Homer Iliad 12.34

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.) — 12.34 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.) — 12.34 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 (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.34 focus
This was what Poseidon and Apollo were to [35] do in after time; but as yet battle and turmoil were still raging round the wall till its timbers rang under the blows that rained upon them. The Argives, cowed by the scourge of Zeus, were hemmed in at their ships in fear of Hector, the mighty minister of Rout, [40] who as heretofore fought with the force and fury of a whirlwind. As a lion or wild boar turns fiercely on the dogs and men that attack him, while these form solid wall and shower their javelins as they face him— [45] his courage is all undaunted, but his high spirit will be the death of him; many a time does he charge at his pursuers to scatter them, and they fall back as often as he does so—even so did Hector go about among the army of warriors exhorting his men, [50] and cheering them on to cross the trench.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.34 focus
This yet was to be done in time to come
45
By Neptune and Apollo. Meanwhile raged
Battle and tumult round that strong-built wall.
The towers in, all their timbers rang with blows;
And, driven as by the scourge of Jove, the Greeks,
Hemmed closely in beside their roomy ships,
50
Trembled at Hector, the great scatterer
Of squadrons, fighting, as he did before,
With all a whirlwind's might. As when a boar
Or lion mid the hounds and huntsmen stands,
Fearfully strong, and fierce of eye, and they
55
In square array assault him, and their hands
Fling many a javelin; - yet his noble heart
Fears not, nor does he fly, although at last
His courage cause his death; and oft he turns,
And tries their ranks; and where he makes a rush
60
The ranks give way; - so Hector moved and turned
Among the crowd, and bade his followers cross
The trench. The swift-paced horses ventured not
The leap, but stood upon the edge and neighed
Aloud, for the wide space affrighted them;
65
And hard it was to spring across, or pass
From side to side, for on each side the brink
Was steep, and bristled with sharp stakes, close set
And strong, which there the warrior sons of Greece
Had planted, a defence against the foe.
70
No steed that whirled the rapid car along
Could enter, but the soldiery on foot
Eagerly sought to pass, and in these words
Polydamas to daring Hector spake:-
"Hector, and ye who lead the troops of Troy
75
And our auxiliars! rashly do we seek
To urge our rapid steeds across the trench
So hard to pass, beset with pointed stakes, -
And the Greek wall so near. The troops of horse
Cannot descend nor combat there: the space
80
Is narrow: they would all be slain. If Jove,
The Thunderer of the skies, design to crush
The Greeks and succor Troy, I should rejoice
Were the design at once fulfilled, and all
The sons of Greece ingloriously cut off,
85
Far from their Argos. But if they should turn
Upon us, and repulse us from their fleet,
And we become entangled in the trench,
I deem no messenger would e'er go back
To Troy from fighting with the rallied Greeks.
90
Heed, then, my words, and let the charioteers
Stay with the coursers at the trench, while we,
Armed, and on foot, and all in close array,
Follow our Hector. For the Greeks in vain
Will strive to stem our onset if, in truth,
95
The hour of their destruction be at hand."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.34 focus
But this the gods in later times perform;
As yet the bulwark stood, and brav'd the storm;
The strokes yet echo'd of contending powers;
War thunder'd at the gates, and blood distain'd the towers.
40
Smote by the arm of Jove, and dire dismay,
Close by their hollow ships the Grecians lay;
Hector's approach in every wind they hear,
And Hector's fury every moment fear.
He, like a whirlwind, toss'd the scattering throng,
45
Mingled the troops, and drove the field along.
So, 'midst the dogs and hunters' daring bands,
Fierce of his might, a boar or lion stands;
Arm'd foes around a dreadful circle form,
And hissing javelins rain an iron storm;
50
His powers untam'd their bold assault defy,
And, where he turns, the rout disperse, or die:
He foams, he glares, he bounds against them all,
And, if he falls, his courage makes him fall.
With equal rage encompass'd Hector glows;
55
Exhorts his armies, and the trenches shows.
The panting steeds impatient fury breathe,
But snort and tremble at the gulf beneath;
Just on the brink, they neigh, and paw the ground,
And the turf trembles, and the skies resound.
60
Eager they view'd the prospect dark and deep,
Vast was the leap, and headlong hung the steep;
The bottom bare, (a formidable show!)
And bristled thick with sharpen'd stakes below.
The foot alone this strong defence could force,
65
And try the pass impervious to the horse.
This saw Polydamas; who, wisely brave,
Restrain'd great Hector, and this counsel gave:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.34 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.34 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

