Homer Iliad 8.292

Samuel Butler (Translator)

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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].”

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.) — 8.292 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 (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.292 focus
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
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

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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