Homer Iliad 14.402

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.

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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.) — 14.402 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.) — 14.378 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.402 focus
Hector first aimed his spear at Ajax, who was turned full towards him, nor did he miss his aim. The spear struck him where two bands passed over his chest— [405] the band of his shield and that of his silver-studded sword—and these protected his body. Hector was angry that his spear should have been hurled in vain, and withdrew under cover of his men. As he was thus retreating, Ajax son of Telamon struck him with a stone, [410] of which there were many lying about under the men’s feet as they fought—brought there to give support to the ships’ sides as they lay on the shore. Ajax caught up one of them and struck Hector above the rim of his shield close to his neck; the blow made him spin round like a top and reel in all directions. As an oak falls headlong when uprooted by the lightning flash of father Zeus, [415] and there is a terrible smell of brimstone—no man can help being dismayed if he is standing near it, for a thunderbolt is a very awful thing—even so did Hector fall to earth and bite the dust. His spear fell from his hand, but his shield and helmet were made fast about his body, [420] and his bronze armor rang about him.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.402 focus
At Ajax glorious Hector cast his spear,
As face to face they stood. It missed him not,
But struck him where two belts upon his breast
O'erlapped each other, that which held the shield
495
And that which bore the silver-studded sword.
These saved the tender muscles. Hector, vexed
That thus his weapon should have flown in vain,
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 14.402 focus
The first bold javelin, urg'd by Hector's force,
465
Direct at Ajax' bosom wing'd its course;
But there no pass the crossing belts afford,
(One brac'd his shield, and one sustain'd his sword.)
Then back the disappointed Trojan drew,
And curs'd the lance that unavailing flew:
470
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.402 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.402 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.402 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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After Hector faints, he ‘comes to’, as it were, and now his life’s breath returns to him. The verb that expresses this idea of revival is ana-pneîn (ἀμπνύνθη)—variant en-pneîn (ἐμπνύνθη)—in the sense of ‘taking a breath’—‘breathing in’. See the comment on I.05.795.

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