Homer Iliad 6.212

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.) — 6.232 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.) — 6.232 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.232 focus
With these words they sprang from their chariots, grasped one another’s hands, and plighted friendship. But Zeus, the son of Kronos, made Glaukos take leave of his wits, [235] for he exchanged golden armor for bronze, the worth of a hundred head of cattle for the worth of nine.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.232 focus
Thus having said, and leaping from their cars,
305
They clasped each other's hands and pledged their faith.
Then did the son of Saturn take away
The judging mind of Glaucus, when he gave
His arms of gold away for arms of brass
Worn by Tydides Diomed, - the worth
310
Of fivescore oxen for the worth of nine.
And now had Hector reached the Scæan gates
And beechen tree. Around him flocked the wives
And daughters of the Trojans eagerly;
Tidings of sons and brothers they required,
315
And friends and husbands. He admonished all
Duly to importune the gods in prayer,
For woe, he said, was near to many a one.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.232 focus
Thus having said, the gallant chiefs alight,
Their hands they join, their mutual faith they plight;
Brave Glaucus then each narrow thought resign'd;
290
(Jove warm'd his bosom and enlarg'd his mind;)
For Diomed's brass arms, of mean device,
For which nine oxen paid, (a vulgar price,)
He gave his own, of gold divinely wrought;
A hundred beeves the shining purchase bought. 1
295
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.232 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.232 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.232 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

Douglas Frame

analysis of Athena Polias and Zeus Polieus at Athens, and here, of this passage as suggesting an association of them in cult on the Trojan acropolis

source

analysis of the relation of the goddess and her image in the context of analyzing the statue of Athena on the Athenian acropolis (with this passage from Iliad as an illustration)

source

analysis of Athena Polias and Zeus Polieus at Athens, and here, of this passage as suggesting an association of them in cult on the Trojan acropolis

source

analysis of the relationship between Athena’s peplos described in the Iliad and the name of the giant slayed by Athena

source

analysis of Athena Polias and Zeus Polieus at Athens, and here, of this passage as suggesting an association of them in cult on the Trojan acropolis

source
Gregory Nagy

A high point here in Rhapsody 6 is a tearful scene of farewell for Andromache and Hector. The loving wife will never again see her husband alive. The scene is justly admired for its artistic portrayal of this tragically doomed couple, but the verbal artistry extends even further: also to be most admired here is the remarkable precision of poetic language in representing lament as it was actually performed in ancient Greek song culture.

draft js image errorApulian red-figure column-crater (ca. 370–360 BCE) depicting an intimate family scene: Hector removes his helmet as he says his final farewell to his wife Andromache and to their child Astyanax. Public domain image by Jastrow via Wikimieda Commons

source

Hector is telling Hecuba what to do, which is, to offer a peplos ‘robe’ for Athena as the goddess of the citadel of Troy.

source

Hecuba goes ahead and does what she has been told to do, which is, to offer a peplos ‘robe’ for Athena as the goddess of the citadel of Troy. The repetition of ritual wording in the sequence of three passages—from I.06.090–093 to I.06.271–273 to I.06.286–296—will culminate in a master plan, as it were, for performing the ritual of presenting the peplos ‘robe’ to Athena as goddess of Troy. What has just been described as a “repetition,” however, needs to be explained further (HPC 268):

In this sequence of three passages [I.06.090–093 to I.06.271–273 to I.06.286–296], we see three consecutive restatements of the same ritual act. I say three restatements instead of one statement and two restatements because none of the three passages is basic, from the standpoint of traditional formulaic diction. Not one of the three passages is formulaically predictable on the basis of the other two passages. To put it another way, the variation that we find in the three passages shows that none of the three forms is formally prior to the other two. What priorities we find are purely a function of the narration, not of any chronological order in the composition of the three passages. In terms of oral poetics, such variation is a display of virtuosity in the art of composition in performance.

