Homer Iliad 16.548

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

Iliad (English) (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.)

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.) — 16.548 focus
Translations (8)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 16.548 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.548 focus
As he spoke the Trojans were plunged in extreme and ungovernable grief [ penthos]; for Sarpedon, alien though he was, had been one of the main stays of their city, [550] both as having many people with him, and himself the foremost among them all. Led by Hector, who was infuriated by the fall of Sarpedon, they made instantly for the Danaans with all their might, while the undaunted spirit of Patroklos son of Menoitios cheered on the Achaeans. [555] First he spoke to the two Ajaxes, men who needed no words telling them what to do. “Ajaxes,” said he, “may it now please you to show yourselves the men you have always been, or even better—Sarpedon is fallen—he who was first to overleap the wall of the Achaeans; let us take the body and outrage it; [560] let us strip the armor from his shoulders, and kill his comrades if they try to rescue his body.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.548 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.548 focus
He spoke: each leader in his grief partook;
Troy, at the loss, through all her legions shook;
Transfix'd with deep regret, they view o'erthrown
At once his country's pillar, and their own;
A chief, who led to Troy's beleaguer'd wall
675
A host of heroes, and outshin'd them all.
Fir'd, they rush on; first Hector seeks the foes,
And with superior vengeance greatly glows.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.548 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.548 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.548 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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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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The Trojans experience collective penthos ‘grief’, I.16.548, over the death of Sarpedon. On the collective aspects of penthos ‘grief’ see the comment on I.04.197. On collective akhos ‘grief’, see the comment on I.01.407–412 and on I.01.509.

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See anchor comment at I.05.077–078.

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Leonard Muellner

examples of the identical contexts in which eukhos and kudos occur

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this verse as signaling that it is becoming a fixed whole-line formula (cp. I.05.654, I.11.445)

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos, and analysis of the instance of eukhos in which kudos could fit the metric as well (as in this verse)

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Richard Martin

The exchange between Hektor and Meriones at 16.617-21 and Patroklos' words to Meriones at 16.627-31 illustrate a paradox inherent in the flyting genre. Meriones responds to Hektor's flyting words by capping Hektor's lines exactly: where Hektor says "My spear would have stopped you... dancer though you are," Meriones replies "It is hard for you to quench the strength of all... strong though you are." The latter mimics Hektor's style down to the coincidence of metrical segment and subordinate clause at line-end. Meriones has performed a poetic coup. Although Patroklos halts this neikos by reference to the lesser importance of extended speech, his own warning is itself a finished performance with a polished gnomic chiasmus, "For in hands is the end of war, of words in the council" (16.630), and a juxtaposition marked by alliteration: "Therefore it is not necessary to increase the muthos, but to fight (makhesthai)" (16.631). Flyting by its very nature leads to the enactment of a performance with a focus on style, even more so than in the genre of commands (Martin 1993:76-77).

For the broader analysis of the flyting genre, see the comment on Iliad 4.336-421.

References

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

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