Homer Iliad 12.329

ed. George Chapman

View: By Book

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.) — 12.329 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.) — 12.329 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.) — 12.290 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.329 focus
Glaukos heeded his saying, [330] and the pair right away led on the army of Lycians. Menestheus son of Peteos was dismayed when he saw them, for it was against his part of the wall that they came—bringing destruction with them; he looked along the wall for some chieftain to support his comrades [335] and saw the two Ajaxes, men ever eager for the fray, and Teucer, who had just come from his tent, standing near them; but he could not make his voice heard by shouting to them, so great an uproar was there from crashing shields and helmets [340] and the battering of gates with a din which reached the skies. For all the gates had been closed, and the Trojans were hammering at them to try and break their way through them. Menestheus, therefore, sent Thoötes with a message to Ajax. “Run, good Thoötes,” he said, “and call Ajax, or better still bid both come, [345] for it will be all over with us here directly; the leaders of the Lycians are upon us, men who have ever fought desperately heretofore. But if they have too much labor [ ponos] on their hands to let them come, at any rate let Ajax son of Telamon do so, [350] and let Teucer, the famous bowman, come with him.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.329 focus
He spake; and Glaucus not unwillingly
Heard and obeyed. Right on the warriors pressed,
395
Leading the Lycian host. Menestheus, son
Of Peteus, saw, and trembled; for they came
With evil menace toward his tower. He looked
Along the Grecian lines in hope to see
Some chieftain there whose ready help might save
400
His comrades from their danger. He beheld
The rulers Ajax, never tired of war,
Standing with Teucer, who just then had left
His tent; and yet they could not hear his shout,
So fearful was the din that rose to heaven
405
From all the shields, and crested helms, and gates,
Smitten with missiles, - for at all the gates
The Lycians thundered, struggling hard to break
A passage through them. Then Menestheus called
A herald near, and bade Thoötes bear
410
A message to the leaders Ajax, thus:-
"Go, nobly-born Thoötes, and in haste
Call Ajax, - call them both, for that were best, -
Since terrible will be the slaughter here,
So fiercely are the Lycians pressing on,
415
Impetuous ever in assault. If there
The fight be also urgent, then at least
Let the brave Telamonian Ajax come,
And Teucer, the great archer, follow him."
He spake. The herald listened and obeyed,
420
And flew along the summit of the wall
Built by the Greeks. He reached, and stood beside,
The chieftains Ajax, and addressed them thus:-
"Ajaces, leaders of the warlike Greeks,
The honored son of noble Peteus asks
425
That ye will come, though for a little space,
To aid him and to share his warlike toils;
For terrible will be the slaughter there,
So fiercely are the Lycians pressing on,
Impetuous ever in assault. If here
430
The fight be also urgent, then at least
Let the brave Telamonian Ajax come,
And Teucer, the great archer, follow him."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.329 focus
He said; his words the listening chief inspire
With equal warmth, and rouse the warrior's fire;
The troops pursue their leaders with delight,
Rush to the foe, and claim the promis'd fight.
400
Menestheus from on high the storm beheld,
Threatening the fort, and blackening in the field;
Around the walls he gaz'd, to view from far
What aid appear'd t' avert th' approaching war,
And saw where Teucer with th' Ajaces stood,
405
Of fight insatiate, prodigal of blood.
In vain he calls; the din of helms and shields
Rings to the skies, and echoes through the fields;
The brazen hinges fly, the walls resound,
Heaven trembles, roar the mountains, thunders all the ground.
410
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.329 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.329 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

Notes on the current edition

Iliad

1. Sort—fate, lot.

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)

source

The two warriors who are jointly named by way of the dual form Aiante here, about whom there will be more to say in the comment on I.12.335–336, are urging the Achaeans to keep up the fight. To encourage the Achaeans, the dual Aiante say that it does not matter whether different warriors will make greater or smaller contributions to the effort: after all, warriors are not homoioi ‘the same as’ each other, since some are superior and some are middling and some are inferior in warfare, I.12.269–270. The word homoio- ‘similar to, same as’, used in comparisons, displays the semantics of relativism as well as absolutism in Homeric diction. For more on homoio- ‘similar to, same as’ see the anchor comment at I.05.441.

source

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.

source

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.

source

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.

source

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.

source

The two warriors who are jointly named by way of the dual form Aiante here are to be identified as the greater and the lesser Ajax—in contexts where the hero Teukros, who is the bastard brother of the greater Ajax, is also named as a participant in the action. In other contexts where Teukros is not named as a participant, however, the dual Aiante are to be identified as the greater Ajax and his bastard brother Teukros. Such contexts reveal an elliptic use of the dual. The use of the dual form Aiante in the contexts of Iliad 12 can be cited as evidence for building an evolutionary model for the making of Homeric poetry.

source
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’

source

analysis of kēla as weapons that are thrown pieces of fire

source

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

source
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.

source