Iliad 11.291

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 11.291 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.) — 11.291 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.) — 11.310 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.291 focus
With these words he put heart and spirit into them all, and as a huntsman hounds his dogs on against a lion or wild boar, even so did Hector, [295] peer of Arēs, hound the proud Trojans on against the Achaeans. Full of hope he plunged in among the foremost, and fell on the fight like some fierce tempest that swoops down upon the sea, and lashes its deep waters [ pontos] into fury.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.291 focus
He spake. His words gave courage and new strength
To every heart. As when a hunter cheers
345
His white-toothed dogs against some lioness
Or wild boar from the forest, Hector thus,
The son of Priam, terrible as Mars
The slayer of men, cheered on the gallant sons
Of Troy against the Greeks. Himself, inspired
350
With fiery valor, rushed among the foes
In the mid-battle foremost, like a storm
That swoops from heaven, and on the dark blue sea
Falls suddenly, and stirs it to its depths.
Who then was slain the first, and who the last,
355
By Hector, Priam's son, whom Jove designed
To honor? First, Asæus; Dolops, son
Of Clytis; and Autonoüs; and then
Opites and Opheltius; next to whom
Æsymnus, Agelaus, Orus fell,
360
And resolute Hipponous the last.
All these, the princes of the Greeks, he slew,
Then smote the common crowd. As when a gale
Blows from the west upon the mass of cloud
Piled up before the south wind's powerful breath,
365
And tears it with a mighty hurricane,
While the swoln billows tumble, and their foam
Is flung on high before the furious blast,
So by the sword of Hector fell the heads
Of the Greek soldiery; and there had been
370
Ruin and ravage not to be repaired,
And the defeated Greeks had flung themselves
Into their ships, had not Ulysses then
Exhorted thus Tydides Diomed:-
"Tydides! what has quenched within our hearts
375
Their fiery valor? Come, my friend, and take
Thy stand beside me: foul disgrace were ours
Should crested Hector make our fleet his prize."
And thus the valiant Diomed replied:-
"Most willingly I stand, and bear my part
380
In battle; but with little hope, for Jove,
The God of storms, awards the day to Troy."
He spake, and pierced Thymbræus with his spear
Through the left breast, and dashed him from his car.
Meanwhile Ulysses struck Molion down,
385
The prince's stately comrade. These they left
Never to fight again, and made their way
Through the thick squadrons, carrying, as they went,
Confusion with them. As two fearless boars
Rush on the hounds, so, mingling in the war,
390
They bore the foe before them, and the Greeks
Welcomed a respite from the havoc made
By noble Hector.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.291 focus
With words like these the fiery chief alarms
His fainting host, and every bosom warms.
As the bold hunter cheers his hounds to tear
The brindled lion, or the tusky bear,
With voice and hand provokes their doubting heart,
380
And springs the foremost with his lifted dart:
So godlike Hector prompts his troops to dare:
Nor prompts alone, but leads himself the war.
On the black body of the foes he pours;
As from the cloud's deep bosom, swell'd with showers,
385
A sudden storm the purple ocean sweeps,
Drives the wild waves, and tosses all the deeps.
Say, Muse! when Jove the Trojan's glory crown'd,
Beneath his arm what heroes bit the ground?
Assæus, Dolops, and Autonous died,
390
Opites next was added to their side,
Then brave Hipponous, fam'd in many a fight,
Opheltius, Orus, sunk to endless night,
Æsymnus, Agelaus; all chiefs of name:
The rest were vulgar deaths, unknown to fame.
395
As when a western whirlwind, charg'd with storms,
Dispels the gather'd clouds that Notus forms;
The gust continu'd, violent, and strong,
Rolls sable clouds in heaps on heaps along;
Now to the skies the foaming billows rears,
400
Now breaks the surge, and wide the bottom bares:
Thus raging Hector, with resistless hands,
O'erturns, confounds, and scatters all their bands.
Now the last ruin the whole host appals;
Now Greece had trembled in her wooden walls;
405
But wise Ulysses call'd Tydides forth,
His soul rekindled, and awak'd his worth:
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.291 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.291 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

New Alexandria Commentaries

Douglas Frame

this line as one of the counterexamples for identifying unmodified laos as one’s own

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this line as one of the counterexamples for identifying unmodified laos as one’s own, and with damnēmi together with laos

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Gregory Nagy

Rhapsody 11 marks the point in the Iliad where Patroklos is drawn into a fatal pattern of impersonating Achilles. Pivotal is the story that Patroklos hears from the old hero Nestor. My comments here on Iliad 11 work around Nestor’s story at I.11.670–803 as analyzed in the book Hippota Nestor by Douglas Frame, 2009:105–130.

draft js image errorNestor and his sons sacrifice to Poseidon. Attic red-figure calyx-krater, ca. 400–380 BCE. © Marie-Lan Nguyen / Wikimedia Commons, via Wikimedia Commons.

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The description of Hector here as comparable to the god Zeus himself with regard to mētis ‘mind, intelligence’ is an implicit affront to Athena, who is the divine personification of mētis. See the comments on I.06.286–311, I.07.017–061, I.08.538–541, and I.10.043–052.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

It has already been noted in the comment on I.02.484 that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition (see also Martin 1989:238). Such a moment is now at hand as Agamemnon the over-king is about to have his own moment of experiencing an ‘epic high point’. At such a moment, the Narrator must be ready to do his very best in recapturing that heroic experience. And, to express his readiness, the Narrator in all his self-awareness will now re-invoke the Muse or the Muses. In this context, the ‘I’ who is re-invoking the Muse(s) is meant to be seen as a re-enactment of ‘Homer’ himself, as originally enacted by the speaker who invokes the Muse at I.01.001 and at O.01.001.

