Homer Iliad 10.454

Samuel Butler (Translator)

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Then Dolon would have caught him by the beard [455] to beseech him further, but Diomedes struck him in the middle of his neck with his sword and cut through both sinews so that his head fell rolling in the dust while he was yet speaking. They took the ferret-skin cap from his head, and also the wolf-skin, the bow, and his long spear. [460] Radiant Odysseus hung them up aloft in honor of Athena, the goddess of plunder, and prayed saying, “Accept these, goddess, for we give them to you in preference to all the gods in Olympus: therefore speed us still further towards the horses and sleeping-ground of the Thracians.”

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 10.454 focus

  ἦ, καὶ ὃ μέν μιν ἔμελλε γενείου χειρὶ παχείῃ
ἁψάμενος λίσσεσθαι, ὃ δʼ αὐχένα μέσσον ἔλασσε
455
φασγάνῳ ἀΐξας, ἀπὸ δʼ ἄμφω κέρσε τένοντε·
φθεγγομένου δʼ ἄρα τοῦ γε κάρη κονίῃσιν ἐμίχθη.
τοῦ δʼ ἀπὸ μὲν κτιδέην κυνέην κεφαλῆφιν ἕλοντο
καὶ λυκέην καὶ τόξα παλίντονα καὶ δόρυ μακρόν·
καὶ τά γʼ Ἀθηναίῃ ληΐτιδι δῖος Ὀδυσσεὺς
460
ὑψόσʼ ἀνέσχεθε χειρὶ καὶ εὐχόμενος ἔπος ηὔδα·
χαῖρε θεὰ τοῖσδεσσι· σὲ γὰρ πρώτην ἐν Ὀλύμπῳ
πάντων ἀθανάτων ἐπιδωσόμεθʼ· ἀλλὰ καὶ αὖτις
πέμψον ἐπὶ Θρῃκῶν ἀνδρῶν ἵππους τε καὶ εὐνάς.

  ὣς ἄρʼ ἐφώνησεν, καὶ ἀπὸ ἕθεν ὑψόσʼ ἀείρας
465
θῆκεν ἀνὰ μυρίκην· δέελον δʼ ἐπὶ σῆμά τʼ ἔθηκε
συμμάρψας δόνακας μυρίκης τʼ ἐριθηλέας ὄζους,
μὴ λάθοι αὖτις ἰόντε θοὴν διὰ νύκτα μέλαιναν.
τὼ δὲ βάτην προτέρω διά τʼ ἔντεα καὶ μέλαν αἷμα,
αἶψα δʼ ἐπὶ Θρῃκῶν ἀνδρῶν τέλος ἷξον ἰόντες.
470
οἳ δʼ εὗδον καμάτῳ ἀδηκότες, ἔντεα δέ σφιν
καλὰ παρʼ αὐτοῖσι χθονὶ κέκλιτο εὖ κατὰ κόσμον
τριστοιχί· παρὰ δέ σφιν ἑκάστῳ δίζυγες ἵπποι.
Ῥῆσος δʼ ἐν μέσῳ εὗδε, παρʼ αὐτῷ δʼ ὠκέες ἵπποι
ἐξ ἐπιδιφριάδος πυμάτης ἱμᾶσι δέδεντο.
475
τὸν δʼ Ὀδυσεὺς προπάροιθεν ἰδὼν Διομήδεϊ δεῖξεν·
οὗτός τοι Διόμηδες ἀνήρ, οὗτοι δέ τοι ἵπποι,
οὓς νῶϊν πίφαυσκε Δόλων ὃν ἐπέφνομεν ἡμεῖς.
ἀλλʼ ἄγε δὴ πρόφερε κρατερὸν μένος· οὐδέ τί σε χρὴ
ἑστάμεναι μέλεον σὺν τεύχεσιν, ἀλλὰ λύʼ ἵππους·
480
ἠὲ σύ γʼ ἄνδρας ἔναιρε, μελήσουσιν δʼ ἐμοὶ ἵπποι.
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.) — 10.454 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.) — 10.431 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 10.454 focus
He spake. And as the suppliant took his chin
535
In his large hand, and had begun a prayer,
He smote him with his sword at the mid-neck,
And cut the tendons both; the severed head,
While yet he spake, fell, rolling in the dust.
And then they took his helm of otter-skin,
540
The wolf's-hide, sounding bow, and massive spear.
The nobly born Ulysses in his hand
Lifted the trophies high, devoting them
To Pallas, deity of spoil, and prayed:-
“Delight thyself, O goddess, in these arms,
545
For thee we first invoke, of all the gods
Upon Olympus. Guide us now to find
The camp and coursers of the sons of Thrace."
He spake; and, raising them aloft, he hung
The spoils upon a tamarisk, and brake
550
Reeds and the spreading branches of the tree,
To form a mark, that so on their return
They might not, in the darkness of the night,
O'erlook the spot. And then the twain went on,
And soon were where the Thracian squadron lay.
555
There slept the warriors, overpowered with toil;
Their glittering arms were near them, fairly ranged
In triple rows, and by each suit of arms
Two coursers. Rhesus slumbered in the midst.
Near him were his fleet horses, which were made
560
Fast to the chariot's border by the reins.
Ulysses saw them first, and, pointing, said: -
"This is the man, O Diomed, and these
The steeds, described by Dolon whom we slew.
Come, then; put forth thy strength of arm, for ill
565
Doth it become thee to stand idle here,
Armed as thou art. Loose thou the steeds; or else
Slay thou the men, and leave the steeds to me."
He spake. The blue-eyed Pallas straightway gave
Strength to Tydides, who on every side
570
Dealt slaughter. From the smitten by the sword
Rose fearful groans; the ground was red with blood.
As when a ravening lion suddenly
Springs on a helpless flock of goats or sheep,
So fell Tydides on the Thracian band,
575
Till twelve were slain. Whomever Diomed
Approached and smote, the sage Ulysses seized,
And drew him backward by the feet, that thus
The flowing-manèd coursers might pass forth
Unhindered, nor, by treading on the dead,
580
Be startled; for they yet were new to war.
Now when the son of Tydeus reached the king, -
The thirteenth of his victims, - him he slew
As he breathed heavily; for on that night
A fearful dream, in shape Enides' son,
585
Stood o'er him, sent by Pallas. Carefully
Ulysses meantime loosed the firm-paced steeds,
And, fastening them together, drave them forth,
Urging them with his bow: he had not thought
To take the showy lash that lay in sight
590
On the fair chariot-seat. In going thence
He whistled, as a sign to Diomed,
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 10.454 focus
Sternly he spoke, and, as the wretch prepar'd
With humble blandishment to stroke his beard,
Like lightning swift the wrathful faulchion flew,
Divides the neck, and cuts the nerves in two;
525
One instant snatch'd his trembling soul to hell,
The head, yet speaking, mutter'd as it fell.
The furry helmet from his brow they tear,
The wolf's grey hide, th' unbended bow and spear;
These great Ulysses lifting to the skies,
530
To favouring Pallas dedicates the prize:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 10.454 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 10.454 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 10.454 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 10 focus

