Homer Iliad 11.47

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.) — 11.47 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.) — 11.47 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.) — 11.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.47 focus
Every man now left his horses in charge of his charioteer to hold them in proper order [ kosmos] by the trench, while he went into battle on foot clad in full armor, [50] and a mighty uproar rose on high into the dawning. The chiefs were armed and at the trench before the horses got there, but these came up presently. The son of Kronos sent a portent of evil sound about their army of warriors, and the dew fell red with blood, for he was about [55] to send many a brave man hurrying down to Hādēs.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.47 focus
Each chief gave orders to his charioteer
55
To stay his horses firmly by the trench,
While they rushed forth in arms. At once arose,
Ere yet the sun was up, a mighty din.
They marshalled by the trench the men on foot;
The horse came after, with short space between.
60
The son of Saturn sent among their ranks
Confusion, and dropped down upon the host
Dews tinged with blood, in sign that he that day
Would send to Hades many a valiant chief.
The Trojans, on their side, in the mid-plain
65
Drew up their squadrons on a hill, around
The mighty Hector, and Polydamas
The blameless, and Æneas, who among
The sons of Troy was honored like a god,
And three sons of Antenor, who were named
70
Agenor and the noble Polybus
And the young Acamas of godlike bloom.
There Hector in the van uplifted bore
His broad round shield. As some portentous star
Breaks from the clouds and shines, and then again
75
Enters their shadow, Hector thus appeared
Among the foremost, issuing his commands,
Then sought the hindmost. All in brass, he shone
Like lightnings of the Ægis-bearer, Jove.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.47 focus
Close to the limits of the trench and mound,
The fiery coursers, to their chariots bound,
The squires restrain'd; the foot, with those who wield
The lighter arms, rush forward to the field.
To second these, in close array combin'd,
65
The squadrons spread their sable wings behind.
Now shouts and tumults wake the tardy sun,
As with the light the warriors' toils begun;
E'en Jove, whose thunder spoke his wrath, distill'd
Red drops of blood o'er all the fatal field;
70
The woes of men unwilling to survey,
And all the slaughters that must stain the day.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.47 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.47 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

Notes on the current edition

Iliad

1. Opposed—standing opposite to one another for expedition's sake. Sort—set. See Bk. IV. 460.

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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The description of the epic hero Aeneas here indicates that there were rituals honoring him as a cult hero, and it may be that such rituals of hero cult were linked with myths about what happened to him after death. See anchor comment for I.05.077–078.

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At I.11.078, the gods are said to hold Zeus aitios ‘responsible’, as expressed by the verb aitiân, derived from the adjective aitios, for the fact that the Trojans are now winning in the Trojan War while the Achaeans are losing. At I.11.079, this fact is attributed to the Will of Zeus: the god ‘wishes’ for this to happen, as expressed by the verb boulesthai ‘ wish, plan’.

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This narrative alludes to the epic deeds of Achilles in the region of Mount Ida. These deeds, taking place before the time dramatized in the Iliad, will be analyzed in another comment.

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The description of Hector here as comparable to the god Zeus himself with regard to mētis ‘mind, intelligence’ is an implicit affront to Athena, who is the divine personification of mētis. See the comments on I.06.286–311, I.07.017–061, I.08.538–541, and I.10.043–052.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

It has already been noted in the comment on I.02.484 that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition (see also Martin 1989:238). Such a moment is now at hand as Agamemnon the over-king is about to have his own moment of experiencing an ‘epic high point’. At such a moment, the Narrator must be ready to do his very best in recapturing that heroic experience. And, to express his readiness, the Narrator in all his self-awareness will now re-invoke the Muse or the Muses. In this context, the ‘I’ who is re-invoking the Muse(s) is meant to be seen as a re-enactment of ‘Homer’ himself, as originally enacted by the speaker who invokes the Muse at I.01.001 and at O.01.001.

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This narrative centers on the aristeiā ‘epic high point’ of Agamemnon in the Iliad. On aristeiā ‘epic high point’, see the comment on I.05.103.

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Even the most minor character in the Iliad—and the hero Iphidamas here is a striking example—is willing to die simply for the chance of getting included in the kleos ‘glory’ of the present performance, which is of course the Homeric Iliad itself. What makes the example of Iphidamas even more striking is that he is not even fighting on the Achaean side in this war.

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Leonard Muellner

apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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Richard Martin

Zeus' promise through Iris to Hektor at 11.186-94 combines directive with explicit promise: he orders Hektor to retreat a short way (11.189), then promises killing strength to the hero (11.192). Furthermore, at the conclusion of this command, Zeus sets exact limitations on the action: Hektor will be allowed to win, but only until he reaches the Achaean ships (11.193-94). This shows Zeus' power to create nuance and give verbal texture to his directives, achieved by repetition and synonymity. There is an additional irony in the promise at 11.191-94: it contains elements of prediction—"the strength will come when struck by spear or hit by arrow he leaps to his horse"—and since predictions are constatives in speech-act terms while commands are directives, this correlation appears puzzling. But in Zeus' language, commands, threats, and predictions comprise one category; the mere speaking of a promise by Zeus is effective, the equivalent of action. Yet the time-frame of divine speech differs radically from that of its divine addressees: Hektor does not receive strength to reach the ships on the day that Zeus promised. His surge occurs later (Martin 1993:52-53).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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