Homer Iliad 6.1

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.) — 6.1 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.) — 6.1 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.) — 6.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.1 focus
The fight between Trojans and Achaeans was now left to rage as it would, and the tide of war surged here and there over the plain as they aimed their bronze-shod spears at one another between the streams of Simoeis and Xanthos.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.1 focus
NOW from that stubborn conflict of the Greeks
1
And Trojans had the gods withdrawn. The fight
Of men encountering men with brazen spears
Still raged from place to place upon the plain
Between the Xanthus and the Simoïs.
5
And first of all did Ajax Telamon,
The bulwark of the Achaians, break the ranks
Of Troy and raise the hopes of those who fought
Beside him; for he smote the bravest man
Of all the Thracian warriors, - Acamas,
10
Son of Eussorus, strong and large of limb.
His spear-head, through the plumed helmet's cone
Entering the forehead of the Thracian, pierced
The bone, and darkness gathered o'er his eyes.
The valiant Diomed slew Axylus,
15
The son of Teuthras. To the war he came
From nobly-built Arisba; great his wealth,
And greatly was he loved, for courteously
He welcomed to his house beside the way
All comers. None of these could interpose
20
Between him and his death, for Diomed
Slew him and his attendant charioteer,
Calysius; both went down below the earth.
And then Euryalus struck Dresus down,
And smote Opheltius, and went on to slay
25
Æsepus and his brother Pedasus; -
A river-nymph, Abarbarea, bore
Both children to Bucolion the renowned.
Bucolion was the eldest of the sons
Of great Laomedon. His mother reared
30
The boy in secret. While he fed his sheep,
He with the river-nymph was joined in love
And marriage, and she bore him twins; and these,
Brave and of shapely limb, Mecisteus' son
Struck down, and from their shoulders tore the mail.
35
The warlike Polypætes overthrew
Astyalus; Ulysses smote to earth
Pidytes the Percosian with the spear,
And Teucer Aretaon, nobly born.
The glittering javelin of Antilochus,
40
The son of Nestor, laid Ablerus low;
And Agamemnon, king of men, struck down
Elatus, who on lofty Pedasus
Dwelt, by the smoothly flowing Satnio's stream.
Brave Leïtus slew Phylacus in flight,
45
And by Eurypylus Melanthius fell.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.1 focus
Now heaven forsakes the fight; th' immortals yield
1
To human force and human skill the field:
Dark showers of javelins fly from foes to foes;
Now here, now there, the tide of combat flows;
While Troy's fam'd streams, 1 that bound the deathful plain,
5
On either side run purple to the main.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

Notes on the current edition

Iliad

1. Indifferent—impartial.

New Alexandria Commentaries

Douglas Frame

analysis of the spelling of Dionysos in Homeric poetry with this line as an example of the spelling with omega (as opposed to the Attic spelling with omicron, in the context of analyzing O.11.321-325 and the evidence for its being an interpolation)

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analysis of the spelling of Dionysos in Homeric poetry with this line as an example of the spelling with omega (as opposed to the Attic spelling with omicron, in the context of analyzing O.11.321-325 and the evidence for its being an interpolation)

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Gregory Nagy

A high point here in Rhapsody 6 is a tearful scene of farewell for Andromache and Hector. The loving wife will never again see her husband alive. The scene is justly admired for its artistic portrayal of this tragically doomed couple, but the verbal artistry extends even further: also to be most admired here is the remarkable precision of poetic language in representing lament as it was actually performed in ancient Greek song culture.

draft js image errorApulian red-figure column-crater (ca. 370–360 BCE) depicting an intimate family scene: Hector removes his helmet as he says his final farewell to his wife Andromache and to their child Astyanax. Public domain image by Jastrow via Wikimieda Commons

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The hero Kalēsios is identified here at I.06.018 as the therapōn ‘attendant’ of the hero Axulos, who is named at I.06.12–13. In the immediate context, at I.06.018, only the surface meaning of therapōn as ‘attendant’ is evident. But Kalēsios is not only the therapōn of Axulos: he is also described at I.06.019 as the hup-hēni-okhos ‘chariot driver’ of Axulos. This description of Kalēsios not only as a therapōn but also as a hup-hēni-okhos ‘chariot driver’ points to the deeper meaning, ‘ritual substitute’, for therapōn.

