Homer Iliad 8.41

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He spake, and to his chariot yoked the steeds,
Fleet, brazen-footed, and with flowing manes
Of gold, and put his golden armor on,
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And took the golden scourge, divinely wrought,
And, mounting, touched the coursers with the lash
To urge them onward. Not unwillingly
Flew they between the earth and starry heaven,
Until he came to Ida, moist with springs
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And nurse of savage beasts, and to the height
Of Gargarus, where lay his sacred field,
And where his fragrant altar fumed. He checked
Their course, and there the Father of the gods
And men released them from the yoke and caused
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A cloud to gather round them. Then he sat,
Exulting in the fulness of his might,
Upon the summit, whence his eye beheld
The towers of Ilium and the ships of Greece.
Now in their tents the long-haired Greeks had shared
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A hasty meal, and girded on their arms.
The Trojans, also, in their city armed
Themselves for war, as eager for the fight,
Though fewer; for a hard necessity
Forced them to combat for their little ones
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And wives. They set the city-portals wide,
And forth the people issued, foot and horse
Together, and a mighty din arose.
And now, when host met host, their shields and spears
Were mingled in disorder; men of might
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Encountered, cased in mail, and bucklers clashed
Their bosses; loud the clamor: cries of pain
And boastful shouts arose from those who fell
And those who slew, and earth was drenched with blood.
While yet 't was morning, and the holy light
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Of day grew bright, the men of both the hosts
Were smitten and were slain; but when the sun
Stood high in middle heaven, the All-Father took
His golden scales, and in them laid the fates
Which bring the sleep of death, - the fate of those
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Who tamed the Trojan steeds, and those who warred
For Greece in brazen armor. By the midst
He held the balance, and, behold, the fate
Of Greece in that day's fight sank down until
It touched the nourishing earth, while that of Troy
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Rose and flew upward toward the spacious heaven.
With that the Godhead thundered terribly
From Ida's height, and sent his lightnings down
Among the Achaian army. They beheld
In mute amazement and grew pale with fear.
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Then neither dared Idomeneus remain,
Nor Agamemnon, on the ground, nor stayed
The chieftains Ajax, ministers of Mars.

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.) — 8.41 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.) — 8.41 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)) — 8.41 focus
With this he yoked his fleet horses, with hooves of bronze and manes of glittering gold. He girded himself also with gold about the body, seized his gold whip and took his seat in his chariot. Then [45] he lashed his horses and they flew forward without hesitation midway between earth and starry sky. After a while he reached Ida with its many fountains, mother of wild beasts, and Gargaros, where are his grove and fragrant altar. There the father of gods and men stayed his horses, [50] took them from the chariot, and hid them in a thick cloud; then he took his seat all glorious upon the topmost crests, looking down upon the city of Troy and the ships of the Achaeans.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.41 focus
Then call'd his coursers, and his chariot took;
The stedfast firmament beneath them shook:
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Rapt by th' ethereal steeds the chariot roll'd;
Brass were their hoofs, their curling manes of gold.
Of heaven's undrossy gold the god's array,
Refulgent, flash'd intolerable day.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.41 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.41 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.41 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

Douglas Frame

analysis of the relationship of Nestor and Diomedes (here, Diomedes’ rescuing Nestor)

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analysis of the relationship of Nestor and Diomedes, and of Odysseus

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contrast between Antilochus and Diomedes in their relationship to/saving of Nestor (noēse) in this passage and Pindar Pythian 6

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analysis of the meaning of esakouein (in this line) as “heed”

