Homer Iliad 14.378

Samuel Butler (Translator)

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Thus did he speak, and they did even as he had said. [380] The son of Tydeus, Odysseus, and Agamemnon, wounded though they were, set the others in array, and went about everywhere effecting the exchanges of armor; the most valiant took the best armor, and gave the worse to the worse man. When they had donned their bronze armor they marched on with Poseidon at their head. [385] In his strong hand he grasped his terrible sword, keen of edge and flashing like lightning; it is not the right thing to do, to come across it in the day of battle; all men quake for fear and keep away from it.

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 14.378 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.) — 14.378 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.) — 14.378 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.378 focus
He spake; they hearkened and obeyed. The kings
Tydides, and Ulysses, and the son
Of Atreus, Agamemnon, though their wounds
Still galled them, marshalled and reviewed the ranks,
465
And changed their arms; they made the braver wear
The better armor, and the worse they gave
To the less warlike. Now, when o'er their breasts
The burnished mail was girded, they began
Their march; the great earth-shaker, Neptune, led
470
The onset, grasping in his sinewy hand
A sword of fearful length and flashing blade,
Like lightning. No man dared encounter it
In combat; every arm was stayed by fear.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.378 focus
The troops assent; their martial arms they change,
The busy chiefs their banded legions range.
The kings, though wounded, and oppress'd with pain,
With helpful hands themselves assist the train.
440
The strong and cumbrous arms the valiant wield,
The weaker warrior takes a lighter shield.
Thus sheath'd in shining brass, in bright array
The legions march, and Neptune leads the way:
His brandish'd faulchion flames before their eyes,
445
Like lightning flashing through the frighted skies.
Clad in his might th' earth-shaking power appears;
Pale mortals tremble, and confess their fears.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.378 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.378 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.378 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

New Alexandria Commentaries

Gregory Nagy

The momentum of the attacking Trojan warriors gets stalled here, since Hērā interrupts the ongoing Plan of Zeus. The goddess seduces the god, and the setting for their divine sexual encounter is the spectacular landscape of Mount Ida, which is the private abode of the thundering almighty. During the tryst of the god and the goddess, the Achaeans regain the upper hand in the fighting. But this new momentum is soon headed for a downturn. The divine interruption, despite all its cosmic sexual energy, becomes retrospectively a mere interlude in the narrative arc of the Iliad—once the tryst is over and the Plan of Zeus resumes its relentless course of action.

draft js image errorJuno and Jupiter. Detail from “Loves of the Gods,” fresco by Annibale Carracci (1560–1609). Annibale Carracci [Public domain], via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Carracci_-_Jupiter_et_Junon.jpeg.

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