Homer Iliad 8.381

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.) — 8.381 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.) — 8.381 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.) — 8.344 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.381 focus
Thus did she speak and white-armed Hera, exalted goddess and daughter of great Kronos, obeyed her words; she set about harnessing her gold-bedizened steeds, while Athena daughter of aegis-bearing Zeus [385] flung her richly vesture, made with her own hands, on to the threshold of her father, and donned the khiton of Zeus who gathers clouds, arming herself for battle. Then she stepped into her flaming chariot, and grasped the spear [390] so stout and sturdy and strong with which she quells the ranks of heroes who have displeased her. Hera lashed her horses, and the gates of the sky bellowed as they flew open of their own accord—gates over which the Seasons [ hōrai] preside, in whose hands are the sky and Olympus, either [395] to open the dense cloud that hides them or to close it. Through these the goddesses drove their obedient steeds.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.381 focus
She ended, and the white-armed deity
Juno obeyed her. Juno the august,
The mighty Saturn's daughter, hastily
480
Caparisoned the golden-bitted steeds.
Meanwhile, Minerva on the palace-floor
Of Jupiter let drop the gorgeous robe
Of many hues, which her own hands had wrought,
And, putting on the Cloud-compeller's mail,
485
Stood armed for cruel war. And then she climbed
The glorious car, and took in hand the spear -
Huge, heavy, strong-with which she overthrows
The serried phalanxes of valiant men
Whene'er this daughter of the Almighty One
490
Is angered. Juno bore the lash, and urged
The coursers to their speed. The gates of heaven
Opened before them of their own accord, -
Gates guarded by the Hours, on whom the care
Of the great heaven and of Olympus rests,
495
To open or to close the wall of cloud.
Through these they guided their impatient steeds,
From Ida Jupiter beheld, in wrath,
And summoned Iris of the golden wings,
And bade her do this errand: "Speed thee hence,
500
Fleet Iris! turn them back; allow them not
Thus to defy me: it is not for them
To engage with me in war. I give my word, -
Nor shall it lack fulfilment, - I will make
The swift steeds lame that draw their car, and hurl
505
The riders down, and dash the car itself
To fragments. Ten long years shall wear away
Before they cease to suffer from the wounds
Made by the thunderbolt. Minerva thus
May learn the fate of those who strive with Jove.
510
With Juno I am less displeased, for she
Is ever bent to thwart my purposes."
He spake; and Iris, with the tempest's speed
Departing, bore the message from the heights
Of Ida to the great Olympus, where,
515
Among the foremost passes of the mount,
All seamed with hollow vales, she met and stayed
The pair, delivering thus the word of Jove: —
"Now whither haste ye? What strange madness fires
Your breasts? The son of Saturn suffers not
520
That ye befriend the Greeks. He threatens thus, -
And will fulfil his threat, - that he will make
The coursers lame that draw your car, and hurl
The riders down, and dash the car itself
To fragments, and that ten long years must pass
525
Ere ye shall cease to suffer from the wounds
Made by the thunderbolt. So shalt thou learn,
O Pallas! what it is to strive with Jove.
With Juno is he less displeased, for she
Is ever bent to thwart his purposes;
530
But thou, he says, art guilty above all,
And shameless as a hound, if thou dare lift
Thy massive spear against thy father Jove."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.381 focus
She ceas'd, and Juno rein'd the steeds with care,
(Heaven's awful empress, Saturn's other heir:)
465
Pallas, meanwhile, her various veil unbound,
With flowers adorn'd, with art immortal crown'd;
The radiant robe her sacred fingers wove
Floats in rich waves, and spreads the court of Jove.
Her father's arms her mighty limbs invest,
470
His cuirass blazes on her ample breast.
The vigorous power the trembling car ascends;
Shook by her arm, the massy javelin bends;
Huge, ponderous, strong! that, when her fury burns,
Proud tyrants humbles, and whole hosts o'erturns.
475
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.381 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.381 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

Notes on the current edition

Iliad

1. Affected—beloved.
2. Suppliance—supply, assistance.
3. Fatal—decreed by fate. See Bk. Ix. 241.
4. Severally—separately, oppositely.
5. "Facilè facit quod semper facit."—CHAPMAN.

