Homer Iliad 17.44

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Swift as the word the missile lance he flings,
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The well-aim'd weapon on the buckler rings,
But, blunted by the brass, innoxious falls:
On Jove, the father, great Atrides calls;
Nor flies the javelin from his arm in vain;
It pierc'd his throat, and bent him to the plain;
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Wide through the neck appears the grisly wound,
Prone sinks the warrior, and his arms resound.
The shining circlets of his golden hair,
Which e'en the Graces might be proud to wear,

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.) — 17.44 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.) — 17.44 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.) — 17.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.44 focus
As he spoke he struck Menelaos full on the shield, but the spear did not go through, for the shield turned its point. [45] Menelaos then took aim, praying to father Zeus as he did so; Euphorbos was drawing back, and Menelaos struck him about the roots of his throat, leaning his whole weight on the spear, so as to drive it home. The point went clean through his neck, [50] and his armor rang rattling round him as he fell heavily to the ground. 51 With blood bedewed was his hair, looking like myrtle-blossoms [ kharites], 52 with the curls and all so deftly bound in bands of silver and gold. As one who has grown a fine young olive tree in a clear space where there is abundance of water— [55] the plant is full of promise, and though the winds beat upon it from every quarter it puts forth its white blossoms till the blasts of some fierce wind sweep down upon it and level it with the ground—even so did Menelaos strip the fair youth Euphorbos of his armor after he had slain him. [60] Or as some fierce lion upon the mountains in the pride of his strength fastens on the finest heifer in a herd as it is feeding—first he breaks her neck with his strong jaws, and then gorges on her blood and entrails; [65] dogs and shepherds raise a hue and cry against him, but they stand aloof and will not come close to him, for they are pale with fear—even so no one had the courage to face valiant Menelaos. [70] The son of Atreus would have then carried off the armor of the son of Panthoös with ease, had not Phoebus Apollo been angry, and in the guise of Mentes chief of the Kikones incited Hector to attack him. [75] “Hector,” said he, “you are now going after the horses of the noble descendant of Aiakos, but you will not take them; they cannot be kept in hand and driven by mortal man, save only by Achilles, who is son to an immortal mother. [80] Meanwhile Menelaos, warlike son of Atreus, has bestridden the body of Patroklos and killed the noblest of the Trojans, Euphorbos, son of Panthoös, so that he can fight no more.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 17.44 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.44 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 17.44 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.44 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 17 focus

Notes on the current edition

Iliad

1. That is, the body of Patroclus; to contend for which, Apollo recals Hector from the pursuit of the steeds of Achilles.

New Alexandria Commentaries

Douglas Frame

comment on the identification of Enualios with Ares, in the context of analyzing the identity of the war goddess in “Tsountas’s House”

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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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The hero Euphorbos, fighting on the Trojan side of the war, has just been killed by Menelaos the Achaean. The corpse of Euphorbos is described here as a generic beau mort, that is, as a dead body made beautiful by way of a beautiful death, une belle mort. (See the anchor comment on I.23.184–191 on the salvation of Hector’s body, with reference to Hector as the definitive beau mort of the Iliad.) There are two levels to be seen in the overall wording that describes the corpse of Euphorbos here. First, at I.17.050–051, the beauty of the body is indicated incidentally by way of focusing on a detailed description of the dead hero’s hair. Second, at I.17.53–60, the entire body of the dead hero is compared, by way of simile, to a tender young olive seedling or ernos that has just been uprooted by a violent gust of wind.

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The droplets of blood that are foregrounded on the hair of the fallen hero Euphorbos are compared here to kharites, plural of kharis, which can mean ‘grace’ or ‘gracefulness’ in general but also, far more specifically in some Greek dialects, ‘myrtle blossom’ (scholia D [via A] for I.17.051). It is as if the besprinkling of the dead hero’s hair with droplets of his own blood could be pictured as a foregrounding of red myrtle blossoms against a background of green darkness.

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The comparison of the dead Euphorbos to an olive ‘seedling’ or ernos that has just been uprooted by a violent gust of wind corresponds to conventional descriptions of the dead in songs of lament. For more on such descriptions, see the comment on I.18.051–060.

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Hector is said to be atalantos or ‘equal’ to Ares. Such a description here is part of a buildup to the eventual confrontation between Hector, who will be wearing the old armor of Achilles, and Achilles himself, who will in turn be wearing his own new armor.

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analysis of Aristarchus’ practice of deciding on what he considers the correct reading by listening to the reading of his anagnōstēs Posidonius

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Hector is compared here to a phlox ‘burst of flame’ streaming from Hephaistos as god of fire. See also I.13.688 and I.16.122–124 on the fire of Hector as a phlox ‘burst of flame’.

