Homer Iliad 16.619

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 16.619 focus
Translations (8)
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.) — 16.658 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.619 focus
And Meriones the spear-famed answered, [620] “Aeneas, for all your bravery, you will not be able to make an end of every one who comes against you. You are only a mortal like myself, and if I were to hit you in the middle of your shield with my spear, however strong and self-confident you may be, I should soon vanquish you, [625] and you would yield your life-breath [ psūkhē] to Hādēs of the noble steeds.” Then the son of Menoitios rebuked him and said, “Meriones, hero though you be, you should not speak thus; taunting speeches, my good friend, will not make the Trojans draw away from the dead body; some of them must go under ground first; the outcome [ telos] of battle is in the force of hands, [630] while the outcome of deliberation is words; fight, therefore, and say nothing.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.619 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.619 focus
'O valiant leader of the Dardan host!'
(Insulted Merion thus retorts the boast;)
750
'Strong as you are, 'tis mortal force you trust,
'An arm as strong may stretch thee in the dust.
'And if to this my lance thy fate be given,
'Vain are thy vaunts; success is still from heaven:
'This, instant, sends thee down to Pluto's coast:
755
'Mine is the glory, his thy parting ghost.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.619 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.619 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.619 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

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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Before the duel of Patroklos and Hector as chariot fighters begins, the momentum is with Patroklos, and he is marked as the therapōn of Achilles in this context. His role as a ritual substitute is only implicit here.

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Leonard Muellner

examples of the identical contexts in which eukhos and kudos occur

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this verse as signaling that it is becoming a fixed whole-line formula (cp. I.05.654, I.11.445)

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos, and analysis of the instance of eukhos in which kudos could fit the metric as well (as in this verse)

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Richard Martin

The exchange between Hektor and Meriones at 16.617-21 and Patroklos' words to Meriones at 16.627-31 illustrate a paradox inherent in the flyting genre. Meriones responds to Hektor's flyting words by capping Hektor's lines exactly: where Hektor says "My spear would have stopped you... dancer though you are," Meriones replies "It is hard for you to quench the strength of all... strong though you are." The latter mimics Hektor's style down to the coincidence of metrical segment and subordinate clause at line-end. Meriones has performed a poetic coup. Although Patroklos halts this neikos by reference to the lesser importance of extended speech, his own warning is itself a finished performance with a polished gnomic chiasmus, "For in hands is the end of war, of words in the council" (16.630), and a juxtaposition marked by alliteration: "Therefore it is not necessary to increase the muthos, but to fight (makhesthai)" (16.631). Flyting by its very nature leads to the enactment of a performance with a focus on style, even more so than in the genre of commands (Martin 1993:76-77).

For the broader analysis of the flyting genre, 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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