Homer Iliad 14.270

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.

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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.) — 14.270 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.) — 14.296 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.270 focus
Sleep was pleased when he heard this, and answered, “Then swear it to me by the dread waters of the river Styx; lay one hand on the bounteous earth, and the other on the sheen of the sea, so that all the gods who dwell down below with Kronos may be our witnesses, [275] and see that you really do give me one of the youngest of the Graces [ kharites]—Pasithea, whom I have always wanted to marry.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.270 focus
She spake, and Sleep, delighted, answered thus:-
"Swear now to me, O goddess, by the Styx,
325
The inviolable river. Lay one hand
Upon the food-producing earth, and place
The other on the glimmering sea, that all
The gods below, round Saturn, may attest
Thy promise, that thou wilt bestow on me
330
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.270 focus
'Swear then' (he said) 'by those tremendous floods,
305
'That roar through hell, and bind th' invoking gods:
'Let the great parent earth one hand sustain,
'And stretch the other o'er the sacred main:
'Call the black Titans that with Cronos dwell,
'To hear and witness from the depths of hell;
310
'That she, my lov'd-one, shall be ever mine,
'The youngest Grace, Pasithaë the divine.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.270 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.270 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.270 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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Gods can take an irrevocable oath in the form of swearing by the waters of the underworld river Styx, which is what the goddess Hērā is asked to perform here at I.14.271–276 and which she actually does perform at I.14.277–280. See further in the comment on I.15.037–038.

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The visualization of the landscape here, as the narrative views the goddess Hērā traveling toward Mount Ida, corresponds to what you would see if you looked due north while standing on the north shore of the island of Lesbos. Across the sea, beyond the strait separating this island from the mainland to the north, is the shoreline of the region leading uphill to the heights of Mount Ida. Just as you are looking north from the shores of Lesbos when you see that skyline, so also Hērā is traveling north as she hastens to arrive at her point of assignation with the mighty thunderer on the peaks of Mount Ida. This view from Lesbos, then, shows an Aeolian poetic vantage point in visualizing the narrative space of Troy in its entirety.

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The goddess Hērā refers here at I.14.302 to the cosmic river Ōkeanos as the ‘genesis of the gods’ (θεῶν γένεσιν). This reference is a continuation of the earlier reference at I.14.246 to Ōkeanos as a god ‘who has been fashioned as genesis for all’ (ὅς περ γένεσις πάντεσσι τέτυκται). Supplementing my comment on I.14.245–246–246a. I now offer further comment on those verses in the context of the narrative as it continues here at I.14.301–302. What follows is an epitome of what I have to say in HC 2§§156–157. I start with I.14.246, where the immediate point is this: Ōkeanos is a primal ancestor of the gods Zeus and Hērā. At I.14.246a, this theme is developed further: Ōkeanos is a primal force that ultimately generated humans as well as gods, and this force pervades the earth. Such a theme is actually implicit already at I.14.246, even without the explicit amplification of I.14.246a: the adjective pantessi (πάντεσσι) ‘all’ at I.14.246 implies that Ōkeanos is the father of not only ‘all’ gods but also, by extension, ‘all’ men. There is a parallel idea in Homeric references to Zeus himself as the ‘father’ of gods and men, patēr andrōn te theōn te, as at I.01.544, and so on. Further, the noun genesis (γένεσις) in the same verse, I.14.246, which I translated above by using the English borrowing ‘genesis’, implies a depersonalized cosmic power that generates not only all gods and all men but also all things. The idea that Ōkeanos is the ‘genesis’ of all is ultimately not so much the expression of an interpersonal relationship, such as parenthood in the immediate narrative context, but of a depersonalized cosmic creation, a cosmogony. Thus the adjective pantessi (πάντεσσι) ‘all’ is in fact all-inclusive, even without I.14.246a. I should add that there is nothing non-Homeric about picturing the Ōkeanos simultaneously as an anthropomorphic father of gods and as a cosmic source for everything on earth. The cosmogonic themes of I.14.246-246a, less explicit as read by Aristarchus without 246a and more explicit as read by Crates with 246a, are in any case deeply rooted in the Homeric tradition. The more explicit Homeric readings of Crates reflect, more clearly than the corresponding readings of Aristarchus, an earlier phase in the evolution of the Homeric tradition. I propose that Crates derived “plus verses” like I.14.246a from a “Homerus Auctus,” on which I have this to say at HC 2§178: “a verse like [I.14.246a], stemming from a Homerus Auctus as edited by Crates in Pergamon, need not be dismissed as an interpolation from Homeric editions that had been contaminated, as it were, by Orphic traditions. The Homerus Auctus need not be viewed as an editorial conflation of incompatible texts but as a preedited corpus of undifferentiated oral traditions that later became differentiated into distinct textual traditions that we recognize as Orphic, Hesiodic, Cyclic, and even Homeric.” On the term “Orphic” as I use it here, see the comment on I.14.245–246–246a above.

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