Homer Iliad 11.368

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 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.) — 11.368 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.) — 11.368 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.) — 11.384 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.368 focus
As he spoke he began stripping the spoils from the spear-famed son of Paion, but Alexandros husband of lovely-haired Helen [370] aimed an arrow at him, leaning against a pillar of the monument which men had raised to Ilos, son of Dardanos, a ruler in days of old. Diomedes had taken the cuirass from off the breast of strong Agastrophos, his heavy helmet also, and the shield from off his shoulders, [375] when Paris drew his bow and let fly an arrow that sped not from his hand in vain, but pierced the flat of Diomedes’ right foot, going right through it and fixing itself in the ground. Then Paris with a hearty laugh sprang forward from his hiding-place, and taunted him saying, [380] “You are wounded—my arrow has not been shot in vain; would that it had hit you in the belly and killed you, for thus the Trojans, who fear you as goats fear a lion, would have had a truce from evil.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.368 focus
He spake, and struck the son of Pæon down,
Skilful to wield the spear. But now the spouse
Of fair-haired Helen - Alexander - stood
445
Leaning against a pillar by the tomb
Of the Dardanian Ilus, who had been
An elder of the people; and he bent
His bow against the monarch Diomed,
Who at that moment knelt to strip the slain
450
Of the rich breastplate, and the shield that hung
Upon his shoulders, and the massive casque.
The Trojan drew the bow's elastic horn,
And sent an arrow that not vainly flew,
But, striking the right foot, pierced through, and reached
455
The ground beneath. Then Paris, with a laugh,
Sprang from his ambush, shouting boastfully: -
"Lo, thou art smitten! Not in vain my shaft
Has flown; and would that it had pierced thy groin
And slain thee! Then the Trojans had obtained
460
Reprieve from slaughter, they who dread thee now
As bleating goats a lion." Undismayed,
The valiant Diomed made answer thus:-
"Archer and railer! proud of thy smart bow,
And ogler of the women! wouldst thou make
465
Trial of valor hand to hand with me,
Thy bow should not avail thee, nor thy sheaf
Of many arrows. Thou dost idly boast
That thou hast hit my foot. I heed it not.
It is as if a woman or a child
470
Had struck me. Lightly falls the weapon-stroke
Of an unwarlike weakling. 'Tis not so
With me, for when one feels my weapon's touch,
It passes through him, and he dies; his wife
Tears with her hands her cheeks; his little ones
475
Are orphans; earth is crimsoned with his blood;
And flocking round his carcass in decay,
More numerous than women, are the birds."
He spake. Ulysses, mighty with the spear,
Came near and stood before him while he sat
480
Concealed, and drew the arrow from his foot.
Keen was the agony that suddenly
Shot through his frame: he leaped into his car,
And bade his charioteer make haste to reach
The roomy ships: the pain had reached his heart.
485
Ulysses, the great spearman, now was left
Alone, no Greek remaining by his side;
For fear had seized them all. With inward grief
The hero thus addressed his mighty soul: -
"What will become of me? A great disgrace
490
Will overtake me if I flee in fear
Before this multitude; and worse will be
My fate if I am taken here alone,
While Jove has driven away the other Greeks
In terror. Why these questions, since I know
495
That cowards skulk from combat, while the brave,
Wounded or wounding others, keeps his ground?"
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.368 focus
Him, while he triumph'd, Paris ey'd from far,
(The spouse of Helen, the fair cause of war:)
Around the fields his feather'd shafts he sent,
475
From ancient Ilus' ruin'd monument;
Behind the column plac'd, he bent his bow,
And wing'd an arrow at th' unwary foe:
Just as he stoop'd, Agastrophus's crest
To seize, and draw the corslet from his breast,
480
The bow-string twang'd; nor flew the shaft in vain,
But pierc'd his foot, and nail'd it to the plain.
The laughing Trojan, with a joyful spring,
Leaps from his ambush, and insults the king:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.368 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.368 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

Notes on the current edition

Iliad

1. Fautour. See Bk. I. 441, XV. 399.
2. Priam's amorous birth—Paris.
3. The second folio, followed as usual by Dr. Taylor, reads " nail upon the ground."

New Alexandria Commentaries

Douglas Frame

this line as one of the counterexamples for identifying unmodified laos as one’s own

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this line as one of the counterexamples for identifying unmodified laos as one’s own, and with damnēmi together with laos

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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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The description of Hector as īsos Arēi ‘equal to Ares’ here at I.11.295 is parallel to his being described as atalantos Arēi ‘equal to Ares’ at I.08.215. For Hector and in fact for any heroic warrior in the Iliad, even for generic warriors, the idea of being ‘equal to Ares’ is parallel to the idea of being a therapōn of Ares, where therapōn is to be understood in the deeper sense of ‘ritual substitute’. About this deeper sense, see the comment on I.02.110.

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Here at I.11.297, two verses after I.11.295, where Hector is described as īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ), the same Trojan hero is now further described as īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ). This verse-final phrase īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ) matches rhythmically the verse-final phrase īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ). Aside from the match in form, there is also a deep-seated match in meaning here between the phrases ‘equal to Ares’ and ‘equal to a blast of wind’, since the god of war is traditionally linked with violent winds. See the comment on I.05.430. Such a link is also attested in the cognate poetics of other Indo-European languages besides Greek: analysis in BA 334, 337.

