Homer Iliad 11.575

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.) — 11.575 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.) — 11.575 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.) — 11.575 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.575 focus
Now when Eurypylos, the brave son of Euaimon, saw that Ajax was being overpowered by the rain of arrows, he went up to him and hurled his spear. He struck Apisaon, son of Phausios, in the liver below the midriff, and laid him low. Eurypylos sprang upon him, and stripped the armor from his shoulders; [580] but when godlike Alexandros saw him, he aimed an arrow at him which struck him in the right thigh; the arrow broke, but the point that was left in the wound dragged on the thigh; he drew back, therefore, under cover of his comrades to save his life, [585] shouting as he did so to the Danaans, “My friends, princes and counselors of the Argives, rally to the defense of Ajax who is being overpowered, and I doubt whether he will come out of the fight alive. [590] This way, then, to the rescue of great Ajax, son of Telamon!”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.575 focus
Eurypylus, Evæmon's noble son,
Saw Ajax sorely pressed with many darts,
And came and stood beside him, taking aim
700
With his bright spear, and in the liver smote,
Beneath the midriff, Apisaon, son
Of Phausias, and a prince among his tribe.
His knees gave way, and down he sank in death.
But godlike Alexander, who beheld
705
The slayer stripping Apisaon's corpse
Of armor, at that moment bent his bow,
And pierced Eurypylus in the right thigh.
The reed brake in the wound. He writhed with pain,
And mingled with his fellows in the ranks,
710
Avoiding death, yet shouting to the Greeks:-
"O friends, the chiefs and leaders of the Greeks,
Rally and keep your ground; ward off the fate
Of death from Ajax, who is sorely pressed
With darts, and, much I fear, may not escape
715
Safe from this stormy conflict. Stand ye firm
Around the mighty son of Telamon."
So spake the wounded warrior; while his friends
Rallied around him, with their shields inclined
Against their shoulders, and with lifted spears.
720
And Ajax came and joined them; then he turned,
And firmly faced the foe. The Greeks renewed
The combat with a rage like that of fire.
Now meantime the Neleian coursers, steeped
In sweat, were bearing Nestor and the prince
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Machaon from the battle. On the prow
Of his great ship, Achilles, swift of foot,
Looked forth, and, gazing on the hard-fought fray
And the sad rout, beheld them. Then he called
His friend Patroclus, shouting from the ship.
730
Patroclus heard, within the tent, and came,
Glorious as Mars; - yet with that day began
His woes. The gallant Menœtiades
Made answer thus: "Why callest thou my name,
Achilles, and what needest thou of me?"
735
And thus rejoined Achilles, swift of foot: -
"Son of Menœtius, nobly born, and well
Beloved by me, the Greeks, I deem, will soon
Be at my knees, imploring aid; for now
A hard necessity besets their host.
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But go, Patroclus, dear to Jove, and ask
Of Nestor who it is that he hath brought
Thus wounded from the field. Seen from behind,
His form was like Machaon, — wholly like
That son of Esculapius; but the face
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I saw not, as the rapid steeds flew by."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.575 focus
But bold Eurypylus his aid imparts,
And dauntless springs beneath a cloud of darts;
Whose eager javelin launch'd against the foe,
Great Apisaon felt the fatal blow;
705
From his torn liver the red current flow'd,
And his slack knees desert their dying load.
The victor rushing to despoil the dead,
From Paris' bow a vengeful arrow fled:
Fix'd in his nervous thigh the weapon stood,
710
Fix'd was the point, but broken was the wood.
Back to the lines the wounded Greek retir'd,
Yet thus, retreating, his associates fir'd:
'What god, O Grecians! has your hearts dismay'd?
'Oh, turn to arms; 'tis Ajax claims your aid.
715
'This hour he stands the mark of hostile rage,
'And this the last brave battle he shall wage:
'Haste, join your forces; from the gloomy grave
'The warrior rescue, and your country save.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.575 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.575 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

New Alexandria Commentaries

Douglas Frame

this line as one of the counterexamples for identifying unmodified laos as one’s own

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this line as one of the counterexamples for identifying unmodified laos as one’s own, and with damnēmi together with laos

