Homer Iliad 5.627

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.) — 5.627 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.) — 5.663 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.627 focus
Thus, then, did the battle rage between them. Presently the strong hand of fate impelled Tlepolemos, the son of Hēraklēs, a man both brave and of great stature, to fight godlike Sarpedon; [630] so the two, son and grandson of great Zeus, drew near to one another, and Tlepolemos spoke first. “Sarpedon,” said he, “councilor of the Lycians, why should you come skulking here, you who are a man of peace? [635] They lie who call you son of aegis-bearing Zeus, for you are little like those who were of old his children. Far other was Hēraklēs, my own brave and lion-hearted father, [640] who came here for the horses of Laomedon, and though he had six ships only, and few men to follow him, destroyed the city of Ilion and made a wilderness of her highways. You are a coward, and your people are falling from you. For all your strength, and all your coming from Lycia, [645] you will be no help to the Trojans but will pass the gates of Hādēs vanquished by my hand.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.627 focus
So toiled the warriors through that stubborn fight,
When cruel fate urged on Tlepolemus,
The great and valiant son of Hercules,
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To meet Sarpedon, mighty as a god.
And now, as each to each advanced, - the son
And grandson of the cloud-compeller Jove, -
Thus first Tlepolemus addressed his foe: -
"Sarpedon, Lycian monarch, what has brought
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Thee hither, trembling thus, and inexpert
In battle? Lying flatterers are they
That call thee son of Jupiter who bears
The ægis; for unlike the heroes thou,
Born to the Thunderer in times of old,
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Nor like my daring father, Hercules
The lion-hearted, who once came to Troy
To claim the coursers of Laomedon.
With but six ships, and warriors but a few,
He laid the city waste and made its streets
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A desolation. Thou art weak of heart,
And round thee are thy people perishing;
Yet, even wert thou brave, thy presence here
From Lycia's coast would prove of small avail
To Troy; for, slain in combat here by me,
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Thou to the gates of Hades shalt go down."
Sarpedon, leader of the Lycians, thus
Made answer: "True it is, Tlepolemus,
That he laid waste the sacred city of Troy
For the base dealings of Laomedon,
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The monarch who with railing words repaid
His great deservings, and kept back the steeds
For which he came so far. But thou - thy fate
Is slaughter and black death from this my spear;
And fame will come to me, and one more soul
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Go down to Hades." As Sarpedon spake,
Tlepolemus upraised his ashen spear,
And from the hands of both the chiefs at once
Their massive weapons flew. Sarpedon smote
Full in the throat his foe; the cruel point
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Passed through the neck, and night came o'er his eyes.
Tlepolemus, in turn, on the left thigh
Had struck Sarpedon with his ponderous lance.
The weapon, cast with vigorous hand and arm,
Pierced deep, and touched the bone; but Jupiter
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Averted from his son the doom of death.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.627 focus
While thus they strive, Tlepolemus the great,
Urg'd by the force of unresisted fate,
Burns with desire Sarpedon's strength to prove;
Alcides' offspring meets the son of Jove.
Sheath'd in bright arms each adverse chief came on,
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Jove's great descendant, and his greater son.
Prepar'd for combat, ere the lance he toss'd,
The daring Rhodian vents his haughty boast:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.627 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.627 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.627 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

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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See the comment on I.02.658.

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In the Iliad, Hēraklēs as the only hero besides Achilles who qualifies as thūmoleōn ‘having the heart [thūmos] of a lion’; Achilles is thūmoleōn at I.07.228. In the Odyssey, Hēraklēs is the only hero besides Odysseus who qualifies as thūmoleōn ‘having the heart [thūmos] of a lion’, at O.11.267; Odysseus is thūmoleōn at O.04.724 and O.04.814.

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The idea of the ‘gates’ or pulai of Hadēs is a variant of the idea of a ‘gate’ or Pulos of the Sun, where the mythical idea of such a Pulos is parallel to the ritual reality of Pylos as a place where the myth is realized. By implication, the setting sun passes through the same gates as do the psūkhai ‘spirits’ of the dead who are entering the underworld.

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Leonard Muellner

analysis of the one instance of eukhos where kudos could fit the metric just as well

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

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examples of the identical contexts in which eukhos and kudos occur

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Richard Martin

The battle-boast Tlepolemos makes to Sarpedon (5.638-42) is the only other passage in the poem to mention sacking a city, ships, and a specific number. Tlepolemos boosts his own status by referring to his father Herakles, who sacked Troy in the previous generation, with six ships and a few men. The same function is served by Achilles' reference to his own raids at 9.328-29: it is part of the warrior's rhetoric of egoism, the verbal performance that authenticates his martial acts. But the differences between the two passages are telling. Achilles boasts of his own sacking, not of one city, but of twenty-three towns around Troy. His act is bigger; the expanded two-line expression of his deeds fits the exploits. The difference in size between the two heroes' achievements is explicit in the doubling of the number at the beginning of 9.328—twelve cities versus Herakles' six ships; the formula is expanded semantically as well as spatially. The shadow of Herakles follows Achilles throughout the Iliad, and I now suggest that this attitude on the part of Homer arises from his own situation as performer when he attempts to compose an Achilles epic against a widespread and predominant earlier tradition that privileges the role of Herakles (Martin 1993:227-29).

For the broader argument that Homer's composition of the monumental Iliad starts from the need to outdistance previous epics, see the comment on Iliad 2.488-492.

References

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

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