Homer Iliad 15.442

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Impatient Teucer, hastening to his aid,
Before the chief his ample bow display'd;
The well-stor'd quiver on his shoulders hung:
520
Then hiss'd his arrow, and the bow-string sung.
Clytus, Pisenor's son, renown'd in fame,
(To thee, Polydamas! an honour'd name,)
Drove through the thickest of th' embattl'd plains
The startling steeds, and shook his eager reins.
525
As all on glory ran his ardent mind,
The pointed death arrests him from behind:
Through his fair neck the thrilling arrow flies;
In youth's first bloom reluctantly he dies.
Hurl'd from the lofty seat, at distance far,
530
The headlong coursers spurn his empty car;

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.) — 15.442 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.) — 15.442 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.) — 15.472 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.442 focus
Teucer heard him and hastened towards him with his bow and quiver in his hands. Right then and there he showered his arrows on the Trojans, [445] and hit Kleitos, the glorious son of Peisenor, comrade of Polydamas the noble son of Panthoös, with the reins in his hands as he was attending to his horses; he was in the middle of the very thickest part of the fight, doing good service to Hector and the Trojans, [450] but evil had now come upon him, and not one of those who were fain to do so could avert it, for the arrow struck him on the back of the neck. He fell from his chariot and his horses shook the empty car as they swerved aside. King Polydamas saw what had happened, and was the first to come up to the horses; [455] he gave them in charge to Astynoos, son of Protiaon, and ordered him to look on, and to keep the horses near at hand. He then went back and took his place in the front ranks.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 15.442 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.442 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.442 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.442 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 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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comment on the employment of the Achaean wall and its breach to mark a stage in the development of the story in Book 12 and here, and its illustrating the separate development of the story in the two segments

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here with regard to prayers for nostos from Troy

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here with regard to prayers for nostos from Troy

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analysis of Nestor’s perceiving and interpreting signs in answer to prayers, here Trojans’ misunderstanding of the sign as favorable to their attack

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parallelism between Nestor and Patroclus in scenes where they both leave their patients, and, in this passage, Patroclus’ repeating Nestor’s advice

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comment on the collocation ornuthi laous (as in this verse) and the name Orsilaos in the context of analyzing the meaning of Menelaos

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

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Gregory Nagy

The climax of the fighting in the Iliad is now approaching. Patroklos is about to enter the war, and the Will of Zeus is about to be fulfilled.

draft js image errorAjax defending the ships of the Greeks. After a drawing by John Flaxman. Image via Wikimedia Commons.

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As the divine artisan or craftsman, the god Hephaistos is conventionally called a khalkeus ‘bronze-smith’, as here. It will become clear from later contexts, like I.18.474–475, that this appelation of the god does not restrict him to work in bronze: he works in other metals as well. See the comment on I.18.468–613.

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This noun īs ‘force, violence, strength’ is a synonym of the noun biē. Here, as elsewhere, it refers to the elemental force or violence of a storm.

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As we see here, the sterns of the beached ships are contiguous with the Achaean Wall. See also the comment at I.14.027–036.

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A nameless therapōn is mentioned here in passing: he happens to be the ‘attendant’ of the hero Eurypylos.

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Even though the attacking Trojans here are fewer in number than the defending Achaeans, they are evenly matched in strength. This detail is relevant to the taunt of Sthenelos when he insults Agamemnon at I.04.407. See the comment on I.04.368–410.

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Hector and Ajax are struggling one-on-one with each other here: Hector is trying to set on fire the ship that Ajax is protecting from the fire. No clear outcome of the struggle is as yet visible.

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The ships of the Achaeans, as a sum total of all the ships, are pictured here as an agōn in the sense of ‘coming together’. See the comment on I.23.257–258.

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Hector is throwing his spear at the hero Ajax but misses, and the flying spear hits instead the hero Lykophron, described here as the therapōn of Ajax, I.15.431. So, Lykophron as therapōn is not only the ‘attendant’ of Ajax but also his ‘ritual substitute’. When Lykophron “takes the hit” for Ajax, he is standing right next to him, as if the two of them were standing side by side on the platform of a chariot. It is the physical reality of thus standing side by side that makes the chariot driver the prime alternative target for “taking the hit” in place of the chariot fighter. The chariot driver is thus the perfect substitute for the chariot fighter. In this case, however, Ajax and Lykophron are standing side by side not on the platform of a chariot but on the deck of the beached ship that the two of them are defending from the fire of Hector. The venue for ritual substitution is different, but the ritual pose, as it were, of standing side by side remains the same.

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What follows is an epitome from HC 4§268. These verses containing the words of Hector, I.15.494–499, are quoted in a speech delivered by the Athenian statesman Lycurgus, Against Leokrates (103). The context is this: Lycurgus is arguing that the beautiful death foreseen by Hector, his belle mort, can be pictured as a model for Athenians when they contemplate the possibility that they too will die when they fight their wars. Lycurgus refers to the willingness of Athenian citizens to die in war not only for their own patris ‘fatherland’ but also for all of Hellas as a patris ‘fatherland’ that is koinē ‘common’ to all Hellenes (Against Leokrates 104). Lycurgus invokes as his prime example the belle mort of the Athenian citizen-warriors who fought at Marathon and who thereby won for Hellas a freedom from terror, an adeia ‘security’ that is koinē ‘common’ to all Hellenes (104). The Athenian statesman is making this reference to the interests of Athens in the context of actually quoting the words of Hector in the Iliad, who says that he is willing to die for his fatherland in order to protect it against the Achaeans (Lycurgus Against Leokrates 103 lines 4–9). These heroic words of Hector correspond to I.15.494–499 here, and Lycurgus quotes them in the larger context of saying that the Homeric Iliad and Odyssey, as performed at the quadrennial Athenian festival of the Panathenaia, are the ancestral heritage of the Athenians and the primary source of their education as citizen-warriors (Against Leokrates 102). In this invocation of Homeric poetry as the most sublime expression of the Athenian empire, the statesman is quoting the words of a Trojan, not the words of an Achaean. It is the belle mort of Hector that motivates the Athenians to live up to the heroic legacy they learn from Homer.

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Leonard Muellner

in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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analysis of philotēs and timē going together with this passage as an example

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which I.15.374 belongs)

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analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor)

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in a list of passages with eukhesthai + infinitive (aorist)

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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analysis of interconnections of themis and mēnis, which protects the former

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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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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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Richard Martin

Along with his excellence at the javelin, Thoas excels in speech: "Few of the Achaeans would beat him at speaking, whenever they used to engage in strife concerning muthoi" (15.283-84). The word for this style of speech connected with muthoi here is also used precisely for a place—the public arena of speech (Martin 1993:37).

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At 15.284-85, Thoas is described as a good speaker "whenever young men engage in strife (erisseian) concerning speech-acts (muthoi)." This narrative phrase alludes to the agonistic quality of muthoi directly: such muthoi are not only the various proposals brought forward by potential commanders but also the counterarguments that denigrate others' commands. One can "engage in strife" about them not only in terms of content but in the matter of their style. The difference between a muthos command and a flyting speech may at times be minimal, since every instance of the former, even those by Zeus, is open to challenge. The two genres thus complement one another (Martin 1993:68-69).

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

References

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

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