Iliad 15.592

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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.) — 15.592 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.) — 15.592 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.) — 15.592 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.592 focus
The Trojans, fierce as lions, were still rushing on towards the ships in fulfillment of the behests of Zeus who kept spurring them on to new deeds of daring, [595] while he deadened the courage of the Argives and defeated them by encouraging the Trojans. For he meant giving glory to Hector, son of Priam, and letting him throw fire upon the ships, till he had fulfilled the unrighteous prayer that Thetis had made him; Zeus, therefore, bided his time [600] till he should see the glare of a blazing ship. From that hour he was about so to order that the Trojans should be driven back from the ships and to grant glory to the Achaeans. With this purpose he inspired Hector, son of Priam, who was eager enough already, to assail the ships. [605] His fury was as that of spear-shaking Arēs, or as when a fire is raging in the glades of some dense forest upon the mountains; he foamed at the mouth, his eyes glared under his terrible eye-brows, and his helmet quivered on his temples by reason of the fury with which he fought. [610] Zeus from the heavens was with him, and though he was but one against many, granted him victory and glory; for he was doomed to an early death, and already Pallas Athena was hurrying on the hour of his destruction at the hands of the son of Peleus. [615] Now, however, he kept trying to break the ranks of the enemy wherever he could see them thickest, and in the goodliest armor; but do what he might he could not break through them, for they stood as a tower foursquare, or as some high cliff rising from the gray sea that braves the anger of the gale, [620] and of the waves that thunder up against it. He fell upon them like flames of fire from every quarter. As when a wave, raised mountain high by wind and storm, breaks over a ship and covers it deep in foam, [625] the fierce winds roar against the mast, the hearts of the sailors fail them for fear, and they are saved but by a very little from destruction—even so were the hearts of the Achaeans fainting within them. [630] Or as a savage lion attacking a herd of cows while they are feeding by thousands in the low-lying meadows by some wide-watered shore—the herdsman is at his wit’s end how to protect his herd and keeps going about now in the van and now in the rear of his cattle, [635] while the lion springs into the thick of them and fastens on a cow so that they all tremble for fear—even so were the Achaeans utterly panic-stricken by Hector and father Zeus. Nevertheless Hector only killed Periphetes of Mycenae; he was son of Kopreus [640] who was wont to take the orders of King Eurystheus to mighty Hēraklēs, but the son was far better in excellence [ aretē] than the father in every way; he was fleet of foot, a valiant warrior, and in understanding [ noos] ranked among the foremost men of Mycenae. He it was who then afforded Hector a triumph, [645] for as he was turning back he stumbled against the rim of his shield which reached his feet, and served to keep the javelins off him. He tripped against this and fell face upward, his helmet ringing loudly about his head as he did so. Hector saw him fall and ran up to him; [650] he then thrust a spear into his chest, and killed him close to his own comrades. These, for all their sorrow, could not help him for they were themselves terribly afraid of Hector.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.592 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 15.592 focus
Now on the fleet the tides of Trojans drove,
Fierce to fulfil the stern decrees of Jove:
The sire of gods, confirming Thetis' prayer,
The Grecian ardour quench'd in deep despair;
715
But lifts to glory Troy's prevailing bands,
Swells all their hearts, and strengthens all their hands.
On Ida's top he waits with longing eyes,
To view the navy blazing to the skies;
Then, nor till then, the scale of war shall turn,
720
The Trojans fly, and conquer'd Ilion burn.
These fates revolv'd in his almighty mind,
He raises Hector to the work design'd,
Bids him with more than mortal fury glow,
And drives him, like a lightning, on the foe.
725
So Mars, when human crimes for vengeance call,
Shakes his huge javelin, and whole armies fall.
Not with more rage a conflagration rolls,
Wraps the vast mountains, and involves the poles.
He foams with wrath; beneath his gloomy brow
730
Like fiery meteors his red eyeballs glow:
The radiant helmet on his temple burns,
Waves when he nods, and lightens as he turns:
For Jove his splendour round the chief had thrown,
And cast the blaze of both the hosts on one.
735
Unhappy glories! for his fate was near,
Due to stern Pallas, and Pelides' spear:
Yet Jove deferr'd the death he was to pay,
And gave what Fate allow'd, the honours of a day!
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.592 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.592 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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comment on the collocation ornuthi laous (as in this verse) and the name Orsilaos in the context of analyzing the meaning of Menelaos

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

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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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Even though the attacking Trojans here are fewer in number than the defending Achaeans, they are evenly matched in strength. This detail is relevant to the taunt of Sthenelos when he insults Agamemnon at I.04.407. See the comment on I.04.368–410.

