Homer Iliad 16.74

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'No longer flames the lance of Tydeus' son;
'No more your general calls his heroes on;
'Hector alone I hear; his dreadful breath
'Commands your slaughter, or proclaims your death.
'Yet now, Patroclus, issue to the plain;
105
'Now save the ships, the rising fires restrain,
'And give the Greeks to visit Greece again.
'But heed my words, and mark a friend's command,
'Who trusts his fame and honours in thy hand,
'And from thy deeds expects th' Achaian host
110
'Shall render back the beauteous maid he lost:
'Rage uncontroll'd through all the hostile crew,

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.) — 16.74 focus
οὐ γὰρ Τυδεΐδεω Διομήδεος ἐν παλάμῃσι
μαίνεται ἐγχείη Δαναῶν ἀπὸ λοιγὸν ἀμῦναι·
75
οὐδέ πω Ἀτρεΐδεω ὀπὸς ἔκλυον αὐδήσαντος
ἐχθρῆς ἐκ κεφαλῆς· ἀλλʼ Ἕκτορος ἀνδροφόνοιο
Τρωσὶ κελεύοντος περιάγνυται, οἳ δʼ ἀλαλητῷ
πᾶν πεδίον κατέχουσι μάχῃ νικῶντες Ἀχαιούς.
ἀλλὰ καὶ ὧς Πάτροκλε νεῶν ἄπο λοιγὸν ἀμύνων
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ἔμπεσʼ ἐπικρατέως, μὴ δὴ πυρὸς αἰθομένοιο
νῆας ἐνιπρήσωσι, φίλον δʼ ἀπὸ νόστον ἕλωνται.
πείθεο δʼ ὥς τοι ἐγὼ μύθου τέλος ἐν φρεσὶ θείω,
ὡς ἄν μοι τιμὴν μεγάλην καὶ κῦδος ἄρηαι
πρὸς πάντων Δαναῶν, ἀτὰρ οἳ περικαλλέα κούρην
85
ἂψ ἀπονάσσωσιν, ποτὶ δʼ ἀγλαὰ δῶρα πόρωσιν.
ἐκ νηῶν ἐλάσας ἰέναι πάλιν· εἰ δέ κεν αὖ τοι
δώῃ κῦδος ἀρέσθαι ἐρίγδουπος πόσις Ἥρης,
μὴ σύ γʼ ἄνευθεν ἐμεῖο λιλαίεσθαι πολεμίζειν
Τρωσὶ φιλοπτολέμοισιν· ἀτιμότερον δέ με θήσεις·
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μὴ δʼ ἐπαγαλλόμενος πολέμῳ καὶ δηϊοτῆτι
Τρῶας ἐναιρόμενος προτὶ Ἴλιον ἡγεμονεύειν,
μή τις ἀπʼ Οὐλύμποιο θεῶν αἰειγενετάων
ἐμβήῃ· μάλα τούς γε φιλεῖ ἑκάεργος Ἀπόλλων·
ἀλλὰ πάλιν τρωπᾶσθαι, ἐπὴν φάος ἐν νήεσσι
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θήῃς, τοὺς δʼ ἔτʼ ἐᾶν πεδίον κάτα δηριάασθαι.
αἲ γὰρ Ζεῦ τε πάτερ καὶ Ἀθηναίη καὶ Ἄπολλον
μήτέ τις οὖν Τρώων θάνατον φύγοι ὅσσοι ἔασι,
μήτέ τις Ἀργείων, νῶϊν δʼ ἐκδῦμεν ὄλεθρον,
ὄφρʼ οἶοι Τροίης ἱερὰ κρήδεμνα λύωμεν.
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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.) — 16.74 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.) — 16.131 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 16.74 focus
Diomedes son of Tydeus no longer wields his spear [75] to defend the Danaans, neither have I heard the voice of the son of Atreus coming from his hated [ ekhthrē] head, whereas that of manslaughtering Hector rings in my ears as he gives orders to the Trojans, who triumph over the Achaeans and fill the whole plain with their cry of battle. [80] Even so, Patroklos, ward off the devastation [ loigos] from the ships 81 and attack with power [ kratos], lest they [the Trojans] burn 82 the ships with blazing fire and take away a safe homecoming [ nostos]. Bring to fulfillment [ telos] what I now order you to do, so that you may win me great honor [ tīmē] [85] from all the Danaans, and that they may restore the girl to me again and give me rich gifts into the bargain. When you have driven the Trojans from the ships, come back again. Though Hera’s thundering husband should put triumph within your reach, do not fight the Trojans further in my absence, [90] or you will rob me of glory that should be mine. And do not for lust of battle go on killing the Trojans nor lead the Achaeans on to Ilion, lest one of the ever-living gods from Olympus attack you—for Phoebus Apollo loves them well: [95] return when you have freed the ships from peril, and let others wage war upon the plain. 97 Father Zeus, Athena, and Apollo! If only 98 not one of all the Trojans could escape destruction, 99 nor a single one of the Argives, while you and I emerge from the slaughter, [100] so that we two alone may break Troy’s sacred coronal.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 16.74 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 16.74 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 16.74 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 16.74 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 16 focus

