Homer Iliad 17.209

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.) — 17.209 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.) — 17.209 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.) — 17.240 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.209 focus
So spoke the son of Kronos, and with his eyebrows of azure he made a reinforcing [= epi-] nod. [210] He [= Zeus] fitted the armor to Hector’s skin, and he [= Hector] was entered by Arēs 211 the terrifying, the Enyalios. And his [= Hector’s] limbs were all filled inside 212 with force and strength. Seeking to join up with his famed allies 213 he went off, making a great war cry. He was quite the picture for them all. 214 He was shining in the armor of the man with the great heart [ thūmos], the son of Peleus. [215] He went about among them and cheered them on—Mesthles, Glaukos, Medon, Thersilokhos, Asteropaios, Deisenor and Hippothoös, Phorkys, Chromios, and Ennomos the augur. All these did he exhort saying, [220] “Hear me, allies from other cities who are here in your thousands, it was not in order to have a crowd about me that I called you here each from his several city, but that with heart and spirit you might defend the wives and little ones of the Trojans from the fierce Achaeans. [225] For this do I oppress my people with your food and the presents that make you rich. Therefore turn, and charge at the foe, to stand or fall as is the game of war; whoever shall bring Patroklos, dead though he be, [230] into the hands of the Trojans, breakers of horses, and shall make Ajax give way before him, I will give him one half of the spoils while I keep the other. He will thus share like glory [ kleos] with myself.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 17.209 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 17.209 focus
Then with his sable brow he gave the nod,
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That seals his word; the sanction of the god.
The stubborn arms (by Jove's command dispos'd)
Conform'd spontaneous, and around him clos'd:
Fill'd with the god, enlarg'd his members grew,
Through all his veins a sudden vigour flew:
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The blood in brisker tides began to roll,
And Mars himself came rushing on his soul.
Exhorting loud through all the field he strode,
And look'd, and mov'd, Achilles, or a god.
Now Mesthles, Glaucus, Medon he inspires,
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Now Phorcys, Chromius, and Hippothoüs fires;
The great Thersilochus like fury found,
Asteropæus kindled at the sound,
And Ennomus, in augury renown'd.
'Hear, all ye hosts, and hear unnumber'd bands
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'Of neighbouring nations, or of distant lands!
''Twas not for state we summon'd you so far,
'To boast our numbers, and the pomp of war;
'Ye came to fight; a valiant foe to chase,
'To save our present and our future race.
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'For this, our wealth, our products, you enjoy,
'And glean the relics of exhausted Troy.
'Now, then, to conquer or to die prepare,
'To die or conquer are the terms of war.
'Whatever hand shall win Patroclus slain,
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'Whoe'er shall drag him to the Trojan train,
'With Hector's self shall equal honours claim;
'With Hector part the spoil, and share the fame.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.209 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.209 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 17 focus

New Alexandria Commentaries

Douglas Frame

comment on the identification of Enualios with Ares, in the context of analyzing the identity of the war goddess in “Tsountas’s House”

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Gregory Nagy

The main preoccupation of the Achaeans here in Iliad 17 is to recover the corpse of Patroklos. Their efforts are understandable, in that they are showing their sense of solidarity by trying to rescue from harm the body of a fellow warrior who has fallen in battle. But the motivation here goes deeper. Patroklos is a cult hero in the making, and the corpses of heroes are essential for establishing hero cults in their honor. And the foreseen status of Patroklos as cult hero prefigures a comparable status for Achilles himself beyond the Iliad.

draft js image errorCopperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman.Photographed/scanned by H.-P.Haack (Antiquariat Dr. Haack Leipzig) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0) or Public domain], via Wikimedia Commons.

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Like other names containing the element kleos ‘glory’ in Homeric diction, the name of Patroklos=Patrokleēs can have a periphrastic alternative, as here: ‘the biē of Patroklos’. Comparable is the periphrasis of the name Hērakléēs as biē Hēraklēeíē, or of the name Eteokléēs as bíē Eteoklēeíē. See the comments on I.02.658 and I.04.386.

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The armor of Achilles, which had covered the body of Patroklos and which is now about to cover the body of Hector, is not just ‘immortal’: it is ‘immortalizing’. It will make you immortal unless it stops covering you, as when this armor falls off the body of Patroklos in the course of his death scene as narrated in Iliad 16. On the semantics of ambroto- as ‘immortalizing’, see the comment on I.16.670.

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The armor that was given to Achilles by his immortal mother is immortalizing, whereas the armor that was given to him by his mortal father, the ash spear, symbolizes the hero’s mortality. On the ash spear, see the comment on I.16.140–144.

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When Zeus sees Hector putting on the armor of Achilles, he nods his divine head, thus signaling his will, which in this case is a specific plan to make into a part of the overall narrative a special scene where the death of Hector at the hands of Achilles will cause grief for Andromache, who will never get see Hector wearing the armor of Achilles—since her husband will never return to her alive. Instead of welcoming back her husband in Iliad 22, Andromache will be lamenting him, and the wording at I.22.444 in the context of her impending lament at I.22.476–515 is already prefigured here at I.17.207, referring to the wife’s fond hope to be reunited with her loving husband. See also the comment on I.22.444. Thus the Will of Zeus, the god’s plan, is to create an exquisite artistic effect. Zeus plans here to put in motion a scene of sublime poetic virtuosity, since the epic narrative in Iliad 22 will soon re-enact the lyrical lament of Andromache over the death of Hector, I.22.476–515. Here at I.17.194–214, Zeus is speaking as if he were already the director of the scenario for such a future scene of lament. The god is in effect prefiguring the scene here by way of formally announcing his artistic involvement. Such an involvement can be seen as a kind of metonymic contact with the emotions of Andromache. On the metonymy here, see also the comment on I.01.528–530. See also under metonymy in the inventory of Words and Ideas.

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Aristarchus’ preferred reading for the verse [MRBTP: scholia]

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The name Enūalios can function as an epithet of Ares as war god. In other contexts, the same name can refer to a separate divine personality, likewise a war god.

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Hector here is quite the picture, looking like Achilles because he wears the armor of Achilles.

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Leonard Muellner

analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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