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This narrative centers on the aristeiā ‘epic high point’ of Agamemnon in the Iliad. On aristeiā ‘epic high point’, see the comment on I.05.103.

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Even the most minor character in the Iliad—and the hero Iphidamas here is a striking example—is willing to die simply for the chance of getting included in the kleos ‘glory’ of the present performance, which is of course the Homeric Iliad itself. What makes the example of Iphidamas even more striking is that he is not even fighting on the Achaean side in this war.

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Here at I.11.288, Hector is boasting that Agamemnon, ‘the best man’, ho aristos, is now out of the picture. There is an irony built into the words of Hector, and this irony emerges from the context. The aristeiā ‘epic high point’ of Agamemnon in the Iliad, inaugurated in grand style when the Master Narrator invokes the Muses at I.11.218, does not go all that well for the high king. Early on in the fighting, he gets wounded in the hand, I.11.253. He tries to fight on, but the pain from the wound finally gets to him, I.11.268–272. The intensity of his pain is compared here to the birth-pangs experienced by a woman at the climax of her labor, I.11.269–271. Unable to withstand such pain any more, Agamemnon jumps back on the platform of his war chariot and orders his driver to drive him back to the safety of the beached ships of the Achaeans, I.11.273–274, shouting to his fellow warriors that they should now follow him in retreat and defend the ships, I.11.275–278, since, as he says, Zeus has not supported the ongoing offensive initiated by the Achaeans, I.11.278–279. So, the aristeiā ‘epic high point’ of Agamemnon has not exactly turned out to be a spectacular success. And Hector knows it. As the chariot of Agamemnon speeds this over-king away from the scene of battle, I.11.280–283, Hector notices, I.11.284, as expressed by the verb noeîn ‘take note’. It is in this context, then, that Hector says what he says at I.11.288: ‘the best man’, ho aristos, is now out of the picture. But of course the truly best of all the Achaeans is not yet in the picture.

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The description of Hector as īsos Arēi ‘equal to Ares’ here at I.11.295 is parallel to his being described as atalantos Arēi ‘equal to Ares’ at I.08.215. For Hector and in fact for any heroic warrior in the Iliad, even for generic warriors, the idea of being ‘equal to Ares’ is parallel to the idea of being a therapōn of Ares, where therapōn is to be understood in the deeper sense of ‘ritual substitute’. About this deeper sense, see the comment on I.02.110.

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Here at I.11.297, two verses after I.11.295, where Hector is described as īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ), the same Trojan hero is now further described as īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ). This verse-final phrase īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ) matches rhythmically the verse-final phrase īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ). Aside from the match in form, there is also a deep-seated match in meaning here between the phrases ‘equal to Ares’ and ‘equal to a blast of wind’, since the god of war is traditionally linked with violent winds. See the comment on I.05.430. Such a link is also attested in the cognate poetics of other Indo-European languages besides Greek: analysis in BA 334, 337.

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The onslaught of Hector and his Trojans against the Achaeans is pictured here as a violent blast of wind in a storm that churns up the sea, which is called the pontos here at I.11.298. This onslaught will threaten the safety of the beached ships of the Achaeans, and thus it will threaten the very survival of the Achaeans and even of all Greeks as notional descendants of the Achaeans. See further on the Battle for the Ships in the comment on I.01.320–348.

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Leonard Muellner

apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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

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examples of the identical contexts in which eukhos and kudos occur

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

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai and of the use of isos aellēi/lailapi in these contexts

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

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Richard Martin

Zeus' promise through Iris to Hektor at 11.186-94 combines directive with explicit promise: he orders Hektor to retreat a short way (11.189), then promises killing strength to the hero (11.192). Furthermore, at the conclusion of this command, Zeus sets exact limitations on the action: Hektor will be allowed to win, but only until he reaches the Achaean ships (11.193-94). This shows Zeus' power to create nuance and give verbal texture to his directives, achieved by repetition and synonymity. There is an additional irony in the promise at 11.191-94: it contains elements of prediction—"the strength will come when struck by spear or hit by arrow he leaps to his horse"—and since predictions are constatives in speech-act terms while commands are directives, this correlation appears puzzling. But in Zeus' language, commands, threats, and predictions comprise one category; the mere speaking of a promise by Zeus is effective, the equivalent of action. Yet the time-frame of divine speech differs radically from that of its divine addressees: Hektor does not receive strength to reach the ships on the day that Zeus promised. His surge occurs later (Martin 1993:52-53).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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When the poet describes the death of Iphidamas at Agamemnon's hands (11.243), the tone is that of the most haunting of Homeric obituaries: resigned, factual, yet tense with restrained emotion. The victim "fell and slept the bronze-hard sleep, pitiable man, away from young wedded wife, fighting for his townsmen—the wife, from whom he had no joy, though he had given much" (kouridiēs, hēs ou ti kharin ide, polla d' edōke). Here, as often, kharis signifies both pleasure and reciprocal giving, reciprocity itself being a "pleasure" in the world of Homeric epic and a sign that the cosmos is operating properly. Iphidamas is cut off from ever getting return on investment as much as he is cut off from the sweetness of a young wife, and the poet grieves for both losses. It is with this dual meaning of the word that one should approach the ending of 9.316, ouk ara tis kharis ēen. Achilles' words echo the poet's voice. Through his use of the abstract noun, the personal gripe about lack of payment grows into an elegiac statement of universal human lack (Martin 1993:213-14).

For the related uses of the kharis motif in Glaukos' speech (17.142-68) and its comparison with Achilles' use, see the comment on Iliad 9.315-316.

References

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

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