Homer Iliad 14.154

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 1857))

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.) — 14.154 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.) — 14.154 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.) — 14.133 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.154 focus
Hera of the golden throne looked down as she stood upon a peak of Olympus and her heart was gladdened at the sight of him [155] who was at once her brother and her brother-in-law, hurrying hither and thither amid the fighting. Then she turned her eyes to Zeus as he sat on the topmost crests of many-fountained Ida, and loathed him. She set herself to think how she might trick his thinking, [160] and in the end she deemed that it would be best for her to go to Ida and array herself in rich attire, in the hope that Zeus might become enamored of her, and wish to embrace her. While he was thus engaged a sweet and careless sleep might be made [165] to steal over his eyes and senses.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.154 focus
Now, Juno of the golden throne beheld
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.154 focus
Meantime Saturnia from Olympus' brow,
High-thron'd in gold, beheld the fields below;
180
With joy the glorious conflict she survey'd,
Where her great brother gave the Grecians aid.
But plac'd aloft, on Ida's shady height
She sees her Jove, and trembles at the sight.
Jove to deceive, what methods shall she try,
185
What arts, to blind his all-beholding eye?
At length she trusts her power; resolv'd to prove
The old, yet still successful, cheat of love;
Against his wisdom to oppose her charms,
And lull the lord of thunders in her arms.
190
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.154 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.154 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

Notes on the current edition

Iliad

1. 141 Ferrary—the art of working in iron. A word coined, probably, by Chapman.

New Alexandria Commentaries

Douglas Frame

example of Nestor as the symbol of nóos

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analysis of the connection of Nestor with noos, he as its personification

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comparison of Nestor and Polydamas, the counselors on their respective sides, in terms of noos (in the context of interpreting them in terms of the twin myth)

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example of the inherent opposition between verbs pheúgein and halonai. Compare to Il. XXI.493-495

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provides evidence for contention that Homer no longer understood the context and traditional meaning of ásmenoi because it has here lost its verbal force and functions as an adjective

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analysis of asmenos as having lost its original meaning and being understood as an adjective meaning “happy” in Homer, with this verse as an example

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Gregory Nagy

The momentum of the attacking Trojan warriors gets stalled here, since Hērā interrupts the ongoing Plan of Zeus. The goddess seduces the god, and the setting for their divine sexual encounter is the spectacular landscape of Mount Ida, which is the private abode of the thundering almighty. During the tryst of the god and the goddess, the Achaeans regain the upper hand in the fighting. But this new momentum is soon headed for a downturn. The divine interruption, despite all its cosmic sexual energy, becomes retrospectively a mere interlude in the narrative arc of the Iliad—once the tryst is over and the Plan of Zeus resumes its relentless course of action.

draft js image errorJuno and Jupiter. Detail from “Loves of the Gods,” fresco by Annibale Carracci (1560–1609). Annibale Carracci [Public domain], via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Carracci_-_Jupiter_et_Junon.jpeg.

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Again, as at I.13.227, the fear is expressed that the invading Achaean warriors could die nōnumnoi ‘nameless’ at Troy. On the connotations, which can be seen by way of comparing Hesiodic poetry, see the comment on I.12.079.

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example of ‘standard’ usage in Homeric quotations of Plato

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Leonard Muellner

analysis of the meaning of thēmis and the role of Themis

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in a list of attestations of genos eukhesthai einai and its transformations

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analysis of the classification and interrelationship of the different genos eukhesthai einai formulas

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Richard Martin

By Book 14, Diomedes has learned how to construct an impregnable speech by taking preemptive action against possible objections. As does Nestor, he prefaces his speech with disarming recollection of the past—his own ancestry in this case—and thus rejects possible claims that he is too young to speak well, while raising his status as a warrior by blood. As a result, his muthos is assured of success: "Therefore, you cannot devalue my muthos by saying I am strengthless and have a bad ancestry, whatever I say" (14.126-27). The poet concludes the speech with the same line that followed Nestor's exemplary muthos in Book 9: "Thus he spoke and then they listened and obeyed" (14.133 = 9.79) (Martin 1993:25).

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Diomedes' employment of genealogical recitation at 14.110-27 is a device for accomplishing his entry into the world of heroic speakers. The recitation of genealogy in poetic form is recognized throughout Africa as an essential social genre and holds a good claim to be one of the oldest Indo-European genres, attested in Irish, Welsh, Avestan, Old English, Norse, and non-Homeric Greek poetry. The role of genealogical memories within Iliadic speeches is oriented toward the hero's marking of his own deeds or to shaming another to act: Agamemnon and others use genealogical recitation with Diomedes himself at 4.375 and 5.813. Aeneas' use of the genre is ambiguous—he is characterized as "a master of poetic skills in the language of praise and blame," as his very name asserts, yet seems to spend an inordinate amount of time recounting his genealogy to face down Achilles before a duel (20.200-258), compared with Achilles, who can afford to wait until after the victim is dead (Martin 1993:85-86).

For the broader analysis of memory as a muthos genre, see the comment on Iliad 1.259-274.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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The style of giving more information by adding clauses can best be seen in longer stretches of Odysseus' speech. His reply to Agamemnon's proposal in Book 14 features at least one such clause in nearly every sentence: "Nor should you rule us, to whom Zeus granted . . . the raveling of wars" (14.85); "You wish to abandon Troy . . . for which we suffer many evils" (89); "Silence, lest another Achaean hear the muthos / which a man, at least, might not draw all through the mouth, a man who knew to speak close-fitting things" (91, 92). These eight lines contain four relative clauses, compared with Agamemnon's immediately preceding speech, in which only two occur over seventeen lines (67, 81). The difference in their preferred syntactic strategies explains a good deal of the tone of each hero's speech: curt and hard-bitten for Agamemnon, fluid and accommodating for Odysseus (Martin 1993:122-23).

The realization that speech can be good or bad prompts Odysseus' remark that Diomedes should neither praise nor blame too much among a knowing audience (10.249). The urge for proportionate speech explains his criticism of Agamemnon's style, since Agamemnon's call to retreat is out of all proportion with the heroic ethos: it is, to Odysseus, a muthos that one can hardly pronounce, the opposite of an act of speech (Martin 1993:122-23).

For the broader analysis of Odysseus' style, see the comment on Iliad 3.212-223.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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