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The death of Patroklos is viewed here retrospectively as a great pēma ‘pain’, I.17.099, that is sure to kulindesthai ‘roll’ down from the heights like some boulder and destroy anyone daring to attack a warrior who is being protected by a god. On the metaphor of such a pēma ‘pain’ as a boulder that ‘rolls’ down from the heights, see the comment on I.11.347. In the present context, I.17.098–101, the pēma ‘pain’ has descended upon Patroklos, who has dared to attack Hector while that warrior was being protected by Apollo. This pēma ‘pain’ for Patroklos prefigures what will happen to Achilles himself beyond the Iliad when he dares to attack Paris while that warrior is in turn being protected by Apollo.

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In this retrospective, it is said that Patroklos has been killed as a therapōn of Achilles, who is described here as ‘best of the Achaeans’. The immediate context accommodates here even the deeper meaning of therapōn as ‘ritual substitute’, since Patroklos himself could become temporarily the ‘best of the Achaeans’ at the moment of his death. At that moment, he is substituting himself for Achilles by prefiguring a future moment, beyond the Iliad, when Achilles will die in a way that matches the way that Patroklos died in Iliad 16.

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The Argives=Achaeans are described here as attended by therapontes who are ankhe-makhoi ‘fighting side by side’ with them.

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In most Homeric situations it is Zeus who is primarily responsible for heroic victory.

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Like other names containing the element kleos ‘glory’ in Homeric diction, the name of Patroklos=Patrokleēs can have a periphrastic alternative, as here: ‘the biē of Patroklos’. Comparable is the periphrasis of the name Hērakléēs as biē Hēraklēeíē, or of the name Eteokléēs as bíē Eteoklēeíē. See the comments on I.02.658 and I.04.386.

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The armor of Achilles, which had covered the body of Patroklos and which is now about to cover the body of Hector, is not just ‘immortal’: it is ‘immortalizing’. It will make you immortal unless it stops covering you, as when this armor falls off the body of Patroklos in the course of his death scene as narrated in Iliad 16. On the semantics of ambroto- as ‘immortalizing’, see the comment on I.16.670.

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The armor that was given to Achilles by his immortal mother is immortalizing, whereas the armor that was given to him by his mortal father, the ash spear, symbolizes the hero’s mortality. On the ash spear, see the comment on I.16.140–144.

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When Zeus sees Hector putting on the armor of Achilles, he nods his divine head, thus signaling his will, which in this case is a specific plan to make into a part of the overall narrative a special scene where the death of Hector at the hands of Achilles will cause grief for Andromache, who will never get see Hector wearing the armor of Achilles—since her husband will never return to her alive. Instead of welcoming back her husband in Iliad 22, Andromache will be lamenting him, and the wording at I.22.444 in the context of her impending lament at I.22.476–515 is already prefigured here at I.17.207, referring to the wife’s fond hope to be reunited with her loving husband. See also the comment on I.22.444. Thus the Will of Zeus, the god’s plan, is to create an exquisite artistic effect. Zeus plans here to put in motion a scene of sublime poetic virtuosity, since the epic narrative in Iliad 22 will soon re-enact the lyrical lament of Andromache over the death of Hector, I.22.476–515. Here at I.17.194–214, Zeus is speaking as if he were already the director of the scenario for such a future scene of lament. The god is in effect prefiguring the scene here by way of formally announcing his artistic involvement. Such an involvement can be seen as a kind of metonymic contact with the emotions of Andromache. On the metonymy here, see also the comment on I.01.528–530. See also under metonymy in the inventory of Words and Ideas.

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Aristarchus’ preferred reading for the verse [MRBTP: scholia]

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The name Enūalios can function as an epithet of Ares as war god. In other contexts, the same name can refer to a separate divine personality, likewise a war god.

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Hector here is quite the picture, looking like Achilles because he wears the armor of Achilles.

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

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Ajax is described here as second-best to Achilles both in looks and in deeds.

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Leonard Muellner

switch from Dii patri to Dii t’alloisin te theoisin attested with a variation of the || (short OR two shorts) euxamenos Dii patri # formula which uses epeukhesthai instead of eukhesthai, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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example of a common formula with a different half-line following it nine other times (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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

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comment on eukhomenos and epos being traditionally and syntactically bound together, despite the separate existence of epos ēuda# as in this verse

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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switch from Dii patri to Dii t’alloisin te theoisin attested with a variation of the || (short OR two shorts) euxamenos Dii patri # formula which uses epeukhesthai instead of eukhesthai, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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example of a common formula with a different half-line following it nine other times (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

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Richard Martin

Glaukos applies the foil technique to Hektor, rebuking him with a harsh speech (kraterōi ēnipape muthōi, 17.141). He first praises three different heroic alternatives: Sarpedon, whose corpse they must fight for, was a great benefit to all when alive (17.152); Achilles, whose companion is dead, is "best by far of the Argives by the ships" (17.165); but Hektor, he asserts, could not face even Ajax—"since he is stronger than you." The rebuke is all the more stinging to an audience that has heard Sarpedon himself use the same foil technique to Hektor previously (5.483-86), posing his own heroic career as the contrast to Hektor's passivity (Martin 1993:74).

For the broader analysis of the foil technique in flyting muthoi, 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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