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analysis of Odysseus’ characterization in the Iliad, with this passage interpreted as counterbalancing his less heroic representation in e.g. I.08.090-098

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in the context of discussing Nestor’s appearances as a horseman in the Iliad

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analysis of Nestor’s appearances as a horseman in the Iliad and the twin myth (the setting of the story of hippota Nestōr in the frame of the twin myth)

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analysis of the distinction between Makhaon and Podaleirios as physicians (as discussed in the scholia to these verses)

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analysis of Nestor’s appearances as a horseman in the Iliad and the twin myth (the setting of the story of hippota Nestōr in the frame of the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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analysis of the (parallels and) contrasts between Nestor and Patroclus (and the twin myth), here, Nestor’s intelligence

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analysis of the (parallels and) contrasts between Nestor and Patroclus (and the twin myth)

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analysis of Nestor’s cup and its relevance to the Iliad

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analysis of Nestor’s cup and its relevance to the Iliad

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analysis of Nestor’s cup and its relevance to the Iliad

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analysis of the (parallels and) contrasts between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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analysis of the parallels and contrasts between Nestor and Patroclus (and the twin myth)

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the correspondence of Nestor’s story in I.11.670-761 to the cattleman twin and horseman twin distinction of the Vedic twin gods

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Nestor’s story in this passage in the Iliad as his myth

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citation of Nestor’s traditional story

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example of Nestor’s deeply traditional connection to cattle and sun symbolism, as indicated by the story of boēlasíē.

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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analysis of the significance of the cattle raid in Nestor’s myth (sustenance and life, bringing his people back from extinction/to life)

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citation of Nestor’s traditional story

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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citation of Nestor’s traditional story

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analysis of the significance of the cattle raid in Nestor’s myth (sustenance and life, bringing his people back from extinction/to life)

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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citation of Nestor’s traditional story

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analysis of the significance of the cattle raid in Nestor’s myth (sustenance and life, bringing his people back from extinction/to life)

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the meaning of Nestor’s name as “he who brings back to life” and its relevance to the cattle raid in Nestor’s story

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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discrepancy in the number of sons of Neleus between the Iliad and the Odyssey

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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comment on the weakness in the line as triēkosia has no noun to modify

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Lorimer on the dating of the four-horse chariot [MRBTP: 'ff']

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reference to the tradition of the Epeian king, Augeías

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC, with tōn in this verse as a sign that the story of Neleus’s chariot is not integral to the older version of the story

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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passages in Nestor’s story that Cantieni argued are later expansions

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analysis of the battle and the role of horses in Nestor’s myth (Nestor’s earning his epithet hippota)

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citation of Nestor’s traditional story

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analysis of the battle and the role of horses in Nestor’s myth (Nestor’s earning his epithet hippota)

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analysis of the chronological order of Nestor’s stories in Iliad 7, 11, and 23

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comparison of the openings of the expansions in Nestor’s story with other Homeric verses (the similarity of the expansions to Homeric formulas)

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comparison of the geography in I.02.592 with that in this verse (esp. regarding Thryoessa and Thryon in the two passages)

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disagreement with Kiechle regarding the location of Pylos (with regard to tēlou in this verse)

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locations/geography in Nestor’s story (expansion)

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Cantieni’s argument for dē having been changed to pan in this verse

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passages in Nestor’s story that Cantieni argued are later expansions

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analysis of the battle and the role of horses in Nestor’s myth (Nestor’s earning his epithet hippota)

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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Cantieni’s take on what the interpolation in Nestor’s story was and his restoration of the older form of the story

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comparison of the openings of the expansions in Nestor’s story with other Homeric verses (the similarity of the expansions to Homeric formulas)

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Cantieni’s take on what the interpolation in Nestor’s story was and his restoration of the older form of the story

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locations/geography in Nestor’s story (expansion)

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the location of Alpheios, the use of endioi in the expansion of Nestor’s story, and the latter’s significance for Alcibiades and Endios

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Cantieni’s take on what the interpolation in Nestor’s story was and his restoration of the older form of the story

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Cantieni’s take on what the interpolation in Nestor’s story was and his restoration of the older form of the story

