Homer Iliad 23.703

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.) — 23.700 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.) — 23.700 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.700 focus
The son of Peleus now brought out the prizes for the third contest and showed them to the Argives. These were for the painful art of wrestling. For the winner there was a great tripod ready for setting upon the fire, and the Achaeans valued it among themselves at twelve oxen. For the loser he brought out [705] a woman skilled in all manner of arts, and they valued her at four oxen. He rose and said among the Argives, “Stand forward, you who will essay this contest [ āthlos].”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 23.700 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 23.700 focus
The third bold game Achilles next demands,
And calls the wrestlers to the level sands:
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A massy tripod for the victor lies,
Of twice six oxen its reputed price:
And next, the loser's spirits to restore,
A female captive, valued but at four.
Scarce did the chief the vigorous strife propose,
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When tower-like Ajax and Ulysses rose.
Amid the ring each nervous rival stands,
Embracing rigid with implicit hands:
Close lock'd above, their heads and arms are mix'd;
Below, their planted feet at distance fix'd:
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Like two strong rafters, which the builder forms
Proof to the wintry winds and howling storms,
Their tops connected, but at wider space
Fix'd on the centre stands their solid base.
Now to the grasp each manly body bends;
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The humid sweat from every pore descends;
Their bones resound with blows: sides, shoulders, thighs,
Swell to each gripe, and bloody tumours rise.
Nor could Ulysses, for his art renown'd,
O'erturn the strength of Ajax on the ground;
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Nor could the strength of Ajax overthrow
The watchful caution of his artful foe.
While the long strife e'en tir'd the lookers on,
Thus to Ulysses spoke great Telamon:
‘Or let me lift thee, chief, or lift thou me:
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‘Prove we our force, and Jove the rest decree.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.700 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 23.700 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.700 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 23 focus

New Alexandria Commentaries

Douglas Frame

comparison of the language of turning for home after routing the Epeians in Nestor’s story in I.11 and the language of rounding the turning post in the chariot race for Patroclus, with a phrase also shared by the second half to the footrace in this verse

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comparison of the footrace with the nostoi of Achaeans (specifically, Odysseus and Ajax)

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comparison of the footrace with the nostoi of Achaeans (specifically, Odysseus and Ajax)

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comparison of the footrace with the nostoi of Achaeans (specifically, Odysseus and Ajax)

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the need to consider the footrace and the chariot race together to see the connection between the games in I.23 and the nostoi, here specifically Antilochus’ case, where it is his footrace that counts for his nostos, not his chariot race, which has primarily to do with Nestor’s former race

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Gregory Nagy

The funeral that Achilles arranges here for Patroklos in the Iliad is in some ways a preview of the funeral that the Achaeans will arrange for Achilles himself beyond the time-frame of the Iliad. A high point of the funeral in Iliad 23 is a spectacular chariot race arranged by Achilles to honor his dead comrade Patroklos. But an earlier high point is a comparably spectacular cremation of his friend’s body. But this cremation of Patroklos, as a ritual, is far from perfect: it is in fact polluted, and the pollution will make Achilles look bad, at least for the moment. The polluted thoughts of the hero, as evidenced by his dragging the corpse of Hector behind his speeding chariot, will drive him to extremes that will challenge the cosmic order. But the Master Narrator of the Iliad will remedy the pollution, and the remedy will take the form of actually narrating the grim story. In the process of this narration, a great lesson will be learned about life, death, and a hoped-for recovery of life.

draft js image errorAchilles dragging the body of Hector. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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analysis of connection between the metaphor of the master carpenter and the art of the poet and of kúklos as a metaphor for the sum total of Homeric poetry. See Il. XXIII.340, Il. V.722

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analysis of ar- (ars, arariskein) and tek(s)- (tekhnē, texō) as applied to poetry and carpentry

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analysis of the theme of biē, specifically in its elemental dimension, here the power of winds as designated by it or its synonym is (as in this verse)

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analysis of Eustathius’ notion (1.9) of the ancient rationale of distinct color schemes

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as an epithet, kratero- as a variant of hiero- in combinations with is + gen. of the hero’s name

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analysis of krataiis ‘whose is has kratos’ and Akhaioi

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analysis of Zeus’ role in awarding nikē as primary and Athena’s as secondary

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analysis of Zeus’ role in awarding nikē as primary and Athena’s as secondary

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Leonard Muellner

analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor)

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example of a very compressed prayer, in the context of the analysis of composition by theme in prayers, which can be amplified or minimized according to circumstances

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