Homer Iliad 16.659

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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.) — 16.659 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.) — 16.659 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)) — 16.659 focus
Neither would the brave Lycians stand firm; [660] they were dismayed when they saw their king lying struck to the heart amid a heap of corpses—for when the son of Kronos made the fight wax hot many had fallen above him. The Achaeans, therefore stripped the gleaming armor from his shoulders and the brave son of Menoitios gave it to his men to take to the ships. [665] Then Zeus lord of the storm-cloud said to Apollo, “Dear Phoebus, go, I pray you, and take Sarpedon out of range of the weapons; cleanse the black blood from off him, and then bear him a long way off where you may wash him in the river, anoint him with ambrosia, [670] and clothe him in immortal raiment; this done, commit him to the arms of the two fleet messengers, Death, and Sleep, who will carry him straightway to the fertile district [ dēmos] of Lycia, 674 and there his relatives and comrades will ritually prepare [ tarkhuein] him, [675] with a tomb and a stele—for that is the privilege of the dead.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.659 focus
Then, nor before, the hardy Lycians fled,
And left their monarch with the common dead:
Around, in heaps on heaps, a dreadful wall
Of carnage rises, as the heroes fall.
(So Jove decreed!) At length the Greeks obtain
805
The prize contested, and despoil the slain.
The radiant arms are by Patroclus borne,
Patroclus' ships the glorious spoils adorn.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.659 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.659 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.659 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

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

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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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The nīkē ‘victory’ of Hector over Patrokos was granted, says Patroklos, by Zeus and Apollo. In most Homeric contexts, nīkē ‘victory’ is ordinarily granted by Zeus alone.

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The psūkhē ‘spirit’ of Patroklos leaves him at the precise moment of his death. Here we see the most basic Homeric way of visualizing the psychology, as it were, of dying.

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After having just killed Patroklos, Hector goes after Automedon, who is evidently still standing on the platform of the chariot and who is marked here as the therapōn of Achilles. Hector takes aim with his spear, but he misses hitting Automedon, who drives off with the chariot, I.16.864–867. Automedon here is no ritual substitute for Patroklos, nor is he now a ritual substitute for Achilles, since Patroklos has just now fulfilled that role by getting killed instead of Achilles.

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Leonard Muellner

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

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

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Richard Martin

Hektor's words to the dying Patroklos are introduced as a boast (epeukhomenos, 16.829) and with the winged-words formula. They contain an embedded directive—Hektor's rendition of what he imagined Achilles to have commanded—but their directive force comes from Hektor's description a few lines before that "quotation": "Here the vultures will eat you." Although this is cast as a prediction, the sentence conveys what Hektor wants to happen to the corpse of his enemy.

It is not unlikely that the regular employment of the formula—usually introducing friendly, same-side directives between just two speakers—carried with it an implicit tone of voice and volume. Such speeches could properly be performed by a poet in a stage whisper, or with an intimate low modulation. If this same auditory effect was produced by Homer as he imitated Achilles' or Hektor's voice in the speeches we have just noted, the audience, recalling the more common employment, would hear the intimate voice of violence (Martin 1993:33).

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