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Cantieni’s take on what the interpolation in Nestor’s story was and his restoration of the older form of the story, and his omission of the two final lines of the second passage (I.11.735-736)

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Cantieni’s take on what the interpolation in Nestor’s story was and his restoration of the older form of the story, and his omission of the two final lines of the second passage (I.11.735-736)

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passages in Nestor’s story that Cantieni argued are later expansions

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analysis of the battle and the role of horses in Nestor’s myth (Nestor’s earning his epithet hippota)

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Augeias’ and his daughter Agamede’s small role in Nestor’s story

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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 as īsos Arēi ‘equal to Ares’ here at I.11.295 is parallel to his being described as atalantos Arēi ‘equal to Ares’ at I.08.215. For Hector and in fact for any heroic warrior in the Iliad, even for generic warriors, the idea of being ‘equal to Ares’ is parallel to the idea of being a therapōn of Ares, where therapōn is to be understood in the deeper sense of ‘ritual substitute’. About this deeper sense, see the comment on I.02.110.

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Here at I.11.297, two verses after I.11.295, where Hector is described as īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ), the same Trojan hero is now further described as īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ). This verse-final phrase īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ) matches rhythmically the verse-final phrase īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ). Aside from the match in form, there is also a deep-seated match in meaning here between the phrases ‘equal to Ares’ and ‘equal to a blast of wind’, since the god of war is traditionally linked with violent winds. See the comment on I.05.430. Such a link is also attested in the cognate poetics of other Indo-European languages besides Greek: analysis in BA 334, 337.

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The onslaught of Hector and his Trojans against the Achaeans is pictured here as a violent blast of wind in a storm that churns up the sea, which is called the pontos here at I.11.298. This onslaught will threaten the safety of the beached ships of the Achaeans, and thus it will threaten the very survival of the Achaeans and even of all Greeks as notional descendants of the Achaeans. See further on the Battle for the Ships in the comment on I.01.320–348.

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In the words of Diomedes, the Will of Zeus is now in effect: the plan of the god is to give kratos ‘winning-power’ to the Trojans and to take it away from the Achaeans, I.11.319. In this verse, we see that Zeus ‘wishes’ for this to happen, as expressed by the verb boulesthai ‘want, wish, plan’. See also the comment on I.11.078–079, where boulesthai ‘wish, plan’ is already expressing the same idea. And, by taking kratos ‘winning-power’ away from the Achaeans, Zeus is giving them akhos ‘grief’ instead, on which see the comment on I.01.509.

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Diomedes and Odysseus agree to fight as a team, I.11.310–319. Diomedes throws a spear at Thumbraios, who is riding on a chariot and who gets knocked to the ground by the piercing wound, I.11.320–321. Then Odysseus symmetrically wounds with his own piercing spear-throw the charioteer of Thumbraios, Molion, who is described here as the therapōn of Thumbraios, I.11.322. Presumably, Molion too has been riding on the same chariot and gets knocked to the ground. Molion is not overtly called the hēni-okhos ‘chariot driver’ of Thumbraios, but the context shows that he is exactly that, the chariot driver. And, although Molion is the therapōn of Thumbraios, Molion does not get to “take the hit” for Thumbraios the chariot fighter, since that fighter is hit even before his driver is hit. So we see here an unexpected variation on the theme of the therapōn as ‘ritual substitute’ as well as ‘attendant’.

