Homer Iliad 8.112

Samuel Butler (Translator)

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Nestor, charioteer of Gerenia, hearkened to his words. Then the two mighty attendants [ theraponte], Sthenelos and kind-hearted Eurymedon, saw to Nestor’s horses, [115] while the two both mounted Diomedes’ chariot. Nestor took the reins in his hands and lashed the horses on; they were soon close up with Hector, and the son of Tydeus aimed a spear at him as he was charging full speed towards them. He missed him, but struck his charioteer and attendant [ therapōn] [120] Eniopeus, son of noble Thebaios, in the breast by the nipple while the reins were in his hands, so that he lost his life-breath [ psūkhē] there and then, and the horses swerved as he fell headlong from the chariot. [125] Hector was greatly grieved at the loss of his charioteer, but let him lie for all his sorrow [ akhos], while he went in quest of another driver; nor did his steeds have to go long without one, for he presently found brave Arkheptolemos, the bold son of Iphitos, and made him get up behind the horses, giving the reins into his hand.

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.) — 8.112 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.) — 8.112 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.) — 8.94 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.112 focus
He spake; and Nestor, the Gerenian knight,
Complied. The two attendants, valiant men, —
140
Sthenelus and the good Eurymedon, -
Took charge of Nestor's steeds. The chieftains climbed
The car of Diomed, and Nestor took
Into his hand the embroidered reins and lashed
The horses with the scourge. They quickly came
145
To Hector. As the Trojan hastened on,
The son of Tydeus hurled a spear; it missed,
But spared not Eniopeus, him who held
The reins, the hero's charioteer, and son
Of brave Thebæus. In the breast between
150
The paps it smote him; from the car he fell,
And the swift horses started back; his soul
And strength passed from him. Hector bitterly
Grieved for his death, yet left him where he fell,
And sought another fitting charioteer.
155
Nor had the fiery coursers long to wait
A guide, for valiant Archeptolemus,
The son of Iphilus, was near at hand.
And him he caused to mount the chariot drawn
By his fleet steeds, and gave his hand the reins.
160
Then great had been the slaughter; fearful deeds
Had then been done; the Trojans had been scared
Into their town like lambs into the fold, -
Had not the Father of the immortal gods
And mortal men beheld, and from on high
165
Terribly thundered, sending to the earth
A bolt of fire. He flung it down before
The car of Diomed; and fiercely glared
The blazing sulphur; both the frightened steeds
Cowered trembling by the chariot. Nestor's hand
170
Let fall the embroidered reins; his spirit sank
With fear, and thus he said to Diomed: —
"Tydides, turn thy firm-paced steeds, and flee.
Dost thou not see that victory from Jove
Attends thee not? To-day doth Saturn's son
175
Award the glory to the Trojan chief.
Hereafter he will make it ours, if such
Be his good pleasure. No man, though he be
The mightiest among men, can thwart the will
Of Jupiter, with whom abides all power."
180
The great in battle, Diomed, replied: -
"Truly, O ancient man, thou speakest well;
But this it is that grieves me to the heart, -
That Hector to the Trojan host will say,
'I put to flight Tydides, and he sought
185
Shelter among his ships.' Thus will he boast
Hereafter; may earth open then for me!"
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.112 focus
Thus said the chief; and Nestor, skill'd in war,
Approves his counsel, and ascends the car:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.112 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.112 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.112 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.

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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.

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