Homer Iliad 12.80

Samuel Butler (Translator)

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Thus spoke Polydamas and his saying pleased radiant Hector, 81 and straightaway he leapt out of his chariot, armor and all, hitting the ground, and all the other Trojans, when they saw him do so, also left their chariots. Each man then gave his horses over to his charioteer in charge [85] to hold them in good order [ kosmos] for him at the trench. Then they formed themselves into companies, made themselves ready, and in five bodies followed their leaders. Those that went with Hector and Polydamas the blameless were the bravest and most in number, and the most determined [90] to break through the wall and fight at the ships. Kebriones was also joined with them as third in command, for Hector had left his chariot in charge of a less valiant warrior. The next company was led by Paris, Alkathoös, and Agenor; the third by Helenos and godlike Deiphobos, [95] two sons of Priam, and with them was the hero Asios—Asios the son of Hyrtakos, whose great black horses of the breed that comes from the river Selleis had brought him from Arisbe. Aeneas the valiant son of Anchises led the fourth; he and the two sons of Antenor, [100] Arkhelokhos and Akamas, men well versed in all the arts of war. Sarpedon was chief over the allies, and took with him Glaukos and warlike Asteropaios whom he thought most valiant after himself—for he was far the best man of them all. [105] These helped to array one another in their ox-hide shields, and then charged straight at the Danaans, for they felt sure that they would not hold out longer and that they should themselves now fall upon the ships.

