Iliad 5.363

View: By Book

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.) — 5.363 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.) — 5.363 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)) — 5.363 focus
Thus she spoke, and Arēs gave her his gold-bedizened steeds. She mounted the chariot sick and sorry at heart, [365] while Iris sat beside her and took the reins in her hand. She lashed her horses on and they flew forward nothing loath, till in a trice they were at high Olympus, where the gods have their dwelling. There she stayed them, unloosed them from the chariot, and gave them their ambrosial forage; [370] but bright Aphrodite flung herself on to the lap of her mother Dione, who threw her arms about her and caressed her, saying, “Which of the celestial beings has been treating you in this way, as though you had been doing something wrong in the face of day?”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.363 focus
She spake; and Mars resigned to her his steeds
With trappings of bright gold. She climbed the car,
Still grieving, and, beside her, Iris took
Her seat, and caught the reins and plied the lash.
450
On flew the coursers, on, with willing speed,
And soon were at the mansion of the gods
On high Olympus. There the active-limbed,
Fleet Iris stayed them, loosed them from the car,
And fed them with ambrosial food. Meanwhile,
455
The goddess Venus at Dione's feet
Had cast herself. The mother round her child
Threw tenderly her arms, and with her hand
Caressed her brow, and spake, and thus inquired: -
"Which of the dwellers of the skies, dear child,
460
Has dealt thus cruelly with thee, as one
Caught in the doing of some flagrant wrong?"
And thus did Venus, queen of smiles, reply: -
"The son of Tydeus, arrogant Diomed,
Wounded me as I sought to bear away
465
From battle's dangers my beloved son
Æneas, dear beyond all other men:
For now no longer does the battle rage
Between the Greeks and Trojans, but the Greeks
Venture to combat even with the gods."
470
Dione, great among the goddesses,
Rejoined: "Submit, my daughter, and endure,
Though inly grieved; for many of us who dwell
Upon the Olympian mount have suffered much
From mortals, and have brought great miseries
475
Upon each other. First, it was the fate
Of Mars to suffer, when Aloëus' sons,
Otus and mighty Ephialtes, made
Their fetters fast upon his limbs. He lay
Chained thirteen months within a brazen cell;
480
And haply there the god, whose thirst of blood
Is never cloyed, had perished, but for aid
Which Eribœa gave, the beautiful,
His step-mother. She made his miseries known
To Mercury, who set him free by stealth,
485
Withered and weak with long imprisonment.
And Juno suffered when Amphitryon's son,
The valiant, dared to plant in her right breast
A three-pronged arrow, and she writhed with pain.
And Pluto suffered, when the hero-son
490
Of ægis-bearing Jove, with a swift shaft,
Smote him beside the portals of the dead,
And left him filled with pain. He took his way
To high Olympus and the home of Jove,
Grieving and racked with pain, for deep the dart
495
Had pierced his brawny shoulder, torturing him.
There Pæan with his pain-dispelling balms
Healed him, for he was not of mortal race.
O daring man and reckless, to make light
Of such impieties, and violate
500
The sacred persons of the Olympian gods!
It was the blue-eyed Pallas who stirred up
Tydides to assail thee thus. The fool!
He knew not that the man who dares to meet
The gods in combat lives not long. No child
505
Shall prattling call him father when he comes
Returning from the dreadful tasks of war.
Let then Tydides, valiant though he be,
Beware lest a more potent foe than thou
Encounter him, and lest the nobly-born
510
Ægialeia, in some night to come-
Wise daughter of Adrastus, and the spouse
Of the horse-tamer Diomed - call up
The servants of her household from their sleep,
Bewailing him to whom in youth she gave
515
Her maiden troth, - the bravest of the Greeks."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.363 focus
Stern Mars attentive hears the queen complain,
And to her hand commits the golden rein:
She mounts the seat, oppress'd with silent woe,
455
Driven by the goddess of the painted bow.
The lash resounds, the rapid chariot flies,
And in a moment scales the lofty skies.
There stopp'd the car, and there the coursers stood,
Fed by fair Iris with ambrosial food.
460
Before her mother, Love's bright queen appears,
O'erwhelm'd with anguish and dissolv'd in tears;
She rais'd her in her arms, beheld her bleed,
And ask'd what god had wrought this guilty deed?
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.363 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.363 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)

source

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

source

analysis of Enuō in the Iliad in the context of discussing the Mykenaean war goddess found in “Tsountas’ House”

source

analysis of Apollo’s anger at Diomedes

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

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

This is the first occurrence of the noun hēni-okhos ‘chariot driver’ in the Iliad. Literally, the word means ‘he who holds the reins’.

source

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.

source

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*.

source

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.

source

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.

source

The function of Aphrodite as Dios thugatēr / thugatēr Dios ‘daughter of Zeus’, as at I.03.374, is reinforced here at I.05.370–371 by the designation of this same goddess as the daughter of Diōnē, which is a feminized version of the name Zeus.

source
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)

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

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

source

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

source

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)

source

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

source

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)

source

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)

source

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

source

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

source

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

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 philotēs and timē going together with this passage as an example

source

analysis of Athena’s interruption to get Ares to withdraw from the fighting to avoid Zeus’ mēnis (emphasis on his inactivity)

source