Homer Iliad 6.232

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.) — 6.232 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.) — 6.212 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.232 focus
With these words they sprang from their chariots, grasped one another’s hands, and plighted friendship. But Zeus, the son of Kronos, made Glaukos take leave of his wits, [235] for he exchanged golden armor for bronze, the worth of a hundred head of cattle for the worth of nine.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.232 focus
Thus having said, and leaping from their cars,
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They clasped each other's hands and pledged their faith.
Then did the son of Saturn take away
The judging mind of Glaucus, when he gave
His arms of gold away for arms of brass
Worn by Tydides Diomed, - the worth
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Of fivescore oxen for the worth of nine.
And now had Hector reached the Scæan gates
And beechen tree. Around him flocked the wives
And daughters of the Trojans eagerly;
Tidings of sons and brothers they required,
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And friends and husbands. He admonished all
Duly to importune the gods in prayer,
For woe, he said, was near to many a one.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.232 focus
Thus having said, the gallant chiefs alight,
Their hands they join, their mutual faith they plight;
Brave Glaucus then each narrow thought resign'd;
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(Jove warm'd his bosom and enlarg'd his mind;)
For Diomed's brass arms, of mean device,
For which nine oxen paid, (a vulgar price,)
He gave his own, of gold divinely wrought;
A hundred beeves the shining purchase bought. 1
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.232 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.232 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.232 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena Polias and Zeus Polieus at Athens, and here, of this passage as suggesting an association of them in cult on the Trojan acropolis

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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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Leonard Muellner

in a list of attestations of eukhesthai + dative in sacral contexts, in the subcategory of anomalous attestations (isolated metrical shape and position of eukhesthai)

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in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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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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