Homer Iliad 5.792

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.) — 5.792 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.) — 5.792 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.792 focus
With these words she put heart and spirit into them all, while owl-vision Athena sprang to the side of the son of Tydeus, whom she found near his chariot and horses, [795] cooling the wound that Pandaros had given him. For the sweat caused by the hand that bore the weight of his shield irritated the hurt: his arm was weary with pain, and he was lifting up the strap to wipe away the blood. The goddess laid her hand on the yoke of his horses and said, [800] “The son of Tydeus is not such another as his father. Tydeus was a little man, but he could fight, and rushed madly into the fray even when I told him not to do so. When he went all unattended as envoy to the city of Thebes among the Kadmeians, [805] I bade him feast in their houses and be at peace; but with that high spirit which was ever present with him, he challenged the youth of the Kadmeians, and at once beat them in all that he attempted, so mightily did I help him. I stand by you too to protect you, [810] and I bid you be instant in fighting the Trojans; but either you are tired out, or you are afraid and out of heart, and in that case I say that you are no true son of Tydeus, the son of high-spirited Oineus.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.792 focus
She spake, and laid her hand on Sthenelus,
To draw him from the horses; instantly
1040
He leaped to earth; the indignant deity
Took by the side of Diomed her place;
The beechen axle groaned beneath the weight
Of that great goddess and that man of might.
Then Pallas seized the lash and caught the reins,
1045
And, urging the firm-footed coursers, drave
Full against Mars, who at that moment slew
Huge Periphas, the mightiest one of all
The Ætolian band, - Ochesius' famous son.
While bloody-handed Mars was busy yet
1050
About the slain,
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.792 focus
Her speech new fury to their hearts convey'd;
While near Tydides stood th' Athenian maid:
The king beside his panting steeds she found,
O'erspent with toil, reposing on the ground:
To cool his glowing wound he sat apart;
990
(The wound inflicted by the Lycian dart;)
Large drops of sweat from all his limbs descend,
Beneath his ponderous shield his sinews bend,
Whose ample belt, that o'er his shoulder lay,
He eas'd; and wash'd the clotted gore away.
995
The goddess, leaning o'er the bending yoke
Beside his coursers, thus her silence broke:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.792 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.792 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.792 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 relationship to Erechtheus, as the palace goddess protecting the king and whose protection passed from father to son (as in this passage, regarding Diomedes)

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comparison of Diomedes and Athena to the Epeian twins (of I.23)

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comparison of Diomedes and Athena to the Epeian twins (of I.23)

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analysis of the myth of Athena’s birth from Zeus’ head

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analysis of the myth of Athena’s birth from Zeus’ head

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analysis of the myth of Athena’s birth from Zeus’ head

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analysis of damnēmi and Laodamas

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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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In this context, the hero is simply ‘reviving’ from a wound; but there are intimations, already here, of a future reanimation or immortalization that awaits this hero after he is killed at a later point in the narrative, in Iliad 16. For more, see the earlier comment on I.05.696–698, in anticipation of the later comment on 16.456–457.

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The description of Diomedes here as aristos ‘best’ implies that he is still in contention for the absolute title ‘best of the Achaeans’ in the Iliad.

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The description of the hero Periphas here as ‘best of the Aetolians’ can be seen as a subcategory of the all-important title ‘best of the Achaeans’.

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The insulting of Ares by Zeus here is parallel to the insulting of Achilles by Agamemnon at I.01.177. For both Ares and Achilles, eris ‘strife’ is a defining feature.

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In this context, Paiēōn (from Paiāwōn) is still distinct from rather than identical to Apollo.

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Leonard Muellner

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

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Richard Martin

At 5.816-17, Diomedes labels his talk with Athena an epos: "I recognize you, goddess, daughter of aegis-bearing Zeus. Therefore I will candidly say a word (epos) and will not conceal it." Achilles similarly refers to Athena's private advice (1.216) and his own prayer to Zeus (16.236) with the word epos. Prayer, which epitomizes private communication, is in fact never designated muthos in the Iliad.

A further indication of the personal nature of epos comes from Homer's adjective usage: possessives frequently accompany the word epos—Achilles speaks of "your word" (1.216), Achilles praying to Zeus and Hera using a similar formula to Hypnos say "You have heard my word before" (emon epos eklues, 14.234, 16.236), and Zeus refers to his own command with this phrase (8.8). By contrast, muthos is rarely referred to by a speaker as his or her own or as that of his or her addressee (Martin 1993:38).

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Zeus' reply to the wounded Ares (5.889-90)—"μή τί μοι, ἀλλοπρόσαλλε, παρεζόμενος μινύριζε. ἔχθιστος δέ μοί ἐσσι θεῶν οἳ Ὄλυμπον ἔχουσιν"—provides a model for the replacement expansion at 9.311-12. The technique of expansion by replacement shows up clearly when these lines are compared with Achilles' words: mē moi truzēte can be matched with mē ti moi . . . minurizē; parēmenoi with parezomenos; ekhthros gar moi keinos with ekhithistos de moi essi; and the vocative alloprosalle with an expression of different meaning but identical metrical and similar phonological shape, allothen allos. Whereas Zeus' direct and blunt style in this speech is emphasized by end-stopped lines, Achilles' tone sounds more rational because his syntax is more complex: he uses hōs and gar to connect what in Zeus' speech are three separate elements. The effect of the conjunction and particle is fluidity. Furthermore, rather than calling his interlocutor "most hateful"—although the thought underlies his words—Achilles mutes his expression to the simpler "hateful is that man." In both the speech of Zeus and of Achilles, the lines form a separable introduction directed to an interlocutor who has made a complaint, and both speakers shift the topic abruptly after the rebuke (5.895, all' ou man; 9.314, autar egōn) (Martin 1993:212-13).

For the splitting and replacement expansion at 9.310-314 of which this passage is a model, see the comment on Iliad 9.310-314.

References

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

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