Homer Iliad 23.319

A. T. Murray (Translator)

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

Sponsored by Perseus Project, Tufts University.

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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.) — 23.319 focus
ἀλλʼ ὃς μέν θʼ ἵπποισι καὶ ἅρμασιν οἷσι πεποιθὼς
ἀφραδέως ἐπὶ πολλὸν ἑλίσσεται ἔνθα καὶ ἔνθα,
320
ἵπποι δὲ πλανόωνται ἀνὰ δρόμον, οὐδὲ κατίσχει·
ὃς δέ κε κέρδεα εἰδῇ ἐλαύνων ἥσσονας ἵππους,
αἰεὶ τέρμʼ ὁρόων στρέφει ἐγγύθεν, οὐδέ ἑ λήθει
ὅππως τὸ πρῶτον τανύσῃ βοέοισιν ἱμᾶσιν,
ἀλλʼ ἔχει ἀσφαλέως καὶ τὸν προὔχοντα δοκεύει.
325
σῆμα δέ τοι ἐρέω μάλʼ ἀριφραδές, οὐδέ σε λήσει.
ἕστηκε ξύλον αὖον ὅσον τʼ ὄργυιʼ ὑπὲρ αἴης
ἢ δρυὸς ἢ πεύκης· τὸ μὲν οὐ καταπύθεται ὄμβρῳ,
λᾶε δὲ τοῦ ἑκάτερθεν ἐρηρέδαται δύο λευκὼ
ἐν ξυνοχῇσιν ὁδοῦ, λεῖος δʼ ἱππόδρομος ἀμφὶς
330
ἤ τευ σῆμα βροτοῖο πάλαι κατατεθνηῶτος,
ἢ τό γε νύσσα τέτυκτο ἐπὶ προτέρων ἀνθρώπων,
καὶ νῦν τέρματʼ ἔθηκε ποδάρκης δῖος Ἀχιλλεύς.
τῷ σὺ μάλʼ ἐγχρίμψας ἐλάαν σχεδὸν ἅρμα καὶ ἵππους,
αὐτὸς δὲ κλινθῆναι ἐϋπλέκτῳ ἐνὶ δίφρῳ
335
ἦκʼ ἐπʼ ἀριστερὰ τοῖιν· ἀτὰρ τὸν δεξιὸν ἵππον
κένσαι ὁμοκλήσας, εἶξαί τέ οἱ ἡνία χερσίν.
ἐν νύσσῃ δέ τοι ἵππος ἀριστερὸς ἐγχριμφθήτω,
ὡς ἄν τοι πλήμνη γε δοάσσεται ἄκρον ἱκέσθαι
κύκλου ποιητοῖο· λίθου δʼ ἀλέασθαι ἐπαυρεῖν,
340
μή πως ἵππους τε τρώσῃς κατά θʼ ἅρματα ἄξῃς·
χάρμα δὲ τοῖς ἄλλοισιν, ἐλεγχείη δὲ σοὶ αὐτῷ
ἔσσεται· ἀλλὰ φίλος φρονέων πεφυλαγμένος εἶναι.
εἰ γάρ κʼ ἐν νύσσῃ γε παρεξελάσῃσθα διώκων,
οὐκ ἔσθʼ ὅς κέ σʼ ἕλῃσι μετάλμενος οὐδὲ παρέλθῃ,
345
οὐδʼ εἴ κεν μετόπισθεν Ἀρίονα δῖον ἐλαύνοι
Ἀδρήστου ταχὺν ἵππον, ὃς ἐκ θεόφιν γένος ἦεν,
ἢ τοὺς Λαομέδοντος, οἳ ἐνθάδε γʼ ἔτραφεν ἐσθλοί.
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.) — 23.287 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.319 focus
If a man go wide in rounding this way and that, [320] whereas a man of craft [ kerdos] may have worse horses, but he will keep them well in hand when he sees the turning-post [ terma]; he knows the precise moment [325] at which to pull the rein, and keeps his eye well on the man in front of him. 326 I [= Nestor] will tell you [= Antilokhos] a sign [ sēma], a very clear one, which will not get lost in your thinking. 327Standing over there is a stump of deadwood, a good reach above ground level. 328 It had been either an oak or a pine. And it hasn’t rotted away from the rains. 329 There are two white rocks propped against either side of it. [330] There it is, standing at a point where two roadways meet, and it has a smooth track on both sides of it for driving a chariot. 331 It is either the tomb [ sēma] of some mortal who died a long time ago 332 or was a turning point [ nussa] in the times of earlier men. 333 Now swift-footed radiant Achilles has set it up as a turning point [ terma plural]. 334 Get as close to it as you can when you drive your chariot horses toward it, [335] and keep leaning toward one side as you stand on the platform of your well-built chariot, 336 leaning to the left as you drive your horses. Your right-side horse 337 you must goad, calling out to it, and give that horse some slack as you hold its reins, 338 while you make your left-side horse get as close as possible [to the turning point], 339 so that the hub will seem to be almost grazing the post [340]—the hub of your well-made chariot wheel. But be careful not to touch the stone [of the turning point], 341 or else you will get your horses hurt badly and break your chariot in pieces. 342 That would make other people happy, but for you it would be a shame, 343 yes it would. So, near and dear [ philos] as you are to me, you must be sound in your thinking and be careful, for if you can be first to round the post [345] there is no chance of anyone giving you the go-by later, not even though he had Arion, the horse of Adrastos, a horse which is of divine race, or the horses of Laomedon, which are the noblest in this land.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 23.319 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.319 focus
‘In vain, unskilful, to the goal they strive,
‘And short, or wide, th' ungovern'd courser drive:
‘While with sure skill, though with inferior steeds,
‘The knowing racer to his end proceeds;
‘Fix'd on the goal his eye fore-runs the course,
395
‘His hand unerring steers the steady horse,
‘And now contracts, or now extends, the rein,
‘Observing still the foremost on the plain.
‘Mark then the goal, 'tis easy to be found;
‘Yon aged trunk, a cubit from the ground;
400
‘Of some once-stately oak the last remains,
‘Or hardy fir, unperish'd with the rains:
‘Enclos'd with stones, conspicuous from afar,
‘And round, a circle for the wheeling car.
‘(Some tomb perhaps of old, the dead to grace;
405
‘Or then, as now, the limit of a race.)
‘Bear close to this, and warily proceed,
‘A little bending to the left-hand steed;
‘But urge the right, and give him all the reins;
‘While thy strict hand his fellow's head restrains,
410
‘And turns him short; till, doubling as they roll,
‘The wheel's round naves appear to brush the goal.
‘Yet (not to break the car, or lame the horse,)
‘Clear of the stony heap direct the course;
‘Lest, through incaution failing, thou may'st be
415
‘A joy to others, a reproach to me.
‘So shalt thou pass the goal, secure of mind,
‘And leave unskilful swiftness far behind,
‘Though thy fierce rival drove the matchless steed
‘Which bore Adrastus, of celestial breed;
420
‘Or the fam'd race through all the regions known,
‘That whirl'd the car of proud Laomedon.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.319 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 23.319 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.319 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

