Homer Iliad 17.366

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Fierce as conflicting fires, the combat burns,
420
And now it rises, now it sinks, by turns.
In one thick darkness all the fight was lost:
The sun, the moon, and all th' ethereal host,
Seem'd as extinct; day ravish'd from their eyes,
And all heaven's splendours blotted from the skies.
425
Such o'er Patroclus' body hung the night,
The rest in sunshine fought, and open light:
Unclouded there, th' aërial azure spread,
No vapour rested on the mountain's head,
The golden sun pour'd forth a stronger ray,
430
And all the broad expansion flam'd with day.
Dispers'd around the plain, by fits they fight,
And here, and there, their scatter'd arrows light:
But death and darkness o'er the carcass spread,
There burn'd the war, and there the mighty bled.
435

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.) — 17.366 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.) — 17.366 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.) — 17.342 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.366 focus
Thus did they fight as it were a flaming fire; it seemed as though it had gone hard even with the sun and moon, for they were hidden over all that part where the bravest heroes were fighting about the dead son of Menoitios, [370] whereas the other Danaans and strong-greaved Achaeans fought at their ease in full daylight with radiant sunshine all round them, and there was not a cloud to be seen neither on plain nor mountain. [375] These last moreover would rest for a while and leave off fighting, for they were some distance apart and beyond the range of one another’s weapons, whereas those who were in the thick of the fray suffered both from battle and darkness. All the best of them were being worn out by the great weight of their armor, but the two valiant heroes, Thrasymedes and Antilokhos, had not yet heard of the death of Patroklos the blameless, [380] and believed him to be still alive and leading the van against the Trojans; they were keeping themselves in reserve against the death or rout of their own comrades, for so Nestor had ordered when he sent them from the ships into battle.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 17.366 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.366 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 17.366 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.366 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 17 focus

New Alexandria Commentaries

Gregory Nagy

The main preoccupation of the Achaeans here in Iliad 17 is to recover the corpse of Patroklos. Their efforts are understandable, in that they are showing their sense of solidarity by trying to rescue from harm the body of a fellow warrior who has fallen in battle. But the motivation here goes deeper. Patroklos is a cult hero in the making, and the corpses of heroes are essential for establishing hero cults in their honor. And the foreseen status of Patroklos as cult hero prefigures a comparable status for Achilles himself beyond the Iliad.

draft js image errorCopperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman.Photographed/scanned by H.-P.Haack (Antiquariat Dr. Haack Leipzig) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0) or Public domain], via Wikimedia Commons.

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Here the Achaeans almost win the Trojan War. But that would be premature. In terms of the ordained narrative, such an event of winning would be ‘in-disaccord-with [huper] the portion [aisa] of Zeus’ (ὑπὲρ Διὸς αἶσαν), I.17.321. That is, the aisa or ‘apportionment’ of victory or defeat to the Achaeans and to the Trojans by Zeus is up to Zeus. Zeus gets to decide according to the plan of Zeus. And that plan cannot be contradicted, since the plot of the Homeric Iliad must be the Will of Zeus. For more on the expression huper aisan ‘in disaccord with aisa’ (ὑπὲρ αἶσαν), see the comment on I.03.059. And, since the victory of the Achaeans depends on the Will of Zeus, the very idea that the Achaeans could win ‘by way of their own winning-power [kratos]’ (κάρτεϊ καὶ σθένεϊ σφετέρῳ)—such an idea is entertained at I.17.322—is an impossibility, since kratos ‘winning-power’ comes from the gods in the logic of Homeric diction. On this logic, see the comments on I.01.509 and I.11.317–319.

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Apollo, disguised as a Trojan, is claiming that Zeus still ‘wishes’, as expressed by the verb bouletai at I.17.331, to give nīkē ‘victory’ to the Trojans instead of the Achaeans, I.17.332. On the basis of what is humanly perceivable by the Trojan whom the god is impersonating here, this claim is still true, but the truth of the claim is not to last.

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Yet another retrospective: Patroklos has been killed as a therapōn of Achilles.

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Thetis, the divine mother of Achilles, had foretold some things to her mortal son, but she did not foretell the death of Patroklos, described here as the philtatos ‘nearest and dearest’ of all the hetairoi ‘companions’ of Achilles. For Achilles, his ascending scale of affection evolves in such a way as to show that Patroklos turns out to be at the very top of this scale. See the comments on I.09.193–198, I.09.522, I.09.524–599, I.09.642. In those passages, it still seems as if the three companions who approach Achilles as ambassadors should be at the very top of his scale.

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The Hellespont is pictured here, in a general way, as the station of Achilles.

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The horses that draw the chariot of Achilles are energized by the menos ‘mental power’ that Zeus literally breathes into them. Their animal mentality can now enable them to perform physically what they need to do, which is, to draw the chariot of Achilles away from danger. In other contexts, heroes are energized by the menos ‘mental power’ that gods breathe into them, and such an enhanced human mentality enables them to perform physically their heroic deeds. See the comments on I.10.482, I.11.508, I.12.018, I.15.059–060, I.15.262.

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Leonard Muellner

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

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