Homer Iliad 5.711

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.) — 5.711 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.) — 5.663 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.711 focus
Now when the goddess Hera saw the Argives thus falling, she said to Athena, “Alas, daughter of aegis-bearing Zeus, the one who cannot be worn down, [715] the promise we made Menelaos that he should not return till he had destroyed the strong-walled city of Ilion will be of none effect if we let Arēs rage thus furiously. Let us go into the fray at once.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.711 focus
The white-armed goddess Juno, when she saw
The Argives falling in that cruel fray,
885
Addressed Minerva with these winged words:-
"O thou unconquerable goddess, born
To Jove the Ægis-bearer! what is this?
It was an idle promise that we made
To Menelaus, that he should behold
890
Troy, with its strong defences, overthrown,
And reach his home again, if thus we leave
Mars the destroyer to his ravages.
Come, let us bring our friends effectual aid."
So spake she, and her bidding was obeyed
895
By blue-eyed Pallas. Juno the august,
Daughter of mighty Saturn, laid in haste
The harness, with its ornaments of gold,
Upon the horses. Hebe rolled the wheels,
Each with eight spokes, and joined them to the ends
900
Of the steel axle, - fellies wrought of gold,
Bound with a brazen rim to last for aye, -
A wonder to behold. The hollow naves
Were silver, and on gold and silver cords
Was slung the chariot's seat; in silver hooks
905
Rested the reins, and silver was the pole
Where the fair yoke and poitrels, all of gold,
Were fastened. Juno, eager for the strife,
Led the swift-footed steeds beneath the yoke.
Then Pallas, daughter of the god who bears
910
The ægis, on her father's palace-floor
Let fall in dainty folds her flowing robe
Of many colors, wrought by her own hand,
And, putting on the mail of Jupiter
The Cloud-compeller, stood arrayed in arms
915
For the stern tasks of war. Her shoulder bore
The dreadful ægis with its shaggy brim
Bordered with Terror. There was Strife, and there
Was Fortitude, and there was fierce Pursuit,
And there the Gorgon's head, a ghastly sight,
920
Deformed and dreadful, and a sign of woe
When borne by Jupiter. Upon her head
She placed a golden helmet with four crests
And fair embossed, of strength that might withstand
The armed battalions of a hundred towns;
925
Then stepped into her shining car, and took
Her massive spear in hand, heavy and huge,
With which whole ranks of heroes are o'erthrown
Before the daughter of the Mighty One
Incensed against them. Juno swung the lash
930
And swiftly urged the steeds. Before their way,
On sounding hinges, of their own accord,
Flew wide the gates of heaven, which evermore
The Hours are watching, - they who keep the mount
Olympus and the mighty heaven, with power
935
To open or to close their cloudy veil.
Thus through the gates they drave the obedient steeds,
And found Saturnius, where he sat apart
From other gods, upon the loftiest height
Of many-peaked Olympus. Juno there,
940
The white-armed goddess, stayed her chariot-wheels,
And, thus accosting Jove, she questioned him:-
"O Father Jupiter, does not thy wrath
Rise at those violent deeds of Mars? Thou seest
How many of the Achaians he has slain,
945
And what brave men. Nay, thus it should not be.
Great grief is mine; but Venus and the god
Phœbus, who bears the silver bow, rejoice
To see this lawless maniac range the field,
And urge him on. O Father Jupiter,
950
Wilt thou be angry with me if I drive
Mars, sorely wounded, from the battle-field?”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.711 focus
The carnage Juno from the skies survey'd,
And, touch'd with grief, bespoke the blue-ey'd maid:
875
'Oh sight accurs'd! shall faithless Troy prevail,
'And shall our promise to our people fail?
'How vain the word to Menelaus given
'By Jove's great daughter and the queen of heaven,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.711 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.711 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.711 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 association with/wearing peplos

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analysis of the close alliance of Athena with Zeus (in the Iliad and in the myth of the gigantomachy)

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discussing the accessories of the statue of Athena Polias at Athens, here especially the aegis and the gorgoneion in the context of discussing the two aspects of Athena, as a virgin war goddess and as a mother goddess

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analysis of the change of Athena from the mother goddess to the virgin war goddess at Athens under the influence of the Homeric poems

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analysis of Athena’s association with crafts and in particular the production of clothing

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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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The neuter plural kukla corresponding to masculine singular kuklos means ‘chariot wheels’. The metaphorical use of kuklos ‘cycle, chariot wheel’ with reference to the epic Cycle as the sum total of Homeric poetry is relevant to the meaning of Homēros in the sense of a ‘joiner, carpenter’ who makes chariot wheels. See the comment on O.17.384–385. On the epic Cycle in general, see the inventory of Words and Ideas.

