Homer Iliad 15.514

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.) — 15.514 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.) — 15.514 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.) — 15.472 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.514 focus
With these words he put life [ menos] and spirit [ thūmos] into them all. [515] Hector then killed Skhedios son of Perimedes, leader of the Phocians, and Ajax killed Laodamas leader of foot soldiers and shining son to Antenor. Polydamas killed Otos of Cyllene a comrade of the son of Phyleus and chief of the proud Epeioi. [520] When Meges saw this he sprang upon him, but Polydamas crouched down, and he missed him, for Apollo would not suffer the son of Panthoös to fall in battle; but the spear hit Kroismos in the middle of his chest, whereon he fell heavily to the ground, and Meges stripped him of his armor. [525] At that moment the valiant warrior Dolops, son of Lampos, sprang upon him; Lampos was son of Laomedon and noted for his valor, while his son Dolops was versed in all the ways of war. He then struck the middle of the son of Phyleus’ [= Meges’] shield with his spear, setting on him at close quarters, but his good corselet [530] made with plates of metal saved him; Phyleus had brought it from Ephyra and the river Selleis, where his host, King Euphetes, had given it him to wear in battle and protect him. It now served to save the life of his son. [535] Then Meges struck the topmost crest of Dolops’ bronze helmet with his spear and tore away its plume of horse-hair, so that all newly dyed with scarlet as it was it tumbled down into the dust. While he was still fighting and confident of victory, [540] warlike Menelaos came up to help Meges, and got by the side of Dolops unperceived; he then speared him in the shoulder, from behind, and the point, driven so furiously, went through into his chest, whereon he fell headlong. The two then made towards him to strip him of his armor, [545] but Hector called on all his brothers for help, and he especially upbraided brave Melanippos, son of Hiketaon, who once upon a time used to pasture his herds of cattle in Perkote before the war broke out; [550] but when the ships of the Danaans came, he went back to Ilion, where he was eminent among the Trojans, and lived near Priam who treated him as one of his own sons. Hector now rebuked him and said, “Why, Melanippos, are we thus remiss? Do you take no note of the death of your kinsman, [555] and do you not see how they are trying to take Dolops’ armor? Follow me; there must be no fighting the Argives from a distance now, but we must do so in close combat till either we kill them or they take the high wall of Ilion and slay her people.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.514 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 15.514 focus
The listening Grecians feel their leader's flame,
And every kindling bosom pants for fame.
Then mutual slaughters spread on either side;
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By Hector here the Phocian Schedius died;
There, pierc'd by Ajax, sank Laodamas,
Chief of the foot, of old Antenor's race.
Polydamas laid Otus on the sand,
The fierce commander of th' Epeian band.
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His lance bold Meges at the victor threw;
The victor stooping, from the death withdrew,
(That valued life, O Phoebus! was thy care,)
But Croesmus' bosom took the flying spear:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.514 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.514 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

New Alexandria Commentaries

Douglas Frame

comment on the connection of noos with speed

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analysis of simile describing Hera’s speed as she returns to Olympus

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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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comment on the employment of the Achaean wall and its breach to mark a stage in the development of the story in Book 12 and here, and its illustrating the separate development of the story in the two segments

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here with regard to prayers for nostos from Troy

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here with regard to prayers for nostos from Troy

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here Trojans’ misunderstanding of the sign as favorable to their attack

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parallelism between Nestor and Patroclus in scenes where they both leave their patients, and, in this passage, Patroclus’ repeating Nestor’s advice

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comment on the collocation ornuthi laous (as in this verse) and the name Orsilaos in the context of analyzing the meaning of Menelaos

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Gregory Nagy

The climax of the fighting in the Iliad is now approaching. Patroklos is about to enter the war, and the Will of Zeus is about to be fulfilled.

draft js image errorAjax defending the ships of the Greeks. After a drawing by John Flaxman. Image via Wikimedia Commons.

