Homer Iliad 8.553

Samuel Butler (Translator)

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Thus high in hope they sat through the livelong night by the highways of war, and many a watchfire did they kindle. [555] As when the stars shine clear, and the moon is bright—there is not a breath of air, not a peak nor glade nor jutting headland but it stands out in the ineffable radiance that breaks forth from the sky; the stars can all of them be told and the heart of the shepherd is glad— [560] even thus shone the watchfires of the Trojans before Ilion midway between the ships and the river Xanthos. A thousand camp-fires gleamed upon the plain, and in the glow of each there sat fifty men, while the horses, champing [565] oats and wheat beside their chariots, waited till dawn should come.

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.) — 8.553 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.) — 8.553 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)) — 8.553 focus
So, high in hope, they sat the whole night through
In warlike lines, and many watch-fires blazed.
As when in heaven the stars look brightly forth
Round the clear-shining moon, while not a breeze
Stirs in the depths of air, and all the stars
680
Are seen, and gladness fills the shepherd's heart,
So many fires in sight of Ilium blazed,
Lit by the sons of Troy, between the ships
And eddying Xanthus: on the plain there shone
A thousand; fifty warriors by each fire
685
Sat in its light. Their steeds beside the cars
Champing their oats and their white barley - stood,
And waited for the golden morn to rise.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.553 focus
The troops exulting sat in order round,
685
And beaming fires illumin'd all the ground.
As when the moon, refulgent lamp of night,
O'er heaven's clear azure spreads her sacred light,
When not a breath disturbs the deep serene,
And not a cloud o'ercasts the solemn scene;
690
Around her throne the vivid planets roll,
And stars unnumber'd gild the glowing pole,
O'er the dark trees a yellower verdure shed,
And tip with silver every mountain's head;
Then shine the vales, the rocks in prospect rise,
695
A flood of glory bursts from all the skies:
The conscious swains, rejoicing in the sight,
Eye the blue vault, and bless the useful light.
So many flames before proud Ilion blaze,
And lighten glimmering Xanthus with their rays:
700
The long reflections of the distant fires
Gleam on the walls, and tremble on the spires.
A thousand piles the dusky horrors gild,
And shoot a shady lustre o'er the field.
Full fifty guards each flaming pile attend,
705
Whose umber'd arms, by fits, thick flashes send.
Loud neigh the coursers o'er their heaps of corn,
And ardent warriors wait the rising morn.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.553 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.553 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.553 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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