Homer Iliad 5.533

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So spake the king, and hurled his spear and smote
Deïcoön, the son of Pergasis,
670
A chief, and a companion in the war
Of the great-souled Æneas. He in Troy
Was honored as men honored Priam's sons,
For he was ever foremost in the fight.
The weapon struck his shield, yet stopped not there,
675
But, breaking through its folds and through the belt,
Transfixed the part beneath. The Trojan fell
To earth, his armor clashing with his fall.
Æneas slew the sons of Diocles, —
Orsilochus and Crethon, eminent Greeks.
680
Their father dwelt in Pheræ nobly built,
Amid his riches. From Alpheius he
Derived his race, - a river whose long stream
Flows through the meadows of the Pylian land.
Orsilochus was to Alpheius born,
685
Lord over many men, and he became
The father of great Diocles, to whom
Twin sons were born, well trained in all the arts
Of warfare, - Crethon and Orsilochus.
These, in the prime of youth, with their black ships
690
Followed the Argives to the coast of Troy
Famed for its generous steeds. They left their home
To vindicate the honor of the sons
Of Atreus, - Agamemnon, king of men,
And Menelaus, - but they found their death.
695
As two young lions, nourished by their dam
Amid the thickets of some mighty wood,
Seizing the beeves and fattened sheep, lay waste
The stables, till at length themselves are slain
By trenchant weapons in the shepherd's hand,
700
So by the weapons of Æneas died
These twain; they fell as lofty fir-trees fall.
But now, when Menelaus saw their fate,
The mighty warrior, deeply sorrowing, rushed
Among the foremost, armed in glittering brass,
705
And brandishing his spear; for Mars had roused
His soul to fury, trusting he would meet
Æneas, and would perish by his hand.
Antilochus, the generous Nestor's son,
Came also to the van, for anxiously
710
He feared mischance might overtake the king,
To make the toils of their long warfare vain;
And there he found the combatants prepared
For battle, with their trusty spears in hand,
And standing face to face. At once he took
715
His stand beside the monarch of the Greeks.
At sight of the two warriors side by side,
All valiant as he was, Æneas shunned
The encounter. They, when they had drawn the dead
Among the Grecian ranks, and to their friends
720
Given up the hapless brothers, turned to take
Their place among the foremost in the fight.

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.) — 5.533 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.) — 5.533 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.) — 5.572 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.533 focus
As he spoke he hurled his spear and hit one of those who were in the front rank, the comrade of high-hearted Aeneas, [535] Deikoön, son of Pergasos, whom the Trojans held in no less honor than the sons of Priam, for he was ever quick to place himself among the foremost. The spear of powerful King Agamemnon struck his shield and went right through it, for the shield stayed it not. It drove through his belt into the lower part of his belly, [540] and his armor rang rattling round him as he fell heavily to the ground.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.533 focus
These words he seconds with his flying lance,
To meet whose point was strong Deicoön's chance:
660
Æneas' friend, and in his native place
Honour'd and lov'd like Priam's royal race:
Long had he fought, the foremost in the field;
But now the monarch's lance transpierc'd his shield:
His shield too weak the furious dart to stay,
665
Through his broad belt the weapon forc'd its way;
The grisly wound dismiss'd his soul to hell,
His arms around him rattled as he fell.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.533 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.533 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.533 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

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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This verb noeîn ‘take note (of), notice’ is attracted to contexts where the subject of the verb is seen as taking the initiative. Here at I.05.669 is the first Iliadic application of this verb to the actions of Odysseus, who is specially linked with the meaning of noeîn, ‘take note (of), notice’.

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At the moment of his fainting or swooning here, the hero’s psūkhē ‘spirit’ in the sense of his ‘life’s breath’ is released from his body. But then he ‘comes to’, as it were, and now his life’s breath returns to him. The verb that expresses this idea of revival is ana-pneîn (ἀμπνύνθη)—variant en-pneîn (ἐμπνύνθη)—in the sense of ‘taking a breath’—‘breathing in’. So, the hero’s breath comes back into him, and that is what had left him when his psūkhē in the sense of ‘life’s breath’ had left him. But if we take this same word psūkhē in the sense of a disembodied ‘spirit’, then the spirit that has come back to the hero’s body has not only revived him: it has brought him back to life. Such a mystical sense of revival is most appropriate to the hero Sarpedon: after he is killed in battle, Sarpedon’s funeral leads to his mystical immortalization, as analyzed in the comments at I.16.456-457 and I.16.674-675 .

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In this context, the localized meaning of dēmos in the sense of ‘district’ is still overt.

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The neuter plural kukla corresponding to masculine singular kuklos means ‘chariot wheels’. The metaphorical use of kuklos ‘cycle, chariot wheel’ with reference to the epic Cycle as the sum total of Homeric poetry is relevant to the meaning of Homēros in the sense of a ‘joiner, carpenter’ who makes chariot wheels. See the comment on O.17.384–385. On the epic Cycle in general, see the inventory of Words and Ideas.

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Richard Martin

At 5.715, Hera refers to a past commitment as a muthos with the qualifier halion ("in vain"): "Vain, indeed, is the muthos we promised Menelaos." Achilles uses the same adjective halion at 18.324 for a past speech-act but the line concludes with epos instead: "A vain epos I tossed forth that day." The nature of the original speech-act explains the difference: as a boast, Achilles' speech is attracted into the language of actual boast descriptions, which often contain the formula eukhomenos epos ēuda. External factors—formulaic pressure, poetic themes in the larger discourse—can mask the inherent semantic distinction between muthos and epos (Martin 1993:28).

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