Homer Iliad 6.156

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.) — 6.156 focus
τῷ δὲ θεοὶ κάλλός τε καὶ ἠνορέην ἐρατεινὴν
ὤπασαν· αὐτάρ οἱ Προῖτος κακὰ μήσατο θυμῷ,
ὅς ῥʼ ἐκ δήμου ἔλασσεν, ἐπεὶ πολὺ φέρτερος ἦεν,
Ἀργείων· Ζεὺς γάρ οἱ ὑπὸ σκήπτρῳ ἐδάμασσε.
τῷ δὲ γυνὴ Προίτου ἐπεμήνατο δῖʼ Ἄντεια
160
κρυπταδίῃ φιλότητι μιγήμεναι· ἀλλὰ τὸν οὔ τι
πεῖθʼ ἀγαθὰ φρονέοντα δαΐφρονα Βελλεροφόντην.
ἣ δὲ ψευσαμένη Προῖτον βασιλῆα προσηύδα·
τεθναίης ὦ Προῖτʼ, ἢ κάκτανε Βελλεροφόντην,
ὅς μʼ ἔθελεν φιλότητι μιγήμεναι οὐκ ἐθελούσῃ.
165
ὣς φάτο, τὸν δὲ ἄνακτα χόλος λάβεν οἷον ἄκουσε·
κτεῖναι μέν ῥʼ ἀλέεινε, σεβάσσατο γὰρ τό γε θυμῷ,
πέμπε δέ μιν Λυκίην δέ, πόρεν δʼ ὅ γε σήματα λυγρὰ
γράψας ἐν πίνακι πτυκτῷ θυμοφθόρα πολλά,
δεῖξαι δʼ ἠνώγειν ᾧ πενθερῷ ὄφρʼ ἀπόλοιτο.
170
αὐτὰρ ὁ βῆ Λυκίην δὲ θεῶν ὑπʼ ἀμύμονι πομπῇ.
ἀλλʼ ὅτε δὴ Λυκίην ἷξε Ξάνθόν τε ῥέοντα,
προφρονέως μιν τῖεν ἄναξ Λυκίης εὐρείης·
ἐννῆμαρ ξείνισσε καὶ ἐννέα βοῦς ἱέρευσεν.
ἀλλʼ ὅτε δὴ δεκάτη ἐφάνη ῥοδοδάκτυλος Ἠὼς
175
καὶ τότε μιν ἐρέεινε καὶ ᾔτεε σῆμα ἰδέσθαι
ὅττί ῥά οἱ γαμβροῖο πάρα Προίτοιο φέροιτο.
αὐτὰρ ἐπεὶ δὴ σῆμα κακὸν παρεδέξατο γαμβροῦ,
πρῶτον μέν ῥα Χίμαιραν ἀμαιμακέτην ἐκέλευσε
πεφνέμεν· ἣ δʼ ἄρʼ ἔην θεῖον γένος οὐδʼ ἀνθρώπων,
180
πρόσθε λέων, ὄπιθεν δὲ δράκων, μέσση δὲ χίμαιρα,
δεινὸν ἀποπνείουσα πυρὸς μένος αἰθομένοιο,
καὶ τὴν μὲν κατέπεφνε θεῶν τεράεσσι πιθήσας.
δεύτερον αὖ Σολύμοισι μαχέσσατο κυδαλίμοισι·
καρτίστην δὴ τήν γε μάχην φάτο δύμεναι ἀνδρῶν.
185
τὸ τρίτον αὖ κατέπεφνεν Ἀμαζόνας ἀντιανείρας.
τῷ δʼ ἄρʼ ἀνερχομένῳ πυκινὸν δόλον ἄλλον ὕφαινε·
κρίνας ἐκ Λυκίης εὐρείης φῶτας ἀρίστους
εἷσε λόχον· τοὶ δʼ οὔ τι πάλιν οἶκον δὲ νέοντο·
πάντας γὰρ κατέπεφνεν ἀμύμων Βελλεροφόντης.
190
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.) — 6.102 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.156 focus
whom the gods have endowed with the most surpassing comeliness and beauty. But Proitos devised his ruin, and being stronger than he, drove him from the locale [ dēmos] of the Argives, over which Zeus had made him ruler. [160] For beautiful Antaia, wife of Proitos, lusted after him, and would have had him lie with her in secret; but Bellerophon was an honorable man and would not, so she told lies about him to Proitos. ‘Proitos,’ said she, ‘kill Bellerophon or die, [165] for he would have had converse with me against my will.’ The king was angered, but shrank from killing Bellerophon, so he sent him to Lycia bearing baneful signs [ sēma pl.], written inside a folded tablet and containing much ill against the bearer. [170] He bade Bellerophon show these written signs to his father-in-law, to the end that he might thus perish; Bellerophon therefore went to Lycia, and the gods escorted him safely.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.156 focus
The first command he gave him was, to slay
230
Heaven-born Chimæra, the invincible.
No human form was hers: a lion she
In front, a dragon in the hinder parts,
And in the midst a goat, and terribly
Her nostrils breathed a fierce, consuming flame;
235
Yet, trusting in the portents of the gods,
He slew her. Then it was his second task
To combat with the illustrious Solymi, -
The hardest battle he had ever fought-
So he declared-with men; and then he slew -
240
His third exploit-the man-like Amazons.
Then he returned to Lycia; on his way
The monarch laid a treacherous snare. He chose
From his wide Lycian realm the bravest men
To lie in ambush for him. Never one
245
Of these came home again, - Bellerophon
The matchless slew them all. And when the king
Saw that he was the offspring of a god,
He kept him near him, giving him to wife
His daughter, and dividing with him all
250
His kingly honors, while the Lycians set
Their richest fields apart -a goodly spot,
Ploughlands and vineyards- for the prince to till.
And she who now became his wife brought forth
Three children to the sage Bellerophon, -
255
Isandrus and Hippolochus; and, last,
Laodameia, who in secret bore
To all-providing Jupiter a son, —
Godlike Sarpedon, eminent in arms.
But when Bellerophon upon himself
260
Had drawn the anger of the gods, he roamed
The Aleian fields alone, a prey to thoughts
That wasted him, and shunning every haunt
Of humankind. The god whose lust of strife
Is never sated, Mars, cut off his son
265
Isandrus, warring with the illustrious race
Of Solymi; and Dian, she who guides
Her car with golden reins, in anger slew
His daughter. I am of Hippolochus;
From him I claim my birth. He sent me forth
270
To Troy with many counsels and commands,
Ever to bear myself like a brave man,
And labor to excel, and never bring
Dishonor on the stock from which I sprang, —
The bravest stock by far in Ephyra
275
And the wide realm of Lycia. 'Tis my boast
To be of such a race and such a blood."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.156 focus
'Who o'er the sons of men in beauty shin'd,
195
'Lov'd for that valour which preserves mankind.
'Then mighty Proetus Argos' sceptre sway'd,
'Whose hard commands Bellerophon obey'd.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.156 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.156 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.156 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