Notes on the current edition

Iliad

1. Utter passage—egress.

New Alexandria Commentaries

Douglas Frame

example of firmly established meaning of halonai, “to be killed” as adduced by its opposition to, kaktámen, “to kill.” Compare to Il. XVII.506

source

comparison with I.09.104 with regards to noos and muthos

source
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 wish is expressed, on the Trojan side, that the invading Achaean warriors should die nōnumnoi ‘nameless’ at Troy. The same word nōnumnoi ‘nameless’ is used in the Hesiodic Works and Days, 154, to describe the truly nameless warriors of the Bronze Generation, who live a life devoted exclusively to martial violence and who deserve to earn no epic glory after their violent death, 146-155. At I.12.070, the Achaean warriors are viewed through such a Hesiodic lens, as it were.

source

In the immediate context, the plural therapontes functions as a virtual synonym of a word used elsewhere, hēni-okhoi ‘chariot drivers’.

source

Here is the first explicit reference to the objective of the Trojans to break through the Wall of the Achaeans. For further references, see the list in the comment for I.12.198.

source

The immediate context shows that the hero Asios has a hēni-okhos ‘chariot driver’ who is also the therapōn ‘attendant, ritual substitute’ of Asios precisely because he is the chariot driver.

source

Reference is made at I.12.118 to the left-hand side of the encampment protecting the ships of the Achaeans. So, in terms of the Master Narrator’s perspective, the positioning refers to the east side: see the comment on I.11.497–500. Described here at I.12.118–123 is the opening in the Achaean Wall through which the charioteers drive their chariots from the Achaean encampment to the scene of chariot fighting and then back again. The use of the word pulē ‘gate’ in the plural at I.12.120 does not necessarily point to the existence of more than one gate, since the function of the plural pulai here may be elliptic: ‘the gate and related things that belong to the gate’. There is a reference to the same pulai at I.07.339–340 and at I.07.438–439. On the concept of an elliptic plural, see the comment on I.04.196. And it is next to this gate that the sacred common tomb of the Achaean dead is located, I.07.336–337.

source

Besides Hector (I.11.295, I.13.802), Patroklos (I.11.604), and Achilles (I.20.046), the hero Leonteus, mentioned here, is the only other Iliadic figure who is called īsos Arēi ‘equal to Ares’ (BA 33). Relevant to the fact that Leonteus qualifies here at I.12.130 as īsos Arēi ‘equal to Ares’ is the fact that he qualifies at I.12.188 as ozos Arēos ‘attendant of Ares’, also at I.02.745, I.23.841. For the etymology of ozos Arēos, see the anchor comment at I.12.188.

source

In Homeric diction, a neuter plural subject can “take” a verb in the plural instead of the singular.

source

As noted in the comment on I.12.130, Leonteus is the only Iliadic figure who is called ‘equal to Ares’ besides Hector, Patroklos, and Achilles (see also BA 33). Relevant is the fact that he qualifies here at I.12.188 as ozos Arēos ‘attendant of Ares’, also at I.02.745, I.23.841. The word ozos in this description, which applies also to other heroes as listed above, can be explained etymologically as (h)o-sd-os, meaning ‘seated together with’: so a hero who qualifies as ozos Arēos ‘attendant of Ares’ can be pictured as literally ‘seated together with Ares’ (BA 295 = ch.17§5n8). The application of this epithet to a hero indicates that such a hero, as a warrior, is destined to become a ritual substitute for the war-god Ares, in the sense that generic warriors are described as therapontes Arēos ‘attendants of Ares’ in the Iliad*. See the comment on I.06.067.

