Homer Iliad 16.155

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 1857))

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.) — 16.155 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.) — 16.155 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.) — 16.131 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.155 focus
Meanwhile Achilles went about everywhere among the tents, and bade his Myrmidons put on their armor. Even as fierce ravening wolves that are feasting upon a horned stag which they have killed upon the mountains, and their jaws are red with blood— [160] they go in a pack to lap water from the clear spring with their long thin tongues; and they reek of blood and slaughter; they know not what fear is, for it is hunger drives them—even so did the leaders and counselors of the Myrmidons [165] gather round the good attendant [ therapōn] of the fleet descendant of Aiakos, and among them stood Achilles himself cheering on both men and horses.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.155 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.155 focus
First march'd Menestheus, of celestial birth,
210
Deriv'd from thee, whose waters wash the earth,
Divine Sperchius! Jove-descended flood!
A mortal mother mixing with a god.
Such was Menestheus, but miscall'd by fame
The son of Borus, that espous'd the dame.
215
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.155 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.155 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

Notes on the current edition

Iliad

1. 143 " A simile most lively expressive."—CHAPMAN.
2. 145 Currie—quarry. Infrà, 693.
3. 160 Discoloured—divers-coloured, variegated.
4. 179 Feeing.—Dr. Taylor has incorrectly printed " seeing."
5. 182 Natural.— See Bk. XIII. 166.

New Alexandria Commentaries

Douglas Frame

analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands

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analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands and here specifically Patroclus’ state of mind (which mirrors Nestor’s)

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analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands

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contra Heiden that the end of Book 15 constitutes one of two major breaks in the performance of the Iliad

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analysis of the parallelism between Nestor and Patroclus, reaching its climax in I.16, where Patroclus becomes a horseman, addressed as such in this verse

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Gregory Nagy

It seems at first as if everything is coming together here in Iliad 16. Achilles, best of the Achaeans, sends out his other self, Patroklos, to fight Hector and his Trojans, who are now on the verge of setting on fire and destroying all the beached ships of the Achaeans. Patroklos does in fact succeed in stopping the fire, which had been endangering not only the survival of the Achaeans but even the very existence of their notional descendants, imagined as the Greeks who are listening to the story of the Iliad in their own time. The conflagration that could have burned down the beached ships of the Achaeans is now literally ‘quenched’ by Patroklos, whose heroic action in putting out the fire of the Trojans is compared in a simile to a cosmic action taken by Zeus himself when this weather-god drenches and thus destroys in a violent rainstorm the farmlands of unjust men. Clearly, Zeus is now once again on the Achaean side of the Trojan War. But the success of Patroklos is not to last: soon after he kills Sarpedon, son of Zeus himself, in the course of a spectacular chariot fight, Patroklos now gets killed in the course of a second spectacular chariot fight. This time, Patroklos has gone too far, daring to attack not only Hector but also the divine protector of that hero, Apollo himself. Now everything is about to come apart again, and Achilles has yet to find out about the tragedy that awaits him.

draft js image errorA chariot driver and a chariot fighter in a biga (two-horses chariot). Terracotta, Late Helladic IIIA–IIIB (ca. 1400–1200 BCE). Louvre Museum, CA 2959. Credit line: Purchase, 1934.  Image Marie-Lan Nguyen (User:Jastrow), 2009-06-28 [CC BY 2.5 (http://creativecommons.org/licenses/by/2.5)], via Wikimedia Commons.

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Achilles tells Patroklos not to go beyond the limits that he sets for him in these verses. If Patroklos does exceed these limits, as he will, he will lose his shared identity with Achilles.

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The heroic tendency of Achilles to behave as a lone warrior, not as a member of a group of warriors, is comparable to heroic tendencies that play out in the Indic epic known as the Mahābhārata. In that epic, Bhīma is the “loner,” as it were, while Arjuna is the “joiner.” But the characteristic of Achilles as a “loner” is complicated by the fact that Patroklos, so long as he shares his identity with Achilles, likewise behaves as a “loner” in the Iliad.

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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

On the use of the plural here, see the comment on I.02.484. I repeat here the translation: ‘tell me now, you Muses who have your dwellings on Mount Olympus’. It has already been noted in the comment on I.11.218- and earlier on I.02.484- that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition. For more on the poetics of re-invocation, see also the comments on I.02.761, I.14.508. Here at I.16.112 the special moment of poetic self-awareness corresponds to the heroic self-awareness of Hector, as analyzed in the comment on I.08.180–183. Since the Muses are the goddesses of poetic memory, their re-invocation by the Master Narrator here at I.16.112 is a fulfillment of the original prediction of Hector: there will be mnēmosunē ‘memory’, I.08.181, of the moment when he will set fire to the beached ships of the Achaeans in the epic Battle for the Ships.