Notes on the current edition

Iliad

1. Eustathius informs us, that some of the ancients rejected this wish with which Achilles concludes his answer, on account of its impossibility, and the extravagant ambition that it discovers. But their reasons were not good; for, in respect of manners, the poet constantly represents his hero, not such as he ought to have been, but such as he was reported; and as to the extravagance of it, it is not greater than Diomed uses, when he declares that, if all renounce the siege, himself and Sthenelus alone will continue it till Troy be taken. Cowper. See B. ix. 65.

New Alexandria Commentaries

Douglas Frame

contra Heiden that the end of Book 15 constitutes one of two major breaks in the performance of the Iliad

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analysis of the parallelism between Nestor and Patroclus, reaching its climax in I.16, where Patroclus becomes a horseman, addressed as such in this verse

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in the context of discussing the interpretation of Nestor’s name and the meaning of forms from the root *nes- as “safe return home” or without “home” where it needed to be specified

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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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lemmatizing: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ' ἔχουσαι

On the use of the plural here, see the comment on I.02.484. I repeat here the translation: ‘tell me now, you Muses who have your dwellings on Mount Olympus’. It has already been noted in the comment on I.11.218- and earlier on I.02.484- that the Master Narrator tends to re-invoke the Muse or the Muses at special moments of poetic self-awareness about the need for high fidelity to tradition. For more on the poetics of re-invocation, see also the comments on I.02.761, I.14.508. Here at I.16.112 the special moment of poetic self-awareness corresponds to the heroic self-awareness of Hector, as analyzed in the comment on I.08.180–183. Since the Muses are the goddesses of poetic memory, their re-invocation by the Master Narrator here at I.16.112 is a fulfillment of the original prediction of Hector: there will be mnēmosunē ‘memory’, I.08.181, of the moment when he will set fire to the beached ships of the Achaeans in the epic Battle for the Ships.

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Here is where it all comes together: what the Muses are re-invoked to sing is ‘how the fire of Hector finally reached the ships of the Achaeans’, I.16.113: ὅππως δὴ πρῶτον πῦρ ἔμπεσε νηυσὶν Ἀχαιῶν.

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Ajax sees, to his horror, that the dreaded moment has arrived. Now that the fire of Hector is about to reach the ships of the Achaeans, the Will of Zeus is finally about to be fulfilled: what Zeus now literally bouletai ‘wills’ is nīkē ‘victory’ for the Trojans, I.16.121. See also HC 4§109, with a survey of all Homeric situations where either Zeus or Athena awards nīkē ‘victory’.

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Ajax makes another strategic partial withdrawal, I.16.122. For an earlier reference to Ajax in the act of withdrawing, see I.15.727–732 and the comment on I.15.704–746. Meanwhile a fiery missile lands on one of the beached ships of the Achaeans, I.16.122–123, and a phlox ‘burst of flame’ envelops the prumnē ‘stern’ of that ship, I.16.123–124. As we know from earlier references to this ship, it had belonged to Protesilaos: see the comment on I.15.704–746. Achilles sees that the beached ship is on fire, and he now urges Patroklos to arm himself and go off to defend the ships from the fire.

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Patroklos wears the armor of Achilles, but he leaves behind that hero’s meliē ‘ash spear’ I.16.143. Only Achilles can wield that weapon, I.16.140–144. The symbolism of this spear corresponds to the myth of the bronze generation of heroes in Hesiod Works and Days 143–151, who were born of ash trees and were made of bronze, just as the shaft of the spear of Achilles is made from an ash tree while the tip is made of bronze. By contrast with the immortalizing armor that Achilles receives from his immortal mother Thetis, he receives the ash spear from his mortal father Peleus. For more on the symbolism of the hero’s ash spear, I recommend Shannon 1975.