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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 momentum of the fighting between the Achaeans and Trojans is hanging in the balance—until high noon arrives, at which point Zeus decides to get out his golden talanta ‘scales’, I.08.69, as he readies to weigh who will win and who will lose. In just a moment, the balance will be tipped in favor of the Trojans. As we see at I.08.070, Zeus had put two kêre ‘portions’ at either end of the scales. Or, to say it etymologically, there are two ‘slices’ that are being weighed at either end, since the noun kḗr is derived from the verb keirein ‘cut, slice’. You can slice it both ways, life or death. Right from the start, though, the slicing is viewed negatively, and that is why at I.08.070 the two slices that Zeus weighs on the scales are already both viewed as ‘slices of death’. For the moment, though, these slices are not yet really ‘slices of death’, since the action is still only at the tipping point, and the outcome is supposedly still in the balance. But the negative connotations of the word kḗr in Homeric diction, which regularly means ‘fated death’ in the singular, as at I.18.118, have already predetermined the prematurely negative view of the fate that now awaits the Achaeans. Once the tipping actually gets underway, the slices for the Achaeans now sink downward at I.08.073–074, while the slices for the Trojans lift upward at I.08.074. So now the ‘slices of death’ are meant for the Achaeans, not for the Trojans. For the Achaeans, both original slices now mean death, and, in fact, the originally single slice on the Achaean side of the scales can now be viewed as many slices for the many fighters. Many of these fighters will die, and so the original kḗr or ‘fate of death’ for the Achaeans cannot any longer be seen as a singularity. Now the slices can be viewed distributively: different Achaeans will get different slices of death, and that is why the single slice that had been pictured at each end of the scale at I.08.070 can now become the plural kêres ‘slices’ of death for the Achaeans at I.08.073. Then at I.08.075 Zeus thunders from on high on top of Mount Ida, and he sends at I.08.075–076 a flaming thunderbolt toward the Achaeans. At I.08.076, the word for the thunderbolt is selas, meaning literally a ‘flash of light’. We see here the first occurrence of the word selas ‘flash of light’ in the Iliad. In occurrences to come, we will see that this powerful word signals the Will of Zeus.

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What follows is a general commentary on these verses; what follows after that is an anchor comment on Nestor’s entanglement and the poetics of evocation.

Seeing the lightning sent by Zeus, I.08.076, the Achaean chieftains are now thunderstruck with fear, I.08.076–077. Mentioned by name at I.08.078–079 as those chieftains who now retreat in terror are Idomeneus, Agamemnon, and the two Ajaxes. Only Nestor, it is said, does not retreat, though not because he does not want to: he simply cannot retreat because his chariot has been immobilized, I.08.080-086. The trace horse of Nestor’s chariot team of three horses has been shot dead by Paris and has fallen down violently to the ground, I.08.080-086. The old hero, drawing his sword, is now struggling to cut himself loose from the parēoriai ‘traces’ that were connected to the fallen horse and that have now entangled the chariot team, I.08.087–088. This trace horse, not named, is analogous to the trace horse of Achilles, named Pedasos, who is killed at a much later point in the Iliad, in a scene of chariot fighting that takes place at I.16.466–476. In that scene, a spear throw by Sarpedon in the course of his chariot fight with Patroklos hits Pedasos instead of Patroklos, I.16.466–468. At I.16.471 and at I.16.474, the narrative there refers to Pedasos explicitly as the parēoros ‘trace horse’ of a three-horse chariot team. As a trace horse, Pedasos is not attached to the yoke that attaches the other two horses to the chariot. This distinction is made clear at a slightly earlier moment, I.16.145–154, leading up to the chariot fight. At this moment, the premier chariot driver of Achilles, Automedon, is harnessing for Patroklos the war chariot of Achilles. On this chariot, Automedon and Patroklos will be riding off together as chariot rider and chariot fighter respectively. At this slightly earlier moment, we see that there are two immortal horses of Achilles, Xanthos and Balios, who are attached to the yoke of the chariot, I.16.148–149, while the mortal trace horse Pedasos is simply connected to the parēoriai ‘traces’, I.16.152. At this same moment, I.16.153, a significant detail is added about Pedasos: this horse had been captured once upon a time by Achilles when that hero killed the horse’s former owner, who was Eëtion the father of Andromache. Then, at I.16.466–469, when Pedasos is killed by the spear-throw of Sarpedon and falls violently to the ground, the traces of this trace horse get entangled in the reins connected to the other two horses, I.16.470–471, and Automedon the chariot driver must free himself from the entanglement by drawing his sword and cutting the traces, thus severing the ties to the dead trace horse, Ι.16.472–475. Having noted what will happen in this future action, we now return to the present, I.08.087–088: so, what happens to Nestor as he struggles to cut himself loose from his entanglement? Well, meanwhile, the old hero’s predicament has been spotted by Hector, who is now driving his own chariot at high speed toward Nestor, I.08.088–090, intending to attack him before Nestor can disentangle himself from his disabled chariot. As Hector charges ahead, he is holding on to the reins of his own chariot horses, since he is described at I.08.090 as the hēni-okhos ‘chariot driver’ for the moment, or, to translate the word more literally, as ‘the one who holds on to the reins’. For the moment, then, it is the chariot fighter Hector and not his chariot driver who is here taking the initative of attempting a high-speed attack on Nestor. Hector is thus taking over here from his own chariot driver. As we are about to see, this driver is a hero named Eniopeus, who at this precise moment must be standing next to Hector on the platform of the speeding chariot—but not driving the vehicle himself. This detail about Hector as the momentary chariot driver helps explain what happens later on. Eventually, Hector’s driver Eniopeus will be killed while apparently still standing on the chariot platform: it will happen at I.08.119–124, where Diomedes throws his spear at Hector but hits Eniopeus instead, who dies instantly and falls out of the chariot. In that context, we will see that Eniopeus is now and only now described explicitly as the hēni-okhos ‘chariot driver’, I.08.119. There is an irony here. If Eniopeus and not Hector had been driving the chariot when Diomedes threw his spear, it could have been Hector who got hit and killed. Having noted once again what will happen in the future action, we now return to the present. The Master Narrator goes on to say at I.08.090 that the entanglement of the old hero Nestor would surely have resulted in his death at the hands of Hector—had it not been for the intervention of the young hero Diomedes, I.08.091. Urging Nestor to leave behind his disabled chariot, Diomedes offers him an invitation: let the two heroes ride together on the new chariot of Diomedes and let them now counterattack Hector, I.08.092–112. And let the two theraponte ‘attendants’ meanwhile take away the horses and the chariot of Nestor, taking them back to a zone of safety, I.08.109. The old hero agrees to the invitation, I.08.112. So, the two ‘attendants’ now proceed to take away the chariot team of Nestor, I.08.113, and these two figures are identified here as Sthenelos, chariot driver of Diomedes, and Eurymedon, chariot driver of Nestor, I.08.114. Meanwhile the old hero Nestor joins Diomedes, mounting the platform of the young hero’s chariot. And then he even takes the reins of the chariot of Diomedes in hand and drives the chariot himself, I.08.116–117. So, for the moment, Nestor takes over from Sthenelos as the designated charioteer of Diomedes.

