Iliad 13.424

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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.) — 13.424 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.) — 13.424 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.) — 13.361 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.424 focus
Idomeneus did not fail in his great menos, and he was roused all the time [425] either to enshroud some Trojan in the darkness of death, or himself to fall while warding off the evil day from the Achaeans. Then fell Alkathoös, son of noble Aisyetes: he was son-in-law to Anchises, having married his eldest daughter Hippodameia [430] who was the darling of her father and mother, and excelled all her generation in beauty, accomplishments, and understanding, wherefore the bravest man in all Troy had taken her to wife—him did Poseidon lay low by the hand of Idomeneus, [435] blinding his bright eyes and binding his strong limbs in fetters so that he could neither go back nor to one side, but stood stock still like pillar or lofty tree when Idomeneus struck him with a spear in the middle of his chest. The coat of mail [440] that had up to now protected his body was now broken, and rang harshly as the spear tore through it. He fell heavily to the ground, and the spear stuck in his heart, which still beat, and made the butt-end of the spear quiver till dread Arēs put an end to his life. [445] Idomeneus boasted over him and cried with a loud voice saying, “Deiphobos, since you are in a mood to boast, shall we cry quits now that we have killed three men to your one? No, sir, stand in fight with me yourself, that you may learn what manner of Zeus-begotten man am I that have come here. [450] Zeus first begot Minos, chief ruler in Crete, and Minos in his turn begot a son, noble Deukalion; Deukalion begot me to be a ruler over many men in Crete, and my ships have now brought me here, to be the bane of yourself, your father, and the Trojans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.424 focus
Meantime the valor of Idomeneus
Remitted not; he vehemently longed
To cover many a Trojan with the night
530
Of death, or fall himself with clashing arms,
In warring to defend the ships of Greece.
The brave Alcathoüs, the beloved son
Of Æsyetus, whom Anchises made
His son-in-law, - for he had given to him
535
Hippodameia, eldest-born of all
His daughters, whom her parents, while she dwelt
With them, loved dearly, fair and wise beyond
All other maidens of her age, and skilled
In household arts; so that the noblest prince
540
Of the broad Trojan kingdom made her his; -
Him, by the weapon of Idomeneus,
Did Neptune bring to death. The sparkling eyes
Grew dim, and stiffened were the shapely limbs,
For neither could he flee nor turn aside;
545
But as he stood before him, column-like,
Or like a towering tree, Idomeneus
Transfixed him in the bosom with his spear.
The brazen coat of mail gave way, which oft
Had saved him, breaking with a sharp, shrill sound
550
Before the severing blade. He fell to earth
With noise; the spear stood planted in his heart,
And as he panted quivered through its length,
Yet soon its murderous force was spent and still.
And then the victor boasted thus aloud :-
555
"Deiphobus, does this appear to thee
A fair return, when three are slain for one,
Or hast thou boasted idly? Yet do thou,
Vain as thou art, stand forth and face me here,
And I will teach thee of what race I am, —
560
An offshoot of the stock of Jove, whose son
Was Minos, guardian of our Crete, and he
Was father of the good Deucalion.
Deucalion's son am I, and I am king
O'er many men in the broad isle of Crete.
565
My galleys brought me thence to be the dread
Of thee, thy father, and the men of Troy."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.424 focus
Nor yet from fight Idomeneus withdraws;
Resolv'd to perish in his country's cause,
Or find some foe, whom heaven and he shall doom
535
To wail his fate in death's eternal gloom.
He sees Alcathoüs in the front aspire:
Great Æsyetes was the hero's sire:
His spouse Hippodamé, divinely fair,
Anchises' eldest hope, and darling care;
540
Who charm'd her parent's and her husband's heart,
With beauty, sense, and every work of art:
He, once, of Ilion's youth the loveliest boy,
The fairest she, of all the fair of Troy.
By Neptune now the hapless hero dies,
545
Who covers with a cloud those beauteous eyes,
And fetters every limb: yet bent to meet
His fate, he stands; nor shuns the lance of Crete.
Fix'd as some column, or deep-rooted oak,
(While the winds sleep,) his breast receiv'd the stroke.
550
Before the ponderous stroke his corslet yields,
Long us'd to ward the death in fighting fields.
The riven armour sends a jarring sound:
His labouring heart heaves with so strong a bound,
The long lance shakes, and vibrates in the wound:
555
Fast flowing from its source, as prone he lay,
Life's purple tide impetuous gush'd away.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.424 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.424 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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Here the title ‘best of the Achaeans’ is narrowed in scope: Teukros is ‘best of the Achaeans’ in archery.

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Idomeneus together with Meriones as his therapōn ‘attendant, ritual substitute’ take their stand side by side on the battlefield.

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The role of Zeus in awarding nīkē ‘victory’ is primary, while the corresponding role of Athena is secondary.

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While the hero Asios is fighting pezos ‘on foot’ against the Achaeans, I.13.385, the two horses that draw his chariot are right behind him, practically breathing down his neck—that is, down his shoulders. The driver of the horses is an unnamed hēni-okhos ‘chariot driver’, who is described as the therapōn ‘attendant, ritual substitute’ of Asios, I.13.386. After Asios is killed, I.13.386–393, and his corpse is just lying there in front of the horses that once drew his chariot, I.13.392, the focus reverts to the hēni-okhos ‘chariot driver’, I.13.394. Still standing on the chariot platform, the chariot driver freezes, failing to turn the chariot around and drive the horse team back to safety, I.13.394–396. The Achaean hero Antilokhos takes this opportunity to spear the chariot driver, who then falls out of the chariot, and now Antilokhos can mount the empty chariot and drive it away himself, horses and all, I.13.396–401.

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Variants like stenakhonta and stenakhonte at I.13.423 can be seen as formulaic—in terms of the overall system of Homeric diction.

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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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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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

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in a list of expressions which do not specify the speaker’s name, in the context of analyzing I.11.379 and demonstrating the functional equivalence of eukhesthai in (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio

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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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analysis of the meaning of eukhesthai (formulas) in statements that the speaker has killed the warrior he stands over

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in a list of secular eukhesthai indicating direct speech (concluding speech)

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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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