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The word melíē functions as the word for both "ash tree" (e.g. I.16.767) and "ash spear" (as it does here). For a thorough discussion of the Homeric evidence, see The Arms of Achilles and Homeric Compositional Technique (1975) by Richard Shannon, especially pp. 46–48 for his comments on Works and Days 143–155. There is a manifestation of the heroic type represented by the Bronze Men of Hesiod in the heroic character of Achilles himself, and more specifically, in the spear he wields. In fact, Achilles is described as the only hero who could wield this magnificent spear (I.16.140–142), which is also the only piece of the hero's armor that Patroklos did not take with him when he fatally replaced Achilles. In sum, the diction of the entire Iliad makes the bronze-tipped ash spear an emblem of Achilles just as surely as the bronze and ash wood characterize the equally wanton Bronze Men, who are depicted by Hesiod as bent on nothing but húbris and war.

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See the comments at O.12.132 and at O.23.246 on myths about solar horses; the name of Xanthos is relevant.

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On the word harpuia, personified as ‘Harpy’, see Parts 3 and 4 of the comment at O.15.250–251.

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Here, for the first time in the Iliad, Patroklos is marked as the therapōn of Achilles. His dual role as ‘attendant’ and ‘ritual substitute’ is already implicit.

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I note here only in passing the semantic and morphological links between these two adjectives kratero- ‘having the power to win’ and hiero- ‘sacred’ in contexts where they describe the noun menos ‘mental power’.

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This word biē ‘force, violence, strength’ and its synonym īs are conventionally associated with violent winds.

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This word hupophētai ‘spokesmen’ refers to interpreters of oracular pronouncements.

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As it was noted in the comment on I.13.111–113, Agamemnon ‘dishonored’ Achilles, I.13.113, as expressed by the verb a-tīmân, and Zeus therefore punished the Achaeans. Again here at I.16.237, the Achaeans are being punished by Zeus, while he ‘honors’, tīmân, Achilles.

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Achilles is sending off Patroklos to fight in his place, but he is not sure whether he can identify himself with his best friend when Patroklos goes off on his own. This uncertainty, as we will see in the comment on I.16.244, is relevant to the use of the word therapōn.

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Here, for the second time in the Iliad, Patroklos is marked as the therapōn of Achilles. His dual role as ‘attendant’ and ‘ritual substitute’ is already implicit.

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Achilles is pictured as standing in front of his klisiā ‘shelter’, to get a better view of the battle scene. In the comments on I.08.220–227 and on I.11.005–016, there is more about the positioning of this klisiā.

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The wording of Patroklos describes Achilles as the ‘best of the Argives’—which is another way of saying that Achilles is ‘the best of the Achaeans’.

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In the words of Patroklos, there are warriors and then there are therapontes of warriors. These therapontes are ankhe-makhoi, literally ‘fighting next to them’, that is, fighting side by side with the warriors. Here we see the stance of a chariot driver who is speaking about standing next to the chariot fighter. They stand together, side by side on the chariot platform. So, standing here side by side with the chariot fighter is his very own chariot driver, his very own therapōn in the dual role of ‘attendant’ and ‘ritual substitute’. The ritual pose, as it were, of the therapōn as he takes his stand side by side with the primary warrior on the platform of the chariot is a physical embodiment of his role as ritual substitute.

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For Agamemnon to dishonor the status of Achilles as ‘the best of the Achaeans’, as Achilles himself says at I.01.412, is a sign of the over-king’s atē ‘aberration’. Patroklos says it again here, I.16.273–274.

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As Patroklos rides off to battle, soon to die as the ritual substitute of Achilles, we see here standing next to him on the chariot his very own therapōn. It becomes clear, as the narrative proceeds, that this therapōn is the hero Automedon. Does this hero function here not only as the ‘attendant’ of Patroklos but also as that hero’s very own ‘ritual substitute’? The answer is: no. Automedon is temporarily the chariot driver for Patroklos, but he will not become a ritual substitute for him. True, we see Automedon functioning as an ‘attendant’ at I.16.145–154, where he yokes the horses of Achilles to the chariot that he will drive for Patroklos: so, Automedon is definitely a temporary attendant for Patroklos as well as his temporary chariot driver. But Automedon will not become a ritual substitute for Patroklos.

