Homer Iliad 13.155

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.) — 13.155 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.) — 13.155 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.) — 13.206 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.155 focus
With these words he put heart and spirit into them all. Deiphobos, son of Priam, went about among them intent on deeds of daring with his round shield before him, under cover of which he strode quickly forward. Meriones took aim at him with a spear, [160] nor did he fail to hit the broad orb of ox-hide; but he was far from piercing it for the spear broke in two pieces long before he could do so; moreover Deiphobos had seen it coming and had held his shield well away from him. The high-spirited Meriones [165] drew back under cover of his comrades, angry alike at having failed to vanquish Deiphobos, and having broken his spear. He turned therefore towards the ships and tents to fetch a spear that he had left behind in his tent.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.155 focus
He spake, and kindled in the breasts of all
Fresh courage. In the band Deiphobus
Marched proudly, Priam's son, with his round shield
Before him, walking with a quick, light step
Behind its shelter. Then Meriones
195
Aimed at the chief his glittering spear; the point
Missed not; it struck the orb of bullock's hide,
Yet did not pierce it, for the weapon broke
Just at the neck. Deiphobus held forth
His shield far from him, dreading to receive
200
A spear-thrust from the brave Meriones.
Vexed thus to lose the victory, and the spear
Snapped by the blow, Meriones fell back
Into the column of his friends, and passed
Hastily toward the camp and ships, to bring
205
A powerful spear that stood within his tent,
While others fought, and fearful was the din.
Then Teucer first, the son of Telamon,
Smote gallant Imbrius, son of Mentor, lord
Of many steeds. He, ere the Greeks had come
210
To Troy, dwelt at Pedæum and espoused
Medesicasta, Priam's spurious child.
But when the well-oared galleys of the Greeks
Mustered at Troy, he also came, and there
Was eminent among her chiefs, and dwelt
215
With Priam, and was honored as his son.
The son of Telamon beneath the ear
Pierced him with his long javelin, and drew forth
The weapon. Headlong to the earth he fell.
As on a mountain height, descried from far,
220
Hewn by a brazen axe, an ash is felled
And lays its tender sprays upon the ground,
Thus Imbrius fell, and round him in his fall
Clashed his bright armor. Teucer sprang in haste
To spoil the dead, but Hector hurled at him
225
His shining spear; the wary Teucer stepped
Aside, and just escaped the brazen blade.
It struck Amphimachus, Cteatus' son,
And Actor's grandson; as he came to join
The battle, he was smitten in the breast,
230
And fell, his armor clashing round his limbs.
Then Hector flew in haste to tear away
From the large-souled Amphimachus the helm
That cased his temples. Ajax saw, and hurled
His glittering spear at Hector as he came:
235
It made no wound; for Hector stood equipped
All o'er in formidable brass. The spear
Struck on the bossy shield with such a shock
As forced him to recoil, and leave unspoiled
The bodies, which the Achaians dragged away.
240
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.155 focus
He said, and rous'd the soul in every breast;
Urg'd with desire of fame, beyond the rest,
Forth march'd Deïphobus; but marching held,
Before his wary steps, his ample shield.
Bold Merion aim'd a stroke, nor aim'd it wide;
215
The glittering javelin pierc'd the tough bull-hide;
But pierc'd not through: unfaithful to his hand,
The point broke short, and sparkled in the sand.
The Trojan warrior, touch'd with timely fear,
On the rais'd orb to distance bore the spear:
220
The Greek retreating mourn'd his frustrate blow,
And curs'd the treacherous lance that spar'd a foe;
Then to the ships with surly speed he went,
To seek a surer javelin in his tent.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.155 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.155 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

Notes on the current edition

Iliad

1. Upon the square—upon equal terms.
2. Abodes—omens, prognostications. Infrà, 226. Shakespeare uses " abode-ment" in a similar manner, -
"Tush, man, abodements must not now affright us."
— 3 Henry VI. IV. 7. The verb is common.
3. Virtuous in the classical sense of "valourous."

New Alexandria Commentaries

Douglas Frame

contrast between the end of Book 12/segment of Books 9-12 and the beginning of Book 13/segment of books 13-16, where the suspense is diminished by Zeus’ becoming distracted

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comparison of the openings of the expansions in Nestor’s story with other Homeric verses (the similarity of the expansions to Homeric formulas, here, variations of the formulaic patter esti de tis)

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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Gregory Nagy

The momentum of the Trojan onslaught led by Hector intensifies here, and the prospects of the Achaeans look grim, almost hopeless. Hector is so successful that he feels tempted, toward the end of Rhapsody 13, to equate himself with immortal gods. Meanwhile, the intensity of the narrative keeps pace, and the poetic virtuosity approaches the sublime.

draft js image errorHector and Polydamas. After a drawing by John Flaxman. Image via Wikimedia Commons.

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Poseidon’s grand entrance here, as he drives his chariot team to the scene of battle, is comparable to other narratives about ceremonial arrivals by divinities. See HC 1§145, with a line drawing of an image painted on an Attic red-figure pyxis lid: unattributed, dated at around 425–375 BCE, Copenhagen, National Museum, 731. The image shows three goddesses—Hērā, Athena, and Aphrodite—arriving at the Judgment of Paris in their chariots drawn by customized chariot teams. Hērā is driving two horses; Athena, two serpents; and Aphrodite, two boyish Erōtes. Figure 10a shows the whole image, while Figure 10b shows a detail from that image.

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On the two warriors who are jointly named here by way of the dual form Aiante, see especially the comment on I.12.335–336.

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As noted in the comment on I.01.091, the meaning of the verb eukhesthai as ‘declare’ has to do with speaking for the record in the form of ‘boasting’ or ‘praying’ or ‘juridically declaring’ (Muellner 1976). According to the speaker here, who is the god Poseidon himself in the guise of Kalkhas, Hector aspires to be immortal by way of ‘boasting’, as expressed by the verb eukhesthai, that he is the son of the god Zeus.

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The reference here to the lesser Ajax shows that the dual Aiante at I.13.046–047 refers in this case to the greater and the lesser Ajax together, not to the greater Ajax and to his bastard brother Teukros. See the comment at I.12.335–336.

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As at I.05.795, the heroes are simply ‘reviving’. As for intimations of a mystical revival from death, there is still more to say: see the comments on I.16.456–457.

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analysis of Janko’s argument that the manuscript reading δ’ἑκάθεν at Il. XIII.107 is “superior” to OCT edition, which replaces δ’ἑκάθεν with δὲ ἑκάς on the basis of its older form and appearance at Il. V.791 (Janko 1990.332-334)

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In the words of the god Poseidon, it is conceded that Agamemnon is aitios ‘responsible’, I.13.111, for having ‘dishonored’ Achilles, I.13.113, as expressed by the verb a-tīmân.

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Leonard Muellner

in the context of analyzing the only place in the Homeric corpus where a dative noun after eukhesthai is not a god/gods (but Hektor, and this verse among references to his ‘godhead’)

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analysis of eukhesthai in genealogy statements as not used of false or speculative genealogy

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in a list of attestations of genos eukhesthai einai and its transformations

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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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in the context of comparing Homeric and Vedic poetic media, here regarding the genealogical statement with diuas putra/Dios pais (as in this verse)

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comment on the anomaly of the verse

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