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 12.80 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.) — 12.80 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.) — 12.1 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.80 focus
So spake Polydamas; and Hector, pleased
To hear the prudent counsel, leaped to earth
With all his arms, and left his car. The rest
Rode with their steeds no more, but, hastily
100
Dismounting, as they saw their noble chief,
Each bade his charioteer hold back his steeds,
Reined at the trench, in ranks. And then, apart,
They mustered in five columns, following close
Their leaders. First, the largest, bravest band,
105
Those who, with resolute daring, longed to break
The rampart and to storm the fleet, were led
By Hector and the good Polydamas,
Joined with Cebriones, - for Hector left
His chariot to the care of one who held
110
An humbler station than Cebriones.
Paris, Alcathoüs, and Agenor led
A second squadron. Helenus, a son
Of Priam, and Deïphobus, a youth
Of godlike form, his brother, took command
115
Of yet a third, - with whom in rank was joined
The hero Asius, son of Hyrtacus,
Whose bright-haired coursers, of majestic size,
Had borne him from Arisba and the banks
Of Selleis. Æneas led the fourth, -
120
The brave son of Anchises; and with him
Were joined Archilochus and Acamas,
Sons of Antenor, skilled in arts of war.
The band of Troy's illustrious allies
Followed Sarpedon, who from all the rest
125
Had chosen, to partake in the command,
Glaucus and brave Asteropæus. These
He deemed the bravest under him; yet he
Stood foremost of them all in warlike might.
Then all, with their stout bucklers of bull's-hide
130
Adjusted to each other, bravely marched
Against the Greeks, who, as they deemed, must fly
Before them, and must fall by their black ships.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.80 focus
This counsel pleas'd: the godlike Hector sprung
Swift from his seat; his clanging armour rung.
The chief's example follow'd by his train,
95
Each quits his car, and issues on the plain.
By orders strict the charioteers enjoin'd,
Compel the coursers to their ranks behind.
The forces part in five distinguish'd bands,
And all obey their several chiefs' commands.
100
The best and bravest in the first conspire,
Pant for the fight, and threat the fleet with fire:
Great Hector glorious in the van of these,
Polydamas, and brave Cebriones.
Before the next the graceful Paris shines,
105
And bold Alcathoüs, and Agenor joins.
The sons of Priam with the third appear,
Deïphobus, and Helenus the seer;
In arms with these the mighty Asius stood,
Who drew from Hyrtacus his noble blood,
110
And whom Arisba's yellow coursers bore,
The coursers fed on Selle's winding shore.
Antenor's sons the fourth battalion guide,
And great Æneas, born on fountful Ide.
Divine Sarpedon the last band obey'd,
115
Whom Glaucus and Asteropæus aid;
Next him, the bravest at their army's head,
But he more brave than all the hosts he led.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.80 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.80 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.80 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 Achaeans built the Wall to protect themselves and their beached ships from the Trojans: see the comments on I.07.336–343 and I.07.433–465. But this Achaean Wall is doomed to disappear without a trace in the future, since it was built ‘against the will of the immortal gods’, I.12.008–009 (θεῶν δ’ ἀέκητι τέτυκτο | ἀθανάτων). That is, the Wall was built against the will of the gods Poseidon and Apollo: see the comment on I.07.433–465. And when will it happen, that the Achaean Wall disappears? The timespan of the Wall, says the Master Narrator, depends on the timespan of narrating the story of the Iliad: ‘while Hector was still alive and while Achilles had-his-anger [mēniein]’, I.12.010 (ὄφρα μὲν Ἕκτωρ ζωὸς ἔην καὶ μήνι’ Ἀχιλλεὺς). But then, in the very next verse, the timespan is extended further: the Wall of the Achaeans will not be destroyed while Troy, that mighty city of the king Priam, is not yet destroyed, I.12.011 (καὶ Πριάμοιο ἄνακτος ἀπόρθητος πόλις ἔπλεν). Why the extension? It is because the epic fame of the Achaean Wall depends on the epic fame of the Iliad, and the narration of the Iliad is still in progress. Once the Iliad is narrated, there will be no further need for the Achaean Wall. But there will still remain a further need for the Wall of Troy, which will not yet be destroyed when the narration of the Iliad is completed. Meanwhile, the epic fame of the Achaean Wall, which depends of the narration of the Iliad, still in progress, is threatening the older epic fame of the Trojan Wall, as we can observe already at I.07.448–453: there we see that the Trojan Wall had been built by the gods Poseidon and Apollo for the former king of Troy, Laomedon, who was predecessor of the current king, Priam, and, in the words of Poseidon himself, the Wall built by the Achaeans has an epic glory or kleos, I.07.451, which now threatens to eclipse the corresponding glory of the Trojan Wall built earlier by the two gods, I.07.452–453. The wording at I.07.451 already highlights the epic glory or kleos of the Iliad, which concentrates on the Achaean Wall, as distinct from the kleos conferred by earlier epic traditions that concentrate on the Trojan Wall, I.07.458, as noted in the comment on I.07.433–465. After the story of the Iliad is told—or, more precisely, after Troy is destroyed and the Achaeans are already departing for home, I.12.13–16—then the gods can finally remove this Iliadic threat to the kleos of the Trojan Wall: now Poseidon and Apollo will let loose all the rivers in the region of Troy, which will then flood away all traces of the Achaean Wall, I.12.17–33. This divine action, as foretold here, of removing the mis-en-scène or scenery of the Iliad is already foretold at an earlier point by Zeus himself, at I.07.455–463. Relevant to these prophecies is what we read in Strabo 13.1.36 C598: νεωστὶ γὰρ γεγονέναι φησὶ τὸ τεῖχος (ἢ οὐδ’ ἐγένετο, ὁ δὲ πλάσας ποιητὴς ἠφάνισεν, ὡς Ἀριστοτέλης φησίν) ‘the Poet [= Homer] says that the Wall [= the Achaean Wall] had only recently come into existence, or it never existed at all, and the Poet made it up [plattein] and then made it disappear, as Aristotle [F 162 ed. Rose] says’. To paraphrase Aristotle: Homeric poetry foretells the non-existence of the Achaean Wall in a future time of its own performance, and such a future time will be a post-heroic age (HPC 155n16). On the Homeric conceptualization of a post-heroic age, see the comment on I.12.023 below, featuring the word hēmitheoi ‘demigods, half-gods’.

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