Homer Iliad 14.242

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

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Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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 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 (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 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. 85.1

New Alexandria Commentaries

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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Our source for this set of verses, I.14.245–246–246a, is Plutarch On the face in the moon 938d, whose narrative provides a context for including verse 246a in such a set. Without the testimony of Plutarch, we would not know about this verse, since it does not survive in the medieval manuscript tradition. But it had survived, as we know from Plutarch, in the text of the Homeric Iliad as edited by Crates of Mallos, Director of the Library of Pergamon (see under Crates in the inventory of Words and Ideas). In that text, verse 246 of Iliad 14 was followed by another verse, labeled as 246a in modern editions:

I.14.246 Ὠκεανός, ὅσπερ γένεσις πάντεσσι τέτυκται

I.14.246a ἀνδράσιν ἠδὲ θεοῖς, πλείστην <τ᾿> ἐπὶ γαῖαν ἵησιν

Taken together, these verses can be translated this way:

I.14.246 … Ōkeanos, who has been fashioned as genesis for all

I.14.246a men and gods, and he flows over the Earth in all her fullness.

What is said about Ōkeanos in the “plus-verse” I.14.246a as attested here by Crates is closely related to what we find in poetic traditions attributed to Orpheus. The existence of such Orphic traditions is clearly attested in relevant quotations and paraphrases made by Plato, especially in Cratylus 402a-c regarding the role of Ōkeanos as a primordial source of creation. Details in HPC 2§§128–147. As for Crates (F 20 ed. Broggiato 2001), he cited the “plus verse” I.14.246a as evidence in arguing for his theory that the Ōkeanos was a salt-water Ocean covering a spherical Earth. For Crates, then, these verses at I.14.245–246–246a about the Ōkeanos were an essential part of an allegory about the cosmos. According to this theory of Crates, the earth was a sphere, located at the center of a universe that was likewise spherical. Crates evidently interpreted in a modernizing sense the expression at I.14.246a: ‘[which flows] over most of the earth’ (πλείστην … ἐπὶ γαῖαν). In other words, the salt-water ocean covers most of the spherical Earth. This theory was opposed by Aristarchus, Director of the Library of Alexandria (see under Aristarchus in the inventory of Words and Ideas), who viewed the Homeric Ōkeanos as a fresh-water river surrounding an Earth that is circular and flat (HC 2§150). See further my comment at HC 2§153 about this dispute between Crates and Aristarchus. What was at stake, as I say in my comment there, was no trivial matter. In this case, in fact, the stakes were of cosmic proportions. Both sides of the dispute were attempting to establish their theories of the cosmos by way of deciding the rightness or wrongness of different variants in the text of Homer. I find it ironic, I went on to say, that I am describing this ancient state of affairs in an era when it appears fashionable to dismiss Homeric textual variations as “trivial,” “banal,” and even “boring.” There will be more to say in my comment on I.18.478–609, in the context of the Shield of Achilles in Iliad 18, about the conceptualization of Ōkeanos as some primordial work of art as suggested by the verb tetuktai (τέτυκται) ‘has been fashioned’ here at I.14:244. For more on the narrative that is taking shape at I.14.245–246–246a, see the comment on I.14.301–302.

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the Homerus Auctus as not an editorial conflation of incompatible texts but as a preedited corpus of undifferentiated oral traditions that later became differentiated into distinct textual traditions

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