Homer Iliad 12.364

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.) — 12.364 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.) — 12.364 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.) — 12.413 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.364 focus
Great Ajax, son of Telamon, heeded the message, [365] and at once spoke to the son of Oïleus. “Ajax,” said he, “do you two, yourself and brave Lykomedes, stay here and keep the Danaans in heart to fight their hardest. I will go over yonder, and bear my part in the fray, but I will come back here at once as soon as I have given them the help they need.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.364 focus
He ended. Ajax, son of Telamon,
Hearkened, and to his fellow-warrior said: -
435
"Here, where the gallant Lycomedes stands,
Ajax! remain, and, cheering on the Greeks,
Lead them to combat valiantly. I go
To stem the battle there, and when our friends
Are succored I will instantly return."
440
So speaking, Ajax, son of Telamon,
Departed thence, and with him Teucer, sprung
From the same father. With them also went
Pandion, carrying Teucer's crooked bow.
They came to brave Menestheus at his tower,
445
And went within the wall and met their friends,
Hard-pressed, — for gallantly the Lycian chiefs
And captains, like a gloomy tempest, rushed
Up the tall breastworks; while the Greeks withstood
Their onset, and a mighty clamor rose.
450
Then Telamonian Ajax smote to death
Epicles, great of soul, Sarpedon's friend:
Against that chief he cast a huge, rough stone,
That lay high up beside a pinnacle
Within the wall. No man with both his hands, -
455
Such men as now are, - though in prime of youth,
Could lift its weight; and yet he wielded it
Aloft, and flung it. Through the four-coned helm
It crashed, and brake the skull within. Down plunged
The Lycian, like a diver, from his place
460
On the high tower, and life forsook his limbs.
Then Teucer also wounded with a shaft
Glaucus, the brave son of Hippolochus,
As he leaped forth to scale the lofty wall, -
Wounded him where the naked arm was seen,
465
And made him leave the combat. Back he sprang,
Hiding amid the crowd, that so the Greeks
Might not behold the wounded limb, and scoff.
With grief Sarpedon saw his friend withdraw,
Yet paused not from the conflict, but took aim
470
At Thestor's son, Alcmaon, with his spear;
Pierced him; and drew the weapon out. The Greek,
Following the spear, fell headlong; and his arms,
Studded with brass, clashed round him as he fell.
Then did Sarpedon seize, with powerful hands,
475
The battlement; he wrenched it, and it came
To earth, and laid the rampart's summit bare,
To make a passage for the assailing host.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.364 focus
Straight to the fort great Ajax turn'd his care,
435
And thus bespoke his brothers of the war:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.364 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.364 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

New Alexandria Commentaries

Anita Nikkanen

This simile contains the one instance of the adjective alēthēs in Homeric epic that is not applied directly to verbal communication, but to a person, a woman weighing wool with scales. The other instances of alēthēs show that it qualifies (the content of) speech, indicating that it denotes truthfulness in the sense of not forgetting what has been said in an uninterrupted continuum of time, and not letting anything slip by one without being mindful of its implications (and indeed, a-lēthēs and a-lētheia are to be understood in opposition to lēthē). Here, however, it can be seen to be applied by a logical extension to the agent of such communication, and so, to indicate the woman’s scrupulousness in her business transactions (so Cole).

Insofar as the simile and the wool-weighing woman illustrates the balance of the battle between the Greeks and the Trojans, there is a further dimension to her being alēthēs. The balance of and then the change in a battle is often represented through the image of Zeus weighing the two sides in scales (e.g. I.8.69-74, I.16.658, I.19.223-224, I.22.209-213), and this image of Zeus can be seen to be implied here, too, even if it is not explicitly presented as such: in lines 437-438 Zeus gives the upper hand to Hektor. Detienne argues that this image reflects the idea of the archaic king pronouncing justice, with which scales are likewise associated: such pronouncements of justice by the king are just and alēthēs. The model for this king is Zeus in his role of administering justice and judging between two sides, using his scales – and so the adjective is appropriate here, too, signaling the divine justness and alētheia of the judgement weighed in the scales. The application of the adjective alēthēs explicitly to the woman within the simile, then, presents her in the role of Zeus as a divine judge, transferring to the vehicle an attribute of the tenor. And the idea of pronouncing such judgements brings alēthēs here, too, back to the sphere of communication that excludes forgetting, ignoring, and failing to notice by its opposition to lēthē.

See further:

Cole, Thomas. 1983. “Archaic Truth.” Quaderni Urbinati di cultura classica n.s. 13:7-28.

Detienne, Marcel. 1973. Les maîtres de vérité dans la Grèce archaïque. Second edition. Paris: Maspero.

_. 1996. The Masters of Truth in Archaic Greece. Transl. Janet Lloyd. New York: Zone Books.