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The onslaught of Hector and his Trojans against the Achaeans is pictured here as a violent blast of wind in a storm that churns up the sea, which is called the pontos here at I.11.298. This onslaught will threaten the safety of the beached ships of the Achaeans, and thus it will threaten the very survival of the Achaeans and even of all Greeks as notional descendants of the Achaeans. See further on the Battle for the Ships in the comment on I.01.320–348.

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In the words of Diomedes, the Will of Zeus is now in effect: the plan of the god is to give kratos ‘winning-power’ to the Trojans and to take it away from the Achaeans, I.11.319. In this verse, we see that Zeus ‘wishes’ for this to happen, as expressed by the verb boulesthai ‘want, wish, plan’. See also the comment on I.11.078–079, where boulesthai ‘wish, plan’ is already expressing the same idea. And, by taking kratos ‘winning-power’ away from the Achaeans, Zeus is giving them akhos ‘grief’ instead, on which see the comment on I.01.509.

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Diomedes and Odysseus agree to fight as a team, I.11.310–319. Diomedes throws a spear at Thumbraios, who is riding on a chariot and who gets knocked to the ground by the piercing wound, I.11.320–321. Then Odysseus symmetrically wounds with his own piercing spear-throw the charioteer of Thumbraios, Molion, who is described here as the therapōn of Thumbraios, I.11.322. Presumably, Molion too has been riding on the same chariot and gets knocked to the ground. Molion is not overtly called the hēni-okhos ‘chariot driver’ of Thumbraios, but the context shows that he is exactly that, the chariot driver. And, although Molion is the therapōn of Thumbraios, Molion does not get to “take the hit” for Thumbraios the chariot fighter, since that fighter is hit even before his driver is hit. So we see here an unexpected variation on the theme of the therapōn as ‘ritual substitute’ as well as ‘attendant’.

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In the words of Diomedes, Hector is a pēma ‘pain’ for the Achaeans, I.11.347. The pain that he inflicts on them is visualized by way of the verb kulindesthai ‘roll’ in this same verse, I.11.347. The comparison that is implied by this verb becomes explicit at I.13.136–142, where we will see the menacing image of a boulder that breaks off from mountainous heights overhead and starts rolling downward from above, ever increasing in speed as it nears ground zero: only when the boulder has reached a level plain does it finally stop ‘rolling’, as expressed by the verb kulindesthai at I.13.142 (see H24H 5§10). In the framing verses of I.13.136-142, this visualization of the menacing boulder that is rolling down from the heights above is being compared to Hector himself as he rushes toward the Achaeans. The same visualization is implicit in the use of the verb kulindesthai ‘roll’ at I.11.347, where Hector is pictured as a pēma ‘pain’ that is rushing toward his enemies. See also the comment on I.17.098–101, where the death of Patroklos is viewed retrospectively as a great pēma ‘pain’, I.17.099, that was sure to kulindesthai ‘roll’ down from the heights like some boulder and to crush anyone daring to attack a warrior who is being protected by a god. And the same visualization of a breakaway boulder is implicit also in the combination of pēma ‘pain’ with kulindesthai ‘roll’ at O.08.081 of the “micro-Iliad” that is narrated at O.08.072–083, which is the First Song of Demodokos. In this song, at O.08.081, the ‘beginning of the pain [pēma]’ is pictured at the very beginning of the overall narrative: the pēma ‘pain’ is starting to ‘roll’, as expressed again by way of kulindesthai, and we see further at O.08.082 that this pain will be rolling toward Trojans and Achaeans (=Danaans) alike. Ultimately, both sides in the Trojan War will feel the pain, and it is all because Zeus willed it to be this way: everything will happen the way it will happen ‘because of the plans [boulai] of Zeus’, O.08.082 (Διὸς μεγάλου διὰ βουλάς).

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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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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai and of the use of isos aellēi/lailapi in these contexts

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

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Richard Martin

When the poet describes the death of Iphidamas at Agamemnon's hands (11.243), the tone is that of the most haunting of Homeric obituaries: resigned, factual, yet tense with restrained emotion. The victim "fell and slept the bronze-hard sleep, pitiable man, away from young wedded wife, fighting for his townsmen—the wife, from whom he had no joy, though he had given much" (kouridiēs, hēs ou ti kharin ide, polla d' edōke). Here, as often, kharis signifies both pleasure and reciprocal giving, reciprocity itself being a "pleasure" in the world of Homeric epic and a sign that the cosmos is operating properly. Iphidamas is cut off from ever getting return on investment as much as he is cut off from the sweetness of a young wife, and the poet grieves for both losses. It is with this dual meaning of the word that one should approach the ending of 9.316, ouk ara tis kharis ēen. Achilles' words echo the poet's voice. Through his use of the abstract noun, the personal gripe about lack of payment grows into an elegiac statement of universal human lack (Martin 1993:213-14).

For the related uses of the kharis motif in Glaukos' speech (17.142-68) and its comparison with Achilles' use, see the comment on Iliad 9.315-316.

References

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

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