Homer Iliad 12.230

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Sternly the crested Hector looked, and spake:-
275
"Polydamas, the thing that thou hast said
Pleases me not, and easily couldst thou
Frame better counsels. If thy words convey
Thy earnest thought, the gods assuredly
Have made thee lose thy senses. Thou dost ask
280
That I no longer reverence the decree
Of Jove, the Thunderer of the sky, who gave
His promise, and confirmed it. Thou dost ask
That I be governed by the flight of birds,
Which I regard not, whether to the right
285
And toward the morning and the sun they fly,
Or toward the left and evening. We should heed
The will of mighty Jupiter, who bears
Rule over gods and men. One augury
There is, the surest and the best, -to fight
290
For our own land. Why dreadest thou the war
And conflict? Though we all should fall beside
The galleys of the Greeks, there is no fear
That thou wilt perish, for thou hast no heart
To stand against the foe; - no warrior thou!
295
Yet, if thou dare to stand aloof, or seek
By words to turn another from the fight,
The spear I wield shall take thy life at once."
He spake, and went before; and all his band
Followed with fearful clamor. Jupiter,
300
The God of thunders, sending a strong wind
From the Idæan summits, drave the dust
Full on the galleys, and made faint the hearts
Of the Greek warriors, and gave new renown
To Hector and the men of Troy. For these,
305
Trusting in portents sent from Jupiter,
And their own valor, labored to break through
The massive rampart of the Greeks: they tore
The galleries from the towers, and levelled down
The breastworks, heaved with levers from their place
310
The jutting buttresses which Argive hands
Had firmly planted to support the towers,
And brought them to the ground; and thus they hoped
To force a passage to the Grecian camp.
Not yet did they of Greece give way: they fenced
315
The rampart with their ox-hide shields, and smote
The enemy from behind them as he came
Under the wall. The chieftains Ajax flew
From tower to tower, and cheered the Achaians on,
And roused their valor, - some with gentle words,
320
And some with harsh rebuke, - whome'er they saw
Skulk from the toils and dangers of the fight.
"O friends!" they said, "ye great in war, and ye
Of less renown, and ye of little note! -
For all are not alike in war, - the time
325
Demands the aid of all, as well ye know:
And now let no man turn him toward the fleet
Before the threats of Hector, but press on,
And each exhort his fellow: so may Jove,
Who flings the lightning from Olympus, grant
330
That, driving back their onset, we may chase
The enemy to the very walls of Troy."

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.) — 12.230 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.) — 12.230 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.) — 12.172 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.230 focus
Tall Hector of the shining helmet looked fiercely at him and said, “Polydamas, I like not of your reading. You can find a better saying than this if you will. If, however, you have spoken in good earnest, then indeed have the gods robbed you of your reason. [235] You would have me pay no heed to the counsels of thunderous Zeus, nor to the promises he made me—and he bowed his head in confirmation; you bid me be ruled rather by the flight of wild-fowl. What care I whether they fly towards dawn or dark, [240] and whether they be on my right hand or on my left? Let us put our trust rather in the counsel of great Zeus, king of mortals and immortals. There is one omen, and one only—that a man should fight for his country. Why are you so fearful? [245] Though we be all of us slain at the ships of the Argives you are not likely to be killed yourself, for you are not steadfast nor courageous. If you will not fight, or would talk others over from doing so, [250] you shall fall right away before my spear.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.230 focus
To him then Hector with disdain return'd:
(Fierce as he spoke, his eyes with fury burn'd:)
'Are these the faithful counsels of thy tongue?
'Thy will is partial, not thy reason wrong:
270
'Or if the purpose of thy heart thou vent,
'Sure heaven resumes the little sense it lent.
'What coward counsels would thy madness move,
'Against the word, the will reveal'd of Jove?
'The leading sign, th' irrevocable nod,
275
'And happy thunders of the favouring god,
'These shall I slight? and guide my wavering mind
'By wandering birds, that flit with every wind?
'Ye vagrants of the sky! your wings extend,
'Or where the suns arise, or where descend;
280
'To right, to left, unheeded take your way,
'While I the dictates of high heaven obey.
'Without a sign, his sword the brave man draws,
'And asks no omen but his country's cause.
'But why shouldst thou suspect the war's success?
285
'None fears it more, as none promotes it less:
'Though all our chiefs amid yon ships expire,
'Trust thy own cowardice t' escape their fire.
'Troy and her sons may find a general grave,
'But thou canst live, for thou canst be a slave.
290
'Yet should the fears that wary mind suggests
'Spread their cold poison through our soldiers' breasts,
'My javelin can revenge so base a part,
'And free the soul that quivers in thy heart.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.230 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.230 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.230 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

