Homer Iliad 13.487

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.) — 13.487 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.) — 13.487 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.) — 13.487 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.487 focus
Then, all of them as one man stood near him, shield on shoulder. Aeneas on the other side called to his comrades, [490] looking towards Deiphobos, Paris, and radiant Agenor, who were leaders of the Trojans along with himself, and the people followed them as sheep follow the ram when they go down to drink after they have been feeding, and the heart of the shepherd is glad—even so was the heart of Aeneas gladdened [495] when he saw his people follow him.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.487 focus
He spake, and all with one accord drew near
And stood by him, with shields obliquely held
610
Upon their shoulders. On the other side
Æneas cheered his comrades on. He fixed
His look on Paris, and Deiphobus,
And nobly-born Agenor, who, like him,
Were leaders of the Trojans. After these
615
The soldiers followed, as the thronging flock
Follow the ram that leads them to the fount
From pasture, and the shepherd's heart is pleased.
So was Æneas glad at heart to see
The multitude of warriors following him.
620
Then mingled they in battle hand to hand
Around Alcathoüs, with their ponderous spears,
And fearfully upon their bosoms rang
The brass, as through the struggling crowd they aimed
Their weapons at each other. Two brave men,
625
Æneas and Idomeneus, the peers
Of Mars, conspicuous o'er their fellows, strove
With cruel brass to rend each other's limbs.
And first Æneas cast his spear to smite
Idomeneus, who saw it as it came,
630
And shunned it. Plunging in the earth beyond,
It stood and quivered; it had left in vain
The Trojan's powerful hand. Idomeneus
Next smote Enomaüs: the spear brake through
His hollow corslet at the waist; it pierced
635
And drank the entrails: down amid the dust
He fell, and grasped the earth with dying hand.
Idomeneus plucked forth the massy spear,
But, pressed by hostile weapons, ventured not
To strip the sumptuous armor from the dead;
640
Since now no more the sinews of his feet
Were firm to bear him rushing to retake
His spear, or start aside from hostile spears.
Wherefore in standing fight he warded off
The evil hour, nor trusted to his feet
645
To bear him fleetly from the field. He moved
Slowly away, and now Deiphobus,
Who long had hated him and bitterly,
Aimed at him his bright spear; it missed its mark,
And struck Ascalaphus, the son of Mars.
650
The weapon cleft the shoulder of the Greek,
Who fell amid the dust, and clenched the earth.
Not yet the clamorous Mars, of passionate mood,
Had heard that in the fray his son was slain;
But on the summit of the Olympian mount
655
He sat, o'ercanopied by golden clouds,
Restrained from combat by the will of Jove,
With other gods, forbidden, like himself,
To aid the combatants. Meantime around
Ascalaphus the combat hand to hand
660
Still raged.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.487 focus
He spoke, and all as with one soul obey'd;
Their lifted bucklers cast a dreadful shade
615
Around the chief. Æneas too demands
Th' assisting forces of his native bands:
Paris, Deïphobus, Agenor join;
(Co-aids and captains of the Trojan line;)
In order follow all th' embodied train;
620
Like Ida's flocks proceeding o'er the plain:
Before his fleecy care, erect and bold,
Stalks the proud ram, the father of the fold:
With joy the swain surveys them, as he leads
To the cool fountains through the well-known meads:
625
So joys Æneas, as his native band
Moves on in rank, and stretches o'er the land.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.487 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.487 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

New Alexandria Commentaries

Douglas Frame

comparison of the openings of the expansions in Nestor’s story with other Homeric verses (the similarity of the expansions to Homeric formulas, here, variations of the formulaic patter esti de tis)

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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analysis of metheinai and contrasting it with loose-wittedness, and its application to Menelaus

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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Gregory Nagy

The momentum of the Trojan onslaught led by Hector intensifies here, and the prospects of the Achaeans look grim, almost hopeless. Hector is so successful that he feels tempted, toward the end of Rhapsody 13, to equate himself with immortal gods. Meanwhile, the intensity of the narrative keeps pace, and the poetic virtuosity approaches the sublime.

draft js image errorHector and Polydamas. After a drawing by John Flaxman. Image via Wikimedia Commons.

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Poseidon’s grand entrance here, as he drives his chariot team to the scene of battle, is comparable to other narratives about ceremonial arrivals by divinities. See HC 1§145, with a line drawing of an image painted on an Attic red-figure pyxis lid: unattributed, dated at around 425–375 BCE, Copenhagen, National Museum, 731. The image shows three goddesses—Hērā, Athena, and Aphrodite—arriving at the Judgment of Paris in their chariots drawn by customized chariot teams. Hērā is driving two horses; Athena, two serpents; and Aphrodite, two boyish Erōtes. Figure 10a shows the whole image, while Figure 10b shows a detail from that image.

