Homer Iliad 12.400

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 12.400 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.) — 12.413 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.400 focus
Ajax and Teucer then both of them attacked him. Teucer hit him with an arrow on the band that bore the shield which covered his body, but Zeus saved his son from destruction that he might not fall by the ships’ sterns. Meanwhile Ajax sprang on him and pierced his shield, but the spear [405] did not go clean through, though it hustled him back that he could come on no further. He therefore retired a little space from the battlement, yet without losing all his ground, for he still thought to cover himself with glory. Then he turned round and shouted to the brave Lycians saying, “Lycians, why do you thus fail me? [410] For all my prowess I cannot break through the wall and open a way to the ships single-handed. Come close on behind me, for the more there are of us the better.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 12.400 focus
Ajax and Teucer saw, and both took aim
Together at Sarpedon: Teucer's shaft
480
Struck in the midst the buckler's glittering belt,
Just at the bosom; but Jove warded off
The death-stroke from his son, lest he should fall
Beside the galleys. Ajax, springing, struck
The buckler with his spear, and pierced its folds,
485
And checked the eager warrior, who gave way
A little, yet retreated not, but turned,
Encouraging the godlike Lycians thus: -
"Where, Lycians, is your fiery valor now?
Were I the bravest, it were hard, alone,
490
For me to force a passage to the fleet,
Though I have cleared the way. Come on with me!
Light is the task when many share the toil."
He spake; and they who reverenced his words
Of exhortation drew more closely round
495
Their counsellor and sovereign, while the Greeks
Above them made their phalanxes more strong
Within the wall, - for urgent was the need;
Since neither could the gallant Lycians break
The barrier of the Greeks, and cut their way
500
Through to the fleet, nor could the warlike Greeks
Drive back the Lycians when they once had reached
The rampart. As two men upon a field,
With measuring-rods in hand, disputing stand
Over the common boundary, in small space,
505
Each one contending for the right he claims,
So, kept asunder by the breastwork, fought
The warriors over it, and fiercely struck
The orbed bull's-hide shields held up before
The breast, and the light targets. Many a one
510
Was smitten when he turned and showed the back
Unarmed, and many wounded through the shield.
The towers and battlements were steeped in blood
Of heroes, - Greeks and Trojans. Yet were not
The Greeks thus put to flight; but, as the scales
515
Are held by some just woman, who maintains,
By spinning wool, her household, - carefully
She poises both the wool and weights, to make
The balance even, that she may provide
A pittance for her babes, - thus equally
520
Were matched the warring hosts, till Jupiter
Conferred the eminent glory of the day
On Hector, son of Priam. He it was
Who first leaped down into the space within
The Grecian wall, and, with far-reaching voice,
525
Thus shouted, calling to the men of Troy: -
“Rush on, ye knights of Troy! rush boldly on,
And break your passage through the Grecian wall,
And hurl consuming flames against their fleet!”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 12.400 focus
At once bold Teucer draws the twanging bow,
And Ajax sends his javelin at the foe:
490
Fix'd in his belt the feather'd weapon stood,
And through his buckler drove the trembling wood;
But Jove was present in the dire debate,
To shield his offspring, and avert his fate.
The prince gave back, not meditating flight,
495
But urging vengeance and severer fight;
Then, rais'd with hope, and fir'd with glory's charms,
His fainting squadrons to new fury warms:
'O where, ye Lycians! is the strength you boast?
'Your former fame, and ancient virtue lost!
500
'The breach lies open, but your chief in vain
'Attempts alone the guarded pass to gain:
'Unite, and soon that hostile fleet shall fall;
'The force of powerful union conquers all.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.400 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 12.400 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.400 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 12 focus

New Alexandria Commentaries

Anita Nikkanen

This simile contains the one instance of the adjective alēthēs in Homeric epic that is not applied directly to verbal communication, but to a person, a woman weighing wool with scales. The other instances of alēthēs show that it qualifies (the content of) speech, indicating that it denotes truthfulness in the sense of not forgetting what has been said in an uninterrupted continuum of time, and not letting anything slip by one without being mindful of its implications (and indeed, a-lēthēs and a-lētheia are to be understood in opposition to lēthē). Here, however, it can be seen to be applied by a logical extension to the agent of such communication, and so, to indicate the woman’s scrupulousness in her business transactions (so Cole).

Insofar as the simile and the wool-weighing woman illustrates the balance of the battle between the Greeks and the Trojans, there is a further dimension to her being alēthēs. The balance of and then the change in a battle is often represented through the image of Zeus weighing the two sides in scales (e.g. I.8.69-74, I.16.658, I.19.223-224, I.22.209-213), and this image of Zeus can be seen to be implied here, too, even if it is not explicitly presented as such: in lines 437-438 Zeus gives the upper hand to Hektor. Detienne argues that this image reflects the idea of the archaic king pronouncing justice, with which scales are likewise associated: such pronouncements of justice by the king are just and alēthēs. The model for this king is Zeus in his role of administering justice and judging between two sides, using his scales – and so the adjective is appropriate here, too, signaling the divine justness and alētheia of the judgement weighed in the scales. The application of the adjective alēthēs explicitly to the woman within the simile, then, presents her in the role of Zeus as a divine judge, transferring to the vehicle an attribute of the tenor. And the idea of pronouncing such judgements brings alēthēs here, too, back to the sphere of communication that excludes forgetting, ignoring, and failing to notice by its opposition to lēthē.

See further:

Cole, Thomas. 1983. “Archaic Truth.” Quaderni Urbinati di cultura classica n.s. 13:7-28.

Detienne, Marcel. 1973. Les maîtres de vérité dans la Grèce archaïque. Second edition. Paris: Maspero.

_. 1996. The Masters of Truth in Archaic Greece. Transl. Janet Lloyd. New York: Zone Books.

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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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See the comment at I.12.335–336.

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Most appropriately, Hector is the very first of the Trojan warriors to break through the Achaean Wall. See also anchor comment at I.12.188.

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Leonard Muellner

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

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