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Zeus here reaffirms what he wishes or wills, that is, he reaffirms his plan. And this Plan of Zeus, which is the wish or Will of Zeus, will be coextensive with the plot or narrative arc of the Iliad, starting with the original promise of Zeus to Thetis at the beginning of the epic, at I.01.524–530. What the god had then promised, that he will honor Achilles by letting the Achaeans lose until the fire of Hector reaches their beached ships, had been signaled when Zeus originally nodded his head at I.01.524–530. Now at I.15.075 Zeus refers again to this nodding of his head as he briefly retells the plot or narrative arc extending from the time of inception, which was the time when he had originally nodded. That narrative arc now extends not only to the present time of his retelling but also into a future time that has not yet been narrated in the Iliad: within this time-frame of future events, Poseidon will stop interfering on behalf of the Achaeans, I.15.056–058, and then Hector will be re-energized by Apollo and will thus stop the present momentum of the Achaeans, chasing them back to their beached ships, I.15.059–064, and then Achilles will send out Patroklos to stop the Trojans, I.15.064–065, and then Patroklos will be killed by Hector, I.15.065—but not before Patroklos himself kills many heroes fighting on the Trojan side, I.15.066–067, and among those killed heroes will be Sarpedon, who is the son of Zeus himself, I.15.067—and then, to top it all off, Achilles will experience anger [kholos] over the killing of Patroklos by Hector and will kill Hector, I.15.068. In the course of this almost breathlessly rapid retelling of the plot by Zeus, the foretelling of events yet to happen touches on the upcoming drama of the god’s personal loss of Sarpedon, who is his own human son. But the drama of this divine loss is still being elided for the moment, since Zeus at present is saying only that Sarpedon will be killed by Patroklos. The god is not yet saying that Sarpedon is his own beloved son. But that is not all. All has not yet been retold, even at this point, at I.15.068, which signals the killing of Hector by Achilles. The god’s retelling of the plot in the form of a foretelling is not yet completed at this point. The retelling by Zeus continues even further, starting with I.15.069: after Achilles kills Hector, Zeus will plan to bring about a reversal for the Trojans, who will now be driven back from the beached ships that they had threatened to destroy under Hector’s leadership, and the story of this paliōxis ‘driving back’, I.15.069, is described in the god’s wording as if it were some kind of an artifact that Zeus himself has fashioned in the mode of an artisan: the key word is teukhein ‘make-as-an-artisan’ (τεύχοιμι), I.15.070, which takes the noun paliōxis ‘driving back’ as its direct object, I.15.069. After this story of the paliōxis ‘driving back’, fashioned by Zeus in the mode of some divine artisan who creates the story by narrating the story, there will be a relentlessly consequential narrative that will lead all the way to the very end, which is, the destruction of Troy, I.15.070–071. This ending, however, extends beyond the time-frame that will be narrated in the Iliad. And such an ending, perhaps surprisingly, is said by Zeus to result from the boulai ‘plans’ of the god’s divine daughter, the goddess Athena, I.15.071 (Ἀθηναίης διὰ βουλάς). Why does Zeus speak here about the plans of Athena, as if they were not his own plans? It is because the plans of the goddess are by implication coextensive with the plans of her divine father as well. But Zeus is not yet finished with the announcement of his plan. Having indicated the outer limit of the epic plotline, which is the destruction of Troy at I.15.071, Zeus now returns to the present, indicating how it will extend into the immediate future of the Iliad. I will not cease my anger [kholos] against the Achaeans, the god declares at I.15.072, and I will not let any other god intervene on their behalf, I.15.073, until the wish of Achilles is fulfilled, I.15.074. That wish, as we already know, is that the Achaeans will keep losing until the fire of Hector reaches their beached ships. But Zeus here does not repeat the wording of that wish, even though he has promised to make the wish happen. Instead, he simply declares that he had made for Achilles a promise by way of nodding his divine head, I.15.075, and that this promise had been formulated for him by Thetis, the mother of Achilles, I.15.076–077. What Zeus had promised, the god says, was that Achilles should be ‘given honor’, as expressed by the verb tīmân, I.15.077 (τιμῆσαι).

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The rapid retelling by way of foretelling here, starting from the time when Achilles will send forth Patroklos to stop the attack of the Trojans and continuing all the way to the time when Troy will be destroyed by the Achaeans, is a compressed narration that extends beyond the narrative arc of the Iliad as we know it. The outlines of such a compressed epic narrative, formulated here as the Plan of Zeus, resemble what we see in the surviving plot-summaries of the epic Cycle. On the epic Cycle, see the inventory of Words and Ideas. The narrative as narrated here by the god Zeus himself shows “the bare outlines of distinct phases in the development of the Iliad as a composition subject to ongoing recomposition-in-performance” (HTL 83).

