Homer Iliad 8.1

View: By Book
NOW morn in saffron rooes had shed her light
1
O'er all the earth, when Jove the Thunderer
Summoned the gods to council on the heights
Of many-peaked Olympus. He addressed
The assembly, and all listened as he spake:-
5
"Hear, all ye gods and all ye goddesses!
While I declare the thought within my breast.
Let none of either sex presume to break
The law I give, but cheerfully obey,
That my design may sooner be fulfilled.
10
Whoever, stealing from the rest, shall seek
To aid the Grecian cause, or that of Troy,
Back to Olympus, scourged and in disgrace,
Shall he be brought, or I will seize and hurl
The offender down to rayless Tartarus,
15
Deep, deep in the great gulf below the earth,
With iron gates and threshold forged of brass,
As far beneath the shades as earth from heaven.
Then shall he learn how greatly I surpass
All other gods in power. Try if ye will,
20
Ye gods, that all may know: suspend from heaven
A golden chain; let all the immortal host
Cling to it from below: ye could not draw,
Strive as ye might, the all-disposing Jove
From heaven to earth. And yet, if I should choose
25
To draw it upward to me, I should lift,
With it and you, the earth itself and sea
Together, and I then would bind the chain
Around the summit of the Olympian mount,
And they should hang aloft. So far my power
30
Surpasses all the power of gods and men."
He spake; and all the great assembly, husned
In silence, wondered at his threatening words,
Until at length the blue-eyed Pallas said:
- "Our Father, son of Saturn, mightiest
35
Among the potentates, we know thy power
Is not to be withstood, yet are we moved
With pity for the warlike Greeks, who bear
An evil fate and waste away in war.
If such be thy command, we shall refrain
40
From mingling in the combat, yet will aid
The Greeks with counsel which may be their guide,
Lest by thy wrath they perish utterly."
The Cloud-compeller Jove replied, and smiled: -
"Tritonia, daughter dear, be comforted.
45
I spake not in the anger of my heart,
And I have naught but kind intents for thee."

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.) — 8.1 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.) — 8.1 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.) — 8.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.1 focus
Now when Dawn, clad in her robe of saffron, had begun to suffuse light over the earth, Zeus called the gods in council on the topmost crest of serrated Olympus. Then he spoke and all the other gods gave ear. [5] “Hear me,” said he, “gods and goddesses, that I may speak even as I am minded. Let none of you neither goddess nor god try to cross me, but obey me every one of you that I may bring this matter to an end. [10] If I see anyone acting apart and helping either Trojans or Danaans, he shall be beaten inordinately before he comes back again to Olympus; or I will hurl him down into dark Tartaros far into the deepest pit under [15] the earth, where the gates are iron and the floor bronze, as far beneath Hādēs as the sky is high above the earth, that you may learn how much the mightiest I am among you. Try me and find out for yourselves. 19 Hang a golden cord from the sky and hold on to it, [20] all you gods and goddesses. 21 But still you could not pull Zeus, the supreme counsellor [ mēstō], from the sky to the ground, 22 even if you tried very hard. 23 But when I feel like it and decide to pull, 24 I could pull all the way, earth and all, sea and all. [25] Then I would tie the cord around a ridge of Olympus 26 and then everything would be in mid-air. 27 That is how much superior I am to gods and men.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.1 focus
AURORA now, fair daughter of the dawn,
1
Sprinkled with rosy light the dewy lawn:
When Jove conven'd the senate of the skies,
Where high Olympus' cloudy tops arise.
The sire of gods his awful silence broke;
5
The heavens attentive trembled as he spoke:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

Gregory Nagy

In my comments here on Rhapsody 8, I sense I am not far from reaching a critical mass of details that shed light on the unity and integrity of the Homeric Iliad. With the upcoming comments on Rhapsody 9, this sense will I hope reach a definitive stage.

draft js image error“Hera, Athena, and Iris in the Trojan War,” Jacques Réattu (1760–1833). Image via Wikimedia Commons.