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Hector and Ajax are struggling one-on-one with each other here: Hector is trying to set on fire the ship that Ajax is protecting from the fire. No clear outcome of the struggle is as yet visible.

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The ships of the Achaeans, as a sum total of all the ships, are pictured here as an agōn in the sense of ‘coming together’. See the comment on I.23.257–258.

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Hector is throwing his spear at the hero Ajax but misses, and the flying spear hits instead the hero Lykophron, described here as the therapōn of Ajax, I.15.431. So, Lykophron as therapōn is not only the ‘attendant’ of Ajax but also his ‘ritual substitute’. When Lykophron “takes the hit” for Ajax, he is standing right next to him, as if the two of them were standing side by side on the platform of a chariot. It is the physical reality of thus standing side by side that makes the chariot driver the prime alternative target for “taking the hit” in place of the chariot fighter. The chariot driver is thus the perfect substitute for the chariot fighter. In this case, however, Ajax and Lykophron are standing side by side not on the platform of a chariot but on the deck of the beached ship that the two of them are defending from the fire of Hector. The venue for ritual substitution is different, but the ritual pose, as it were, of standing side by side remains the same.

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What follows is an epitome from HC 4§268. These verses containing the words of Hector, I.15.494–499, are quoted in a speech delivered by the Athenian statesman Lycurgus, Against Leokrates (103). The context is this: Lycurgus is arguing that the beautiful death foreseen by Hector, his belle mort, can be pictured as a model for Athenians when they contemplate the possibility that they too will die when they fight their wars. Lycurgus refers to the willingness of Athenian citizens to die in war not only for their own patris ‘fatherland’ but also for all of Hellas as a patris ‘fatherland’ that is koinē ‘common’ to all Hellenes (Against Leokrates 104). Lycurgus invokes as his prime example the belle mort of the Athenian citizen-warriors who fought at Marathon and who thereby won for Hellas a freedom from terror, an adeia ‘security’ that is koinē ‘common’ to all Hellenes (104). The Athenian statesman is making this reference to the interests of Athens in the context of actually quoting the words of Hector in the Iliad, who says that he is willing to die for his fatherland in order to protect it against the Achaeans (Lycurgus Against Leokrates 103 lines 4–9). These heroic words of Hector correspond to I.15.494–499 here, and Lycurgus quotes them in the larger context of saying that the Homeric Iliad and Odyssey, as performed at the quadrennial Athenian festival of the Panathenaia, are the ancestral heritage of the Athenians and the primary source of their education as citizen-warriors (Against Leokrates 102). In this invocation of Homeric poetry as the most sublime expression of the Athenian empire, the statesman is quoting the words of a Trojan, not the words of an Achaean. It is the belle mort of Hector that motivates the Athenians to live up to the heroic legacy they learn from Homer.

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In urging his fellow-warriors to fight on, Ajax says that there is no ownership of kleos ‘glory’ for those who flee in battle. The implications here are most threatening for the epic reputation of Ajax, since the momentum of the fighting will soon be forcing him into making a strategic partial withdrawal, I.16.122: see the comment on I.16.122–124.

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This adjective is conventionally associated with the war-god Ares, pictured as the swiftest of runners.

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Zeus has been waiting for the selas ‘flash of light’. It will appear when the first of the beached Achaean ships is set on fire, I.15.600. Once the god sees that fire with his own eyes, his promise to Thetis will be fulfilled. He will have given to Achilles the honor that he had promised when he had nodded his head to indicate his plan, which was the Will of Zeus up until now. But now the paliōxis or ‘driving back’ of the Trojans by the counterattacking Achaeans, I.15.601, can get underway, I.15.602. On the technical function of paliōxis or ‘driving back’ as a poetic term referring to a specific part of the Iliadic narration, see I.15.069 and the comment on I.15.056–077. And now the kūdos ‘sign of glory’ will shift away from the Trojans and return to the Achaeans, I.15.602. Earlier, at I.12.255, the kūdos ‘sign of glory’ had gone over to the Trojans. See the comment on I.12.255–257.

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

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examples of the identical contexts in which eukhos and kudos occur

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examples of the identical contexts in which eukhos and kudos occur

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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 passages exemplifying the complementary metrical distribution of eukhos and kudos

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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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