Iliad 12.364

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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.) — 12.364 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.) — 12.364 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.) — 12.413 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.364 focus
Great Ajax, son of Telamon, heeded the message, [365] and at once spoke to the son of Oïleus. “Ajax,” said he, “do you two, yourself and brave Lykomedes, stay here and keep the Danaans in heart to fight their hardest. I will go over yonder, and bear my part in the fray, but I will come back here at once as soon as I have given them the help they need.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.364 focus
He ended. Ajax, son of Telamon,
Hearkened, and to his fellow-warrior said: -
435
"Here, where the gallant Lycomedes stands,
Ajax! remain, and, cheering on the Greeks,
Lead them to combat valiantly. I go
To stem the battle there, and when our friends
Are succored I will instantly return."
440
So speaking, Ajax, son of Telamon,
Departed thence, and with him Teucer, sprung
From the same father. With them also went
Pandion, carrying Teucer's crooked bow.
They came to brave Menestheus at his tower,
445
And went within the wall and met their friends,
Hard-pressed, — for gallantly the Lycian chiefs
And captains, like a gloomy tempest, rushed
Up the tall breastworks; while the Greeks withstood
Their onset, and a mighty clamor rose.
450
Then Telamonian Ajax smote to death
Epicles, great of soul, Sarpedon's friend:
Against that chief he cast a huge, rough stone,
That lay high up beside a pinnacle
Within the wall. No man with both his hands, -
455
Such men as now are, - though in prime of youth,
Could lift its weight; and yet he wielded it
Aloft, and flung it. Through the four-coned helm
It crashed, and brake the skull within. Down plunged
The Lycian, like a diver, from his place
460
On the high tower, and life forsook his limbs.
Then Teucer also wounded with a shaft
Glaucus, the brave son of Hippolochus,
As he leaped forth to scale the lofty wall, -
Wounded him where the naked arm was seen,
465
And made him leave the combat. Back he sprang,
Hiding amid the crowd, that so the Greeks
Might not behold the wounded limb, and scoff.
With grief Sarpedon saw his friend withdraw,
Yet paused not from the conflict, but took aim
470
At Thestor's son, Alcmaon, with his spear;
Pierced him; and drew the weapon out. The Greek,
Following the spear, fell headlong; and his arms,
Studded with brass, clashed round him as he fell.
Then did Sarpedon seize, with powerful hands,
475
The battlement; he wrenched it, and it came
To earth, and laid the rampart's summit bare,
To make a passage for the assailing host.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.364 focus
Straight to the fort great Ajax turn'd his care,
435
And thus bespoke his brothers of the war:
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.364 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.364 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

New Alexandria Commentaries

Douglas Frame

example of firmly established meaning of halonai, “to be killed” as adduced by its opposition to, kaktámen, “to kill.” Compare to Il. XVII.506

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comparison with I.09.104 with regards to noos and muthos

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Gregory Nagy

At the very beginning of Iliad 12, we modern readers may find that we have suddenly hit a wall—the Achaean Wall. It seems difficult for us to understand what the Master Narrator of the Iliad is really saying when he foretells the future destruction or deconstruction of this structure. And the main obstacle to our understanding here is not the presence of the Achaean Wall in the Iliad but rather its foretold absence—after all is said and done in the narrative. For the ancients who heard the Iliad narrated to them, by contrast, the future absence of the Achaean Wall was perfectly understandable in terms of the narration itself. And that is because the Master Narrator presupposes that there is no Achaean Wall to be seen in the Trojan landscape at the time of narration. Such a presupposition shapes the narrative of Iliad 12—and in fact it shapes the whole narrative of the Iliad. The setting for this narrative remains the world of heroes, which is larger-than-life because it is situated in the heroic past, but the setting for the actual narration of this narrative is the post-heroic world of a present time as figured by the Master Narrator himself. The staging of the heroic world by the Master Narrator is comparable to what is called the mise-en-scène in the traditions of French theater and film. And the predominant feature of the Iliadic mise-en-scène or scenery is the Achaean Wall, not the Trojan Wall. That is why the building of this structure by the Achaeans in Iliad 7 had been opposed by the gods Poseidon and Apollo, the original builders of the Trojan Wall. But the Achaean Wall needed to be built by the Achaeans to protect them and their ships from the fire of Hector—which would not be threatening them if Achilles had not been insulted by Agamemnon in Iliad 1. If we think of the overall plot of the Iliad as a scenario, then the Achaean Wall can be seen as an integral feature of the scenery for this scenario.

draft js image error“Siege of the Greek Camp.” Crispijn van de Passe (I) (1613). Public domain image, via Rijks Museum. (https://www.rijksmuseum.nl/en/collection/RP-P-OB-16.043)

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In Homeric diction, a neuter plural subject can “take” a verb in the plural instead of the singular.

