Homer Iliad 8.245

Samuel Butler (Translator)

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Thus did he pray, and father Zeus pitying his tears granted that his people should live, not die; right away he sent them an eagle, most unfailingly portentous of all birds, with a young fawn in its talons; the eagle dropped the fawn by the altar [250] on which the Achaeans sacrificed to Zeus, the lord of omens. When, therefore, the people saw that the bird had come from Zeus, they sprang more fiercely upon the Trojans and fought more boldly.

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.) — 8.245 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.) — 8.245 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 (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.245 focus
He spake, and wept. The All-Father, pitying him,
310
Consented that his people should escape
The threatened ruin. Instantly he sent
His eagle, bird of surest augury,
Which, bearing in his talons a young fawn,
The offspring of a nimble-footed roe,
315
Dropped it at the fair altar where the Greeks
Paid sacrifice to Panomphean Jove.
And they, when they beheld, and knew that Jove
Had sent the bird, took courage, rallying,
And rushed against the Trojans. Then no chief
320
Of all the Greeks-though many they - could boast
That he before Tydides urged his steeds
To sudden speed and drave them o'er the trench,
And mingled in the combat. First of all
He struck down Agelaus, Phradmon's son,
325
Armed as he was, who turned his car to fly,
And as he turned, Tydides with his spear
Transfixed his back between the shoulder-blades,
And drave the weapon through his breast. He fell
To earth, his armor clashing with his fall.
330
Then Agamemnon followed, and with him
His brother Menelaus; after these
The chieftains Ajax, fearful in their strength;
Idomeneus, and he who bore his arms, —
Meriones, like Mars in battle-field;
335
Eurypylus, Evæmon's glorious son;
And ninthly Teucer came, who bent his bow
Beneath the shield of Ajax Telamon, -
For Ajax moved his shield from side to side,
And thence the archer looked abroad, and aimed
340
His arrows thence. Whoever in the throng
Was struck fell lifeless. Teucer all the while,
As hides a child behind his mother's robe,
Sheltered himself by Ajax, whose great shield
Concealed the chief from sight. What Trojan first
345
Did faithful Teucer slay? Orsilochus,
Dætor, and Ophelestes, Ormenus,
Chromius, and Lycophontes nobly born,
And Hamopaon, Polyæmon's son,
And Melanippus, - one by one the shafts
350
Of Teucer stretched them on their mother earth.
Then Agamemnon, king of men, rejoiced
As he beheld him, with his sturdy bow,
Breaking the serried phalanxes of Troy;
And came, and, standing near, bespake him thus: -
355
"Beloved Teucer! son of Telamon,
Prince of the people! ever be thy shafts
Aimed thus, and thou shalt be the light and pride
Of Greece, and of thy father Telamon,
Who reared thee from a little child with care
360
In his own halls, though spurious was thy birth.
Go on to do him honor, though he now
Be far away. And here I say to thee, -
And I will keep my word, - if Jupiter
The ægis-bearer and Minerva deign
365
To let me level the strong walls of Troy,
To thee will I assign the noblest prize
After my own, - a tripod, or two steeds
And chariot, or a wife to share thy bed."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.245 focus
Thus pray'd the king, and heaven's great father heard
His vows, in bitterness of soul preferr'd;
The wrath appeas'd by happy signs declares,
295
And gives the people to their monarch's prayers.
His eagle, sacred bird of heaven! he sent,
A fawn his talons truss'd, (divine portent!)
High o'er the wondering hosts he soar'd above,
Who paid their vows to Panomphæan 1 Jove;
300
Then let the prey before his altar fall:
The Greeks beheld, and transport seiz'd on all:
Encourag'd by the sign, the troops revive,
And fierce on Troy with double fury drive.
Tydides first, of all the Grecian force,
305
O'er the broad ditch impell'd his foaming horse,
Pierc'd the deep ranks, their strongest battle tore,
And dy'd his javelin red with Trojan gore.
Young Agelaüs (Phradmon was his sire)
With flying coursers shunn'd his dreadful ire:
310
Struck through the back the Phrygian fell oppress'd;
The dart drove on, and issued at his breast:
Headlong he quits the car; his arms resound;
His ponderous buckler thunders on the ground.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.245 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.245 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.245 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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