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In the words of Diomedes, Hector is a pēma ‘pain’ for the Achaeans, I.11.347. The pain that he inflicts on them is visualized by way of the verb kulindesthai ‘roll’ in this same verse, I.11.347. The comparison that is implied by this verb becomes explicit at I.13.136–142, where we will see the menacing image of a boulder that breaks off from mountainous heights overhead and starts rolling downward from above, ever increasing in speed as it nears ground zero: only when the boulder has reached a level plain does it finally stop ‘rolling’, as expressed by the verb kulindesthai at I.13.142 (see H24H 5§10). In the framing verses of I.13.136-142, this visualization of the menacing boulder that is rolling down from the heights above is being compared to Hector himself as he rushes toward the Achaeans. The same visualization is implicit in the use of the verb kulindesthai ‘roll’ at I.11.347, where Hector is pictured as a pēma ‘pain’ that is rushing toward his enemies. See also the comment on I.17.098–101, where the death of Patroklos is viewed retrospectively as a great pēma ‘pain’, I.17.099, that was sure to kulindesthai ‘roll’ down from the heights like some boulder and to crush anyone daring to attack a warrior who is being protected by a god. And the same visualization of a breakaway boulder is implicit also in the combination of pēma ‘pain’ with kulindesthai ‘roll’ at O.08.081 of the “micro-Iliad” that is narrated at O.08.072–083, which is the First Song of Demodokos. In this song, at O.08.081, the ‘beginning of the pain [pēma]’ is pictured at the very beginning of the overall narrative: the pēma ‘pain’ is starting to ‘roll’, as expressed again by way of kulindesthai, and we see further at O.08.082 that this pain will be rolling toward Trojans and Achaeans (=Danaans) alike. Ultimately, both sides in the Trojan War will feel the pain, and it is all because Zeus willed it to be this way: everything will happen the way it will happen ‘because of the plans [boulai] of Zeus’, O.08.082 (Διὸς μεγάλου διὰ βουλάς).

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The immediate context here shows that the therapōn ‘attendant, ritual substitute’ is a chariot driver. He is not named. Nor is he described explicitly as a hēni-okhos ‘chariot driver’, but that is what he is doing here—driving the chariot.

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Hector does not yet notice that Ajax is fighting on the right-hand side of the battleground since he, Hector, is at this moment fighting on the left-hand side, near the banks of the river Scamander. Although the perception is attributed to Hector here, the actual perspective is that of the Master Narrator, who consistently views the scene of chariot fighting from the Achaean point of view. In terms of this perspective, Hector is now fighting on the east side of the battleground while Ajax is fighting on the west side. The map of the battleground can be visualized on the cumulative basis of references, as here at I.11.497–500, to left-right positioning in descriptions of the fighting. What follows is an outline of the overall mapping. The Achaeans are encamped in the north and defending the Wall that separates them and their beached ships from the Trojans, who are attacking from the south. The river Scamander, flowing from the southeast toward the northwest and emptying into the Hellespont, separates Troy in the northeast from the encampment of the Achaeans in the northwest. Meanwhile, the Wall of the Achaeans separates their encampment and their ships in the northwest from the Trojans who are attacking the Wall from the south. The Achaeans built the Wall because the Trojans, emboldened by the momentum of Hector, have by now crossed over from the southeast side of the river Scamander to the southwest side, moving into the plain situated to the south of the Achaean Wall. So now this whole plain to the west of the Scamander has become a battleground for chariot fighting. Hector is fighting further to the east, staying close to the west bank of the Scamander, while Ajax is fighting further to the west.

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The wounding of a hero, as in the case of the wound suffered by the hero Makhaon here, can put a stop to his aristeiā ‘epic high point’. See also the comment on I.11.288. The verb aristeuein here at I.11.506 can be interpreted as meaning ‘have an epic high point’, and we see that the wounding of Makhaon has stopped him from having such a high point. For more on aristeuein, which can also be translated as ‘strive to be the best, to be aristos’, see the comment at I.07.092–169.

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The idea of ‘breathing out’ something called menos ‘mental power’ implies that such power was previously ‘breathed in’, that is, ‘breathed into’ the hero, by a divine force. Such a ‘breathing in’ happens for example at I.10.482: as it is pointed out in the comment on that verse, the goddess Athena is pictured there in the act of literally ‘breathing’, pneîn, into the hero Odysseus something called menos ‘mental power’. Here at I.11.508, the aggregate of warriors who are ‘breathing-out [pneîn] mental-power [menos]’ are the Achaeans viewed as a group; so also at I.03.008; by contrast, at I.02.536, the epithet applies to a sub-group, the Abantes.

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The epikouroi ‘allies’ of the Trojans are described as polu-ēgerées, which means not ‘consisting of many groups’ but ‘consisting of many different groups’. Compare also I.02.804, I.17.156, I.11.642.

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The perspective of Achilles in viewing from his shelter the scene of chariot warfare as narrated here is precisely coordinated with the overall visual mapping of the ongoing battle. See the comment at I.11.497–500.