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Douglas Frame

comment on the dramatic conclusion of Book 12/segment of Books 9-12

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Gregory Nagy

At the very beginning of Iliad 12, we modern readers may find that we have suddenly hit a wall—the Achaean Wall. It seems difficult for us to understand what the Master Narrator of the Iliad is really saying when he foretells the future destruction or deconstruction of this structure. And the main obstacle to our understanding here is not the presence of the Achaean Wall in the Iliad but rather its foretold absence—after all is said and done in the narrative. For the ancients who heard the Iliad narrated to them, by contrast, the future absence of the Achaean Wall was perfectly understandable in terms of the narration itself. And that is because the Master Narrator presupposes that there is no Achaean Wall to be seen in the Trojan landscape at the time of narration. Such a presupposition shapes the narrative of Iliad 12—and in fact it shapes the whole narrative of the Iliad. The setting for this narrative remains the world of heroes, which is larger-than-life because it is situated in the heroic past, but the setting for the actual narration of this narrative is the post-heroic world of a present time as figured by the Master Narrator himself. The staging of the heroic world by the Master Narrator is comparable to what is called the mise-en-scène in the traditions of French theater and film. And the predominant feature of the Iliadic mise-en-scène or scenery is the Achaean Wall, not the Trojan Wall. That is why the building of this structure by the Achaeans in Iliad 7 had been opposed by the gods Poseidon and Apollo, the original builders of the Trojan Wall. But the Achaean Wall needed to be built by the Achaeans to protect them and their ships from the fire of Hector—which would not be threatening them if Achilles had not been insulted by Agamemnon in Iliad 1. If we think of the overall plot of the Iliad as a scenario, then the Achaean Wall can be seen as an integral feature of the scenery for this scenario.

draft js image error“Siege of the Greek Camp.” Crispijn van de Passe (I) (1613). Public domain image, via Rijks Museum. (https://www.rijksmuseum.nl/en/collection/RP-P-OB-16.043)

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The objective of the hero Sarpedon, as he declares here at I.12.318 to his fellow warrior Glaukos, is that the two of them must not be akléees ‘without epic glory [kleos]’. The people whom the two of us rule in Lycia, he continues, must recognize such an objective. This way, the tīmē ‘honor’ that the two of us receive in Lycia, I.12.310 (τετιμήμεσθα), which is a sign of our status there as cult heroes, will be matched by the kleos ‘glory’ that the two of us will receive as epic heroes here in the Iliad.

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The wording of Sarpedon implies here that he is already assured of immortalization as a cult hero, but now he desires another form of immortalization as well, which is the immortal fame conferred by the medium of epic. Sarpedon now thinks that such fame is worth dying for, right away.

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Menestheus, the leader of the Athenians who came to fight at Troy, is stationed to guard a purgos ‘tower’ of the Achaean Wall, I.12.332/333/373. It is at this point in the Wall that the attacking forces on the Trojan side are making their breakthrough, and so the station of Menestheus is evidently located next to the political and sacral centerpoint of the Achaeans, where the stations of Agamemnon and Odysseus are also located. On this concept of a political and sacral centerpoint, see the comments on I.11.806–808. The proximity of the Athenian leader Menestheus to such a centerpoint can be seen as a subtle reference to the importance of Athens in the transmission of the Iliad and Odyssey.

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The two warriors who are jointly named by way of the dual form Aiante here are to be identified as the greater and the lesser Ajax—in contexts where the hero Teukros, who is the bastard brother of the greater Ajax, is also named as a participant in the action. In other contexts where Teukros is not named as a participant, however, the dual Aiante are to be identified as the greater Ajax and his bastard brother Teukros. Such contexts reveal an elliptic use of the dual. The use of the dual form Aiante in the contexts of Iliad 12 can be cited as evidence for building an evolutionary model for the making of Homeric poetry.

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Heroes strive to avoid being seen in situations where they are bested: this way, they can also avoid the boasting of warriors who best them; at I.12.391, such a word for ‘boasting’ is eukhetâsthai, while the ‘words’ spoken in the act of boasting are epea—which are coextensive with the ‘words’ spoken in the act of performing epic poetry.

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See the comment at I.12.335–336.

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Most appropriately, Hector is the very first of the Trojan warriors to break through the Achaean Wall. See also anchor comment at I.12.188.

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Leonard Muellner

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

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

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Richard Martin

Sarpedon's famous defense of the heroic code at 12.310-28 was a key passage in Adam Parry's argument about the "language of Achilles." Parry found that all Iliadic heroes agreed on the main point of Sarpedon's speech—that honor equals tangible goods—and then compared this universal agreement to Homer's formulaic style, arguing that Achilles' disillusionment with this system put him outside the "common language." Claus subsequently pointed out that Achilles and Sarpedon express a vision of heroism that is in fact akin, in its assumption that the hero battles not just for his own glory and gain, but for the honor of having benefited his companions without "pay," and that the two can speak different formulas and use various rhetorical devices and still express the same point of view. The rhetorical questions at 12.310-14, moreover, find a close parallel in Achilles' questions at 9.337-39; yet Achilles asks essentially the same question three times in succession, and this expansion—not the questioning itself—is what is truly idiosyncratic (Martin 1993:152-53, 204).

For the broader analysis of Achilles' reply, 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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