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In the immediate context, at I.06.053, only the surface meaning of therapōn as ‘attendant’ is evident.

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In contexts where the plural therapontes in combination with Arēos ‘of Ares’ is applied to the Achaeans=Danaans=Argives (at I.06.067, to the Danaans) as a grouping of warriors, the deeper meaning of therapōn as ‘ritual substitute’ is more evident than in other contexts.

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Helenos is telling Hector what to tell Hecuba to do, which is, to offer a peplos ‘robe’ for Athena as the goddess of the citadel of Troy.

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The encounter of Glaukos and Diomedes prompts an exquisite meditation on the opposition of heroic mortality vs. immortality in terms of nature vs. culture.

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Leonard Muellner

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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comment on eukhomenos and epos being traditionally and syntactically bound together, despite the separate existence of epos ēuda# as in this verse

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing genos eukhesthai einai formulas)

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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Richard Martin

The encounter between Glaukos and Diomedes in Book 6 is the turning point in Diomedes' education in performance, as that affects his speech to enemies (Martin 1993:126). Within the Iliad the process of learning a tradition and the growth of creative ability at performance is depicted through Diomedes. Had there been little other evidence, this depiction alone would encourage the imagination that the poet in such a medium composed as he performed. After this encounter, the hero delivers several quite good flyting attacks, against Dolon (10.369 and 10.446), Hektor (11.361), and Paris (11.384).

The demand to know Glaukos' genealogy makes sense in the context of flyting, since it gives the speaker a hold with which to throw his opponent. The implication of Diomedes' remark that Glaukos has not appeared before in "man-glorifying" battle is that Glaukos has no ability to be glorified; and the reference to the "boldness" of Glaukos has to be read with an eye to the negative connotations of "boldness" when a speaker's deeds do not authorize this. The apparent digression into the story of Dionysos furthers this strategy: scared women, a comforting mother-figure, a threatening male who engages in rough language—these figures in Diomedes' miniature dramatization of "myth" are in fact projections of the participants in the very muthos of flyting in which he is engaged. For Dionysos and the nurses, read Glaukos; for Lykourgos, Diomedes; and for Thetis, compare the women of Troy. Diomedes' myth, then, is a version of his victory, a wish fulfillment of the threatening physical encounter (Martin 1993:127-28).

Glaukos is not naive. His first strategy—to question the value of genealogy—contains the famous image of the "generations of leaves," but in the language of Homer, falling to the ground connotes the end of human as well as vegetal life: this is a coded threat. The invitation to learn Glaukos' genealogy from him also contains a veiled insult: the reply, "Many men know it" (6.151), implies that Diomedes, who professes not to, is unpracticed in feats of memory, an essential genre for the performing hero to perfect. Glaukos' tale of ancestry is thus not factual information but makes sense only in performance: it is a symbol in a game of dueling narratives, an act of self-presentation that attempts to wrest authority (Martin 1993:128-29).

Diomedes' second speech—how Oineus, his grandfather, played host to Bellerophon (6.215-31)—is the only passage in which such a "myth" of Oineus' meeting with Bellerophon is ever mentioned because Diomedes has just invented the "tradition" in order to force Glaukos into the socially correct ritual exchange. He speaks to win, and does. Zeus "took away the wits of Glaukos, who exchanged golden armor for bronze, 100-cows'-worth for that of nine" (6.234-36): Glaukos resembles Laomedon, involved as he is in a shamefully bad exchange; Diomedes is analogous to Sarpedon, since he induced his enemy to switch armor. Diomedes' creative expansion of "tradition" is at work; the mention of the theme by Glaukos opens a narrative chink at which Diomedes has thrust successfully (Martin 1993:129-30).

References

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

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