Homer Iliad 12.80

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.) — 12.80 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.) — 12.80 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)) — 12.80 focus
Thus spoke Polydamas and his saying pleased radiant Hector, 81 and straightaway he leapt out of his chariot, armor and all, hitting the ground, and all the other Trojans, when they saw him do so, also left their chariots. Each man then gave his horses over to his charioteer in charge [85] to hold them in good order [ kosmos] for him at the trench. Then they formed themselves into companies, made themselves ready, and in five bodies followed their leaders. Those that went with Hector and Polydamas the blameless were the bravest and most in number, and the most determined [90] to break through the wall and fight at the ships. Kebriones was also joined with them as third in command, for Hector had left his chariot in charge of a less valiant warrior. The next company was led by Paris, Alkathoös, and Agenor; the third by Helenos and godlike Deiphobos, [95] two sons of Priam, and with them was the hero Asios—Asios the son of Hyrtakos, whose great black horses of the breed that comes from the river Selleis had brought him from Arisbe. Aeneas the valiant son of Anchises led the fourth; he and the two sons of Antenor, [100] Arkhelokhos and Akamas, men well versed in all the arts of war. Sarpedon was chief over the allies, and took with him Glaukos and warlike Asteropaios whom he thought most valiant after himself—for he was far the best man of them all. [105] These helped to array one another in their ox-hide shields, and then charged straight at the Danaans, for they felt sure that they would not hold out longer and that they should themselves now fall upon the ships.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.80 focus
So spake Polydamas; and Hector, pleased
To hear the prudent counsel, leaped to earth
With all his arms, and left his car. The rest
Rode with their steeds no more, but, hastily
100
Dismounting, as they saw their noble chief,
Each bade his charioteer hold back his steeds,
Reined at the trench, in ranks. And then, apart,
They mustered in five columns, following close
Their leaders. First, the largest, bravest band,
105
Those who, with resolute daring, longed to break
The rampart and to storm the fleet, were led
By Hector and the good Polydamas,
Joined with Cebriones, - for Hector left
His chariot to the care of one who held
110
An humbler station than Cebriones.
Paris, Alcathoüs, and Agenor led
A second squadron. Helenus, a son
Of Priam, and Deïphobus, a youth
Of godlike form, his brother, took command
115
Of yet a third, - with whom in rank was joined
The hero Asius, son of Hyrtacus,
Whose bright-haired coursers, of majestic size,
Had borne him from Arisba and the banks
Of Selleis. Æneas led the fourth, -
120
The brave son of Anchises; and with him
Were joined Archilochus and Acamas,
Sons of Antenor, skilled in arts of war.
The band of Troy's illustrious allies
Followed Sarpedon, who from all the rest
125
Had chosen, to partake in the command,
Glaucus and brave Asteropæus. These
He deemed the bravest under him; yet he
Stood foremost of them all in warlike might.
Then all, with their stout bucklers of bull's-hide
130
Adjusted to each other, bravely marched
Against the Greeks, who, as they deemed, must fly
Before them, and must fall by their black ships.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.80 focus
This counsel pleas'd: the godlike Hector sprung
Swift from his seat; his clanging armour rung.
The chief's example follow'd by his train,
95
Each quits his car, and issues on the plain.
By orders strict the charioteers enjoin'd,
Compel the coursers to their ranks behind.
The forces part in five distinguish'd bands,
And all obey their several chiefs' commands.
100
The best and bravest in the first conspire,
Pant for the fight, and threat the fleet with fire:
Great Hector glorious in the van of these,
Polydamas, and brave Cebriones.
Before the next the graceful Paris shines,
105
And bold Alcathoüs, and Agenor joins.
The sons of Priam with the third appear,
Deïphobus, and Helenus the seer;
In arms with these the mighty Asius stood,
Who drew from Hyrtacus his noble blood,
110
And whom Arisba's yellow coursers bore,
The coursers fed on Selle's winding shore.
Antenor's sons the fourth battalion guide,
And great Æneas, born on fountful Ide.
Divine Sarpedon the last band obey'd,
115
Whom Glaucus and Asteropæus aid;
Next him, the bravest at their army's head,
But he more brave than all the hosts he led.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.80 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.80 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

Notes on the current edition

Iliad

1. Procinct—preparation, girding for war. Lat. procinctus. Blount preserves it as a technical word in his Glossographia. Todd observes that he was unable to meet with an example besides the one quoted by Johnson from Milton.

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

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comparison with I.09.104 with regards to noos and muthos

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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)

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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.

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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.

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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.

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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.

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

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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.

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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.

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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.

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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.

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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.

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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.

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Leonard Muellner

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

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hand as regular metonym for a warrior’s biē

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

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Richard Martin

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.

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