Homer Iliad 17.140

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 17.140 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.) — 17.140 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.) — 17.140 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.140 focus
Then Glaukos, son of Hippolokhos, looked fiercely at Hector and rebuked him sternly. “Hector,” said he, “you make a brave show, but in fight you are sadly wanting. A runaway like yourself has no claim to so great a glory [ kleos]. Think how you may now save your town and citadel [145] by the hands of your own people born in Ilion; for you will get no Lycians to fight for you, seeing what thanks they have had for their incessant hardships. Are you likely, sir, to do anything to help a man of less note, [150] after leaving Sarpedon, who was at once your guest and comrade in arms, to be the spoil and prey of the Danaans? So long as he lived he did good favor [ kharis] both to your city and to yourself; yet you had no stomach to save his body from the dogs. If the Lycians will listen to me, [155] they will go home and leave Troy to its fate. If the Trojans had any of that daring fearless spirit which lays hold of men who are engaging in the struggle [ ponos] for their land and harassing those who would attack it, we should soon bear off Patroklos into Ilion. [160] Could we get this dead man away and bring him into the city of Priam, the Argives would readily give up the armor of Sarpedon, and we should get his body to boot. For he who was 164 killed was the attendant therapōn of such a man who is by far the best [ aristos] at the ships of the Achaeans— [165] he and his close-fighting followers [ therapontes]. Nevertheless you dared not make a stand against Ajax, nor face him, eye to eye, with battle all round you, for he is a braver man than you are.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 17.140 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 17.140 focus
But Glaucus, leader of the Lycian aids,
On Hector frowning, thus his flight upbraids:
'Where now in Hector shall we Hector find?
155
'A manly form, without a manly mind!
'Is this, O chief! a hero's boasted fame?
'How vain, without the merit, is the name!
'Since battle is renounc'd, thy thoughts employ
'What other methods may preserve thy Troy:
160
''Tis time to try if Ilion's state can stand
'By thee alone, nor ask a foreign hand;
'Mean, empty boast! but shall the Lycians stake
'Their lives for you? those Lycians you forsake?
'What from thy thankless arms can we expect?
165
'Thy friend Sarpedon proves thy base neglect:
'Say, shall our slaughter'd bodies guard your walls,
'While unreveng'd the great Sarpedon falls?
'E'en where he died for Troy, you left him there,
'A feast for dogs, and all the fowls of air.
170
'On my command if any Lycian wait,
'Hence let him march, and give up Troy to fate.
'Did such a spirit as the gods impart
'Impel one Trojan hand, or Trojan heart,
'(Such as should burn in every soul that draws
175
'The sword for glory, and his country's cause,)
'E'en yet our mutual arms we might employ,
'And drag yon carcass to the walls of Troy.
'Oh! were Patroclus ours, we might obtain
'Sarpedon's arms, and honour'd corse, again!
180
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.140 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 17.140 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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In this retrospective, it is said that Patroklos has been killed as a therapōn of Achilles, who is described here as ‘best of the Achaeans’. The immediate context accommodates here even the deeper meaning of therapōn as ‘ritual substitute’, since Patroklos himself could become temporarily the ‘best of the Achaeans’ at the moment of his death. At that moment, he is substituting himself for Achilles by prefiguring a future moment, beyond the Iliad, when Achilles will die in a way that matches the way that Patroklos died in Iliad 16.

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The Argives=Achaeans are described here as attended by therapontes who are ankhe-makhoi ‘fighting side by side’ with them.

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In most Homeric situations it is Zeus who is primarily responsible for heroic victory.

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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

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

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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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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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Richard Martin

Glaukos applies the foil technique to Hektor, rebuking him with a harsh speech (kraterōi ēnipape muthōi, 17.141). He first praises three different heroic alternatives: Sarpedon, whose corpse they must fight for, was a great benefit to all when alive (17.152); Achilles, whose companion is dead, is "best by far of the Argives by the ships" (17.165); but Hektor, he asserts, could not face even Ajax—"since he is stronger than you." The rebuke is all the more stinging to an audience that has heard Sarpedon himself use the same foil technique to Hektor previously (5.483-86), posing his own heroic career as the contrast to Hektor's passivity (Martin 1993:74).

For the broader analysis of the foil technique in flyting muthoi, see the comment on Iliad 4.336-421.

References

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

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