Homer Iliad 13.601

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.) — 13.601 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.) — 13.601 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.) — 13.581 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.601 focus
Peisandros then made straight at Menelaos the glorious—his evil destiny luring him on to his doom [ telos], for he was to fall in fight with you, O Menelaos. When the two were hard by one another [605] the spear of the son of Atreus turned aside and he missed his aim; Peisandros then struck the shield of brave Menelaos but could not pierce it, for the shield stayed the spear and broke the shaft; nevertheless he was glad and made sure of victory; [610] right away, however, the son of Atreus drew his sword and sprang upon him. Peisandros then seized the bronze battle-axe, with its long and polished handle of olive wood that hung by his side under his shield, and the two made at one another. Peisandros struck the peak of Menelaos’ crested helmet [615] just under the crest itself, and Menelaos hit Peisandros as he was coming towards him, on the forehead, just at the rise of his nose; the bones cracked and his two gore-dripping eyes fell by his feet in the dust. He fell backwards to the ground, and Menelaos set his heel upon him, stripped him of his armor, and boasted over him saying, [620] “Even thus shall you Trojans leave the ships of the Achaeans, proud and insatiate of battle though you be: nor shall you lack any of the disgrace and shame which you have heaped upon myself. Cowardly she-wolves that you are, you in your hearts 624 did not fear the harsh anger [ mēnis] of Zeus, the roar of whose thunder is enormous. [625] As the god-of-hosting-guests [ xenios], he will at some point destroy your lofty city; you stole my wedded wife and wickedly carried off much treasure when you were her guest, and now you would fling fire upon our ships, and kill our heroes. [630] A day will come when, rage as you may, you shall be stayed. O father Zeus, you, whom they say are above all both gods and men in wisdom, and from whom all things that befall us do proceed, how can you thus favor the Trojans—men so proud and overweening, that they are never [635] tired of fighting? All things pall after a while—sleep, love, sweet song, and stately dance—still these are things of which a man would surely have his fill rather than of battle, whereas it is of battle that the Trojans are insatiate.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.601 focus
Pisander smote the buckler on the arm
Of mighty Menelaus, yet drave not
The weapon through. The broad shield stopped its force,
And broke it at the neck; yet hoped he still
For victory, and exulted. Then the son
765
Of Atreus drew his silver-studded sword
And sprang upon his foe, who from beneath
His buckler took a brazen battle-axe,
With a long stem of polished olive-wood.
Both struck at once. Pisander hewed away,
770
Below the crest, the plumed helmet-cone
Of Atreus' son, who smote, above the nose,
Pisander's forehead, crashing through the bones.
Both bleeding eyes dropped to the ground amid
The dust; he fell; he writhed; the conqueror,
775
Advancing, set his heel upon his breast,
And stripped the armor off, and, boasting, said: -
"Thus shall ye leave unharmed the fleet that brought
The knights of Greece, ye treaty-breaking sons
Of Ilium, never satisfied with war!
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Yet lack ye not still other guilt and shame,
Wrong done to me, ye dogs! Ye have not feared
The wrath of Hospitable Jove, who flings
The thunder, and will yet destroy your town,
With all its towers, - ye who, without a cause,
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Bore off my youthful bride, and heaps of wealth,
When she had given you welcome as our guests.
And now ye seek to burn with fire the fleet
With which we cross the ocean, and to slay
The Grecian heroes. Ye shall yet be forced,
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Eager for battle as ye are, to pause.
O Father Jupiter, who hast the praise
Of highest wisdom among gods and men!
All this is of thy ordering. How hast thou
Favored this arrogant crew of Troy, in love
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With violence, who never have enough
Of war and all its many miseries!
All other things soon satisfy desire, -
Sleep, love, and song, and graceful dance, which most
Delight in more than warlike toils, - yet they
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Of Troy are never satisfied with war."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.601 focus
Behold! Pisander, urg'd by Fate's decree,
Springs through the ranks to fall, and fall by thee,
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Great Menelaus! to enhance thy fame;
High towering in the front, the warrior came.
First the sharp lance was by Atrides thrown;
The lance far distant by the winds was blown.
Nor pierc'd Pisander through Atrides' shield;
Pisander's spear fell shiver'd on the field.
760
Not so discourag'd, to the future blind,
Vain dreams of conquest swell his haughty mind;
Dauntless he rushes where the Spartan lord
Like lightning brandish'd his far-beaming sword.
His left arm high oppos'd the shining shield;
765
His right, beneath, the cover'd pole-axe held;
(An olive's cloudy grain the handle made,
Distinct with studs; and brazen was the blade;)
This on the helm discharg'd a noble blow;
The plume dropp'd nodding to the plain below,
770
Shorn from the crest. Atrides wav'd his steel;
Deep through his front the weighty faulchion fell;
The crashing bones before its force gave way;
In dust and blood the groaning hero lay;
Forc'd from their ghastly orbs, and spouting gore,
775
The clotted eyeballs tumble on the shore.
The fierce Atrides spurn'd him as he bled,
Tore off his arms, and loud exulting said:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.601 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.601 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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illustration of the meaning of hizein (as in this line, “to set upon”) in the context of the argument that m’ anesei masks an original phrase me nesei in O.18.265

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evidence for the description of D.B. Monro’s understanding of the verb anései, as a compound verb meaning “to place” or “set upon”

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comparison of Ionians to Phaeacians (in terms of their fame for their dress)

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analysis of the name “Ionian” and its wide use arising from the Panionic league, here, its only occurrence in Homer where it means Athenian

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analysis of the name “Ionian” and its wide use arising from the Panionic league, here, its only occurrence in Homer where it means Athenian – what the Neleids would have wanted it to mean in terms of their own origin

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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 Hektor and Polydamas in terms of the twin myth

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comparison of Nestor and Polydamas, the counselors on their respective sides, in terms of noos (in the context of interpreting them in terms of the twin myth)

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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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To be added is a relevant comment.

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At I.15.704–746 we will see more details about the beached ship of Protesilaos. Here at I.13.681, the details are few: the reference to this hero’s ship is followed by a passing reference to the ships of Ajax, likewise beached along the shore, and this extended perspective now leads to a wider view of all these ships, the sterns of which are somehow contiguous with the Wall of the Achaeans, I.13.682–684.

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Here is the only direct reference to Ionians in Homeric Iliad and Odyssey. The juxtaposition of Ionians with Boeotians is significant.

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The comparison of Hector here to a phlox ‘burst of flame’ is relevant to the overall theme of Hector’s fire. 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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It is significant that the Ionians, mentioned only at I.13.685, are drawn into proximity with the Athenians.

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It is also significant that the Ionians and Athenians are together drawn into proximity with the Boeotians.

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It is said here that the nóos ‘mind’, I.13.732, enables the hero to ‘recognize’, gignōskein, I.13.734.

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The taunting here of Agamemnon by Sthenelos, chariot driver of Diomedes, recalls the epic traditions of the Epigonoi = Sons-of-the-Seven-against-Thebes. See also I.02.119–130 and the comments on those verses.

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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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analysis of instances of eukhesthai + aorist infinitive

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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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