Homer Iliad 16.1

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

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Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 16.1 focus
Iliad Perseus (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.) — 16.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.1 focus
Thus did they fight about the ship of Protesilaos. Then Patroklos drew near to Achilles with tears welling from his eyes, as from some spring whose crystal stream falls over the ledges of a high precipice. [5] When swift-footed radiant Achilles saw him thus weeping he was sorry for him and said, “Why, Patroklos, do you stand there weeping like some unaware [ nēpiē] little girl that comes running to her mother, and begs to be taken up and carried—she catches hold of her mother’s dress to stay her though she is in a hurry, [10] and looks tearfully up until her mother carries her—even such tears, Patroklos, are you now shedding. Have you anything to say to the Myrmidons or to myself, or have you had news from Phthia which you alone know? They tell me Menoitios, son of Aktor, is still alive, [15] as also Peleus son of Aiakos, among the Myrmidons—men whose loss we two should bitterly deplore; or are you grieving about the Argives and the way in which they are being killed at the ships, through their own high-handed doings? Do not hide in your mind [ noos] anything from me but tell me that both of us may know about it.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.1 focus
So warr'd both armies on th' ensanguin'd shore,
1
While the black vessels smok'd with human gore.
Meantime Patroclus to Achilles flies;
The streaming tears fall copious from his eyes;
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

analysis of the parallelism between Nestor and Patroclus, reaching its climax in I.16, where Patroclus becomes a horseman, addressed as such in this verse

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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.

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Here the idea of ‘best of the Achaeans’ is expressed by way of phertatos ‘best’. In the Iliad, only Achilles is designated as phertatos in comparison with the rest if the Achaeans as an aggregate. See also I.02.769.

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See the comments on I.01.188, I.01.407–412, I.01.503–510, I.01.509, I.01.558–559, I.09.003, I.09.008–009, I.11.317–319.

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This line shows that the grief of the Achaeans during the Battle of the Ships qualifies as ákhos, which signals le transfer du mal, or 'a transfer of evil':

the ákhos of Achilles leads to the ménis of Achilles leads to the ákhos of the Achaeans

See the comments on I.01.188, I.01.407–412, I.01.503–510, I.01.509, I.01.558–559, I.09.003, I.09.008–009, I.11.317–319.

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See the comment on I.01.320–348. On loigos ‘devastation’ as the direct object of amunein ‘ward off’, see also I.10.456, I.15.736, I.16.075, I.16.080.

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Leonard Muellner

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

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Richard Martin

The formula exauda mē keuthe noōi occurs three times in the poem to mark three main stages of the narrative, each time in a scene between Achilles and a figure close to him: Thetis consoles the weeping Achilles and asks him to speak his mind (1.363); Patroklos, in tears, entreats his companion (16.19); and Thetis returns to Achilles once more, this time omitting the second part of the formulaic line as if she already knows his grief (18.74-75: exauda mē keuthe. ta men dē toi tetelestai / ek Dios). The poet seems to use it as a refrain; in context, the phrase both characterizes the tender relations between Achilles and Thetis, and Achilles and his companion, and introduces speech in such a way that we assume the following words are the candid outpourings of the speaker who is addressed (Martin 1993:209-10).

In the Conclusion to the book, the three occurrences of this formula have a further significance. Achilles is apostrophized eight times in the course of Book 16—more than any other figure in the poem at a comparable passage. If Homer puts on the role of his hero, making Achilles the "focalizer" of narration, this speech habit comes with it: Achilles, after all, is the one hero who most often addresses Patroklos in the course of the poem. Homer sees the death through the eyes of Achilles, his alter ego. In this regard, apostrophe is natural (Martin 1993:235-36).

For the broader argument that Achilles functions as focalizer of the narration, see the comment on Iliad 9.182-198.

References

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

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