Homer Iliad 14.193

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

Sponsored by Perseus Project, Tufts University.

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Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 14.193 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)) — 14.193 focus
Zeus’ daughter Aphrodite answered, “Hera, august queen of goddesses, daughter of mighty Kronos, [195] say what you want, and I will do it for at once, if I can, and if it can be done at all.” Then Hera told her a lying tale and said, “I want you to endow me with some of those fascinating charms, the spells of which bring all things mortal and immortal to your feet. [200] I am going to the world’s end to visit 201 Ōkeanos, the genesis [ genesis] of gods, and mother Tethys: they received me in their house, took care of me, and brought me up, having taken me over from Rhaea when Zeus imprisoned great Kronos in the depths that are under earth and sea. [205] I must go and see them that I may make peace between them; they have been quarreling, and are so angry that they have not slept with one another this long while; if I can bring them round and restore them to one another’s embraces, [210] they will be grateful to me and love me for ever afterwards.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.193 focus
And thus Jove's daughter, Venus, made reply: -
“O Juno, whom I reverence, speak thy thought,
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.193 focus
'Let heaven's dread empress' (Cytherea said)
'Speak her request, and deem her will obey'd.'
'Then grant me' (said the queen) 'those conquering charms,
225
'That power, which mortals and immortals warms,
'That love, which melts mankind in fierce desires,
'And burns the sons of heaven with sacred fires!
'For lo! I haste to those remote abodes,
'Where the great parents (sacred source of gods!)
230
'Ocean and Tethys their old empire keep,
'On the last limits of the land and deep.
'In their kind arms my tender years were pass'd;
'What time old Saturn, from Olympus cast,
'Of upper heaven to Jove resign'd the reign,
235
'Whelm'd under the huge mass of earth and main.
'For strife, I hear, has made the union cease,
'Which held so long that ancient pair in peace.
'What honour, and what love, shall I obtain,
'If I compose those fatal feuds again?
240
'Once more their minds in mutual ties engage,
'And what my youth has ow'd, repay their age.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.193 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.193 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.193 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

New Alexandria Commentaries

Douglas Frame

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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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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The goddess Hērā promises to commission the making of a beautiful thronos ‘throne’, I.14.238. The maker will be the divine artisan Hephaistos, son of Hērā, I.14.239–240. This throne made by the god will be aphthito- ‘imperishable’, and this imperishability will last aiei ‘forever’, I.14.238. Also, this throne will be khrūseo- ‘golden’, I.14.239. On the combination of aphthito- ‘imperishable’ and khrūseo- ‘golden’ in symbolizing the artificial continuum of immortality, see BA 179. The Greek combination of the adjective áphthito- ‘imperishable’ with the adverb aieí ‘always’ here is comparable to the Indic combination of the adjective ákṣita- ‘imperishable’ with the adjective viśvā́yur ‘lasting for all ages’ at Rig-Veda 1.9.7: the form viśvā́yur is the neuter of viśvā́yus-, agreeing with śrávas ‘glory, fame’. (Full argumentation in GMP 123–126 for interpreting viśvā́yur as a neuter and not masculine adjective in this context: it goes with śrávas ‘glory, fame’ and not, as some have argued, with the name of the god Indra.) The element ā́yus- in this Indic form is cognate with Greek aiṓn ‘life-force, lifetime’, the original locative singular of which became the adverb aieí, meaning ‘forever’. See the note on I.01.052. The formulaic combination áphthiton aieí is attested elsewhere as well in Homeric diction, at I.02.046 and at I.02.186. And there is even an instance of the combination kléos áphthiton aieí ‘a glory that is imperishable forever’ in an archaic piece of poetry inscribed in the seventh century BCE: κλεFος απθιτον αιFει, DGE no. 316. This combination brings us back to the wording κλέος ἄφθιτον ἔσται = kléos áphthiton éstai ‘there will be an imperishable glory’ at I.09.413. To be noted again is the parallelism between the Greek combination of the adjective áphthiton ‘imperishable’ with the noun kléos ‘glory, fame’ at I.09.413 and the Indic combination of the adjective ákṣita- ‘imperishable’ with the noun śrávas ‘glory, fame’ at Rig-Veda 1.9.7 (full argumentation in GMP 123–126).

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Leonard Muellner

analysis of the use of eukhesthai in sacral contexts (formulas concluding prayers) and deletion of the verb in parallel expressions in secular contexts

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Richard Martin

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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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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