Iliad 5.159

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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.) — 5.159 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.) — 5.159 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.) — 5.175 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.159 focus
Then he came upon two sons of Priam, [160] Ekhemmon and Khromios, as they were both in one chariot. He sprang upon them as a lion fastens on the neck of some cow or heifer when the herd is feeding in a coppice. For all their vain struggles he flung them both from their chariot and stripped the armor from their bodies. [165] Then he gave their horses to his comrades to take them back to the ships.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.159 focus
The blue-eyed Pallas spake, and disappeared;
160
And Diomed went back into the field
And mingled with the warriors. If before
His spirit moved him fiercely to engage
The men of Troy, a threefold courage now
Inspired him. As a lion who has leaped
165
Into a fold-and he who guards the flock
Has wounded but not slain him - feels his rage
Waked by the blow; - the affrighted shepherd then
Ventures not near, but hides within the stalls,
And the forsaken sheep are put to flight,
170
And, huddling, slain in heaps, till o'er the fence
The savage bounds into the fields again; -
Such was Tydides midst the sons of Troy.
Astynoüs first he slew, Hypenor next,
The shepherd of the people. One he pierced
175
High on the bosom with his brazen spear,
And smote the other on the collar-bone
With his good sword, and hewed from neck and spine
The shoulder. There he left the dead, and rushed
To Abas and to Polyeidus, sons
180
Of old Eurydamas, interpreter
Of visions. Ill the aged man had read
His visions when they joined the war. They died,
And Diomed, the valiant, spoiled the slain.
Xanthus and Thoön he encountered next,
185
The sons of Phænops, born in his old age.
No other child had he, to be his heir,
And he was worn with length of years. These two
Tydides smote and took their lives, and left
Grief to their father and regretful cares,
190
Since he no more should welcome their return
From war, and strangers should divide his wealth.
Then smote he Chromius and Echemon, sons
Of Dardan Priam, in one chariot both.
As on a herd of beeves a lion springs
195
While midst the shrubs they browse, and breaks their necks,
Heifer or ox, - so sprang he on the twain
And struck them, vainly struggling, from their car,
And spoiled them of their arms, and took their steeds,
And bade his comrades lead them to the fleet.
200
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.159 focus
Two sons of Priam in one chariot ride,
Glittering in arms, and combat side by side.
205
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.159 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.159 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

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

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Leonard Muellner

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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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']

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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

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

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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

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

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

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

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