Iliad 13.266

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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.) — 13.266 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.) — 13.266 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.) — 13.266 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.266 focus
Then Meriones said, “I too in my tent and at my ship have spoils taken from the Trojans, but they are not at hand. I have been at all times valorous [270], and wherever there has been hard fighting have held my own among the foremost. There may be those among the Achaeans who do not know how I fight, but you know it well enough yourself.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.266 focus
The Cretan chief, Idomeneus, rejoined: -
"If spears thou seek, there stand within my tent
Twenty and one against the shining walls.
320
I took them from slain Trojans. 'Tis my wont
Never to fight at distance from the foe,
And therefore have I spears, and bossy shields,
And helms, and body-mail of polished brass."
Then spake in turn discreet Meriones: -
325
"Within my tent are also many spoils
Won from the Trojans, and in my black ship;
But they are far away. I do not think
That I forget what valor is. I fight
Among the foremost in the glorious strife
330
Where'er the battle calls me. Other men
Among the well-armed Greeks may not have seen
What I perform, but thou must know me well."
Idomeneus, the Cretan leader, spake:-
"I know thy courage well. What need hast thou
335
To speak as thou hast done? If all of us,
The bravest of the Greeks, were set apart
To form an ambush; - for an ambush tries
And shows men's valor; there the craven, there
The brave, is known; the coward's color comes
340
And goes; his spirit is not calm within
His bosom, so that he can rest awhile
And tremble not; he shifts his place; he sits
On both his feet; his heart beats audibly
Within his breast; his teeth at thought of death
345
Chatter; the brave man's color changes not,
Nor when with other warriors he sits down
In ambush is he troubled, but he longs
To rise and mingle in the desperate fray; -
For thee, in such an ambush, none could blame
350
Thy courage or thy skill. If there the foe
Should wound thee from afar, or smite thee near,
The weapon would not strike thy neck behind,
Or pierce thy back, but enter at thy breast
Or stomach, as thou wert advancing fast
355
Among the foremost. But enough of this.
Come! stand we here no longer, idiot-like,
Lest some one chide us sharply. Hasten thou,
And bring a sturdy javelin from the tent."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.266 focus
'Nor vain' (said Merion) 'are our martial toils;
'We too can boast of no ignoble spoils.
'But those my ship contains, whence distant far,
'I fight conspicuous in the van of war.
350
'What need I more? If any Greek there be
'Who knows not Merion, I appeal to thee.'
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.266 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.266 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

New Alexandria Commentaries

Douglas Frame

analysis of metheinai and contrasting it with loose-wittedness, and its application to Menelaus

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Gregory Nagy

The momentum of the Trojan onslaught led by Hector intensifies here, and the prospects of the Achaeans look grim, almost hopeless. Hector is so successful that he feels tempted, toward the end of Rhapsody 13, to equate himself with immortal gods. Meanwhile, the intensity of the narrative keeps pace, and the poetic virtuosity approaches the sublime.

draft js image errorHector and Polydamas. After a drawing by John Flaxman. Image via Wikimedia Commons.

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note that of 150 mentions of Aristarchean diórtōsis that Laum counted (Laum 1928.62) only this one reference refers to an accentual variation [MRBTP: A]

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reference to Aristarchus’ apparent belief that Homer was an Athenian who lived around 1000 BC. See Proclus F a 58-62 Severyns, cf. Life of Homer p. 244.13, p. 247.8 Allen [MRBTP: A]

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In this context, as also at I.13.201, the referents for the dual Aiante are Ajax the greater and Teukros, his bastard brother.

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See the note on I.13.197.

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Here the reference of Aiante shifts away from referring to the pair of Ajax the greater and Teukros. That is because the spotlight on the action shifts from Teukros to Ajax the lesser, so that the lesser Ajax can now become, retroactively, the implied second member of the dual Aiante.

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See anchor comment at I.05.077–078.

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The fear is expressed that the invading Achaean warriors could die nōnumnoi ‘nameless’ at Troy. On the connotations, which can be seen by way of comparing the Hesiodic Works and Days 146–155, see the comment on I.12.079.

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Zeus, in the act of launching his thunderbolt, can be visualized simultaneously in two ways, as here. First, he can be seen as casting his thunderbolt by throwing it with his own divine hand, I.13.243. But, second, he can be seen as casting his divine eye on his target, and his angry looks will thus launch his thunderbolt from within: that is the sense of the expression at I.13.244 here, ‘and his eyes [augai] are most visible [arizēloi]’ (ἀρίζηλοι δέ οἱ αὐγαί). The noun augai, which means literally ‘lights’, refers here to the eyes of Zeus, as also at I.13.837. On the expression the look of Zeus, see the comment on I.19.003–017.

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The lightning made by Zeus is a sēma ‘sign, signal’ that needs to be interpreted.

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In the immediate context, where Meriones is highlighted as therapōn of Idomeneus, only the surface meaning, ‘attendant’, is evident.

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Leonard Muellner

example of a common formula with a different half-line following it nine other times (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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Richard Martin

The exchange between the disguised Poseidon and Idomeneus illustrates the "recalled-speech" strategy in flyting. To the god's challenge, "Where are now the threats gone, with which the sons of the Achaeans threatened Trojans?" (13.219-20), Idomeneus replies, "No man is now responsible, as much as I know. For we all know how to war" (13.222-23). The first speech fits the pattern already seen in Achilles' address to the Myrmidons (16.200-201), and the reply attempts to answer the implied contrast between former boasts and present immobility, as if Idomeneus knows the full pattern of such flyting speeches even though it is not explicit here. This comparison shows that Agamemnon's speech in Book 19 answering a past rebuke (rather than a rebuke in the present that refers to the past) is a variation on the conventional flyting pattern—and that the neikos words still rankle in Agamemnon's mind (Martin 1993:73-74).

For the broader analysis of the flyting genre and the recalled-speech strategy, see the comment on Iliad 4.336-421.

References

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

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