Homer Iliad 14.1

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.) — 14.1 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.) — 14.1 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.) — 14.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.1 focus
Nestor was sitting over his wine, but the cry of battle did not escape him, and he said to the son of Asklepios, “What, noble Makhaon, is the meaning of all this? The shouts of men fighting by our ships grow stronger and stronger; [5] stay here, therefore, and sit over your wine, while fair Hekamede heats you a bath and washes the clotted blood from off you. I will go at once to the look-out station and see what it is all about.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.1 focus
THE mighty uproar was not unperceived
1
By Nestor's ear, who, sitting at the wine,
Addressed the son of Esculapius thus:-
"Noble Machaon, what will happen now?
Bethink thee: for the clamor grows more loud
5
From our young warriors at the ships. Stay here
And drink the purple wine, while for thy limbs
The fair-haired Hecamede warms the bath
And washes the dark blood away, and I
Will climb the watch-tower, and will know the worst.”
10
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.1 focus
BUT nor the genial feast, nor flowing bowl,
1
Could charm the cares of Nestor's watchful soul; 1
His startled ears th' increasing cries attend;
Then thus, impatient, to his wounded friend:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

Notes on the current edition

Iliad

1. * The Cestus, or magic girdle of Venus.
2. + Overseen—deceived.
3. 1 " This first verse (after the first four syllables) is to be read as one of our tens."—CHAPMAN.

New Alexandria Commentaries

Gregory Nagy

The momentum of the attacking Trojan warriors gets stalled here, since Hērā interrupts the ongoing Plan of Zeus. The goddess seduces the god, and the setting for their divine sexual encounter is the spectacular landscape of Mount Ida, which is the private abode of the thundering almighty. During the tryst of the god and the goddess, the Achaeans regain the upper hand in the fighting. But this new momentum is soon headed for a downturn. The divine interruption, despite all its cosmic sexual energy, becomes retrospectively a mere interlude in the narrative arc of the Iliad—once the tryst is over and the Plan of Zeus resumes its relentless course of action.

draft js image errorJuno and Jupiter. Detail from “Loves of the Gods,” fresco by Annibale Carracci (1560–1609). Annibale Carracci [Public domain], via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Carracci_-_Jupiter_et_Junon.jpeg.

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Nestor here reconnects with Agamemnon and other leaders of the Achaeans at their headquarters, I.14.027–028. The headquarters are pictured as a massing of ships beached on the shores of the south end of the bay of the Hellespont, and this location has been reconstructed in the comments on I.08.220–227, I.11.005–016, and I.11.806–808. But there is now an added detail to be noted here at I.14.030–032: the ships had been beached with their sterns facing inland and their prows facing out toward the waters, so that the Wall of the Achaeans, built ten years after the original beaching of the ships, was made to be contiguous with the sterns of the ships lined up along the southern shores of the bay of the Hellespont. See also the comment at I.15.385. As for the other ships of the Achaeans, they had been beached along the shores of the rest of the U-shaped bay, as we read at I.14.033–036. See the comment on those verses. These other ships, then, are peripheral to the ships beached at the central shoreline of the bay, which are pictured as the headquarters of the Achaeans. And these headquarers, as noted in the comment on I.11.806–808, are called the naustathmon ‘ship-station’ by Strabo 13.1.31–32 C595 (quoted at HPC 153) and 13.1.36 C598 (quoted at HPC 154). Also, as noted in the comments on I.11.806–808, Homeric poetry pictures such a ‘station’ as a political and sacral centerpoint for the leaders of the Achaeans. See also the comments on I.08.220–227. It is this central station that becomes the political stage of Agamemnon when he stands on the beached ship of Odysseus and projects his voice of authority to all the Achaeans stationed at their ships, I.08.220–227. And it is this central station, we will see later in more detail, that becomes the prime target of the Trojan hero Hector when he succeeds in penetrating the Achaean Wall. Also in a later comment, there will be more to say about the sharing of this central space by two figures in particular, Agamemnon and Odysseus. The joint participation of these two Homeric heroes in the innermost political zone that is marked by this spatial centerpoint is homologous with their engagement in two epic quarrels involving Achilles as a political outsider: the quarrel between Achilles and Agamemnon in the Iliad, it can be argued, is linked with the quarrel between Achilles and Odysseus in the “micro-Iliad” at O.08.072–083, which is the First Song of Demodokos (BA 42–58).

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