Homer Iliad 4.401

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.) — 4.401 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.) — 4.401 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.) — 4.446 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 4.401 focus
Strong Diomedes made no answer, for he was shamed by the rebuke of Agamemnon; but the son of Kapaneus the glorious took up his words and said, 404 “Son of Atreus! Don’t warp your talk when you know how to speak clearly! [405] We boast to be much better than our fathers. 406 We even captured the foundations of seven-gated Thebes, 407 having mustered a smaller army against a stronger fortress, 408 and having heeded the signs of the gods and the help of Zeus. 409 But they perished, by their own wantonness. [410] So do not bestow on our fathers an honor [ tīmē] that is like ours.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 4.401 focus
He spake; and valiant Diomed, who heard
The king's reproof with reverence, answered not.
Then spake the son of honored Capaneus: -
"Atrides, speak not falsely, when thou know'st
510
The truth so well. Assuredly we claim
To be far braver than our fathers were.
We took seven-gated Thebes with fewer troops
Than theirs, when, trusting in the omens sent
From heaven, and in the aid of Jupiter,
515
We led our men beneath the city walls
Sacred to Mars. Our fathers perished there
Through their own folly. Therefore never seek
To place them in the same degree with us."
But the brave Diomed regarded him
520
With a stern look, and said: "Nay, Sthenelus!
Of Agamemnon I will not complain, -
The shepherd of the people; it is his
To exhort the well-armed Greeks to gallant deeds.
Great glory will attend him if the Greeks
525
Shall overcome the Trojans, and shall take
The sacred Ilium; but his grief will be
Bitter if we shall fail and be destroyed.
Hence think we only of the furious charge!"
He spake, and from his chariot leaped to earth
530
All armed; the mail upon the monarch's breast
Rang terribly as he marched swiftly on.
The boldest might have heard that sound with fear.
As when the ocean-billows, wave on wave,
Are pushed along to the resounding shore
535
Before the western wind, and first the surge
Uplifts itself, and then against the land
Dashes and roars, and round the headland peaks
Tosses on high and spouts its foam afar,
So moved the serried phalanxes of Greece
540
To battle, file succeeding file, each chief
Giving command to his own troops; the rest
Marched noiselessly: you might have thought no voice
Was in the breasts of all that mighty throng,
So silently they all obeyed their chiefs,
545
Their showy armor glittering as they moved
In firm array. But, as the numerous flock
Of some rich man, while the white milk is drawn
Within his sheepfold, hear the plaintive call
Of their own lambs, and bleat incessantly, -
550
Such clamors from the mighty Trojan host
Arose; nor was the war-cry one, nor one
The voice, but words of mingled languages,
For they were called from many different climes.
These Mars encouraged to the fight; but those
555
The blue-eyed Pallas. Terror too was there,
And Fright, and Strife that rages unappeased, -
Sister and comrade of man-slaying Mars, -
Who rises small at first, but grows, and lifts
Her head to heaven and walks upon the earth.
560
She, striding through the crowd and heightening
The mutual rancor, flung into the midst
Contention, source of bale to all alike.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 4.401 focus
No words the godlike Diomed return'd,
But heard respectful, and in secret burn'd:
Not so fierce Capaneus' undaunted son;
Stern as his sire, the boaster thus begun:
455
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 4.401 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 4.401 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 4 focus

New Alexandria Commentaries

Douglas Frame

analysis of Makhaon and Podaleirios as an example of a twin myth, and here, the distinction between their respective skills as healers

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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citation of formulaic use of haloûsá te perthoménē te as example where halṓō means “to be seized” in Homer

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analysis of the names of Neleus’ sons in the Iliad and Hesiod

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analysis of Nestor’s association with noos

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occurrence of Ereuthalion in this line as anticipating Nestor’s story in I.07, which is an argument against taking the latter as the poet’s invention

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analysis of Nestor’s epithet in Homer and Gerenios as deriving from geras

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analysis of the foreshadowing of Diomedes’ role in the second segment of the poem

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analysis of the correspondences between Iliad and Solon frr. regarding Athena’s protection (of Athens/Diomedes…)

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analysis of the foreshadowing of Diomedes’ role in the second segment of the poem

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analysis of how alive the meaning of the name Agelaos was based on the collocation of agein with laos

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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Gregory Nagy

The Trojan War is being fought here as if for the very first time. There is a sense of novelty at first in contemplating all the violent woundings and deaths yet to follow. Of special interest is all the beautiful detail lavished on the wounding of Menelaos: it is as if his bleeding wound here could be pictured as the original trauma of the Trojan War.

draft js image errorImage: The healer Makhaon attends to the wounded Menelaos. Engraving by Francesco Nenci for an edition of the Iliad published in 1838.

