Homer Iliad 6.191

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

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ἀλλʼ ὅτε δὴ γίγνωσκε θεοῦ γόνον ἠῢν ἐόντα
αὐτοῦ μιν κατέρυκε, δίδου δʼ ὅ γε θυγατέρα ἥν,
δῶκε δέ οἱ τιμῆς βασιληΐδος ἥμισυ πάσης·
καὶ μέν οἱ Λύκιοι τέμενος τάμον ἔξοχον ἄλλων
καλὸν φυταλιῆς καὶ ἀρούρης, ὄφρα νέμοιτο.
195
ἣ δʼ ἔτεκε τρία τέκνα δαΐφρονι Βελλεροφόντῃ
Ἴσανδρόν τε καὶ Ἱππόλοχον καὶ Λαοδάμειαν.
Λαοδαμείῃ μὲν παρελέξατο μητίετα Ζεύς,
ἣ δʼ ἔτεκʼ ἀντίθεον Σαρπηδόνα χαλκοκορυστήν.
ἀλλʼ ὅτε δὴ καὶ κεῖνος ἀπήχθετο πᾶσι θεοῖσιν,
200
ἤτοι ὃ κὰπ πεδίον τὸ Ἀλήϊον οἶος ἀλᾶτο
ὃν θυμὸν κατέδων, πάτον ἀνθρώπων ἀλεείνων·
Ἴσανδρον δέ οἱ υἱὸν Ἄρης ἆτος πολέμοιο
μαρνάμενον Σολύμοισι κατέκτανε κυδαλίμοισι·
τὴν δὲ χολωσαμένη χρυσήνιος Ἄρτεμις ἔκτα.
205
Ἱππόλοχος δέ μʼ ἔτικτε, καὶ ἐκ τοῦ φημι γενέσθαι·
πέμπε δέ μʼ ἐς Τροίην, καί μοι μάλα πόλλʼ ἐπέτελλεν
αἰὲν ἀριστεύειν καὶ ὑπείροχον ἔμμεναι ἄλλων,
μηδὲ γένος πατέρων αἰσχυνέμεν, οἳ μέγʼ ἄριστοι
ἔν τʼ Ἐφύρῃ ἐγένοντο καὶ ἐν Λυκίῃ εὐρείῃ.
210
ταύτης τοι γενεῆς τε καὶ αἵματος εὔχομαι εἶναι.

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

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.) — 6.191 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.) — 6.212 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.191 focus
Then the king knew that he must be the valiant offspring of a god, so he kept him in Lycia, gave him his daughter in marriage, and made him of equal honor [ tīmē] in the kingdom with himself; and the Lycians gave him a piece of land, [195] the best in all the country, fair with vineyards and tilled fields, to have and to hold.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.191 focus
He spake. The warlike Diomed was glad,
And, planting in the foodful earth his spear,
Addressed the people's shepherd blandly thus:-
280
"Most surely thou art my ancestral guest;
For noble Eneus once within his halls
Received the blameless chief Bellerophon,
And kept him twenty days, and they bestowed
Gifts on each other, such as host and guest
285
Exchange; a purple baldric Eneus gave
Of dazzling color, and Bellerophon
A double golden goblet; this I left
Within my palace when I came to Troy.
Of Tydeus I remember nothing, since
290
He left me, yet a little child, and went
To Thebes, where perished such a host of Greeks.
Henceforward I will be thy host and friend
In Argos; thou shalt be the same to me
In Lycia when I visit Lycia's towns;
295
And let us in the tumult of the fray
Avoid each other's spears, for there will be
Of Trojans and of their renowned allies
Enough for me to slay wheneʼer a god
Shall bring them in my way. In turn for thee
300
Are many Greeks to smite whomever thou
Canst overcome. Let us exchange our arms,
That even these may see that thou and I
Regard each other as ancestral guests."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.191 focus
'At length the monarch with repentant grief
235
'Confess'd the gods, and god-descended chief;
'His daughter gave, the stranger to detain,
'With half the honours of his ample reign.
'The Lycians grant a chosen space of ground,
'With woods, with vineyards, and with harvests crown'd.
240
'There long the chief his happy lot possess'd,
'With two brave sons and one fair daughter bless'd:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.191 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.191 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.191 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

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

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The singular noun patēr ‘father’ has an elliptic meaning in the plural: pateres in the sense of ‘ancestors’. The “speaking name” (nomen loquens) of Patroklos, Patrokleēs, means ‘he who has the glory [kleos] of the ancestors [pateres]’. See the comment on I.01.345.

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The pair geneē/genos can be analyzed as marked/unmarked members of a semantic opposition: whereas geneē as at I.06.211 here refers specifically to ‘immediate paternal lineage’, genos as at I.06.209 refers only generally to ‘paternal lineage’.

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Leonard Muellner

analysis of the interconnections of statements of physical prowess, prestige, and identity, in the context of establishing the contextual unity of eukhesthai einai + superlative/comparative and their relationship to the genos eukhesthai einai contexts [MRBTP: 'ff']

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analysis of the interconnections of death-eukhesthai and birth-eukhesthai speeches, with this one as an example of a hero’s saying the most significant facts about himself [MRBTP: 'ff']

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in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing genos eukhesthai einai formulas)

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example of an elaborated speech about one’s geneē (Glaukos), in the context of analyzing the more common short genos eukhesthai einai formulas

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in a list of attestations of genos eukhesthai einai and its transformations

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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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

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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

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

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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

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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.

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