Iliad 11.489

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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.) — 11.489 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.) — 11.489 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.) — 11.472 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.489 focus
Ajax then came up with his shield before him like a wall, and stood hard by, whereon the Trojans fled in all directions. Warlike Menelaos took Odysseus by the hand, and led him out of the press while his attendant [ therapōn] brought up his chariot, but Ajax rushed furiously on the Trojans and killed Doryklos, [490] a bastard son of Priam; then he wounded Pandokos, Lysandros, Pyrasos, and Pylartes; as some swollen torrent comes rushing in full flood from the mountains on to the plain, big with the rain of the sky—many a dry oak and many a pine does it engulf, [495] and much mud does it bring down and cast into the sea—even so did brave Ajax chase the foe furiously over the plain, slaying both men and horses.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.489 focus
Ajax sprang upon
595
The Trojans, slaying Doryclus, a son
Of Priam, basely-born. Then Pandocus
He wounded; next he struck Lysander down,
Pyrasus and Pylartes. As a stream,
Swoln to a torrent by the showers of Jove,
600
Comes rushing from the mountains to the plain,
And pours into the sea a muddy flood,
So mighty Ajax routed and pursued
The Trojans o'er the plain, and cut his way
Through steeds and men. Nor yet had Hector heard
605
Of this, for on the battle's left he fought,
Where fastest fell the slain, and where around
Great Nestor and the brave Idomeneus
Arose a mighty tumult. In that throng
Did Hector mingle with his spear and steeds,
610
Performing feats of valor, and laid waste
The ranks of youthful warriors. Yet the Greeks
Would not have yielded ground, if Paris, spouse
Of fair-haired Helen, had not forced the chief
Machaon, fighting gallantly, to pause;
615
For with an arrow triple-barbed he pierced
The chief's right shoulder, and the valiant Greeks
Feared lest the battle turn and he be slain.
And thus Idomeneus to Nestor said: -
"Neleian Nestor, glory of the Greeks,
620
Haste, mount thy chariot; let Machaon take
A place beside thee; urge thy firm-paced steeds
Rapidly toward the fleet; a leech like him,
Who cuts the arrow from the wound and soothes
The pain with balms, is worth a host to us."
625
He spake; and the Gerenian knight obeyed,
And climbed the car in haste. Machaon, son
Of Esculapius the peerless leech,
Mounted beside him; Nestor lashed the steeds,
And toward the roomy ships, which well they knew
630
And longed to reach, they flew with eager speed.
Meantime Cebriones, who had his seat
By Hector in the chariot, saw the ranks
Of Troy disordered, and addressed the chief: -
"While we, O Hector, here are mid the Greeks
635
Just in the skirts of the tumultuous fray,
The other Trojans, men and steeds, are thrown
Into confusion where the warriors throng,
For Telamonian Ajax puts their ranks
To rout; I know him well by that broad shield
640
Borne on his shoulders. Thither let us drive
Our steeds and chariot, where in desperate strife
Meet horse and foot and hew each other down,
And a perpetual clamor fills the air."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.489 focus
Victorious Ajax plies the routed crew;
610
And first Doryclus, Priam's son, he slew:
On strong Pandocus next inflicts a wound,
And lays Lysander bleeding on the ground.
As when a torrent, swell'd with wintry rains,
Pours from the mountains o'er the delug'd plains,
615
And pines and oaks, from their foundations torn,
A country's ruins! to the seas are borne:
Fierce Ajax thus o'erwhelms the yielding throng;
Men, steeds, and chariots, roll in heaps along.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.489 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.489 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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analysis of Odysseus’ characterization in the Iliad, with this passage interpreted as counterbalancing his less heroic representation in e.g. I.08.090-098

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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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In the words of Diomedes, the Will of Zeus is now in effect: the plan of the god is to give kratos ‘winning-power’ to the Trojans and to take it away from the Achaeans, I.11.319. In this verse, we see that Zeus ‘wishes’ for this to happen, as expressed by the verb boulesthai ‘want, wish, plan’. See also the comment on I.11.078–079, where boulesthai ‘wish, plan’ is already expressing the same idea. And, by taking kratos ‘winning-power’ away from the Achaeans, Zeus is giving them akhos ‘grief’ instead, on which see the comment on I.01.509.