source

In the Battle for the Ships, the objective of Hector is for the Trojans to set on fire the beached ships of the Achaeans, and, for this objective to be realized, the Trojans must break through the Wall of the Achaeans. There is a reference to such a breakthrough already at I.12.090. For further references, which occur mostly in Iliad 12, to the Trojan objective of breaking through the Wall, see I.12.090, I.12.223, Ι.12.257, I.12.261–262, I.12.308, I.12.418, Ι.12.440–441, I.13.679–680. Many of these references mention also the fire that threatens the beached ships of the Achaeans. From here on, further Iliadic mentions of (1) the Battle for the Ships, (2) the fire of Hector and his Trojans, and (3) the breakthrough of the Trojans in penetrating the Wall of the Achaeans will intensify. Accordingly, for practical reasons, comments on these mentions will from here on refer back only to the anchor comment as formulated here at I.12.198.

source

The meaning of the noun theopropos as ‘interpreter of signs’ is defined clearly in this verse: the role of such a person is ‘to interpret signs’, hupo-krinesthai, that is, ‘to respond to signs’ by distinguishing what is real from what is unreal. See the note on O.19.535. Relevant are the post-Homeric uses of the derivative agent noun hupo-kritēs in two senses, ‘dream-interpreter’ and ‘actor’ (HC 1§14). Also relevant is the implication here at I.12.228 of a coextensiveness between oracular poetry and epic.

source

Hector here says that he understands the Will of Zeus, and that the god has already signaled his Will by nodding, I.12.236. We have seen such nodding before, at I.01.524–530 and at I.08.175–176. We have also seen, at I.08.175–176, that the Will of Zeus as signaled by his nodding will bring nīkē ‘victory’ to the Trojans and pēma ‘pain’ to the Achaeans. So too the nodding of Zeus here at I.12.236 signals once again the Will of Zeus, expressed in this case by way of the plural of boulē, ‘will’, which is boulai. This noun boulē, as noted already at I.01.005, I.01.524–530, I.10.043–052, I.10.415, I.11.627, also conveys the idea of ‘planning’, not just ‘wishing’. We may compare the plural boulai ‘plans’ of Zeus at O.08.082, as noted in the comments on I.11.347.

source

Zeus as terpi-kéraunos ‘he whose bolt strikes’ is asserting here his authority as the god of thunder and lightning. He now sends a violent windstorm from the heights of Mount Ida, thus making a positive signal for the Trojans and a negative one for the Achaeans, I.12.252–254.

source

Zeus, sending a violent windstorm from the heights of Mount Ida at I.12.252–254, now signals at I.12.255 that this kūdos or ‘sign of glory’ goes to the Trojans, who are already starting to break through the Wall of the Achaeans, I.12.256–257. For more on the breakthrough of the Trojans, see the list of references in the comment for I.12.198.

source
Leonard Muellner

analysis of the application of isos Arēi (and variants) to heroes in their aristeiai (here, an exception, namely, Leonteus)

source

hand as regular metonym for a warrior’s biē

source

comment on eukhomenos and epos being traditionally and syntactically bound together, despite the separate existence of epos ēuda# as in this verse

source
Richard Martin

Adjectives such as "painless" modify muthos but not epos, and denote speech that is meant to have an active role in resolving a crisis: "And the painless word pleased Hektor" (muthos apēmōn 12.80, 13.748), said of Polydamas addressing the Trojans (Martin 1993:16).

source

Polydamas' allegorical reading of a bird-sign from Zeus (12.209-22) is one of two augury passages that provide the discourse background for Achilles' bird simile in Book 9 (9.323-26). In full view of the Trojans, an eagle, bitten by the snake he carries, drops it and "did not succeed in carrying it to his children, to give to them" (12.222). He predicts on this basis that the Trojans will not return from a sortie against the ships. Polydamas prefaced his prediction with the words nun aut' exereō hōs moi dokei einai arista (12.215). Achilles, before comparing himself to a bird, uses the similar phrase autar egōn ereō hōs moi dokei einai arista (9.314). Like the augurs, Achilles draws a moral from the depiction of the bird; his individual shaping consists in pointing the moral toward himself and toward the past, not the future, as both Odysseus and Polydamas do in their augury speeches (Martin 1993:204).

For the bird simile in Achilles' speech, see the comment on Iliad 9.323-326.

References

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

source