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On the two warriors who are jointly named here by way of the dual form Aiante, see especially the comment on I.12.335–336.

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As noted in the comment on I.01.091, the meaning of the verb eukhesthai as ‘declare’ has to do with speaking for the record in the form of ‘boasting’ or ‘praying’ or ‘juridically declaring’ (Muellner 1976). According to the speaker here, who is the god Poseidon himself in the guise of Kalkhas, Hector aspires to be immortal by way of ‘boasting’, as expressed by the verb eukhesthai, that he is the son of the god Zeus.

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The reference here to the lesser Ajax shows that the dual Aiante at I.13.046–047 refers in this case to the greater and the lesser Ajax together, not to the greater Ajax and to his bastard brother Teukros. See the comment at I.12.335–336.

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As at I.05.795, the heroes are simply ‘reviving’. As for intimations of a mystical revival from death, there is still more to say: see the comments on I.16.456–457.

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analysis of Janko’s argument that the manuscript reading δ’ἑκάθεν at Il. XIII.107 is “superior” to OCT edition, which replaces δ’ἑκάθεν with δὲ ἑκάς on the basis of its older form and appearance at Il. V.791 (Janko 1990.332-334)

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In the words of the god Poseidon, it is conceded that Agamemnon is aitios ‘responsible’, I.13.111, for having ‘dishonored’ Achilles, I.13.113, as expressed by the verb a-tīmân.

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note that of 150 mentions of Aristarchean diórtōsis that Laum counted (Laum 1928.62) only this one reference refers to an accentual variation [MRBTP: A]

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reference to Aristarchus’ apparent belief that Homer was an Athenian who lived around 1000 BC. See Proclus F a 58-62 Severyns, cf. Life of Homer p. 244.13, p. 247.8 Allen [MRBTP: A]

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In this context, as also at I.13.201, the referents for the dual Aiante are Ajax the greater and Teukros, his bastard brother.

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See the note on I.13.197.

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Here the reference of Aiante shifts away from referring to the pair of Ajax the greater and Teukros. That is because the spotlight on the action shifts from Teukros to Ajax the lesser, so that the lesser Ajax can now become, retroactively, the implied second member of the dual Aiante.

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See anchor comment at I.05.077–078.

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The fear is expressed that the invading Achaean warriors could die nōnumnoi ‘nameless’ at Troy. On the connotations, which can be seen by way of comparing the Hesiodic Works and Days 146–155, see the comment on I.12.079.

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Zeus, in the act of launching his thunderbolt, can be visualized simultaneously in two ways, as here. First, he can be seen as casting his thunderbolt by throwing it with his own divine hand, I.13.243. But, second, he can be seen as casting his divine eye on his target, and his angry looks will thus launch his thunderbolt from within: that is the sense of the expression at I.13.244 here, ‘and his eyes [augai] are most visible [arizēloi]’ (ἀρίζηλοι δέ οἱ αὐγαί). The noun augai, which means literally ‘lights’, refers here to the eyes of Zeus, as also at I.13.837. On the expression the look of Zeus, see the comment on I.19.003–017.

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The lightning made by Zeus is a sēma ‘sign, signal’ that needs to be interpreted.

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In the immediate context, where Meriones is highlighted as therapōn of Idomeneus, only the surface meaning, ‘attendant’, is evident.

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Here the title ‘best of the Achaeans’ is narrowed in scope: Teukros is ‘best of the Achaeans’ in archery.

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Idomeneus together with Meriones as his therapōn ‘attendant, ritual substitute’ take their stand side by side on the battlefield.

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The role of Zeus in awarding nīkē ‘victory’ is primary, while the corresponding role of Athena is secondary.

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While the hero Asios is fighting pezos ‘on foot’ against the Achaeans, I.13.385, the two horses that draw his chariot are right behind him, practically breathing down his neck—that is, down his shoulders. The driver of the horses is an unnamed hēni-okhos ‘chariot driver’, who is described as the therapōn ‘attendant, ritual substitute’ of Asios, I.13.386. After Asios is killed, I.13.386–393, and his corpse is just lying there in front of the horses that once drew his chariot, I.13.392, the focus reverts to the hēni-okhos ‘chariot driver’, I.13.394. Still standing on the chariot platform, the chariot driver freezes, failing to turn the chariot around and drive the horse team back to safety, I.13.394–396. The Achaean hero Antilokhos takes this opportunity to spear the chariot driver, who then falls out of the chariot, and now Antilokhos can mount the empty chariot and drive it away himself, horses and all, I.13.396–401.