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Achilles calls out to Patroklos, who now comes out of the shelter. At this moment Patroklos is described as īsos Arēi ‘equal to Ares’, and the very application of this epithet here to Patroklos dooms him to die as a ritual substitute for Ares as god of war. That is why the ominous remark is added: ‘and that was the beginning of his doom’ (κακοῦ δ' ἄρα οἱ πέλεν ἀρχή). Much later, when he is finally killed, Patroklos is described as atalantos Arēi ‘equal to Ares’, I.16.784. For Patroklos, however, the ritual substitution involves not only Ares who is the god of war for the generic warrior: it involves also the god Apollo as the divine antagonist of Achilles. In Iliad 16, the death of Patroklos as a ritual substitute will be marked not only by the epithet atalantos Arēi ‘equal to Ares’ at I.16.784 but also by the epithet daimoni īsos ‘equal to a superhuman-force [daimōn]’ at I.16.705 and at I.16.786. This daimōn ‘superhuman force’ will be Apollo, the divine antagonist of Achilles.

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Eurymedon here is explicitly called the therapōn of Nestor, functioning as the ‘attendant’ of the old hero: at this moment, Eurymedon is taking care of the horse team of Patroklos, who has just driven his chariot to the headquarters of Nestor as the old hero’s guest, I.11.618–622. That passage is analyzed in the context of comparable passages at I.04.227.

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The references at I.09.128–131 and at I.09.270–272 to the story about the conquest of the Aeolian island of Lesbos by Achilles are complemented by the reference here at I.11.624–627 to a story about the conquest of the Aeolian island of Tenedos by the same hero. At Lesbos, Achilles is said to have captured seven unnamed Aeolian women, I.09.128–131 / I.09.270–272. At Tenedos, he is said to have captured one particular Aeolian woman named Hekamede, who was thereafter allotted as a war-prize to Nestor I.11.624–627. And why was Nestor allotted this war-prize? Because Hekamede excelled in intelligence, signaled here by way of the word boulē, I.11.627. On the meaning of boulē in the specific sense of clever ‘planning’, see the comment on I.11.627 immediately after this comment. For the moment, however, the focus of interest is not on the matching of Nestor with Hekamede in terms of their shared intelligence but rather on the degrading of Hekamede as a captive woman. In the narrative at I.11.624–627, we can see how it all happened. After Achilles conquered Tenedos and captured Hekamede, what must have happened next is that he handed her over to his fellow Achaeans, who then acted as a group in alloting her as a war-prize to Nestor. Parallel is the story of the seven unnamed Aeolian captive woman who were captured by Achilles when he conquered the Aeolian island of Lesbos, as noted in the anchor comment at I.09.128–131 / I.09.270–272: again, Achilles must have handed over these seven unnamed Aeolian captive women to his fellow Achaeans, who then acted as a group in allotting them as war-prizes to Agamemnon. Also parallel are the stories of two other Aeolian captive women, Chryseis and Briseis, who were captured by Achilles when he conquered the cities of Thēbē and Lyrnessos respectively, as noted in the anchor comment at I.02.689–693: yet again, Achilles must have handed over these two Aeolian captive women to his fellow Achaeans, who then acted as a group in allotting them as war-prizes—to Agamemnon in the case of Chryseis and to Achilles himself in the case of Briseis. Yet another Aeolian captive woman is of course Andromache herself, who originated from the city of Thēbē: in this case, however, as noted in the anchor comment at I.09.128–131 / I.09.270–272, she is taken captive only after Troy is conquered by the Achaeans, who allot her as war-prize to Neoptolemos, son of Achilles, as we read in the Iliou Persis, attributed to Arctinus of Miletus, plot summary by Proclus p. 108 line 9 (ed. Allen 1912). See also anchor comment at I.02.689–694 on: Aeolian women in the Iliad, part 1 and anchor comment at I.09.128–131 / I.09.270–272 on: Aeolian women in the Iliad, part 2.

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The narrative here at I.11.624–626 refers to the epic deeds of Achilles on the Aeolian island of Tenedos. These deeds, taking place before the time dramatized in the Iliad, will be analyzed in the anchor comment that immediately follows, at I.11.624–627.

