Iliad 15.312

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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.) — 15.312 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.) — 15.312 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.) — 15.281 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.312 focus
The Argives held together and stood their ground. The cry of battle rose high from either side, and the arrows flew from the bowstrings. Many a spear sped from strong hands [315] and fastened in the bodies of many a valiant warrior, while others fell to earth midway, before they could taste of man’s fair flesh and glut themselves with blood. So long as Phoebus Apollo held his aegis quietly and without shaking it, the weapons on either side took effect and the people fell, [320] but when he shook it straight in the face of the Danaans and raised his mighty battle-cry their hearts fainted within them and they forgot their former prowess. As when two wild beasts spring in the dead of night on a herd of cattle or a large flock of sheep [325] when the herdsman is not there—even so were the Danaans struck helpless, for Apollo filled them with panic and gave victory to Hector and the Trojans.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.312 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 15.312 focus
The Greeks expect the shock; the clamours rise
From different parts, and mingle in the skies.
355
Dire was the hiss of darts, by heroes flung,
And arrows leaping from the bow-string sung;
These drink the life of generous warriors slain;
Those guiltless fall, and thirst for blood in vain.
As long as Phoebus bore unmov'd the shield,
360
Sat doubtful Conquest hovering on the field;
But when aloft he shakes it in the skies,
Shouts in their ears, and lightens in their eyes,
Deep horror seizes every Grecian breast,
Their force is humbled, and their fear confess'd.
365
So flies a herd of oxen, scatter'd wide,
No swain to guard them, and no day to guide,
When two fell lions from the mountain come,
And spread the carnage through the shady gloom.
Impending Phoebus pours around them fear,
370
And Troy and Hector thunder in the rear.
Heaps fall on heaps: the slaughter Hector leads;
First, great Arcesilas, then Stichius bleeds;
One to the bold Boeotians ever dear,
And one Menestheus' friend, and fam'd compeer.
375
Medon and Iäsus, Æneas sped;
This sprung from Phelus, and th' Athenians led;
But hapless Medon from Oïleus came;
Him Ajax honour'd with a brother's name,
Though born of lawless love: from home expell'd,
380
A banish'd man, in Phylacé he dwell'd,
Press'd by the vengeance of an angry wife;
Troy ends, at last, his labours and his life.
Mecystes next, Polydamas o'erthrew;
And thee, brave Clonius! great Agenor slew.
385
By Paris, Deïochus inglorious dies,
Pierc'd through the shoulder as he basely flies.
Polites' arm laid Echius on the plain;
Stretch'd on one heap, the victors spoil the slain.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.312 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.312 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

New Alexandria Commentaries

Gregory Nagy

The climax of the fighting in the Iliad is now approaching. Patroklos is about to enter the war, and the Will of Zeus is about to be fulfilled.

draft js image errorAjax defending the ships of the Greeks. After a drawing by John Flaxman. Image via Wikimedia Commons.

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The three-way division of the cosmos among the sons of Kronos is an example of various models of tripartition as studied in later comments.

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The ships of the Achaeans are beached along the shores of the bay of the Hellespont. See especially the comment on I.08.220–227.

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As foretold at I.15.059–060, the god Apollo is engaged here in the act of en-pneîn ‘breathing into’ the hero Hector something called menos ‘mental power’, I.15.262. To be compared is the intervention of the goddess Athena, earlier at I.10.482. Now too, at I.15.262, such ‘mental power’ makes the hero aware of his physical power and thus energizes him to perform heroic deeds.

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Leonard Muellner

mēnis and hierarchy – here between Zeus and Poseidon

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mēnis and hierarchy – here between Zeus and Poseidon

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in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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mēnis and hierarchy – here between Zeus and Poseidon

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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mēnis and hierarchy – here between Zeus, Poseidon and Hades (timē)

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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mēnis and hierarchy, here between Zeus, Poseidon and Hades (timē) vs. between Zeus and his own children

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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comparison of Poseidon and Achilles in the first giving in and the second not giving in to Zeus and Agamemnon, respectively (hupeikein)

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the diction used to express the mēnis theme in the relationship between Zeus and Poseidon (in the context of analyzing the parallelism of Poseidon and Achilles)

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the grief (akhos) of Poseidon and Achilles at the disregard of their equal status in the community and the abuse of the communal division as analogous

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the diction used to express the mēnis theme in the relationship between Zeus and Poseidon (in the context of analyzing the parallelism of Poseidon and Achilles)

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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Richard Martin

Iris tells Poseidon she will bring his declaration of status (muthos, 15.202) back to Zeus, then asks whether he will not reconsider, adding a gnomic caution: "Pliable are the minds of fine people. You know how the Erinyes always follow elders" (15.203-4). Poseidon replies, "Iris, you have in proportion (kata moiran) spoken this epos"—he refers to the gnomic utterance, not to the description of what Iris intends, as becomes clear from his next line, a capping gnomic verse: "It is also fine when a messenger knows suitable things (aisima)." Many of the discourses labeled with the term epos center around a gnomic one- or two-line utterance (Martin 1993:42).

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Along with his excellence at the javelin, Thoas excels in speech: "Few of the Achaeans would beat him at speaking, whenever they used to engage in strife concerning muthoi" (15.283-84). The word for this style of speech connected with muthoi here is also used precisely for a place—the public arena of speech (Martin 1993:37).

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At 15.284-85, Thoas is described as a good speaker "whenever young men engage in strife (erisseian) concerning speech-acts (muthoi)." This narrative phrase alludes to the agonistic quality of muthoi directly: such muthoi are not only the various proposals brought forward by potential commanders but also the counterarguments that denigrate others' commands. One can "engage in strife" about them not only in terms of content but in the matter of their style. The difference between a muthos command and a flyting speech may at times be minimal, since every instance of the former, even those by Zeus, is open to challenge. The two genres thus complement one another (Martin 1993:68-69).

For the broader analysis of the flyting genre, 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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