Homer Iliad 11.210

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So the fleet Iris spake, and went her way;
While Hector, leaping from his car in arms,
And wielding his sharp spears, went everywhere
250
Among the Trojan ranks, exhorting them
To combat, and renewed the stubborn fight.
They rallied and stood firm against the Greeks.
The Greeks, in turn, made strong their phalanxes.
The battle raged again, as front to front
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They stood, while Agamemnon eagerly
Pressed forward, proud to lead the van in fight.
Say, Muses, dwellers of Olympus! who
First of the Trojans or their brave allies
Encountered Atreus' son? Iphidamas,
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Son of Antenor, strong and daring, bred
On the rich soil of Thrace, the nurse of flocks.
His grandsire Cisseus, from whose loins the fair
Theano sprang, had reared him from a child
Within his palace; and, when he attained
265
Youth's glorious prime, still kept him, giving him
His child to wife. He wedded her, but left
At once the bridal chamber when he heard
Of the Greek war on Ilium, and set sail
With twelve beaked galleys. These he afterward
270
Left at Percope, - marching on to Troy.
And he it was who came to meet the son
Of Atreus. As the heroes now drew near
Each other, Agamemnon missed his aim;
His thrust was parried. Then Iphidamas
275
Dealt him beneath the breastplate on the belt
A vigorous blow, and urged the spear with all
His strength of arm; yet through the plated belt
It could not pierce, for there it met a plate
Of silver, and its point was turned like lead.
280
With lion strength, Atrides seized and drew
The weapon toward him, plucked it from the hand
That held it, and let fall his falchion's edge
Upon the Trojan's neck and laid him dead.
Unhappy youth! he slept an iron sleep, -
285
Slain fighting for his country, far away
From the young virgin bride yet scarcely his,
For whom large marriage-gifts he made, - of beeves
A hundred, and had promised from the flocks
That thronged his fields a thousand sheep and goats.
290
Atrides Agamemnon spoiled the slain,
And bore his glorious armor off among
The Argive host. Antenor's elder son,

Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 11.210 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.) — 11.210 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.) — 11.210 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.210 focus
Hector leapt out of his chariot, armor and all, brandishing his spear as he went about everywhere among the army of warriors, cheering his men on to fight, and stirring the dread strife of battle. The Trojans then wheeled round, and again met the Achaeans, [215] while the Argives on their part strengthened their battalions. The battle was now in array and they stood face to face with one another, Agamemnon ever pressing forward in his eagerness to be ahead of all others.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.210 focus
She said, and vanish'd: Hector with a bound,
Springs from his chariot on the trembling ground,
270
In clanging arms: he grasps in either hand
A pointed lance, and speeds from band to band;
Revives their ardour, turns their steps from flight,
And wakes anew the dying flames of fight.
They stand to arms: the Greeks their onset dare,
275
Condense their powers, and wait the coming war.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.210 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.210 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.210 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

New Alexandria Commentaries

Gregory Nagy

Rhapsody 11 marks the point in the Iliad where Patroklos is drawn into a fatal pattern of impersonating Achilles. Pivotal is the story that Patroklos hears from the old hero Nestor. My comments here on Iliad 11 work around Nestor’s story at I.11.670–803 as analyzed in the book Hippota Nestor by Douglas Frame, 2009:105–130.

draft js image errorNestor and his sons sacrifice to Poseidon. Attic red-figure calyx-krater, ca. 400–380 BCE. © Marie-Lan Nguyen / Wikimedia Commons, via Wikimedia Commons.

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Here at I.11.288, Hector is boasting that Agamemnon, ‘the best man’, ho aristos, is now out of the picture. There is an irony built into the words of Hector, and this irony emerges from the context. The aristeiā ‘epic high point’ of Agamemnon in the Iliad, inaugurated in grand style when the Master Narrator invokes the Muses at I.11.218, does not go all that well for the high king. Early on in the fighting, he gets wounded in the hand, I.11.253. He tries to fight on, but the pain from the wound finally gets to him, I.11.268–272. The intensity of his pain is compared here to the birth-pangs experienced by a woman at the climax of her labor, I.11.269–271. Unable to withstand such pain any more, Agamemnon jumps back on the platform of his war chariot and orders his driver to drive him back to the safety of the beached ships of the Achaeans, I.11.273–274, shouting to his fellow warriors that they should now follow him in retreat and defend the ships, I.11.275–278, since, as he says, Zeus has not supported the ongoing offensive initiated by the Achaeans, I.11.278–279. So, the aristeiā ‘epic high point’ of Agamemnon has not exactly turned out to be a spectacular success. And Hector knows it. As the chariot of Agamemnon speeds this over-king away from the scene of battle, I.11.280–283, Hector notices, I.11.284, as expressed by the verb noeîn ‘take note’. It is in this context, then, that Hector says what he says at I.11.288: ‘the best man’, ho aristos, is now out of the picture. But of course the truly best of all the Achaeans is not yet in the picture.

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Leonard Muellner

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

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examples of the identical contexts in which eukhos and kudos occur

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

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