Homer Iliad 11.411

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.) — 11.411 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.) — 11.411 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)) — 11.411 focus
While he was thus in two minds, the ranks of the Trojans advanced and hemmed him in, and bitterly did they come to rue it. As hounds and lusty youths set upon a wild boar [415] that sallies from his lair whetting his white tusks—they attack him from every side and can hear the gnashing of his jaws, but for all his fierceness they still hold their ground—even so furiously did the Trojans [420] attack Odysseus. First he sprang spear in hand upon Deiopites and wounded him on the shoulder with a downward blow; then he killed Thoön and Ennomos. After these he struck Khersidamas in the loins under his shield as he had just sprung down from his chariot; [425] so he fell in the dust and clutched the earth in the hollow of his hand. These he let lie, and went on to wound Kharops, son of Hippasos, own brother to noble Sokos. Sokos, hero that he was, made all speed to help him, and when he was close to Odysseus he said, [430] “Far-famed Odysseus, insatiable of craft and toil [ ponos], this day you shall either boast of having killed both the sons of Hippasos and stripped them of their armor, or you shall fall before my spear.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.411 focus
While thus he reasoned with himself, the ranks
Of Trojans armed with bucklers came and closed
Around their dreaded enemy. As when
500
A troop of vigorous dogs and youths assail
From every side a wild boar issuing forth
From a deep thicket, whetting the white tusks
Within his crooked jaws; they press around,
And hear his gnashings, yet beware to come
505
Too nigh the terrible animal, - so rushed
The Trojans round Ulysses, the beloved
Of Jupiter. Then first the hero smote
Deïopites on the shoulder-blade,
And next struck Thoön down, and Ennomus,
510
And in the navel pierced Chersidamas
With his sharp spear, below the bossy shield,
When leaping from his chariot. In the dust
He fell, and grasped the earth with dying hands.
Ulysses left them there, and with his spear
515
He wounded Charops, son of Hippasus,
And brother of brave Socus. Socus saw,
And hastened to his aid, and, standing near,
The godlike chief bespake Ulysses thus:-
"Renowned Ulysses! of whose arts and toils
520
There is no end, thou either shalt to-day
Boast to have slain two sons of Hippasus,
Brave as they are, and stripped them of their arms,
Or, smitten by my javelin, lose thy life."
He spake, and smote the Grecian's oval shield.
525
The swift spear, passing through the shining disk,
And fixed in the rich breastplate, tore the skin
From all his side; yet Pallas suffered not
The blade to reach the inner parts. At once
The chief perceived that Socus had not given
530
A mortal wound, and, falling back a step,
Thus spake: "Unhappy youth, thy doom will soon
O'ertake thee. Though thou forcest me to pause
From combat with the Trojans, I declare,
This day thou sufferest the black doom of death.
535
Thou, smitten by my spear, shalt bring to me
Increase of glory, and shalt yield thy soul
To the grim horseman Pluto." Thus he spake,
While Socus turned to flee; and as he turned,
Ulysses with the spear transfixed his back,
540
And drave the weapon through his breast: he fell,
With armor clashing, to the earth, while thus
The great Ulysses gloried over him: -
"O Socus! son of warlike Hippasus
The horseman! death has overtaken thee,
545
And thou couldst not escape. Unhappy one!
Now thou art dead thy father will not come
To close thy eyes, nor she, the honored one
Who gave thee birth; but birds of prey shall flap
Their heavy wings above thee, and shall tear
550
Thy flesh, while I in dying shall receive
Due funeral honors from the noble Greeks."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.411 focus
Such thoughts revolving in his careful breast,
Near, and more near, the shady cohorts press'd;
These, in the warrior, their own fate enclos'd;
And round him deep the steely circle grows.
So fares a boar, whom all the troop surrounds
525
Of shouting huntsmen, and of clamorous hounds;
He grinds his ivory tusks; he foams with ire;
His sanguine eyeballs glare with living fire;
By these, by those, on every part is plied;
And the red slaughter spreads on every side.
530
Pierc'd through the shoulder, first Deïopis fell;
Next Ennomus and Thoön sunk to hell;
Chersidamas, beneath the navel thrust,
Falls prone to earth, and grasps the bloody dust.
Charops, the son of Hippasus, was near;
535
Ulysses reach'd him with the fatal spear;
But to his aid his brother Socus flies,
Socus, the brave, the generous, and the wise:
Near as he drew, the warrior thus began:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.411 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.411 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

Notes on the current edition

Iliad

1. Muse—haunt of an animal. The word seems to have been applied more especially to the "run" of a hare.
2. Perse—pierce; probably so printed merely to suit the rhyme.

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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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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in a list of secular eukhesthai indicating direct speech (introducing speech, p. 89), and analysis of this verse as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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analysis of eukhesthai as proud, contentious, and accurate statement about its speaker and how Paris’ use of it here is ironic and contrary to the heroic code

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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in a list of secular eukhesthai reporting speech (absolute usage)

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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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