New Alexandria Commentaries

Gregory Nagy

At the very beginning of Iliad 12, we modern readers may find that we have suddenly hit a wall—the Achaean Wall. It seems difficult for us to understand what the Master Narrator of the Iliad is really saying when he foretells the future destruction or deconstruction of this structure. And the main obstacle to our understanding here is not the presence of the Achaean Wall in the Iliad but rather its foretold absence—after all is said and done in the narrative. For the ancients who heard the Iliad narrated to them, by contrast, the future absence of the Achaean Wall was perfectly understandable in terms of the narration itself. And that is because the Master Narrator presupposes that there is no Achaean Wall to be seen in the Trojan landscape at the time of narration. Such a presupposition shapes the narrative of Iliad 12—and in fact it shapes the whole narrative of the Iliad. The setting for this narrative remains the world of heroes, which is larger-than-life because it is situated in the heroic past, but the setting for the actual narration of this narrative is the post-heroic world of a present time as figured by the Master Narrator himself. The staging of the heroic world by the Master Narrator is comparable to what is called the mise-en-scène in the traditions of French theater and film. And the predominant feature of the Iliadic mise-en-scène or scenery is the Achaean Wall, not the Trojan Wall. That is why the building of this structure by the Achaeans in Iliad 7 had been opposed by the gods Poseidon and Apollo, the original builders of the Trojan Wall. But the Achaean Wall needed to be built by the Achaeans to protect them and their ships from the fire of Hector—which would not be threatening them if Achilles had not been insulted by Agamemnon in Iliad 1. If we think of the overall plot of the Iliad as a scenario, then the Achaean Wall can be seen as an integral feature of the scenery for this scenario.

draft js image error“Siege of the Greek Camp.” Crispijn van de Passe (I) (1613). Public domain image, via Rijks Museum. (https://www.rijksmuseum.nl/en/collection/RP-P-OB-16.043)

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The objective of the hero Sarpedon, as he declares here at I.12.318 to his fellow warrior Glaukos, is that the two of them must not be akléees ‘without epic glory [kleos]’. The people whom the two of us rule in Lycia, he continues, must recognize such an objective. This way, the tīmē ‘honor’ that the two of us receive in Lycia, I.12.310 (τετιμήμεσθα), which is a sign of our status there as cult heroes, will be matched by the kleos ‘glory’ that the two of us will receive as epic heroes here in the Iliad.

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The reference here to Sarpedon’s diet of mutton in the context of his dwelling in his native land of Lycia can be correlated with archaeological evidence showing that cult heroes received from their worshippers primarily the meat of sheep that were sacrificially slaughtered in rituals of hero cult.

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The wording of Sarpedon implies here that he is already assured of immortalization as a cult hero, but now he desires another form of immortalization as well, which is the immortal fame conferred by the medium of epic. Sarpedon now thinks that such fame is worth dying for, right away.

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Menestheus, the leader of the Athenians who came to fight at Troy, is stationed to guard a purgos ‘tower’ of the Achaean Wall, I.12.332/333/373. It is at this point in the Wall that the attacking forces on the Trojan side are making their breakthrough, and so the station of Menestheus is evidently located next to the political and sacral centerpoint of the Achaeans, where the stations of Agamemnon and Odysseus are also located. On this concept of a political and sacral centerpoint, see the comments on I.11.806–808. The proximity of the Athenian leader Menestheus to such a centerpoint can be seen as a subtle reference to the importance of Athens in the transmission of the Iliad and Odyssey.

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Leonard Muellner

analysis of the meaning and uses of piphauskesthai (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai), in this verse as ‘show, reveal’

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analysis of kēla as weapons that are thrown pieces of fire

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

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Richard Martin

Sarpedon's famous defense of the heroic code at 12.310-28 was a key passage in Adam Parry's argument about the "language of Achilles." Parry found that all Iliadic heroes agreed on the main point of Sarpedon's speech—that honor equals tangible goods—and then compared this universal agreement to Homer's formulaic style, arguing that Achilles' disillusionment with this system put him outside the "common language." Claus subsequently pointed out that Achilles and Sarpedon express a vision of heroism that is in fact akin, in its assumption that the hero battles not just for his own glory and gain, but for the honor of having benefited his companions without "pay," and that the two can speak different formulas and use various rhetorical devices and still express the same point of view. The rhetorical questions at 12.310-14, moreover, find a close parallel in Achilles' questions at 9.337-39; yet Achilles asks essentially the same question three times in succession, and this expansion—not the questioning itself—is what is truly idiosyncratic (Martin 1993:152-53, 204).

For the broader analysis of Achilles' reply, see the comment on Iliad 9.307-429.

References

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

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