Homer Iliad 8.292

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And thus the blameless Teucer made reply: -
370
"Why, glorious son of Atreus, wouldst thou thus
Admonish me, while yet I do my best,
And pause not in the combat? From the time
When we began to drive the enemy back
To Ilium, I have smitten and have slain
375
Their warriors with my bow. Eight barbed shafts
I sent, and each has pierced some warlike youth;
But this fierce wolf-dog have I failed to strike."
He spake, and sent another arrow forth
At Hector with an eager aim. It missed
380
Its mark, but struck Gorgythion down, the brave
And blameless son of Priam; through his breast
The arrow went. Fair Castianira brought
The warrior forth, -a dame from Æmysa,
Beautiful as a goddess. As within
385
A garden droops a poppy to the ground,
Bowed by its weight and by the rains of spring,
So drooped his head within the heavy casque.
Again did Teucer send another shaft
At Hector, eager still to smite. It missed
390
Its aim again, for Phœbus turned aside
The arrow, but it struck the charioteer
Of Hector, Archeptolemus the brave,
When rushing to the fight, and pierced his breast
Close to the nipple; from the car he fell,
395
The swift steeds started back, and from his limbs
The life and strength departed. A deep grief
For his slain charioteer came darkly o'er
The mind of Hector, yet, though sorrowing,
He left him where he fell, and straightway called
400
Crebriones, his brother, who was near,
To mount and take the reins. Crebriones
Heard and obeyed. Then from the shining car
Leaped Hector with a mighty cry, and seized
A ponderous stone, and, bent to crush him, ran
405
At Teucer, who had from his quiver drawn
One of his sharpest arrows, placing it
Upon the bowstring. As he drew the bow,
The strong-armed Hector hurled the jagged stone,
And smote him near the shoulder, where the neck
410
And breast are sundered by the collar-bone, —
A fatal spot. The bowstring brake; the arm
Fell nerveless; on his knees the archer sank,
And dropped the bow. Then did not Ajax leave
His fallen brother to the foe, but walked
415
Around him, sheltering him beneath his shield,
Till two dear friends of his - Menestheus, son
Of Echius, and Alastor nobly born -
Approached, and took him up and carried him,
Heavily groaning, to the hollow ships.
420

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.) — 8.292 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.) — 8.292 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.) — 8.253 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.292 focus
And Teucer the blameless answered, “Most noble son of Atreus, you need not urge me; from the moment we began to drive them back to strong-founded citadel of Ilion, I have never ceased so far as in me lies to look out for men whom I can shoot and kill; I have shot eight barbed shafts, and all of them have been buried in the flesh of warlike youths, but I cannot hit this mad dog, with his wolfish rage [ lyssa].”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.292 focus
To this the chief: 'With praise the rest inspire,
355
'Nor urge a soul already fill'd with fire.
'What strength I have, be now in battle tried,
'Till every shaft in Phrygian blood be dy'd.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.292 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.292 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.292 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena’s association with/wearing peplos

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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.

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The very idea of exposing a dead body to be eaten by dogs and birds, as conjured here at I.08.379–380, is considered to be an abomination in the Iliad, by contrast with the ritually correct practice of cremation. See the comment on I.01.003–005.

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Richard Martin

The command that Zeus addresses through Iris to Hera and Athena at 8.399-408 is characteristic of the way his muthoi combine several types of speech-act: directives blend with explicit threats. Hera and Athena are told to turn back; if they do not, Zeus will lame their horses, cast them out, and wreck the chariot (8.402-3). Furthermore, at the conclusion of this command, Zeus sets exact limitations on the action: Hera he will not berate as much as Athena, seeing that she is an inveterate adversary. Zeus' power to command is thus matched by his power to create nuance and give verbal texture to his directives—he is a master at the poetics of power. Zeus' commands, through Iris, occur at a problem that arises in framing: the words of Iris to Hera and Athena are described as a threat (ēpeilēse, 8.415), but have been introduced by Zeus with a line appropriate to a prediction (8.401, "Thus I will speak out and it will be completed"). Since in speech-act theory predictions are constatives and commands are directives, this correlation appears puzzling. But Zeus' language transcends human speech categories: in the language of Zeus, commands, threats, and predictions comprise one and the same category, making Zeus supreme (Martin 1993:52-53).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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