Homer Iliad 8.512

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'Not unmolested let the wretches gain
'Their lofty decks, or safely cleave the main:
'Some hostile wound let every dart bestow,
'Some lasting token of the Phrygian foe,
640

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.) — 8.512 focus
μὴ μὰν ἀσπουδί γε νεῶν ἐπιβαῖεν ἕκηλοι,
ἀλλʼ ὥς τις τούτων γε βέλος καὶ οἴκοθι πέσσῃ
βλήμενος ἢ ἰῷ ἢ ἔγχεϊ ὀξυόεντι
νηὸς ἐπιθρῴσκων, ἵνα τις στυγέῃσι καὶ ἄλλος
515
Τρωσὶν ἐφʼ ἱπποδάμοισι φέρειν πολύδακρυν Ἄρηα.
κήρυκες δʼ ἀνὰ ἄστυ Διῒ φίλοι ἀγγελλόντων
παῖδας πρωθήβας πολιοκροτάφους τε γέροντας
λέξασθαι περὶ ἄστυ θεοδμήτων ἐπὶ πύργων·
θηλύτεραι δὲ γυναῖκες ἐνὶ μεγάροισιν ἑκάστη
520
πῦρ μέγα καιόντων· φυλακὴ δέ τις ἔμπεδος ἔστω
μὴ λόχος εἰσέλθῃσι πόλιν λαῶν ἀπεόντων.
ὧδʼ ἔστω Τρῶες μεγαλήτορες ὡς ἀγορεύω·
μῦθος δʼ ὃς μὲν νῦν ὑγιὴς εἰρημένος ἔστω,
τὸν δʼ ἠοῦς Τρώεσσι μεθʼ ἱπποδάμοις ἀγορεύσω.
525
ἔλπομαι εὐχόμενος Διί τʼ ἄλλοισίν τε θεοῖσιν
ἐξελάαν ἐνθένδε κύνας κηρεσσιφορήτους,
οὓς κῆρες φορέουσι μελαινάων ἐπὶ νηῶν.
ἀλλʼ ἤτοι ἐπὶ νυκτὶ φυλάξομεν ἡμέας αὐτούς,
πρῶϊ δʼ ὑπηοῖοι σὺν τεύχεσι θωρηχθέντες
530
νηυσὶν ἔπι γλαφυρῇσιν ἐγείρομεν ὀξὺν Ἄρηα.
εἴσομαι εἴ κέ μʼ ὁ Τυδεΐδης κρατερὸς Διομήδης
πὰρ νηῶν πρὸς τεῖχος ἀπώσεται, ἤ κεν ἐγὼ τὸν
χαλκῷ δῃώσας ἔναρα βροτόεντα φέρωμαι.
αὔριον ἣν ἀρετὴν διαείσεται, εἴ κʼ ἐμὸν ἔγχος
535
μείνῃ ἐπερχόμενον· ἀλλʼ ἐν πρώτοισιν ὀΐω
κείσεται οὐτηθείς, πολέες δʼ ἀμφʼ αὐτὸν ἑταῖροι
ἠελίου ἀνιόντος ἐς αὔριον· εἰ γὰρ ἐγὼν ὣς
εἴην ἀθάνατος καὶ ἀγήρως ἤματα πάντα,
τιοίμην δʼ ὡς τίετʼ Ἀθηναίη καὶ Ἀπόλλων,
540
ὡς νῦν ἡμέρη ἥδε κακὸν φέρει Ἀργείοισιν.
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.) — 8.512 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.) — 8.542 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.512 focus
and they must not embark unscathed and unmolested; many a man among them must take a dart with him to nurse at home, hit with spear or arrow as he is [515] leaping on board his ship, that others may fear to bring war and weeping upon the Trojans. Moreover let the heralds tell it about the city that the growing youths and gray-bearded men are to camp upon its divinely built walls. [520] Let the women each of them light a great fire in her house, and let watch be safely kept lest the town be entered by surprise while the army of warriors is outside. See to it, brave Trojans, as I have said, and let this suffice for the moment; [525] at daybreak I will instruct you further. I pray in hope to Zeus and to the gods that we may then drive those fate-sped hounds from our land, for ‘tis the fates that have borne them and their ships here. This night, therefore, let us keep watch, but with [530] early morning let us put on our armor and rouse fierce war at the ships of the Achaeans; I shall then know whether brave Diomedes the son of Tydeus will drive me back from the ships to the wall, or whether I shall myself slay him and carry off his bloodstained spoils. [535] Tomorrow let him show his mettle [ aretē], abide my spear if he dare. I bet that at break of day, he shall be among the first to fall and many another of his comrades round him. 538 If only I were 539 immortal and unaging for all days to come, [540] and if only I were honored [=got tīmē] just as Athena and Apollo are honored [=get tīmē] 541 —as surely as this day brings misfortune to the Argives.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.512 focus
lest in the hours
Of darkness with their ships the long-haired Greeks
Attempt escape across the mighty deep.
Let every foeman bear a wound to cure
635
At home, - an arrow-wound or gash of spear,
Given as he leaps on board. So other foes
Shall dread a conflict with the knights of Troy.
And let the heralds, dear to Jove, command
That all grown youths and hoary-headed men
640
Keep watch about the city in the towers
Built by the gods; and let the feebler sex
Kindle large fires upon their hearths at home;
And let the guard be strengthened, lest the foe
Should steal into the city while its sons
645
Are all abroad. Thus let it be till morn,
Brave Trojans! I but speak of what the time
Requires, and on the morrow I shall speak
Of what the Trojan knights have then to do.
My prayer to Jove and to the other gods,
650
And my hope is, that I may drive away
These curs, brought hither by an evil fate
In their black ships. All night will we keep watch,
And, arming, with the early morn renew
The desperate conflict at the hollow ships.
655
Then shall I see if valiant Diomed
Tydides has the power to make me leave
The Grecian galleys for the city-walls,
Or whether I shall slay him with my spear
And take his bloody spoils. To-morrow's sun
660
Will make his valor known, if he withstand
The assault of this my weapon. Yet I think
The sunrise will behold him slain among
The first, with many comrades lying round.
Would that I knew myself as certainly
665
Secure from death and the decays of age,
And to be held in honor like the gods
Apollo and Minerva, as I know
This day will bring misfortune to the Greeks!”
So Hector spake, and all the Trojan host
670
Applauded; from the yoke forthwith they loosed
The sweaty steeds, and bound them to the cars
With halters; to the town they sent in haste
For oxen and the fatlings of the flock,
And to their homes for bread and pleasant wine.
675
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.512 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.512 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.512 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

