Homer Iliad 6.72

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He spake; the timely admonition changed
The purpose of his brother, who thrust back
The suppliant hero with his hand; and then
King Agamemnon smote him through the loins,
And prone on earth he fell. Upon the breast
80
Of the slain man Atrides placed his heel,
And from the body drew the ashen spear.
Then Nestor to the Argives called aloud : -
"Friends, Grecian heroes, ministers of Mars!
Let no man here through eagerness for spoil
85
Linger behind the rest, that he may bear
Much plunder to the ships; but let us first
Strike down our enemies, and afterward
At leisure strip the bodies of the dead."
Thus speaking, he revived in every breast
90
Courage and zeal. Then had the men of Troy
Sought refuge from the Greeks within their walls,
O'ercome by abject fear, if Helenus,
The son of Priam, and of highest note
Among the augurs, had not made his way
95
To Hector and Æneas, speaking thus:-
"O Hector and Æneas, since on you
Is laid the mighty labor to command
The Trojans and the Lycians, - for the first
Are ye in battle, and in council first, -
100
Here make your stand, and haste from side to side,
Rallying your scattered ranks, lest they betake
Themselves to flight, and, rushing to their wives,
Become the scorn and laughter of the foe.
And then, so soon as ye shall have revived
105
The courage of your men, we here will bide
The conflict with the Greeks, though closely pressed;
For so we must. But, Hector, thou depart
To Troy and seek the mother of us both,
And bid her call the honored Trojan dames
110
To where the blue-eyed Pallas has her fane,
In the high citadel, and with a key
Open the hallowed doors, and let her bring
What she shall deem the fairest of the robes,
And amplest, in her palace, and the one
115
She prizes most, and lay it on the knees
Of the bright-haired Minerva. Let her make
A vow to offer to the goddess there
Twelve yearling heifers that have never borne
The yoke, if she in mercy will regard
120
The city, and the wives and little ones
Of its defenders; if she will protect
Our sacred Ilium from the ruthless son
Of Tydeus, from whose valor armies flee,
And whom I deem the bravest of the Greeks.
125
For not so greatly have we held in dread
Achilles, the great leader, whom they call
The goddess-born; but terrible in wrath
Is Diomed, nor hath his peer in might."

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.) — 6.72 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.) — 6.72 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.) — 6.102 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.72 focus
With these words he put heart and spirit into them all. And now the Trojans would have been routed and driven back into Ilion, [75] had not Priam’s son Helenos, wisest of augurs, said to Hector and Aeneas, “Hector and Aeneas, you two are the mainstays [ ponos] of the Trojans and Lycians, for you are foremost at all times, alike in fight and counsel; [80] hold your ground here, and go about among the army of warriors to rally them in front of the gates, or they will fling themselves into the arms of their wives, to the great joy of our foes. Then, when you have put heart into all our companies, we will stand firm here and fight the Danaans [85] however hard they press us, for there is nothing else to be done. Meanwhile do you, Hector, go to the city and tell our mother what is happening. Tell her to bid the matrons gather at the temple of owl-vision Athena in the acropolis; let her then take her key and open the doors of the sacred building. [90] The peplos that seems to her to have the most pleasurable beauty [ kharis] and is the biggest 91 in the palace—the one that is by far the most near and dear [ philos] to her— 92 she must take that one and lay it on the knees of Athena with the beautiful hair. Let her, moreover, promise to sacrifice twelve yearling heifers that have never yet felt the goad, in the temple of the goddess, if she will take pity [95] on the town, with the wives and little ones of the Trojans, and keep the son of Tydeus the wild spear-fighter from falling on the goodly city of Ilion; for he fights with fury and fills men’s spirits with panic. I hold him mightiest of them all; we did not fear even their great champion Achilles, [100] son of a goddess though he be, as we do this man: his rage is beyond all bounds, and there is none can vie with him in prowess.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.72 focus
The monarch spoke; the words, with warmth address'd,
To rigid justice steel'd his brother's breast.
Fierce from his knees the hapless chief he thrust;
The monarch's javelin stretch'd him in the dust.
80
Then, pressing with his foot his panting heart,
Forth from the slain he tugg'd the reeking dart.
Old Nestor saw, and rous'd the warriors' rage;
'Thus, heroes! thus the vigorous combat wage!
'No son of Mars descend, for servile gains,
85
'To touch the booty, while a foe remains.
'Behold yon glittering host, your future spoil!
'First gain the conquest, then reward the toil.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.72 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.72 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.72 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

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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Helenos is telling Hector what to tell Hecuba to do, which is, to offer a peplos ‘robe’ for Athena as the goddess of the citadel of Troy.

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The encounter of Glaukos and Diomedes prompts an exquisite meditation on the opposition of heroic mortality vs. immortality in terms of nature vs. culture.

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Leonard Muellner

in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing genos eukhesthai einai formulas)

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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Richard Martin

The encounter between Glaukos and Diomedes in Book 6 is the turning point in Diomedes' education in performance, as that affects his speech to enemies (Martin 1993:126). Within the Iliad the process of learning a tradition and the growth of creative ability at performance is depicted through Diomedes. Had there been little other evidence, this depiction alone would encourage the imagination that the poet in such a medium composed as he performed. After this encounter, the hero delivers several quite good flyting attacks, against Dolon (10.369 and 10.446), Hektor (11.361), and Paris (11.384).

The demand to know Glaukos' genealogy makes sense in the context of flyting, since it gives the speaker a hold with which to throw his opponent. The implication of Diomedes' remark that Glaukos has not appeared before in "man-glorifying" battle is that Glaukos has no ability to be glorified; and the reference to the "boldness" of Glaukos has to be read with an eye to the negative connotations of "boldness" when a speaker's deeds do not authorize this. The apparent digression into the story of Dionysos furthers this strategy: scared women, a comforting mother-figure, a threatening male who engages in rough language—these figures in Diomedes' miniature dramatization of "myth" are in fact projections of the participants in the very muthos of flyting in which he is engaged. For Dionysos and the nurses, read Glaukos; for Lykourgos, Diomedes; and for Thetis, compare the women of Troy. Diomedes' myth, then, is a version of his victory, a wish fulfillment of the threatening physical encounter (Martin 1993:127-28).

Glaukos is not naive. His first strategy—to question the value of genealogy—contains the famous image of the "generations of leaves," but in the language of Homer, falling to the ground connotes the end of human as well as vegetal life: this is a coded threat. The invitation to learn Glaukos' genealogy from him also contains a veiled insult: the reply, "Many men know it" (6.151), implies that Diomedes, who professes not to, is unpracticed in feats of memory, an essential genre for the performing hero to perfect. Glaukos' tale of ancestry is thus not factual information but makes sense only in performance: it is a symbol in a game of dueling narratives, an act of self-presentation that attempts to wrest authority (Martin 1993:128-29).

Diomedes' second speech—how Oineus, his grandfather, played host to Bellerophon (6.215-31)—is the only passage in which such a "myth" of Oineus' meeting with Bellerophon is ever mentioned because Diomedes has just invented the "tradition" in order to force Glaukos into the socially correct ritual exchange. He speaks to win, and does. Zeus "took away the wits of Glaukos, who exchanged golden armor for bronze, 100-cows'-worth for that of nine" (6.234-36): Glaukos resembles Laomedon, involved as he is in a shamefully bad exchange; Diomedes is analogous to Sarpedon, since he induced his enemy to switch armor. Diomedes' creative expansion of "tradition" is at work; the mention of the theme by Glaukos opens a narrative chink at which Diomedes has thrust successfully (Martin 1993:129-30).

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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