Homer Iliad 5.663

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.) — 5.668 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.) — 5.668 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.668 focus
Meanwhile the strong-greaved Achaeans carried off the body of Tlepolemos, whereon radiant Odysseus [670] was moved to pity, and panted for the fray as he beheld them. He doubted whether to pursue the son of Zeus the loud-thundering, or to make slaughter of the Lycian rank and file; it was not decreed, however, [675] that he should slay the son of Zeus; Athena, therefore, turned him against the main body of the Lycians. He killed Koiranos, Alastor, Khromios, Alkandros, Halios, Noemon, and Prytanis, and would have slain yet more, [680] had not great Hector marked him, and sped to the front of the fight clad in his suit of mail, filling the Danaans with terror. Sarpedon was glad when he saw him coming, and besought him, saying, “Son of Priam, let me not be here to fall into the hands of the Danaans. [685] Help me, and since I may not return home to gladden the hearts of my wife and of my infant son, let me die within the walls of your city.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.668 focus
On the other side the well-armed Greeks took up
The slain Tlepolemus, to bear him thence.
The great Ulysses, large of soul, beheld,
And felt his spirit moved, as anxiously
835
He pondered whether to pursue the son
Of Jove the Thunderer, or turn and take
The life of many a Lycian. Yet to slay
Jove's mighty son was not his destiny,
And therefore Pallas moved him to engage
840
The crowd of Lycian warriors. Then he slew
Cæranus and Alastor, Chromius,
Alcander, Halius, and Prytanis
Noëmon; and yet more the noble Greek
Had slain, if crested Hector, mighty chief,
845
Had not perceived the havoc and, arrayed
In shining armor, hurried to the van
Of battle, carrying terror to the hearts
Of the Achaians. As he saw him near,
Sarpedon was rejoiced, yet sadly said: -
850
"O son of Priam, leave me not a prey
To these Achaians. Aid me, let me breathe
My latest breath in Troy, since I no more
Can hope, returning to my native land,
To gladden my dear wife and little son."
855
He spake, and crested Hector answered not,
Still pressing forward, eager to drive back
The Greeks in quick retreat, and take the life
Of many a foe. Then did the noble band
Who bore the great Sarpedon lay him down
860
Beneath a shapely beech, a tree of Jove
The Ægis-bearer. There stout Pelagon,
His well-beloved comrade, from his thigh
Drew forth the sharp blade of the ashen spear.
Then the breath left him, and his eyes were closed
865
In darkness; but the light came back again
As, breathing over him, the fresh north wind
Revived the spirit in his laboring breast.
But not for Mars nor Hector mailed in brass
Fled the Achaians to their fleet; nor yet
870
Advanced they on the foe, but step by step
Gave way before him, for they had perceived
The god of war was with the sons of Troy.
Whom first, whom last did Hector, Priam's son,
And iron Mars lay low? The godlike chief
875
Teuthras, and-great among the Grecian knights-
Orestes, and the Ætolian Trechus, famed
As spearman, and Œnomaus, and the son
Of Enops, Helemes, and after these
Belted Oresbius, who in Hyla made
880
His home, intent on gathering wealth beside
'The Lake Cephissus, on whose borders dwelt
Bœotians many, lords of fertile lands.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.668 focus
The Greeks with slain Tlepolemus retir'd;
Whose fall Ulysses view'd, with fury fir'd;
Doubtful if Jove's great son he should pursue,
830
Or pour his vengeance on the Lycian crew.
But heaven and fate the first design withstand,
Nor this great death must grace Ulysses' hand.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.668 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.668 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.668 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena’s association with/wearing peplos

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analysis of the close alliance of Athena with Zeus (in the Iliad and in the myth of the gigantomachy)

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discussing the accessories of the statue of Athena Polias at Athens, here especially the aegis and the gorgoneion in the context of discussing the two aspects of Athena, as a virgin war goddess and as a mother goddess

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analysis of the change of Athena from the mother goddess to the virgin war goddess at Athens under the influence of the Homeric poems

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analysis of Athena’s association with crafts and in particular the production of clothing

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Gregory Nagy

The momentum of the war is spirited, and the fighting mood of the warriors verges on overreaching. An outstanding example is Diomedes, who already owns a glorious past as a conquering hero in the epic tradition known as the Sons of the Seven against Thebes or Epigonoi. Now in the epic present of the Iliad he has a chance to outdo himself, performing deeds so glorious that they would outshine perhaps even the deeds of Achilles, who is now out of the picture. The successes of Diomedes reach the point where he is capable of feats that are superhuman, as when he lifts a rock that even two humans today could not budge—or as when he wounds the god of war himself, Ares, and then, shortly thereafter, the goddess of love and sexuality, Aphrodite. But such momentum is not to last, and the antagonism of Diomedes toward divinities will have its consequences.

draft js image error“Aeneas and Diomedes.” Wenceslaus Hollar (Bohemian, 1607–1677). Image via Wikimedia Commons.

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This verb noeîn ‘take note (of), notice’ is attracted to contexts where the subject of the verb is seen as taking the initiative. Here at I.05.669 is the first Iliadic application of this verb to the actions of Odysseus, who is specially linked with the meaning of noeîn, ‘take note (of), notice’.