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Diomedes and Odysseus agree to fight as a team, I.11.310–319. Diomedes throws a spear at Thumbraios, who is riding on a chariot and who gets knocked to the ground by the piercing wound, I.11.320–321. Then Odysseus symmetrically wounds with his own piercing spear-throw the charioteer of Thumbraios, Molion, who is described here as the therapōn of Thumbraios, I.11.322. Presumably, Molion too has been riding on the same chariot and gets knocked to the ground. Molion is not overtly called the hēni-okhos ‘chariot driver’ of Thumbraios, but the context shows that he is exactly that, the chariot driver. And, although Molion is the therapōn of Thumbraios, Molion does not get to “take the hit” for Thumbraios the chariot fighter, since that fighter is hit even before his driver is hit. So we see here an unexpected variation on the theme of the therapōn as ‘ritual substitute’ as well as ‘attendant’.

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In the words of Diomedes, Hector is a pēma ‘pain’ for the Achaeans, I.11.347. The pain that he inflicts on them is visualized by way of the verb kulindesthai ‘roll’ in this same verse, I.11.347. The comparison that is implied by this verb becomes explicit at I.13.136–142, where we will see the menacing image of a boulder that breaks off from mountainous heights overhead and starts rolling downward from above, ever increasing in speed as it nears ground zero: only when the boulder has reached a level plain does it finally stop ‘rolling’, as expressed by the verb kulindesthai at I.13.142 (see H24H 5§10). In the framing verses of I.13.136-142, this visualization of the menacing boulder that is rolling down from the heights above is being compared to Hector himself as he rushes toward the Achaeans. The same visualization is implicit in the use of the verb kulindesthai ‘roll’ at I.11.347, where Hector is pictured as a pēma ‘pain’ that is rushing toward his enemies. See also the comment on I.17.098–101, where the death of Patroklos is viewed retrospectively as a great pēma ‘pain’, I.17.099, that was sure to kulindesthai ‘roll’ down from the heights like some boulder and to crush anyone daring to attack a warrior who is being protected by a god. And the same visualization of a breakaway boulder is implicit also in the combination of pēma ‘pain’ with kulindesthai ‘roll’ at O.08.081 of the “micro-Iliad” that is narrated at O.08.072–083, which is the First Song of Demodokos. In this song, at O.08.081, the ‘beginning of the pain [pēma]’ is pictured at the very beginning of the overall narrative: the pēma ‘pain’ is starting to ‘roll’, as expressed again by way of kulindesthai, and we see further at O.08.082 that this pain will be rolling toward Trojans and Achaeans (=Danaans) alike. Ultimately, both sides in the Trojan War will feel the pain, and it is all because Zeus willed it to be this way: everything will happen the way it will happen ‘because of the plans [boulai] of Zeus’, O.08.082 (Διὸς μεγάλου διὰ βουλάς).

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The immediate context here shows that the therapōn ‘attendant, ritual substitute’ is a chariot driver. He is not named. Nor is he described explicitly as a hēni-okhos ‘chariot driver’, but that is what he is doing here—driving the chariot.

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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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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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in a list of secular eukhesthai indicating direct speech (introducing speech, p. 89), and analysis of this verse as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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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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analysis of eukhesthai as proud, contentious, and accurate statement about its speaker and how Paris’ use of it here is ironic and contrary to the heroic code

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos, and analysis of the instance of eukhos in which kudos could fit the metric as well (as in this verse)

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examples of the identical contexts in which eukhos and kudos occur

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analysis of analysis of the instance of eukhos in which kudos could fit the metric as well, and whether to take eukhos in secular or sacral sense

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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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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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