Homer Iliad 17.106

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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.) — 17.106 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.) — 17.106 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.) — 17.140 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.106 focus
While he was thus in two minds, the Trojans came up to him with Hector at their head; he therefore drew back and left the body, turning about like some bearded lion [110] who is being chased by dogs and men from a stockyard with spears and hue and cry, whereon he is daunted and slinks sulkily off—even so did Menelaos, fair-haired son of Atreus, turn and leave the body of Patroklos. When among the body of his men, [115] he looked around for mighty Ajax, son of Telamon, and presently saw him on the extreme left of the fight, cheering on his men and exhorting them to keep on fighting, for Phoebus Apollo had spread a great panic among them. He ran up to him and said, [120] “Ajax, my good friend, come with me at once to dead Patroklos, if so be that we may take the body to Achilles—as for his armor, Hector already has it.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 17.106 focus
The time allow'd: Troy thicken'd on the shore;
A sable scene! The terrors Hector led;
115
Slow he recedes, and sighing quits the dead.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.106 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 17.106 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.106 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 17 focus

New Alexandria Commentaries

Gregory Nagy

The main preoccupation of the Achaeans here in Iliad 17 is to recover the corpse of Patroklos. Their efforts are understandable, in that they are showing their sense of solidarity by trying to rescue from harm the body of a fellow warrior who has fallen in battle. But the motivation here goes deeper. Patroklos is a cult hero in the making, and the corpses of heroes are essential for establishing hero cults in their honor. And the foreseen status of Patroklos as cult hero prefigures a comparable status for Achilles himself beyond the Iliad.

draft js image errorCopperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman.Photographed/scanned by H.-P.Haack (Antiquariat Dr. Haack Leipzig) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0) or Public domain], via Wikimedia Commons.

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In this retrospective, it is said that Patroklos has been killed as a therapōn of Achilles, who is described here as ‘best of the Achaeans’. The immediate context accommodates here even the deeper meaning of therapōn as ‘ritual substitute’, since Patroklos himself could become temporarily the ‘best of the Achaeans’ at the moment of his death. At that moment, he is substituting himself for Achilles by prefiguring a future moment, beyond the Iliad, when Achilles will die in a way that matches the way that Patroklos died in Iliad 16.

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The Argives=Achaeans are described here as attended by therapontes who are ankhe-makhoi ‘fighting side by side’ with them.

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Richard Martin

Glaukos applies the foil technique to Hektor, rebuking him with a harsh speech (kraterōi ēnipape muthōi, 17.141). He first praises three different heroic alternatives: Sarpedon, whose corpse they must fight for, was a great benefit to all when alive (17.152); Achilles, whose companion is dead, is "best by far of the Argives by the ships" (17.165); but Hektor, he asserts, could not face even Ajax—"since he is stronger than you." The rebuke is all the more stinging to an audience that has heard Sarpedon himself use the same foil technique to Hektor previously (5.483-86), posing his own heroic career as the contrast to Hektor's passivity (Martin 1993:74).

For the broader analysis of the foil technique in flyting muthoi, 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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