Homer Iliad 11.248

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Coön, Antenor's eldest hope, was nigh:
Tears at the sight came starting from his eye,
While pierc'd with grief the much-lov'd youth he view'd,
And the pale features now deform'd with blood.
Then with his spear, unseen, his time he took,
325
Aim'd at the king, and near his elbow struck.
The thrilling steel transpierc'd the brawny part,
And through his arm stood forth the barb'd dart.
Surpris'd the monarch feels, yet void of fear
On Coön rushes with his lifted spear:
330
His brother's corpse the pious Trojan draws,
And calls his country to assert his cause,
Defends him breathless on the sanguine field,
And o'er the body spreads his ample shield.
Atrides, marking an unguarded part,
335
Transfix'd the warrior with his brazen dart;
Prone on his brother's bleeding breast he lay,
The monarch's faulchion lopp'd his head away:
The social shades the same dark journey go,
And join each other in the realms below.
340

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

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.) — 11.248 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.) — 11.248 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.) — 11.210 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.248 focus
When noble Koön, Antenor’s eldest son, saw this, he felt grief [ penthos] [250] in his eyes at the sight of his fallen brother. Unseen by great Agamemnon he got beside him, spear in hand, and wounded him in the middle of his arm below the elbow, the point of the spear going right through the arm. Agamemnon was convulsed with pain, [255] but still not even for this did he leave off struggling and fighting, but grasped his spear that flew as fleet as the wind, and sprang upon Koön who was trying to drag off the body of his brother—his father’s son—by the foot, and was crying for help to all the bravest of his comrades; but Agamemnon struck him [260] with a bronze-shod spear and killed him as he was dragging the dead body through the press of men under cover of his shield: he then cut off his head, standing over the body of Iphidamas. Thus did the sons of Antenor meet their fate at the hands of the son of Atreus, and go down into the house of Hādēs.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.248 focus
Illustrious Coön, saw, and bitter grief
For his slain brother dimmed his eyes. He stood
295
Aside, with his spear couched, while unaware
The noble Agamemnon passed, and pierced
The middle of the monarch's arm below
The elbow; through the flesh the shining point
Passed to the other side. The king of men,
300
Atrides, shuddered, yet refrained not then
From combat; but with his wind-seasoned spear
He rushed on Coon, who, to drag away
His father's son Iphidamas, had seized
The body by the feet, and called his friends,
305
The bravest, to his aid. Atrides thrust
His brazen spear below the bossy shield,
And slew him as he drew the corpse, and o'er
The dead Iphidamas struck off his head.
Thus were Antenor's sons - their doom fulfilled -
310
Sent by Atrides to the realm of death.
And then he ranged among the enemy's ranks
With wielded lance and sword and ponderous steeds,
While yet the warm blood issued from his wound.
But when the wound grew dry, and ceased to flow
315
With blood, keen anguish seized his vigorous frame.
As when a woman feels the piercing pangs
Of travail brought her by the Ilythian maids,
Daughters of Juno, who preside at births,
And walk the ministers of bitter pains, -
320
Such anguish seized on Agamemnon's frame;
And, leaping to his chariot-seat, he bade
The guider of the steeds make haste to reach
The roomy ships, for he was overcome
With pain; but first he shouted to the Greeks:-
325
"O friends, the chiefs and princes of the Greeks!
Yours is the duty to drive back the war
From our good ships, since all-disposing Jove
Forbids me, for this day, to lead the fight."
He spake. The charioteer applied the lash,
330
And not unwillingly the long-maned steeds
Flew toward the hollow ships; upon their breasts
Gathered the foam; beneath their rapid feet
Arose the dust, as from the battle's din
They bore the wounded warrior. Hector saw
335
The flight of Agamemnon, and aloud
Called to the Trojans and the Lycians thus:-
"Trojan and Lycian warriors, and ye sons
Of Dardanus, who combat hand to hand,
Be men; be mindful of your fame in war.
340
Our mightiest foe withdraws; Saturnian Jove
Crowns me with glory. Urge your firm-paced steeds
On the brave Greeks, and win yet nobler fame."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.248 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.248 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.248 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

Notes on the current edition

Iliad

1. The goddesses that preside over child-birth.

New Alexandria Commentaries

Douglas Frame

this line as one of the counterexamples for identifying unmodified laos as one’s own

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this line as one of the counterexamples for identifying unmodified laos as one’s own, and with damnēmi together with laos

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Gregory Nagy

Rhapsody 11 marks the point in the Iliad where Patroklos is drawn into a fatal pattern of impersonating Achilles. Pivotal is the story that Patroklos hears from the old hero Nestor. My comments here on Iliad 11 work around Nestor’s story at I.11.670–803 as analyzed in the book Hippota Nestor by Douglas Frame, 2009:105–130.

draft js image errorNestor and his sons sacrifice to Poseidon. Attic red-figure calyx-krater, ca. 400–380 BCE. © Marie-Lan Nguyen / Wikimedia Commons, via Wikimedia Commons.