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For Achilles to renounce his mēnithmos ‘anger’ is equated, already here, to his restoring the relationship that should exist among companions who are philoi ‘near and dear’ to each other: such a relationship, as we see here, is philotēs ‘being near and dear to one’s near and dear ones’. In the Iliad, Patroklos takes on the role of restoring, by way of his own death, such philotēs between Achilles and the Achaeans.

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Patroklos, hastening to reach the scene of battle, finally arrives at the center of the action, where the ship of Protesilaos is beached. Now he is right next to the prumnē ‘stern’ of that ship. See also the comment on I.15.704–746.

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Ajax makes another strategic partial withdrawal, I.16.122. For an earlier reference to Ajax in the act of withdrawing, see I.15.727–732 and the comment on I.15.704–746. Meanwhile a fiery missile lands on one of the beached ships of the Achaeans, I.16.122–123, and a phlox ‘burst of flame’ envelops the prumnē ‘stern’ of that ship, I.16.123–124. As we know from earlier references to this ship, it had belonged to Protesilaos: see the comment on I.15.704–746. Achilles sees that the beached ship is on fire, and he now urges Patroklos to arm himself and go off to defend the ships from the fire.

See also the comment on I.13.688.

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Leonard Muellner

analysis of different interpretations of I.16.060-065 (whether Achilles is giving up his mēnis or not, etc.), comparison with the conditions Achilles sets specifies at I.09.650-653

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analysis of Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos

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analysis of Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos

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analysis of mēnis as a tabu deformation and here specifically an example the relaxation of the speech tabu

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analysis of the development of the meaning of Latin spendō, in the context of analyzing the development of uoueō/eukhesthai

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in a list of examples of Homeric prayers, in the context of analyzing the meaning of eukhesthai in formula (A) and here specifically the Homeric notion of prayer

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analysis of kluein + eukhesthai formulas (here, examples of absolute eukhesthai)

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

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example of a transformation parallel to that of formula (A) to formula (B), where eukhomenos is deleted because of the change of context from sacral to secular [MRBTP: 'ff']

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analysis of mēnis in Patroklos’ aristeia

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analysis of Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos

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in a list of examples of Homeric prayers, in the context of analyzing the meaning of eukhesthai in formula (A) and here specifically the Homeric notion of prayer

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switch from Dii patri to Dii t’alloisin te theoisin, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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in a list of examples of eukhesthai + dative (formulas which report prayers)

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analysis of the formulas with the three places where eukhesthai + dative has the shape eukh ˘ ˘ – [=short short long], as in this verse

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in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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analysis of the traditionality of the collocation of eukhesthai and spendein

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comparison of the themes in Iliad 1 with this speech, the continuity of Achilles’ goals from Iliad 1 to here and the identity and solidarity of Achilles and Myrmidons

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comparison of the themes in Iliad 1 with this speech, the continuity of Achilles’ goals from Iliad 1 to here and the identity and solidarity of Achilles and Myrmidons

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comparison of the themes in Iliad 1 with this speech, the continuity of Achilles’ goals from Iliad 1 to here and the identity and solidarity of Achilles and Myrmidons

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analysis of Phoenix’ speech to Achilles and atē leading to mēnis

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the significance/purpose of Patroklos’ return to fighting (analysis of Nestor’s and Patroklos’ intentions in the latter’s wearing Achilles’ armor, and Achilles’ intentions in sending Patroklos out to fight in his own armor, giving up his mēnis and identification with Patroklos)

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Richard Martin

The powerful muthos performed by Achilles as he marshals the Myrmidons begins with an injunction to recall their previous threats (apeilai) against the Trojans: "Myrmidons, let no one forget on me the threats with which you threatened the Trojans at the ships all during the time of anger" (16.200-201). Although Achilles mentions threats, he does so not to threaten anyone himself but to challenge the Myrmidons—a strategy of recalling past speech-acts to shame the present hearers into action, already displayed by Nestor early in the poem (2.349). Achilles' challenge is the more effective because he not only recalls one speech-act but uses a direct quotation to mimic another, one the Myrmidons had employed, and then dismisses these earlier grumbling speeches as mere talk (ebazete, 16.207). In familiar flyting fashion, he contrasts "then" with "now": the Myrmidons used to talk of going home because Achilles was angered, "but now has appeared the great work of strife, of which you were previously enamored" (16.207-8) (Martin 1993:71-72).

For the broader analysis of the flyting genre and the recalled-speech strategy, 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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