Homer Iliad 6.232

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Thus having said, and leaping from their cars,
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They clasped each other's hands and pledged their faith.
Then did the son of Saturn take away
The judging mind of Glaucus, when he gave
His arms of gold away for arms of brass
Worn by Tydides Diomed, - the worth
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Of fivescore oxen for the worth of nine.
And now had Hector reached the Scæan gates
And beechen tree. Around him flocked the wives
And daughters of the Trojans eagerly;
Tidings of sons and brothers they required,
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And friends and husbands. He admonished all
Duly to importune the gods in prayer,
For woe, he said, was near to many a one.

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.) — 6.232 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.) — 6.232 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.) — 6.212 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.232 focus
With these words they sprang from their chariots, grasped one another’s hands, and plighted friendship. But Zeus, the son of Kronos, made Glaukos take leave of his wits, [235] for he exchanged golden armor for bronze, the worth of a hundred head of cattle for the worth of nine.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.232 focus
Thus having said, the gallant chiefs alight,
Their hands they join, their mutual faith they plight;
Brave Glaucus then each narrow thought resign'd;
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(Jove warm'd his bosom and enlarg'd his mind;)
For Diomed's brass arms, of mean device,
For which nine oxen paid, (a vulgar price,)
He gave his own, of gold divinely wrought;
A hundred beeves the shining purchase bought. 1
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.232 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.232 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.232 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

Douglas Frame

analysis of the relation of the goddess and her image in the context of analyzing the statue of Athena on the Athenian acropolis (with this passage from Iliad as an illustration)

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analysis of Arete’s pose as evidence for the pose of the statue of Athena Polias in Athens

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analysis of the relation of the goddess and her image in the context of analyzing the statue of Athena on the Athenian acropolis (with this passage from Iliad as an illustration)

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Gregory Nagy

A high point here in Rhapsody 6 is a tearful scene of farewell for Andromache and Hector. The loving wife will never again see her husband alive. The scene is justly admired for its artistic portrayal of this tragically doomed couple, but the verbal artistry extends even further: also to be most admired here is the remarkable precision of poetic language in representing lament as it was actually performed in ancient Greek song culture.

draft js image errorApulian red-figure column-crater (ca. 370–360 BCE) depicting an intimate family scene: Hector removes his helmet as he says his final farewell to his wife Andromache and to their child Astyanax. Public domain image by Jastrow via Wikimieda Commons

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The general hostility of the divinity Athena toward the Trojans in this narrative sequence, despite the fact that the women of Troy are shown here in the act of formally worshipping her as the divine protector of their citadel, can be correlated with a pattern of personal hostility felt by the goddess toward Hector as a hero who aspires to some of the same roles that Athena herself exemplifies. In the case of the verses here, I.06.286–311, this goddess is worshipped in her role as protector of citadels under siege: that is why Theano as high priestess of Troy prays to Athena by invoking her as erusi-ptolis ‘protector of the citadel [p(t)olis]’ at I.06.305. Like the goddess, Hector can be seen as an exponent of defensive tactics in protecting a citadel from sieges: as we saw in the comment on I.05.473–474, even his name fits his intended role as the protector of the citadel of Troy, since Hék-tōr is an agent noun derived from the verb ekhein ‘hold’ in the specialized sense of ‘uphold’ or ‘protect’ or ‘guard’. In the context of I.05.473–474, the expected role of Hector is to protect the city of Troy, and the direct object of ekhein ‘uphold, protect, guard’ at I.05.473 is polis ‘city, citadel’, referring to Troy. But the tragedy is, Hector will fail in the role of protecting Troy, since he will abandon strategies of defending the city and will opt instead for staying on the offensive against an enemy that will ultimately capture Troy. And a key to his failure, as we will see in the course of the macro-narrative, is the fact that Athena herself will delude Hector into staying on the offensive until it is too late for him to revert to a defensive role. Such a pattern of antagonism between immortal and mortal, it can be argued, derives from the ideologies of hero cult.

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With each repetition of the wording for the presentation of the peplos ‘robe’ to Athena as goddess of Troy—from I.06.090–093 to I.06.271–273 to I.06.286–296—the master plan seems to fit more and more the ritual of presenting a pattern-woven peplos ‘robe’ to Athena as goddess of Athens at the Athenian festival of the Panathenaia. On the Panathenaic Peplos, see again the comment on I.05.734–735; see also HPC 270. Looking back at the entire narrative sequence as analyzed here—I.06.090–093, I.06.271–273, I.06.286–296, I.06.297–310—I highlight two most salient visual details at Ι.06.297, namely, the citadel or acropolis of Troy and the temple on top of that acropolis. These two details correspond to the two most visible details distinguishing the city of Athens from most other cities. At work here is a process I describe as split referencing. The reference is split between Troy and Athens. The referent is both the prehistorical citadel of Troy and the historical citadel or acropolis of Athens. As for the narrative here at I.06.286-311 about the presentation of the peplos ‘robe’ to Athena, the peplos to be chosen is highlighted as the biggest of all the peploi (I.06.90, I.06.271, I.06.294). It is the peplos that is most ‘beautiful’ or kalon (I.06.294), with the most ‘pleasurable beauty’ or kharis (I.06.90, I.06.271). The size and the beauty of the fabric evoke a vision of the quadrennial Panathenaic Peplos, which is notionally the biggest and most beautiful of all imaginable peploi. As for the association of the word kharis ‘pleasurable beauty’ with the fabric, it is appropriate not only to the peplos that is being described but also to the medium that describes the peplos. That medium is Homeric poetry as performed at the quadrennial festival of the Panathenaia. The concept of kharis conveys the charisma of Homeric poetry as described by Homeric poetry. In terms of this description, the peplos in this narrative, I.06.286-311, can be seen as a metaphor for epic as performed at the Panathenaia. This epic is notionally the biggest and the most beautiful of all epics. Like the peplos that is being offered by the women to Athena, this epic as performed at the Panathenaia has more kharis than all other epics.

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Leonard Muellner

the one attestation of potni’ Athēnaiē in Homer, in the context of the analysis of the development of Greek posis compared with Vedic pati-

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in a list of examples of Homeric prayers, in the context of analyzing the meaning of eukhesthai in formula (A) and here specifically the Homeric notion of prayer

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analysis and comparison of uoueō with eukhesthai

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analysis of the attestations of eukhesthai + future infinitive, where eukhesthai has been translated as ‘vow’ rather than ‘pray’, and arguing that they are not significant transformations of the prayer structure

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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