Homer Iliad 5.711

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The white-armed goddess Juno, when she saw
The Argives falling in that cruel fray,
885
Addressed Minerva with these winged words:-
"O thou unconquerable goddess, born
To Jove the Ægis-bearer! what is this?
It was an idle promise that we made
To Menelaus, that he should behold
890
Troy, with its strong defences, overthrown,
And reach his home again, if thus we leave
Mars the destroyer to his ravages.
Come, let us bring our friends effectual aid."
So spake she, and her bidding was obeyed
895
By blue-eyed Pallas. Juno the august,
Daughter of mighty Saturn, laid in haste
The harness, with its ornaments of gold,
Upon the horses. Hebe rolled the wheels,
Each with eight spokes, and joined them to the ends
900
Of the steel axle, - fellies wrought of gold,
Bound with a brazen rim to last for aye, -
A wonder to behold. The hollow naves
Were silver, and on gold and silver cords
Was slung the chariot's seat; in silver hooks
905
Rested the reins, and silver was the pole
Where the fair yoke and poitrels, all of gold,
Were fastened. Juno, eager for the strife,
Led the swift-footed steeds beneath the yoke.
Then Pallas, daughter of the god who bears
910
The ægis, on her father's palace-floor
Let fall in dainty folds her flowing robe
Of many colors, wrought by her own hand,
And, putting on the mail of Jupiter
The Cloud-compeller, stood arrayed in arms
915
For the stern tasks of war. Her shoulder bore
The dreadful ægis with its shaggy brim
Bordered with Terror. There was Strife, and there
Was Fortitude, and there was fierce Pursuit,
And there the Gorgon's head, a ghastly sight,
920
Deformed and dreadful, and a sign of woe
When borne by Jupiter. Upon her head
She placed a golden helmet with four crests
And fair embossed, of strength that might withstand
The armed battalions of a hundred towns;
925
Then stepped into her shining car, and took
Her massive spear in hand, heavy and huge,
With which whole ranks of heroes are o'erthrown
Before the daughter of the Mighty One
Incensed against them. Juno swung the lash
930
And swiftly urged the steeds. Before their way,
On sounding hinges, of their own accord,
Flew wide the gates of heaven, which evermore
The Hours are watching, - they who keep the mount
Olympus and the mighty heaven, with power
935
To open or to close their cloudy veil.
Thus through the gates they drave the obedient steeds,
And found Saturnius, where he sat apart
From other gods, upon the loftiest height
Of many-peaked Olympus. Juno there,
940
The white-armed goddess, stayed her chariot-wheels,
And, thus accosting Jove, she questioned him:-
"O Father Jupiter, does not thy wrath
Rise at those violent deeds of Mars? Thou seest
How many of the Achaians he has slain,
945
And what brave men. Nay, thus it should not be.
Great grief is mine; but Venus and the god
Phœbus, who bears the silver bow, rejoice
To see this lawless maniac range the field,
And urge him on. O Father Jupiter,
950
Wilt thou be angry with me if I drive
Mars, sorely wounded, from the battle-field?”

Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 5.711 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.) — 5.711 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.) — 5.663 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.711 focus
Now when the goddess Hera saw the Argives thus falling, she said to Athena, “Alas, daughter of aegis-bearing Zeus, the one who cannot be worn down, [715] the promise we made Menelaos that he should not return till he had destroyed the strong-walled city of Ilion will be of none effect if we let Arēs rage thus furiously. Let us go into the fray at once.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.711 focus
The carnage Juno from the skies survey'd,
And, touch'd with grief, bespoke the blue-ey'd maid:
875
'Oh sight accurs'd! shall faithless Troy prevail,
'And shall our promise to our people fail?
'How vain the word to Menelaus given
'By Jove's great daughter and the queen of heaven,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.711 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.711 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.711 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

analysis of damnēmi and Laodamas

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Gregory Nagy

The momentum of the war is spirited, and the fighting mood of the warriors verges on overreaching. An outstanding example is Diomedes, who already owns a glorious past as a conquering hero in the epic tradition known as the Sons of the Seven against Thebes or Epigonoi. Now in the epic present of the Iliad he has a chance to outdo himself, performing deeds so glorious that they would outshine perhaps even the deeds of Achilles, who is now out of the picture. The successes of Diomedes reach the point where he is capable of feats that are superhuman, as when he lifts a rock that even two humans today could not budge—or as when he wounds the god of war himself, Ares, and then, shortly thereafter, the goddess of love and sexuality, Aphrodite. But such momentum is not to last, and the antagonism of Diomedes toward divinities will have its consequences.

draft js image error“Aeneas and Diomedes.” Wenceslaus Hollar (Bohemian, 1607–1677). Image via Wikimedia Commons.

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The insulting of Ares by Zeus here is parallel to the insulting of Achilles by Agamemnon at I.01.177. For both Ares and Achilles, eris ‘strife’ is a defining feature.

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In this context, Paiēōn (from Paiāwōn) is still distinct from rather than identical to Apollo.

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Leonard Muellner

analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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Richard Martin

Zeus' reply to the wounded Ares (5.889-90)—"μή τί μοι, ἀλλοπρόσαλλε, παρεζόμενος μινύριζε. ἔχθιστος δέ μοί ἐσσι θεῶν οἳ Ὄλυμπον ἔχουσιν"—provides a model for the replacement expansion at 9.311-12. The technique of expansion by replacement shows up clearly when these lines are compared with Achilles' words: mē moi truzēte can be matched with mē ti moi . . . minurizē; parēmenoi with parezomenos; ekhthros gar moi keinos with ekhithistos de moi essi; and the vocative alloprosalle with an expression of different meaning but identical metrical and similar phonological shape, allothen allos. Whereas Zeus' direct and blunt style in this speech is emphasized by end-stopped lines, Achilles' tone sounds more rational because his syntax is more complex: he uses hōs and gar to connect what in Zeus' speech are three separate elements. The effect of the conjunction and particle is fluidity. Furthermore, rather than calling his interlocutor "most hateful"—although the thought underlies his words—Achilles mutes his expression to the simpler "hateful is that man." In both the speech of Zeus and of Achilles, the lines form a separable introduction directed to an interlocutor who has made a complaint, and both speakers shift the topic abruptly after the rebuke (5.895, all' ou man; 9.314, autar egōn) (Martin 1993:212-13).

For the splitting and replacement expansion at 9.310-314 of which this passage is a model, see the comment on Iliad 9.310-314.

References

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

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