Homer Iliad 4.310

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The aged man, long versed in tasks of war,
Counselled them thus. King Agamemnon heard,
Delighted, and in winged words he said:
"O aged man, would that thy knees were firm
400
As is thy purpose, and thy strength as great!
But age, the common fate of all, has worn
Thy frame: would that some others had thy age,
And thou wert of the number of our youths!"
Then answered Nestor, the Gerenian knight:-
405
"O son of Atreus, I myself could wish
That I were now as when of yore I laid
Brave Ereuthalion in the dust. The gods
Bestow not all their gifts on man at once.
If I were then a youth, old age in turn
410
Is creeping o'er me. Still I keep among
The knights, and counsel and admonish them, -
The office of the aged. Younger men,
They who can trust their strength, must wield the spear."
He spake. The son of Atreus passed him by,
415
Pleased with his words, and, passing onward, came
Where-with the Athenians, ever prompt to raise
The war-cry, grouped around him - stood the knight
Menestheus, son of Peteus. Near to these
Was wise Ulysses, with his sturdy band
420
Of Cephalonians. None of these had heard
The clamor of the battle, for the hosts
Of Trojan knights and Greeks had just begun
To move, and there they waited for the advance
Of other squadrons marching on to charge
425
The Trojans and begin the war anew.
The king of men, Atrides, was displeased,
And spake, and chid them thus with winged words: -
"O son of Peteus, foster-child of Jove,
And thou, the man of craft and evil wiles!
430
Why stand ye here aloof, irresolute,
And wait the advance of others? Ye should be
The first to meet the enemy and bear
The heat of battle. Ye were first among
The guests whom I have bidden to the feasts
435
Prepared by us, the Achaians, for our chiefs.
There banquet ye on roasted meats, and quaff
The pleasant wines until ye have your fill."

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.) — 4.310 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.) — 4.310 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.) — 4.349 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 4.310 focus
Thus did the old man charge them, for he had been in many a fight, and King Agamemnon was glad. “I wish,” he said to him, that your limbs were as supple and your strength [ biē] as sure as your judgment is; [315] but age, the common enemy of humankind, has laid his hand upon you; would that it had fallen upon some other, and that you were still young.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 4.310 focus
So spoke the master of the martial art,
360
And touch'd with transport great Atrides' heart.
'Oh! hadst thou strength to match thy brave desires,
'And nerves to second what thy soul inspires!
'But wasting years that wither human race,
'Exhaust thy spirits, and thy arms unbrace.
365
'What once thou wert, oh ever mightst thou be!
'And age the lot of any chief but thee.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 4.310 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 4.310 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 4.310 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 foreshadowing of Diomedes’ role in the second segment of the poem

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analysis of how alive the meaning of the name Agelaos was based on the collocation of agein with laos

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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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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Leonard Muellner

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige)

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in the context of analyzing the usage and meaning of atasthaliai

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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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Richard Martin

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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