Homer Iliad 13.1

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

Iliad (English) (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.)

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.) — 13.1 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.) — 13.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.1 focus
Now when Zeus had thus brought Hector and the Trojans to the ships, he left them to their never-ending toil [ ponos], and turned his keen eyes away, looking elsewhere towards the horse-breeders of Thrace, [5] the Mysians, fighters at close quarters, the noble Hippemolgoi, who live on milk, and the Abians, most just of humankind. He no longer turned so much as a glance towards Troy, for he did not think that any of the immortals would go and help either Trojans or Danaans.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.1 focus
WHEN Jove had brought the Trojans and their chief,
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Hector, beside the ships, he left them there
To toil and struggle and endure, while he
Turned his resplendent eyes upon the land
Of Thracian horsemen, and the Mysians, skilled
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To combat hand to hand, and the famed tribe
Of long-lived Hippomulgi, reared on milk,
And the most just of men. On Troy no more
He turned those glorious eyes, for now he deemed
That none of all the gods would seek to aid
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Either the Greeks or Trojans in the strife.
The monarch Neptune kept no idle watch;
For he in Thracian Samos, dark with woods,
Aloft upon the highest summit sat,
O'erlooking thence the tumult of the war;
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For thence could he behold the Idean mount,
And Priam's city, and the Grecian fleet.
There, coming from the ocean-deeps, he sat,
And pitied the Greek warriors put to rout
Before the Trojans, and was wroth with Jove.
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Soon he descended from those rugged steeps,
And trod the earth with rapid strides; the hills
And forests quaked beneath the immortal feet
Of Neptune as he walked. Three strides he took,
And at the fourth reached Ægæ, where he stopped,
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And where his sumptuous palace-halls were built,
Deep down in ocean, golden, glittering, proof
Against decay of time. These when he reached,
He yoked his swift and brazen-footed steeds,
With manes of flowing gold, to draw his car,
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And put on golden mail, and took his scourge,
Wrought of fine gold, and climbed the chariot-seat,
And rode upon the waves. The whales came forth
From their deep haunts, and frolicked round his way:
They knew their king. The waves rejoicing smoothed
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A path, and rapidly the coursers flew;
Nor was the brazen axle wet below.
And thus they brought him to the Grecian fleet.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 13.1 focus
WHEN now the Thunderer on the sea-beat coast
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Had fix'd great Hector and his conquering host,
He left them to the fates, in bloody fray
To toil and struggle through the well-fought day.
Then turn'd to Thracia from the field of fight 1
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Those eyes that shed insufferable light,
To where the Mysians prove their martial force,
And hardy Thracians tame the savage horse;
And where the far-fam'd Hippemolgian 2 strays,
Renown'd for justice and for length of days.
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Thrice happy race! that, innocent of blood,
From milk innoxious seek their simple food:
Jove sees delighted; and avoids the scene
Of guilty Troy, of arms, and dying men:
No aid, he deems, to either host is given,
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While his high law suspends the powers of heaven.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

New Alexandria Commentaries

Douglas Frame

contrast between the end of Book 12/segment of Books 9-12 and the beginning of Book 13/segment of books 13-16, where the suspense is diminished by Zeus’ becoming distracted

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comparison of the openings of the expansions in Nestor’s story with other Homeric verses (the similarity of the expansions to Homeric formulas, here, variations of the formulaic patter esti de tis)

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Gregory Nagy

The momentum of the Trojan onslaught led by Hector intensifies here, and the prospects of the Achaeans look grim, almost hopeless. Hector is so successful that he feels tempted, toward the end of Rhapsody 13, to equate himself with immortal gods. Meanwhile, the intensity of the narrative keeps pace, and the poetic virtuosity approaches the sublime.

draft js image errorHector and Polydamas. After a drawing by John Flaxman. Image via Wikimedia Commons.

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Poseidon’s grand entrance here, as he drives his chariot team to the scene of battle, is comparable to other narratives about ceremonial arrivals by divinities. See HC 1§145, with a line drawing of an image painted on an Attic red-figure pyxis lid: unattributed, dated at around 425–375 BCE, Copenhagen, National Museum, 731. The image shows three goddesses—Hērā, Athena, and Aphrodite—arriving at the Judgment of Paris in their chariots drawn by customized chariot teams. Hērā is driving two horses; Athena, two serpents; and Aphrodite, two boyish Erōtes. Figure 10a shows the whole image, while Figure 10b shows a detail from that image.

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On the two warriors who are jointly named here by way of the dual form Aiante, see especially the comment on I.12.335–336.

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As noted in the comment on I.01.091, the meaning of the verb eukhesthai as ‘declare’ has to do with speaking for the record in the form of ‘boasting’ or ‘praying’ or ‘juridically declaring’ (Muellner 1976). According to the speaker here, who is the god Poseidon himself in the guise of Kalkhas, Hector aspires to be immortal by way of ‘boasting’, as expressed by the verb eukhesthai, that he is the son of the god Zeus.

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Leonard Muellner

in the context of analyzing the only place in the Homeric corpus where a dative noun after eukhesthai is not a god/gods (but Hektor, and this verse among references to his ‘godhead’)

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analysis of eukhesthai in genealogy statements as not used of false or speculative genealogy

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in a list of attestations of genos eukhesthai einai and its transformations

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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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in the context of comparing Homeric and Vedic poetic media, here regarding the genealogical statement with diuas putra/Dios pais (as in this verse)

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comment on the anomaly of the verse

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