Douglas Frame

analysis of the relationship of Nestor and Diomedes; here Nestor’s restraining words to Diomedes upon which they flee

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comment on this being the one of two places in the Iliad where there is a reference to a four-horse chariot, but with a dual verb to address four horses

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analysis of Athena’s association with/wearing peplos

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analysis of this passage and I.09.009-078 (assemblies of the Trojans and of the Achaeans, respectively) as an instance of “Zielinski’s law”

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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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Here is where the momentum of Diomedes, aspiring for the title ‘best of the Achaeans’, is stopped dead in its tracks. Zeus signals it with his thunder and lightning, I.08.133, and now we see the Will of Zeus come alive, as anticipated already at I.08.066–077. The supreme god’s bolt lands right in front of the speeding horses that pull the chariot carrying Diomedes along with his temporary driver Nestor, and these horses now freeze in fear while the reins drop out of Nestor’s grip, I.08.134–138.

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Three times Zeus thunders from on high on top of Mount Ida, I.08.170, making a sēma ‘sign’, Ι.08.171, signaling that nīkē ‘victory’ will now go to the Trojans, not to the Achaeans, I.08.171. See HC 4§109 for a survey of all Homeric situations where either Zeus or Athena awards nīkē ‘victory’.

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Hector recognizes the Will of Zeus here, as signaled by the nodding of the god’s head at I.08.175: for the moment, Zeus will give nīkē ‘victory’ to Hector while giving pēma ‘pain’ to the Achaeans, Ι.08.176.

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Hector predicts that there will be mnēmosunē ‘memory’, I.08.181, of the moment when he will set fire to the beached ships of the Achaeans in the epic Battle for the Ships. And this moment will be in fact pivotal for the Will of Zeus, which will find expression in the fire of Hector. It will be a moment to be recorded by the poetic memory of the Homeric Iliad. See the comments on I.16.112 and on I.16.113.

