Homer Iliad 11.1

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 11.1 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.) — 11.1 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.) — 11.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.1 focus
And now as Dawn rose from her couch beside haughty Tithonos, harbinger of light alike to mortals and immortals, Zeus sent fierce Discord with the ensign of war in her hands to the fast ships of the Achaeans. [5] She took her stand by the huge black hull of Odysseus’ ship which was middlemost of all, so that her voice might carry farthest on either side, on the one hand towards the tents of Ajax son of Telamon, and on the other towards those of Achilles—for these two heroes, well-assured of their own strength, had valorously drawn up their ships at the two ends of the line. [10] There she took her stand, and raised a cry both loud and shrill that filled the Achaeans with courage, giving them heart to fight resolutely and with all their might, so that they had rather stay there and do battle than go home in their ships.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.1 focus
NOW did the Morning from her couch beside
1
Renowned Tithonus rise, that she might bring
The light to gods and men, when Jupiter
To the swift galleys of the Grecian host
Sent baleful Strife, who bore in hand aloft
5
War's ensigns. On the huge black ship that brought
Ulysses, in the centre of the fleet,
She stood, where she might shout to either side, -
To Telamonian Ajax in his tents
And to Achilles, who had ranged their ships
10
At each extreme of the Achaian camp,
Relying on their valor and strong arms.
Loud was the voice, and terrible, in which
She shouted from her station to the Greeks,
And into every heart it carried strength
15
And the resolve to combat manfully
And never yield. The battle now to them
Seemed more to be desired than the return
To their dear country in their roomy ships.
Atrides called aloud, exhorting them
20
To gird themselves for battle. Then he clad
Himself in glittering brass. First to his thighs
He bound the beautiful greaves with silver clasps,
Then fitted to his chest the breastplate given
By Cinyras, a pledge of kind intent; -
25
For, when he heard in Cyprus that the Greeks
Were bound for Ilium in their ships, he sent
This gift, a homage to the king of men; -
Ten were its bars of tawny bronze, and twelve
Were gold, and twenty tin; and on each side
30
Were three bronze serpents stretching toward the neck,
Curved like the colored bow which Saturn's son
Sets in the clouds, a sign to men. He hung
His sword, all glittering with its golden studs,
About his shoulders. In a silver sheath
35
It nestled, which was slung on golden rings.
And then he took his shield, a mighty orb,
And nobly wrought and strong and beautiful,
Bound with ten brazen circles. On its disk
Were twenty bosses of white tin, and one
40
Of tawny bronze just in the midst, where glared
A Gorgon's-head with angry eyes, round which
Were sculptured Fear and Flight. Along its band
Of silver twined a serpent wrought in bronze,
With three heads springing from one neck and formed
45
Into an orb. Upon his head he placed
A helmet rough with studs on every side,
And with four bosses, and a horse-hair plume
That nodded fearfully on high. He took
In hand two massive spears, brass-tipped and sharp,
50
That shone afar and sent their light to heaven,
Where Juno and Minerva made a sound
Like thunder in mid-sky, as honoring
The sovereign of Mycenæ rich in gold.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.1 focus
THE saffron morn, with early blushes spread,
1
Now rose refulgent from Tithonus' bed;
With new-born day to gladden mortal sight,
And gild the courts of heaven with sacred light:
When baleful Eris, sent by Jove's command,
5
The torch of discord blazing in her hand,
Through the red skies her bloody sign extends,
And, wrapp'd in tempests, o'er the fleet descends.
High on Ulysses' bark her horrid stand
She took, and thunder'd through the seas and land.
10
E'en Ajax and Achilles heard the sound,
Whose ships, remote, the guarded navy bound.
Thence the black fury through the Grecian throng
With horror sounds the loud Orthian song: 1
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

Notes on the current edition

Iliad

1. 1 Τρεις ἑκατερθ',—Three on a side. This is evidently the proper punctuation, though it differs from that of all the editions that I have seen. I find it no where but in the Venetian Scholium.
2. 2 Quatre-crested. So I have rendered τετραφαληρον, which literally signifies having four cones. The cone was a tube into which the crest was inserted. The word quâtre-crested may need a precedent for its justification, and seems to have a sufficient one in the cinque-spotted cowslip of Shakspeare.

New Alexandria Commentaries

Gregory Nagy

At O.05.001–002 and here at I.11.001–002, Ēōs as goddess of the dawn is linked with a myth that tells how she abducted the young hero Tīthōnos. The myth is narrated in Homeric Hymn to Aphrodite 218–238.

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Rhapsody 11 marks the point in the Iliad where Patroklos is drawn into a fatal pattern of impersonating Achilles. Pivotal is the story that Patroklos hears from the old hero Nestor. My comments here on Iliad 11 work around Nestor’s story at I.11.670–803 as analyzed in the book Hippota Nestor by Douglas Frame, 2009:105–130.

draft js image errorNestor and his sons sacrifice to Poseidon. Attic red-figure calyx-krater, ca. 400–380 BCE. © Marie-Lan Nguyen / Wikimedia Commons, via Wikimedia Commons.

