Homer Iliad 8.381

Samuel Butler (Translator)

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Thus did she speak and white-armed Hera, exalted goddess and daughter of great Kronos, obeyed her words; she set about harnessing her gold-bedizened steeds, while Athena daughter of aegis-bearing Zeus [385] flung her richly vesture, made with her own hands, on to the threshold of her father, and donned the khiton of Zeus who gathers clouds, arming herself for battle. Then she stepped into her flaming chariot, and grasped the spear [390] so stout and sturdy and strong with which she quells the ranks of heroes who have displeased her. Hera lashed her horses, and the gates of the sky bellowed as they flew open of their own accord—gates over which the Seasons [ hōrai] preside, in whose hands are the sky and Olympus, either [395] to open the dense cloud that hides them or to close it. Through these the goddesses drove their obedient steeds.

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.) — 8.381 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.) — 8.381 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)) — 8.381 focus
She ended, and the white-armed deity
Juno obeyed her. Juno the august,
The mighty Saturn's daughter, hastily
480
Caparisoned the golden-bitted steeds.
Meanwhile, Minerva on the palace-floor
Of Jupiter let drop the gorgeous robe
Of many hues, which her own hands had wrought,
And, putting on the Cloud-compeller's mail,
485
Stood armed for cruel war. And then she climbed
The glorious car, and took in hand the spear -
Huge, heavy, strong-with which she overthrows
The serried phalanxes of valiant men
Whene'er this daughter of the Almighty One
490
Is angered. Juno bore the lash, and urged
The coursers to their speed. The gates of heaven
Opened before them of their own accord, -
Gates guarded by the Hours, on whom the care
Of the great heaven and of Olympus rests,
495
To open or to close the wall of cloud.
Through these they guided their impatient steeds,
From Ida Jupiter beheld, in wrath,
And summoned Iris of the golden wings,
And bade her do this errand: "Speed thee hence,
500
Fleet Iris! turn them back; allow them not
Thus to defy me: it is not for them
To engage with me in war. I give my word, -
Nor shall it lack fulfilment, - I will make
The swift steeds lame that draw their car, and hurl
505
The riders down, and dash the car itself
To fragments. Ten long years shall wear away
Before they cease to suffer from the wounds
Made by the thunderbolt. Minerva thus
May learn the fate of those who strive with Jove.
510
With Juno I am less displeased, for she
Is ever bent to thwart my purposes."
He spake; and Iris, with the tempest's speed
Departing, bore the message from the heights
Of Ida to the great Olympus, where,
515
Among the foremost passes of the mount,
All seamed with hollow vales, she met and stayed
The pair, delivering thus the word of Jove: —
"Now whither haste ye? What strange madness fires
Your breasts? The son of Saturn suffers not
520
That ye befriend the Greeks. He threatens thus, -
And will fulfil his threat, - that he will make
The coursers lame that draw your car, and hurl
The riders down, and dash the car itself
To fragments, and that ten long years must pass
525
Ere ye shall cease to suffer from the wounds
Made by the thunderbolt. So shalt thou learn,
O Pallas! what it is to strive with Jove.
With Juno is he less displeased, for she
Is ever bent to thwart his purposes;
530
But thou, he says, art guilty above all,
And shameless as a hound, if thou dare lift
Thy massive spear against thy father Jove."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.381 focus
She ceas'd, and Juno rein'd the steeds with care,
(Heaven's awful empress, Saturn's other heir:)
465
Pallas, meanwhile, her various veil unbound,
With flowers adorn'd, with art immortal crown'd;
The radiant robe her sacred fingers wove
Floats in rich waves, and spreads the court of Jove.
Her father's arms her mighty limbs invest,
470
His cuirass blazes on her ample breast.
The vigorous power the trembling car ascends;
Shook by her arm, the massy javelin bends;
Huge, ponderous, strong! that, when her fury burns,
Proud tyrants humbles, and whole hosts o'erturns.
475
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.381 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.381 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.381 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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