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Unlike other heroes in Homeric narrative, Hector has a chariot drawn by four rather than two horses. There are Athenian connotations to be seen here. As we learn from the Parian Marble, FGH 239 section 10, the Athenians claimed that Erikhthonios, a prototypical hero of Athens, was the inventor of the four-horse chariot on the occasion of the first chariot race held at the first Panathenaic festival in 1505/4 BCE. Correspondingly, there is a prototypical hero of Troy who is likewise Erikhthonios: is is said at I.20.219 and I.202.30 that this Erikhthonios was son of Dardanos and father of Tros, who in turn was the ancestor of Anchises father of Aeneas. In this light, we may compare the reference at I.05.271 to four chariot horses owned by Anchises. It can be argued that these details about four-horse chariots are relevant to Athenian agenda at work during an Athenian phase of Homeric transmission.

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Hector here is said to be atalantos or ‘equal’ to Ares. This kind of equating of a hero with the war god will figure prominently in future scenes of mortal combat. Relevant are previous scenes of mortal combat involving Diomedes: see the comments at I.05.438, I.05.440–442, I.05.459. Besides Hector, as here at I.08.215 another hero who will be pointedly described as ‘equal to Ares’ is Patroklos. Besides sharing such an epithet, Hector and Patroklos will also be sharing the armor of Achilles: first it is Patroklos who wears this armor when he goes off to fight as a substitute for Achilles; and then Hector will wear it after he kills Patroklos.

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The ships of the Achaeans are beached along the shores of a large U-shaped bay that opens into the Hellespont. See Map 1 and Map 2 at HPC 157 and 158 respectively. Such a bay no longer exists, because of long-term silting from the river Scamander, which emptied into the bay. In the second millennium BCE and even later, however, the bay was very much of a reality, as the maps show, and the visualization in the Homeric Iliad approximates such a topographical reality. This is not to say, however, that we should imagine the ships of the Achaeans as floating at anchor in the waters of such a bay: rather, the Iliad pictures the ships are beached along the shores of the bay, with their sterns facing inland and their prows facing out toward the waters. On this positioning, see also the comment on I.14.027–036. Exploring further the Iliadic visualization, we can see that the beached ship of Odysseus is located at the bottom of the U-shaped bay, at the south in the middle of the bayline, while the beached ships of Achilles and Ajax are located respectively at the upper left and the upper right tips of the U, at the northwest and northeast. To be highlighted here is a detail about the ship of Odysseus: the king Agamemnon is shown standing on the deck of this beached ship, which is said to be located en messatōi ‘in the middlemost space’, I.08.223, and from here this over-king projects his voice of royal authority, shouting mightily to all the Achaeans stationed at their own ships, I.08.227. Correspondingly, all the Achaeans stationed at all the beached ships can hear the king’s voice—from the ship of Achilles at one extreme of the U-shaped bay all the way to the ship of Ajax at the other extreme, I.08.224–226 (HPC 160–161). Agamemnon’s own beached ship, together with the ships of Diomedes and Nestor, is located near the ship of Odysseus, and it is in this ‘middlemost space’ of the U-shaped bayline that the central station of the Achaeans is visualized by the narrative, I.08.223. In the later comments at I.11.005–016, I.11.806–808, and I.14.027–036, there will be more to say about the locations of all these beached ships. To be highlighted already now, however, is the general reference to the klisiai or ‘shelters’ here at I.08.220, which are the abodes of the heroes. Then at I.08.224 the same word klisiai refers specifically to the abodes of Achilles and Ajax, mentioned at I.08.224–225. The description here shows that the klisiai ‘shelters’ of these two heroes are pointedly aligned with their beached ships. As for the ships beached at the middle of the bayline in the south, they mark a political and sacral centerpoint for the Achaeans. The evidence for the preceding formulation will be presented in the comment on I.11.806–808.