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reference that both lines have comparable instances of verse-final ἀμφίς

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When the goddess slips out of her peplos ‘robe’ and into the khitōn ‘tunic’ that belongs to her father Zeus, there is an intervening moment of nudity. See MoM 3§1-3§7. This passage shows (a) the complementarity of the peplos ‘robe’ and the khitōn ‘tunic’ worn by Athena and (b) the complementarity of her roles as Athena Polias (goddess of the citadel) and Athena Parthenos (goddess virgin) in the myths and rituals of Athens. This complementarity is re-enacted in the Iliad. See MoM 3§§9–12. We see in these verses a linearity that follows a sequence controlled by time in the Homeric reference to the Peplos of Athena. This linearity substitutes for the circular sequence of the Athenians’ charter myth about Athena and the Gigantomachy, which means ‘battle of the gods and giants’. The Iliad here shows a metaphorical substitution of the Trojan War for the Gigantomachy. On metaphor, see the inventory of Words and Ideas; also MoM 0§01, 0§1 Extract 0-A. For the Athenians, Athena is the primary narrator of the Gigantomachy by way of pattern-weaving the narration in her own Peplos as a masterpiece of metonymy. On metonymy, see the inventory of Words and Ideas.

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The peplos ‘robe’ made by the goddess Athena is seen as a prototype of a perfect masterpiece of pattern-weaving. It is also a perfect masterpiece of metonymy coordinated with metaphor. On metaphor and metonymy, see the inventory of Words and Ideas. Further, the peplos ‘robe’ of the goddess is a prototype, in the world of myth, for the re-enacting of its pattern-weaving in the world of ritual in Athens. The peplos that is pattern-woven by Athena in Athenian myth is the prototype of the Panathenaic Peplos from the standpoint of Athenian ritual. The Panathenaic Peplos was pattern-woven for ritual presentation to the goddess Athena at the climax of the quadrennial Athenian festival known as the Great Panathenaia.

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note that these verses were athetized by Zenodotus

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analysis of the coextensiveness of the khiton and aegis worn by Athena when she goes to war and metonymically shared by Zeus with her

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Leonard Muellner

discussing the accessories of the statue of Athena Polias at Athens, here especially the aegis and the gorgoneion in the context of discussing the two aspects of Athena, as a virgin war goddess and as a mother goddess

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comment on poikilos, epithet of Athena’s peplos, as ‘pattern-woven’

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analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him and in solidarity from when Athena prevented him from entering battle

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analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him (replaced by a variant kind of heroic mēnis) and in solidarity from when Athena prevented him from entering battle

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as evidence in the context of analysis of dikaios as ‘just’ in the sense of the opposite incurring mēnis in I.03.132-136 and comparison with Hesiod

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analysis of interconnections of themis and mēnis, which protects the former

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analysis of Athena’s entering into battle against Ares and the change in divine mēnis against him (replaced by a variant kind of heroic mēnis) and in solidarity from when Athena prevented him from entering battle

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analysis of the Diomedes-Ares identification/antagonism and variant theme of mēnis

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Richard Martin

At 5.715, Hera refers to a past commitment as a muthos with the qualifier halion ("in vain"): "Vain, indeed, is the muthos we promised Menelaos." Achilles uses the same adjective halion at 18.324 for a past speech-act but the line concludes with epos instead: "A vain epos I tossed forth that day." The nature of the original speech-act explains the difference: as a boast, Achilles' speech is attracted into the language of actual boast descriptions, which often contain the formula eukhomenos epos ēuda. External factors—formulaic pressure, poetic themes in the larger discourse—can mask the inherent semantic distinction between muthos and epos (Martin 1993:28).

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