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As noted in the comment on I.12.130, Leonteus is the only Iliadic figure who is called ‘equal to Ares’ besides Hector, Patroklos, and Achilles (see also BA 33). Relevant is the fact that he qualifies here at I.12.188 as ozos Arēos ‘attendant of Ares’, also at I.02.745, I.23.841. The word ozos in this description, which applies also to other heroes as listed above, can be explained etymologically as (h)o-sd-os, meaning ‘seated together with’: so a hero who qualifies as ozos Arēos ‘attendant of Ares’ can be pictured as literally ‘seated together with Ares’ (BA 295 = ch.17§5n8). The application of this epithet to a hero indicates that such a hero, as a warrior, is destined to become a ritual substitute for the war-god Ares, in the sense that generic warriors are described as therapontes Arēos ‘attendants of Ares’ in the Iliad*. See the comment on I.06.067.

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In the Battle for the Ships, the objective of Hector is for the Trojans to set on fire the beached ships of the Achaeans, and, for this objective to be realized, the Trojans must break through the Wall of the Achaeans. There is a reference to such a breakthrough already at I.12.090. For further references, which occur mostly in Iliad 12, to the Trojan objective of breaking through the Wall, see I.12.090, I.12.223, Ι.12.257, I.12.261–262, I.12.308, I.12.418, Ι.12.440–441, I.13.679–680. Many of these references mention also the fire that threatens the beached ships of the Achaeans. From here on, further Iliadic mentions of (1) the Battle for the Ships, (2) the fire of Hector and his Trojans, and (3) the breakthrough of the Trojans in penetrating the Wall of the Achaeans will intensify. Accordingly, for practical reasons, comments on these mentions will from here on refer back only to the anchor comment as formulated here at I.12.198.

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The meaning of the noun theopropos as ‘interpreter of signs’ is defined clearly in this verse: the role of such a person is ‘to interpret signs’, hupo-krinesthai, that is, ‘to respond to signs’ by distinguishing what is real from what is unreal. See the note on O.19.535. Relevant are the post-Homeric uses of the derivative agent noun hupo-kritēs in two senses, ‘dream-interpreter’ and ‘actor’ (HC 1§14). Also relevant is the implication here at I.12.228 of a coextensiveness between oracular poetry and epic.

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Hector here says that he understands the Will of Zeus, and that the god has already signaled his Will by nodding, I.12.236. We have seen such nodding before, at I.01.524–530 and at I.08.175–176. We have also seen, at I.08.175–176, that the Will of Zeus as signaled by his nodding will bring nīkē ‘victory’ to the Trojans and pēma ‘pain’ to the Achaeans. So too the nodding of Zeus here at I.12.236 signals once again the Will of Zeus, expressed in this case by way of the plural of boulē, ‘will’, which is boulai. This noun boulē, as noted already at I.01.005, I.01.524–530, I.10.043–052, I.10.415, I.11.627, also conveys the idea of ‘planning’, not just ‘wishing’. We may compare the plural boulai ‘plans’ of Zeus at O.08.082, as noted in the comments on I.11.347.

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Zeus as terpi-kéraunos ‘he whose bolt strikes’ is asserting here his authority as the god of thunder and lightning. He now sends a violent windstorm from the heights of Mount Ida, thus making a positive signal for the Trojans and a negative one for the Achaeans, I.12.252–254.

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Zeus, sending a violent windstorm from the heights of Mount Ida at I.12.252–254, now signals at I.12.255 that this kūdos or ‘sign of glory’ goes to the Trojans, who are already starting to break through the Wall of the Achaeans, I.12.256–257. For more on the breakthrough of the Trojans, see the list of references in the comment for I.12.198.

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The two warriors who are jointly named by way of the dual form Aiante here, about whom there will be more to say in the comment on I.12.335–336, are urging the Achaeans to keep up the fight. To encourage the Achaeans, the dual Aiante say that it does not matter whether different warriors will make greater or smaller contributions to the effort: after all, warriors are not homoioi ‘the same as’ each other, since some are superior and some are middling and some are inferior in warfare, I.12.269–270. The word homoio- ‘similar to, same as’, used in comparisons, displays the semantics of relativism as well as absolutism in Homeric diction. For more on homoio- ‘similar to, same as’ see the anchor comment at I.05.441.

