Homer Iliad 13.402

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Stabb'd at the sight, Deïphobus drew nigh,
And made, with force, the vengeful weapon fly:
510
The Cretan saw; and, stooping, caus'd to glance,
From his slope shield, the disappointed lance.
Beneath the spacious target (a blazing round,
Thick with bull-hides, and brazen orbits bound,
On his rais'd arm by two strong braces stay'd,)
515
He lay collected in defensive shade;
O'er his safe head the javelin idly sung,
And on the tinkling verge more faintly rung.
E'en then, the spear the vigorous arm confess'd,
And pierc'd, obliquely, king Hypsenor's breast;
520
Warm'd in his liver, to the ground it bore
The chief, his people's guardian now no more!

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.) — 13.402 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.) — 13.402 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.) — 13.361 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 13.402 focus
Deiphobos then came close up to Idomeneus to avenge Asios, and took aim at him with a spear, but Idomeneus was on the look-out and avoided it, [405] for he was covered by the round shield he always bore—a shield of ox-hide and bronze with two arm-rods on the inside. He crouched under cover of this, and the spear flew over him, but the shield rang out as the spear grazed it, [410] and the weapon sped not in vain from the strong hand of Deiphobos, for it struck Hypsenor, son of Hippasos, shepherd of his people, in the liver under the midriff, and his limbs failed beneath him. Deiphobos boasted over him and cried with a loud voice saying, “Truly Asios has not fallen unavenged; [415] he will be glad even while passing into the house of Hādēs, strong warden of the gate, that I have sent some one to escort him.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 13.402 focus
Deiphobus, who sorrowed for the fate
Of Asius, drawing near Idomeneus,
Hurled at him his bright spear. The Greek beheld,
As face to face they stood, and scaped the stroke,
Covered by his round shield, two-handled, strong
505
With bullocks' hides and glittering brass. With this
He hid himself, close couched within, and turned
The brazen point aside. The buckler rang
Shrilly; the weapon glanced away, yet flew
Not vainly from the Trojan's powerful hand:
510
It struck Hypsenor, son of Hippasus,
The shepherd of the people, on the side
Where lies the liver, just below the breast.
His knees gave way; he fell; Deiphobus
Thus shouted o'er the dead his empty boast:-
515
"Not unavenged lies Asius, and no doubt,
In journeying to the massy gates and wall
Of Hades, will rejoice that I have sent
A soul to be companion of his way."
He spake; and at his boast the Greeks were moved
520
With anger, - most of all Antilochus
The warlike; yet he left not to the foe
His slain companion, but made haste to hold
His shield above him. His beloved friends,
Mecisteus, son of Echius, and the prince
525
Alastor, lifted up, with many a groan,
The corpse, and bore it to the roomy ships.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 13.402 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 13.402 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 13.402 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 13 focus

New Alexandria Commentaries

Douglas Frame

example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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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.

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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.

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

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

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Here the title ‘best of the Achaeans’ is narrowed in scope: Teukros is ‘best of the Achaeans’ in archery.

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Idomeneus together with Meriones as his therapōn ‘attendant, ritual substitute’ take their stand side by side on the battlefield.

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The role of Zeus in awarding nīkē ‘victory’ is primary, while the corresponding role of Athena is secondary.

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While the hero Asios is fighting pezos ‘on foot’ against the Achaeans, I.13.385, the two horses that draw his chariot are right behind him, practically breathing down his neck—that is, down his shoulders. The driver of the horses is an unnamed hēni-okhos ‘chariot driver’, who is described as the therapōn ‘attendant, ritual substitute’ of Asios, I.13.386. After Asios is killed, I.13.386–393, and his corpse is just lying there in front of the horses that once drew his chariot, I.13.392, the focus reverts to the hēni-okhos ‘chariot driver’, I.13.394. Still standing on the chariot platform, the chariot driver freezes, failing to turn the chariot around and drive the horse team back to safety, I.13.394–396. The Achaean hero Antilokhos takes this opportunity to spear the chariot driver, who then falls out of the chariot, and now Antilokhos can mount the empty chariot and drive it away himself, horses and all, I.13.396–401.

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Variants like stenakhonta and stenakhonte at I.13.423 can be seen as formulaic—in terms of the overall system of Homeric diction.

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In this context, the use of a noun for ‘eyes’ as the direct object of the verb thelgein ‘put a trance on, enchant’ shows the visual connotations that are built into this verb. See the comment on I.02.308, with reference to the omen about the serpent and the nine birds: here the etymology of drakōn ‘serpent’ as ‘the one who looks [derkesthai]’ is relevant.

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At the very moment when the hero dies here, the war-god Ares literally takes away the hero’s life or menos ‘mental power’. To be compared is I.05.296, where the hero’s menos ‘mental power’ is released from his body at the moment of death. But now we see that the agent for taking away the menos of the hero is Ares. Thus the ultimate killer of the generic hero as warrior is Ares himself, no matter who the immediate killer may be—as in this case, where the killing is performed by the hero Idomeneus with the direct help of the god Poseidon. The role of Ares in taking away the life of the generic hero at the moment of heroic death is relevant to the epithet of heroes as generic warriors: therapontes or ‘ritual substitutes’ of Ares. See the comment on I.02.110.

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Besides Achilles, another epic hero who experiences mēnis ‘anger’ is Aeneas, and this hero’s anger is directed at the king Priam.

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Leonard Muellner

analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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

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in a list of expressions which do not specify the speaker’s name, in the context of analyzing I.11.379 and demonstrating the functional equivalence of eukhesthai in (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio

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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 meaning of eukhesthai (formulas) in statements that the speaker has killed the warrior he stands over

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in a list of secular eukhesthai indicating direct speech (concluding speech)

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analysis of the metaphor of binding for “killing” of an immortal etc., and here, thunderbolt binding a warrior

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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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in a list of secular eukhesthai reporting speech (absolute usage)

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in a list of usages contextually parallel to the death-eukhesthai usage

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