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By blaming or insulting his fellow Achaeans for not daring to stand up to the onslaught of Hector, Agamemnon is goading them into action. His insulting words recall a scene that took place in their collective epic past, on the island of Lemnos, where the Achaeans were competitively boasting about the exploits they will perform in the future when they fight in the Trojan War. The idea of ‘boasting’ is conveyed by the noun eukhōlē, which is derived from eukhesthai ‘declare’. As we already saw at I.01.091, what is at stake when an Achaean hero boasts in the Iliad centers on the all-important question: who is the ‘best of the Achaeans’? The noun eukhōlai ‘boastings’ in the plural here at I.08.229 indicates a distributive action: the Achaeans were boasting not as a group but individually and competitively. The object of such competition and dispute would have been: to show who is the aristos ‘best’ of them all. When Agamemnon says at I.08.229 ‘we were saying that we were best [aristoi]’, the plural construction here is distributive in meaning: ‘each one of us was saying that he was the best [aristos]’. We see in this scene of a past event at Lemnos an epic precedent for what is ongoing in the present time of the Trojan War as narrated in the Iliad. Just as there was a dispute at Lemnos, there is a dispute ongoing in the Iliad about that all-important question: who is the ‘best of the Achaeans’? A most relevant detail in the story about the dispute at Lemnos is the fact that the context for the quarreling that took place at that time over the same question, who is the ‘best of the Achaeans’, was a feast where meat was being distributed, I.08.231. So the setting for the quarrel was an event that is elsewhere called a dais, to be defined as ‘feast, division of portions (of meat); sacrifice’ in Homeric diction. As we saw in the comment for I.01.423–425, a dais is a feast where meat is distributed, and this meat comes from the sacrifice of a sacrificial animal. Thus the act of sacrifice converts the feast of humans into a notional feast of the gods. This notion, ‘feast of the gods’, is made explicit in the “micro-Iliad” of O.8.072–083, which is the First Song of Demodokos. At O.08.076, the setting is described this way: θεῶν ἐν δαιτὶ θαλείῃ ‘at a sumptuous feast [dais] of the gods’. So, what is happening at this feast? There is a dispute going on (δηρίσαντο at Ο.08.076), and the dispute is called a neikos ‘quarrel’ at O.08.075. The disputants are Odysseus and Achilles, who are described at O.08.078 as ‘the best of the Achaeans’. In terms of such a dispute in the context of a feast, each one of the two heroes would be claiming to be the ‘best of the Achaeans’. Similarly in the context of the feast at Lemnos as narrated by Agamemnon, each one of the heroes attending would be making such a claim.

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At the moment of his death here, the hero’s menos ‘mental power’ is released from his body, and, in the present context, the noun psūkhē ‘spirit’ is used as a synonym of menos.

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The verb haptesthai ‘grab a hold of’ here at I.08.339 has as its subject a hunting dog that bites and as its object the animal that is bitten by the dog, as we see at I.08.338. In other contexts, to be cited in the comment on O.10.379, the same verb can be metaphorized with reference to the language.

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The noun aethlos (āthlos) ‘ordeal’ in the plural, aethloi, programmatically refers to the Labors of Hēraklēs. These aethloi ‘ordeals’ were life-and-death struggles imposed on the hero by Eurystheus, who was socially superior to him but inferior otherwise.

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The constellation of words linked with pulē in the sense of ‘gate’, such as pul-artēs ‘gate-closer’ here (genitive πυλάρταο), is linked with the idea of the pulai ‘gates’ of Hādēs. See the comments on I.05.395–404, I.05.646, I.11.671; see also Points 5 and 6 in the anchor comment at I.23.071–076.

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The very idea of exposing a dead body to be eaten by dogs and birds, as conjured here at I.08.379–380, is considered to be an abomination in the Iliad, by contrast with the ritually correct practice of cremation. See the comment on I.01.003–005.

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The cosmic river Ōkeanos, encircling the known world, is a boundary delimiting light from darkness, wakefulness from sleep, life from death. The sun rises from the Ōkeanos at sunrise, just as it sets into it at sunset. At I.07.421–423 we saw sunrise; now at I.08.485–486 we see sunset.

