Iliad 16.306

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 16.306 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.) — 16.306 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.) — 16.335 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.306 focus
The fight then became more scattered, and the chieftains killed one another when and how they could. The valiant son of Menoitios first drove his spear into the thigh of Areilykos just as he was turning round; [310] the point went clean through, and broke the bone so that he fell forward. Meanwhile warlike Menelaos struck Thoas in the chest, where it was exposed near the rim of his shield, and he fell dead. The son of Phyleus saw Amphiklos about to attack him, and before he could do so took aim at the upper part of his thigh, [315] where the muscles are thicker than in any other part; the spear tore through all the sinews of the leg, and his eyes were closed in darkness. Of the sons of Nestor one, Antilokhos, speared Atymnios, driving the point of the spear through his throat, and down he fell. Maris then sprang on Antilokhos [320] in hand-to-hand fight to avenge his brother, and bestrode the body spear in hand; but valiant Thrasymedes was too quick for him, and in a moment had struck him in the shoulder before he could deal his blow; his aim was true, and the spear severed all the muscles at the root of his arm, and tore them right down to the bone, [325] so he fell heavily to the ground and his eyes were closed in darkness. Thus did these two noble comrades of Sarpedon go down to Erebos slain by the two sons of Nestor; they were the warrior sons of Amisodoros, who had reared the invincible Chimaera, to the bane of many. [330] Ajax, son of Oïleus, sprang on Kleoboulos and took him alive as he was entangled in the crush; but he killed him then and there by a sword-blow on the neck. The sword reeked with his blood, while dark death and the strong hand of fate gripped him and closed his eyes.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.306 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.306 focus
In equal arms two sons of Nestor stand,
And two bold brothers of the Lycian band:
By great Antilochus, Atymnius dies,
Pierc'd in the flank, lamented youth! he lies.
Kind Maris, bleeding in his brother's wound,
380
Defends the breathless carcass on the ground;
Furious he flies, his murderer to engage,
But godlike Thrasymed prevents his rage:
Between his arm and shoulder aims a blow;
His arm falls spouting on the dust below:
385
He sinks, with endless darkness cover'd o'er,
And vents his soul, effus'd with gushing gore.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.306 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.306 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

in the context of discussing the interpretation of Nestor’s name and the meaning of forms from the root *nes- as “safe return home” or without “home” where it needed to be specified

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Gregory Nagy

It seems at first as if everything is coming together here in Iliad 16. Achilles, best of the Achaeans, sends out his other self, Patroklos, to fight Hector and his Trojans, who are now on the verge of setting on fire and destroying all the beached ships of the Achaeans. Patroklos does in fact succeed in stopping the fire, which had been endangering not only the survival of the Achaeans but even the very existence of their notional descendants, imagined as the Greeks who are listening to the story of the Iliad in their own time. The conflagration that could have burned down the beached ships of the Achaeans is now literally ‘quenched’ by Patroklos, whose heroic action in putting out the fire of the Trojans is compared in a simile to a cosmic action taken by Zeus himself when this weather-god drenches and thus destroys in a violent rainstorm the farmlands of unjust men. Clearly, Zeus is now once again on the Achaean side of the Trojan War. But the success of Patroklos is not to last: soon after he kills Sarpedon, son of Zeus himself, in the course of a spectacular chariot fight, Patroklos now gets killed in the course of a second spectacular chariot fight. This time, Patroklos has gone too far, daring to attack not only Hector but also the divine protector of that hero, Apollo himself. Now everything is about to come apart again, and Achilles has yet to find out about the tragedy that awaits him.

draft js image errorA chariot driver and a chariot fighter in a biga (two-horses chariot). Terracotta, Late Helladic IIIA–IIIB (ca. 1400–1200 BCE). Louvre Museum, CA 2959. Credit line: Purchase, 1934.  Image Marie-Lan Nguyen (User:Jastrow), 2009-06-28 [CC BY 2.5 (http://creativecommons.org/licenses/by/2.5)], via Wikimedia Commons.

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This word biē ‘force, violence, strength’ and its synonym īs are conventionally associated with violent winds.

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This word hupophētai ‘spokesmen’ refers to interpreters of oracular pronouncements.

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As it was noted in the comment on I.13.111–113, Agamemnon ‘dishonored’ Achilles, I.13.113, as expressed by the verb a-tīmân, and Zeus therefore punished the Achaeans. Again here at I.16.237, the Achaeans are being punished by Zeus, while he ‘honors’, tīmân, Achilles.

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Achilles is sending off Patroklos to fight in his place, but he is not sure whether he can identify himself with his best friend when Patroklos goes off on his own. This uncertainty, as we will see in the comment on I.16.244, is relevant to the use of the word therapōn.

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Here, for the second time in the Iliad, Patroklos is marked as the therapōn of Achilles. His dual role as ‘attendant’ and ‘ritual substitute’ is already implicit.

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Achilles is pictured as standing in front of his klisiā ‘shelter’, to get a better view of the battle scene. In the comments on I.08.220–227 and on I.11.005–016, there is more about the positioning of this klisiā.

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The wording of Patroklos describes Achilles as the ‘best of the Argives’—which is another way of saying that Achilles is ‘the best of the Achaeans’.

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In the words of Patroklos, there are warriors and then there are therapontes of warriors. These therapontes are ankhe-makhoi, literally ‘fighting next to them’, that is, fighting side by side with the warriors. Here we see the stance of a chariot driver who is speaking about standing next to the chariot fighter. They stand together, side by side on the chariot platform. So, standing here side by side with the chariot fighter is his very own chariot driver, his very own therapōn in the dual role of ‘attendant’ and ‘ritual substitute’. The ritual pose, as it were, of the therapōn as he takes his stand side by side with the primary warrior on the platform of the chariot is a physical embodiment of his role as ritual substitute.