source

This compound noun terpi-kéraunos, interpreted here as ‘he whose bolt strikes’, is an epithet that applies exclusively to Zeus: a parallel epithet, also applied exclusively to Zeus, is the compound noun argi-kéraunos at Ι.19.121, I.20.016, I.22.178, which can be interpreted to mean ‘he whose bolt shines’ (GMP 195). Both epithets fit Zeus in his role as a thunder-god. The second part of both compounds terpi-kéraunos and argi-kéraunos is clearly derived from keraunós ‘thunder’, and the first part of argi-kéraunos is clearly related to arg-ós (earlier argr-ós) ‘shining, speeding’, but the first part of terpi-kéraunos seems at first unclear. Related forms in other Indo-European languages, however, help elucidate the meaning of terpi- as combined with keraunós. In the case of keraunós, we find in the Baltic and Slavic branches of Indo-European the parallel forms perkūnas and perunŭ* respectively, both of which are nouns meaning ‘thunder’ and/or ‘god of thunder’. Although the Greek and the Baltic/Slavic roots here, kerh2(u̯)- and per(kw)- respectively, are different in form, they are parallel in meaning, ‘strike’, and the morphology of their suffixation is also parallel (GMP 194–195). As for the terpi- of terpi-kéraunos, we find a comparable form in the Italic branch of Indo-European: it is the Latin noun quercus, meaning ‘oak tree’. This form, it can be argued, refers to the defining sacred moment when a thunderbolt strikes an oak tree: here the root of the u-stem noun quercus, from perkwu*-, is perkw-, meaning ‘strike’ (GMP 186). So, terpi-kéraunos can be derived from kwerpi-kéraunos via metathesis from *perkwi-kéraunos.

source
Leonard Muellner

analysis of the third person references to oneself by a speaker in Iliad

source

analysis of the meaning of diakridon in Hera’s speech in I.15, and comparison with another expression of the same idea in this passage

source

analysis of the third person references to oneself by a speaker in Iliad

source

analysis of the third person references to oneself by a speaker in Iliad

source
Richard Martin

The speech that Zeus addresses to all the Olympians at the beginning of Book 8 represents the ideal of the genre of commands (Martin 1993:54). It shares with all muthoi of command a concentration on the act to be performed by words. As with other muthoi, the speech thus labeled is subject to public scrutiny before an audience—it is a performance in a speech-act sense as well as in a wider social-poetic sense. As do other muthoi, it reaches for length and elaboration as an emblem of authoritative, important communication, and asserts the status of the speaker.

Zeus' speech outdoes other muthoi by exaggeration. The rhetorical distancing he accomplishes at 8.5-27 finds expression in a powerful image chosen to boast of his status: threatening to hurl any who disobey into Tartaros, he backs up his words by picturing the massed Olympians tugging at him by a golden chain. Though he might yank them up, together with earth and sea, the gods could not pull him down. In turning the horizontal line of communication among presumed equals into a vertical chain, Zeus enacts the gods' dependence on him and dramatizes his own rhetorical ability—the power of making convincing images—at the same time that he solidifies his political position. He is a master at the poetics of power. The muthos of what "might" happen is actually a projection of the current power configuration on Olympus, and functions like "myth" in the wider sense as a politically important act of symbolic discourse (Martin 1993:54-55).

It is characteristic of the greatest speakers in the poem that their muthoi often have a self-referential focus on the very act of speaking. Zeus prohibits the gods from supporting either side in the war but phrases this prohibition in terms of speech: rivals wish to "cut" his utterance (diakersai emon epos), as if it resembled the chain he mentions later. Along with this prohibition, Zeus introduces a positive injunction: "But all together praise (aineit'), so that I complete these deeds as quickly as possible" (8.7-9). The critical need for the approval of his Olympian audience—the "praise" alluded to at 8.9—shows how an oral culture's notions of performance structure the distribution of power. Only an acceptable "performance" of a proposal enables the speaker to accomplish his will; only a counter-performance, the actual voicing of "praise," certifies the audience's consent (Martin 1993:55-56).

The formulaic line "Act, but we other gods will not all approve" (epaineomen) occurs three times (4.29, 16.443, 22.181), each time marking the moments when Zeus has just suggested that a hero's life be saved. On two of these occasions, Hera identifies Zeus' proposal as a muthos, prefacing her reply with the formula, "O most dread son of Kronos, what sort of muthos have you said?" (4.25 = 16.440). The threat of implied public blame among the gods seems to force Zeus to yield, yet he appears prepared for this outcome. His muthoi that seek approval for intervention are in complete contrast with the muthos of Book 8 that prohibits interference—there he uses the rhetoric of force, but when plotting something contrary to the will of Athena and Hera, he portrays himself as undecided, adjusting his rhetoric accordingly (Martin 1993:56-57).

References

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

source