Homer Iliad 8.41

Samuel Butler (Translator)

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With this he yoked his fleet horses, with hooves of bronze and manes of glittering gold. He girded himself also with gold about the body, seized his gold whip and took his seat in his chariot. Then [45] he lashed his horses and they flew forward without hesitation midway between earth and starry sky. After a while he reached Ida with its many fountains, mother of wild beasts, and Gargaros, where are his grove and fragrant altar. There the father of gods and men stayed his horses, [50] took them from the chariot, and hid them in a thick cloud; then he took his seat all glorious upon the topmost crests, looking down upon the city of Troy and the ships of the Achaeans.

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.) — 8.41 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.) — 8.41 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.) — 8.1 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.41 focus
He spake, and to his chariot yoked the steeds,
Fleet, brazen-footed, and with flowing manes
Of gold, and put his golden armor on,
50
And took the golden scourge, divinely wrought,
And, mounting, touched the coursers with the lash
To urge them onward. Not unwillingly
Flew they between the earth and starry heaven,
Until he came to Ida, moist with springs
55
And nurse of savage beasts, and to the height
Of Gargarus, where lay his sacred field,
And where his fragrant altar fumed. He checked
Their course, and there the Father of the gods
And men released them from the yoke and caused
60
A cloud to gather round them. Then he sat,
Exulting in the fulness of his might,
Upon the summit, whence his eye beheld
The towers of Ilium and the ships of Greece.
Now in their tents the long-haired Greeks had shared
65
A hasty meal, and girded on their arms.
The Trojans, also, in their city armed
Themselves for war, as eager for the fight,
Though fewer; for a hard necessity
Forced them to combat for their little ones
70
And wives. They set the city-portals wide,
And forth the people issued, foot and horse
Together, and a mighty din arose.
And now, when host met host, their shields and spears
Were mingled in disorder; men of might
75
Encountered, cased in mail, and bucklers clashed
Their bosses; loud the clamor: cries of pain
And boastful shouts arose from those who fell
And those who slew, and earth was drenched with blood.
While yet 't was morning, and the holy light
80
Of day grew bright, the men of both the hosts
Were smitten and were slain; but when the sun
Stood high in middle heaven, the All-Father took
His golden scales, and in them laid the fates
Which bring the sleep of death, - the fate of those
85
Who tamed the Trojan steeds, and those who warred
For Greece in brazen armor. By the midst
He held the balance, and, behold, the fate
Of Greece in that day's fight sank down until
It touched the nourishing earth, while that of Troy
90
Rose and flew upward toward the spacious heaven.
With that the Godhead thundered terribly
From Ida's height, and sent his lightnings down
Among the Achaian army. They beheld
In mute amazement and grew pale with fear.
95
Then neither dared Idomeneus remain,
Nor Agamemnon, on the ground, nor stayed
The chieftains Ajax, ministers of Mars.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.41 focus
Then call'd his coursers, and his chariot took;
The stedfast firmament beneath them shook:
50
Rapt by th' ethereal steeds the chariot roll'd;
Brass were their hoofs, their curling manes of gold.
Of heaven's undrossy gold the god's array,
Refulgent, flash'd intolerable day.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.41 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.41 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.41 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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