Homer Iliad 11.122

ed. Robert Southey

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

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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.) — 11.122 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.) — 11.122 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.) — 11.99 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.122 focus
Then King Agamemnon took the two sons of high-spirited Antimakhos, Peisandros and brave Hippolokhos. [125] It was Antimakhos who had been foremost in preventing Helen’s being restored to fair-haired Menelaos, for he was lavishly bribed by Alexandros; and now powerful Agamemnon took his two sons, both in the same chariot, trying to bring their horses to a stand—for they had lost hold of the reins and the horses were mad with fear. [130] The son of Atreus sprang upon them like a lion, and the pair besought him from their chariot. “Take us alive,” they cried, “son of Atreus, and you shall receive a great ransom for us. Our father Antimakhos has great store of gold, bronze, and wrought iron, and from this he will satisfy you with a very large ransom [135] should he hear of our being alive at the ships of the Achaeans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.122 focus
Next on Pisander and Hippolochus
Atrides rushed, - brave warriors both, and sons
Of brave Antimachus, the chief who took
Gold and rich gifts from Paris, and refused
To let the Trojans render Helen back
150
To fair-haired Menelaus. His two sons,
Both in one car, and reining their fleet steeds,
Atrides intercepted; they let fall
The embroidered reins, dismayed, as, lion-like,
Forward he came; and, cowering, thus they prayed:-
155
"Take us alive, Atrides, and accept
A worthy ransom, for Antimachus
Keeps in his halls large treasures, - brass and gold,
And well-wrought steel; and he will send, from these,
Uncounted gifts when he shall hear that we
160
Are spared alive and at the Grecian fleet."
"Since then your father is Antimachus,
The chief who in a Trojan council once
Proposed that Menelaus, whom we sent
A legate with Ulysses the divine,
165
Should not return to Greece, but suffer death,
Your blood must answer for your father's guilt."
So spake the king, and, striking with his spear
Pisander's breast, he dashed him from the car.
Prone on the ground he lay. Hippolochus
170
Leaped down and met the sword. Atrides lopped
His hands and drave the weapon through his neck,
And sent the head to roll among the crowd.
And then he left the dead, and rushed to where
The ranks were in disorder; with him went
175
His well-armed Greeks: there they who fought on foot
Slaughtered the flying foot; the horsemen there
Clove horsemen down; the coursers' trampling feet
Raised the thick dust to shadow all the plain;
While Agamemnon cheered the Achaians on,
180
And chased and slew the foe. As when a fire
Seizes a thick-grown forest, and the wind
Drives it along in eddies, while the trunks
Fall with the boughs amid devouring flames,
So fell the flying Trojans by the hand
185
Of Agamemnon. Many high-maned steeds
Dragged noisily their empty cars among
The ranks of battle, never more to bear
Their charioteers, who lay upon the earth
The vulture's feast, a sorrow to their wives.
190
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.122 focus
Amidst the tumult of the routed train,
The sons of false Antimachus were slain,
He, who for bribes his faithless counsels sold,
And voted Helen's stay for Paris' gold. 1
Atrides' mark'd, as these their safety sought,
165
And slew the children for the father's fault;
Their headstrong horse unable to restrain,
They shook with fear, and dropp'd the silken rein;
Then in their chariot on their knees they fall,
And thus with lifted hands for mercy call:
170
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.122 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.122 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

New Alexandria Commentaries

Gregory Nagy

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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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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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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