Homer Iliad 23.351

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.) — 23.351 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.) — 23.351 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.) — 23.287 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.351 focus
and fifth in order Meriones got ready his horses. They then all mounted their chariots and cast lots. Achilles shook the helmet, and the lot of Antilokhos, son of Nestor, fell out first; next came that of strong King Eumelos, [355] and after his, those of Menelaos the spear-famed son of Atreus and of Meriones. The last place fell to the lot of Diomedes, son of Tydeus, who was the best man of them all. They took their places in line; Achilles showed them the turning-post round which they were to turn, some way off upon the plain; here he stationed his father’s follower [360] Phoenix as umpire, to note the running, and report truly.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 23.351 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.351 focus
Next bold Meriones was seen to rise,
425
The last, but not least ardent for the prize.
They mount their seats; the lots their place dispose;
(Roll'd in his helmet, these Achilles throws;)
Young Nestor leads the race; Eumelus then;
And next, the brother of the king of men:
430
Thy lot, Meriones, the fourth was cast;
And, far the bravest, Diomed, was last.
They stand in order, an impatient train;
Pelides points the barrier on the plain,
And sends before old Phoenix to the place,
435
To mark the racers, and to judge the race.
At once the coursers from the barrier bound;
The lifted scourges all at once resound;
Their heart, their eyes, their voice, they send before;
And up the champaign thunder from the shore:
440
Thick, where they drive, the dusty clouds arise,
And the lost courser in the whirlwind flies;
Loose on their shoulders the long manes reclin'd,
Float in their speed, and dance upon the wind:
The smoking chariots, rapid as they bound,
445
Now seem to touch the sky, and now the ground;
While hot for fame, and conquest all their care,
(Each o'er his flying courser hung in air,)
Erect with ardour, pois'd upon the rein,
They pant, they stretch, they shout along the plain.
450
Now (the last compass fetch'd around the goal)
At the near prize each gathers all his soul,
Each burns with double hope, with double pain,
Tears up the shore, and thunders tow'rd the main.
First flew Eumelus on Pheretian steeds;
455
With those of Tros, bold Diomed succeeds:
Close on Eumelus' back they puff the wind,
And seem just mounting on his car behind;
Full on his neck he feels the sultry breeze,
And, hovering o'er, their stretching shadows sees.
460
Then had he lost, or left a doubtful prize;
But angry Phoebus to Tydides flies,
Strikes from his hand the scourge, and renders vain
His matchless horses' labour on the plain.
Rage fills his eye with anguish, to survey,
465
Snatch'd from his hope, the glories of the day.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.351 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.351 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

Douglas Frame

comment on the purpose of Nestor’s speech on tactics for rounding the turning post, when it does not feature in the description of the race itself (evoking Nestor’s own race against the twins)

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analysis of the chariot race and turning point in terms of the twin myth, with the turning point/grave as the point of death and from whence the immortal twin initiates the return to life

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comparison of Nestor’s advice to Antilochus regarding the balance between inciting and restraining his horses and that of the Epeian twins

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comparison of Nestor’s advice to Antilochus regarding the balance between inciting and restraining his horses and that of the Epeian twins, and the irony in Nestor’s advice (his own crash)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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Gregory Nagy

The funeral that Achilles arranges here for Patroklos in the Iliad is in some ways a preview of the funeral that the Achaeans will arrange for Achilles himself beyond the time-frame of the Iliad. A high point of the funeral in Iliad 23 is a spectacular chariot race arranged by Achilles to honor his dead comrade Patroklos. But an earlier high point is a comparably spectacular cremation of his friend’s body. But this cremation of Patroklos, as a ritual, is far from perfect: it is in fact polluted, and the pollution will make Achilles look bad, at least for the moment. The polluted thoughts of the hero, as evidenced by his dragging the corpse of Hector behind his speeding chariot, will drive him to extremes that will challenge the cosmic order. But the Master Narrator of the Iliad will remedy the pollution, and the remedy will take the form of actually narrating the grim story. In the process of this narration, a great lesson will be learned about life, death, and a hoped-for recovery of life.

draft js image errorAchilles dragging the body of Hector. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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|326 σῆμα δέ τοι ἐρέω μάλ’ ἀριφραδές, οὐδέ σε λήσει. |327 ἕστηκε ξύλον αὖον ὅσον τ’ ὄργυι’ ὑπὲρ αἴης |328 ἢ δρυὸς ἢ πεύκης· τὸ μὲν οὐ καταπύθεται ὄμβρῳ, |329 λᾶε δὲ τοῦ ἑκάτερθεν ἐρηρέδαται δύο λευκὼ |330 ἐν ξυνοχῇσιν ὁδοῦ, λεῖος δ’ ἱππόδρομος ἀμφὶς |331 ἤ τευ σῆμα βροτοῖο πάλαι κατατεθνηῶτος, |332 ἢ τό γε νύσσα τέτυκτο ἐπὶ προτέρων ἀνθρώπων, |333 καὶ νῦν τέρματ’ ἔθηκε ποδάρκης δῖος Ἀχιλλεύς. |334 τῷ σὺ μάλ’ ἐγχρίμψας ἐλάαν σχεδὸν ἅρμα καὶ ἵππους, |335 αὐτὸς δὲ κλινθῆναι ἐϋπλέκτῳ ἐνὶ δίφρῳ |336 ἦκ’ ἐπ’ ἀριστερὰ τοῖιν· ἀτὰρ τὸν δεξιὸν ἵππον |337 κένσαι ὁμοκλήσας, εἶξαί τέ οἱ ἡνία χερσίν. |338 ἐν νύσσῃ δέ τοι ἵππος ἀριστερὸς ἐγχριμφθήτω. |339 ὡς ἄν τοι πλήμνη γε δοάσσεται ἄκρον ἱκέσθαι |340 κύκλου ποιητοῖο· λίθου δ’ ἀλέασθαι ἐπαυρεῖν, |341 μή πως ἵππους τε τρώσῃς κατά θ’ ἅρματα ἄξῃς· |342 χάρμα δὲ τοῖς ἄλλοισιν, ἐλεγχείη δὲ σοὶ αὐτῷ |343 ἔσσεται· ἀλλὰ φίλος φρονέων πεφυλαγμένος εἶναι.

