Homer Iliad 15.78

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The trembling queen (th' almighty order given)
Swift from th' Idæan summit shot to heaven.
85
As some wayfaring man, who wanders o'er,
In thought, a length of lands he trod before,
Sends forth his active mind from place to place,
Joins hill to dale, and measures space with space:
So swift flew Juno to the blest abodes,
90
If thought of man can match the speed of gods.
There sat the powers in awful synod plac'd:
They bow'd, and made obeisance as she pass'd,
Through all the brazen dome: with goblets crown'd
They hail her queen; the nectar streams around.
95
Fair Themis first presents the golden bowl,
And anxious asks what cares disturb her soul?

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.) — 15.78 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.) — 15.78 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)) — 15.78 focus
Hera of the white arms heeded his words and went from the heights of Ida to great Olympus. [80] Swift as the thought of one whose fancy carries him over vast continents, and he says to himself, “Now I will be here, or there,” and he would have all manner of things—even so swiftly did Hera wing her way till she came to high Olympus and went in among the gods [85] who were gathered in the house of Zeus. When they saw her they all of them came up to her, and held out their cups to her by way of greeting. She let the others be, but took the cup offered her by lovely Themis who was first to come running up to her. “Hera,” said she, [90] “why are you here? And you seem troubled—has your husband the son of Kronos been frightening you?”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.78 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.78 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.78 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.78 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

Notes on the current edition

Iliad

1. The ancients have affirmed of Homer that examples of all kinds of oratory are to be found in him. The present speech of Juno is considered a masterpiece—she seems to say one thing, and persuades another. For while she is only declaring to the gods the orders of Jupiter, at the same time that she tells them they must obey, she fills them with a reluctance to do it. By representing so strongly the superiority of his power, she makes them uneasy at it, and by particularly advising that god to submit, whose temper could least brook it, she incites him to downright rebellion. Nothing can be more sly and artfully provoking, than that stroke on the death of his darling son. Pope.

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

analysis of different interpretations of I.16.060-065 (whether Achilles is giving up his mēnis or not, etc.), and Achilles’ recommitment to the human domain and its rewards he had abandoned in favor of timē from Zeus

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analysis of the passage for reconstruction of the meaning of mēnis

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing secular eukhesthai)

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analysis of the variant prologue to the Iliad connecting the mēnis of Achilles and of Apollo and the parallels in its diction to this line

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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analysis of the passage for reconstruction of the meaning of mēnis

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Athena’s calming of Ares to avoid an even greater mēnis from Zeus

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interpretation of kathaptein as “get hold of, grab” and so “restrain”

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comment on persons incurring mēnis as said to lack noos in the context of analyzing I.03.132-136

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Athena’s calming of Ares to avoid an even greater mēnis from Zeus

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mēnis and hierarchy – here between Zeus and Poseidon

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mēnis and hierarchy – here between Zeus and Poseidon

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comparison of Zeus’ threat to Poseidon with Agamemnon’s to Achilles in terms of similarity of language (in the context of analyzing Agamemnon’s basing his mēnis on Apollo’s and Zeus’)

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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comparison of Agamemnon’s and Zeus’ claims to superiority vis-à-vis Achilles and Poseidon (being older in birth)

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mēnis and hierarchy – here between Zeus and Poseidon

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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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