source

The general hostility of the divinity Athena toward the Trojans in this narrative sequence, despite the fact that the women of Troy are shown here in the act of formally worshipping her as the divine protector of their citadel, can be correlated with a pattern of personal hostility felt by the goddess toward Hector as a hero who aspires to some of the same roles that Athena herself exemplifies. In the case of the verses here, I.06.286–311, this goddess is worshipped in her role as protector of citadels under siege: that is why Theano as high priestess of Troy prays to Athena by invoking her as erusi-ptolis ‘protector of the citadel [p(t)olis]’ at I.06.305. Like the goddess, Hector can be seen as an exponent of defensive tactics in protecting a citadel from sieges: as we saw in the comment on I.05.473–474, even his name fits his intended role as the protector of the citadel of Troy, since Hék-tōr is an agent noun derived from the verb ekhein ‘hold’ in the specialized sense of ‘uphold’ or ‘protect’ or ‘guard’. In the context of I.05.473–474, the expected role of Hector is to protect the city of Troy, and the direct object of ekhein ‘uphold, protect, guard’ at I.05.473 is polis ‘city, citadel’, referring to Troy. But the tragedy is, Hector will fail in the role of protecting Troy, since he will abandon strategies of defending the city and will opt instead for staying on the offensive against an enemy that will ultimately capture Troy. And a key to his failure, as we will see in the course of the macro-narrative, is the fact that Athena herself will delude Hector into staying on the offensive until it is too late for him to revert to a defensive role. Such a pattern of antagonism between immortal and mortal, it can be argued, derives from the ideologies of hero cult.

source

comparison of the wording in Sappho 44 with that in the presentation of the peplos to Athena in I.06

source

lemmatizing: παμποίκιλοι vs. παμποίκιλα

There are variant stories about detours experienced by Helen after her abduction by Paris. A trip to Sidon in Phoenicia is one such variant story. Besides the verses of I.06.289–292, which represent a longer variant reading, I posit also a shorter variant featuring one verse only, I.06.289 minus I.06.290–292. In terms of such a one-verse variant, no detour of Helen is mentioned here, and the reading for the epithet describing the peploi ‘robes’ would then be pan-poikiloi = παμποίκιλοι instead of pan-poikila = παμποίκιλα. Both variants of this adjective pan-poikilo- mean ‘completely pattern-woven’. In terms of the longer variant, the peploi ‘robes’ stored in the chest were pattern-woven by Phoenician women; in terms of the posited shorter variant, by contrast, these robes presumably would have been pattern-woven by Trojan women or even by Helen. Herodotus (2.116.1–2.117.1) argued that the longer variant was truly Homeric in its grandeur, contrasting it with the shorter variant that he knew from the epic Cypria of his day. The historian treats the unaugmented story of a direct voyage of Paris and Helen from Sparta to Troy as a foil for the augmented story of their Phoenician detour. The poet of the unaugmented story, as Herodotus sees it, is a foil for Homer as the rightful poet of the augmented story.

source

The noun poikilma at I.06.294 refers to ‘pattern-weaving’ in a concrete and not an abstract sense: so, ‘pattern-woven thing’. The ‘pattern-woven things’ here are the peploi ‘robes’ described by the adjective pan-poikilo- ‘completely pattern-woven’ at I.06.289. These words pan-poikilos and poikilma, which refer to the peplos ‘robe’ that is being chosen for Athena, convey not only the general idea of variation, which is relevant to the variability of the wording that describes the ritual of presenting the peplos to Athena. More than that, they convey also the specific idea of pattern-weaving a picture into a fabric. Such a picture was pattern-woven into the Panathenaic Peplos of Athena. See the comment on I.05.734–735. The adjective pan-poikilos ‘completely pattern-woven’ is the epithet of the Panathenaic Peplos (scholia for Aristophanes Birds 827), and the noun poikilma designates the pattern-weaving of the charter myth of the Gigantomachy into the Panathenaic Peplos (Plato Euthyphro 6b-c).

source

With each repetition of the wording for the presentation of the peplos ‘robe’ to Athena as goddess of Troy—from I.06.090–093 to I.06.271–273 to I.06.286–296—the master plan seems to fit more and more the ritual of presenting a pattern-woven peplos ‘robe’ to Athena as goddess of Athens at the Athenian festival of the Panathenaia. On the Panathenaic Peplos, see again the comment on I.05.734–735; see also HPC 270. Looking back at the entire narrative sequence as analyzed here—I.06.090–093, I.06.271–273, I.06.286–296, I.06.297–310—I highlight two most salient visual details at Ι.06.297, namely, the citadel or acropolis of Troy and the temple on top of that acropolis. These two details correspond to the two most visible details distinguishing the city of Athens from most other cities. At work here is a process I describe as split referencing. The reference is split between Troy and Athens. The referent is both the prehistorical citadel of Troy and the historical citadel or acropolis of Athens. As for the narrative here at I.06.286-311 about the presentation of the peplos ‘robe’ to Athena, the peplos to be chosen is highlighted as the biggest of all the peploi (I.06.90, I.06.271, I.06.294). It is the peplos that is most ‘beautiful’ or kalon (I.06.294), with the most ‘pleasurable beauty’ or kharis (I.06.90, I.06.271). The size and the beauty of the fabric evoke a vision of the quadrennial Panathenaic Peplos, which is notionally the biggest and most beautiful of all imaginable peploi. As for the association of the word kharis ‘pleasurable beauty’ with the fabric, it is appropriate not only to the peplos that is being described but also to the medium that describes the peplos. That medium is Homeric poetry as performed at the quadrennial festival of the Panathenaia. The concept of kharis conveys the charisma of Homeric poetry as described by Homeric poetry. In terms of this description, the peplos in this narrative, I.06.286-311, can be seen as a metaphor for epic as performed at the Panathenaia. This epic is notionally the biggest and the most beautiful of all epics. Like the peplos that is being offered by the women to Athena, this epic as performed at the Panathenaia has more kharis than all other epics.

