Homer Iliad 11.531

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Thus having spoke, the driver's lash resounds;
Swift through the ranks the rapid chariot bounds;
655
Stung by the stroke, the coursers scour the fields,
O'er heaps of carcases, and hills of shields.
The horses' hoofs are bath'd in heroes' gore,
And, dashing, purple all the car before:
The groaning axle sable drops distils,
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And mangled carnage clogs the rapid wheels.
Here Hector, plunging through the thickest fight,
Broke the dark phalanx, and let in the light:
(By the long lance, the sword, or ponderous stone,
The ranks lie scatter'd, and the troops o'erthrown.)
665
Ajax he shuns, through all the dire debate,
And fears that arm whose force he felt so late.
But partial Jove, espousing Hector's part,
Shot heaven-bred horror through the Grecian's heart;
Confus'd, unnerv'd in Hector's presence grown,
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Amaz'd he stood, with terrors not his own.
O'er his broad back his moony shield he threw,
And, glaring round, by tardy steps withdrew.
Thus the grim lion his retreat maintains,
Beset with watchful dogs and shouting swains,
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Repuls'd by numbers from the nightly stalls,
Though rage impels him, and though hunger calls,
Long stands the showering darts, and missile fires;
Then sourly slow th' indignant beast retires.

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.) — 11.531 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.) — 11.531 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.) — 11.575 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.531 focus
With this he lashed his goodly steeds, and when they felt the singing whip they drew the chariot full speed among the Achaeans and Trojans, over the bodies and shields of those that had fallen: the axle [535] was bespattered with blood, and the rail round the car was covered with splashes both from the horses’ hooves and from the tires of the wheels. Hector tore his way through and flung himself into the thick of the fight, and his presence threw the Danaans into confusion, for his spear was [540] not long idle; nevertheless though he went among the ranks with sword and spear, and throwing great stones, he avoided Ajax, son of Telamon, for Zeus would have been angry with him if he had fought a better man than himself.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 11.531 focus
He spake; and with the whistling lash he struck
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The long-maned steeds, and, as they felt the stroke,
Forward they flew with the swift car among
The Greeks and Trojans, trampling in their way
Corpses and shields. The axle underneath
Was steeped in blood; the rim of the chariot-seat
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Was foul with the red drops which from their hoofs
The coursers sprinkled and the wheels threw up.
Then Hector strove, by rushing on the crowd,
To pierce it and break through it. To the Greeks
His coming brought destruction and dismay;
655
And well his spear was wielded. Through the ranks
Of other warriors with the spear he ranged,
With sword and ponderous stones; yet warily
He shunned the fight with Ajax Telamon.
Then Father Jove Almighty touched with fear
660
The heart of Ajax. All amazed he stood,
And cast his sevenfold buckler of bull's-hide
Upon his back, and, terrified, withdrew.
Now casting glances like a beast of prey
From side to side, he turned to right and left,
665
And, slowly yielding, moved knee after knee.
As when the rustics with their hounds drive off
A hungry lion from their stalls of kine,
Whom, watching all the night, they suffer not
To make their herd a prey; but he, intent
670
On ravin, rushes forward, yet in vain;
For many a javelin flies from daring hands
Against him, many a blazing torch is swung,
At which, though fierce, he trembles, and at morn
Stalks off in sullen mood; - so Ajax, sad
675
At heart, and fearing for the Grecian fleet,
Unwillingly fell back before the foe.
And as, when entering in a field, an ass
Slow-paced, whose flanks have broken many a shaft
To splinters, crops the harvest as it grows,
680
And boys attack him with their rods, - though small
Their strength, - but scarce, till he has browsed his fill,
Can drive him forth, - so did the gallant sons
Of Troy, and their allies from distant lands,
Continually pursue the mighty son
685
Of Telamon, and hurl their spears against
The centre of his shield. And now he wheeled,
As conscious of great valor, and repulsed
The crowding phalanxes; and now again
He turned to flee. And thus he kept the foe
690
From reaching the swift galleys, while he stood
Between the Greeks and Trojans, terrible
In wrath. The javelins hurled by daring hands
Against him-some hung fixed in his broad shield;
And many, ere they came to his fair skin,
695
Fell midway, eager though they were to pierce
The warrior's side, - and plunged into the earth.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.531 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 11.531 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.531 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 11 focus

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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analysis of Odysseus’ characterization in the Iliad, with this passage interpreted as counterbalancing his less heroic representation in e.g. I.08.090-098