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Here is where it all comes together: what the Muses are re-invoked to sing is ‘how the fire of Hector finally reached the ships of the Achaeans’, I.16.113: ὅππως δὴ πρῶτον πῦρ ἔμπεσε νηυσὶν Ἀχαιῶν.

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Ajax sees, to his horror, that the dreaded moment has arrived. Now that the fire of Hector is about to reach the ships of the Achaeans, the Will of Zeus is finally about to be fulfilled: what Zeus now literally bouletai ‘wills’ is nīkē ‘victory’ for the Trojans, I.16.121. See also HC 4§109, with a survey of all Homeric situations where either Zeus or Athena awards nīkē ‘victory’.

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Ajax makes another strategic partial withdrawal, I.16.122. For an earlier reference to Ajax in the act of withdrawing, see I.15.727–732 and the comment on I.15.704–746. Meanwhile a fiery missile lands on one of the beached ships of the Achaeans, I.16.122–123, and a phlox ‘burst of flame’ envelops the prumnē ‘stern’ of that ship, I.16.123–124. As we know from earlier references to this ship, it had belonged to Protesilaos: see the comment on I.15.704–746. Achilles sees that the beached ship is on fire, and he now urges Patroklos to arm himself and go off to defend the ships from the fire.

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Patroklos wears the armor of Achilles, but he leaves behind that hero’s meliē ‘ash spear’ I.16.143. Only Achilles can wield that weapon, I.16.140–144. The symbolism of this spear corresponds to the myth of the bronze generation of heroes in Hesiod Works and Days 143–151, who were born of ash trees and were made of bronze, just as the shaft of the spear of Achilles is made from an ash tree while the tip is made of bronze. By contrast with the immortalizing armor that Achilles receives from his immortal mother Thetis, he receives the ash spear from his mortal father Peleus. For more on the symbolism of the hero’s ash spear, I recommend Shannon 1975.

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The word melíē functions as the word for both "ash tree" (e.g. I.16.767) and "ash spear" (as it does here). For a thorough discussion of the Homeric evidence, see The Arms of Achilles and Homeric Compositional Technique (1975) by Richard Shannon, especially pp. 46–48 for his comments on Works and Days 143–155. There is a manifestation of the heroic type represented by the Bronze Men of Hesiod in the heroic character of Achilles himself, and more specifically, in the spear he wields. In fact, Achilles is described as the only hero who could wield this magnificent spear (I.16.140–142), which is also the only piece of the hero's armor that Patroklos did not take with him when he fatally replaced Achilles. In sum, the diction of the entire Iliad makes the bronze-tipped ash spear an emblem of Achilles just as surely as the bronze and ash wood characterize the equally wanton Bronze Men, who are depicted by Hesiod as bent on nothing but húbris and war.

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See the comments at O.12.132 and at O.23.246 on myths about solar horses; the name of Xanthos is relevant.

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On the word harpuia, personified as ‘Harpy’, see Parts 3 and 4 of the comment at O.15.250–251.

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Here, for the first time in the Iliad, Patroklos is marked as the therapōn of Achilles. His dual role as ‘attendant’ and ‘ritual substitute’ is already implicit.

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I note here only in passing the semantic and morphological links between these two adjectives kratero- ‘having the power to win’ and hiero- ‘sacred’ in contexts where they describe the noun menos ‘mental power’.

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Ajax makes another strategic partial withdrawal, I.16.122. For an earlier reference to Ajax in the act of withdrawing, see I.15.727–732 and the comment on I.15.704–746. Meanwhile a fiery missile lands on one of the beached ships of the Achaeans, I.16.122–123, and a phlox ‘burst of flame’ envelops the prumnē ‘stern’ of that ship, I.16.123–124. As we know from earlier references to this ship, it had belonged to Protesilaos: see the comment on I.15.704–746. Achilles sees that the beached ship is on fire, and he now urges Patroklos to arm himself and go off to defend the ships from the fire.

See also the comment on I.13.688.

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Leonard Muellner

comparison of Achilles’ goals in Iliad 16 (when sending Patroklos to fight) and in Iliad 18 (when Patroklos has died and he joins battle), timē and kleos, respectively

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analysis of mēnis in Patroklos’ aristeia

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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examples of the identical contexts in which eukhos and kudos occur

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in the context of analyzing the identification of Achilles and Patroklos

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contrasting Achilles’ philotēs in Iliad 16 (exclusive bond with Patroklos) and Iliad 18 (bond with Patroklos and with the rest of the social group)

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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analysis of different interpretations of I.16.060-065 (whether Achilles is giving up his mēnis or not, etc.), comparison with the conditions Achilles sets specifies at I.09.650-653

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analysis of Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos

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analysis of Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos

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