Homer Iliad 15.149

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She said, and sat. The god that gilds the day,
And various Iris, wing their airy way.
Swift as the wind, to Ida's hills they came;
170
(Fair nurse of fountains, and of savage game;)
There sat th' Eternal; he whose nod controls
The trembling world, and shakes the steady poles.
Veil'd in a mist of fragrance him they found,
With clouds of gold and purple circled round.
175
Well-pleas'd the Thunderer saw their earnest care,
And prompt obedience to the queen of air;

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.) — 15.149 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.) — 15.149 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.) — 15.113 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.149 focus
Then Hera left them and resumed her seat inside, [150] while Iris and Apollo made all haste on their way. When they reached Ida with its many springs, mother of wild beasts, they found wide-seeing Zeus seated on topmost Gargaros with a fragrant cloud encircling his head as with a diadem. They stood before his presence, [155] and he was pleased with them for having been so quick in obeying the orders his wife had given them.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.149 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.149 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.149 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.149 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

New Alexandria Commentaries

Gregory Nagy

The climax of the fighting in the Iliad is now approaching. Patroklos is about to enter the war, and the Will of Zeus is about to be fulfilled.

draft js image errorAjax defending the ships of the Greeks. After a drawing by John Flaxman. Image via Wikimedia Commons.

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The three-way division of the cosmos among the sons of Kronos is an example of various models of tripartition as studied in later comments.

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The ships of the Achaeans are beached along the shores of the bay of the Hellespont. See especially the comment on I.08.220–227.

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As foretold at I.15.059–060, the god Apollo is engaged here in the act of en-pneîn ‘breathing into’ the hero Hector something called menos ‘mental power’, I.15.262. To be compared is the intervention of the goddess Athena, earlier at I.10.482. Now too, at I.15.262, such ‘mental power’ makes the hero aware of his physical power and thus energizes him to perform heroic deeds.

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Leonard Muellner

mēnis and hierarchy – here between Zeus and Poseidon

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mēnis and hierarchy – here between Zeus and Poseidon

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in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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mēnis and hierarchy – here between Zeus and Poseidon

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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mēnis and hierarchy, here between Zeus, Poseidon and Hades (timē) vs. between Zeus and his own children

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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the diction used to express the mēnis theme in the relationship between Zeus and Poseidon (in the context of analyzing the parallelism of Poseidon and Achilles)

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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the diction used to express the mēnis theme in the relationship between Zeus and Poseidon (in the context of analyzing the parallelism of Poseidon and Achilles)

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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Richard Martin

Iris tells Poseidon she will bring his declaration of status (muthos, 15.202) back to Zeus, then asks whether he will not reconsider, adding a gnomic caution: "Pliable are the minds of fine people. You know how the Erinyes always follow elders" (15.203-4). Poseidon replies, "Iris, you have in proportion (kata moiran) spoken this epos"—he refers to the gnomic utterance, not to the description of what Iris intends, as becomes clear from his next line, a capping gnomic verse: "It is also fine when a messenger knows suitable things (aisima)." Many of the discourses labeled with the term epos center around a gnomic one- or two-line utterance (Martin 1993:42).

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