Homer Iliad 16.619

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'O valiant leader of the Dardan host!'
(Insulted Merion thus retorts the boast;)
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'Strong as you are, 'tis mortal force you trust,
'An arm as strong may stretch thee in the dust.
'And if to this my lance thy fate be given,
'Vain are thy vaunts; success is still from heaven:
'This, instant, sends thee down to Pluto's coast:
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'Mine is the glory, his thy parting ghost.'

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 16.619 focus
Translations (8)
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.) — 16.619 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.) — 16.658 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.619 focus
And Meriones the spear-famed answered, [620] “Aeneas, for all your bravery, you will not be able to make an end of every one who comes against you. You are only a mortal like myself, and if I were to hit you in the middle of your shield with my spear, however strong and self-confident you may be, I should soon vanquish you, [625] and you would yield your life-breath [ psūkhē] to Hādēs of the noble steeds.” Then the son of Menoitios rebuked him and said, “Meriones, hero though you be, you should not speak thus; taunting speeches, my good friend, will not make the Trojans draw away from the dead body; some of them must go under ground first; the outcome [ telos] of battle is in the force of hands, [630] while the outcome of deliberation is words; fight, therefore, and say nothing.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.619 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.619 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.619 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.619 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

New Alexandria Commentaries

Douglas Frame

comment on tanuonto meaning “went full speed” (literally, “were stretched”)

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this line as one of the counterexamples for identifying unmodified laos as one’s own

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analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands and here specifically Patroclus’ state of mind (which mirrors Nestor’s)

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analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands and here specifically Patroclus’ state of mind (which mirrors Nestor’s)

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

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analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands

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analysis of the parallelism between Nestor and Patroclus (as in Nestor’s second story), with regards to Patroclus’ failure to turn back from battle as Achilles commands

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in the list of places where Patroclus is called a horseman (hippeu or hippokeleuthe)

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example of similarities between the Laestrygonians and the Cyclopes

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example of similarities between the Laestrygonians and the Cyclopes. Compare to Od. X.112-113, Od. X.120, Od. X.121-122, Od. X.82-183, Od. X.98, Od. X.116, Od. X.124, Od. IX.190-192, Od. IX.482, Od. IX.537, Od. IX.108, Od. IX.167, Od. IX.187-188, Od. IX.291

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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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So, Zeus has now shifted the momentum of the battle, and nīkē ‘victory’ has gone over to the side of the Achaeans.

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The victory that Zeus is now making possible for the Achaeans is compared here to a storm that is stirred up by the god.

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The momentum of Hector’s chariot, as he is driving away from the ships, is compared to the flooding caused by a violent rainstorm stirred up by Zeus against the unrighteous. Since Patroklos had effectively ‘quenched’ the fire that had threatened the beached ships of the Achaeans, I.16.293, the comparing of his success against the fleeing Trojans to a cataclysmic rainstorm stirred up by Zeus is all the more appropriate.

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

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

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The Trojans experience collective penthos ‘grief’, I.16.548, over the death of Sarpedon. On the collective aspects of penthos ‘grief’ see the comment on I.04.197. On collective akhos ‘grief’, see the comment on I.01.407–412 and on I.01.509.

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See anchor comment at I.05.077–078.

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Before the duel of Patroklos and Hector as chariot fighters begins, the momentum is with Patroklos, and he is marked as the therapōn of Achilles in this context. His role as a ritual substitute is only implicit here.

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We see here further indications of Sarpedon’s impending immortalization: Apollo anoints the hero’s body with ambrosiē ‘immortalizing substance’ and clothes him in vestments that are ambrota ‘immortalizing’.

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See the comment on I.16.454–455.

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See the comment on I.16.455.

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See the comment on I.16.456–457.

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See the comment on I.16.670.

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See the comment on I.16.454–455.

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See the comment on I.16.455.

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At I.16.685, Patroklos experiences a personal atē ‘aberration’, as expressed by way of the verb aâsthai ‘veer off-course’.

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Patroklos confronts Apollo four times and then backs off, thus avoiding the mēnis ‘anger’ of the god, I.16.711. At the moment of his climactic fourth confrontation with Apollo, Patroklos is described as daimoni isos ‘equal to a daimōn’, I.16.705. The ‘superhuman force’ to which this word daimōn refers here can be understood to be Apollo himself. We see here a climactic moment in a pattern of divine-human antagonism that links the god Apollo with the hero Achilles, but Patroklos can now take upon himself the role of a ritual substitute for Achilles.

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We see at I.16.722 a wish that is predicated on confidence in some specific certainty: αἴθ ὅσον ἥσσων εἰμί, τόσον σέο φέρτερος εἴην ‘If only I could be superior to you—as surely as I am that much inferior to you!’ On the syntax of such wishes, see the comment on I.18.464–466. In this case, however, the predicated certainty is falsified, since the speaker is Apollo disguised as Hector’s uncle, and the god is of course superior rather than inferior to Hector. Here I epitomize the analysis in GMP 300. Apollo now says, in the guise of Hector’s uncle: if you were that much inferior, then you would retreat in battle, I.16.723. But, since Hector is supposedly that much superior to his uncle, he is of course expected not to retreat. What is hidden in these comparisons is the relative stature of the god himself: the uncle is to Hector as Hector is to Apollo. From the standpoint of Hector, the premise in Apollo’s use of the idiom is reality: the uncle is inferior to Hector. Here I repeat the wording of I.16.722: αἴθ ὅσον ἥσσων εἰμί, τόσον σέο φέρτερος εἴην ‘If only I could be superior to you—as surely as I am that much inferior to you!’ From the standpoint of Apollo and the framing narrative, however, the premise is false: Apollo is superior, not inferior, to Hector. Therefore the wish that is based on the premise is augmented: the ‘that much’ of ‘let me be that much superior to you’ is immeasurably more than Hektor might think.

