Homer Iliad 13.155

View: By Book
He said, and rous'd the soul in every breast;
Urg'd with desire of fame, beyond the rest,
Forth march'd Deïphobus; but marching held,
Before his wary steps, his ample shield.
Bold Merion aim'd a stroke, nor aim'd it wide;
215
The glittering javelin pierc'd the tough bull-hide;
But pierc'd not through: unfaithful to his hand,
The point broke short, and sparkled in the sand.
The Trojan warrior, touch'd with timely fear,
On the rais'd orb to distance bore the spear:
220
The Greek retreating mourn'd his frustrate blow,
And curs'd the treacherous lance that spar'd a foe;
Then to the ships with surly speed he went,
To seek a surer javelin in his tent.

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.) — 13.155 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.) — 13.155 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.) — 13.206 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.155 focus
With these words he put heart and spirit into them all. Deiphobos, son of Priam, went about among them intent on deeds of daring with his round shield before him, under cover of which he strode quickly forward. Meriones took aim at him with a spear, [160] nor did he fail to hit the broad orb of ox-hide; but he was far from piercing it for the spear broke in two pieces long before he could do so; moreover Deiphobos had seen it coming and had held his shield well away from him. The high-spirited Meriones [165] drew back under cover of his comrades, angry alike at having failed to vanquish Deiphobos, and having broken his spear. He turned therefore towards the ships and tents to fetch a spear that he had left behind in his tent.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.155 focus
He spake, and kindled in the breasts of all
Fresh courage. In the band Deiphobus
Marched proudly, Priam's son, with his round shield
Before him, walking with a quick, light step
Behind its shelter. Then Meriones
195
Aimed at the chief his glittering spear; the point
Missed not; it struck the orb of bullock's hide,
Yet did not pierce it, for the weapon broke
Just at the neck. Deiphobus held forth
His shield far from him, dreading to receive
200
A spear-thrust from the brave Meriones.
Vexed thus to lose the victory, and the spear
Snapped by the blow, Meriones fell back
Into the column of his friends, and passed
Hastily toward the camp and ships, to bring
205
A powerful spear that stood within his tent,
While others fought, and fearful was the din.
Then Teucer first, the son of Telamon,
Smote gallant Imbrius, son of Mentor, lord
Of many steeds. He, ere the Greeks had come
210
To Troy, dwelt at Pedæum and espoused
Medesicasta, Priam's spurious child.
But when the well-oared galleys of the Greeks
Mustered at Troy, he also came, and there
Was eminent among her chiefs, and dwelt
215
With Priam, and was honored as his son.
The son of Telamon beneath the ear
Pierced him with his long javelin, and drew forth
The weapon. Headlong to the earth he fell.
As on a mountain height, descried from far,
220
Hewn by a brazen axe, an ash is felled
And lays its tender sprays upon the ground,
Thus Imbrius fell, and round him in his fall
Clashed his bright armor. Teucer sprang in haste
To spoil the dead, but Hector hurled at him
225
His shining spear; the wary Teucer stepped
Aside, and just escaped the brazen blade.
It struck Amphimachus, Cteatus' son,
And Actor's grandson; as he came to join
The battle, he was smitten in the breast,
230
And fell, his armor clashing round his limbs.
Then Hector flew in haste to tear away
From the large-souled Amphimachus the helm
That cased his temples. Ajax saw, and hurled
His glittering spear at Hector as he came:
235
It made no wound; for Hector stood equipped
All o'er in formidable brass. The spear
Struck on the bossy shield with such a shock
As forced him to recoil, and leave unspoiled
The bodies, which the Achaians dragged away.
240
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.155 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.155 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.155 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

New Alexandria Commentaries

Douglas Frame

analysis of metheinai and contrasting it with loose-wittedness, and its application to Menelaus

source
Gregory Nagy

The momentum of the Trojan onslaught led by Hector intensifies here, and the prospects of the Achaeans look grim, almost hopeless. Hector is so successful that he feels tempted, toward the end of Rhapsody 13, to equate himself with immortal gods. Meanwhile, the intensity of the narrative keeps pace, and the poetic virtuosity approaches the sublime.

draft js image errorHector and Polydamas. After a drawing by John Flaxman. Image via Wikimedia Commons.

source

See anchor comment at I.05.077–078.

source

The fear is expressed that the invading Achaean warriors could die nōnumnoi ‘nameless’ at Troy. On the connotations, which can be seen by way of comparing the Hesiodic Works and Days 146–155, see the comment on I.12.079.

source

Zeus, in the act of launching his thunderbolt, can be visualized simultaneously in two ways, as here. First, he can be seen as casting his thunderbolt by throwing it with his own divine hand, I.13.243. But, second, he can be seen as casting his divine eye on his target, and his angry looks will thus launch his thunderbolt from within: that is the sense of the expression at I.13.244 here, ‘and his eyes [augai] are most visible [arizēloi]’ (ἀρίζηλοι δέ οἱ αὐγαί). The noun augai, which means literally ‘lights’, refers here to the eyes of Zeus, as also at I.13.837. On the expression the look of Zeus, see the comment on I.19.003–017.

source

The lightning made by Zeus is a sēma ‘sign, signal’ that needs to be interpreted.

source

In the immediate context, where Meriones is highlighted as therapōn of Idomeneus, only the surface meaning, ‘attendant’, is evident.

source
Richard Martin

The exchange between the disguised Poseidon and Idomeneus illustrates the "recalled-speech" strategy in flyting. To the god's challenge, "Where are now the threats gone, with which the sons of the Achaeans threatened Trojans?" (13.219-20), Idomeneus replies, "No man is now responsible, as much as I know. For we all know how to war" (13.222-23). The first speech fits the pattern already seen in Achilles' address to the Myrmidons (16.200-201), and the reply attempts to answer the implied contrast between former boasts and present immobility, as if Idomeneus knows the full pattern of such flyting speeches even though it is not explicit here. This comparison shows that Agamemnon's speech in Book 19 answering a past rebuke (rather than a rebuke in the present that refers to the past) is a variation on the conventional flyting pattern—and that the neikos words still rankle in Agamemnon's mind (Martin 1993:73-74).

For the broader analysis of the flyting genre and the recalled-speech strategy, see the comment on Iliad 4.336-421.

References

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

source