Homer Iliad 16.777

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.) — 16.777 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.) — 16.751 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.777 focus
So long as the sun was still high in mid-heaven the weapons of either side were alike deadly, and the people fell; but when he went down towards the time when men loose their oxen, [780] the Achaeans proved to be beyond all forecast stronger, so that they drew Kebriones out of range of the darts and tumult of the Trojans, and stripped the armor from his shoulders. 783 Then Patroklos rushed ahead toward the Trojans, with the worst intentions. 784 Three times he rushed at them, and he was equal [ atalantos] to swift Arēs. [785] He [= Patroklos] was making a terrifying shout, and he killed three times nine men. 786 But when he [= Patroklos] rushed ahead for yet a fourth time, equal [ īsos] to a superhuman force [ daimōn], 787 then, O Patroklos, the end of your life made its appearance to you. 788 Facing you now was Phoebus [Apollo], ready to fight you in grim battle. 789 He [= Apollo] was terrifying. But he [= Patroklos] did not notice him as he [= Apollo] was coming at him in the heat of battle. [790] For he [= Apollo] was covered in a great cloud of mist as he made contact with him. 791 He [= Apollo] stood behind him and he struck him on his back and his broad shoulders 792 with the downturned flat of his hand, making his eyes spin. 793 His helmet was knocked off his head by Phoebus Apollo, 794 and it rolled rattling off under the horses’ hooves. [795] That is what happened to this helmet, and its horse-tail plumes were all begrimed 796 with blood and dust. Before this time, it was not sanctioned 797 that this horse-hair helmet should ever get begrimed in the dust, 798 while it was protecting the head and comely forehead of that godlike man, 799 protecting the head of Achilles. But now Zeus gave it to Hector [800] for him to wear on his head. And his [= Hector’s] destruction was near. 801 Broken completely in his [= Patroklos’] hands was that spear of his that casts a long shadow, 802 a huge and heavy and massive piece of weaponry, and from his shoulders 803 his shield, strap and all, fell to the ground, with its beautiful edgework. 804 Taken away from him was his breastplate, removed by lord Apollo, son of Zeus.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.777 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.777 focus
Now, flaming from the zenith, Sol had driven
His fervid orb through half the vault of heaven;
While on each host with equal tempest fell
940
The showering darts, and numbers sunk to hell.
But when his evening wheels o'erhung the main,
Glad conquest rested on the Grecian train.
Then, from amidst the tumult and alarms,
They draw the conquer'd corse and radiant arms.
945
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.777 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.777 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.777 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

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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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Patroklos has reached the point where he is about to die by way of Apollo’s direct intervention. At this point, I.16.784, he is described as atalantos Arēï ‘equal to Ares’. But this hero’s death is more complex, as we will see in the comment on I.16.786–804.

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Patroklos confronts Apollo four times and then, the fourth time around, he fails to back off as he had backed off in the previous confrontation at I.16.705–711. In the course of that previous confrontation, Patroklos had thus avoided the mēnis ‘anger’ of the god, I.16.711. But now he will fail to avoid the god’s anger. At the moment of his climactic fourth confrontation with Apollo, Patroklos is once again described as daimoni isos ‘equal to a daimōn’, I.16.786, just as he had been described in the previous confrontation I.16.705. And, once again, the ‘superhuman force’ to which this word daimōn refers here at I.16.786 can be understood to be Apollo himself. As earlier, we see here a climactic moment in a pattern of divine-human antagonism that links the god Apollo with the hero Achilles, and Patroklos will now take upon himself the role of a ritual substitute for Achilles. In this role, Patroklos is not only daimoni īsos ‘equal to a superhuman force [daimōn] at I.16.786: he is also atalantos Arēï ‘equal to Ares’, I.16.784. See the comment above on I.16.784. As a warrior, Patroklos is matched with Ares as the god of war. As a ritual substitute of Achilles, however, he is also matched with Apollo as the divine antagonist of Achilles.

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At this climactic moment of the hero’s death, the Master Narrator addresses Patroklos in the second person. Such poetic conventions reflect a phase of epic poetry when it was not yet fully differentiated from praise poetry.

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As Apollo strips away the protective armor from the body of Patroklos, piece by piece, the hero is being prepared for his ritualized death. At this moment, Patroklos is possessed by atē ‘aberration’, I.16.805.

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Patroklos is now gumnos ‘stripped’ of all his armor, ready to be killed. While he was still wearing the armor, he would have been been invulnerable. At a later point, after Hector has already taken possession of this armor and is now seen wearing it, I.17.194, the adjective ambrota ‘immortalizing’ is applied to these teukhea ‘arms’. This adjective ambroto- ‘immortalizing’ is applied to words that make the hero immune to death.

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Leonard Muellner

comparison of Patroklos in his aristeia with Ares (e.g with regard to reaching or crossing the limit, being teikhesiplēta)

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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analysis of the identification of Patroklos with Achilles, here Patroklos’ being addressed in the second person by the narrator and the special sympathy and philotēs that indicates

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analysis of Patroklos’ undoing after his fourth, tabu assault

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analysis of Patroklos’ undoing after his fourth, tabu assault

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