Homer Iliad 8.78

Samuel Butler (Translator)

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Idomeneus dared not stay nor yet Agamemnon, nor did the two Ajaxes, attendants [ therapontes] of Arēs, hold their ground. [80] Nestor, charioteer of Gerenia, alone stood firm, bulwark of the Achaeans, not of his own will, but one of his horses was disabled. Radiant Alexandros, husband of lovely-haired Helen, had hit it with an arrow just on the top of its head where the mane begins to grow away from the skull, a very deadly place. [85] The horse bounded in his anguish as the arrow pierced his brain, and his struggles threw others into confusion. The old man instantly began cutting the traces with his sword, but Hector’s fleet horses bore down upon him through the rout with their bold charioteer, [90] even Hector himself, and the old man would have perished there and then had not Diomedes been quick to mark, and with a loud cry called Odysseus to help him.

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.) — 8.78 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.) — 8.78 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.) — 8.94 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.78 focus
Gerenian Nestor, guardian of the Greeks,
Alone was left behind, and he remained
100
Unwillingly. A steed of those that drew
His car was sorely wounded by a shaft
Which Alexander, fair-haired Helen's spouse,
Sent from his bow. It pierced the forehead where
The mane begins, and where a wound is death.
105
The arrow pierced him to the brain; he reared
And whirled in torture with the wound, and scared
His fellow-coursers. While the aged man
Hastened to sever with his sword the thongs
That bound him to the car, the rapid steeds
110
Of Hector bore their valiant master on
With the pursuing crowd. The aged chief
Had perished then, if gallant Diomed
Had not perceived his plight. He lifted up
His voice, and, shouting to Ulysses, said: -
115
"High-born Ulysses, man of subtle shifts,
Son of Laertes, whither dost thou flee?
Why like a coward turn thy back? Beware,
Lest there some weapon smite thee. Stay and guard
This aged warrior from his furious foe."
120
So spake he; but the much-enduring man,
Ulysses, heard not the reproof, and passed
Rapidly toward the hollow ships of Greece.
Tydides, single-handed, made his way
Among the foremost warriors, till he stood
125
Before the horses of the aged son
Of Neleus, and in winged accents said: -
"The younger warriors press thee sore, old chief!
Thy strength gives way; the weariness of age
Is on thee; thy attendant is not strong;
130
Thy steeds are slow. Mount, then, my car, and see
What Trojan horses are; how rapidly
They turn to right and left, and chase and flee.
I took them from the terror of the field,
Æneas. To our servants leave thine own,
135
While we with these assault the Trojan knights,
And teach even Hector that the spear I wield
Can make as furious havoc as his own."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.78 focus
Nor great Idomeneus that sight could bear,
Nor each stern Ajax, thunderbolts of war;
100
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.78 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.78 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.78 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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