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The collocation ērare tektōn (ἤραρε τέκτων) ‘the joiner joined together’ is relevant to the etymologies of both the verb and the noun here, which are respectively ar-ar-iskein ‘fit together, join together’ and tektōn ‘carpenter, joiner’. Although the Indo-European verb-root from which tektōn is derived, tek(s)-, is no longer attested in Greek, it does in fact survive in Latin as texō*, which can refer to the craft of woodworking, not only the craft of weaving. Correspondingly, although there is no Greek attestation of an abstract noun ar-ti- derived from the verb-root of ar-ar-iskein, such a noun does in fact survive in Latin as ars, artis* ‘craft’.

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Epitome from Nagy 2015§85. When the hero Pandaros makes his announcement-in-prayer, as expressed by the verb eukhesthai, I.04.119, he says that he will perform an animal sacrifice, I.04.120, in hopes that Apollo, the god to whom he is praying, will grant him what he is wishing for, which is a safe homecoming, I.04.121. But the wish—and therefore the prayer—is a failure, since Pandaros will soon be killed on the battlefield, I.05.290-296. To paraphrase in cognate Latin terms: the vōtum as an ‘announcement-in-prayer’ is a failure here because the same vōtum as a ‘wish-in-prayer’ is not fulfilled: the hero Pandaros will never return home safe and sound.

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discussion of elliptic plural, with here the example of toxa as ‘bow and arrows’

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The epithet Dios thugatēr / thugatēr Dios ‘daughter of Zeus’, applied here to Athena, can signal the beneficence of such goddesses toward privileged heroes like, in this case, Menelaos.

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The syntax here conveys a wish for a general situation based on a specific situation.

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The epithet applied to the hair of Menelaos, xanthos/xanthē ‘golden’, is a marker of the hero’s future immortalization.

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The plural toxa here and at I.04.206 is elliptic: whereas singular toxon as at I.04.124 means ‘bow’, plural toxa as at I.04.196 and I.04.206 means not ‘bow+bow+bow+bow…’ but rather, elliptically, ‘bow+arrow+arrow+arrow…’. In other words, toxa means ‘bow and arrows’.

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What is penthos ‘grief’ for the Achaeans becomes a kleos ‘glory’ for the Trojans. We see here a clear example of penthos ‘grief’ as a synonym of akhos ‘grief’ in Homeric diction. In the present context, the underlying sense of pain conveyed by penthos ‘grief’ is not only individual, made real by the wounding of the hero Menelaos: it is also collective, since the pain of Menelaos becomes a pain felt by all the Achaeans, who now find themselves on the losing side of the battle because they have lost Menelaos as leader—at least, they have lost him for the moment. The healing of the pain will be up to the warrior-physician Makhaon, son of the ultimate physician Asklepios.

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example of vestigial traces of -˘˘-˘˘-˘/--˘˘-˘˘-- (where / means that the ˘ before it and the - after it should be on top of each other, meaning that syllable could be either long or short)

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This is the first Iliadic occurrence of the noun therapōn in the singular; at I.01.321, this noun occurs in the dual; at I.02.110, it occurs in the plural. Besides the surface meaning, ‘attendant’, we can see here some traces of the deeper meaning, ‘ritual substitute’. In Iliadic battle scenes, a chariot driver sometimes “takes the hit,” as it were, for the chariot fighter who ordinarily rides with him on the platform of the war chariot. In “taking the hit,” the chariot driver could die for the chariot fighter, and, in this role, the chariot driver is sometimes described as a therapōn of the chariot fighter. Thus the chariot driver becomes the ‘ritual substitute’ as well as ‘attendant’ of the chariot fighter. Also relevant is the word hēni-okhos ‘chariot driver’, the first occurrence of which in the Iliad is at I.05.231. See Nagy 2015.05.01, 2015.05.08, 2015.05.15, 2015.05.20. Such is the relationship between Achilles as chariot fighter and Patroklos as his premier chariot driver and therapōn in the dual sense of ‘ritual substitute’ and ‘attendant’: see H24H 6§§24–42. In the present context, we see that the hero Eurymedon, named at I.04.228, is described at I.04.227 as the therapōn of Agamemnon. Eurymedon is at this moment taking care of the horse team and chariot of Agamemnon while the king leaves him behind and goes off ‘on foot’, pezos, at I.04.231, in order to harangue the troops. Evidently, Eurymedon is pictured here as the chariot driver of Agamemnon, who is of course the chariot fighter and who has just stepped off his chariot. Potentially, then, Eurymedon as therapōn of Agamemnon is also his ritual substitute. The name Eurymedon recurs at I.08.114, where he is paired with Sthenelos, the chariot driver of Diomedes: the two of them are seen in the act of taking the disabled chariot and horse team of Nestor back to a zone of safety, I.08.116–117. In the act of taking care of Nestor’s horse team, both Sthenelos and Eurymedon are described at I.08.113—and already at I.08.109—as theraponte, which is of course therapōn in the dual. Evidently, Eurymedon is visualized as the therapōn ‘attendant’ of Nestor already at I.08.113, and the context there shows that he is also the designated chariot driver of Nestor: see the comment on Ι.08.076–117. Later on, at I.11.620, Eurymedon is explicitly called the therapōn of Nestor, functioning as the ‘attendant’ of the old hero: at this moment, Eurymedon is taking care of the horse team of Patroklos, who has just driven his chariot to the headquarters of Nestor as the old hero’s guest, I.11.618–622.

