Homer Iliad 16.619

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Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 16.619 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.) — 16.619 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.) — 16.658 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.619 focus
And Meriones the spear-famed answered, [620] “Aeneas, for all your bravery, you will not be able to make an end of every one who comes against you. You are only a mortal like myself, and if I were to hit you in the middle of your shield with my spear, however strong and self-confident you may be, I should soon vanquish you, [625] and you would yield your life-breath [ psūkhē] to Hādēs of the noble steeds.” Then the son of Menoitios rebuked him and said, “Meriones, hero though you be, you should not speak thus; taunting speeches, my good friend, will not make the Trojans draw away from the dead body; some of them must go under ground first; the outcome [ telos] of battle is in the force of hands, [630] while the outcome of deliberation is words; fight, therefore, and say nothing.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.619 focus
'O valiant leader of the Dardan host!'
(Insulted Merion thus retorts the boast;)
750
'Strong as you are, 'tis mortal force you trust,
'An arm as strong may stretch thee in the dust.
'And if to this my lance thy fate be given,
'Vain are thy vaunts; success is still from heaven:
'This, instant, sends thee down to Pluto's coast:
755
'Mine is the glory, his thy parting ghost.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.619 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.619 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.619 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

example of similarities between the Laestrygonians and the Cyclopes

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example of similarities between the Laestrygonians and the Cyclopes. Compare to Od. X.112-113, Od. X.120, Od. X.121-122, Od. X.82-183, Od. X.98, Od. X.116, Od. X.124, Od. IX.190-192, Od. IX.482, Od. IX.537, Od. IX.108, Od. IX.167, Od. IX.187-188, Od. IX.291

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in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

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Gregory Nagy

It seems at first as if everything is coming together here in Iliad 16. Achilles, best of the Achaeans, sends out his other self, Patroklos, to fight Hector and his Trojans, who are now on the verge of setting on fire and destroying all the beached ships of the Achaeans. Patroklos does in fact succeed in stopping the fire, which had been endangering not only the survival of the Achaeans but even the very existence of their notional descendants, imagined as the Greeks who are listening to the story of the Iliad in their own time. The conflagration that could have burned down the beached ships of the Achaeans is now literally ‘quenched’ by Patroklos, whose heroic action in putting out the fire of the Trojans is compared in a simile to a cosmic action taken by Zeus himself when this weather-god drenches and thus destroys in a violent rainstorm the farmlands of unjust men. Clearly, Zeus is now once again on the Achaean side of the Trojan War. But the success of Patroklos is not to last: soon after he kills Sarpedon, son of Zeus himself, in the course of a spectacular chariot fight, Patroklos now gets killed in the course of a second spectacular chariot fight. This time, Patroklos has gone too far, daring to attack not only Hector but also the divine protector of that hero, Apollo himself. Now everything is about to come apart again, and Achilles has yet to find out about the tragedy that awaits him.

draft js image errorA chariot driver and a chariot fighter in a biga (two-horses chariot). Terracotta, Late Helladic IIIA–IIIB (ca. 1400–1200 BCE). Louvre Museum, CA 2959. Credit line: Purchase, 1934.  Image Marie-Lan Nguyen (User:Jastrow), 2009-06-28 [CC BY 2.5 (http://creativecommons.org/licenses/by/2.5)], via Wikimedia Commons.

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Patroklos has reached the point where he is about to die by way of Apollo’s direct intervention. At this point, I.16.784, he is described as atalantos Arēï ‘equal to Ares’. But this hero’s death is more complex, as we will see in the comment on I.16.786–804.

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Patroklos confronts Apollo four times and then, the fourth time around, he fails to back off as he had backed off in the previous confrontation at I.16.705–711. In the course of that previous confrontation, Patroklos had thus avoided the mēnis ‘anger’ of the god, I.16.711. But now he will fail to avoid the god’s anger. At the moment of his climactic fourth confrontation with Apollo, Patroklos is once again described as daimoni isos ‘equal to a daimōn’, I.16.786, just as he had been described in the previous confrontation I.16.705. And, once again, the ‘superhuman force’ to which this word daimōn refers here at I.16.786 can be understood to be Apollo himself. As earlier, we see here a climactic moment in a pattern of divine-human antagonism that links the god Apollo with the hero Achilles, and Patroklos will now take upon himself the role of a ritual substitute for Achilles. In this role, Patroklos is not only daimoni īsos ‘equal to a superhuman force [daimōn] at I.16.786: he is also atalantos Arēï ‘equal to Ares’, I.16.784. See the comment above on I.16.784. As a warrior, Patroklos is matched with Ares as the god of war. As a ritual substitute of Achilles, however, he is also matched with Apollo as the divine antagonist of Achilles.

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At this climactic moment of the hero’s death, the Master Narrator addresses Patroklos in the second person. Such poetic conventions reflect a phase of epic poetry when it was not yet fully differentiated from praise poetry.

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As Apollo strips away the protective armor from the body of Patroklos, piece by piece, the hero is being prepared for his ritualized death. At this moment, Patroklos is possessed by atē ‘aberration’, I.16.805.

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Patroklos is now gumnos ‘stripped’ of all his armor, ready to be killed. While he was still wearing the armor, he would have been been invulnerable. At a later point, after Hector has already taken possession of this armor and is now seen wearing it, I.17.194, the adjective ambrota ‘immortalizing’ is applied to these teukhea ‘arms’. This adjective ambroto- ‘immortalizing’ is applied to words that make the hero immune to death.

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Leonard Muellner

comparison of Patroklos in his aristeia with Ares (e.g with regard to reaching or crossing the limit, being teikhesiplēta)

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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analysis of the identification of Patroklos with Achilles, here Patroklos’ being addressed in the second person by the narrator and the special sympathy and philotēs that indicates

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analysis of Patroklos’ undoing after his fourth, tabu assault

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analysis of Patroklos’ undoing after his fourth, tabu assault

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analysis of Patroklos’ undoing after his fourth, tabu assault

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