Homer Iliad 17.456

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He said; and breathing in th' immortal horse
Excessive spirit, urg'd them to the course;
525
From their high manes they shake the dust, and bear
The kindling chariot through the parted war.
So flies a vulture through the clamorous train
Of geese, that scream, and scatter round the plain.
From danger now with swiftest speed they flew,
530
And now to conquest with like speed pursue;
Sole in the seat the charioteer remains,
Now plies the javelin, now directs the reins:
Him brave Alcimedon beheld distress'd,
Approach'd the chariot, and the chief address'd:
535

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.) — 17.456 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.) — 17.456 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.) — 17.428 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.456 focus
So saying he [Zeus] breathed good power [ menos] into the horses so that they shook the dust from out of their manes, and bore their chariot swiftly into the fight that raged between Trojans and Achaeans. [460] Behind them fought Automedon full of sorrow for his comrade, as a vulture amid a flock of geese. In and out, and here and there, full speed he dashed amid the throng of the Trojans, but for all the fury of his pursuit he killed no man, [465] for he could not wield his spear and keep his horses in hand when alone in the chariot; at last, however, a comrade, Alkimedon, son of Laerkes son of Haimon caught sight of him and came up behind his chariot. “Automedon,” said he, “what god has put this folly into your heart [470] and robbed you of your right mind, that you fight the Trojans in the front rank single-handed? He who was your comrade is slain, and Hector plumes himself on being armed in the armor of the descendant of Aiakos.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 17.456 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.456 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 17.456 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.456 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 17 focus

New Alexandria Commentaries

Douglas Frame

example of opposition between of halonai and kaktámen. Compare to Il. XII.172

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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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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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Automedon, who has been the chariot driver for Patroklos, calls out to Alkimedon to take his place as the driver, since he now wants to become the chariot fighter, thus stepping off the platform of the chariot, as indicated by the verb apobainein ‘step off’, I.17.480. For background on apobatic maneuvers in chariot warfare, see Nagy 2015.05.01, 2015.05.08, 2015.05.15, 2015.05.20. The new relationship of Automedon and Alkimedon as chariot fighter and chariot driver respectively is relevant to the potential function of the chariot driver as a ritual substitute for the chariot rider. See the comment on I.04.227.

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The name of Îris (῏Ιρις), the goddess who functions as divine messenger, is a “speaking name” (nomen loquens), deriving from the root uī- as in īs ‘force, violence, strength’. This word īs and also the word biē, which likewise means ‘force, violence, strength’, is conventionally associated with the power of winds, as at I.17.739 and at I.16.213 respectively. Likewise, the goddess Iris herself is powered by windspeed, as we see from the expression podēnemos ōkea Îris* (ποδήνεμος ὠκέα Ἶρις) ‘Iris swift with feet of wind’ at I.18.196 and elsewhere.

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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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as a parallel to the collocation of elpomai and exelaan that Zenodotus has, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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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 a list of secular eukhesthai indicating direct speech (introducing speech)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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