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For Agamemnon to dishonor the status of Achilles as ‘the best of the Achaeans’, as Achilles himself says at I.01.412, is a sign of the over-king’s atē ‘aberration’. Patroklos says it again here, I.16.273–274.

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As Patroklos rides off to battle, soon to die as the ritual substitute of Achilles, we see here standing next to him on the chariot his very own therapōn. It becomes clear, as the narrative proceeds, that this therapōn is the hero Automedon. Does this hero function here not only as the ‘attendant’ of Patroklos but also as that hero’s very own ‘ritual substitute’? The answer is: no. Automedon is temporarily the chariot driver for Patroklos, but he will not become a ritual substitute for him. True, we see Automedon functioning as an ‘attendant’ at I.16.145–154, where he yokes the horses of Achilles to the chariot that he will drive for Patroklos: so, Automedon is definitely a temporary attendant for Patroklos as well as his temporary chariot driver. But Automedon will not become a ritual substitute for Patroklos.

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For Achilles to renounce his mēnithmos ‘anger’ is equated, already here, to his restoring the relationship that should exist among companions who are philoi ‘near and dear’ to each other: such a relationship, as we see here, is philotēs ‘being near and dear to one’s near and dear ones’. In the Iliad, Patroklos takes on the role of restoring, by way of his own death, such philotēs between Achilles and the Achaeans.

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Patroklos, hastening to reach the scene of battle, finally arrives at the center of the action, where the ship of Protesilaos is beached. Now he is right next to the prumnē ‘stern’ of that ship. See also the comment on I.15.704–746.

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At I.16.287–292, Patroklos successfully defends the beached ships of the Achaeans: he kills Puraikhmēs, the foremost attacker, and he puts the other attackers to flight, thus saving the Achaeans by ‘quenching’, as expressed by way of sbennunai, I.16.293, the fire that had threatened their ships.

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Patroklos now leads the Achaeans in counterattacking the Trojans, leaving behind the ship of Protesilaos, half of which has by now been burned down in the battle, I.16.294.

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The successful action so far is now summed up here: the Achaeans=Danaans, led by Patroklos, have succeeded in pushing back the fire that had threatened the beached ships.

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At I.16.287–292, Patroklos successfully defends the beached ships of the Achaeans: he kills Puraikhmēs, the foremost attacker, and he puts the other attackers to flight, thus saving the Achaeans by ‘quenching’, as expressed by way of sbennunai, I.16.293, the fire that had threatened their ships.

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Leonard Muellner

analysis of mēnis as a tabu deformation and here specifically an example the relaxation of the speech tabu

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analysis of the development of the meaning of Latin spendō, in the context of analyzing the development of uoueō/eukhesthai

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in a list of examples of Homeric prayers, in the context of analyzing the meaning of eukhesthai in formula (A) and here specifically the Homeric notion of prayer

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analysis of kluein + eukhesthai formulas (here, examples of absolute eukhesthai)

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in a list of examples of absolute use of eukhesthai to report prayers (kluein + eukhesthai formulas)

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example of a transformation parallel to that of formula (A) to formula (B), where eukhomenos is deleted because of the change of context from sacral to secular [MRBTP: 'ff']

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analysis of mēnis in Patroklos’ aristeia

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analysis of Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos

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in a list of examples of Homeric prayers, in the context of analyzing the meaning of eukhesthai in formula (A) and here specifically the Homeric notion of prayer

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switch from Dii patri to Dii t’alloisin te theoisin, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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in a list of examples of eukhesthai + dative (formulas which report prayers)

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analysis of the formulas with the three places where eukhesthai + dative has the shape eukh ˘ ˘ – [=short short long], as in this verse

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

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analysis of the traditionality of the collocation of eukhesthai and spendein

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comparison of the themes in Iliad 1 with this speech, the continuity of Achilles’ goals from Iliad 1 to here and the identity and solidarity of Achilles and Myrmidons

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comparison of the themes in Iliad 1 with this speech, the continuity of Achilles’ goals from Iliad 1 to here and the identity and solidarity of Achilles and Myrmidons

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comparison of the themes in Iliad 1 with this speech, the continuity of Achilles’ goals from Iliad 1 to here and the identity and solidarity of Achilles and Myrmidons

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analysis of Phoenix’ speech to Achilles and atē leading to mēnis

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the significance/purpose of Patroklos’ return to fighting (analysis of Nestor’s and Patroklos’ intentions in the latter’s wearing Achilles’ armor, and Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos)

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Richard Martin

The powerful muthos performed by Achilles as he marshals the Myrmidons begins with an injunction to recall their previous threats (apeilai) against the Trojans: "Myrmidons, let no one forget on me the threats with which you threatened the Trojans at the ships all during the time of anger" (16.200-201). Although Achilles mentions threats, he does so not to threaten anyone himself but to challenge the Myrmidons—a strategy of recalling past speech-acts to shame the present hearers into action, already displayed by Nestor early in the poem (2.349). Achilles' challenge is the more effective because he not only recalls one speech-act but uses a direct quotation to mimic another, one the Myrmidons had employed, and then dismisses these earlier grumbling speeches as mere talk (ebazete, 16.207). In familiar flyting fashion, he contrasts "then" with "now": the Myrmidons used to talk of going home because Achilles was angered, "but now has appeared the great work of strife, of which you were previously enamored" (16.207-8) (Martin 1993:71-72).

For the broader analysis of the flyting genre and the recalled-speech strategy, 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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