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in the context of discussing Nestor’s appearances as a horseman in the Iliad

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analysis of Nestor’s appearances as a horseman in the Iliad and the twin myth (the setting of the story of hippota Nestōr in the frame of the twin myth)

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analysis of the distinction between Makhaon and Podaleirios as physicians (as discussed in the scholia to these verses)

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analysis of Nestor’s appearances as a horseman in the Iliad and the twin myth (the setting of the story of hippota Nestōr in the frame of the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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analysis of the (parallels and) contrasts between Nestor and Patroclus (and the twin myth), here, Nestor’s intelligence

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analysis of the (parallels and) contrasts between Nestor and Patroclus (and the twin myth)

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analysis of Nestor’s cup and its relevance to the Iliad

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analysis of Nestor’s cup and its relevance to the Iliad

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analysis of Nestor’s cup and its relevance to the Iliad

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analysis of the (parallels and) contrasts between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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in the context of analyzing the parallels and contrast between Nestor and Patroclus (and the twin myth)

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analysis of the parallels and contrasts between Nestor and Patroclus (and the twin myth)

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the correspondence of Nestor’s story in I.11.670-761 to the cattleman twin and horseman twin distinction of the Vedic twin gods

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Nestor’s story in this passage in the Iliad as his myth

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citation of Nestor’s traditional story

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example of Nestor’s deeply traditional connection to cattle and sun symbolism, as indicated by the story of boēlasíē.

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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analysis of the significance of the cattle raid in Nestor’s myth (sustenance and life, bringing his people back from extinction/to life)

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citation of Nestor’s traditional story

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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citation of Nestor’s traditional story

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analysis of the significance of the cattle raid in Nestor’s myth (sustenance and life, bringing his people back from extinction/to life)

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Nestor’s becoming a warrior in his myth and the difference between the cattle raid and the battle

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citation of Nestor’s traditional story

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analysis of the significance of the cattle raid in Nestor’s myth (sustenance and life, bringing his people back from extinction/to life)

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the meaning of Nestor’s name as “he who brings back to life” and its relevance to the cattle raid in Nestor’s story

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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discrepancy in the number of sons of Neleus between the Iliad and the Odyssey

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the movements in time in the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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analysis of the expansion in Nestor’s story, which relates to the Olympic celebration of 420 BC

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comment on the weakness in the line as triēkosia has no noun to modify

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Lorimer on the dating of the four-horse chariot [MRBTP: 'ff']

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reference to the tradition of the Epeian king, Augeías

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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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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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The immediate context here shows that the therapōn ‘attendant, ritual substitute’ is a chariot driver. He is not named. Nor is he described explicitly as a hēni-okhos ‘chariot driver’, but that is what he is doing here—driving the chariot.

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Hector does not yet notice that Ajax is fighting on the right-hand side of the battleground since he, Hector, is at this moment fighting on the left-hand side, near the banks of the river Scamander. Although the perception is attributed to Hector here, the actual perspective is that of the Master Narrator, who consistently views the scene of chariot fighting from the Achaean point of view. In terms of this perspective, Hector is now fighting on the east side of the battleground while Ajax is fighting on the west side. The map of the battleground can be visualized on the cumulative basis of references, as here at I.11.497–500, to left-right positioning in descriptions of the fighting. What follows is an outline of the overall mapping. The Achaeans are encamped in the north and defending the Wall that separates them and their beached ships from the Trojans, who are attacking from the south. The river Scamander, flowing from the southeast toward the northwest and emptying into the Hellespont, separates Troy in the northeast from the encampment of the Achaeans in the northwest. Meanwhile, the Wall of the Achaeans separates their encampment and their ships in the northwest from the Trojans who are attacking the Wall from the south. The Achaeans built the Wall because the Trojans, emboldened by the momentum of Hector, have by now crossed over from the southeast side of the river Scamander to the southwest side, moving into the plain situated to the south of the Achaean Wall. So now this whole plain to the west of the Scamander has become a battleground for chariot fighting. Hector is fighting further to the east, staying close to the west bank of the Scamander, while Ajax is fighting further to the west.

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The wounding of a hero, as in the case of the wound suffered by the hero Makhaon here, can put a stop to his aristeiā ‘epic high point’. See also the comment on I.11.288. The verb aristeuein here at I.11.506 can be interpreted as meaning ‘have an epic high point’, and we see that the wounding of Makhaon has stopped him from having such a high point. For more on aristeuein, which can also be translated as ‘strive to be the best, to be aristos’, see the comment at I.07.092–169.

