Homer Iliad 5.1

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.) — 5.1 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.) — 5.1 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.) — 5.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.1 focus
Then Pallas Athena put power [ menos] and courage into Diomedes, son of Tydeus, that he might excel all the other Argives, and cover himself with glory [ kleos]. She made a stream of fire flare from his shield and helmet [5] like the star that shines most radiantly in summer after its bath in the waters of Okeanos—even such a fire did she kindle upon his head and shoulders as she bade him speed into the thickest hurly-burly of the fight.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.1 focus
THEN Pallas to Tydides Diomed
1
Gave strength and courage, that he might appear
Among the Achaians greatly eminent,
And win a glorious name. Upon his head
And shield she caused a constant flame to play,
5
Like to the autumnal star that shines in heaven
Most brightly when new-bathed in ocean tides.
Such light she caused to beam upon his crest
And shoulders, as she sent the warrior forth
Into the thick and tumult of the fight.
10
Among the Trojans, Dares was the priest
Of Vulcan, rich and blameless. His two sons
Were Phegeus and Idæus, trained in all
The arts of war. They left the host and came
To meet Tydides, - on the chariot they,
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And he on foot; and now, as they drew near,
First Phegeus hurled his massive lance. It flew
O'er Diomed's left shoulder and struck not.
Tydides cast in turn his brazen spear;
Nor did the weapon leave his hand in vain,
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But smote the breast of Phegeus in the midst
And dashed him from his car. Idæus saw,
And leaped to earth and left the sumptuous car,
Nor dared to guard the slain. Yet had he not
Escaped from death, if Vulcan, shrouding him
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In darkness, had not borne him from the fight
And rescued him, that so he might not leave
The aged man, his father, desolate.
The son of mighty Tydeus took the steeds
And bade his comrades lead them to the fleet.
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Meantime the blue-eyed Pallas took the hand
Of Mars, and thus addressed the fiery god:-
"Mars, Mars, thou slayer of men, thou steeped in blood,
Destroyer of walled cities! should we not
Leave both the Greeks and Trojans to contend,
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And Jove to crown with glory whom he will,
While we retire, lest we provoke his wrath?"
Thus having said, she led the violent Mars
From where the battle raged, and made him sit
Beside Scamander, on its grassy bank.
40
And then the Achaians put the sons of Troy
To flight: each leader slew a foe; and first
The king of men, Atrides, from his car
Struck down the huge-limbed Hodius, who was chief
Among the Halizonians. As he turned
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To flee, the Achaian, smiting him between
The shoulders, drove the javelin through his breast.
Heavily clashed his armor as he fell.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.1 focus
BUT Pallas now Tydides' soul inspires,
1
Fills with her force, and warms with all her fires,
Above the Greeks his deathless fame to raise,
And crown her hero with distinguish'd praise.
High on his helm celestial lightnings play,
5
His beamy shield emits a living ray;
Th' unwearied blaze incessant streams supplies,
Like the red star that fires th' autumnal skies,
When fresh he rears his radiant orb to sight,
And bath'd in Ocean shoots a keener light.
10
Such glories Pallas on the chief bestow'd,
Such, from his arms, the fierce effulgence flow'd:
Onward she drives him, furious to engage,
Where the fight burns, and where the thickest rage.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena’s tharsos (here, putting it in her favorites’ hearts)

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analysis of Hephaistos’ arrival in Athens (dating) and his connections with the Troad and Sigeion

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Gregory Nagy

The momentum of the war is spirited, and the fighting mood of the warriors verges on overreaching. An outstanding example is Diomedes, who already owns a glorious past as a conquering hero in the epic tradition known as the Sons of the Seven against Thebes or Epigonoi. Now in the epic present of the Iliad he has a chance to outdo himself, performing deeds so glorious that they would outshine perhaps even the deeds of Achilles, who is now out of the picture. The successes of Diomedes reach the point where he is capable of feats that are superhuman, as when he lifts a rock that even two humans today could not budge—or as when he wounds the god of war himself, Ares, and then, shortly thereafter, the goddess of love and sexuality, Aphrodite. But such momentum is not to last, and the antagonism of Diomedes toward divinities will have its consequences.

draft js image error“Aeneas and Diomedes.” Wenceslaus Hollar (Bohemian, 1607–1677). Image via Wikimedia Commons.

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In this context, plural therapontes indicates the ‘attendants’ of the king Idomeneus.

