Homer Iliad 5.576

View: By Book
Then, too, Pylæmenes, a chief like Mars,
And leader of the Paphlagonian host, -
A valiant squadron armed with shields, - was slain.
725
Atrides Menelaus, skilled to wield
The javelin, gave his death-wound. He transfixed
The shoulder at the collar-bone. Meanwhile
Antilochus against his charioteer,
Mydon, the brave son of Atymnias, hurled
730
A stone that smote his elbow as he wheeled
His firm-paced steeds in flight. He dropped the reins,
Gleaming with ivory as they trailed in dust.
Antilochus leaped forward, smiting him
Upon the temples with his sword. He fell
735
Gasping amidst the sand, his head immersed
Up to his shoulders, - for the sand was deep, —
And there remained till he was beaten down
Before the horses' hoofs. Antilochus,
Lashing the horses, drave them to the Greeks.
740
Hector beheld, and, springing with loud shouts,
Stood mid the wavering ranks. The phalanxes
Of the brave Trojans followed him, for Mars
And terrible Bellona led them on, -
Bellona bringing Tumult in her train,
745
And Mars with brandished lance-a mighty weight-
Now stalking after Hector, now before.
Him when the valiant Diomed beheld,
He trembled; and, as one who, journeying
Along a way he knows not, having crossed
750
A place of drear extent, before him sees
A river rushing swiftly toward the deep,
And all its tossing current white with foam,
And stops and turns, and measures back his way,
So then did Diomed withdraw, and spake:
755
"O friends, how greatly must we all admire
This noble Hector, mighty with the spear
And terrible in war. There is some god
Forever near him, warding off the stroke
Of death; beside him yonder even now
760
Stands Mars in semblance of a mortal man.
Yield, then, and with your faces toward the foe
Fall back, and strive not with the gods of heaven."
Even as he spake, the Trojan host drew near,
And Hector slew two warriors trained to arms, -
765
Menesthes and Anchialus, - who came
Both in one chariot to the war. Their fall
Ajax, the son of Telamon, beheld,
And pitied, and drew near, and stood, and hurled
His glittering spear. It smote Ampheius, son
770
Of Selagus, who, rich in lands and goods,
Abode in Pæsus. In an evil hour
He joined the cause of Priam and his sons.
Him at the belt the spear of Ajax smote,
And pierced the bowels. With a crash he fell.
775
Then hastened mighty Ajax to strip off
The armor, but the Trojans at him cast
Their pointed spears that glittered as they flew,
And many struck his shield. He pressed his heel
Against the slain, and from the body drew
780
His brazen spear, but could not from the breast
Loose the bright mail, so thick the weapons came,
And such the wary dread with which he saw
The bravest of the Trojans closing round,
Many and fierce, and all with spears outstretched;
785
And he, though strong and valiant and renowned,
Driven from the ground, gave way to mightier force.

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.) — 5.576 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.) — 5.576 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)) — 5.576 focus
They killed high-hearted Pylaimenes peer of Arēs, leader of the Paphlagonian warriors. Menelaos the spear-famed son of Atreus struck him on the collar-bone as he was standing on his chariot, [580] while Antilokhos hit his charioteer and attendant [ therapōn] Mydon, the brave son of Atymnios, who was turning his horses in flight. He hit him with a stone upon the elbow, and the reins, enriched with white ivory, fell from his hands into the dust. Antilokhos rushed towards him and struck him on the temples with his sword, [585] whereon he fell head-first from the chariot to the ground. There he stood for a while with his head and shoulders buried deep in the dust—for he had fallen on sandy soil till his horses kicked him and laid him flat on the ground, as Antilokhos lashed them and drove them off to the army of the Achaeans.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.576 focus
First Pylæmenes, great in battle, bled,
705
Who, sheath'd in brass, the Paphlagonians led.
Atrides mark'd him where sublime he stood;
Fix'd in his throat, the javelin drank his blood.
The faithful Mydon, as he turn'd from fight
His flying coursers, sunk to endless night:
710
A broken rock by Nestor's son was thrown;
His bended arm receiv'd the falling stone;
From his numb'd hand the ivory-studded reins
Dropp'd in the dust, are trail'd along the plains:
Meanwhile his temples feel a deadly wound;
715
He groans in death, and ponderous sinks to ground:
Deep drove his helmet in the sands, and there
The head stood fix'd, the quivering legs in air,
Till trampled flat beneath the coursers' feet:
The youthful victor mounts his empty seat,
720
And bears the prize in triumph to the fleet.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.576 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.576 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.576 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena’s association with/wearing peplos