Douglas Frame

comment on the purpose of Nestor’s speech on tactics for rounding the turning post, when it does not feature in the description of the race itself (evoking Nestor’s own race against the twins)

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comparison of the charioteer(s) in Nestor’s speech with himself and Antilochus (and others)

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analysis of Antilochus’ mētis and comparison of this verse with I.23.515

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comparison of the charioteer(s) in Nestor’s speech with himself and Antilochus (and others)

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comparison of Antilochus with the skilled charioteer in Nestor’s speech

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comparison of the charioteer(s) in Nestor’s speech with himself and Antilochus (and others)

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analysis of the phrase oude se lēsei/he lēthei in Nestor’s speech to Antilochus (and the entire chariot race sequence)

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analysis of the chariot race and turning point in terms of the twin myth, with the turning point/grave as the point of death and from whence the immortal twin initiates the return to life

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comparison of Nestor’s advice to Antilochus regarding the balance between inciting and restraining his horses and that of the Epeian twins

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comparison of Nestor’s advice to Antilochus regarding the balance between inciting and restraining his horses and that of the Epeian twins, and the irony in Nestor’s advice (his own crash)

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comment on the immediacy of the race after Nestor’s speech of advice to Antilochus (analysis of the motivation of the speech)

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Gregory Nagy

The funeral that Achilles arranges here for Patroklos in the Iliad is in some ways a preview of the funeral that the Achaeans will arrange for Achilles himself beyond the time-frame of the Iliad. A high point of the funeral in Iliad 23 is a spectacular chariot race arranged by Achilles to honor his dead comrade Patroklos. But an earlier high point is a comparably spectacular cremation of his friend’s body. But this cremation of Patroklos, as a ritual, is far from perfect: it is in fact polluted, and the pollution will make Achilles look bad, at least for the moment. The polluted thoughts of the hero, as evidenced by his dragging the corpse of Hector behind his speeding chariot, will drive him to extremes that will challenge the cosmic order. But the Master Narrator of the Iliad will remedy the pollution, and the remedy will take the form of actually narrating the grim story. In the process of this narration, a great lesson will be learned about life, death, and a hoped-for recovery of life.

