Homer Iliad 4.265

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The Cretan chief, Idomeneus, replied: -
"Atrides, I remain thy true ally,
340
As I have pledged my faith. But thou exhort
The other long-haired Greeks, and bid them rush
To combat, since the Trojans break their oath.
For woe and death must be the lot of those
Who broke the peace they vowed so solemnly."
345
He spake. The son of Atreus, glad at heart,
Passed on among the squadrons, till he came
To where the warriors Ajax formed their ranks
For battle, with a cloud of infantry.
As when some goatherd from the hill-top sees
350
A cloud that traverses the deep before
A strong west wind, beholding it afar,
Pitch-black it seems, and bringing o'er the waves
A whirlwind with it; he is seized with fear,
And drives his flock to shelter in a cave, —
355
So with the warriors Ajax to the war
Moved, dense and dark, the phalanxes of youths
Trained for the combat, and their serried files
Bristling with spears and shields. The king of men
Saw with delight, and spake these winged words:
360
"O warriors Ajax, leaders of the Greeks
In brazen armor, I enjoin you not
To rouse the courage of your soldiery.
Such word would ill become me, for yourselves
Have made your followers eager to engage
365
In manful combat. Would to Jupiter,
To Pallas, and Apollo, that there dwelt
In every bosom such a soul as yours!
Then would the city of King Priam fall
At once, o'erthrown and levelled by our hands."
370
Thus having said, he left them and went on
To others. There he found the smooth of speech,
Nestor, the Pylian orator, employed
In marshalling his squadrons. Near to him
Alastor and the large-limbed Pelagon,
375
Chromius, and Hæmon, prince among his tribe,
And Bias, shepherd of the people, stood.
The cavalry with steeds and cars he placed
In front. A vast and valiant multitude
Of infantry he stationed in the rear,
380
To be the bulwark of the war. Between
He made the faint of spirit take their place,
That, though unwillingly, they might be forced
To combat with the rest. And first he gave
His orders to the horsemen, bidding them
385
To keep their coursers reined, nor let them range
At random through the tumult of the crowd:-
"And let no man, too vain of horsemanship,
And trusting in his valor, dare advance
Beyond the rest to attack the men of Troy,
390
Nor let him fall behind the rest, to make
Our ranks the weaker. Whoso from his car
Can reach an enemy's, let him stand and strike
With his long spear, for 't is the shrewder way.
By rules like these, which their brave hearts obeyed,
395
The men of yore laid level towns and towers."

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.) — 4.265 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.) — 4.265 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.) — 4.265 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 4.265 focus
Idomeneus, lord of the Cretans, answered, “I will be a trusty comrade, as I promised you from the first I would be. Urge on the other flowing-haired Achaeans, that we may join battle at once, for the Trojans have trampled upon [270] their covenants. Death and destruction shall be theirs, seeing they have been the first to break their oaths and to attack us.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 4.265 focus
To whom the Cretan thus his speech address'd:
'Secure of me, O king! exhort the rest:
'Fix'd to thy side, in every toil I share,
'Thy firm associate in the day of war. 1
305
'But let the signal be this moment given;
'To mix in fight is all I ask of heaven.
'The field shall prove how perjuries succeed,
'And chains or death avenge their impious deed.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 4.265 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 4.265 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 4.265 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 4 focus

New Alexandria Commentaries

Douglas Frame

analysis of the foreshadowing of Diomedes’ role in the second segment of the poem

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analysis of the correspondences between Iliad and Solon frr. regarding Athena’s protection (of Athens/Diomedes…)

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Gregory Nagy

The Trojan War is being fought here as if for the very first time. There is a sense of novelty at first in contemplating all the violent woundings and deaths yet to follow. Of special interest is all the beautiful detail lavished on the wounding of Menelaos: it is as if his bleeding wound here could be pictured as the original trauma of the Trojan War.

draft js image errorImage: The healer Makhaon attends to the wounded Menelaos. Engraving by Francesco Nenci for an edition of the Iliad published in 1838.

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Agamemnon starts quarreling with Diomedes, as signaled by neikeîn ‘quarrel with’ at I.04.368. The over-king’s language of blame here is meant to diminish the epic reputation of Diomedes and his chariot-driver Sthenelos, who were prominent heroes in the Theban Wars epic tradition of the past before they became heroes also in the Trojan Wars epic tradition of the present. Diomedes and Sthenelos were main characters in the epic tradition known as the Sons of the Seven against Thebes, or Epigonoi, while their fathers Tydeus and Kapaneus were the main characters in the earlier epic tradition known as the Seven against Thebes. In terms of the blame directed at Diomedes and Sthenelos by Agamemnon, the fathers must have been better than the sons. But the rejoinder of Sthenelos at I.04.404–410 make an opposite claim: the sons were really better than the fathers, since they succeeded in capturing Thebes, whereas the fathers failed. These epic themes are comparable to the Hesiodic reference at Works and Days 156–173 to both the Theban and the Trojan Wars: here too, the burning question is whether a given generation of heroes in the present is superior or inferior to the immediately preceding generation of heroes in the past.

