Homer Iliad 5.84

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.) — 5.84 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.) — 5.84 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)) — 5.84 focus
Thus furiously did the battle rage between them. [85] As for the son of Tydeus, you could not say whether he was more among the Achaeans or the Trojans. He rushed across the plain like a winter torrent that has burst its barrier in full flood; no dykes, [90] no walls of fruitful vineyards can embank it when it is swollen with rain from the sky, but in a moment it comes tearing onward, and lays many a field waste that many a strong man hand has reclaimed—even so were the dense phalanxes of the Trojans driven in rout by the son of Tydeus, and many though they were, they dared not abide his onslaught.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.84 focus
Thus toiled the heroes in that stubborn fight.
Nor would you now have known to which array -
Trojan or Greek - Tydides might belong;
For through the field he rushed with furious speed,
Like a swollen river when its current takes
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The torrent's swiftness, scattering with a sweep
The bridges; nor can massive dikes withstand
Its fury, nor embankments raised to screen
The grassy meadows, while the rains of Jove
Fall heavily, and harvests, late the joy
110
Of toiling youth, are beaten to the ground.
Thus by Tydides the close phalanxes
Of Troy were scattered, nor could they endure,
All numerous as they were, his strong assault.
As Pandarus, Lycaon's eminent son,
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Beheld Tydides rush athwart the field,
Breaking the ranks, he drew his crooked bow
And smote the chief's left shoulder as he came,
Striking the hollow corslet. The sharp point
Broke through, and blood came gushing o'er the mail.
120
Then called aloud Lycaon's eminent son:-
"Brave Trojans, great in mastery of steeds,
Press on; the bravest of the Grecian host
Is smitten, nor, I think, can long survive
The grievous wound, if it be true that I,
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At the command of Phœbus, son of Jove,
Have left my home upon the Lycian shore."
Thus boastfully he spake; but his swift shaft
Slew not Tydides, who had now withdrawn.
And, standing by his steeds and chariot, spake
130
To Sthenelus, the son of Capaneus:-
"Haste down, kind Sthenelus, and with thy hand
Draw the sharp arrow from my shoulder here.”
He spake, and Sthenelus at once leaped down,
Stood by his side, and from his shoulder drew
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The winged arrow deeply fixed within.
The blood flowed forth upon the twisted rings
Of mail, while Diomed, the valiant, prayed:-
"Hear me, O child of ægis-bearing Jove,
Goddess invincible! if ever thou
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Didst aid me or my father in the heat
Of battle, aid me, Pallas, yet again.
Give me to slay this Trojan; bring him near,
Within my javelin's reach, who wounded me,
And now proclaims- the boaster —that not long
145
Shall I behold the brightness of the sun."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.84 focus
Thus toil'd the chiefs, in different parts engag'd,
110
In every quarter fierce Tydides rag'd,
Amid the Greek, amid the Trojan train,
Rapt through the ranks he thunders o'er the plain;
Now here, now there, he darts from place to place,
Pours on the rear, or lightens in their face.
115
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.84 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.84 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

Notes on the current edition

Iliad

1. Meges, son of Phyleus.

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

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

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

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analysis of Diomedes’ behavior as parallel to Ares’

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

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