Homer Iliad 23.514

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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.) — 23.514 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.) — 23.514 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.) — 23.500 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.514 focus
Next after him came in Antilokhos of the race of Neleus, [515] who had passed Menelaos by craft [ kerdos] and not by the fleetness of his horses; but even so Menelaos came in as close behind him as the wheel is to the horse that draws both the chariot and its master. [520] The end hairs of a horse’s tail touch the tire of the wheel, and there is never much space between wheel and horse when the chariot is going; Menelaos was no further than this behind Antilokhos, the blameless, though at first he had been a full disc’s throw behind him. He had soon caught him up again, for Agamemnon’s mare, Aethe [525] of the fair mane, kept pulling stronger and stronger, so that if the course had been longer he would have passed him, and there would not even have been a dead heat. Idomeneus’ brave attendant [ therapōn] Meriones was about a spear’s cast behind glorious Menelaos. [530] His horses were slowest of all in the contest [ agōn], and he was the worst driver. Last of them all came the son of Admetos, dragging his chariot and driving his horses on in front. When radiant swift-footed Achilles saw him he was sorry, [535] and stood up among the Argives saying, “The best man is coming in last. Let us give him a prize for it is reasonable. He shall have the second, but the first must go to the son of Tydeus.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.514 focus
Young Nestor follows, (who by art, not force,
O'erpass'd Atrides,) second in the course.
Behind, Atrides urged the race, more near
Than to the courser in his swift career
600
The following car, just touching with his heel
And brushing with his tail the whirling wheel: 1
Such, and so narrow, now the space between
The rivals, late so distant on the green;
So soon swift Æthe her lost ground regain'd,
605
One length, one moment, had the race obtain'd.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.514 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 23.514 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.514 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

Douglas Frame

traces of solar myth in Nestor’s traditions, here the funeral games of Amarunkeus

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analysis of Nestor’s chariot race against the Aktorione in terms of the Indo-European twin myth, interpreting the twin’s and Nestor’s functions accordingly

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analysis of the two levels of significance in Achilles’ awarding Nestor the last price in the chariot race

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analysis of the secrecy/irony in Nestor’s role in the Iliad as exemplified (here) by his saying oude se lēthō in his speech to Achilles at receiving the last prize in the chariot race

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analysis of Nestor’s story as (designated as) ainos, a coded message

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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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the funeral of a hero as the primary occasion for athletic contests in Homeric narrative, in the context of the analysis of the evidence of hero cult in the Iliad and the Odyssey

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analysis of the applications of phrase “best of the Achaeans,” here restrictions to the way others besides Diomedes, Agamemnon, Ajax, and Achilles may be best, in particular, various heroes being the best at given events at the Funeral Games (Epeios at boxing in this verse)

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Leonard Muellner

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

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Richard Martin

It is not surprising that Achilles' style in commanding should appear more formal as the poem ends. His role as manager of his companion's funeral demands this, but Achilles' speech did not have to be dramatized; that it is formalized reinforces our earliest idea of his style, gained from seeing him follow convention in proposing the traditional causes for the plague (1.65-67) and calling for an official interpretation. The authoritative quality of Achilles' speech strikes us as a refrain in Book 23. Five times the poet introduces Achilles' speech with the line "He stood up and spoke a muthos among the Argives" (23.657, 706, 752, 801, 830). The performances thus prefaced are official proclamations of contest and prize, often no more than a line or two. Through these speeches, which seem generic enough to be spoken by anyone, a voice finally accords with Achilles' status. No one else says such things in the Iliad; only Achilles rates high enough to be able to evaluate and reward the competitive style of his peers (Martin 1993:140-41).

For the broader analysis of Achilles' distinctive speech style, see the comment on Iliad 9.646-647.

References

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

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