Homer Iliad 15.1

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.) — 15.1 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.) — 15.1 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.) — 15.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.1 focus
But when their flight had taken them past the trench and the set stakes, and many had fallen by the hands of the Danaans, the Trojans made a halt on reaching their chariots, routed and pale with fear. Zeus now woke on the crests of Ida, [5] where he was lying with golden-throned Hera by his side, and starting to his feet he saw the Trojans and Achaeans, the one thrown into confusion, and the others driving them pell-mell before them with King Poseidon in their midst. He saw Hector lying on the ground with his comrades gathered round him, [10] gasping for breath, wandering in mind and vomiting blood, for it was not the feeblest of the Achaeans who struck him.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 15.1 focus
Now in swift flight they pass the trench profound,
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And many a chief lay gasping on the ground;
Then stopp'd and panted, where the chariots lie;
Fear on their cheek, and horror in their eye.
Meanwhile, awaken'd from his dream of love,
5
On Ida's summit sat imperial Jove;
Round the wide fields he cast a careful view,
There saw the Trojans fly, the Greeks pursue;
These proud in arms, those scatter'd o'er the plain;
And, midst the war, the monarch of the main.
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

Notes on the current edition

Iliad

1. The Translator seizes the opportunity afforded to him by this remarkable passage, to assure his readers, who are not readers of the original, that the discipline which Juno is here said to have suffered from the hands of Jove, is not of his own invention. He found it in the original, and considering fidelity as his indispensable duty, has not attempted to soften or to refine away the matter. He begs that this observation may be adverted to as often as any passage shall occur, in which ancient practices or customs, not consonant to our own, either in point of delicacy or humanity, may be either expressed or alluded to. He makes this request the rather, because on these occasions Mr. Pope has observed a different conduct, suppressing all such images as he had reason to suppose might be offensive.

New Alexandria Commentaries

Douglas Frame

comment on the employment of the Achaean wall and its breach to mark a stage in the development of the story in Book 12 and here, and its illustrating the separate development of the story in the two segments

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Gregory Nagy

The climax of the fighting in the Iliad is now approaching. Patroklos is about to enter the war, and the Will of Zeus is about to be fulfilled.

draft js image errorAjax defending the ships of the Greeks. After a drawing by John Flaxman. Image via Wikimedia Commons.

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When gods swear by the waters of the underworld river Styx, as the goddess Hērā does here, I.15.037, their oath must be irrevocable and therefore absolute. The basis for the absoluteness of the oath is the absolute imperishability of the material substance that has been chosen as the basis for the oath. That substance is the water of this river. And the imperishability is signaled by the adjective aphthito- ‘imperishable’, which is actually used as the epithet of the Stygian waters at Hesiod Theogony 805. Further, aphthito- ‘imperishable’ at Hesiod Theogony 397 is the epithet of Styx as a personified female divinity. On the epithet aphthito- ‘imperishable, unwilting’, see the comments on I.02.325, where further attestations are also cited.

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Zeus here reaffirms what he wishes or wills, that is, he reaffirms his plan. And this Plan of Zeus, which is the wish or Will of Zeus, will be coextensive with the plot or narrative arc of the Iliad, starting with the original promise of Zeus to Thetis at the beginning of the epic, at I.01.524–530. What the god had then promised, that he will honor Achilles by letting the Achaeans lose until the fire of Hector reaches their beached ships, had been signaled when Zeus originally nodded his head at I.01.524–530. Now at I.15.075 Zeus refers again to this nodding of his head as he briefly retells the plot or narrative arc extending from the time of inception, which was the time when he had originally nodded. That narrative arc now extends not only to the present time of his retelling but also into a future time that has not yet been narrated in the Iliad: within this time-frame of future events, Poseidon will stop interfering on behalf of the Achaeans, I.15.056–058, and then Hector will be re-energized by Apollo and will thus stop the present momentum of the Achaeans, chasing them back to their beached ships, I.15.059–064, and then Achilles will send out Patroklos to stop the Trojans, I.15.064–065, and then Patroklos will be killed by Hector, I.15.065—but not before Patroklos himself kills many heroes fighting on the Trojan side, I.15.066–067, and among those killed heroes will be Sarpedon, who is the son of Zeus himself, I.15.067—and then, to top it all off, Achilles will experience anger [kholos] over the killing of Patroklos by Hector and will kill Hector, I.15.068. In the course of this almost breathlessly rapid retelling of the plot by Zeus, the foretelling of events yet to happen touches on the upcoming drama of the god’s personal loss of Sarpedon, who is his own human son. But the drama of this divine loss is still being elided for the moment, since Zeus at present is saying only that Sarpedon will be killed by Patroklos. The god is not yet saying that Sarpedon is his own beloved son. But that is not all. All has not yet been retold, even at this point, at I.15.068, which signals the killing of Hector by Achilles. The god’s retelling of the plot in the form of a foretelling is not yet completed at this point. The retelling by Zeus continues even further, starting with I.15.069: after Achilles kills Hector, Zeus will plan to bring about a reversal for the Trojans, who will now be driven back from the beached ships that they had threatened to destroy under Hector’s leadership, and the story of this paliōxis ‘driving back’, I.15.069, is described in the god’s wording as if it were some kind of an artifact that Zeus himself has fashioned in the mode of an artisan: the key word is teukhein ‘make-as-an-artisan’ (τεύχοιμι), I.15.070, which takes the noun paliōxis ‘driving back’ as its direct object, I.15.069. After this story of the paliōxis ‘driving back’, fashioned by Zeus in the mode of some divine artisan who creates the story by narrating the story, there will be a relentlessly consequential narrative that will lead all the way to the very end, which is, the destruction of Troy, I.15.070–071. This ending, however, extends beyond the time-frame that will be narrated in the Iliad. And such an ending, perhaps surprisingly, is said by Zeus to result from the boulai ‘plans’ of the god’s divine daughter, the goddess Athena, I.15.071 (Ἀθηναίης διὰ βουλάς). Why does Zeus speak here about the plans of Athena, as if they were not his own plans? It is because the plans of the goddess are by implication coextensive with the plans of her divine father as well. But Zeus is not yet finished with the announcement of his plan. Having indicated the outer limit of the epic plotline, which is the destruction of Troy at I.15.071, Zeus now returns to the present, indicating how it will extend into the immediate future of the Iliad. I will not cease my anger [kholos] against the Achaeans, the god declares at I.15.072, and I will not let any other god intervene on their behalf, I.15.073, until the wish of Achilles is fulfilled, I.15.074. That wish, as we already know, is that the Achaeans will keep losing until the fire of Hector reaches their beached ships. But Zeus here does not repeat the wording of that wish, even though he has promised to make the wish happen. Instead, he simply declares that he had made for Achilles a promise by way of nodding his divine head, I.15.075, and that this promise had been formulated for him by Thetis, the mother of Achilles, I.15.076–077. What Zeus had promised, the god says, was that Achilles should be ‘given honor’, as expressed by the verb tīmân, I.15.077 (τιμῆσαι).

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The god Apollo is about to be engaged here in the act of en-pneîn ‘breathing into’ the hero Hector something called menos ‘mental power’, I.15.060. See the comment on I.15.262.

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Leonard Muellner

analysis of the passage for reconstruction of the meaning of mēnis

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analysis of the moment Achilles sends Patroklos to fight (i.e. whether it is when he relents), here, with regard to Zeus’ prediction of Patroklos’ death

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analysis of the moment Achilles sends Patroklos to fight (i.e. whether it is when he relents), here, with regard to Zeus’ prediction of Patroklos’ death

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