Homer Iliad 13.328

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.) — 13.328 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.) — 13.328 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.) — 13.361 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.328 focus
Meriones, peer of fleet Arēs, then led the way till they came to the part of the army of warriors which Idomeneus had named.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.328 focus
So spake the chief. Meriones, the peer
Of Mars in swiftness, hastened till he joined
The army where his comrade bade. The foe
Beheld Idomeneus, who like a flame
405
Swept on with his companion all in arms
Gloriously wrought; they raised from rank to rank
The battle-cry, and met him as he came,
And hand to hand, before the galleys' sterns
Was waged the combat. As when storms arise,
410
Blown up by piping winds, when dust lies loose
Along the roads, a spreading cloud of dust
Fills the wide air, so came the battle on
Between the bands that struggled eagerly
To slay each other. All along the line
415
The murderous conflict bristled with long spears
That tore the flesh; the brazen splendor, shot
From gleaming helmets and from burnished mail
And shining bucklers, all in narrow space,
Dazzled the eyes. Brave-hearted would he be,
420
The man who, gazing on it, could have seen
The furious strife rejoicing or unmoved.
Meantime the potent sons of Saturn each
Favored a different side, and planned new toils
For all the warriors. Jupiter had willed
425
That Hector and the Trojans should prevail,
Yet had he not decreed the Achaian host
To perish before Troy; he only sought
To honor Thetis and her large-souled son.
But Neptune, mingling with the Greeks, aroused
430
Their martial spirit. From the hoary deep
He came unmarked, for deeply was he grieved
To see the Greeks give way before the host
Of Troy, and he was wroth with Jupiter.
Both gods were of one race, and owed their birth
435
To the same parents; but the elder-born
Was Jupiter, and wiser. For that cause
Not openly did Neptune aid the Greeks,
But, as by stealth, disguised in human form,
Moved through their army and encouraged them
440
To combat. Thus it was the potent twain
Each drew, with equal hand, the net of strife
And fearful havoc, which no power could break
Or loosen, stretched o'er both the warring hosts,
And laying many a warrior low in death.
445
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.328 focus
He said; and Merion to th' appointed place,
Fierce as the god of battles, urg'd his pace.
Soon as the foe the shining chiefs beheld
420
Rush like a fiery torrent round the field,
Their force embodied in a tide they pour;
The rising combat sounds along the shore:
As warring winds, in Sirius' sultry reign,
From different quarters sweep the sandy plain;
425
On every side the dusty whirlwinds rise,
And the dry fields are lifted to the skies:
Thus, by despair, hope, rage, together driven,
Met the black hosts, and, meeting, darken'd heaven.
All dreadful glar'd the iron face of war,
430
Bristled with upright spears, that flash'd afar;
Dire was the gleam of breast-plates, helms, and shields,
And polish'd arms emblaz'd the flaming fields:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.328 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.328 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

Notes on the current edition

Iliad

1. Hector's self. -The second folio has " Hector's life."
2. Seel. See note on Bk. XVI. 314.
3. "The empire of Jove exceeded Neptune's (saith Plut. upon this place) because he was more ancient, and excellent in knowledge and wisdom; and upon this verse, viz., ἀλλὰ Ζεὺς πρότερος, &c., sets down this his most worthy to be noted opinion: viz., I think also that the blessedness of eternal life, which God enjoys is this: that by any past time He forgets not notions presently apprehended; for otherwise, the knowledge and understanding of things taken away, immortality should not be life, but time, &c. (Plut. de Iside et Osiride.)" — CHAPMAN.

New Alexandria Commentaries

Douglas Frame

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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analysis of metheinai and contrasting it with loose-wittedness, and its application to Menelaus

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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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note that of 150 mentions of Aristarchean diórtōsis that Laum counted (Laum 1928.62) only this one reference refers to an accentual variation [MRBTP: A]

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reference to Aristarchus’ apparent belief that Homer was an Athenian who lived around 1000 BC. See Proclus F a 58-62 Severyns, cf. Life of Homer p. 244.13, p. 247.8 Allen [MRBTP: A]

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In this context, as also at I.13.201, the referents for the dual Aiante are Ajax the greater and Teukros, his bastard brother.

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See the note on I.13.197.

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Here the reference of Aiante shifts away from referring to the pair of Ajax the greater and Teukros. That is because the spotlight on the action shifts from Teukros to Ajax the lesser, so that the lesser Ajax can now become, retroactively, the implied second member of the dual Aiante.

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See anchor comment at I.05.077–078.

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The fear is expressed that the invading Achaean warriors could die nōnumnoi ‘nameless’ at Troy. On the connotations, which can be seen by way of comparing the Hesiodic Works and Days 146–155, see the comment on I.12.079.

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Zeus, in the act of launching his thunderbolt, can be visualized simultaneously in two ways, as here. First, he can be seen as casting his thunderbolt by throwing it with his own divine hand, I.13.243. But, second, he can be seen as casting his divine eye on his target, and his angry looks will thus launch his thunderbolt from within: that is the sense of the expression at I.13.244 here, ‘and his eyes [augai] are most visible [arizēloi]’ (ἀρίζηλοι δέ οἱ αὐγαί). The noun augai, which means literally ‘lights’, refers here to the eyes of Zeus, as also at I.13.837. On the expression the look of Zeus, see the comment on I.19.003–017.

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The lightning made by Zeus is a sēma ‘sign, signal’ that needs to be interpreted.

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In the immediate context, where Meriones is highlighted as therapōn of Idomeneus, only the surface meaning, ‘attendant’, is evident.

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Here the title ‘best of the Achaeans’ is narrowed in scope: Teukros is ‘best of the Achaeans’ in archery.

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Idomeneus together with Meriones as his therapōn ‘attendant, ritual substitute’ take their stand side by side on the battlefield.

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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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example of a common formula with a different half-line following it nine other times (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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

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Richard Martin

The exchange between the disguised Poseidon and Idomeneus illustrates the "recalled-speech" strategy in flyting. To the god's challenge, "Where are now the threats gone, with which the sons of the Achaeans threatened Trojans?" (13.219-20), Idomeneus replies, "No man is now responsible, as much as I know. For we all know how to war" (13.222-23). The first speech fits the pattern already seen in Achilles' address to the Myrmidons (16.200-201), and the reply attempts to answer the implied contrast between former boasts and present immobility, as if Idomeneus knows the full pattern of such flyting speeches even though it is not explicit here. This comparison shows that Agamemnon's speech in Book 19 answering a past rebuke (rather than a rebuke in the present that refers to the past) is a variation on the conventional flyting pattern—and that the neikos words still rankle in Agamemnon's mind (Martin 1993:73-74).

For the broader analysis of the flyting genre and the recalled-speech strategy, see the comment on Iliad 4.336-421.

References

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

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