Homer Iliad 17.319

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.) — 17.319 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.) — 17.319 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.) — 17.342 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.319 focus
The Trojans would now have been worsted by the brave Achaeans and driven back to Ilion [320] through their own cowardice, while the Argives, so great was their courage and endurance, would have achieved a triumph even against the will of Zeus, if Apollo had not roused Aeneas, in the likeness of Periphas, son of Epytos, an attendant who had grown old in the service [325] of Aeneas’ aged father, and was at all times devoted to him. In his likeness, then, Apollo said, “Aeneas, can you not manage, even though the gods be against us, to save high Ilion? I have known men, whose numbers, courage, and self-reliance have saved their population [ dēmos] in spite of Zeus, [330] whereas in this case he would much rather give victory to us than to the Danaans, if you would only fight instead of being so terribly afraid.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 17.319 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 17.319 focus
And now had Troy, by Greece compell'd to yield,
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Fled to her ramparts, and resign'd the field;
Greece, in her native fortitude elate,
With Jove averse, had turn'd the scale of fate;
But Phoebus urg'd Æneas to the fight;
He seem'd like aged Periphas to sight:
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(A herald in Anchises' love grown old,
Rever'd for prudence, and, with prudence, bold.)
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.319 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 17.319 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 17 focus

Notes on the current edition

Iliad

1. Or collar-bone.

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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Another retrospective: Patroklos has been killed as a therapōn of Achilles.

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Ajax is described here as second-best to Achilles both in looks and in deeds.

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Here the Achaeans almost win the Trojan War. But that would be premature. In terms of the ordained narrative, such an event of winning would be ‘in-disaccord-with [huper] the portion [aisa] of Zeus’ (ὑπὲρ Διὸς αἶσαν), I.17.321. That is, the aisa or ‘apportionment’ of victory or defeat to the Achaeans and to the Trojans by Zeus is up to Zeus. Zeus gets to decide according to the plan of Zeus. And that plan cannot be contradicted, since the plot of the Homeric Iliad must be the Will of Zeus. For more on the expression huper aisan ‘in disaccord with aisa’ (ὑπὲρ αἶσαν), see the comment on I.03.059. And, since the victory of the Achaeans depends on the Will of Zeus, the very idea that the Achaeans could win ‘by way of their own winning-power [kratos]’ (κάρτεϊ καὶ σθένεϊ σφετέρῳ)—such an idea is entertained at I.17.322—is an impossibility, since kratos ‘winning-power’ comes from the gods in the logic of Homeric diction. On this logic, see the comments on I.01.509 and I.11.317–319.

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Apollo, disguised as a Trojan, is claiming that Zeus still ‘wishes’, as expressed by the verb bouletai at I.17.331, to give nīkē ‘victory’ to the Trojans instead of the Achaeans, I.17.332. On the basis of what is humanly perceivable by the Trojan whom the god is impersonating here, this claim is still true, but the truth of the claim is not to last.

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Yet another retrospective: Patroklos has been killed as a therapōn of Achilles.

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Thetis, the divine mother of Achilles, had foretold some things to her mortal son, but she did not foretell the death of Patroklos, described here as the philtatos ‘nearest and dearest’ of all the hetairoi ‘companions’ of Achilles. For Achilles, his ascending scale of affection evolves in such a way as to show that Patroklos turns out to be at the very top of this scale. See the comments on I.09.193–198, I.09.522, I.09.524–599, I.09.642. In those passages, it still seems as if the three companions who approach Achilles as ambassadors should be at the very top of his scale.

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The Hellespont is pictured here, in a general way, as the station 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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switch from Dii patri to Dii t’alloisin te theoisin attested with a variation of the || (short OR two shorts) euxamenos Dii patri # formula which uses epeukhesthai instead of eukhesthai, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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example of a common formula with a different half-line following it nine other times (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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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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