Homer Iliad 12.277

A. T. Murray (Translator)

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

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.) — 12.277 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.) — 12.290 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.277 focus
Thus did the two go about shouting and cheering the Achaeans on. As the flakes that fall thick upon a winter’s day, when Zeus is minded [280] to snow and to display these his arrows to humankind—he lulls the wind to rest, and snows hour after hour till he has buried the tops of the high mountains, the headlands that jut into the sea, the grassy plains, and the tilled fields of men; the snow lies deep upon the forelands, and havens of the gray sea, [285] but the waves as they come rolling in stay it that it can come no further, though all else is wrapped as with a mantle so heavy are the skies with snow— even thus thickly did the stones fall on one side and on the other, some thrown at the Trojans, and some by the Trojans at the Achaeans; and the whole wall was in an uproar.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.277 focus
Thus in the van they shouted, and awoke
New courage in the Greeks. As when the flakes
Of snow fall thick upon a winter-day,
335
When Jove the Sovereign pours them down on men,
Like arrows, from above; - he bids the wind
Breathe not; continually he pours them down,
And covers every mountain-top and peak,
And flowery mead, and field of fertile tilth,
340
And sheds them on the havens and the shores
Of the gray deep; but there the waters bound
The covering of snows, - all else is white
Beneath that fast-descending shower of Jove; —
So thick the shower of stones from either side
345
Flew toward the other, - from the Greeks against
The Trojans, and from them against the Greeks;
And fearful was the din along the wall.
Yet would illustrious Hector and the men
Of Troy have failed to force the gates and burst
350
The bar within, had not all-seeing Jove
Impelled his son Sarpedon to attack
The Greeks as falls a lion on a herd
Of horned beeves. The warrior held his shield,
A brazen orb, before him, - beautiful,
355
And fenced with metal; for the armorer laid
Broad plates without, while under these he sewed
Bull's-hides the toughest, edged with golden wires
Upon the rim. With this the warrior came,
Wielding two spears. As when a lion, bred
360
Among the mountains, fasting long from flesh,
Comes into the fenced pastures, without fear,
To prey upon the flock; and though he meet
The shepherds keeping watch with dogs and spears,
Yet will he not be driven thence until
365
He makes a spring into the fold and bears
A sheep away, or in the act is slain,
Struck by a javelin from some ready hand; -
Sarpedon, godlike warrior, thus was moved
By his great heart to storm the wall and break
370
Through the strong barrier; and to Glaucus, son
Of Lycia's king Hippolochus, he said: -
"Why, Glaucus, are we honored, on the shores
Of Lycia, with the highest seat at feasts,
And with full cups? Why look men up to us
375
As to the gods? And why do we possess
Broad, beautiful enclosures, full of vines
And wheat, beside the Xanthus? Then it well
Becomes us, foremost in the Lycian ranks
To stand against the foe, where'er the fight
380
Is hottest; so our well-armed Lycian men
Shall say, and truly: 'Not ingloriously
Our kings bear rule in Lycia, where they feast
On fatlings of the flock, and drink choice wine;
For they excel in valor, and they fight
385
Among our foremost.' O my friend, if we,
Leaving this war, could flee from age and death,
I should not here be fighting in the van,
Nor would I send thee to the glorious war;
But now, since many are the modes of death
390
Impending o'er us, which no man can hope
To shun, let us press on and give renown
To other men, or win it for ourselves!"
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.277 focus
Their ardour kindles all the Grecian powers;
And now the stones descend in heavier showers.
330
As when high Jove his sharp artillery forms,
And opes his cloudy magazine of storms;
In winter's bleak uncomfortable reign,
A snowy inundation hides the plain;
He stills the winds, and bids the skies to sleep;
335
Then pours the silent tempest, thick and deep:
And first the mountain tops are cover'd o'er,
Then the green fields, and then the sandy shore;
Bent with the weight the nodding woods are seen,
And one bright waste hides all the works of men:
340
The circling seas alone absorbing all,
Drink the dissolving fleeces as they fall.
So from each side increas'd the stony rain,
And the white ruin rises o'er the plain.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.277 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.277 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.277 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

