Homer Iliad 5.363

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She spake; and Mars resigned to her his steeds
With trappings of bright gold. She climbed the car,
Still grieving, and, beside her, Iris took
Her seat, and caught the reins and plied the lash.
450
On flew the coursers, on, with willing speed,
And soon were at the mansion of the gods
On high Olympus. There the active-limbed,
Fleet Iris stayed them, loosed them from the car,
And fed them with ambrosial food. Meanwhile,
455
The goddess Venus at Dione's feet
Had cast herself. The mother round her child
Threw tenderly her arms, and with her hand
Caressed her brow, and spake, and thus inquired: -
"Which of the dwellers of the skies, dear child,
460
Has dealt thus cruelly with thee, as one
Caught in the doing of some flagrant wrong?"
And thus did Venus, queen of smiles, reply: -
"The son of Tydeus, arrogant Diomed,
Wounded me as I sought to bear away
465
From battle's dangers my beloved son
Æneas, dear beyond all other men:
For now no longer does the battle rage
Between the Greeks and Trojans, but the Greeks
Venture to combat even with the gods."
470
Dione, great among the goddesses,
Rejoined: "Submit, my daughter, and endure,
Though inly grieved; for many of us who dwell
Upon the Olympian mount have suffered much
From mortals, and have brought great miseries
475
Upon each other. First, it was the fate
Of Mars to suffer, when Aloëus' sons,
Otus and mighty Ephialtes, made
Their fetters fast upon his limbs. He lay
Chained thirteen months within a brazen cell;
480
And haply there the god, whose thirst of blood
Is never cloyed, had perished, but for aid
Which Eribœa gave, the beautiful,
His step-mother. She made his miseries known
To Mercury, who set him free by stealth,
485
Withered and weak with long imprisonment.
And Juno suffered when Amphitryon's son,
The valiant, dared to plant in her right breast
A three-pronged arrow, and she writhed with pain.
And Pluto suffered, when the hero-son
490
Of ægis-bearing Jove, with a swift shaft,
Smote him beside the portals of the dead,
And left him filled with pain. He took his way
To high Olympus and the home of Jove,
Grieving and racked with pain, for deep the dart
495
Had pierced his brawny shoulder, torturing him.
There Pæan with his pain-dispelling balms
Healed him, for he was not of mortal race.
O daring man and reckless, to make light
Of such impieties, and violate
500
The sacred persons of the Olympian gods!
It was the blue-eyed Pallas who stirred up
Tydides to assail thee thus. The fool!
He knew not that the man who dares to meet
The gods in combat lives not long. No child
505
Shall prattling call him father when he comes
Returning from the dreadful tasks of war.
Let then Tydides, valiant though he be,
Beware lest a more potent foe than thou
Encounter him, and lest the nobly-born
510
Ægialeia, in some night to come-
Wise daughter of Adrastus, and the spouse
Of the horse-tamer Diomed - call up
The servants of her household from their sleep,
Bewailing him to whom in youth she gave
515
Her maiden troth, - the bravest of the Greeks."

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.) — 5.363 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.) — 5.363 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.) — 5.352 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.363 focus
Thus she spoke, and Arēs gave her his gold-bedizened steeds. She mounted the chariot sick and sorry at heart, [365] while Iris sat beside her and took the reins in her hand. She lashed her horses on and they flew forward nothing loath, till in a trice they were at high Olympus, where the gods have their dwelling. There she stayed them, unloosed them from the chariot, and gave them their ambrosial forage; [370] but bright Aphrodite flung herself on to the lap of her mother Dione, who threw her arms about her and caressed her, saying, “Which of the celestial beings has been treating you in this way, as though you had been doing something wrong in the face of day?”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.363 focus
Stern Mars attentive hears the queen complain,
And to her hand commits the golden rein:
She mounts the seat, oppress'd with silent woe,
455
Driven by the goddess of the painted bow.
The lash resounds, the rapid chariot flies,
And in a moment scales the lofty skies.
There stopp'd the car, and there the coursers stood,
Fed by fair Iris with ambrosial food.
460
Before her mother, Love's bright queen appears,
O'erwhelm'd with anguish and dissolv'd in tears;
She rais'd her in her arms, beheld her bleed,
And ask'd what god had wrought this guilty deed?
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.363 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.363 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.363 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

analysis of the meaning of Hector’s name (from ekhō) and how it is evoked in the Iliad (as here)