New Alexandria Commentaries

Douglas Frame

comment on this being the one of two places in the Iliad where there is a reference to a four-horse chariot, but with a dual verb to address four horses

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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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Hector predicts that there will be mnēmosunē ‘memory’, I.08.181, of the moment when he will set fire to the beached ships of the Achaeans in the epic Battle for the Ships. And this moment will be in fact pivotal for the Will of Zeus, which will find expression in the fire of Hector. It will be a moment to be recorded by the poetic memory of the Homeric Iliad. See the comments on I.16.112 and on I.16.113.

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Unlike other heroes in Homeric narrative, Hector has a chariot drawn by four rather than two horses. There are Athenian connotations to be seen here. As we learn from the Parian Marble, FGH 239 section 10, the Athenians claimed that Erikhthonios, a prototypical hero of Athens, was the inventor of the four-horse chariot on the occasion of the first chariot race held at the first Panathenaic festival in 1505/4 BCE. Correspondingly, there is a prototypical hero of Troy who is likewise Erikhthonios: is is said at I.20.219 and I.202.30 that this Erikhthonios was son of Dardanos and father of Tros, who in turn was the ancestor of Anchises father of Aeneas. In this light, we may compare the reference at I.05.271 to four chariot horses owned by Anchises. It can be argued that these details about four-horse chariots are relevant to Athenian agenda at work during an Athenian phase of Homeric transmission.

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Hector here is said to be atalantos or ‘equal’ to Ares. This kind of equating of a hero with the war god will figure prominently in future scenes of mortal combat. Relevant are previous scenes of mortal combat involving Diomedes: see the comments at I.05.438, I.05.440–442, I.05.459. Besides Hector, as here at I.08.215 another hero who will be pointedly described as ‘equal to Ares’ is Patroklos. Besides sharing such an epithet, Hector and Patroklos will also be sharing the armor of Achilles: first it is Patroklos who wears this armor when he goes off to fight as a substitute for Achilles; and then Hector will wear it after he kills Patroklos.

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The ships of the Achaeans are beached along the shores of a large U-shaped bay that opens into the Hellespont. See Map 1 and Map 2 at HPC 157 and 158 respectively. Such a bay no longer exists, because of long-term silting from the river Scamander, which emptied into the bay. In the second millennium BCE and even later, however, the bay was very much of a reality, as the maps show, and the visualization in the Homeric Iliad approximates such a topographical reality. This is not to say, however, that we should imagine the ships of the Achaeans as floating at anchor in the waters of such a bay: rather, the Iliad pictures the ships are beached along the shores of the bay, with their sterns facing inland and their prows facing out toward the waters. On this positioning, see also the comment on I.14.027–036. Exploring further the Iliadic visualization, we can see that the beached ship of Odysseus is located at the bottom of the U-shaped bay, at the south in the middle of the bayline, while the beached ships of Achilles and Ajax are located respectively at the upper left and the upper right tips of the U, at the northwest and northeast. To be highlighted here is a detail about the ship of Odysseus: the king Agamemnon is shown standing on the deck of this beached ship, which is said to be located en messatōi ‘in the middlemost space’, I.08.223, and from here this over-king projects his voice of royal authority, shouting mightily to all the Achaeans stationed at their own ships, I.08.227. Correspondingly, all the Achaeans stationed at all the beached ships can hear the king’s voice—from the ship of Achilles at one extreme of the U-shaped bay all the way to the ship of Ajax at the other extreme, I.08.224–226 (HPC 160–161). Agamemnon’s own beached ship, together with the ships of Diomedes and Nestor, is located near the ship of Odysseus, and it is in this ‘middlemost space’ of the U-shaped bayline that the central station of the Achaeans is visualized by the narrative, I.08.223. In the later comments at I.11.005–016, I.11.806–808, and I.14.027–036, there will be more to say about the locations of all these beached ships. To be highlighted already now, however, is the general reference to the klisiai or ‘shelters’ here at I.08.220, which are the abodes of the heroes. Then at I.08.224 the same word klisiai refers specifically to the abodes of Achilles and Ajax, mentioned at I.08.224–225. The description here shows that the klisiai ‘shelters’ of these two heroes are pointedly aligned with their beached ships. As for the ships beached at the middle of the bayline in the south, they mark a political and sacral centerpoint for the Achaeans. The evidence for the preceding formulation will be presented in the comment on I.11.806–808.

