Homer Iliad 14.475

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.) — 14.475 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.) — 14.475 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.475 focus
But he knew well who it was, and the Trojans were greatly vexed with grief. Akamas then bestrode his brother’s body and wounded Promakhos the Boeotian with his spear, for he was trying to drag his brother’s body away. Akamas vaunted loudly over him saying, “Argive archers, braggarts that you are, [480] toil and suffering shall not be for us only, but some of you too shall fall here as well as ourselves. See how Promakhos now sleeps, vanquished by my spear; payment for my brother’s blood has not long delayed; a man, therefore, may well be thankful [485] if he leaves a kinsman in his house behind him to avenge his fall.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.475 focus
He spake; but well he knew the slain. Meanwhile
The Trojans heard and grieved. Then Acamas,
Stalking around his fallen brother, slew
Promachus, the Bœotian, with his spear,
While dragging off the dead man by the feet.
590
Then o'er the fallen warrior, Acamas
Boasted aloud: "O measureless in threats!
Bowmen of Argos! not to us alone
Shall woe and mourning come; ye also yet
Will perish. See your Promachus o'erthrown,
595
And by my spear, that so my brother's death
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.475 focus
He spake, and smil'd severe, for well he knew
The bleeding youth: Troy sadden'd at the view.
But furious Acamas aveng'd his cause;
As Promachus his slaughter'd brother 1 draws,
560
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.475 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.475 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.475 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

New Alexandria Commentaries

Gregory Nagy

The momentum of the attacking Trojan warriors gets stalled here, since Hērā interrupts the ongoing Plan of Zeus. The goddess seduces the god, and the setting for their divine sexual encounter is the spectacular landscape of Mount Ida, which is the private abode of the thundering almighty. During the tryst of the god and the goddess, the Achaeans regain the upper hand in the fighting. But this new momentum is soon headed for a downturn. The divine interruption, despite all its cosmic sexual energy, becomes retrospectively a mere interlude in the narrative arc of the Iliad—once the tryst is over and the Plan of Zeus resumes its relentless course of action.

draft js image errorJuno and Jupiter. Detail from “Loves of the Gods,” fresco by Annibale Carracci (1560–1609). Annibale Carracci [Public domain], via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Carracci_-_Jupiter_et_Junon.jpeg.

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To be added is a relevant comment.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

This re-invocation of the Muses signals a false start, since the interlude of the sexual encounter between Zeus and Hērā has resulted in a reversal of fortunes that is not to last for long. Right now, while Zeus is asleep after having made love to Hērā, the temporary intervention of Poseidon on the side of the Achaeans results in a compressed sequence of clipped narratives featuring only a few personal victories for only a few Achaean heroes. At I.14.509–510, the Master Narrator is asking the Muses: which one of the Achaeans has the first of these personal victories? The answer comes right away at I.14.511: Ajax son of Telamon is the first. What follows at I.14.511–512 is a most abbreviated narrative about this personal victory of Ajax, and what follows after that is a string of comparably abbreviated narratives about further personal victories achieved by five other Achaeans, I.14.513–522. Then, once these abbreviated narratives are completed, Iliad 14 comes to a hasty end. As soon as Iliad 15 begins, Zeus will be waking up, I.15.004–005. But before the god awakens, we see within the abbreviated space of I.14.513-522 a series of five more Achaeans achieving their own personal victories. Their victories, together with the initial victory of Ajax, are narrated at a pace that is noticeably hurried. There is no time to lose, and that is because, as already noted, Zeus will soon be waking up, I.15.004–005. Once the god does awaken, the momemtum will belong once again to the Trojans. So, the Achaeans benefit here only from a temporary upswing, which will soon be followed by another downswing.

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Leonard Muellner

in a list of examples of formulas for introducing a speech by an eukhomenos warrior, which Paris’ name-epithet formulas do not fit (in the context of analyzing I.11.379)

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analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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in a list of secular eukhesthai reporting speech (absolute usage)

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in a list of secular eukhesthai indicating direct speech (concluding speech)

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analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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in a list of secular eukhesthai indicating direct speech (introducing speech)

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analysis of the meaning of eukhesthai (formulas) in statements that the speaker has killed the warrior he stands over

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