draft js image errorAchilles dragging the body of Hector. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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|326 σῆμα δέ τοι ἐρέω μάλ’ ἀριφραδές, οὐδέ σε λήσει. |327 ἕστηκε ξύλον αὖον ὅσον τ’ ὄργυι’ ὑπὲρ αἴης |328 ἢ δρυὸς ἢ πεύκης· τὸ μὲν οὐ καταπύθεται ὄμβρῳ, |329 λᾶε δὲ τοῦ ἑκάτερθεν ἐρηρέδαται δύο λευκὼ |330 ἐν ξυνοχῇσιν ὁδοῦ, λεῖος δ’ ἱππόδρομος ἀμφὶς |331 ἤ τευ σῆμα βροτοῖο πάλαι κατατεθνηῶτος, |332 ἢ τό γε νύσσα τέτυκτο ἐπὶ προτέρων ἀνθρώπων, |333 καὶ νῦν τέρματ’ ἔθηκε ποδάρκης δῖος Ἀχιλλεύς. |334 τῷ σὺ μάλ’ ἐγχρίμψας ἐλάαν σχεδὸν ἅρμα καὶ ἵππους, |335 αὐτὸς δὲ κλινθῆναι ἐϋπλέκτῳ ἐνὶ δίφρῳ |336 ἦκ’ ἐπ’ ἀριστερὰ τοῖιν· ἀτὰρ τὸν δεξιὸν ἵππον |337 κένσαι ὁμοκλήσας, εἶξαί τέ οἱ ἡνία χερσίν. |338 ἐν νύσσῃ δέ τοι ἵππος ἀριστερὸς ἐγχριμφθήτω. |339 ὡς ἄν τοι πλήμνη γε δοάσσεται ἄκρον ἱκέσθαι |340 κύκλου ποιητοῖο· λίθου δ’ ἀλέασθαι ἐπαυρεῖν, |341 μή πως ἵππους τε τρώσῃς κατά θ’ ἅρματα ἄξῃς· |342 χάρμα δὲ τοῖς ἄλλοισιν, ἐλεγχείη δὲ σοὶ αὐτῷ |343 ἔσσεται· ἀλλὰ φίλος φρονέων πεφυλαγμένος εἶναι.

|326 I [= Nestor] will tell you [= Antilokhos] a sign [sēma], a very clear one, which will not get lost in your thinking. |327 Standing over there is a stump of deadwood, a good reach above ground level. |328 It had been either an oak or a pine. And it hasn’t rotted away from the rains. |329 There are two white rocks propped against either side of it. |330 There it is, standing at a point where two roadways meet, and it has a smooth track on both sides of it for driving a chariot. |331 It is either the tomb [sēma] of some mortal who died a long time ago |332 or was a turning point [nussa] in the times of earlier men. |333 Now swift-footed radiant Achilles has set it up as a turning point [terma plural]. |334 Get as close to it as you can when you drive your chariot horses toward it, |335 and keep leaning toward one side as you stand on the platform of your well-built chariot, |336 leaning to the left as you drive your horses. Your right-side horse |337 you must goad, calling out to it, and give that horse some slack as you hold its reins, |338 while you make your left-side horse get as close as possible [to the turning point], |339 so that the hub will seem to be almost grazing the post |340 - the hub of your well-made chariot wheel. But be careful not to touch the stone [of the turning point], |341 or else you will get your horses hurt badly and break your chariot in pieces. |342 That would make other people happy, but for you it would be a shame, |343 yes it would. So, near and dear [philos] as you are to me, you must be sound in your thinking and be careful.