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The use of the word boulai ‘plans’ at I.15.071 (Ἀθηναίης διὰ βουλάς) conveys not only the idea of Athena’s divine planning as a prime motivation for the overall epic plotline but also the idea of intelligence as a prime characteristic of this goddess (see BA 24). On connotations of intelligence by way of the word boulē in the sense of ‘planning’, see the comments on I.10.043–052, to be supplemented by the comments on I.11.200 and on I.11.627.

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The three-way division of the cosmos among the sons of Kronos is an example of various models of tripartition as studied in later comments.

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The ships of the Achaeans are beached along the shores of the bay of the Hellespont. See especially the comment on I.08.220–227.

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As foretold at I.15.059–060, the god Apollo is engaged here in the act of en-pneîn ‘breathing into’ the hero Hector something called menos ‘mental power’, I.15.262. To be compared is the intervention of the goddess Athena, earlier at I.10.482. Now too, at I.15.262, such ‘mental power’ makes the hero aware of his physical power and thus energizes him to perform heroic deeds.

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As the divine artisan or craftsman, the god Hephaistos is conventionally called a khalkeus ‘bronze-smith’, as here. It will become clear from later contexts, like I.18.474–475, that this appelation of the god does not restrict him to work in bronze: he works in other metals as well. See the comment on I.18.468–613.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē. Here, as elsewhere, it refers to the elemental force or violence of a storm.

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As we see here, the sterns of the beached ships are contiguous with the Achaean Wall. See also the comment at I.14.027–036.

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A nameless therapōn is mentioned here in passing: he happens to be the ‘attendant’ of the hero Eurypylos.

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Even though the attacking Trojans here are fewer in number than the defending Achaeans, they are evenly matched in strength. This detail is relevant to the taunt of Sthenelos when he insults Agamemnon at I.04.407. See the comment on I.04.368–410.

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Hector and Ajax are struggling one-on-one with each other here: Hector is trying to set on fire the ship that Ajax is protecting from the fire. No clear outcome of the struggle is as yet visible.

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The ships of the Achaeans, as a sum total of all the ships, are pictured here as an agōn in the sense of ‘coming together’. See the comment on I.23.257–258.

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Hector is throwing his spear at the hero Ajax but misses, and the flying spear hits instead the hero Lykophron, described here as the therapōn of Ajax, I.15.431. So, Lykophron as therapōn is not only the ‘attendant’ of Ajax but also his ‘ritual substitute’. When Lykophron “takes the hit” for Ajax, he is standing right next to him, as if the two of them were standing side by side on the platform of a chariot. It is the physical reality of thus standing side by side that makes the chariot driver the prime alternative target for “taking the hit” in place of the chariot fighter. The chariot driver is thus the perfect substitute for the chariot fighter. In this case, however, Ajax and Lykophron are standing side by side not on the platform of a chariot but on the deck of the beached ship that the two of them are defending from the fire of Hector. The venue for ritual substitution is different, but the ritual pose, as it were, of standing side by side remains the same.

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What follows is an epitome from HC 4§268. These verses containing the words of Hector, I.15.494–499, are quoted in a speech delivered by the Athenian statesman Lycurgus, Against Leokrates (103). The context is this: Lycurgus is arguing that the beautiful death foreseen by Hector, his belle mort, can be pictured as a model for Athenians when they contemplate the possibility that they too will die when they fight their wars. Lycurgus refers to the willingness of Athenian citizens to die in war not only for their own patris ‘fatherland’ but also for all of Hellas as a patris ‘fatherland’ that is koinē ‘common’ to all Hellenes (Against Leokrates 104). Lycurgus invokes as his prime example the belle mort of the Athenian citizen-warriors who fought at Marathon and who thereby won for Hellas a freedom from terror, an adeia ‘security’ that is koinē ‘common’ to all Hellenes (104). The Athenian statesman is making this reference to the interests of Athens in the context of actually quoting the words of Hector in the Iliad, who says that he is willing to die for his fatherland in order to protect it against the Achaeans (Lycurgus Against Leokrates 103 lines 4–9). These heroic words of Hector correspond to I.15.494–499 here, and Lycurgus quotes them in the larger context of saying that the Homeric Iliad and Odyssey, as performed at the quadrennial Athenian festival of the Panathenaia, are the ancestral heritage of the Athenians and the primary source of their education as citizen-warriors (Against Leokrates 102). In this invocation of Homeric poetry as the most sublime expression of the Athenian empire, the statesman is quoting the words of a Trojan, not the words of an Achaean. It is the belle mort of Hector that motivates the Athenians to live up to the heroic legacy they learn from Homer.