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Variants like stenakhonta and stenakhonte at I.13.423 can be seen as formulaic—in terms of the overall system of Homeric diction.

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In this context, the use of a noun for ‘eyes’ as the direct object of the verb thelgein ‘put a trance on, enchant’ shows the visual connotations that are built into this verb. See the comment on I.02.308, with reference to the omen about the serpent and the nine birds: here the etymology of drakōn ‘serpent’ as ‘the one who looks [derkesthai]’ is relevant.

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At the very moment when the hero dies here, the war-god Ares literally takes away the hero’s life or menos ‘mental power’. To be compared is I.05.296, where the hero’s menos ‘mental power’ is released from his body at the moment of death. But now we see that the agent for taking away the menos of the hero is Ares. Thus the ultimate killer of the generic hero as warrior is Ares himself, no matter who the immediate killer may be—as in this case, where the killing is performed by the hero Idomeneus with the direct help of the god Poseidon. The role of Ares in taking away the life of the generic hero at the moment of heroic death is relevant to the epithet of heroes as generic warriors: therapontes or ‘ritual substitutes’ of Ares. See the comment on I.02.110.

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Besides Achilles, another epic hero who experiences mēnis ‘anger’ is Aeneas, and this hero’s anger is directed at the king Priam.

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A nameless therapōn is mentioned here in passing: he happens to be the ‘attendant’ of the hero Agenor.

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See the anchor comment at I.12.198 on: Battle for the Ships, fire of Hector, breaking through the Wall of the Achaeans.

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This insulting epithet hubristai ‘men of outrage’ at I.13.633 is applied here to the Trojans, whose menos ‘mental power’ is said to be atasthalon ‘reckless’, I.13.634. The connotations of these words are comparable to what is said in Pindar Pythian 11.34 about the habrótās ‘luxuriance’ of the Trojans.

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Leonard Muellner

in the context of analyzing the only place in the Homeric corpus where a dative noun after eukhesthai is not a god/gods (but Hektor, and this verse among references to his ‘godhead’)

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analysis of eukhesthai in genealogy statements as not used of false or speculative genealogy

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in a list of attestations of genos eukhesthai einai and its transformations

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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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in the context of comparing Homeric and Vedic poetic media, here regarding the genealogical statement with diuas putra/Dios pais (as in this verse)

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comment on the anomaly of the verse

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example of a common formula with a different half-line following it nine other times (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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

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in a list of expressions which do not specify the speaker’s name, in the context of analyzing I.11.379 and demonstrating the functional equivalence of eukhesthai in (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio

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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 meaning of eukhesthai (formulas) in statements that the speaker has killed the warrior he stands over

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in a list of secular eukhesthai indicating direct speech (concluding speech)

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analysis of the metaphor of binding for “killing” of an immortal etc., and here, thunderbolt binding a warrior

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

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in a list of usages contextually parallel to the death-eukhesthai usage

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in a list of secular eukhesthai indicating direct speech (introducing speech)

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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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list of instances when mortals (and narrator and gods) utter the root noun mēnis

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analysis of Menelaos’ speech to Trojans on the mēnis of Zeus Xenios (identifying the Achaean expedition to Troy with it, and mēnis and group offence/solidarity) [MRBTP: 'ff']

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in the list of offenses that (threaten to) incur mēnis

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comment on the violent consequences of crossing Zeus xeinios (in the context of analyzing eukhesthai einai + hiketēs formulas)

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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Richard Martin

The exchange between the disguised Poseidon and Idomeneus illustrates the "recalled-speech" strategy in flyting. To the god's challenge, "Where are now the threats gone, with which the sons of the Achaeans threatened Trojans?" (13.219-20), Idomeneus replies, "No man is now responsible, as much as I know. For we all know how to war" (13.222-23). The first speech fits the pattern already seen in Achilles' address to the Myrmidons (16.200-201), and the reply attempts to answer the implied contrast between former boasts and present immobility, as if Idomeneus knows the full pattern of such flyting speeches even though it is not explicit here. This comparison shows that Agamemnon's speech in Book 19 answering a past rebuke (rather than a rebuke in the present that refers to the past) is a variation on the conventional flyting pattern—and that the neikos words still rankle in Agamemnon's mind (Martin 1993:73-74).

For the broader analysis of the flyting genre and the recalled-speech strategy, see the comment on Iliad 4.336-421.

References

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

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