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By blaming or insulting his fellow Achaeans for not daring to stand up to the onslaught of Hector, Agamemnon is goading them into action. His insulting words recall a scene that took place in their collective epic past, on the island of Lemnos, where the Achaeans were competitively boasting about the exploits they will perform in the future when they fight in the Trojan War. The idea of ‘boasting’ is conveyed by the noun eukhōlē, which is derived from eukhesthai ‘declare’. As we already saw at I.01.091, what is at stake when an Achaean hero boasts in the Iliad centers on the all-important question: who is the ‘best of the Achaeans’? The noun eukhōlai ‘boastings’ in the plural here at I.08.229 indicates a distributive action: the Achaeans were boasting not as a group but individually and competitively. The object of such competition and dispute would have been: to show who is the aristos ‘best’ of them all. When Agamemnon says at I.08.229 ‘we were saying that we were best [aristoi]’, the plural construction here is distributive in meaning: ‘each one of us was saying that he was the best [aristos]’. We see in this scene of a past event at Lemnos an epic precedent for what is ongoing in the present time of the Trojan War as narrated in the Iliad. Just as there was a dispute at Lemnos, there is a dispute ongoing in the Iliad about that all-important question: who is the ‘best of the Achaeans’? A most relevant detail in the story about the dispute at Lemnos is the fact that the context for the quarreling that took place at that time over the same question, who is the ‘best of the Achaeans’, was a feast where meat was being distributed, I.08.231. So the setting for the quarrel was an event that is elsewhere called a dais, to be defined as ‘feast, division of portions (of meat); sacrifice’ in Homeric diction. As we saw in the comment for I.01.423–425, a dais is a feast where meat is distributed, and this meat comes from the sacrifice of a sacrificial animal. Thus the act of sacrifice converts the feast of humans into a notional feast of the gods. This notion, ‘feast of the gods’, is made explicit in the “micro-Iliad” of O.8.072–083, which is the First Song of Demodokos. At O.08.076, the setting is described this way: θεῶν ἐν δαιτὶ θαλείῃ ‘at a sumptuous feast [dais] of the gods’. So, what is happening at this feast? There is a dispute going on (δηρίσαντο at Ο.08.076), and the dispute is called a neikos ‘quarrel’ at O.08.075. The disputants are Odysseus and Achilles, who are described at O.08.078 as ‘the best of the Achaeans’. In terms of such a dispute in the context of a feast, each one of the two heroes would be claiming to be the ‘best of the Achaeans’. Similarly in the context of the feast at Lemnos as narrated by Agamemnon, each one of the heroes attending would be making such a claim.

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At the moment of his death here, the hero’s menos ‘mental power’ is released from his body, and, in the present context, the noun psūkhē ‘spirit’ is used as a synonym of menos.

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The verb haptesthai ‘grab a hold of’ here at I.08.339 has as its subject a hunting dog that bites and as its object the animal that is bitten by the dog, as we see at I.08.338. In other contexts, to be cited in the comment on O.10.379, the same verb can be metaphorized with reference to the language.

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The noun aethlos (āthlos) ‘ordeal’ in the plural, aethloi, programmatically refers to the Labors of Hēraklēs. These aethloi ‘ordeals’ were life-and-death struggles imposed on the hero by Eurystheus, who was socially superior to him but inferior otherwise.

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The constellation of words linked with pulē in the sense of ‘gate’, such as pul-artēs ‘gate-closer’ here (genitive πυλάρταο), is linked with the idea of the pulai ‘gates’ of Hādēs. See the comments on I.05.395–404, I.05.646, I.11.671; see also Points 5 and 6 in the anchor comment at I.23.071–076.

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Leonard Muellner

analysis of the names of Hektor’s horses (divine + semantic/contextual associate of it, for each pair)

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analysis of Hektor’s speech to his horses, concluded by eukhomenos, as conforming to the formula (A) (sacral use of eukhesthai, formula concluding a prayer)

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this verse, where secular eukhesthai is used in a prayer to specify the grounds on which a response is expected, as evidence that there is a secondary dictional and thematic association between secular and sacral eukhesthai (contra Perpillou)

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analysis of the development of Greek posis compared with Vedic pati-

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in a list of eukhesthai einai + social relationship and comparison of these kinds of verses with eukhesthai einai + place/father’s name

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the use of eukhesthai + infinitive in this verse as semantically parallel to O.11.261

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analysis of the development of Greek posis compared with Vedic pati-

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analysis of Hektor’s speech to his horses, concluded by eukhomenos, as conforming to the formula (A) (sacral use of eukhesthai, formula concluding a prayer)

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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in a list of examples of directly quoted prayers not concluded by formula (A)

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one of Corlu’s examples of eukhesthai referring to past actions

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analysis of kephalē as synonym for the whole person (this line as example)

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