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The verb neikeîn ‘quarrel with’ here again marks the language of blame as opposed to the language of praise.

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The objects of blame here are those who hesitate in battle, described as elenkhees, plural of the adjective elenkhēs ‘disgraceful’, which is a derivative of the noun elenkhos ‘disgrace’, on which see also I.02.235.

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The expression of admiration here is amplified by way of a wish. And the admiration is the premise for the wish. For more on this kind of correlation of wishes and premises, see the comment on I.18.464–466. I now offer a working translation of I.04.313–314: ‘Aged sir, if only it could be that, just as surely as the spirit [thūmos] within your chest is steadfast, | so also your knees would keep up with the pace, and that your force [biē] would be steadfast [empedos] as well’ (ὦ γέρον, εἴθ’, ὡς θυμὸς ἐvὶ στήθεσσι φίλοισιν, | ὥς τοι γούνατ’ ἕποιτο, βίη δέ τοι ἔμπεδος εἴη).

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Menestheus, as the leader of the Athenians who came to fight at Troy, is stationed here next to Odysseus and Agamemnon. On the significance of such proximity, see the comment on I.12.331–337.

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Agamemnon starts quarreling with Diomedes, as signaled by neikeîn ‘quarrel with’ at I.04.368. The over-king’s language of blame here is meant to diminish the epic reputation of Diomedes and his chariot-driver Sthenelos, who were prominent heroes in the Theban Wars epic tradition of the past before they became heroes also in the Trojan Wars epic tradition of the present. Diomedes and Sthenelos were main characters in the epic tradition known as the Sons of the Seven against Thebes, or Epigonoi, while their fathers Tydeus and Kapaneus were the main characters in the earlier epic tradition known as the Seven against Thebes. In terms of the blame directed at Diomedes and Sthenelos by Agamemnon, the fathers must have been better than the sons. But the rejoinder of Sthenelos at I.04.404–410 make an opposite claim: the sons were really better than the fathers, since they succeeded in capturing Thebes, whereas the fathers failed. These epic themes are comparable to the Hesiodic reference at Works and Days 156–173 to both the Theban and the Trojan Wars: here too, the burning question is whether a given generation of heroes in the present is superior or inferior to the immediately preceding generation of heroes in the past.

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The periphrasis of the name Eteokléēs here as bíē Eteoklēeíē is comparable to the periphrasis of the name Hērakléēs as biē Hēraklēeíē. See the comment on I.02.658. The element kleos in these names of Hēraklēs and Eteoklēs signals an epic theme, so that the names Hērakléēs and Eteokléēs are simultaneously treated as the epics belonging to Hēraklēs and Eteoklēs.

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This verse indicates that the goddess Athena can be responsible for the nīkē ‘victory’ of a hero in an athletic event, not only in events of warfare. In most Homeric situations, however, it is Zeus who is primarily responsible for heroic victory.

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Leonard Muellner

in a list of examples of eukhesthai + infinitive, analysis of the fixed doublet passages, the only doublets with sacral eukhesthai (this one and I.04.119ff.) [MRBTP: 'ff']

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the one formulaic expression for Apollo that begins with a consonant, in the context of analyzing eukhesthai with personal pronouns rather than names of divinities [MRBTP: 'ff']

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comparison with I.05.654, I.11.445, I.16.625, in the context of analyzing eukhos and kudos

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comment on the relationship between ‘coming home’ and ‘escaping death’

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the one formulaic expression for Apollo that begins with a consonant, in the context of analyzing eukhesthai with personal pronouns rather than names of divinities [MRBTP: 'ff']

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comment on the relationship between ‘coming home’ and ‘escaping death’ [MRBTP: 'ff']