Notes on the current edition

Iliad

1. 275.1

New Alexandria Commentaries

Gregory Nagy

A high point here in Rhapsody 6 is a tearful scene of farewell for Andromache and Hector. The loving wife will never again see her husband alive. The scene is justly admired for its artistic portrayal of this tragically doomed couple, but the verbal artistry extends even further: also to be most admired here is the remarkable precision of poetic language in representing lament as it was actually performed in ancient Greek song culture.

draft js image errorApulian red-figure column-crater (ca. 370–360 BCE) depicting an intimate family scene: Hector removes his helmet as he says his final farewell to his wife Andromache and to their child Astyanax. Public domain image by Jastrow via Wikimieda Commons

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Richard Martin

The encounter between Glaukos and Diomedes in Book 6 is the turning point in Diomedes' education in performance, as that affects his speech to enemies (Martin 1993:126). Within the Iliad the process of learning a tradition and the growth of creative ability at performance is depicted through Diomedes. Had there been little other evidence, this depiction alone would encourage the imagination that the poet in such a medium composed as he performed. After this encounter, the hero delivers several quite good flyting attacks, against Dolon (10.369 and 10.446), Hektor (11.361), and Paris (11.384).

The demand to know Glaukos' genealogy makes sense in the context of flyting, since it gives the speaker a hold with which to throw his opponent. The implication of Diomedes' remark that Glaukos has not appeared before in "man-glorifying" battle is that Glaukos has no ability to be glorified; and the reference to the "boldness" of Glaukos has to be read with an eye to the negative connotations of "boldness" when a speaker's deeds do not authorize this. The apparent digression into the story of Dionysos furthers this strategy: scared women, a comforting mother-figure, a threatening male who engages in rough language—these figures in Diomedes' miniature dramatization of "myth" are in fact projections of the participants in the very muthos of flyting in which he is engaged. For Dionysos and the nurses, read Glaukos; for Lykourgos, Diomedes; and for Thetis, compare the women of Troy. Diomedes' myth, then, is a version of his victory, a wish fulfillment of the threatening physical encounter (Martin 1993:127-28).

Glaukos is not naive. His first strategy—to question the value of genealogy—contains the famous image of the "generations of leaves," but in the language of Homer, falling to the ground connotes the end of human as well as vegetal life: this is a coded threat. The invitation to learn Glaukos' genealogy from him also contains a veiled insult: the reply, "Many men know it" (6.151), implies that Diomedes, who professes not to, is unpracticed in feats of memory, an essential genre for the performing hero to perfect. Glaukos' tale of ancestry is thus not factual information but makes sense only in performance: it is a symbol in a game of dueling narratives, an act of self-presentation that attempts to wrest authority (Martin 1993:128-29).

Diomedes' second speech—how Oineus, his grandfather, played host to Bellerophon (6.215-31)—is the only passage in which such a "myth" of Oineus' meeting with Bellerophon is ever mentioned because Diomedes has just invented the "tradition" in order to force Glaukos into the socially correct ritual exchange. He speaks to win, and does. Zeus "took away the wits of Glaukos, who exchanged golden armor for bronze, 100-cows'-worth for that of nine" (6.234-36): Glaukos resembles Laomedon, involved as he is in a shamefully bad exchange; Diomedes is analogous to Sarpedon, since he induced his enemy to switch armor. Diomedes' creative expansion of "tradition" is at work; the mention of the theme by Glaukos opens a narrative chink at which Diomedes has thrust successfully (Martin 1993:129-30).

References

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

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