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evidence for the manuscript tradition at Il. I.5 in opposition to Zenodotus’ alternate reading οἰωνοῖσι τε δαῖτα (Athenaeus Epitome 12f)

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The collocation of tektonos huion (τέκτονος υἱόν) ‘son of the joiner [tektōn]’ at I.05.059 with Harmonideō (Ἁρμονίδεω) ‘son of Harmōn’ at I.05.059 indicates three generations of ‘joiners’, in that Phereklos is a son of a joiner who is in turn a son of a joiner. The grandfather Harmōn has a name that can be reconstructed as a noun ar-s-mōn, derived from the verb ar-ar-iskein ‘fit together, join together’. And the grandson Phereklos is said at I.05.061 to have ‘built-as-a-carpenter’, tektainesthai (τεκτήνατο), the ships sailed by Paris=Alexandros for the abduction of Helen. This verb tektainein is derived from the noun tektōn* ‘carpenter, joiner’, which is in turn derived from the verb-root tek(s)-. No longer attested in Greek, this verb-root tek(s)- survives in Latin as texō, which can refer to the craft of woodworking, not only the craft of weaving. On verbal art as woodwork, see HC 2§282n.

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This micro-narrative about Phereklos, a master carpenter who built that ships sailed by Paris=Alexandros for the abduction of Helen, concerns epic events that precede the narrative arc of the Iliad as we have it—but these events are here explained as the real beginning of that same narrative arc. In terms of this micro-narrative, the plot of the Iliad—in the sense that the name Iliad means ‘the story of Ilion [Troy]’—was started or even caused not by the mēnis ‘anger’ of Achilles, as our Iliad says at the beginning, but rather by an event that preceded that anger. According to this micro-narrative, what really started the Trojan War was the abduction of Helen, which was the kakon ‘bad thing’ that caused all the subsequent bad things, as we read here at I.05.063. And, as predicted at I.05.064, this same event caused the ‘bad thing’ that is about to happen to Phereklos himself. All these events, taken together, thus become part of the overarching plot of the Iliad as we have it.

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The epithet arkhe-kakoi ‘beginning the evil’ at I.05.063 describes the ships in the previous verse, at I.05.062. These ships, as we have seen, were sailed by Paris=Alexandros for the abduction of Helen. The ominous tone of the epithet, and its positioning in the verse immediately following the mention of the ships, is comparable to the ominous tone of the epithet oulomenē ‘accursed’ at I.01.02 in the verse immediately following the mention of the mēnis ‘anger’ of Achilles in the previous verse, at I.01.01, which is the beginning of the Iliad. Even the meaning of the epithet arkhe-kakoi ‘beginning the evil’ at I.05.063 indicates in its own right the beginning of an epic, though of course this beginning does not correspond to the beginning of the Iliad as we have it. Another point of comparison is the epithet dourateos ‘wooden’ at O.08.493, which is a verse that immediately follows the mention of the hippos ‘horse’ in the previous verse, at O.08.492. Here again we see an ominous mention: this wooden horse, the Trojan Horse, is the marker of yet another potential beginning of an epic narration.

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Wherever priests (as here at I.05.077–078 and at I.16.604–605) or kings (as in other Homeric contexts: I.10.032–033, I.13.217–218) are said to receive honor as conveyed by the verb tīein ‘honor, give honor to’ (or by the noun tīmē ‘honor’ and the verb tīmân ‘honor, give honor to’, as at I.12.310), Homeric diction is thereby referring indirectly to the receiving of hero cult by a cult hero; such reception happens in the localized context of the dēmos ‘community, district’. The cult of heroes is parallel to, though in some ways different from, the cult of gods, but the cult of gods is likewise conveyed by the verb tīein ‘honor, give honor to’ or by the noun tīmē ‘honor’ and the verb tīmân ‘honor, give honor to’.

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This verse-final adjective krataiḗ can be explained as a morphologically leveled replacement of an older feminine form, to be reconstructed as krataí-u̯i-ă *and meaning ‘whose power [u̯i-] has the upper-hand [krátos]’. The morphological leveling involves a replacement of the alternation -́i̯ă-/-i̯ā́- by way of non-alternating *-i̯ā́-.

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This verse shows that the hero Diomedes has a chance to qualify as the ‘best of the Achaeans’, aristos Akhaiōn. In the long run, however, in line with the plot or narrative arc of the Iliad as we have it, Diomedes fails to qualify. Still, his greatest epic moments in the Homeric Iliad are traditionally known as his aristeiā (as in the scholia for I.06.448), which I translate here as ‘epic high point’.

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Leonard Muellner

analysis of miaiphonos as an epithet of Ares and as applied to Patroklos

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analysis of Athena’s interruption to get Ares to withdraw from the fighting to avoid Zeus’ mēnis

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analysis of teichesiplēta as an epithet of and metaphor for Ares’ tendency to reach the limits of behavior (and application to Patroklos)

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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examples of the identical contexts in which eukhos and kudos occur

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in the list of offenses that (threaten to) incur mēnis

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analysis of Athena’s interruption to get Ares to withdraw from the fighting to avoid Zeus’ mēnis

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example of a common formula with a different half-line following it nine other times and different lines describing deaths of six heroes as examples of the results of the variation aesthetic (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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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (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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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (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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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (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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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (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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analysis of whether the verse should have eukhomenos or epeukhomenos

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this verse as one of two places where the dictional bonds tying together (A1)-(A5) are shattered – resumes the narrative not after prayers but boasts

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manuscripts attesting this verse with epeukhomenos

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