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The description of Hector here as comparable to the god Zeus himself with regard to mētis ‘mind, intelligence’ is an implicit affront to Athena, who is the divine personification of mētis. See the comments on I.06.286–311, I.07.017–061, I.08.538–541, and I.10.043–052.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

It has already been noted in the comment on I.02.484 that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition (see also Martin 1989:238). Such a moment is now at hand as Agamemnon the over-king is about to have his own moment of experiencing an ‘epic high point’. At such a moment, the Narrator must be ready to do his very best in recapturing that heroic experience. And, to express his readiness, the Narrator in all his self-awareness will now re-invoke the Muse or the Muses. In this context, the ‘I’ who is re-invoking the Muse(s) is meant to be seen as a re-enactment of ‘Homer’ himself, as originally enacted by the speaker who invokes the Muse at I.01.001 and at O.01.001.

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This narrative centers on the aristeiā ‘epic high point’ of Agamemnon in the Iliad. On aristeiā ‘epic high point’, see the comment on I.05.103.

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Even the most minor character in the Iliad—and the hero Iphidamas here is a striking example—is willing to die simply for the chance of getting included in the kleos ‘glory’ of the present performance, which is of course the Homeric Iliad itself. What makes the example of Iphidamas even more striking is that he is not even fighting on the Achaean side in this war.

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Here at I.11.288, Hector is boasting that Agamemnon, ‘the best man’, ho aristos, is now out of the picture. There is an irony built into the words of Hector, and this irony emerges from the context. The aristeiā ‘epic high point’ of Agamemnon in the Iliad, inaugurated in grand style when the Master Narrator invokes the Muses at I.11.218, does not go all that well for the high king. Early on in the fighting, he gets wounded in the hand, I.11.253. He tries to fight on, but the pain from the wound finally gets to him, I.11.268–272. The intensity of his pain is compared here to the birth-pangs experienced by a woman at the climax of her labor, I.11.269–271. Unable to withstand such pain any more, Agamemnon jumps back on the platform of his war chariot and orders his driver to drive him back to the safety of the beached ships of the Achaeans, I.11.273–274, shouting to his fellow warriors that they should now follow him in retreat and defend the ships, I.11.275–278, since, as he says, Zeus has not supported the ongoing offensive initiated by the Achaeans, I.11.278–279. So, the aristeiā ‘epic high point’ of Agamemnon has not exactly turned out to be a spectacular success. And Hector knows it. As the chariot of Agamemnon speeds this over-king away from the scene of battle, I.11.280–283, Hector notices, I.11.284, as expressed by the verb noeîn ‘take note’. It is in this context, then, that Hector says what he says at I.11.288: ‘the best man’, ho aristos, is now out of the picture. But of course the truly best of all the Achaeans is not yet in the picture.

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The description of Hector as īsos Arēi ‘equal to Ares’ here at I.11.295 is parallel to his being described as atalantos Arēi ‘equal to Ares’ at I.08.215. For Hector and in fact for any heroic warrior in the Iliad, even for generic warriors, the idea of being ‘equal to Ares’ is parallel to the idea of being a therapōn of Ares, where therapōn is to be understood in the deeper sense of ‘ritual substitute’. About this deeper sense, see the comment on I.02.110.

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Here at I.11.297, two verses after I.11.295, where Hector is described as īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ), the same Trojan hero is now further described as īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ). This verse-final phrase īsos aellēi ‘equal to a blast of wind’ (ἶσος ἀέλλῃ) matches rhythmically the verse-final phrase īsos Arēi ‘equal to Ares’ (ἶσος Ἄρηϊ). Aside from the match in form, there is also a deep-seated match in meaning here between the phrases ‘equal to Ares’ and ‘equal to a blast of wind’, since the god of war is traditionally linked with violent winds. See the comment on I.05.430. Such a link is also attested in the cognate poetics of other Indo-European languages besides Greek: analysis in BA 334, 337.

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The onslaught of Hector and his Trojans against the Achaeans is pictured here as a violent blast of wind in a storm that churns up the sea, which is called the pontos here at I.11.298. This onslaught will threaten the safety of the beached ships of the Achaeans, and thus it will threaten the very survival of the Achaeans and even of all Greeks as notional descendants of the Achaeans. See further on the Battle for the Ships in the comment on I.01.320–348.