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Here the word means ‘ash tree’; elsewhere, as we saw in the comment on I.16.140–144, it means ‘ash spear’, I.16.143.

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Patroklos has reached the point where he is about to die by way of Apollo’s direct intervention. At this point, I.16.784, he is described as atalantos Arēï ‘equal to Ares’. But this hero’s death is more complex, as we will see in the comment on I.16.786–804.

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Patroklos confronts Apollo four times and then, the fourth time around, he fails to back off as he had backed off in the previous confrontation at I.16.705–711. In the course of that previous confrontation, Patroklos had thus avoided the mēnis ‘anger’ of the god, I.16.711. But now he will fail to avoid the god’s anger. At the moment of his climactic fourth confrontation with Apollo, Patroklos is once again described as daimoni isos ‘equal to a daimōn’, I.16.786, just as he had been described in the previous confrontation I.16.705. And, once again, the ‘superhuman force’ to which this word daimōn refers here at I.16.786 can be understood to be Apollo himself. As earlier, we see here a climactic moment in a pattern of divine-human antagonism that links the god Apollo with the hero Achilles, and Patroklos will now take upon himself the role of a ritual substitute for Achilles. In this role, Patroklos is not only daimoni īsos ‘equal to a superhuman force [daimōn] at I.16.786: he is also atalantos Arēï ‘equal to Ares’, I.16.784. See the comment above on I.16.784. As a warrior, Patroklos is matched with Ares as the god of war. As a ritual substitute of Achilles, however, he is also matched with Apollo as the divine antagonist of Achilles.

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At this climactic moment of the hero’s death, the Master Narrator addresses Patroklos in the second person. Such poetic conventions reflect a phase of epic poetry when it was not yet fully differentiated from praise poetry.

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Hector and Ajax are struggling one-on-one with each other here: Hector is trying to set on fire the ship that Ajax is protecting from the fire. No clear outcome of the struggle is as yet visible.

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Leonard Muellner

analysis of themistes and their violation as provoking mēnis from Zeus on the whole community

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contra Chantraine’s claim that the passage is consistent with Hesiodic religious ideas and therefore not genuinely Homeric

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contra Benveniste’s claim that themis concerns genos and dikē is inter-familial, as evidenced by this passage

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analysis of eukhesthai in its concrete sense ‘say a prayer’ with the adverb megala, in the context of postulating ‘say (in a functionally marked context)’ as antecedent of ‘pray’ (eukhesthai in sacral contexts)

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

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Apollo’s name-epithet formulas which have the same metrical shape as the divine names in the dative in the eukhomai + dative formulas, but which are not used in this system because, unlike the others, they begin with a vowel (here, words occurring before Apollo’s two dative formulas that always end with a consonant)

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classification and analysis of attestations of eukhesthai + (aorist) infinitive

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analysis of kluein + eukhesthai formulas, here, with akouein instead of kluein, and formulas with akouein as formally related to eukhomenos || toud’ eklue (= formula A)

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in a list of examples of absolute use of eukhesthai to report prayers (kluein + eukhesthai formulas)

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examples of the identical contexts in which eukhos and kudos occur

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this verse as signaling that it is becoming a fixed whole-line formula (cp. I.05.654, I.11.445)

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos, and analysis of the instance of eukhos in which kudos could fit the metric as well (as in this verse)

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analysis of mēnis in Patroklos’ aristeia

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analysis of mēnis in Patroklos’ aristeia

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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analysis of mēnis in Patroklos’ aristeia

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the diction associated with mēnis, here aleuein

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in the list of offenses that (threaten to) incur mēnis

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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comparison of Patroklos in his aristeia with Ares (e.g with regard to reaching or crossing the limit, being teikhesiplēta)

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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analysis of the identification of Patroklos with Achilles, here Patroklos’ being addressed in the second person by the narrator and the special sympathy and philotēs that indicates

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analysis of Patroklos’ undoing after his fourth, tabu assault

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analysis of Patroklos’ undoing after his fourth, tabu assault

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Richard Martin

The pukinon epos is language one can personally "keep"—or fail to keep, as is the case when Patroklos forgets Achilles' personal warning (16.686-87): "If he had guarded the epos of the son of Peleus, he would have fled the evil fate of black death." In this function, epea are often spoken by women, a convention that appears to be canonical in the deployment of the phrase epos t'ephat' ek t'onomaze (Martin 1993:38).

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The exchange between Hektor and Meriones at 16.617-21 and Patroklos' words to Meriones at 16.627-31 illustrate a paradox inherent in the flyting genre. Meriones responds to Hektor's flyting words by capping Hektor's lines exactly: where Hektor says "My spear would have stopped you... dancer though you are," Meriones replies "It is hard for you to quench the strength of all... strong though you are." The latter mimics Hektor's style down to the coincidence of metrical segment and subordinate clause at line-end. Meriones has performed a poetic coup. Although Patroklos halts this neikos by reference to the lesser importance of extended speech, his own warning is itself a finished performance with a polished gnomic chiasmus, "For in hands is the end of war, of words in the council" (16.630), and a juxtaposition marked by alliteration: "Therefore it is not necessary to increase the muthos, but to fight (makhesthai)" (16.631). Flyting by its very nature leads to the enactment of a performance with a focus on style, even more so than in the genre of commands (Martin 1993:76-77).

For the broader analysis of the flyting genre, see the comment on Iliad 4.336-421.

References

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

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