Homer Iliad 16.439

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.) — 16.439 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.) — 16.431 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.439 focus
And ox-vision Hera answered, [440] “Most dread son of Kronos, what is this that you are saying? Would you snatch a mortal man, whose doom has long been fated, out of the jaws of death? Do as you will, but we shall not all of us be of your mind. I say further, and lay my saying to your heart, [445] that if you send Sarpedon safely to his own home, some other of the gods will be also wanting to escort his son out of battle, for there are many sons of gods fighting round the city of Troy, and you will make everyone jealous. [450] If, however, you are fond of him and pity him, let him indeed fall by the hand of Patroklos, but as soon as the life [ psūkhē] is gone out of him, send Death and sweet Sleep to bear him off the field [455] and take him to the expansive district [ dēmos] of Lycia, 456 and there his relatives and comrades will ritually prepare [ tarkhuein] him, 457 with a tomb and a stele—for that is the privilege of the dead.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.439 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 16.439 focus
Then thus the goddess with the radiant eyes:
540
'What words are these? O sovereign of the skies!
'Short is the date prescrib'd to mortal man;
'Shall Jove, for one, extend the narrow span,
'Whose bounds were fix'd before his race began?
'How many sons of gods, foredoom'd to death,
545
'Before proud Ilion must resign their breath!
'Were thine exempt, debate would rise above,
'And murmuring powers condemn their partial Jove.
'Give the bold chief a glorious fate in fight;
'And when th' ascending soul has wing'd her flight,
550
'Let Sleep and Death convey, by thy command,
'The breathless body to his native land.
'His friends and people, to his future praise,
'A marble tomb and pyramid shall raise,
'And lasting honours to his ashes give;
555
'His fame ('tis all the dead can have) shall live.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.439 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.439 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.439 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

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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The description here of an impending funeral and entombment for Sarpedon is replete with references to hero cult. Some of these references, as we will now see in detail, indicate that the cult hero is destined to be immortalized after death.

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The symmetry of personified Sleep and personified Death here is comparable to Homeric attestations of parallel syntax for describing explicitly an awakening after sleep and implicitly a revival after death in scenarios for the immortalization of a cult hero.

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

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These two verses, repeated at I.16.674–675 and foreshadowed by three verses at I.07.084–086 containing an indirect reference to the funeral and entombment of Achilles, refer to the funeral and entombment of Sarpedon in his role as a cult hero. Here I give an epitome of a far more detailed argumentation in Nagy 2012:60–69. In terms of hero cult, the wording that refers here at I.16.456–457 to a funeral and an entombment implies a ritual preparing of the dead body for a mystical revival after death. The word that refers to such immortalization in these Homeric passages is tarkhuein (ταρχύσουσι), at I.07.085, I.16.456, I.16.674. It can be argued that this Greek word tarkhuein, which I translate here neutrally as ‘ritually prepare’, is a borrowing from the Anatolian language that we know as Lycian, and that the corresponding Lycian word conveys the idea of ‘immortalize’. The most relevant forms in the surviving corpus of Anatolian linguistic evidence are (1) Lycian Trqqñt-, name of a Lycian thunder god; (2) the cognate Luvian form Tarḫunt-, name of the thunder god who is head of the Luvian pantheon; (3) the cognate Hittite form tarḫu-/tar(r)uḫ- (/tarxw-/), a verb meaning ‘be victorious, overcome’. Cognates of this Hittite verb tarḫu- in other Indo-European languages convey the idea of ‘overcome’ or ‘transcend’ in contexts where the object of transcendence is death itself (GMP 139). An example is the Greek compound noun nek-tar (νέκταρ), consisting of roots meaning ‘death’ (nek- as in nekros ‘corpse’) and ‘conquer’ (-tar, cognate with Hittite tarḫu-). I argue that the Lycian and the Luvian names of the thunder god convey the idea of revivifying as well as overcoming, since thunder gods as described in Indo-European languages have the power to use their thunder weapons not only to overcome violently their enemies but also to preserve and thus make sacred their own devotees—and even to revivify them (GMP 197; see also GMP 132–134).

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In the first round of this duel of Patroklos and Sarpedon as chariot fighters, Patroklos is the first to aim his spear at Sarpedon, and then Sarpedon in turn aims at Patroklos, I.16.462–469. Here is what happens in these verses. First, Patroklos misses, hitting Thrasymelos, the therapōn of Sarpedon. So, the chariot driver as therapōn “takes the hit” for the chariot fighter, fulfilling his role as a ritual substitute. Then, Sarpedon misses hitting Sarpedon with his spear, hitting instead Pedasos the mortal horse of Achilles.

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Leonard Muellner

analysis of philotēs and timē going together with this passage as an example

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