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lemmatizing: ἔλπομαι εὐχόμενος vs. εὔχομαι ἐλπόμενος

Aristarchus debated with Zenodotus of Ephesus (the debate is indicated by way of the sign ⸖ in front of the verse), who attested the variant ἔλπομαι εὐχόμενος. (On the readings of Zenodotus as opposed by Aristarchus, see under Zenodotus and under Aristarchus in the inventory of Words and Ideas.) Aristarchus preferred the variant εὔχομαι ἐλπόμενος, which has been transmitted in the medieval manuscript tradition. As Muellner 1976:58-62 shows, both variants can be justified on the basis of analyzing the formulaic system of Homeric diction.

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The words spoken by Hector here reveal an overweening desire to be an immortal god, not a mortal human. By speaking this way, the hero is challenging the cosmic order.

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Here is a working translation: ‘If only I |539 could be immortal and unaging for all days to come, |540 and if only I could be honored [tiesthai] just as Athena and Apollo are honored, |541 —as surely as this day brings misfortune to the Argives’ (εἰ γὰρ ἐγὼν ὣς |539 εἴην ἀθάνατος καὶ ἀγήρως ἤματα πάντα |540 τιοίμην δ’ ὡς τίετ’ Ἀθηναίη καὶ Ἀπόλλων, |541 ὡς νῦν ἡμέρη ἥδε κακὸν φέρει Ἀργείοισι). Hector’s aspiration to become immortal and ageless and to receive the same honors as received by the divinities Athena and Apollo, I.08.538–540, is worded in such a way as to invite a cosmic sanction. On the syntax of the wording, see the comment on I.18.464–466. Hector’s wording here is especially dangerous because it would be provocative to Athena, who figures as this hero’s divine antagonist: see the comment on I.06.286–311.

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Leonard Muellner

analysis of the names of Hektor’s horses (divine + semantic/contextual associate of it, for each pair)

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analysis of Hektor’s speech to his horses, concluded by eukhomenos, as conforming to the formula (A) (sacral use of eukhesthai, formula concluding a prayer)

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this verse, where secular eukhesthai is used in a prayer to specify the grounds on which a response is expected, as evidence that there is a secondary dictional and thematic association between secular and sacral eukhesthai (contra Perpillou)

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analysis of the development of Greek posis compared with Vedic pati-

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in a list of eukhesthai einai + social relationship and comparison of these kinds of verses with eukhesthai einai + place/father’s name

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the use of eukhesthai + infinitive in this verse as semantically parallel to O.11.261

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analysis of the development of Greek posis compared with Vedic pati-

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analysis of Hektor’s speech to his horses, concluded by eukhomenos, as conforming to the formula (A) (sacral use of eukhesthai, formula concluding a prayer)

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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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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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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in a list of examples of directly quoted prayers not concluded by formula (A)

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one of Corlu’s examples of eukhesthai referring to past actions

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analysis of kephalē as synonym for the whole person (this line as example)

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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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analysis of the third person references to oneself by a speaker in Iliad

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analysis of I.08.526 and its variant reading (with elpomai eukhomenos) of Zenodotus and the problems of each of the readings

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analysis of I.08.526 and its variant reading (with elpomai eukhomenos) of Zenodotus and the problems of each of the readings

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in a list of examples of eukhesthai + infinitive (future)

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reference to Hector’s godhead, in the context of analyzing I.07.298 (sacral eukhesthai + dative where its antecedent is not a god)

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Richard Martin

The command that Zeus addresses through Iris to Hera and Athena at 8.399-408 is characteristic of the way his muthoi combine several types of speech-act: directives blend with explicit threats. Hera and Athena are told to turn back; if they do not, Zeus will lame their horses, cast them out, and wreck the chariot (8.402-3). Furthermore, at the conclusion of this command, Zeus sets exact limitations on the action: Hera he will not berate as much as Athena, seeing that she is an inveterate adversary. Zeus' power to command is thus matched by his power to create nuance and give verbal texture to his directives—he is a master at the poetics of power. Zeus' commands, through Iris, occur at a problem that arises in framing: the words of Iris to Hera and Athena are described as a threat (ēpeilēse, 8.415), but have been introduced by Zeus with a line appropriate to a prediction (8.401, "Thus I will speak out and it will be completed"). Since in speech-act theory predictions are constatives and commands are directives, this correlation appears puzzling. But Zeus' language transcends human speech categories: in the language of Zeus, commands, threats, and predictions comprise one and the same category, making Zeus supreme (Martin 1993:52-53).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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