Iliad 15.405

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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.) — 15.405 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.) — 15.405 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.) — 15.377 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.405 focus
When he had thus spoken he went his way. The Achaeans stood firm and resisted the attack of the Trojans, yet though these were fewer in number, they could not drive them back from the ships, neither could the Trojans break the Achaean ranks and make their way in among the tents and ships. [410] As a carpenter’s line gives a true edge to a piece of ship’s timber, in the hand of some skilled workman whom Athena has instructed in all kinds of useful arts—even so level was the issue of the fight between the two sides, as they fought some round one and some round another.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.405 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 15.405 focus
He spoke; and, speaking, swifter than the wind
Sprung from the tent, and left the war behind.
Th' embodied Greeks the fierce attack sustain,
470
But strive, though numerous, to repulse in vain:
Nor could the Trojans, through that firm array,
Force, to the fleet and tents, th' impervious way.
As when a shipwright, with Palladian art,
Smooths the rough wood, and levels every part:
475
With equal hand he guides his whole design,
By the just rule, and the directing line:
The martial leaders, with like skill and care,
Preserv'd their line, and equal kept the war.
Brave deeds of arms through all the ranks were tri'd,
480
And every ship sustain'd an equal tide.
At one proud bark, high-towering o'er the fleet,
Ajax the great and godlike Hector meet:
For one bright prize the matchless chiefs contend,
Nor this the ships can fire, nor that defend;
485
One kept the shore, and one the vessel trod;
That fix'd as fate, this acted by a god.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.405 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.405 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

New Alexandria Commentaries

Douglas Frame

example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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comment on the employment of the Achaean wall and its breach to mark a stage in the development of the story in Book 12 and here, and its illustrating the separate development of the story in the two segments

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here with regard to prayers for nostos from Troy

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here with regard to prayers for nostos from Troy

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here Trojans’ misunderstanding of the sign as favorable to their attack

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parallelism between Nestor and Patroclus in scenes where they both leave their patients, and, in this passage, Patroclus’ repeating Nestor’s advice

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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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As the divine artisan or craftsman, the god Hephaistos is conventionally called a khalkeus ‘bronze-smith’, as here. It will become clear from later contexts, like I.18.474–475, that this appelation of the god does not restrict him to work in bronze: he works in other metals as well. See the comment on I.18.468–613.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē. Here, as elsewhere, it refers to the elemental force or violence of a storm.

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As we see here, the sterns of the beached ships are contiguous with the Achaean Wall. See also the comment at I.14.027–036.

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A nameless therapōn is mentioned here in passing: he happens to be the ‘attendant’ of the hero Eurypylos.

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Leonard Muellner

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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analysis of philotēs and timē going together with this passage as an example

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which I.15.374 belongs)

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analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor)

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in a list of passages with eukhesthai + infinitive (aorist)

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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analysis of interconnections of themis and mēnis, which protects the former

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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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