Homer Iliad 11.84

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.) — 11.84 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.) — 11.84 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)) — 11.84 focus
Now so long as the day waxed and it was still morning, [85] their darts rained thick and fast, and the people perished, but as the hour drew near when a woodman working in some mountain forest will get his midday meal—for he has felled till his hands are weary; he is tired out, and must now have food— [90] then the Danaans with a cry that rang through all their ranks, broke the battalions of the enemy. Agamemnon led them on, and slew first Bienor, a leader of his people, and afterwards his comrade and charioteer Oïleus, who sprang from his chariot and was coming full towards him; [95] but Agamemnon struck him on the forehead with his spear; his bronze visor was of no avail against the weapon, which pierced both bronze and bone, so that his brains were battered in and he was killed in full fight.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.84 focus
As when two lines of reapers, face to face,
80
In some rich landlord's field of barley or wheat
Move on, and fast the severed handfuls fall,
So, springing on each other, they of Troy
And they of Argos smote each other down,
And neither thought of ignominious flight.
85
They met each other man to man; they rushed
Like wolves to combat. Cruel Strife looked on
Rejoicing; she alone of all the gods
Was present in the battle; all the rest,
Far off, sat quiet in their palaces,
90
The glorious mansions built for them along
The summits of Olympus. Yet they all
Blamed Saturn's son that he should honor thus
The Trojans. The All-Father heeded not
Their murmurings, but, seated by himself
95
Apart, exulting in his sovereignty,
Looked on the city of Troy, the ships of Greece,
The gleam of arms, the slayers, and the slain.
While yet 't was morn, and still the holy light
Of day was brightening, fast the weapons smote
100
On either side, and fast the people fell;
But at the hour when on the mountain-slope
The wood-cutter makes ready his repast,
Weary with felling lofty trees, and glad
To rest, and eager for the grateful meal,
105
The Greeks, encouraging each other, charged
And broke the serried phalanxes of Troy.
First Agamemnon, springing forward, slew
The shepherd of his people and their chief,
Bienor, and his trusty comrade next, -
110
The charioteer Oïleus, who had leaped
Down from his chariot to confront the king.
Him Agamemnon with his trenchant spear
Smote in the forehead as he came. The helm
Of massive brass was vain to stay the blow:
115
The weapon pierced it and the bone, and stained
The brain with blood; it felled him rushing on.
The monarch stripped the slain, and, leaving them
With their white bosoms bare, went on to slay
Isus and Antiphus, King Priam's sons, -
120
One born in wedlock, one of baser birth, -
Both in one chariot. Isus held the reins
While Antiphus, the high-born brother, fought.
These had Achilles once on Ida's height
Made prisoners, as they fed their flocks; he bound
125
Their limbs with osier bands, but gave them up
For ransom to the Trojans. Now the king
Of men, Atrides Agamemnon, pierced
Isus above the nipple with his spear,
And with his falchion smiting Antiphus
130
Beside the ear, he hurled him from his car.
Then hastening up, and stripping from the dead
Their shining mail, he knew them; he had seen
Both at the ships to which the fleet of foot,
Achilles, brought them bound from Ida's side.
135
As when a lion comes upon the haunt
Of a swift hind, to make an easy prey
Of her young fawns, and, with his powerful teeth
Seizing them, takes their tender lives; while she,
Though nigh, can bring no aid, but yields herself
140
To mortal fear, and, to escape his rage,
Flies swiftly through the wood of close-grown oaks,
With sweaty sides, thus none of all the host
Of Trojans could avert from Priam's sons
Their fate, but fled in terror from the Greeks.
145
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.84 focus
Thus while the morning beams increasing bright
115
O'er heaven's pure azure spread the glowing light,
Commutual death the fate of war confounds,
Each adverse battle gor'd with equal wounds.
But now (what time in some sequester'd vale
The weary woodman spreads his sparing meal,
120
When his tir'd arms refuse the axe to rear,
And claim a respite from the sylvan war;
But not till half the prostrate forests lay
Stretch'd in long ruin, and expos'd to day;)
Then, nor till then, the Greeks' impulsive might
125
Pierc'd the black phalanx, and let in the light.
Great Agamemnon then the slaughter led,
And slew Bienor at his people's head;
Whose squire Oïleus, with a sudden spring,
Leap'd from the chariot to revenge his king,
130
But in his front he felt the fatal wound,
Which pierc'd his brain, and stretch'd him on the ground:
Atrides spoil'd, and left them on the plain:
Vain was their youth, their glittering armour vain:
Now soil'd with dust, and naked to the sky,
135
Their snowy limbs and beauteous bodies lie.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.84 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.84 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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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

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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