Homer Iliad 8.335

Samuel Butler (Translator)

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Zeus now again put heart into the Trojans, and they drove the Achaeans to their deep trench with Hector in all his glory at their head. As a hound grips a wild boar or lion in [340] flank or buttock when he gives him chase, and watches warily for his wheeling, even so did Hector follow close upon the flowing-haired Achaeans, ever killing the hindmost as they rushed panic-stricken onwards. When they had fled through the set stakes and trench and many Achaeans had been laid low at the hands of the Trojans, [345] they halted at their ships, calling upon one another and praying every man instantly as they lifted up their hands to the gods; but Hector wheeled his horses this way and that, his eyes glaring like those of Gorgo or manslaughtering Arēs.

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.) — 8.335 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.) — 8.335 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.) — 8.344 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.335 focus
Then did Olympian Jove again inspire
The Trojan host with valor, and they drave
The Achaians backward to the yawning trench.
Then Hector came, with fury in his eyes,
Among the foremost warriors. As a hound,
425
Sure of his own swift feet, attacks behind
The lion or wild boar, and tears his flank,
Yet warily observes him as he turns,
So Hector followed close the long-haired Greeks,
And ever slew the hindmost as they fled.
430
Yet now, when they in flight had crossed again
The trench and palisades, and many a one
Had died by Trojan hands, they made a halt
Before their ships, and bade each other stand,
And lifted up their hands and prayed aloud
435
To all the gods; while Hector, urging on
His long-maned steeds, and with stern eyes that seemed
The eyes of Gorgon or of murderous Mars,
Hither and thither swept across the field.
The white-armed Juno saw, and, sorrowing,
440
Addressed Minerva with these winged words : -
"Ah me! thou daughter of the God who bears
The ægis, shall we not descend to aid
The perishing Greeks in their extremity?
A cruel doom is theirs, to fall, destroyed
445
By one man's rage, - the terrible assault
Of Hector, son of Priam, who has made
Insufferable havoc in the field."
And thus in turn the blue-eyed Pallas spake: -
"That warrior long ere this had lost his life,
450
Slain by the Greeks on his paternal soil,
But that my father's mind is warped by wrath.
Unjust to me and harsh, he thwarts my aims,
Forgetting all I did for Hercules,
His son, how often, when Eurystheus set
455
A task too hard for him, I saved his life.
To heaven he raised his eyes and wept, and Jove
Despatched me instantly to succor him.
And yet if I, in my forecasting mind,
Had known all this when he was bid to bring
460
From strong-walled Erebus the dog of hell,
He had not safely crossed the gulf of Styx.
But now Jove hates me; now he grants the wish
Of Thetis, who hath kissed his knees and touched
His beard caressingly, and prayed that he
465
Would crown the overthrower of walled towns,
Achilles, with great honor. Well, the time
Will come when he shall call me yet again
His dear Minerva. Hasten now to yoke
For us thy firm-paced steeds, while in the halls
470
Of ægis-bearing Jupiter I brace
My armor on for war, and I shall see
If Hector of the beamy helm, the son
Of Priam, will rejoice when we appear
Upon the field again. Assuredly
475
The men of Troy shall die, to feast the birds
Of prey and dogs beside the Grecian fleet."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.335 focus
Troy yet found grace before th' Olympian sire;
He arm'd their hands, and fill'd their breasts with fire.
The Greeks, repuls'd, retreat behind their wall,
Or in the trench on heaps confus'dly fall.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.335 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.335 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.335 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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