New Alexandria Commentaries

Casey Dué

τρομέοντο

Zenodotus, the first head of the library at Alexandria and a well-known Homer scholar, knew of the reading φοβέοντο here, according to the scholia that survive in our medieval manuscripts, but the reading is not attested elsewhere. (The verb τρομέω is likewise used in the middle voice at 10.492. See also Iliad 6.151.) Hainsworth (1993 ad loc.) notes that Aristarchus, a successor of Zenodotus as head of the library and rival editor of Homer, asserted that “φοβοῦμαι and its cognates signified flight,” whereas here φοβέοντο would have the Classical meaning ‘fear’. Hainsworth adds the qualification “but that [Aristarchus’] doctrine may not be binding on this Book.” Hainsworth’s comment reflects his understanding of Iliad 10 as likely a later composition than the rest of the Iliad (see “Interpreting Iliad 10”). We suggest instead that φοβέοντο’s lack of manuscript attestation indicates that it was not a particularly old or well-known version of the verse, but this is not necessarily indicative of the lateness of the entire book. A version with φοβέοντο may well have entered the formulaic performance language at a later phase in the Homeric tradition than τρομέοντο, eventually becoming part of the textual tradition known to Zenodotus several centuries later. The third-century CE Stoic philosopher Chrysippus (fragment 906 in the edition of von Arnim 1903) quotes this line with still another variation: περὶ γὰρ δίε νηυσὶν Ἀχαιῶν. This phrase is attested at Iliad 9.433 and 13.557 and is in no sense “un-Homeric,” though it, like φοβέοντο, is not attested here in the manuscript tradition. These variations highlight the dynamic nature of Homeric diction, which evolved through time and was in a constant state of flux in its early stages. For more on the Alexandrian editors of Homer see on 10.51–52 below.

source
Gregory Nagy

There is a pronounced shift in mood in Rhapsody 10. Unlike the narratives in the rest of the Iliad, this narrative focuses on how heroes behave at nighttime, as distinct from daytime. What dominates now is a poetics of ambush, which is a different kind of warfare. And a prime exponent of such poetics is the wolfish figure of Dolon. My comments here on Rhapsody 10 are mere supplements to the extensive commentary of Dué and Ebbott 2010.

draft js image errorDolon. Detail from an Attic red-figure lekythos (460 BCE). Image via Wikimedia Commons.

source

Commentary

Commentary (Casey Dué and Mary Ebbott, 2010) (OCR draft) (Commentary (Casey Dué and Mary Ebbott, 2010)) focus

10. mvp-comment-5-1 10.10 τρομέοντο Zenodotus, the first head of the library at Alexandria and a well-known Homer scholar, knew of the reading φοβέοντο here, according to the scholia that survive in our medieval manuscripts, but the reading is not attested elsewhere. (The verb τρομέω is likewise used in the middle voice at 10.492. See also Iliad 6.151.) Hainsworth (1993 ad loc.) notes that Aristarchus, a successor of Zenodotus as head of the library and rival editor of Homer, asserted that “ φοβοῦμαι and its cognates signified flight,” whereas here φοβέοντο would have the Classical meaning ‘fear’. Hainsworth adds the qualification “but that [Aristarchus’] doctrine may not be binding on this Book.” Hainsworth’s comment reflects his understanding of Iliad 10 as likely a later composition than the rest of the Iliad (see “Interpreting Iliad 10”). We suggest instead that φοβέοντο’s lack of manuscript attestation indicates that it was not a particularly old or well-known version of the verse, but this is not necessarily indicative of the lateness of the entire book. A version with φοβέοντο may well have entered the formulaic performance language at a later phase in the Homeric tradition than τρομέοντο, eventually becoming part of the textual tradition known to Zenodotus several centuries later. The third-century CE Stoic philosopher Chrysippus (fragment 906 in the edition of von Arnim 1903) quotes this line with still another variation: περὶ γὰρ δίε νηυσὶν Ἀχαιῶν. This phrase is attested at Iliad 9.433 and 13.557 and is in no sense “un-Homeric,” though it, like φοβέοντο, is not attested here in the manuscript tradition. These variations highlight the dynamic nature of Homeric diction, which evolved through time and was in a constant state of flux in its early stages. For more on the Alexandrian editors of Homer see on 10.51–52 below.