Homer Iliad 8.151

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.) — 8.151 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.) — 8.151 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.) — 8.167 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.151 focus
“Son of brave Tydeus,” replied Nestor, “what mean you? Though Hector say that you are a coward the Trojans and Dardanians will not believe him, [155] nor yet the wives of the mighty warriors whom you have laid low.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 8.151 focus
And Nestor, the Gerenian knight, rejoined:-
"What, son of warlike Tydeus, hast thou said?
Though Hector call thee faint of heart, and weak
190
The Trojans and Dardanians, and the wives
Of the stout-hearted Trojans armed with shields,
Whose husbands in their youthful prime thy hand
Hath laid in dust, will not believe his words."
Thus having said, he turned the firm-paced steeds
195
Rearward, and mingled with the flying crowd.
And now the Trojans and their leader gave
A mighty cry, and poured on them a storm
Of deadly darts, and crested Hector raised
His thundering voice and shouted after them:-
200
"O son of Tydeus! the swift-riding Greeks
Have honored thee beyond all other men,
At banquets, with high place and delicate meats
And flowing cups. They will despise thee now,
For thou art like a woman. Timorous girl!
205
Take thyself hence, and never think that I
Shall yield to thee, that thou may'st climb our towers
And bear away our women in thy ships;
For I shall give thee first the doom of death."
He spake; and Diomed, in doubtful mood,
210
Questioned his spirit whether he should turn
His steeds and fight with Hector. Thrice the thought
Arose within his mind, and thrice on high
Uttered the all-forecasting Jupiter
His thunder from the Idean mount, a sign
215
Of victory changing to the Trojan side.
Then Hector to the Trojans called aloud: -
"Trojans and Lycians all, and ye who close
In deadly fight, the sons of Dardanus!
Acquit yourselves like men, my friends; recall
220
Your fiery valor now, for I perceive
The son of Saturn doth award to me
Victory and vast renown, and to the Greeks
Destruction. Fools! who built this slender wall
Which we contemn, which cannot stand before
225
The strength I bring; our steeds can overleap
The trench they digged. When I shall reach their fleet,
Remember the consuming power of fire,
That I may give their vessels to the flames,
And hew the Achaians down beside their prows,
230
While they are wrapped in the bewildering smoke."
He spake; and then he cheered his coursers thus:
"Xanthus, Podargus, Lampus nobly-bred,
And Æthon, now repay the generous care,
The pleasant grain which my Andromache,
235
Daughter of great Eëtion, largely gives.
She mingles wine that ye may drink at will
Ere yet she ministers to me, who boast
To be her youthful husband. Let us now
Pursue with fiery haste, that we may seize
240
The shield of Nestor, the great fame of which
Has reached to heaven, - an orb of massive gold
Even to the handles. Let us from the limbs
Of Diomed, the tamer of fleet steeds,
Strip off the glorious mail that Vulcan forged:
245
This done, our hope may be that all the Greeks
Will climb their galleys and depart to-night."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 8.151 focus
To whom Gerenian 1 Nestor thus replied:
'Gods! can thy courage fear the Phrygian's pride?
'Hector may vaunt, but who shall heed the boast?
185
'Not those who felt thy arm, the Dardan host,
'Nor Troy, yet bleeding in her heroes lost;
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.151 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 8.151 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 8 focus

New Alexandria Commentaries

Douglas Frame

comment on this being the one of two places in the Iliad where there is a reference to a four-horse chariot, but with a dual verb to address four horses

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Gregory Nagy

In my comments here on Rhapsody 8, I sense I am not far from reaching a critical mass of details that shed light on the unity and integrity of the Homeric Iliad. With the upcoming comments on Rhapsody 9, this sense will I hope reach a definitive stage.

draft js image error“Hera, Athena, and Iris in the Trojan War,” Jacques Réattu (1760–1833). Image via Wikimedia Commons.

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Hector recognizes the Will of Zeus here, as signaled by the nodding of the god’s head at I.08.175: for the moment, Zeus will give nīkē ‘victory’ to Hector while giving pēma ‘pain’ to the Achaeans, Ι.08.176.

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Hector predicts that there will be mnēmosunē ‘memory’, I.08.181, of the moment when he will set fire to the beached ships of the Achaeans in the epic Battle for the Ships. And this moment will be in fact pivotal for the Will of Zeus, which will find expression in the fire of Hector. It will be a moment to be recorded by the poetic memory of the Homeric Iliad. See the comments on I.16.112 and on I.16.113.

