer’s text).
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