Homer Iliad 11.210

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

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Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 11.210 focus
Translations (8)
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.) — 11.210 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.210 focus
Hector leapt out of his chariot, armor and all, brandishing his spear as he went about everywhere among the army of warriors, cheering his men on to fight, and stirring the dread strife of battle. The Trojans then wheeled round, and again met the Achaeans, [215] while the Argives on their part strengthened their battalions. The battle was now in array and they stood face to face with one another, Agamemnon ever pressing forward in his eagerness to be ahead of all others.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.210 focus
So the fleet Iris spake, and went her way;
While Hector, leaping from his car in arms,
And wielding his sharp spears, went everywhere
250
Among the Trojan ranks, exhorting them
To combat, and renewed the stubborn fight.
They rallied and stood firm against the Greeks.
The Greeks, in turn, made strong their phalanxes.
The battle raged again, as front to front
255
They stood, while Agamemnon eagerly
Pressed forward, proud to lead the van in fight.
Say, Muses, dwellers of Olympus! who
First of the Trojans or their brave allies
Encountered Atreus' son? Iphidamas,
260
Son of Antenor, strong and daring, bred
On the rich soil of Thrace, the nurse of flocks.
His grandsire Cisseus, from whose loins the fair
Theano sprang, had reared him from a child
Within his palace; and, when he attained
265
Youth's glorious prime, still kept him, giving him
His child to wife. He wedded her, but left
At once the bridal chamber when he heard
Of the Greek war on Ilium, and set sail
With twelve beaked galleys. These he afterward
270
Left at Percope, - marching on to Troy.
And he it was who came to meet the son
Of Atreus. As the heroes now drew near
Each other, Agamemnon missed his aim;
His thrust was parried. Then Iphidamas
275
Dealt him beneath the breastplate on the belt
A vigorous blow, and urged the spear with all
His strength of arm; yet through the plated belt
It could not pierce, for there it met a plate
Of silver, and its point was turned like lead.
280
With lion strength, Atrides seized and drew
The weapon toward him, plucked it from the hand
That held it, and let fall his falchion's edge
Upon the Trojan's neck and laid him dead.
Unhappy youth! he slept an iron sleep, -
285
Slain fighting for his country, far away
From the young virgin bride yet scarcely his,
For whom large marriage-gifts he made, - of beeves
A hundred, and had promised from the flocks
That thronged his fields a thousand sheep and goats.
290
Atrides Agamemnon spoiled the slain,
And bore his glorious armor off among
The Argive host. Antenor's elder son,
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 11.210 focus
She said, and vanish'd: Hector with a bound,
Springs from his chariot on the trembling ground,
270
In clanging arms: he grasps in either hand
A pointed lance, and speeds from band to band;
Revives their ardour, turns their steps from flight,
And wakes anew the dying flames of fight.
They stand to arms: the Greeks their onset dare,
275
Condense their powers, and wait the coming war.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.210 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.210 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.210 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

Notes on the current edition

Iliad

1. 499.1

New Alexandria Commentaries

Gregory Nagy

Rhapsody 11 marks the point in the Iliad where Patroklos is drawn into a fatal pattern of impersonating Achilles. Pivotal is the story that Patroklos hears from the old hero Nestor. My comments here on Iliad 11 work around Nestor’s story at I.11.670–803 as analyzed in the book Hippota Nestor by Douglas Frame, 2009:105–130.

draft js image errorNestor and his sons sacrifice to Poseidon. Attic red-figure calyx-krater, ca. 400–380 BCE. © Marie-Lan Nguyen / Wikimedia Commons, via Wikimedia Commons.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

It has already been noted in the comment on I.02.484 that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition (see also Martin 1989:238). Such a moment is now at hand as Agamemnon the over-king is about to have his own moment of experiencing an ‘epic high point’. At such a moment, the Narrator must be ready to do his very best in recapturing that heroic experience. And, to express his readiness, the Narrator in all his self-awareness will now re-invoke the Muse or the Muses. In this context, the ‘I’ who is re-invoking the Muse(s) is meant to be seen as a re-enactment of ‘Homer’ himself, as originally enacted by the speaker who invokes the Muse at I.01.001 and at O.01.001.

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This narrative centers on the aristeiā ‘epic high point’ of Agamemnon in the Iliad. On aristeiā ‘epic high point’, see the comment on I.05.103.

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Even the most minor character in the Iliad—and the hero Iphidamas here is a striking example—is willing to die simply for the chance of getting included in the kleos ‘glory’ of the present performance, which is of course the Homeric Iliad itself. What makes the example of Iphidamas even more striking is that he is not even fighting on the Achaean side in this war.

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Richard Martin

When the poet describes the death of Iphidamas at Agamemnon's hands (11.243), the tone is that of the most haunting of Homeric obituaries: resigned, factual, yet tense with restrained emotion. The victim "fell and slept the bronze-hard sleep, pitiable man, away from young wedded wife, fighting for his townsmen—the wife, from whom he had no joy, though he had given much" (kouridiēs, hēs ou ti kharin ide, polla d' edōke). Here, as often, kharis signifies both pleasure and reciprocal giving, reciprocity itself being a "pleasure" in the world of Homeric epic and a sign that the cosmos is operating properly. Iphidamas is cut off from ever getting return on investment as much as he is cut off from the sweetness of a young wife, and the poet grieves for both losses. It is with this dual meaning of the word that one should approach the ending of 9.316, ouk ara tis kharis ēen. Achilles' words echo the poet's voice. Through his use of the abstract noun, the personal gripe about lack of payment grows into an elegiac statement of universal human lack (Martin 1993:213-14).

For the related uses of the kharis motif in Glaukos' speech (17.142-68) and its comparison with Achilles' use, see the comment on Iliad 9.315-316.

References

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

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