Homer Iliad 14.133

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

Iliad (English) (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.)

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

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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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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Richard Martin

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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