Homer Iliad 14.242

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'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,

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

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, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 14.242 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)) — 14.242 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 (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

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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