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This whole epic narrative about Nestor’s entanglement and his rescue by Diomedes is evocative of another epic narrative where the old hero gets entangled—and gets rescued this time by another young hero, his own son Antilokhos, from the onslaught of another enemy, the chariot fighter Memnon. In this other narrative, however, the son will die in the act of rescuing the father. He will be killed by Memnon. There is a reference to this other epic narrative in a song of Pindar, Pythian 6.28–42. The death of Antilokhos was also narrated in a part of the epic Cycle, the Aithiopis, attributed to Arctinus of Miletus, as we read in the plot-summary of Proclus p. 106 lines 4-6 (ed. Allen 1912). On the epic Cycle, see the inventory of Words and Ideas. And there is a passing reference to the death of Antilokhos in O.04.186–188. That said, it is important to add a clarification: to say that the Iliadic narrative about an entanglement experienced by Nestor is evocative of another epic narrative as found in the epic Cycle is not to say that the Iliad is referring to a pre-existing text. In poetic traditions that stem from an evolving process of recomposition-in-performance, as in the case of Homeric poetry, any act of referencing needs to be viewed in terms of the historical context for any given performance. What can work as a reference in one context may not work so well—or work at all— in some other context. A performance that follows one epic version can refer—however indirectly—to another epic version, but only if those who hear the performance are expected to know both versions. Referencing can be direct, as when Sthenelos the chariot driver of Diomedes refers at I.02.119–130 to the role of these two heroes in the epic traditions of the Epigonoi, that is, The Sons-of-the-Seven-against Thebes. Or referencing can be indirect, as is the case here. The narrative about the entanglement of Nestor and his rescue by Diomedes is sure to have a special effect on those who already know of another narrative about a later entanglement of Nestor that leads to tragic consequences. So, the term evocation suits such indirect referencing. Viewed in this light, evocation in Homeric poetry can be defined simply as a reference made not directly but only indirectly from one traditional context to another. For another evocation of the epic moment when Nestor’s chariot gets entangled and his son Antilokhos gets killed in an effort to save the old hero, see the comment on I.09.057–058.

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In contexts where the plural therapontes in combination with Arēos ‘of Ares’ is applied to the Achaeans=Danaans=Argives (here, to the ‘two Ajaxes’) as a grouping of warriors, the deeper meaning is more evident than in other contexts.

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