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The idea of ‘breathing out’ something called menos ‘mental power’ implies that such power was previously ‘breathed in’, that is, ‘breathed into’ the hero, by a divine force. Such a ‘breathing in’ happens for example at I.10.482: as it is pointed out in the comment on that verse, the goddess Athena is pictured there in the act of literally ‘breathing’, pneîn, into the hero Odysseus something called menos ‘mental power’. Here at I.11.508, the aggregate of warriors who are ‘breathing-out [pneîn] mental-power [menos]’ are the Achaeans viewed as a group; so also at I.03.008; by contrast, at I.02.536, the epithet applies to a sub-group, the Abantes.

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The epikouroi ‘allies’ of the Trojans are described as polu-ēgerées, which means not ‘consisting of many groups’ but ‘consisting of many different groups’. Compare also I.02.804, I.17.156, I.11.642.

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The perspective of Achilles in viewing from his shelter the scene of chariot warfare as narrated here is precisely coordinated with the overall visual mapping of the ongoing battle. See the comment at I.11.497–500.

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Achilles calls out to Patroklos, who now comes out of the shelter. At this moment Patroklos is described as īsos Arēi ‘equal to Ares’, and the very application of this epithet here to Patroklos dooms him to die as a ritual substitute for Ares as god of war. That is why the ominous remark is added: ‘and that was the beginning of his doom’ (κακοῦ δ' ἄρα οἱ πέλεν ἀρχή). Much later, when he is finally killed, Patroklos is described as atalantos Arēi ‘equal to Ares’, I.16.784. For Patroklos, however, the ritual substitution involves not only Ares who is the god of war for the generic warrior: it involves also the god Apollo as the divine antagonist of Achilles. In Iliad 16, the death of Patroklos as a ritual substitute will be marked not only by the epithet atalantos Arēi ‘equal to Ares’ at I.16.784 but also by the epithet daimoni īsos ‘equal to a superhuman-force [daimōn]’ at I.16.705 and at I.16.786. This daimōn ‘superhuman force’ will be Apollo, the divine antagonist of Achilles.

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Eurymedon here is explicitly called the therapōn of Nestor, functioning as the ‘attendant’ of the old hero: at this moment, Eurymedon is taking care of the horse team of Patroklos, who has just driven his chariot to the headquarters of Nestor as the old hero’s guest, I.11.618–622. That passage is analyzed in the context of comparable passages at I.04.227.

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The references at I.09.128–131 and at I.09.270–272 to the story about the conquest of the Aeolian island of Lesbos by Achilles are complemented by the reference here at I.11.624–627 to a story about the conquest of the Aeolian island of Tenedos by the same hero. At Lesbos, Achilles is said to have captured seven unnamed Aeolian women, I.09.128–131 / I.09.270–272. At Tenedos, he is said to have captured one particular Aeolian woman named Hekamede, who was thereafter allotted as a war-prize to Nestor I.11.624–627. And why was Nestor allotted this war-prize? Because Hekamede excelled in intelligence, signaled here by way of the word boulē, I.11.627. On the meaning of boulē in the specific sense of clever ‘planning’, see the comment on I.11.627 immediately after this comment. For the moment, however, the focus of interest is not on the matching of Nestor with Hekamede in terms of their shared intelligence but rather on the degrading of Hekamede as a captive woman. In the narrative at I.11.624–627, we can see how it all happened. After Achilles conquered Tenedos and captured Hekamede, what must have happened next is that he handed her over to his fellow Achaeans, who then acted as a group in alloting her as a war-prize to Nestor. Parallel is the story of the seven unnamed Aeolian captive woman who were captured by Achilles when he conquered the Aeolian island of Lesbos, as noted in the anchor comment at I.09.128–131 / I.09.270–272: again, Achilles must have handed over these seven unnamed Aeolian captive women to his fellow Achaeans, who then acted as a group in allotting them as war-prizes to Agamemnon. Also parallel are the stories of two other Aeolian captive women, Chryseis and Briseis, who were captured by Achilles when he conquered the cities of Thēbē and Lyrnessos respectively, as noted in the anchor comment at I.02.689–693: yet again, Achilles must have handed over these two Aeolian captive women to his fellow Achaeans, who then acted as a group in allotting them as war-prizes—to Agamemnon in the case of Chryseis and to Achilles himself in the case of Briseis. Yet another Aeolian captive woman is of course Andromache herself, who originated from the city of Thēbē: in this case, however, as noted in the anchor comment at I.09.128–131 / I.09.270–272, she is taken captive only after Troy is conquered by the Achaeans, who allot her as war-prize to Neoptolemos, son of Achilles, as we read in the Iliou Persis, attributed to Arctinus of Miletus, plot summary by Proclus p. 108 line 9 (ed. Allen 1912). See also anchor comment at I.02.689–694 on: Aeolian women in the Iliad, part 1 and anchor comment at I.09.128–131 / I.09.270–272 on: Aeolian women in the Iliad, part 2.

