Homer Iliad 23.388

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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.) — 23.388 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.) — 23.388 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.) — 23.429 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.388 focus
Athena saw the trick which Apollo had played the son of Tydeus, [390] so she brought him his whip and put spirit into his horses; moreover she went after the son of Admetos in a rage and broke his yoke for him; the mares went one to one side the course, and the other to the other, and the pole was broken against the ground. [395] Eumelos was thrown from his chariot close to the wheel; his elbows, mouth, and nostrils were all torn, and his forehead was bruised above his eyebrows; his eyes filled with tears and he could find no utterance. But the son of Tydeus turned his horses aside and shot far ahead, [400] for Athena put fresh strength into them and covered Diomedes himself with glory.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.388 focus
The fraud celestial Pallas sees with pain,
Springs to her knight, and gives the scourge again,
And fills his steeds with vigour. At a stroke,
She breaks his rival's chariot from the yoke:
470
No more their way the startled horses held;
The car revers'd came rattling on the field;
Shot headlong from his seat, beside the wheel,
Prone on the dust th' unhappy master fell;
His batter'd face and elbows strike the ground;
475
Nose, mouth, and front one undistinguish'd wound:
Grief stops his voice, a torrent drowns his eyes;
Before him far the glad Tydides flies;
Minerva's spirit drives his matchless pace,
And crowns him victor of the labour'd race.
480
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.388 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 23.388 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.388 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

Douglas Frame

analysis of the motivation of Nestor’s speech of advice to Antilochus – evoking Nestor’s own earlier race (the turning post, on which Nestor spends so much time, is ignored in the description of the race)

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analysis of Eumelos’ virtual race (as surmised by Idomeneus) and comparison with Nestor’s race in his youth

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Eumelos’ virtual race as a description of Nestor’s youthful race, in the context of analyzing Nestor and Diomedes as charioteers in I.08 and Nestor’s dropping the reins

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analysis of Eumelos’ virtual race (as surmised by Idomeneus) and comparison with Nestor’s race in his youth

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analysis of Eumelos’ virtual race (as surmised by Idomeneus) and comparison with Nestor’s race in his youth

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analysis of the symbolism of the whip and the yoke in Diomedes’ race

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analysis of the symbolism of the whip and the yoke in Diomedes’ race

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analysis of Antilochus’ mētis and comparison of this verse with I.23.322

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analysis of the attitude towards, and the reality of, the ability of female horses in chariot races

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analysis of Antilochus’ and Menelaus’ dispute over the second prize in the chariot race

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Gregory Nagy

The funeral that Achilles arranges here for Patroklos in the Iliad is in some ways a preview of the funeral that the Achaeans will arrange for Achilles himself beyond the time-frame of the Iliad. A high point of the funeral in Iliad 23 is a spectacular chariot race arranged by Achilles to honor his dead comrade Patroklos. But an earlier high point is a comparably spectacular cremation of his friend’s body. But this cremation of Patroklos, as a ritual, is far from perfect: it is in fact polluted, and the pollution will make Achilles look bad, at least for the moment. The polluted thoughts of the hero, as evidenced by his dragging the corpse of Hector behind his speeding chariot, will drive him to extremes that will challenge the cosmic order. But the Master Narrator of the Iliad will remedy the pollution, and the remedy will take the form of actually narrating the grim story. In the process of this narration, a great lesson will be learned about life, death, and a hoped-for recovery of life.

draft js image errorAchilles dragging the body of Hector. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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one of the two attestations of histor in the Iliad or the Odyssey

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Here we see an example of pherein and agein in a construction that corresponds to what we find in Cato's De agri cultura 141.1-2, where we read circum-ferō and circus-agō in a ritual context.

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See anchor comment at I.23.113 on Meriones as therapōn of Idomeneus.

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Richard Martin

The dispute between Ajax and Idomeneus at the Funeral Games (23.457-98) illustrates several features of the flyting genre in sequence. Idomeneus' muthos is an attempt to gain authority by the suggestion that he alone has the ability to discern the race results before it is over (23.457-72), and also gives him an opportunity to single out Diomedes for praise (23.471-73). Ajax recognizes the move for what it is and criticizes the older hero's style: "Why are you blustering beforehand?" (labreueai, 23.474). Ajax then denigrates Idomeneus not only for the content of his speech but for his proficiency at this abased speech form itself: "You are always blustering with muthoi. You mustn't be a blustering speaker. There are better ones present" (23.479-80). Idomeneus springs on Ajax the same rhetorical trap seen elsewhere (Agamemnon at 4.399-400), implicitly conceding the honor of best flyting speaker to Ajax while suggesting that prowess in flyting is accompanied by incompetence at all else (23.483-84). Achilles interrupts the escalating flyting match with a command to focus attention on nikē rather than neikos (23.496), deflecting blame onto those who would use the genre: "Get angry at another, whoever would do such things" (23.494) (Martin 1993:75-76).

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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