Homer Iliad 8.335

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 8.335 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.) — 8.335 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)) — 8.335 focus
Zeus now again put heart into the Trojans, and they drove the Achaeans to their deep trench with Hector in all his glory at their head. As a hound grips a wild boar or lion in [340] flank or buttock when he gives him chase, and watches warily for his wheeling, even so did Hector follow close upon the flowing-haired Achaeans, ever killing the hindmost as they rushed panic-stricken onwards. When they had fled through the set stakes and trench and many Achaeans had been laid low at the hands of the Trojans, [345] they halted at their ships, calling upon one another and praying every man instantly as they lifted up their hands to the gods; but Hector wheeled his horses this way and that, his eyes glaring like those of Gorgo or manslaughtering Arēs.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.335 focus
Then did Olympian Jove again inspire
The Trojan host with valor, and they drave
The Achaians backward to the yawning trench.
Then Hector came, with fury in his eyes,
Among the foremost warriors. As a hound,
425
Sure of his own swift feet, attacks behind
The lion or wild boar, and tears his flank,
Yet warily observes him as he turns,
So Hector followed close the long-haired Greeks,
And ever slew the hindmost as they fled.
430
Yet now, when they in flight had crossed again
The trench and palisades, and many a one
Had died by Trojan hands, they made a halt
Before their ships, and bade each other stand,
And lifted up their hands and prayed aloud
435
To all the gods; while Hector, urging on
His long-maned steeds, and with stern eyes that seemed
The eyes of Gorgon or of murderous Mars,
Hither and thither swept across the field.
The white-armed Juno saw, and, sorrowing,
440
Addressed Minerva with these winged words : -
"Ah me! thou daughter of the God who bears
The ægis, shall we not descend to aid
The perishing Greeks in their extremity?
A cruel doom is theirs, to fall, destroyed
445
By one man's rage, - the terrible assault
Of Hector, son of Priam, who has made
Insufferable havoc in the field."
And thus in turn the blue-eyed Pallas spake: -
"That warrior long ere this had lost his life,
450
Slain by the Greeks on his paternal soil,
But that my father's mind is warped by wrath.
Unjust to me and harsh, he thwarts my aims,
Forgetting all I did for Hercules,
His son, how often, when Eurystheus set
455
A task too hard for him, I saved his life.
To heaven he raised his eyes and wept, and Jove
Despatched me instantly to succor him.
And yet if I, in my forecasting mind,
Had known all this when he was bid to bring
460
From strong-walled Erebus the dog of hell,
He had not safely crossed the gulf of Styx.
But now Jove hates me; now he grants the wish
Of Thetis, who hath kissed his knees and touched
His beard caressingly, and prayed that he
465
Would crown the overthrower of walled towns,
Achilles, with great honor. Well, the time
Will come when he shall call me yet again
His dear Minerva. Hasten now to yoke
For us thy firm-paced steeds, while in the halls
470
Of ægis-bearing Jupiter I brace
My armor on for war, and I shall see
If Hector of the beamy helm, the son
Of Priam, will rejoice when we appear
Upon the field again. Assuredly
475
The men of Troy shall die, to feast the birds
Of prey and dogs beside the Grecian fleet."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.335 focus
Troy yet found grace before th' Olympian sire;
He arm'd their hands, and fill'd their breasts with fire.
The Greeks, repuls'd, retreat behind their wall,
Or in the trench on heaps confus'dly fall.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.335 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.335 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena’s association with/wearing peplos

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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 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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The very idea of exposing a dead body to be eaten by dogs and birds, as conjured here at I.08.379–380, is considered to be an abomination in the Iliad, by contrast with the ritually correct practice of cremation. See the comment on I.01.003–005.

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Leonard Muellner

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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Richard Martin

The command that Zeus addresses through Iris to Hera and Athena at 8.399-408 is characteristic of the way his muthoi combine several types of speech-act: directives blend with explicit threats. Hera and Athena are told to turn back; if they do not, Zeus will lame their horses, cast them out, and wreck the chariot (8.402-3). Furthermore, at the conclusion of this command, Zeus sets exact limitations on the action: Hera he will not berate as much as Athena, seeing that she is an inveterate adversary. Zeus' power to command is thus matched by his power to create nuance and give verbal texture to his directives—he is a master at the poetics of power. Zeus' commands, through Iris, occur at a problem that arises in framing: the words of Iris to Hera and Athena are described as a threat (ēpeilēse, 8.415), but have been introduced by Zeus with a line appropriate to a prediction (8.401, "Thus I will speak out and it will be completed"). Since in speech-act theory predictions are constatives and commands are directives, this correlation appears puzzling. But Zeus' language transcends human speech categories: in the language of Zeus, commands, threats, and predictions comprise one and the same category, making Zeus supreme (Martin 1993:52-53).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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