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The narrative here at I.11.624–626 refers to the epic deeds of Achilles on the Aeolian island of Tenedos. These deeds, taking place before the time dramatized in the Iliad, will be analyzed in the anchor comment that immediately follows, at I.11.624–627.

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The Aeolian captive woman Hekamede excels in intelligence, as does Nestor, and such excellence is expressed here by way of the noun boulē in the specific sense of ‘plan, planning’, that is, having an aptitude for cleverness in planning.

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Achilles is said here to be uncaring whether Hector sets fire to the ships of the Achaeans.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē.

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In the course of this lengthy narrative, I.11.671-761, the idea of a ‘gate’ of the Sun is linked with Nestor’s Pylos and with the underworldly Pylos of I.05.397. See also the comment at I.05.395–404.

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See the comment on I.02.658.

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example of vestigial traces of -˘˘-˘˘-˘/--˘˘-˘˘-- (where / means that the ˘ before it and the - after it should be on top of each other, meaning that syllable could be either long or short)

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Homeric references to four-horse chariot teams are rare, indicative of Athenian agenda. See the comments on I.05.263–273 and I.08.185.

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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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in a list of secular eukhesthai indicating direct speech (introducing speech, p. 89), and analysis of this verse as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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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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analysis of eukhesthai as proud, contentious, and accurate statement about its speaker and how Paris’ use of it here is ironic and contrary to the heroic code

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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analysis of I.11.379 as the exception to the restriction that speeches framed by (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio are spoken by a warrior immediately after killing his enemy in single combat and for the particular formula in this verse that it is not spoken by a Greek (Paris on wounding Diomedes)

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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 passages exemplifying the complementary metrical distribution of eukhos and kudos, and analysis of the instance of eukhos in which kudos could fit the metric as well (as in this verse)

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examples of the identical contexts in which eukhos and kudos occur

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analysis of analysis of the instance of eukhos in which kudos could fit the metric as well, and whether to take eukhos in secular or sacral sense

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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 the application of isos Arēi (and variants) to heroes in their aristeiai (here, an exception, namely, Patroklos)

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Richard Martin

The description of the stories exchanged between Makhaon and Nestor—"with muthoi they found pleasure narrating to one another" (11.642-43)—shows muthoi as lengthy storytelling: the imperfect tense reinforces the perception of this, and the narrative shows the pair still drinking as Book 14 opens. A translation of muthos as "story" accords with its definition as an authoritative speech-act performed in detail. The only unusual feature distinguishing the muthoi in Nestor's tent is their nonpublic performance (Martin 1993:39).

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Nestor's recollection of his initiatory raid on Elis (11.677-83, 696-705) provides the clearest example of the "raiding boast" genre in the Iliad, against which Achilles' speech in Book 9 can be measured. The raiding boast genre features several topics: who took what from whom; what were the precise gains; what division of spoils was made later. Nestor recounts the circumstances of his people's raid, justifying it by citing the abuses suffered by the Pylians (hēmeas hubrizontes, 11.695); his father took part of the spoils from the raid to recompense himself (heileto, exelet', 697, 704) and gave out the rest for equal distribution (705-6). Achilles mentions all these details, but in his view a raid has been carried out against himself: Agamemnon has taken advantage (ephubrizōn, 9.368), like the men of Elis he has selected certain things (9.335-36) and distributed the rest unequally (9.333-34). In sum, Achilles uses the conventions normal for speaking about one's relations with outsiders when he talks about his own commander. A familiar speech genre is redeployed for new effect, and Achilles appears as a skillful manipulator of the conventional, a rhetorician (Martin 1993:172-73).

For the broader analysis of Achilles' speech, see the comment on Iliad 9.307-429.

References

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

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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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