Homer Iliad 6.37

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.) — 6.37 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.) — 6.37 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)) — 6.37 focus
Then Menelaos of the loud war-cry took Adrastos alive, for his horses ran into a tamarisk bush, as they were flying wildly over the plain, [40] and broke the pole from the car; they went on towards the city along with the others in full flight, but Adrastos rolled out, and fell in the dust flat on his face by the wheel of his chariot; Menelaos came up to him spear in hand, [45] but Adrastos caught him by the knees begging for his life. “Take me alive,” he cried, “son of Atreus, and you shall have a full ransom for me: my father is rich and has much treasure of gold, bronze, and wrought iron laid by in his house. From this store he will give you a large ransom [50] should he hear of my being alive and at the ships of the Achaeans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.37 focus
Then valiant Menelaus took alive
Adrastus, whose two coursers, as they scoured
The plain in terror, struck against a branch
Of tamarisk, and, there entangled, snapped
50
The chariot pole, and, breaking from it, fled
Whither were others fleeing. From the car
Adrastus to the dust beside the wheel
Fell, on his face. There, lifting his huge spear,
Atrides Menelaus o'er him stood.
55
Adrastus clasped the warrior's knees and said : -
"O son of Atreus, take me prisoner,
And thou shalt have large ransom. In the house
Of my rich father ample treasures lie,
Brass, gold, and tempered steel, - and he shall send
60
Gifts without end when he shall hear that I
Am spared alive and in the Grecian fleet."
He spake, and moved the conqueror, who now
Was minded to give charge that one among
His comrades to the Grecian fleet should lead
65
The captive. Agamemnon came in haste,
And, lifting up his voice, rebuked him thus: —
"O Menelaus, soft of heart, why thus
Art thou concerned for men like these? In sooth,
Great are the benefits thy household owes
70
The Trojans. Nay, let none of them escape
The doom of swift destruction by our hands.
The very babe within his mother's womb,
Even that must die, and all of Ilium born
Perish unpitied, utterly cut off."
75
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.37 focus
Unbless'd Adrastus next at mercy lies
45
Beneath the Spartan spear, a living prize.
Scar'd with the din and tumult of the fight,
His headlong steeds, precipitate in flight,
Rush'd on a tamarisk's strong trunk, and broke
The shatter'd chariot from the crooked yoke:
50
Wide o'er the field, resistless as the wind,
For Troy they fly, and leave their lord behind.
Prone on his face he sinks beside the wheel:
Atrides 1 o'er him shakes his vengeful steel;
The fallen chief in suppliant posture press'd
55
The victor's knees, and thus his prayer address'd:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.37 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.37 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

Notes on the current edition

Iliad

1. The brother to the king of men—Menelaus.
2. The second folio reads—
"The same way others fled, contending all to town;"
omitting "flyers."
3. Argument—example.

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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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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