Homer Iliad 5.121

ed. Robert Southey

View: By Book

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.) — 5.121 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.) — 5.121 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.) — 5.106 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.121 focus
Thus he prayed, and Pallas Athena heard him; she made his limbs supple and quickened his hands and his feet. Then she went up close to him and said, “Fear not, Diomedes, to do battle with the Trojans, [125] for I have set in your heart the spirit of your father, the charioteer Tydeus. Moreover, I have withdrawn the veil from your eyes, that you know gods and men apart. If, then, any other god comes here and offers you battle, [130] do not fight him; but should Zeus’ daughter Aphrodite come, strike her with your spear and wound her.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.121 focus
So prayed he, and Minerva heard his prayer
And lightened all his limbs, - his feet, his hands, -
And, standing near him, spake these winged words:-
"War boldly with the Trojans, Diomed;
150
For even now I breathe into thy frame
The ancestral might and fearless soul that dwelt
In Tydeus, peerless with the steed and shield.
Lo! I remove the darkness from thine eyes,
That thou may'st well discern the gods from men;
155
And if a god should tempt thee to the fight,
Beware to combat with the immortal race;
Only, should Venus, child of Jupiter,
Take part in battle, wound her with thy spear."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.121 focus
Thus pray'd Tydides, and Minerva heard,
His nerves confirm'd, his languid spirits cheer'd;
155
He feels each limb with wonted vigour light;
His beating bosom claims the promis'd fight.
'Be bold,' (she cried,) 'in every combat shine,
'War be thy province, thy protection mine;
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.121 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.121 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

Notes on the current edition

Iliad

1. Apollo.
2. Or collar-bone.

New Alexandria Commentaries

Douglas Frame

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

source

comparison of Diomedes and Athena to the Epeian twins (of I.23)

source

analysis of (ep)otrunō in its connections with menos and memona

source
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.

source

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

source

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

source

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.

source

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.

source

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.

source

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’.

source

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-.

source

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’.

source

Here the verb eukhesthai ‘declare’ expresses a hero’s superiority not overall but only in a one given area of heroic endeavor, archery.

source
Leonard Muellner

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

source

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

source

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

source

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

source

examples of the identical contexts in which eukhos and kudos occur

source

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

source

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

source

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)

source

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)

source

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)

source

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)

source

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)

source

analysis of whether the verse should have eukhomenos or epeukhomenos

source

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

source

manuscripts attesting this verse with epeukhomenos

source

analysis of other gods’ interference in the fighting after Ares has withdrawn on Athena’s urging as only to restrain and defend

source

analysis of Diomedes’ behavior as parallel to Ares’

source

analysis of divine mēnis at sexual transgressions (regarding amphadiēn as “with the knowledge of Zeus”)

source

analysis of the interconnections of statements of physical prowess, prestige, and identity, in the context of establishing the contextual unity of eukhesthai einai + superlative/comparative and their relationship to the genos eukhesthai einai contexts [MRBTP: 'ff']

source

comparison of the verse with eukhomai einai + superlative with a similar construction attested in the Rig-Veda, in the context of analyzing the etymology of eukhesthai

source

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige)

source

analysis of the interconnections of statements of physical prowess, prestige, and identity, in the context of establishing the contextual unity of eukhesthai einai + superlative/comparative and their relationship to the genos eukhesthai einai contexts

source

analysis of references to divine mēnis against Trojans in the context of an Achaean warrior’s efforts

source

analysis of recurrent aspects of the mēnis theme, here that group offences incur mēnis

source

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

source