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analysis of (ep)otrunō in its connections with menō

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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 momentum of the war is spirited, and the fighting mood of the warriors verges on overreaching. An outstanding example is Diomedes, who already owns a glorious past as a conquering hero in the epic tradition known as the Sons of the Seven against Thebes or Epigonoi. Now in the epic present of the Iliad he has a chance to outdo himself, performing deeds so glorious that they would outshine perhaps even the deeds of Achilles, who is now out of the picture. The successes of Diomedes reach the point where he is capable of feats that are superhuman, as when he lifts a rock that even two humans today could not budge—or as when he wounds the god of war himself, Ares, and then, shortly thereafter, the goddess of love and sexuality, Aphrodite. But such momentum is not to last, and the antagonism of Diomedes toward divinities will have its consequences.

draft js image error“Aeneas and Diomedes.” Wenceslaus Hollar (Bohemian, 1607–1677). Image via Wikimedia Commons.

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Retrospectively, Apollo in his own words is saying that Diomedes was daimoni īsos ‘equal to a daimōn’ when this hero dared to attack the god. The use of this expression daimoni īsos ‘equal to a daimōn’ here at I.05.459, and also before at I.05.438, goes to the core of the central idea of antagonism between immortal and mortal. Most relevant are the intervening verses at I.05.440–442.

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The “speaking name” (nomen loquens) of Hector, Hék-tōr, is morphologically an agent noun derived from the verb ekhein ‘hold’, which can have the specialized sense of ‘uphold’ or ‘protect’ or ‘guard’, as in the present context. The expected role of Hector is to protect the city of Troy, and the direct object of ekhein ‘uphold, protect, guard’ here at I.05.473 is polis ‘city, citadel’, referring to Troy.

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The goddess Demeter is the only divinity in Homeric poetry who is described by the epithet xanthē ‘golden’ (with reference to hair).

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Leonard Muellner

analysis of Apollo’s call to Ares to return to fighting as referring to and contravening Athena’s earlier request that he refrain, and beginning with the same line as Athena’s request

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analysis of miaiphonos as an epithet of Ares and as applied to Patroklos

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analysis of teichesiplēta as an epithet of and metaphor for Ares’ tendency to reach the limits of behavior (and application to Patroklos)

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analysis of the Diomedes-Ares identification/antagonism and variant theme of mēnis

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analysis of the Diomedes-Ares identification/antagonism and thematic linkage between the mēnis of Apollo against Diomedes and that of Zeus against Ares

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analysis of the Diomedes-Ares identification/antagonism and thematic linkage between the mēnis of Apollo against Diomedes and that of Zeus against Ares

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Richard Martin

Sarpedon's rebuke of Hektor in Book 5 is later labeled a muthos (5.471 and 5.493). The then/now contrast opens his attack, followed immediately by a reference to Hektor's earlier boasts: "Hektor, where has your strength gone, which you previously used to have? You used to say at some point that you would hold the city alone, without troops and allies, with your brothers and brothers-in-law. I cannot see any of them now or notice any, but they all cower like dogs around a lion" (5.471-76). The speech is noteworthy for its insistent criticism of Hektor's verbal behavior, charging him with failing to give orders (5.485) and advising him to supplicate the allied leaders for help in order to deflect verbal abuse (kraterēn apothesthai enipēn, 5.492). The foil technique recurs when Glaukos later uses Sarpedon's own career as a contrast to Hektor's passivity (17.152). Hektor has not learned (Martin 1993:72-73).

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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