Iliad 5.318

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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.) — 5.318 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.) — 5.318 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.) — 5.352 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.318 focus
But Sthenelos the son of Kapaneus was not unmindful of the orders [320] that Diomedes of the great war cry had given him. He made his own horses fast, away from the hurly-burly, by binding the reins to the rim of the chariot. Then he sprang upon Aeneas’ fluttering-maned horses and drove them from the Trojan to the Achaean ranks. [325] When he had so done he gave them over to his chosen comrade Deipylos, whom he valued above all others as the one who was most like-minded with himself, to take them on to the ships. He then remounted his own chariot, seized the reins, and drove with all speed in search of the son of Tydeus.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.318 focus
Nor did the son of Capaneus forget
The bidding of the warlike Diomed,
390
But halted his firm-footed steeds apart
From the great tumult, with the long reins stretched
And fastened to the chariot. Next, he sprang
To seize the horses with fair-flowing manes,
That drew the chariot of Eneas. These
395
He drave away, far from the Trojan host,
To the well-greaved Achaians, giving them
In charge, to lead them to the hollow ships,
To his beloved friend Deïpylus,
Whom he of all his comrades honored most,
400
As likest to himself in years and mind.
And then he climbed his car and took the reins,
And, swiftly drawn by his firm-footed steeds,
Followed Tydides, who with cruel steel
Sought Venus, knowing her unapt for war,
405
And all unlike the goddesses who guide
The battles of mankind, as Pallas does,
Or as Bellona, ravager of towns.
O'ertaking her at last, with long pursuit,
Amid the throng of warring men, the son
410
Of warlike Tydeus aimed at her his spear,
And wounded in her hand the delicate one
With its sharp point. It pierced the ambrosial robe,
Wrought for her by the Graces, at the spot
Where the palm joins the wrist, and broke the skin,
415
And drew immortal blood, - the ichor, - such
As from the blessed gods may flow; for they
Eat not the wheaten loaf, nor drink dark wine;
And therefore they are bloodless, and are called
Immortal. At the stroke the goddess shrieked,
420
And dropped her son. Apollo in his arms
Received and in a dark cloud rescued him,
Lest any of the Grecian knights should aim
A weapon at his breast to take his life.
Meantime the brave Tydides cried aloud:-
425
"Leave wars and battle, goddess. Is it not
Enough that thou delude weak womankind?
Yet, if thou ever shouldst return, to bear
A part in battle, thou shalt have good cause
To start with fear, when war is only named."
430
He spake; and she departed, wild with pain,
For grievously she suffered. Instantly
Fleet-footed Iris took her by the hand
And led her from the place, her heart oppressed
With anguish and her fair cheek deathly pale.
435
She found the fiery Mars, who had withdrawn
From that day's combat to the left, and sat,
His spear and his swift coursers hid from sight,
In darkness. At his feet she fell, and prayed
Her brother fervently, that he would lend
440
His steeds that stood in trappings wrought of gold : -
"Dear brother, aid me; let me have thy steeds
To bear me to the Olympian mount, the home
Of gods, for grievously the wound I bear
Afflicts me. 'T was a mortal gave the wound, -
445
Tydides, who would even fight with Jove."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.318 focus
Safe through the rushing horse, and feather'd flight
Of sounding shafts, she bears him from the fight.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.318 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.318 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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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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This is the first occurrence of the noun hēni-okhos ‘chariot driver’ in the Iliad. Literally, the word means ‘he who holds the reins’.

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The genealogy of the Trojan Dardanidai is appropriated here into the genealogy of Athenian kings, and the references to a four-horse chariot team at I.05.271 is an Athenian signature. In the present action, however, at I.05.272–273, the four-horse team is reduced to a two-horse team, which is the canonical number for chariot teams in the Iliad.

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lemmatizing: θήλεας ἵππους

In the combination θήλεας ἵππους, the first-declension accusative plural in -as, positioned before a vowel, is scanned here as a short rather than long syllable. The attestation of such a form -ăs reflects not dialectal variation but formulaic simplification: an earlier complementary distribution of prevocalic -ăns (which becomes -ās*) and preconsonantal -ăs is simplified, resulting in occasional instances of prevocalic -ăs*.

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At the moment of his death here, the hero’s menos ‘mental power’ is released from his body, and this moment of release is expressed metaphorically by way of the verb luein ‘release’. Just as a horse is released from being harnessed to the chariot that it draws, as at I.05.369, so too the menos is released from the body. On metaphor, see the inventory of Words and Ideas. In the present context, the noun psūkhē ‘spirit’ is used as a synonym of menos.

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The epithet Dios thugatēr / thugatēr Dios ‘daughter of Zeus’, applied here to Aphrodite, can signal the beneficence of such goddesses toward privileged heroes like, in this case, Aeneas.

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

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analysis of the contrast between unmarked phanai and marked eukhesthai in contexts where the latter is associated with asserting superiority [MRBTP: 'ff']

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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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in a list of attestations of genos eukhesthai einai and its transformations

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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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in a list of attestations of genos eukhesthai einai and its transformations

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analysis of the divergent attestations of eukhesthai in the context of genos specification, namely, Aeneas’ specification of both of his parents, with eukhesthai ekgegamen instead of genos eukhesthai einai

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

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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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