(Epitomized from H24H 7§§3–6.) I concentrate here on the use of the word sēma in two verses, I.23.326 and I.23.331, concerning the sēma or ‘sign’ given by the hero Nestor to his son, the hero Antilokhos, about the sēma or ‘tomb’ of an unnamed hero. I divide my analysis into four parts:

Part 1. The two verses come from a passage where Nestor gives instructions to Antilokhos about the driving skills required for a charioteer to make a left turn around a landmark. As we will now learn from the context, this landmark is meant to be used as a turning point in the course of a chariot race that is being planned as the culminating athletic event of the Funeral Games for Patroklos in Iliad 23. In the words of Nestor, this landmark is either a sēma, ‘tomb’, of an unnamed hero of the distant past, I.23.331, or it was once upon a time a ‘turning point’, a nussa, I.23.332, used for chariot races that must have taken place in such a distant past. As I will argue, the master narrative of the Iliad shows that this sēma or ‘tomb’ is to be understood as the tomb of Patroklos himself, which he will share with Achilles once Achilles too is dead. To understand this is to understand the sēma or ‘sign’ given by the hero Nestor.

Part 2. The sēma that is the ‘tomb’ of the unnamed hero at I.23.331 is also a ‘sign’ of that hero’s cult, as signaled by the sēma or ‘sign’ that is conveyed by the speaker at I.23.326. That is what I once argued in an essay entitled “Sēma and Noēsis: The Hero’s Tomb and the ‘Reading’ of Symbols in Homer and Hesiod” (GM 202-222). As I pointed out in that essay, we know from evidence external to Homeric poetry that the tomb of a cult hero could be used as the actual turning point of a chariot race: in the historical period, starting with the adoption of chariot racing in the athletic program of the Olympics (this adoption has been dated at around 680 BCE), the turning-point of chariot-races could be conceptualized as the tomb of a hero, whose restless spirit was capable of “spooking” the horses at the most dangerous moment of the chariot-race, the left turn around the turning point. (GMP 215-216, with reference to Pausanias 6.20.15-19).

Part 3. According to the wording of Nestor, however, there seem at first to be two different interpretations of the landmark that he is showing to Antilokhos: what is being visualized is either a tomb of a cult hero from the distant past or it is a turning point for chariot races that must have taken place in such a distant past. The landmark is an ambivalent sign. At least, it seems ambivalent, short range, on the basis of Nestor’s wording in this passage. Long range, however, on the basis of the overall plot of the Iliad, this wording will lead to a fusion of interpretations. And the sign that seemed at first to be ambivalent will become clear. Long range, the tomb of the unnamed hero from the distant past becomes the same landmark as the turning point of a chariot race from the distant past. That is because the unnamed hero from the distant past becomes a named hero from the immediate present of the Iliad. That hero is Patroklos, and he died just now, as it were, in Iliad 16.

Part 4. But Patroklos dies not only in the present time of the Iliad. He also did die a long time ago, from the standpoint of later generations who are listening to the story of the Iliad. So, the storytelling of the Iliad makes it possible for the athletic event of a chariot race from the distant past to become the same thing as the athletic event of a chariot race that is being held right now, in the same immediate present time of the story, in Iliad 23. And, as I argue, this race is intended to honor Patroklos as a future cult hero. See also the comment on O.11.119–137.

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reference to exegetical problem discussed in Aristotle Sophistici Elenchi chapters 18, 19

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reference to the fact Plato and Xenophon each report variant readings that are not found in the manuscript tradition (Labarbe 1949.415-416)

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analysis of kúklos as a metaphor for the sum total of Homeric poetry and the craft of the carpenter to the art of the poet. See Pindar Pythian 3.112-114, Il. IV.110, Il. XXIII.712. This traditional pattern of thinking explains the classification of the aoidós and the téktōn under the category of dēmiourgós (Od. XVII.381-385)

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blame as kharma to others and elenkheiē to the one to experience it, in the context of analyzing blame poetry

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Richard Martin

Nestor's directions to his son Antilokhos before the chariot race aim at reminding him of the role of "cunning intelligence" in driving. The speech begins with praise: "Zeus and Poseidon have loved you and taught all types of horsemanship, so I do not have to teach you very much" (23.306-7). The disclaimer of speaking seriously is a well-known device, a sign that this is to be an extended and important performance by Nestor. This is confirmed by the next lines, taken up by the longest block of gnomic utterances in any speech in the Iliad (23.315-25). At the end, an allusion to loss of general praise ("there will be shame for you," 23.342) forms the transition between the exact instructions of Nestor and the closure, another warning by reference to famous examples (23.346-48). As one rereads Nestor's speeches, the repetitions that may have seemed gratuitous now make sense as reflexes of Nestor's consistent praise function in the poem (Martin 1993:107-8).

For the broader analysis of Nestor as the ideal speaker whose rhetoric rests on eulogy, see the comment on Iliad 1.253-284.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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