Homer Iliad 5.43

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.

Sponsored by Perseus Project, Tufts University.

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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.) — 5.43 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.) — 5.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.43 focus
Then Idomeneus killed Phaistos, son of Boros the Maeonian, who had come from Tarne. Mighty spear-renowned Idomeneus [45] speared him on the right shoulder as he was mounting his chariot, and the darkness of death enshrouded him as he fell heavily from the car.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.43 focus
Then by Idomeneus was Phæstus slain,
Son of Meonian Borus, who had come
50
From Tarna, rich in harvests. As he sprang
Into his car, Idomeneus, expert
To wield the ponderous javelin, thrust its blade
Through his right shoulder. From the car he fell,
And the dark night of death came over him.
55
The Achaian warriors following spoiled the slain.
The son of Atreus, Menelaus, slew
With his sharp spear Scamandrius, the son
Of Strophius, practised in the forest chase,
A mighty hunter. Him had Dian taught
60
To strike whatever beast the woody wild
Breeds on the hills; but now availed him not
The favor of Diana, archer-queen,
Nor skill to throw the javelin afar;
For Menelaus, mighty with the spear,
65
Followed him as he fled, and in the back
Smote him, between the shoulder-blades, and drave
The weapon through. He fell upon the ground
Headlong, his armor clashing as he fell.
And then Meriones slew Phereclus,
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Son of Harmonius, the artificer,
Who knew to shape all works of rare device,
For Pallas loved him. It was he who built
The fleet for Paris, - cause of many woes
To all the Trojans and to him, - for ill
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He understood the oracles of heaven.
Him did Meriones, pursuing long,
O'ertake, and, smiting him on the right hip,
Pierced through the part beneath the bone and near
The bladder. On his knees with sad lament
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He fell, and death involved him in its shade.
And then by Meges was Pedacus slain,
Antenor's base-born son, whom Threno reared -
The noble Threno - with as fond a care
As her own children, for her husband's sake.
85
And now the mighty spearman, Phyleus' son,
Drew near and smote him with his trenchant lance
Where meet the head and spine, and pierced the neck
Beneath the tongue; and forth the weapon came
Between the teeth. He fell, and in the fall
90
Gnashed with his teeth upon the cold bright blade.
Then did Evæmon's son Eurypylus
Strike down Hypsenor, nobly born, the son
Of great Dolopion, Scamander's priest,
Whom all the people honored as a god.
95
Evæmon's gallant son, o'ertaking him
In flight, with one stroke of his falchion hewed
His brawny arm away. The bloody limb
Dropped to the ground, and the dark night of death
Came o'er his eyes: so cruel fate decreed.
100
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.43 focus
Thy fate was next, O Phæstus! doom'd to feel
The great Idomeneus' protended steel;
Whom Borus sent (his son and only joy)
From fruitful Tarné 1 to the fields of Troy.
60
The Cretan javelin reach'd him from afar,
And pierc'd his shoulder as he mounts his car;
Back from the car he tumbles to the ground,
And everlasting shades his eyes surround.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.43 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.43 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.43 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

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, plural therapontes indicates the ‘attendants’ of the king Idomeneus.

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evidence for the manuscript tradition at Il. I.5 in opposition to Zenodotus’ alternate reading οἰωνοῖσι τε δαῖτα (Athenaeus Epitome 12f)

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The collocation of tektonos huion (τέκτονος υἱόν) ‘son of the joiner [tektōn]’ at I.05.059 with Harmonideō (Ἁρμονίδεω) ‘son of Harmōn’ at I.05.059 indicates three generations of ‘joiners’, in that Phereklos is a son of a joiner who is in turn a son of a joiner. The grandfather Harmōn has a name that can be reconstructed as a noun ar-s-mōn, derived from the verb ar-ar-iskein ‘fit together, join together’. And the grandson Phereklos is said at I.05.061 to have ‘built-as-a-carpenter’, tektainesthai (τεκτήνατο), the ships sailed by Paris=Alexandros for the abduction of Helen. This verb tektainein is derived from the noun tektōn* ‘carpenter, joiner’, which is in turn derived from the verb-root tek(s)-. No longer attested in Greek, this verb-root tek(s)- survives in Latin as texō, which can refer to the craft of woodworking, not only the craft of weaving. On verbal art as woodwork, see HC 2§282n.

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This micro-narrative about Phereklos, a master carpenter who built that ships sailed by Paris=Alexandros for the abduction of Helen, concerns epic events that precede the narrative arc of the Iliad as we have it—but these events are here explained as the real beginning of that same narrative arc. In terms of this micro-narrative, the plot of the Iliad—in the sense that the name Iliad means ‘the story of Ilion [Troy]’—was started or even caused not by the mēnis ‘anger’ of Achilles, as our Iliad says at the beginning, but rather by an event that preceded that anger. According to this micro-narrative, what really started the Trojan War was the abduction of Helen, which was the kakon ‘bad thing’ that caused all the subsequent bad things, as we read here at I.05.063. And, as predicted at I.05.064, this same event caused the ‘bad thing’ that is about to happen to Phereklos himself. All these events, taken together, thus become part of the overarching plot of the Iliad as we have it.

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The epithet arkhe-kakoi ‘beginning the evil’ at I.05.063 describes the ships in the previous verse, at I.05.062. These ships, as we have seen, were sailed by Paris=Alexandros for the abduction of Helen. The ominous tone of the epithet, and its positioning in the verse immediately following the mention of the ships, is comparable to the ominous tone of the epithet oulomenē ‘accursed’ at I.01.02 in the verse immediately following the mention of the mēnis ‘anger’ of Achilles in the previous verse, at I.01.01, which is the beginning of the Iliad. Even the meaning of the epithet arkhe-kakoi ‘beginning the evil’ at I.05.063 indicates in its own right the beginning of an epic, though of course this beginning does not correspond to the beginning of the Iliad as we have it. Another point of comparison is the epithet dourateos ‘wooden’ at O.08.493, which is a verse that immediately follows the mention of the hippos ‘horse’ in the previous verse, at O.08.492. Here again we see an ominous mention: this wooden horse, the Trojan Horse, is the marker of yet another potential beginning of an epic narration.

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Wherever priests (as here at I.05.077–078 and at I.16.604–605) or kings (as in other Homeric contexts: I.10.032–033, I.13.217–218) are said to receive honor as conveyed by the verb tīein ‘honor, give honor to’ (or by the noun tīmē ‘honor’ and the verb tīmân ‘honor, give honor to’, as at I.12.310), Homeric diction is thereby referring indirectly to the receiving of hero cult by a cult hero; such reception happens in the localized context of the dēmos ‘community, district’. The cult of heroes is parallel to, though in some ways different from, the cult of gods, but the cult of gods is likewise conveyed by the verb tīein ‘honor, give honor to’ or by the noun tīmē ‘honor’ and the verb tīmân ‘honor, give honor to’.

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This verse-final adjective krataiḗ can be explained as a morphologically leveled replacement of an older feminine form, to be reconstructed as krataí-u̯i-ă *and meaning ‘whose power [u̯i-] has the upper-hand [krátos]’. The morphological leveling involves a replacement of the alternation -́i̯ă-/-i̯ā́- by way of non-alternating *-i̯ā́-.

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Leonard Muellner

different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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