Homer Iliad 14.475

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He spake, and smil'd severe, for well he knew
The bleeding youth: Troy sadden'd at the view.
But furious Acamas aveng'd his cause;
As Promachus his slaughter'd brother 1 draws,
560

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.) — 14.475 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.) — 14.475 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.) — 14.475 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.475 focus
But he knew well who it was, and the Trojans were greatly vexed with grief. Akamas then bestrode his brother’s body and wounded Promakhos the Boeotian with his spear, for he was trying to drag his brother’s body away. Akamas vaunted loudly over him saying, “Argive archers, braggarts that you are, [480] toil and suffering shall not be for us only, but some of you too shall fall here as well as ourselves. See how Promakhos now sleeps, vanquished by my spear; payment for my brother’s blood has not long delayed; a man, therefore, may well be thankful [485] if he leaves a kinsman in his house behind him to avenge his fall.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 14.475 focus
He spake; but well he knew the slain. Meanwhile
The Trojans heard and grieved. Then Acamas,
Stalking around his fallen brother, slew
Promachus, the Bœotian, with his spear,
While dragging off the dead man by the feet.
590
Then o'er the fallen warrior, Acamas
Boasted aloud: "O measureless in threats!
Bowmen of Argos! not to us alone
Shall woe and mourning come; ye also yet
Will perish. See your Promachus o'erthrown,
595
And by my spear, that so my brother's death
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.475 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 14.475 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.475 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 14 focus

Notes on the current edition

Iliad

1. Archilochus.

New Alexandria Commentaries

Douglas Frame

analysis of instances where an explicit reference to an act of love is omitted, but where ērassato used of the male is followed by the female conceiving and giving birth

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analysis of instances where an explicit reference to an act of love is omitted, but where ērassato used of the male is followed by the female conceiving and giving birth

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Hephaistos’ being the son of Hera and Zeus in Homer, in contrast to in Hesiod

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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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Gods can take an irrevocable oath in the form of swearing by the waters of the underworld river Styx, which is what the goddess Hērā is asked to perform here at I.14.271–276 and which she actually does perform at I.14.277–280. See further in the comment on I.15.037–038.

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The visualization of the landscape here, as the narrative views the goddess Hērā traveling toward Mount Ida, corresponds to what you would see if you looked due north while standing on the north shore of the island of Lesbos. Across the sea, beyond the strait separating this island from the mainland to the north, is the shoreline of the region leading uphill to the heights of Mount Ida. Just as you are looking north from the shores of Lesbos when you see that skyline, so also Hērā is traveling north as she hastens to arrive at her point of assignation with the mighty thunderer on the peaks of Mount Ida. This view from Lesbos, then, shows an Aeolian poetic vantage point in visualizing the narrative space of Troy in its entirety.

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The goddess Hērā refers here at I.14.302 to the cosmic river Ōkeanos as the ‘genesis of the gods’ (θεῶν γένεσιν). This reference is a continuation of the earlier reference at I.14.246 to Ōkeanos as a god ‘who has been fashioned as genesis for all’ (ὅς περ γένεσις πάντεσσι τέτυκται). Supplementing my comment on I.14.245–246–246a. I now offer further comment on those verses in the context of the narrative as it continues here at I.14.301–302. What follows is an epitome of what I have to say in HC 2§§156–157. I start with I.14.246, where the immediate point is this: Ōkeanos is a primal ancestor of the gods Zeus and Hērā. At I.14.246a, this theme is developed further: Ōkeanos is a primal force that ultimately generated humans as well as gods, and this force pervades the earth. Such a theme is actually implicit already at I.14.246, even without the explicit amplification of I.14.246a: the adjective pantessi (πάντεσσι) ‘all’ at I.14.246 implies that Ōkeanos is the father of not only ‘all’ gods but also, by extension, ‘all’ men. There is a parallel idea in Homeric references to Zeus himself as the ‘father’ of gods and men, patēr andrōn te theōn te, as at I.01.544, and so on. Further, the noun genesis (γένεσις) in the same verse, I.14.246, which I translated above by using the English borrowing ‘genesis’, implies a depersonalized cosmic power that generates not only all gods and all men but also all things. The idea that Ōkeanos is the ‘genesis’ of all is ultimately not so much the expression of an interpersonal relationship, such as parenthood in the immediate narrative context, but of a depersonalized cosmic creation, a cosmogony. Thus the adjective pantessi (πάντεσσι) ‘all’ is in fact all-inclusive, even without I.14.246a. I should add that there is nothing non-Homeric about picturing the Ōkeanos simultaneously as an anthropomorphic father of gods and as a cosmic source for everything on earth. The cosmogonic themes of I.14.246-246a, less explicit as read by Aristarchus without 246a and more explicit as read by Crates with 246a, are in any case deeply rooted in the Homeric tradition. The more explicit Homeric readings of Crates reflect, more clearly than the corresponding readings of Aristarchus, an earlier phase in the evolution of the Homeric tradition. I propose that Crates derived “plus verses” like I.14.246a from a “Homerus Auctus,” on which I have this to say at HC 2§178: “a verse like [I.14.246a], stemming from a Homerus Auctus as edited by Crates in Pergamon, need not be dismissed as an interpolation from Homeric editions that had been contaminated, as it were, by Orphic traditions. The Homerus Auctus need not be viewed as an editorial conflation of incompatible texts but as a preedited corpus of undifferentiated oral traditions that later became differentiated into distinct textual traditions that we recognize as Orphic, Hesiodic, Cyclic, and even Homeric.” On the term “Orphic” as I use it here, see the comment on I.14.245–246–246a above.

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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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To be added is a relevant comment.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

This re-invocation of the Muses signals a false start, since the interlude of the sexual encounter between Zeus and Hērā has resulted in a reversal of fortunes that is not to last for long. Right now, while Zeus is asleep after having made love to Hērā, the temporary intervention of Poseidon on the side of the Achaeans results in a compressed sequence of clipped narratives featuring only a few personal victories for only a few Achaean heroes. At I.14.509–510, the Master Narrator is asking the Muses: which one of the Achaeans has the first of these personal victories? The answer comes right away at I.14.511: Ajax son of Telamon is the first. What follows at I.14.511–512 is a most abbreviated narrative about this personal victory of Ajax, and what follows after that is a string of comparably abbreviated narratives about further personal victories achieved by five other Achaeans, I.14.513–522. Then, once these abbreviated narratives are completed, Iliad 14 comes to a hasty end. As soon as Iliad 15 begins, Zeus will be waking up, I.15.004–005. But before the god awakens, we see within the abbreviated space of I.14.513-522 a series of five more Achaeans achieving their own personal victories. Their victories, together with the initial victory of Ajax, are narrated at a pace that is noticeably hurried. There is no time to lose, and that is because, as already noted, Zeus will soon be waking up, I.15.004–005. Once the god does awaken, the momemtum will belong once again to the Trojans. So, the Achaeans benefit here only from a temporary upswing, which will soon be followed by another downswing.

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Leonard Muellner

examples of the identical contexts in which eukhos and kudos occur

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analysis of the meaning of secular eukhesthai reporting speech (usages where eukhesthai is glossed by phanai)

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

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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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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 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 secular eukhesthai indicating direct speech (concluding speech)

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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 occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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

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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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