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The Aeolian captive woman Hekamede excels in intelligence, as does Nestor, and such excellence is expressed here by way of the noun boulē in the specific sense of ‘plan, planning’, that is, having an aptitude for cleverness in planning.

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Achilles is said here to be uncaring whether Hector sets fire to the ships of the Achaeans.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē.

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In the course of this lengthy narrative, I.11.671-761, the idea of a ‘gate’ of the Sun is linked with Nestor’s Pylos and with the underworldly Pylos of I.05.397. See also the comment at I.05.395–404.

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See the comment on I.02.658.

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example of vestigial traces of -˘˘-˘˘-˘/--˘˘-˘˘-- (where / means that the ˘ before it and the - after it should be on top of each other, meaning that syllable could be either long or short)

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Homeric references to four-horse chariot teams are rare, indicative of Athenian agenda. See the comments on I.05.263–273 and I.08.185.

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At later points, at O.12.132 and at O.23.246, the links that connect phaethōn ‘shining’ as epithet of Helios with the names Phaethōn and Phaethousa will be examined.

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Leonard Muellner

analysis of the application of isos Arēi (and variants) to heroes in their aristeiai

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai and of the use of isos aellēi/lailapi in these contexts

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

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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in a list of secular eukhesthai indicating direct speech (introducing speech, p. 89), and analysis of this verse as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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analysis of eukhesthai as proud, contentious, and accurate statement about its speaker and how Paris’ use of it here is ironic and contrary to the heroic code

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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in a list of secular eukhesthai reporting speech (absolute usage)

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos, and analysis of the instance of eukhos in which kudos could fit the metric as well (as in this verse)

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examples of the identical contexts in which eukhos and kudos occur

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analysis of analysis of the instance of eukhos in which kudos could fit the metric as well, and whether to take eukhos in secular or sacral sense

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in a list of examples of formulas for introducing a speech by an eukhomenos warrior, which Paris’ name-epithet formulas do not fit (in the context of analyzing I.11.379)

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai (here, an exception, namely, Patroklos)

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switch from Dii patri to Dii t’alloisin te theoisin attested with a variation of the || (short OR two shorts) euxamenos Dii patri # formula which uses epeukhesthai instead of eukhesthai and transformation of the formula with present tense of eukhesthai in I.08.526, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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in a list of examples of eukhesthai + dative (formulas which report prayers)

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analysis of the formulas with the three places where eukhesthai + dative has the shape eukh ˘ ˘ – [=short short long], as in this verse

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Richard Martin

The description of the stories exchanged between Makhaon and Nestor—"with muthoi they found pleasure narrating to one another" (11.642-43)—shows muthoi as lengthy storytelling: the imperfect tense reinforces the perception of this, and the narrative shows the pair still drinking as Book 14 opens. A translation of muthos as "story" accords with its definition as an authoritative speech-act performed in detail. The only unusual feature distinguishing the muthoi in Nestor's tent is their nonpublic performance (Martin 1993:39).

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Nestor's recollection of his initiatory raid on Elis (11.677-83, 696-705) provides the clearest example of the "raiding boast" genre in the Iliad, against which Achilles' speech in Book 9 can be measured. The raiding boast genre features several topics: who took what from whom; what were the precise gains; what division of spoils was made later. Nestor recounts the circumstances of his people's raid, justifying it by citing the abuses suffered by the Pylians (hēmeas hubrizontes, 11.695); his father took part of the spoils from the raid to recompense himself (heileto, exelet', 697, 704) and gave out the rest for equal distribution (705-6). Achilles mentions all these details, but in his view a raid has been carried out against himself: Agamemnon has taken advantage (ephubrizōn, 9.368), like the men of Elis he has selected certain things (9.335-36) and distributed the rest unequally (9.333-34). In sum, Achilles uses the conventions normal for speaking about one's relations with outsiders when he talks about his own commander. A familiar speech genre is redeployed for new effect, and Achilles appears as a skillful manipulator of the conventional, a rhetorician (Martin 1993:172-73).

For the broader analysis of Achilles' speech, see the comment on Iliad 9.307-429.

References

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

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