Notes on the current edition

Iliad

1. 565.2

New Alexandria Commentaries

Gregory Nagy

At the very beginning of Iliad 12, we modern readers may find that we have suddenly hit a wall—the Achaean Wall. It seems difficult for us to understand what the Master Narrator of the Iliad is really saying when he foretells the future destruction or deconstruction of this structure. And the main obstacle to our understanding here is not the presence of the Achaean Wall in the Iliad but rather its foretold absence—after all is said and done in the narrative. For the ancients who heard the Iliad narrated to them, by contrast, the future absence of the Achaean Wall was perfectly understandable in terms of the narration itself. And that is because the Master Narrator presupposes that there is no Achaean Wall to be seen in the Trojan landscape at the time of narration. Such a presupposition shapes the narrative of Iliad 12—and in fact it shapes the whole narrative of the Iliad. The setting for this narrative remains the world of heroes, which is larger-than-life because it is situated in the heroic past, but the setting for the actual narration of this narrative is the post-heroic world of a present time as figured by the Master Narrator himself. The staging of the heroic world by the Master Narrator is comparable to what is called the mise-en-scène in the traditions of French theater and film. And the predominant feature of the Iliadic mise-en-scène or scenery is the Achaean Wall, not the Trojan Wall. That is why the building of this structure by the Achaeans in Iliad 7 had been opposed by the gods Poseidon and Apollo, the original builders of the Trojan Wall. But the Achaean Wall needed to be built by the Achaeans to protect them and their ships from the fire of Hector—which would not be threatening them if Achilles had not been insulted by Agamemnon in Iliad 1. If we think of the overall plot of the Iliad as a scenario, then the Achaean Wall can be seen as an integral feature of the scenery for this scenario.

draft js image error“Siege of the Greek Camp.” Crispijn van de Passe (I) (1613). Public domain image, via Rijks Museum. (https://www.rijksmuseum.nl/en/collection/RP-P-OB-16.043)

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The objective of the hero Sarpedon, as he declares here at I.12.318 to his fellow warrior Glaukos, is that the two of them must not be akléees ‘without epic glory [kleos]’. The people whom the two of us rule in Lycia, he continues, must recognize such an objective. This way, the tīmē ‘honor’ that the two of us receive in Lycia, I.12.310 (τετιμήμεσθα), which is a sign of our status there as cult heroes, will be matched by the kleos ‘glory’ that the two of us will receive as epic heroes here in the Iliad.

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The reference here to Sarpedon’s diet of mutton in the context of his dwelling in his native land of Lycia can be correlated with archaeological evidence showing that cult heroes received from their worshippers primarily the meat of sheep that were sacrificially slaughtered in rituals of hero cult.

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The wording of Sarpedon implies here that he is already assured of immortalization as a cult hero, but now he desires another form of immortalization as well, which is the immortal fame conferred by the medium of epic. Sarpedon now thinks that such fame is worth dying for, right away.

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Leonard Muellner

analysis of the meaning and uses of piphauskesthai (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai), in this verse as ‘show, reveal’

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analysis of kēla as weapons that are thrown pieces of fire

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Richard Martin

Sarpedon's famous defense of the heroic code at 12.310-28 was a key passage in Adam Parry's argument about the "language of Achilles." Parry found that all Iliadic heroes agreed on the main point of Sarpedon's speech—that honor equals tangible goods—and then compared this universal agreement to Homer's formulaic style, arguing that Achilles' disillusionment with this system put him outside the "common language." Claus subsequently pointed out that Achilles and Sarpedon express a vision of heroism that is in fact akin, in its assumption that the hero battles not just for his own glory and gain, but for the honor of having benefited his companions without "pay," and that the two can speak different formulas and use various rhetorical devices and still express the same point of view. The rhetorical questions at 12.310-14, moreover, find a close parallel in Achilles' questions at 9.337-39; yet Achilles asks essentially the same question three times in succession, and this expansion—not the questioning itself—is what is truly idiosyncratic (Martin 1993:152-53, 204).

For the broader analysis of Achilles' reply, see the comment on Iliad 9.307-429.

References

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

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