Homer Iliad 8.512

Samuel Butler (Translator)

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and they must not embark unscathed and unmolested; many a man among them must take a dart with him to nurse at home, hit with spear or arrow as he is [515] leaping on board his ship, that others may fear to bring war and weeping upon the Trojans. Moreover let the heralds tell it about the city that the growing youths and gray-bearded men are to camp upon its divinely built walls. [520] Let the women each of them light a great fire in her house, and let watch be safely kept lest the town be entered by surprise while the army of warriors is outside. See to it, brave Trojans, as I have said, and let this suffice for the moment; [525] at daybreak I will instruct you further. I pray in hope to Zeus and to the gods that we may then drive those fate-sped hounds from our land, for ‘tis the fates that have borne them and their ships here. This night, therefore, let us keep watch, but with [530] early morning let us put on our armor and rouse fierce war at the ships of the Achaeans; I shall then know whether brave Diomedes the son of Tydeus will drive me back from the ships to the wall, or whether I shall myself slay him and carry off his bloodstained spoils. [535] Tomorrow let him show his mettle [ aretē], abide my spear if he dare. I bet that at break of day, he shall be among the first to fall and many another of his comrades round him. 538 If only I were 539 immortal and unaging for all days to come, [540] and if only I were honored [=got tīmē] just as Athena and Apollo are honored [=get tīmē] 541 —as surely as this day brings misfortune to the Argives.”

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.) — 8.512 focus
μὴ μὰν ἀσπουδί γε νεῶν ἐπιβαῖεν ἕκηλοι,
ἀλλʼ ὥς τις τούτων γε βέλος καὶ οἴκοθι πέσσῃ
βλήμενος ἢ ἰῷ ἢ ἔγχεϊ ὀξυόεντι
νηὸς ἐπιθρῴσκων, ἵνα τις στυγέῃσι καὶ ἄλλος
515
Τρωσὶν ἐφʼ ἱπποδάμοισι φέρειν πολύδακρυν Ἄρηα.
κήρυκες δʼ ἀνὰ ἄστυ Διῒ φίλοι ἀγγελλόντων
παῖδας πρωθήβας πολιοκροτάφους τε γέροντας
λέξασθαι περὶ ἄστυ θεοδμήτων ἐπὶ πύργων·
θηλύτεραι δὲ γυναῖκες ἐνὶ μεγάροισιν ἑκάστη
520
πῦρ μέγα καιόντων· φυλακὴ δέ τις ἔμπεδος ἔστω
μὴ λόχος εἰσέλθῃσι πόλιν λαῶν ἀπεόντων.
ὧδʼ ἔστω Τρῶες μεγαλήτορες ὡς ἀγορεύω·
μῦθος δʼ ὃς μὲν νῦν ὑγιὴς εἰρημένος ἔστω,
τὸν δʼ ἠοῦς Τρώεσσι μεθʼ ἱπποδάμοις ἀγορεύσω.
525
ἔλπομαι εὐχόμενος Διί τʼ ἄλλοισίν τε θεοῖσιν
ἐξελάαν ἐνθένδε κύνας κηρεσσιφορήτους,
οὓς κῆρες φορέουσι μελαινάων ἐπὶ νηῶν.
ἀλλʼ ἤτοι ἐπὶ νυκτὶ φυλάξομεν ἡμέας αὐτούς,
πρῶϊ δʼ ὑπηοῖοι σὺν τεύχεσι θωρηχθέντες
530
νηυσὶν ἔπι γλαφυρῇσιν ἐγείρομεν ὀξὺν Ἄρηα.
εἴσομαι εἴ κέ μʼ ὁ Τυδεΐδης κρατερὸς Διομήδης
πὰρ νηῶν πρὸς τεῖχος ἀπώσεται, ἤ κεν ἐγὼ τὸν
χαλκῷ δῃώσας ἔναρα βροτόεντα φέρωμαι.
αὔριον ἣν ἀρετὴν διαείσεται, εἴ κʼ ἐμὸν ἔγχος
535
μείνῃ ἐπερχόμενον· ἀλλʼ ἐν πρώτοισιν ὀΐω
κείσεται οὐτηθείς, πολέες δʼ ἀμφʼ αὐτὸν ἑταῖροι
ἠελίου ἀνιόντος ἐς αὔριον· εἰ γὰρ ἐγὼν ὣς
εἴην ἀθάνατος καὶ ἀγήρως ἤματα πάντα,
τιοίμην δʼ ὡς τίετʼ Ἀθηναίη καὶ Ἀπόλλων,
540
ὡς νῦν ἡμέρη ἥδε κακὸν φέρει Ἀργείοισιν.
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.) — 8.512 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.) — 8.542 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.512 focus
lest in the hours
Of darkness with their ships the long-haired Greeks
Attempt escape across the mighty deep.
Let every foeman bear a wound to cure
635
At home, - an arrow-wound or gash of spear,
Given as he leaps on board. So other foes
Shall dread a conflict with the knights of Troy.
And let the heralds, dear to Jove, command
That all grown youths and hoary-headed men
640
Keep watch about the city in the towers
Built by the gods; and let the feebler sex
Kindle large fires upon their hearths at home;
And let the guard be strengthened, lest the foe
Should steal into the city while its sons
645
Are all abroad. Thus let it be till morn,
Brave Trojans! I but speak of what the time
Requires, and on the morrow I shall speak
Of what the Trojan knights have then to do.
My prayer to Jove and to the other gods,
650
And my hope is, that I may drive away
These curs, brought hither by an evil fate
In their black ships. All night will we keep watch,
And, arming, with the early morn renew
The desperate conflict at the hollow ships.
655
Then shall I see if valiant Diomed
Tydides has the power to make me leave
The Grecian galleys for the city-walls,
Or whether I shall slay him with my spear
And take his bloody spoils. To-morrow's sun
660
Will make his valor known, if he withstand
The assault of this my weapon. Yet I think
The sunrise will behold him slain among
The first, with many comrades lying round.
Would that I knew myself as certainly
665
Secure from death and the decays of age,
And to be held in honor like the gods
Apollo and Minerva, as I know
This day will bring misfortune to the Greeks!”
So Hector spake, and all the Trojan host
670
Applauded; from the yoke forthwith they loosed
The sweaty steeds, and bound them to the cars
With halters; to the town they sent in haste
For oxen and the fatlings of the flock,
And to their homes for bread and pleasant wine.
675
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.512 focus
'Not unmolested let the wretches gain
'Their lofty decks, or safely cleave the main:
'Some hostile wound let every dart bestow,
'Some lasting token of the Phrygian foe,
640
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.512 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.512 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.512 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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