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In the words of Diomedes, the Will of Zeus is now in effect: the plan of the god is to give kratos ‘winning-power’ to the Trojans and to take it away from the Achaeans, I.11.319. In this verse, we see that Zeus ‘wishes’ for this to happen, as expressed by the verb boulesthai ‘want, wish, plan’. See also the comment on I.11.078–079, where boulesthai ‘wish, plan’ is already expressing the same idea. And, by taking kratos ‘winning-power’ away from the Achaeans, Zeus is giving them akhos ‘grief’ instead, on which see the comment on I.01.509.

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Diomedes and Odysseus agree to fight as a team, I.11.310–319. Diomedes throws a spear at Thumbraios, who is riding on a chariot and who gets knocked to the ground by the piercing wound, I.11.320–321. Then Odysseus symmetrically wounds with his own piercing spear-throw the charioteer of Thumbraios, Molion, who is described here as the therapōn of Thumbraios, I.11.322. Presumably, Molion too has been riding on the same chariot and gets knocked to the ground. Molion is not overtly called the hēni-okhos ‘chariot driver’ of Thumbraios, but the context shows that he is exactly that, the chariot driver. And, although Molion is the therapōn of Thumbraios, Molion does not get to “take the hit” for Thumbraios the chariot fighter, since that fighter is hit even before his driver is hit. So we see here an unexpected variation on the theme of the therapōn as ‘ritual substitute’ as well as ‘attendant’.

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In the words of Diomedes, Hector is a pēma ‘pain’ for the Achaeans, I.11.347. The pain that he inflicts on them is visualized by way of the verb kulindesthai ‘roll’ in this same verse, I.11.347. The comparison that is implied by this verb becomes explicit at I.13.136–142, where we will see the menacing image of a boulder that breaks off from mountainous heights overhead and starts rolling downward from above, ever increasing in speed as it nears ground zero: only when the boulder has reached a level plain does it finally stop ‘rolling’, as expressed by the verb kulindesthai at I.13.142 (see H24H 5§10). In the framing verses of I.13.136-142, this visualization of the menacing boulder that is rolling down from the heights above is being compared to Hector himself as he rushes toward the Achaeans. The same visualization is implicit in the use of the verb kulindesthai ‘roll’ at I.11.347, where Hector is pictured as a pēma ‘pain’ that is rushing toward his enemies. See also the comment on I.17.098–101, where the death of Patroklos is viewed retrospectively as a great pēma ‘pain’, I.17.099, that was sure to kulindesthai ‘roll’ down from the heights like some boulder and to crush anyone daring to attack a warrior who is being protected by a god. And the same visualization of a breakaway boulder is implicit also in the combination of pēma ‘pain’ with kulindesthai ‘roll’ at O.08.081 of the “micro-Iliad” that is narrated at O.08.072–083, which is the First Song of Demodokos. In this song, at O.08.081, the ‘beginning of the pain [pēma]’ is pictured at the very beginning of the overall narrative: the pēma ‘pain’ is starting to ‘roll’, as expressed again by way of kulindesthai, and we see further at O.08.082 that this pain will be rolling toward Trojans and Achaeans (=Danaans) alike. Ultimately, both sides in the Trojan War will feel the pain, and it is all because Zeus willed it to be this way: everything will happen the way it will happen ‘because of the plans [boulai] of Zeus’, O.08.082 (Διὸς μεγάλου διὰ βουλάς).

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Leonard Muellner

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

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examples of the identical contexts in which eukhos and kudos occur

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

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai and of the use of isos aellēi/lailapi in these contexts

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

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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Richard Martin

When the poet describes the death of Iphidamas at Agamemnon's hands (11.243), the tone is that of the most haunting of Homeric obituaries: resigned, factual, yet tense with restrained emotion. The victim "fell and slept the bronze-hard sleep, pitiable man, away from young wedded wife, fighting for his townsmen—the wife, from whom he had no joy, though he had given much" (kouridiēs, hēs ou ti kharin ide, polla d' edōke). Here, as often, kharis signifies both pleasure and reciprocal giving, reciprocity itself being a "pleasure" in the world of Homeric epic and a sign that the cosmos is operating properly. Iphidamas is cut off from ever getting return on investment as much as he is cut off from the sweetness of a young wife, and the poet grieves for both losses. It is with this dual meaning of the word that one should approach the ending of 9.316, ouk ara tis kharis ēen. Achilles' words echo the poet's voice. Through his use of the abstract noun, the personal gripe about lack of payment grows into an elegiac statement of universal human lack (Martin 1993:213-14).

For the related uses of the kharis motif in Glaukos' speech (17.142-68) and its comparison with Achilles' use, see the comment on Iliad 9.315-316.

References

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

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