|326 I [= Nestor] will tell you [= Antilokhos] a sign [sēma], a very clear one, which will not get lost in your thinking. |327 Standing over there is a stump of deadwood, a good reach above ground level. |328 It had been either an oak or a pine. And it hasn’t rotted away from the rains. |329 There are two white rocks propped against either side of it. |330 There it is, standing at a point where two roadways meet, and it has a smooth track on both sides of it for driving a chariot. |331 It is either the tomb [sēma] of some mortal who died a long time ago |332 or was a turning point [nussa] in the times of earlier men. |333 Now swift-footed radiant Achilles has set it up as a turning point [terma plural]. |334 Get as close to it as you can when you drive your chariot horses toward it, |335 and keep leaning toward one side as you stand on the platform of your well-built chariot, |336 leaning to the left as you drive your horses. Your right-side horse |337 you must goad, calling out to it, and give that horse some slack as you hold its reins, |338 while you make your left-side horse get as close as possible [to the turning point], |339 so that the hub will seem to be almost grazing the post |340 - the hub of your well-made chariot wheel. But be careful not to touch the stone [of the turning point], |341 or else you will get your horses hurt badly and break your chariot in pieces. |342 That would make other people happy, but for you it would be a shame, |343 yes it would. So, near and dear [philos] as you are to me, you must be sound in your thinking and be careful.

(Epitomized from H24H 7§§3–6.) I concentrate here on the use of the word sēma in two verses, I.23.326 and I.23.331, concerning the sēma or ‘sign’ given by the hero Nestor to his son, the hero Antilokhos, about the sēma or ‘tomb’ of an unnamed hero. I divide my analysis into four parts:

Part 1. The two verses come from a passage where Nestor gives instructions to Antilokhos about the driving skills required for a charioteer to make a left turn around a landmark. As we will now learn from the context, this landmark is meant to be used as a turning point in the course of a chariot race that is being planned as the culminating athletic event of the Funeral Games for Patroklos in Iliad 23. In the words of Nestor, this landmark is either a sēma, ‘tomb’, of an unnamed hero of the distant past, I.23.331, or it was once upon a time a ‘turning point’, a nussa, I.23.332, used for chariot races that must have taken place in such a distant past. As I will argue, the master narrative of the Iliad shows that this sēma or ‘tomb’ is to be understood as the tomb of Patroklos himself, which he will share with Achilles once Achilles too is dead. To understand this is to understand the sēma or ‘sign’ given by the hero Nestor.

Part 2. The sēma that is the ‘tomb’ of the unnamed hero at I.23.331 is also a ‘sign’ of that hero’s cult, as signaled by the sēma or ‘sign’ that is conveyed by the speaker at I.23.326. That is what I once argued in an essay entitled “Sēma and Noēsis: The Hero’s Tomb and the ‘Reading’ of Symbols in Homer and Hesiod” (GM 202-222). As I pointed out in that essay, we know from evidence external to Homeric poetry that the tomb of a cult hero could be used as the actual turning point of a chariot race: in the historical period, starting with the adoption of chariot racing in the athletic program of the Olympics (this adoption has been dated at around 680 BCE), the turning-point of chariot-races could be conceptualized as the tomb of a hero, whose restless spirit was capable of “spooking” the horses at the most dangerous moment of the chariot-race, the left turn around the turning point. (GMP 215-216, with reference to Pausanias 6.20.15-19).

Part 3. According to the wording of Nestor, however, there seem at first to be two different interpretations of the landmark that he is showing to Antilokhos: what is being visualized is either a tomb of a cult hero from the distant past or it is a turning point for chariot races that must have taken place in such a distant past. The landmark is an ambivalent sign. At least, it seems ambivalent, short range, on the basis of Nestor’s wording in this passage. Long range, however, on the basis of the overall plot of the Iliad, this wording will lead to a fusion of interpretations. And the sign that seemed at first to be ambivalent will become clear. Long range, the tomb of the unnamed hero from the distant past becomes the same landmark as the turning point of a chariot race from the distant past. That is because the unnamed hero from the distant past becomes a named hero from the immediate present of the Iliad. That hero is Patroklos, and he died just now, as it were, in Iliad 16.

Part 4. But Patroklos dies not only in the present time of the Iliad. He also did die a long time ago, from the standpoint of later generations who are listening to the story of the Iliad. So, the storytelling of the Iliad makes it possible for the athletic event of a chariot race from the distant past to become the same thing as the athletic event of a chariot race that is being held right now, in the same immediate present time of the story, in Iliad 23. And, as I argue, this race is intended to honor Patroklos as a future cult hero. See also the comment on O.11.119–137.

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reference to exegetical problem discussed in Aristotle Sophistici Elenchi chapters 18, 19

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reference to the fact Plato and Xenophon each report variant readings that are not found in the manuscript tradition (Labarbe 1949.415-416)

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analysis of kúklos as a metaphor for the sum total of Homeric poetry and the craft of the carpenter to the art of the poet. See Pindar Pythian 3.112-114, Il. IV.110, Il. XXIII.712. This traditional pattern of thinking explains the classification of the aoidós and the téktōn under the category of dēmiourgós (Od. XVII.381-385)

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blame as kharma to others and elenkheiē to the one to experience it, in the context of analyzing blame poetry

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