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At the moment of his fainting or swooning here, the hero’s psūkhē ‘spirit’ in the sense of his ‘life’s breath’ is released from his body. But then he ‘comes to’, as it were, and now his life’s breath returns to him. The verb that expresses this idea of revival is ana-pneîn (ἀμπνύνθη)—variant en-pneîn (ἐμπνύνθη)—in the sense of ‘taking a breath’—‘breathing in’. So, the hero’s breath comes back into him, and that is what had left him when his psūkhē in the sense of ‘life’s breath’ had left him. But if we take this same word psūkhē in the sense of a disembodied ‘spirit’, then the spirit that has come back to the hero’s body has not only revived him: it has brought him back to life. Such a mystical sense of revival is most appropriate to the hero Sarpedon: after he is killed in battle, Sarpedon’s funeral leads to his mystical immortalization, as analyzed in the comments at I.16.456-457 and I.16.674-675 .

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In this context, the localized meaning of dēmos in the sense of ‘district’ is still overt.

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The neuter plural kukla corresponding to masculine singular kuklos means ‘chariot wheels’. The metaphorical use of kuklos ‘cycle, chariot wheel’ with reference to the epic Cycle as the sum total of Homeric poetry is relevant to the meaning of Homēros in the sense of a ‘joiner, carpenter’ who makes chariot wheels. See the comment on O.17.384–385. On the epic Cycle in general, see the inventory of Words and Ideas.

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reference that both lines have comparable instances of verse-final ἀμφίς

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When the goddess slips out of her peplos ‘robe’ and into the khitōn ‘tunic’ that belongs to her father Zeus, there is an intervening moment of nudity. See MoM 3§1-3§7. This passage shows (a) the complementarity of the peplos ‘robe’ and the khitōn ‘tunic’ worn by Athena and (b) the complementarity of her roles as Athena Polias (goddess of the citadel) and Athena Parthenos (goddess virgin) in the myths and rituals of Athens. This complementarity is re-enacted in the Iliad. See MoM 3§§9–12. We see in these verses a linearity that follows a sequence controlled by time in the Homeric reference to the Peplos of Athena. This linearity substitutes for the circular sequence of the Athenians’ charter myth about Athena and the Gigantomachy, which means ‘battle of the gods and giants’. The Iliad here shows a metaphorical substitution of the Trojan War for the Gigantomachy. On metaphor, see the inventory of Words and Ideas; also MoM 0§01, 0§1 Extract 0-A. For the Athenians, Athena is the primary narrator of the Gigantomachy by way of pattern-weaving the narration in her own Peplos as a masterpiece of metonymy. On metonymy, see the inventory of Words and Ideas.

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The peplos ‘robe’ made by the goddess Athena is seen as a prototype of a perfect masterpiece of pattern-weaving. It is also a perfect masterpiece of metonymy coordinated with metaphor. On metaphor and metonymy, see the inventory of Words and Ideas. Further, the peplos ‘robe’ of the goddess is a prototype, in the world of myth, for the re-enacting of its pattern-weaving in the world of ritual in Athens. The peplos that is pattern-woven by Athena in Athenian myth is the prototype of the Panathenaic Peplos from the standpoint of Athenian ritual. The Panathenaic Peplos was pattern-woven for ritual presentation to the goddess Athena at the climax of the quadrennial Athenian festival known as the Great Panathenaia.

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note that these verses were athetized by Zenodotus

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analysis of the coextensiveness of the khiton and aegis worn by Athena when she goes to war and metonymically shared by Zeus with her

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Leonard Muellner

discussing the accessories of the statue of Athena Polias at Athens, here especially the aegis and the gorgoneion in the context of discussing the two aspects of Athena, as a virgin war goddess and as a mother goddess

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comment on poikilos, epithet of Athena’s peplos, as ‘pattern-woven’

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analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him and in solidarity from when Athena prevented him from entering battle

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analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him (replaced by a variant kind of heroic mēnis) and in solidarity from when Athena prevented him from entering battle

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as evidence in the context of analysis of dikaios as ‘just’ in the sense of the opposite incurring mēnis in I.03.132-136 and comparison with Hesiod

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analysis of interconnections of themis and mēnis, which protects the former

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analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him (replaced by a variant kind of heroic mēnis) and in solidarity from when Athena prevented him from entering battle

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analysis of the Diomedes-Ares identification/antagonism and variant theme of mēnis

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Richard Martin

At 5.715, Hera refers to a past commitment as a muthos with the qualifier halion ("in vain"): "Vain, indeed, is the muthos we promised Menelaos." Achilles uses the same adjective halion at 18.324 for a past speech-act but the line concludes with epos instead: "A vain epos I tossed forth that day." The nature of the original speech-act explains the difference: as a boast, Achilles' speech is attracted into the language of actual boast descriptions, which often contain the formula eukhomenos epos ēuda. External factors—formulaic pressure, poetic themes in the larger discourse—can mask the inherent semantic distinction between muthos and epos (Martin 1993:28).

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