Homer Iliad 8.41

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.

Funding provided by The Annenberg CPB/Project.

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.) — 8.41 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.) — 8.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.41 focus
With this he yoked his fleet horses, with hooves of bronze and manes of glittering gold. He girded himself also with gold about the body, seized his gold whip and took his seat in his chariot. Then [45] he lashed his horses and they flew forward without hesitation midway between earth and starry sky. After a while he reached Ida with its many fountains, mother of wild beasts, and Gargaros, where are his grove and fragrant altar. There the father of gods and men stayed his horses, [50] took them from the chariot, and hid them in a thick cloud; then he took his seat all glorious upon the topmost crests, looking down upon the city of Troy and the ships of the Achaeans.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.41 focus
He spake, and to his chariot yoked the steeds,
Fleet, brazen-footed, and with flowing manes
Of gold, and put his golden armor on,
50
And took the golden scourge, divinely wrought,
And, mounting, touched the coursers with the lash
To urge them onward. Not unwillingly
Flew they between the earth and starry heaven,
Until he came to Ida, moist with springs
55
And nurse of savage beasts, and to the height
Of Gargarus, where lay his sacred field,
And where his fragrant altar fumed. He checked
Their course, and there the Father of the gods
And men released them from the yoke and caused
60
A cloud to gather round them. Then he sat,
Exulting in the fulness of his might,
Upon the summit, whence his eye beheld
The towers of Ilium and the ships of Greece.
Now in their tents the long-haired Greeks had shared
65
A hasty meal, and girded on their arms.
The Trojans, also, in their city armed
Themselves for war, as eager for the fight,
Though fewer; for a hard necessity
Forced them to combat for their little ones
70
And wives. They set the city-portals wide,
And forth the people issued, foot and horse
Together, and a mighty din arose.
And now, when host met host, their shields and spears
Were mingled in disorder; men of might
75
Encountered, cased in mail, and bucklers clashed
Their bosses; loud the clamor: cries of pain
And boastful shouts arose from those who fell
And those who slew, and earth was drenched with blood.
While yet 't was morning, and the holy light
80
Of day grew bright, the men of both the hosts
Were smitten and were slain; but when the sun
Stood high in middle heaven, the All-Father took
His golden scales, and in them laid the fates
Which bring the sleep of death, - the fate of those
85
Who tamed the Trojan steeds, and those who warred
For Greece in brazen armor. By the midst
He held the balance, and, behold, the fate
Of Greece in that day's fight sank down until
It touched the nourishing earth, while that of Troy
90
Rose and flew upward toward the spacious heaven.
With that the Godhead thundered terribly
From Ida's height, and sent his lightnings down
Among the Achaian army. They beheld
In mute amazement and grew pale with fear.
95
Then neither dared Idomeneus remain,
Nor Agamemnon, on the ground, nor stayed
The chieftains Ajax, ministers of Mars.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.41 focus
Then call'd his coursers, and his chariot took;
The stedfast firmament beneath them shook:
50
Rapt by th' ethereal steeds the chariot roll'd;
Brass were their hoofs, their curling manes of gold.
Of heaven's undrossy gold the god's array,
Refulgent, flash'd intolerable day.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.41 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.41 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.41 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

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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The momentum of the fighting between the Achaeans and Trojans is hanging in the balance—until high noon arrives, at which point Zeus decides to get out his golden talanta ‘scales’, I.08.69, as he readies to weigh who will win and who will lose. In just a moment, the balance will be tipped in favor of the Trojans. As we see at I.08.070, Zeus had put two kêre ‘portions’ at either end of the scales. Or, to say it etymologically, there are two ‘slices’ that are being weighed at either end, since the noun kḗr is derived from the verb keirein ‘cut, slice’. You can slice it both ways, life or death. Right from the start, though, the slicing is viewed negatively, and that is why at I.08.070 the two slices that Zeus weighs on the scales are already both viewed as ‘slices of death’. For the moment, though, these slices are not yet really ‘slices of death’, since the action is still only at the tipping point, and the outcome is supposedly still in the balance. But the negative connotations of the word kḗr in Homeric diction, which regularly means ‘fated death’ in the singular, as at I.18.118, have already predetermined the prematurely negative view of the fate that now awaits the Achaeans. Once the tipping actually gets underway, the slices for the Achaeans now sink downward at I.08.073–074, while the slices for the Trojans lift upward at I.08.074. So now the ‘slices of death’ are meant for the Achaeans, not for the Trojans. For the Achaeans, both original slices now mean death, and, in fact, the originally single slice on the Achaean side of the scales can now be viewed as many slices for the many fighters. Many of these fighters will die, and so the original kḗr or ‘fate of death’ for the Achaeans cannot any longer be seen as a singularity. Now the slices can be viewed distributively: different Achaeans will get different slices of death, and that is why the single slice that had been pictured at each end of the scale at I.08.070 can now become the plural kêres ‘slices’ of death for the Achaeans at I.08.073. Then at I.08.075 Zeus thunders from on high on top of Mount Ida, and he sends at I.08.075–076 a flaming thunderbolt toward the Achaeans. At I.08.076, the word for the thunderbolt is selas, meaning literally a ‘flash of light’. We see here the first occurrence of the word selas ‘flash of light’ in the Iliad. In occurrences to come, we will see that this powerful word signals the Will of Zeus.

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