source
Leonard Muellner

analysis of the interconnections of eukhesthai einai + place of birth/father’s name and eukhesthai einai + social relationship (xeinos/hiketēs), with this exchange between Glaukos and Diomedes as illustrating their both being identity statements with identical functions

source

in a list of eukhesthai einai + social relationship (xeinos, hiketēs)

source

analysis of the interconnections of eukhesthai einai + place of birth/father’s name and eukhesthai einai + social relationship (xeinos/hiketēs), with this exchange between Glaukos and Diomedes as illustrating their both being identity statements with identical functions

source

in a list of attestations of eukhesthai + dative in sacral contexts, in the subcategory of anomalous attestations (isolated metrical shape and position of eukhesthai)

source

in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

source

analysis of Herodotus’ concept of Homer and distinguishing him from the poet of the Cypria

source
Richard Martin

The encounter between Glaukos and Diomedes in Book 6 is the turning point in Diomedes' education in performance, as that affects his speech to enemies (Martin 1993:126). Within the Iliad the process of learning a tradition and the growth of creative ability at performance is depicted through Diomedes. Had there been little other evidence, this depiction alone would encourage the imagination that the poet in such a medium composed as he performed. After this encounter, the hero delivers several quite good flyting attacks, against Dolon (10.369 and 10.446), Hektor (11.361), and Paris (11.384).

The demand to know Glaukos' genealogy makes sense in the context of flyting, since it gives the speaker a hold with which to throw his opponent. The implication of Diomedes' remark that Glaukos has not appeared before in "man-glorifying" battle is that Glaukos has no ability to be glorified; and the reference to the "boldness" of Glaukos has to be read with an eye to the negative connotations of "boldness" when a speaker's deeds do not authorize this. The apparent digression into the story of Dionysos furthers this strategy: scared women, a comforting mother-figure, a threatening male who engages in rough language—these figures in Diomedes' miniature dramatization of "myth" are in fact projections of the participants in the very muthos of flyting in which he is engaged. For Dionysos and the nurses, read Glaukos; for Lykourgos, Diomedes; and for Thetis, compare the women of Troy. Diomedes' myth, then, is a version of his victory, a wish fulfillment of the threatening physical encounter (Martin 1993:127-28).

Glaukos is not naive. His first strategy—to question the value of genealogy—contains the famous image of the "generations of leaves," but in the language of Homer, falling to the ground connotes the end of human as well as vegetal life: this is a coded threat. The invitation to learn Glaukos' genealogy from him also contains a veiled insult: the reply, "Many men know it" (6.151), implies that Diomedes, who professes not to, is unpracticed in feats of memory, an essential genre for the performing hero to perfect. Glaukos' tale of ancestry is thus not factual information but makes sense only in performance: it is a symbol in a game of dueling narratives, an act of self-presentation that attempts to wrest authority (Martin 1993:128-29).

Diomedes' second speech—how Oineus, his grandfather, played host to Bellerophon (6.215-31)—is the only passage in which such a "myth" of Oineus' meeting with Bellerophon is ever mentioned because Diomedes has just invented the "tradition" in order to force Glaukos into the socially correct ritual exchange. He speaks to win, and does. Zeus "took away the wits of Glaukos, who exchanged golden armor for bronze, 100-cows'-worth for that of nine" (6.234-36): Glaukos resembles Laomedon, involved as he is in a shamefully bad exchange; Diomedes is analogous to Sarpedon, since he induced his enemy to switch armor. Diomedes' creative expansion of "tradition" is at work; the mention of the theme by Glaukos opens a narrative chink at which Diomedes has thrust successfully (Martin 1993:129-30).

References

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

source