Homer Iliad 14.242

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.) — 14.242 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.) — 14.242 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.) — 14.211 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.242 focus
Then Sleep answered, “Hera, great queen of goddesses, daughter of mighty Kronos, I would lull any other of the gods to sleep without compunction, not even excepting the waters of Okeanos [245] from whom all of them proceed, but I dare not go near Zeus, nor send him to sleep unless he bids me. I have had one lesson already through doing what you asked me, [250] on the day when Zeus’ mighty son Hēraklēs set sail from Ilion after having sacked the city of the Trojans. At your bidding I suffused my sweet self over the mind of aegis-bearing Zeus, and laid him to rest; meanwhile you hatched a plot against Hēraklēs, and set the blasts of the angry winds beating upon the sea, till you took him [255] to the goodly city of Cos away from all his friends. Zeus was furious when he awoke, and began hurling the gods about all over the house; he was looking more particularly for myself, and would have flung me down through space into the sea where I should never have been heard of any more, had not Night who cows both men and gods protected me. [260] I fled to her and Zeus left off looking for me in spite of his being so angry, for he did not dare do anything to displease Night. And now you are again asking me to do something on which I cannot venture.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.242 focus
Then gentle Sleep made answer, speaking thus:-
290
"Great Saturn's daughter, Juno the august,
On any other of the deathless gods
Could I bring slumber, - even on the tides
Of the swift Ocean, parent of them all;
Yet may I not approach Saturnian Jove
295
If he command me not. Already once
He made me quail with fright before his threats,
When his magnanimous son, Alcides, sailed
From Troy, which he had ravaged. Then I lulled
The senses of the Ægis-bearer, Jove,
300
Wrapping myself around him, while thy mind
Was planning mischiefs for his son, and thou
Didst wake the blasts of all the bitter winds
To sweep the ocean, and to bear away
The hero on its billows from his friends
305
To populous Cos. When Jupiter awoke
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.242 focus
'Imperial dame,' (the balmy power replies,)
'Great Saturn's heir, and empress of the skies!
'O'er other gods I spread my easy chain;
'The sire of all, old Ocean, owns my reign,
'And his hush'd waves lie silent on the main.
280
'But how, unbidden, shall I dare to steep
'Jove's awful temples in the dew of sleep?
'Long since, too venturous, at thy bold command,
'On those eternal lids I laid my hand;
'What time, deserting Ilion's wasted plain,
285
'His conquering son, Alcides, plough'd the main:
'When lo! the deeps arise, the tempests roar,
'And drive the hero to the Coan shore:
'Great Jove, awaking, shook the bless'd abodes
'With rising wrath, and tumbled gods on gods;
290
'Me chief he sought, and from the realms on high
'Had hurl'd indignant to the nether sky,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.242 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.242 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

Notes on the current edition

Iliad

1. 210 The second folio, followed in its error by Dr. Taylor, has " draw'st up." —

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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evidence for the description of D.B. Monro’s understanding of the verb anései, as a compound verb meaning “to place” or “set upon”

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in the context of analyzing the anomaly of Apollo’s journey from Olympus in the Homeric Hymn to Apollo

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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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As Hērā readies herself for her sexual encounter with Zeus, her cosmetic self-adornment is pictured here as a cosmic ‘arrangement’, kosmos, of beauty.

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Janko’s 1992:180 comments on the verses and GN’s comments on them

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Hērā’s wording here rationalizes her initiating a sexual encounter with Zeus. The idea of such an encounter is conventionally known as hieros gamos—in the sense of ‘sacred sexual intercourse’ (as in Theocritus 17.131). From the dramatic standpoint of the immediate narrative context, Hērā is making up what she is saying; in the comments that follow, however, it is argued that the wording of the goddess here derives from genuine theogonic traditions centering on the idea of sacred intercourse as an act of cosmogonic creation.

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Highlighted in the comments so far on the cosmic river Ōkeanos is the role of this world-encircling fresh-water stream as a boundary delimiting light from darkness, wakefulness from sleep, life from death. Such delimitations, as we have seen, are elaborated poetically in contexts that picture the rising of the sun out of the waters of the Ōkeanos at sunrise—after its setting into these same waters at sunset. See the comments on I.07.421–423 and I.08.485–486. And now, in the context of a scene that evokes the themes of hieros gamos ‘sacred sexual intercourse’, we find that the role of Ōkeanos evokes also the themes of theogony and cosmogony. These themes are conveyed by wording that points to the role of Ōkeanos as a personified god who combines with a personified goddess Tēthus in prototypically initiating a genesis ‘generating’ of gods, as we see here at I.14.201, and even a genesis ‘generating’ of all things, as we will see at I.14.245–246–246a.

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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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When Hera describes her plan to reconcile Okeanos and Tethys she uses the vocabulary of epea: "If persuading them with words (epeessi paraipepithousa) in the dear heart I might manage to unite them in affection" (14.208-10). To carry out Hera's project, Aphrodite grants her parphasis, the sort of speech characterized as "soft," "gentle," and "sweet." It is personal appeal, not authoritative performance, that generates speech denoted as epea (Martin 1993:38).

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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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Aphrodite's host formula when addressing her visitor Hera at 14.195-96—auda ho ti phroneeis; telesai de me thumos anōgen / ei dunamai telesai ge kai ei tetelesmenon estin—provides a model for Achilles' words at 9.310. The same couplet is addressed by Hephaistos to Thetis at the start of another visit type-scene (18.426-27). In this formulaic opening, the negative element ("do not conceal") is omitted, perhaps because gods are assumed to speak truthfully to each other; in addition, there is a different focus, on the speaker's willingness to complete the action which the addressee has in mind. The verb phroneō occurs in the same slot in 9.310 as phroneeis in the formulaic lines, and the second half of 9.310 reproduces, with slight changes, the second half of the second line in the formulaic couplet used by the hosts. Achilles' use of this host formula is deviant: instead of saying "speak what you think and I shall fulfill it," Achilles reflects back on himself—"I must deny the offer in the way that I think and the way it will be fulfilled." This conglomeration of motives—the perfect host, the man in crisis who must speak his refusal—produces the expanded, seemingly incoherent opening to Achilles' great reply (Martin 1993:210-12).

For the splitting expansion at 9.310-314 and the model from Zeus' rebuke to Ares (5.889-90), see the comment on Iliad 9.310-314.

References

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

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