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The periphrasis of the name Eteokléēs here as bíē Eteoklēeíē is comparable to the periphrasis of the name Hērakléēs as biē Hēraklēeíē. See the comment on I.02.658. The element kleos in these names of Hēraklēs and Eteoklēs signals an epic theme, so that the names Hērakléēs and Eteokléēs are simultaneously treated as the epics belonging to Hēraklēs and Eteoklēs.

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This verse indicates that the goddess Athena can be responsible for the nīkē ‘victory’ of a hero in an athletic event, not only in events of warfare. In most Homeric situations, however, it is Zeus who is primarily responsible for heroic victory.

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Richard Martin

The poet introduces Agamemnon's speech to Menestheus and Odysseus in the troop-rousing scene as "winged words" (4.337). The speech employs the interrogative form—"Why do you stand off cowering and wait for the rest?" (4.337-40)—but its directive force is amplified by the next words: "It is fitting for you two to stand with the front-lines and confront burning battle" (4.341-42), a statement that is just as "directive" in function although it too lacks the linguistic form of an imperative.

Odysseus responds to the speech by labeling it with a formulaic line (4.350): "Atreus' son, what sort of epos has escaped the fence of your teeth?" Yet at 4.357 the poet says "he took back the muthos." Rather than being a flaw in the system, this co-occurrence is the key to Homeric usage of speech terms: epea can be a periphrastic expression for muthos, but not vice versa (Martin 1993:29).

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Book 4 of the poem is a good place to begin observing the poetics of flyting. The key lines for identifying this activity as part of the authoritative speech of muthos are 4.356-57: "Smiling at him Agamemnon addressed him, as he knew of his anger, and took back the muthos." The speech thus referred to on its retraction had been labeled at 4.336 with the verb neikessen. This co-occurrence confirms that each speech Agamemnon makes in the episode is an instantiation of muthos discourse. Twice, further (4.337, 4.369), the introduction to Agamemnon's speeches couples the verb neikō with the formula "he spoke winged words," also a regular introduction to directives—further confirmation that flyting speeches represent a form of muthos (Martin 1993:68-69).

Not only is the diction of the speech introductions standardized; Agamemnon's rhetorical tacks also follow a pattern. He begins his three neikos speeches (as distinct from his "gentle words" to Idomeneus, the Ajaxes, and Nestor at 4.256, 285, and 313) with questions: "Argives, disgraces, are you not ashamed?" (4.242); "Why do you stand off shrinking in fear?" (4.340); "Why do you cower, why do you steal glances at the banks of war?" (4.371). Next, he compares his addressees to scared animals. His general rebuke to the Argives pictures them as fawns halted by fear (4.243-45); to Odysseus and Diomedes he uses the verb kataptōssō (4.340, 4.371), related to the word for "rabbit." The final strategy relies on privileging another place, implying that the addressee occupies a position of no importance: to the Argives, engagement in battle is contrasted with waiting by the ships; Odysseus and Menestheus are told they prefer the dais to battle (4.343-46); Diomedes is provoked by mention of his father Tydeus' exploits at Thebes (Martin 1993:69-70).

It is not coincidental that Agamemnon selects Odysseus and Diomedes as targets: these two heroes pose the greatest threat, next to Achilles, in their verbal abilities. Odysseus deftly parries the accusation of laxness with a rhetorical question, then shifts to speak of the future: "You will see the father of Telemakhos mixing in the front lines" (4.354). Finally, he criticizes Agamemnon's style of speech: "You are talking idly" (anemōlia bazeis, 4.355). Agamemnon's response certifies that Odysseus defeated him verbally: he takes back the neikos speech, denying that he was even attempting to blame Odysseus (4.359), and adopts Odysseus' own poetic formulation to waft away his previous speech: "May the gods make all these things like the winds" (metamōnia—cf. anemōlia earlier, both from the noun anemos, "wind") (Martin 1993:70-71).

If Odysseus resists Agamemnon by clever riposte, Diomedes' strategy is cunning silence. Agamemnon has baited a trap: "Such was Tydeus. But the son he begat is worse in war—better in speaking" (4.399-400). Under these terms, were Diomedes to attempt an Odyssean reply, he would simply affirm the accusation that he is a better talker than fighter. The "silent" answer works because it constitutes an ambiguous sign. The rules of the flyting genre allow of two interpretations: silence can be read as incompetence in the genre of insults, or as a strategic aloofness asserting social superiority over the abuser. Diomedes knows the rules well enough to rebuke his companion Sthenelos, who has tried to counteract Agamemnon's insults (4.404-10): by directing his reply to Sthenelos and getting him to consent to a muthos of command (4.412), Diomedes acknowledges that he knows the ambiguous import of his silence in the duel (Martin 1993:71).

References

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

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