Homer Iliad 16.751

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.) — 16.750 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.) — 16.750 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.750 focus
It seems, then, that there are divers also among the Trojans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.750 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.750 focus
Then rushing sudden on his prostrate prize,
To spoil the carcass fierce Patroclus flies:
Swift as a lion, terrible and bold,
That sweeps the fields, depopulates the fold;
910
Pierc'd through the dauntless heart, then tumbles slain;
And from his fatal courage finds his bane.
At once bold Hector, leaping from his car,
Defends the body, and provokes the war.
Thus for some slaughter'd hind, with equal rage,
915
Two lordly rulers of the wood engage;
Stung with fierce hunger each the prey invades,
And echoing roars rebellow through the shades.
Stern Hector fastens on the warrior's head,
And by the foot Patroclus drags the dead;
920
While all around, confusion, rage, and fright
Mix the contending hosts in mortal fight.
So, pent by hills, the wild winds roar aloud
In the deep bosom of some gloomy wood;
Leaves, arms, and trees, aloft in air are blown,
925
The broad oaks crackle, and the Sylvans 1 groan;
This way and that the rattling thicket bends,
And the whole forest in one crash descends.
Not with less noise, with less tumultuous rage,
In dreadful shock the mingled hosts engage.
930
Darts shower'd on darts now round the carcass ring;
Now flights of arrows bounding from the string:
Stones follow stones; some clatter on the fields,
Some, hard and heavy, shake the sounding shields.
But where the rising whirlwind clouds the plains,
935
Sunk in soft dust the mighty chief remains,
And, stretch'd in death, forgets the guiding reins!
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.750 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.750 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.750 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

example of similarities between the Laestrygonians and the Cyclopes

source

example of similarities between the Laestrygonians and the Cyclopes. Compare to Od. X.112-113, Od. X.120, Od. X.121-122, Od. X.82-183, Od. X.98, Od. X.116, Od. X.124, Od. IX.190-192, Od. IX.482, Od. IX.537, Od. IX.108, Od. IX.167, Od. IX.187-188, Od. IX.291

source

in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

source

in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

source

in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

source
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.

source

Here the word means ‘ash tree’; elsewhere, as we saw in the comment on I.16.140–144, it means ‘ash spear’, I.16.143.

source

Patroklos has reached the point where he is about to die by way of Apollo’s direct intervention. At this point, I.16.784, he is described as atalantos Arēï ‘equal to Ares’. But this hero’s death is more complex, as we will see in the comment on I.16.786–804.

source

Patroklos confronts Apollo four times and then, the fourth time around, he fails to back off as he had backed off in the previous confrontation at I.16.705–711. In the course of that previous confrontation, Patroklos had thus avoided the mēnis ‘anger’ of the god, I.16.711. But now he will fail to avoid the god’s anger. At the moment of his climactic fourth confrontation with Apollo, Patroklos is once again described as daimoni isos ‘equal to a daimōn’, I.16.786, just as he had been described in the previous confrontation I.16.705. And, once again, the ‘superhuman force’ to which this word daimōn refers here at I.16.786 can be understood to be Apollo himself. As earlier, we see here a climactic moment in a pattern of divine-human antagonism that links the god Apollo with the hero Achilles, and Patroklos will now take upon himself the role of a ritual substitute for Achilles. In this role, Patroklos is not only daimoni īsos ‘equal to a superhuman force [daimōn] at I.16.786: he is also atalantos Arēï ‘equal to Ares’, I.16.784. See the comment above on I.16.784. As a warrior, Patroklos is matched with Ares as the god of war. As a ritual substitute of Achilles, however, he is also matched with Apollo as the divine antagonist of Achilles.

source

At this climactic moment of the hero’s death, the Master Narrator addresses Patroklos in the second person. Such poetic conventions reflect a phase of epic poetry when it was not yet fully differentiated from praise poetry.

source

As Apollo strips away the protective armor from the body of Patroklos, piece by piece, the hero is being prepared for his ritualized death. At this moment, Patroklos is possessed by atē ‘aberration’, I.16.805.

source

Patroklos is now gumnos ‘stripped’ of all his armor, ready to be killed. While he was still wearing the armor, he would have been been invulnerable. At a later point, after Hector has already taken possession of this armor and is now seen wearing it, I.17.194, the adjective ambrota ‘immortalizing’ is applied to these teukhea ‘arms’. This adjective ambroto- ‘immortalizing’ is applied to words that make the hero immune to death.

source

The nīkē ‘victory’ of Hector over Patrokos was granted, says Patroklos, by Zeus and Apollo. In most Homeric contexts, nīkē ‘victory’ is ordinarily granted by Zeus alone.

source

The psūkhē ‘spirit’ of Patroklos leaves him at the precise moment of his death. Here we see the most basic Homeric way of visualizing the psychology, as it were, of dying.

source

After having just killed Patroklos, Hector goes after Automedon, who is evidently still standing on the platform of the chariot and who is marked here as the therapōn of Achilles. Hector takes aim with his spear, but he misses hitting Automedon, who drives off with the chariot, I.16.864–867. Automedon here is no ritual substitute for Patroklos, nor is he now a ritual substitute for Achilles, since Patroklos has just now fulfilled that role by getting killed instead of Achilles.

source
Leonard Muellner

comparison of Patroklos in his aristeia with Ares (e.g with regard to reaching or crossing the limit, being teikhesiplēta)

source

analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

source

analysis of the identification of Patroklos with Achilles, here Patroklos’ being addressed in the second person by the narrator and the special sympathy and philotēs that indicates

source

analysis of Patroklos’ undoing after his fourth, tabu assault

source

analysis of Patroklos’ undoing after his fourth, tabu assault

source

analysis of Patroklos’ undoing after his fourth, tabu assault

source

in a list of usages contextually parallel to the death-eukhesthai usage

source

in a list of secular eukhesthai reporting speech (absolute usage)

source
Richard Martin

Hektor's words to the dying Patroklos are introduced as a boast (epeukhomenos, 16.829) and with the winged-words formula. They contain an embedded directive—Hektor's rendition of what he imagined Achilles to have commanded—but their directive force comes from Hektor's description a few lines before that "quotation": "Here the vultures will eat you." Although this is cast as a prediction, the sentence conveys what Hektor wants to happen to the corpse of his enemy.

It is not unlikely that the regular employment of the formula—usually introducing friendly, same-side directives between just two speakers—carried with it an implicit tone of voice and volume. Such speeches could properly be performed by a poet in a stage whisper, or with an intimate low modulation. If this same auditory effect was produced by Homer as he imitated Achilles' or Hektor's voice in the speeches we have just noted, the audience, recalling the more common employment, would hear the intimate voice of violence (Martin 1993:33).

source