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As indicated already in the comment for I.08.220–227, the ships of the Achaeans are beached along the shores of a large U-shaped bay that opens into the Hellespont. See again Map 1 and Map 2 at HPC 157 and 158 respectively. At the upper left and the upper right tips of the U-shaped bay, at the northwest and northeast, are the beached ships of Achilles and of Ajax respectively, I.11.008–009. Also at those points are the klisiai ‘shelters’ of these two heroes, I.11.007. As for the beached ship of Odysseus, it is located at the base of the U-shaped bay, at the south in the middle of the bayline, I.11.005–006. There will be more to say about this location in the later comments at I.11.806–808 and at I.14.027–036. To be highlighted already now, however, is a detail about the ship of Odysseus: the goddess Eris ‘Strife’, who is here the spirit of war personified, I.11.004, is shown standing on the deck of this beached ship, which is said to be located en messatōi ‘in the middlemost space’, I.11.006, and from here she projects her voice of divine authority, shouting mightily to all the Achaeans stationed at their own ships, I.11.005–014, and all the Achaeans stationed at all the beached ships can hear the divine voice—from the ship of Achilles at one extreme of the U-shaped bay all the way to the ship of Ajax at the other extreme, I.11.007–009. Then, Agamemnon too shouts to the Achaeans, I.11.015–016, and his royal voice is figured here as an extension of the divine voice emanating from the goddess Eris herself, I.11.005–014. Later, in the comment on I.18.587–589, there will be more to say about the klisiā ‘shelter’ of Achilles, mentioned here together with the klisiā of Ajax, I.11.007–008: it can be argued that Achilles frequents this ‘shelter’ not only as an epic hero in the time of the Trojan War but also, in post-heroic times, as a cult hero (HPC 153).

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In the ancient world, the description of this shield was interpreted by some as an allegory of the cosmos, analogous to the description of the Shield of Achilles at I.18.478–609. One such interpreter was Crates of Mallos, contemporary of Aristarchus. For background on Crates, see the comment on I.14.245–246–246a.

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The description of the helmet of Agamemnon here at I.11.041 is cognate with the description of the helmet of Athena at I.05.743.

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The description of the epic hero Aeneas here indicates that there were rituals honoring him as a cult hero, and it may be that such rituals of hero cult were linked with myths about what happened to him after death. See anchor comment for I.05.077–078.

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At I.11.078, the gods are said to hold Zeus aitios ‘responsible’, as expressed by the verb aitiân, derived from the adjective aitios, for the fact that the Trojans are now winning in the Trojan War while the Achaeans are losing. At I.11.079, this fact is attributed to the Will of Zeus: the god ‘wishes’ for this to happen, as expressed by the verb boulesthai ‘ wish, plan’.

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This narrative alludes to the epic deeds of Achilles in the region of Mount Ida. These deeds, taking place before the time dramatized in the Iliad, will be analyzed in another comment.

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The description of Hector here as comparable to the god Zeus himself with regard to mētis ‘mind, intelligence’ is an implicit affront to Athena, who is the divine personification of mētis. See the comments on I.06.286–311, I.07.017–061, I.08.538–541, and I.10.043–052.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

It has already been noted in the comment on I.02.484 that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition (see also Martin 1989:238). Such a moment is now at hand as Agamemnon the over-king is about to have his own moment of experiencing an ‘epic high point’. At such a moment, the Narrator must be ready to do his very best in recapturing that heroic experience. And, to express his readiness, the Narrator in all his self-awareness will now re-invoke the Muse or the Muses. In this context, the ‘I’ who is re-invoking the Muse(s) is meant to be seen as a re-enactment of ‘Homer’ himself, as originally enacted by the speaker who invokes the Muse at I.01.001 and at O.01.001.

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This narrative centers on the aristeiā ‘epic high point’ of Agamemnon in the Iliad. On aristeiā ‘epic high point’, see the comment on I.05.103.

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Even the most minor character in the Iliad—and the hero Iphidamas here is a striking example—is willing to die simply for the chance of getting included in the kleos ‘glory’ of the present performance, which is of course the Homeric Iliad itself. What makes the example of Iphidamas even more striking is that he is not even fighting on the Achaean side in this war.

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Leonard Muellner

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

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apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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Richard Martin

Zeus' promise through Iris to Hektor at 11.186-94 combines directive with explicit promise: he orders Hektor to retreat a short way (11.189), then promises killing strength to the hero (11.192). Furthermore, at the conclusion of this command, Zeus sets exact limitations on the action: Hektor will be allowed to win, but only until he reaches the Achaean ships (11.193-94). This shows Zeus' power to create nuance and give verbal texture to his directives, achieved by repetition and synonymity. There is an additional irony in the promise at 11.191-94: it contains elements of prediction—"the strength will come when struck by spear or hit by arrow he leaps to his horse"—and since predictions are constatives in speech-act terms while commands are directives, this correlation appears puzzling. But in Zeus' language, commands, threats, and predictions comprise one category; the mere speaking of a promise by Zeus is effective, the equivalent of action. Yet the time-frame of divine speech differs radically from that of its divine addressees: Hektor does not receive strength to reach the ships on the day that Zeus promised. His surge occurs later (Martin 1993:52-53).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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When the poet describes the death of Iphidamas at Agamemnon's hands (11.243), the tone is that of the most haunting of Homeric obituaries: resigned, factual, yet tense with restrained emotion. The victim "fell and slept the bronze-hard sleep, pitiable man, away from young wedded wife, fighting for his townsmen—the wife, from whom he had no joy, though he had given much" (kouridiēs, hēs ou ti kharin ide, polla d' edōke). Here, as often, kharis signifies both pleasure and reciprocal giving, reciprocity itself being a "pleasure" in the world of Homeric epic and a sign that the cosmos is operating properly. Iphidamas is cut off from ever getting return on investment as much as he is cut off from the sweetness of a young wife, and the poet grieves for both losses. It is with this dual meaning of the word that one should approach the ending of 9.316, ouk ara tis kharis ēen. Achilles' words echo the poet's voice. Through his use of the abstract noun, the personal gripe about lack of payment grows into an elegiac statement of universal human lack (Martin 1993:213-14).

For the related uses of the kharis motif in Glaukos' speech (17.142-68) and its comparison with Achilles' use, see the comment on Iliad 9.315-316.

References

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

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