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Unlike other heroes in Homeric narrative, Hector has a chariot drawn by four rather than two horses. There are Athenian connotations to be seen here. As we learn from the Parian Marble, FGH 239 section 10, the Athenians claimed that Erikhthonios, a prototypical hero of Athens, was the inventor of the four-horse chariot on the occasion of the first chariot race held at the first Panathenaic festival in 1505/4 BCE. Correspondingly, there is a prototypical hero of Troy who is likewise Erikhthonios: is is said at I.20.219 and I.202.30 that this Erikhthonios was son of Dardanos and father of Tros, who in turn was the ancestor of Anchises father of Aeneas. In this light, we may compare the reference at I.05.271 to four chariot horses owned by Anchises. It can be argued that these details about four-horse chariots are relevant to Athenian agenda at work during an Athenian phase of Homeric transmission.

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Hector here is said to be atalantos or ‘equal’ to Ares. This kind of equating of a hero with the war god will figure prominently in future scenes of mortal combat. Relevant are previous scenes of mortal combat involving Diomedes: see the comments at I.05.438, I.05.440–442, I.05.459. Besides Hector, as here at I.08.215 another hero who will be pointedly described as ‘equal to Ares’ is Patroklos. Besides sharing such an epithet, Hector and Patroklos will also be sharing the armor of Achilles: first it is Patroklos who wears this armor when he goes off to fight as a substitute for Achilles; and then Hector will wear it after he kills Patroklos.

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The ships of the Achaeans are beached along the shores of a large U-shaped bay that opens into the Hellespont. See Map 1 and Map 2 at HPC 157 and 158 respectively. Such a bay no longer exists, because of long-term silting from the river Scamander, which emptied into the bay. In the second millennium BCE and even later, however, the bay was very much of a reality, as the maps show, and the visualization in the Homeric Iliad approximates such a topographical reality. This is not to say, however, that we should imagine the ships of the Achaeans as floating at anchor in the waters of such a bay: rather, the Iliad pictures the ships are beached along the shores of the bay, with their sterns facing inland and their prows facing out toward the waters. On this positioning, see also the comment on I.14.027–036. Exploring further the Iliadic visualization, we can see that the beached ship of Odysseus is located at the bottom of the U-shaped bay, at the south in the middle of the bayline, while the beached ships of Achilles and Ajax are located respectively at the upper left and the upper right tips of the U, at the northwest and northeast. To be highlighted here is a detail about the ship of Odysseus: the king Agamemnon is shown standing on the deck of this beached ship, which is said to be located en messatōi ‘in the middlemost space’, I.08.223, and from here this over-king projects his voice of royal authority, shouting mightily to all the Achaeans stationed at their own ships, I.08.227. Correspondingly, all the Achaeans stationed at all the beached ships can hear the king’s voice—from the ship of Achilles at one extreme of the U-shaped bay all the way to the ship of Ajax at the other extreme, I.08.224–226 (HPC 160–161). Agamemnon’s own beached ship, together with the ships of Diomedes and Nestor, is located near the ship of Odysseus, and it is in this ‘middlemost space’ of the U-shaped bayline that the central station of the Achaeans is visualized by the narrative, I.08.223. In the later comments at I.11.005–016, I.11.806–808, and I.14.027–036, there will be more to say about the locations of all these beached ships. To be highlighted already now, however, is the general reference to the klisiai or ‘shelters’ here at I.08.220, which are the abodes of the heroes. Then at I.08.224 the same word klisiai refers specifically to the abodes of Achilles and Ajax, mentioned at I.08.224–225. The description here shows that the klisiai ‘shelters’ of these two heroes are pointedly aligned with their beached ships. As for the ships beached at the middle of the bayline in the south, they mark a political and sacral centerpoint for the Achaeans. The evidence for the preceding formulation will be presented in the comment on I.11.806–808.

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Leonard Muellner

analysis of the names of Hektor’s horses (divine + semantic/contextual associate of it, for each pair)

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analysis of Hektor’s speech to his horses, concluded by eukhomenos, as conforming to the formula (A) (sacral use of eukhesthai, formula concluding a prayer)

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this verse, where secular eukhesthai is used in a prayer to specify the grounds on which a response is expected, as evidence that there is a secondary dictional and thematic association between secular and sacral eukhesthai (contra Perpillou)

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analysis of the development of Greek posis compared with Vedic pati-

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in a list of eukhesthai einai + social relationship and comparison of these kinds of verses with eukhesthai einai + place/father’s name

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the use of eukhesthai + infinitive in this verse as semantically parallel to O.11.261

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analysis of the development of Greek posis compared with Vedic pati-

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analysis of Hektor’s speech to his horses, concluded by eukhomenos, as conforming to the formula (A) (sacral use of eukhesthai, formula concluding a prayer)

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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

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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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