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The objective of the hero Sarpedon, as he declares here at I.12.318 to his fellow warrior Glaukos, is that the two of them must not be akléees ‘without epic glory [kleos]’. The people whom the two of us rule in Lycia, he continues, must recognize such an objective. This way, the tīmē ‘honor’ that the two of us receive in Lycia, I.12.310 (τετιμήμεσθα), which is a sign of our status there as cult heroes, will be matched by the kleos ‘glory’ that the two of us will receive as epic heroes here in the Iliad.

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The reference here to Sarpedon’s diet of mutton in the context of his dwelling in his native land of Lycia can be correlated with archaeological evidence showing that cult heroes received from their worshippers primarily the meat of sheep that were sacrificially slaughtered in rituals of hero cult.

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The wording of Sarpedon implies here that he is already assured of immortalization as a cult hero, but now he desires another form of immortalization as well, which is the immortal fame conferred by the medium of epic. Sarpedon now thinks that such fame is worth dying for, right away.

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Menestheus, the leader of the Athenians who came to fight at Troy, is stationed to guard a purgos ‘tower’ of the Achaean Wall, I.12.332/333/373. It is at this point in the Wall that the attacking forces on the Trojan side are making their breakthrough, and so the station of Menestheus is evidently located next to the political and sacral centerpoint of the Achaeans, where the stations of Agamemnon and Odysseus are also located. On this concept of a political and sacral centerpoint, see the comments on I.11.806–808. The proximity of the Athenian leader Menestheus to such a centerpoint can be seen as a subtle reference to the importance of Athens in the transmission of the Iliad and Odyssey.

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The two warriors who are jointly named by way of the dual form Aiante here are to be identified as the greater and the lesser Ajax—in contexts where the hero Teukros, who is the bastard brother of the greater Ajax, is also named as a participant in the action. In other contexts where Teukros is not named as a participant, however, the dual Aiante are to be identified as the greater Ajax and his bastard brother Teukros. Such contexts reveal an elliptic use of the dual. The use of the dual form Aiante in the contexts of Iliad 12 can be cited as evidence for building an evolutionary model for the making of Homeric poetry.

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Leonard Muellner

comment on eukhomenos and epos being traditionally and syntactically bound together, despite the separate existence of epos ēuda# as in this verse

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analysis of the meaning and uses of piphauskesthai (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai), in this verse as ‘show, reveal’

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analysis of kēla as weapons that are thrown pieces of fire

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

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Richard Martin

Polydamas' allegorical reading of a bird-sign from Zeus (12.209-22) is one of two augury passages that provide the discourse background for Achilles' bird simile in Book 9 (9.323-26). In full view of the Trojans, an eagle, bitten by the snake he carries, drops it and "did not succeed in carrying it to his children, to give to them" (12.222). He predicts on this basis that the Trojans will not return from a sortie against the ships. Polydamas prefaced his prediction with the words nun aut' exereō hōs moi dokei einai arista (12.215). Achilles, before comparing himself to a bird, uses the similar phrase autar egōn ereō hōs moi dokei einai arista (9.314). Like the augurs, Achilles draws a moral from the depiction of the bird; his individual shaping consists in pointing the moral toward himself and toward the past, not the future, as both Odysseus and Polydamas do in their augury speeches (Martin 1993:204).

For the bird simile in Achilles' speech, see the comment on Iliad 9.323-326.

References

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

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Sarpedon's famous defense of the heroic code at 12.310-28 was a key passage in Adam Parry's argument about the "language of Achilles." Parry found that all Iliadic heroes agreed on the main point of Sarpedon's speech—that honor equals tangible goods—and then compared this universal agreement to Homer's formulaic style, arguing that Achilles' disillusionment with this system put him outside the "common language." Claus subsequently pointed out that Achilles and Sarpedon express a vision of heroism that is in fact akin, in its assumption that the hero battles not just for his own glory and gain, but for the honor of having benefited his companions without "pay," and that the two can speak different formulas and use various rhetorical devices and still express the same point of view. The rhetorical questions at 12.310-14, moreover, find a close parallel in Achilles' questions at 9.337-39; yet Achilles asks essentially the same question three times in succession, and this expansion—not the questioning itself—is what is truly idiosyncratic (Martin 1993:152-53, 204).

For the broader analysis of Achilles' reply, see the comment on Iliad 9.307-429.

References

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

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