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Leonard Muellner

analysis of the moment Achilles sends Patroklos to fight (i.e. whether it is when he relents), here, with regard to Zeus’ prediction of Patroklos’ death

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analysis of different interpretations of I.16.060-065 (whether Achilles is giving up his mēnis or not, etc.), and Achilles’ recommitment to the human domain and its rewards he had abandoned in favor of timē from Zeus

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analysis of the passage for reconstruction of the meaning of mēnis

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing secular eukhesthai)

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analysis of the variant prologue to the Iliad connecting the mēnis of Achilles and of Apollo and the parallels in its diction to this line

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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analysis of the passage for reconstruction of the meaning of mēnis

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Athena’s calming of Ares to avoid an even greater mēnis from Zeus

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interpretation of kathaptein as “get hold of, grab” and so “restrain”

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comment on persons incurring mēnis as said to lack noos in the context of analyzing I.03.132-136

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Athena’s calming of Ares to avoid an even greater mēnis from Zeus

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mēnis and hierarchy – here between Zeus and Poseidon

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mēnis and hierarchy – here between Zeus and Poseidon

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comparison of Zeus’ threat to Poseidon with Agamemnon’s to Achilles in terms of similarity of language (in the context of analyzing Agamemnon’s basing his mēnis on Apollo’s and Zeus’)

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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comparison of Agamemnon’s and Zeus’ claims to superiority vis-à-vis Achilles and Poseidon (being older in birth)

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mēnis and hierarchy – here between Zeus and Poseidon

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mēnis and hierarchy – here between Zeus and Poseidon

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mēnis and hierarchy – here between Zeus and Poseidon

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in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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mēnis and hierarchy – here between Zeus and Poseidon

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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mēnis and hierarchy, here between Zeus, Poseidon and Hades (timē) vs. between Zeus and his own children

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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the diction used to express the mēnis theme in the relationship between Zeus and Poseidon (in the context of analyzing the parallelism of Poseidon and Achilles)

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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the diction used to express the mēnis theme in the relationship between Zeus and Poseidon (in the context of analyzing the parallelism of Poseidon and Achilles)

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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analysis of philotēs and timē going together with this passage as an example

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which I.15.374 belongs)

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analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor)

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in a list of passages with eukhesthai + infinitive (aorist)

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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analysis of interconnections of themis and mēnis, which protects the former

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

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examples of the identical contexts in which eukhos and kudos occur

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examples of the identical contexts in which eukhos and kudos occur

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

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Richard Martin

Iris tells Poseidon she will bring his declaration of status (muthos, 15.202) back to Zeus, then asks whether he will not reconsider, adding a gnomic caution: "Pliable are the minds of fine people. You know how the Erinyes always follow elders" (15.203-4). Poseidon replies, "Iris, you have in proportion (kata moiran) spoken this epos"—he refers to the gnomic utterance, not to the description of what Iris intends, as becomes clear from his next line, a capping gnomic verse: "It is also fine when a messenger knows suitable things (aisima)." Many of the discourses labeled with the term epos center around a gnomic one- or two-line utterance (Martin 1993:42).

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Along with his excellence at the javelin, Thoas excels in speech: "Few of the Achaeans would beat him at speaking, whenever they used to engage in strife concerning muthoi" (15.283-84). The word for this style of speech connected with muthoi here is also used precisely for a place—the public arena of speech (Martin 1993:37).

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At 15.284-85, Thoas is described as a good speaker "whenever young men engage in strife (erisseian) concerning speech-acts (muthoi)." This narrative phrase alludes to the agonistic quality of muthoi directly: such muthoi are not only the various proposals brought forward by potential commanders but also the counterarguments that denigrate others' commands. One can "engage in strife" about them not only in terms of content but in the matter of their style. The difference between a muthos command and a flyting speech may at times be minimal, since every instance of the former, even those by Zeus, is open to challenge. The two genres thus complement one another (Martin 1993:68-69).

For the broader analysis of the flyting genre, 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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