source

analysis of the close alliance of Athena with Zeus (in the Iliad and in the myth of the gigantomachy)

source

discussing the accessories of the statue of Athena Polias at Athens, here especially the aegis and the gorgoneion in the context of discussing the two aspects of Athena, as a virgin war goddess and as a mother goddess

source

analysis of the change of Athena from the mother goddess to the virgin war goddess at Athens under the influence of the Homeric poems

source

analysis of Athena’s association with crafts and in particular the production of clothing

source

analysis of the name Stentōr (in the context of analyzing names in -tōr)

source
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.

source

reference that both lines have comparable instances of verse-final ἀμφίς

source

When the goddess slips out of her peplos ‘robe’ and into the khitōn ‘tunic’ that belongs to her father Zeus, there is an intervening moment of nudity. See MoM 3§1-3§7. This passage shows (a) the complementarity of the peplos ‘robe’ and the khitōn ‘tunic’ worn by Athena and (b) the complementarity of her roles as Athena Polias (goddess of the citadel) and Athena Parthenos (goddess virgin) in the myths and rituals of Athens. This complementarity is re-enacted in the Iliad. See MoM 3§§9–12. We see in these verses a linearity that follows a sequence controlled by time in the Homeric reference to the Peplos of Athena. This linearity substitutes for the circular sequence of the Athenians’ charter myth about Athena and the Gigantomachy, which means ‘battle of the gods and giants’. The Iliad here shows a metaphorical substitution of the Trojan War for the Gigantomachy. On metaphor, see the inventory of Words and Ideas; also MoM 0§01, 0§1 Extract 0-A. For the Athenians, Athena is the primary narrator of the Gigantomachy by way of pattern-weaving the narration in her own Peplos as a masterpiece of metonymy. On metonymy, see the inventory of Words and Ideas.

source

The peplos ‘robe’ made by the goddess Athena is seen as a prototype of a perfect masterpiece of pattern-weaving. It is also a perfect masterpiece of metonymy coordinated with metaphor. On metaphor and metonymy, see the inventory of Words and Ideas. Further, the peplos ‘robe’ of the goddess is a prototype, in the world of myth, for the re-enacting of its pattern-weaving in the world of ritual in Athens. The peplos that is pattern-woven by Athena in Athenian myth is the prototype of the Panathenaic Peplos from the standpoint of Athenian ritual. The Panathenaic Peplos was pattern-woven for ritual presentation to the goddess Athena at the climax of the quadrennial Athenian festival known as the Great Panathenaia.

source

note that these verses were athetized by Zenodotus

source

analysis of the coextensiveness of the khiton and aegis worn by Athena when she goes to war and metonymically shared by Zeus with her

source
Leonard Muellner

discussing the accessories of the statue of Athena Polias at Athens, here especially the aegis and the gorgoneion in the context of discussing the two aspects of Athena, as a virgin war goddess and as a mother goddess

source

comment on poikilos, epithet of Athena’s peplos, as ‘pattern-woven’

source

analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him and in solidarity from when Athena prevented him from entering battle

source

analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him (replaced by a variant kind of heroic mēnis) and in solidarity from when Athena prevented him from entering battle

source

as evidence in the context of analysis of dikaios as ‘just’ in the sense of the opposite incurring mēnis in I.03.132-136 and comparison with Hesiod

source

analysis of interconnections of themis and mēnis, which protects the former

source

analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him (replaced by a variant kind of heroic mēnis) and in solidarity from when Athena prevented him from entering battle

source

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

source

analysis of the name Stentōr (in the context of analyzing names in -tōr)

source