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comparison with I.05.654, I.11.445, I.16.625, in the context of analyzing eukhos and kudos

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in a list of examples of eukhesthai + infinitive, analysis of the fixed doublet passages, the only doublets with sacral eukhesthai (this one and I.04.101ff.) [MRBTP: 'ff']

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analysis of the names of Neleus’ sons in the Iliad and Hesiod

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in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige)

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in the context of analyzing the usage and meaning of atasthaliai

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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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Richard Martin

The poet introduces Agamemnon's speech to Menestheus and Odysseus in the troop-rousing scene as "winged words" (4.337). The speech employs the interrogative form—"Why do you stand off cowering and wait for the rest?" (4.337-40)—but its directive force is amplified by the next words: "It is fitting for you two to stand with the front-lines and confront burning battle" (4.341-42), a statement that is just as "directive" in function although it too lacks the linguistic form of an imperative.

Odysseus responds to the speech by labeling it with a formulaic line (4.350): "Atreus' son, what sort of epos has escaped the fence of your teeth?" Yet at 4.357 the poet says "he took back the muthos." Rather than being a flaw in the system, this co-occurrence is the key to Homeric usage of speech terms: epea can be a periphrastic expression for muthos, but not vice versa (Martin 1993:29).

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Book 4 of the poem is a good place to begin observing the poetics of flyting. The key lines for identifying this activity as part of the authoritative speech of muthos are 4.356-57: "Smiling at him Agamemnon addressed him, as he knew of his anger, and took back the muthos." The speech thus referred to on its retraction had been labeled at 4.336 with the verb neikessen. This co-occurrence confirms that each speech Agamemnon makes in the episode is an instantiation of muthos discourse. Twice, further (4.337, 4.369), the introduction to Agamemnon's speeches couples the verb neikō with the formula "he spoke winged words," also a regular introduction to directives—further confirmation that flyting speeches represent a form of muthos (Martin 1993:68-69).

Not only is the diction of the speech introductions standardized; Agamemnon's rhetorical tacks also follow a pattern. He begins his three neikos speeches (as distinct from his "gentle words" to Idomeneus, the Ajaxes, and Nestor at 4.256, 285, and 313) with questions: "Argives, disgraces, are you not ashamed?" (4.242); "Why do you stand off shrinking in fear?" (4.340); "Why do you cower, why do you steal glances at the banks of war?" (4.371). Next, he compares his addressees to scared animals. His general rebuke to the Argives pictures them as fawns halted by fear (4.243-45); to Odysseus and Diomedes he uses the verb kataptōssō (4.340, 4.371), related to the word for "rabbit." The final strategy relies on privileging another place, implying that the addressee occupies a position of no importance: to the Argives, engagement in battle is contrasted with waiting by the ships; Odysseus and Menestheus are told they prefer the dais to battle (4.343-46); Diomedes is provoked by mention of his father Tydeus' exploits at Thebes (Martin 1993:69-70).

It is not coincidental that Agamemnon selects Odysseus and Diomedes as targets: these two heroes pose the greatest threat, next to Achilles, in their verbal abilities. Odysseus deftly parries the accusation of laxness with a rhetorical question, then shifts to speak of the future: "You will see the father of Telemakhos mixing in the front lines" (4.354). Finally, he criticizes Agamemnon's style of speech: "You are talking idly" (anemōlia bazeis, 4.355). Agamemnon's response certifies that Odysseus defeated him verbally: he takes back the neikos speech, denying that he was even attempting to blame Odysseus (4.359), and adopts Odysseus' own poetic formulation to waft away his previous speech: "May the gods make all these things like the winds" (metamōnia—cf. anemōlia earlier, both from the noun anemos, "wind") (Martin 1993:70-71).

If Odysseus resists Agamemnon by clever riposte, Diomedes' strategy is cunning silence. Agamemnon has baited a trap: "Such was Tydeus. But the son he begat is worse in war—better in speaking" (4.399-400). Under these terms, were Diomedes to attempt an Odyssean reply, he would simply affirm the accusation that he is a better talker than fighter. The "silent" answer works because it constitutes an ambiguous sign. The rules of the flyting genre allow of two interpretations: silence can be read as incompetence in the genre of insults, or as a strategic aloofness asserting social superiority over the abuser. Diomedes knows the rules well enough to rebuke his companion Sthenelos, who has tried to counteract Agamemnon's insults (4.404-10): by directing his reply to Sthenelos and getting him to consent to a muthos of command (4.412), Diomedes acknowledges that he knows the ambiguous import of his silence in the duel (Martin 1993:71).

References

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

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