Homer Iliad 6.116

View: By Book
Hector obedient heard; and, with a bound,
125
Leap'd from his trembling chariot to the ground;
Through all his host, inspiring force, he flies,
And bids the thunder of the battle rise.
With rage recruited the bold Trojans glow,
And turn the tide of conflict on the foe:
130
Fierce in the front he shakes two dazzling spears;
All Greece recedes, and midst her triumph fears:
Some god, they thought, who rul'd the fate of wars,
Shot down avenging, from the vault of stars.

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.) — 6.116 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.) — 6.116 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.) — 6.102 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.116 focus
With this he went his way, and the black rim of hide that went round his shield beat against his neck and his ankles.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.116 focus
He spake, and Hector of his brother's words
130
Was not unmindful. Instantly he leaped,
Armed, from his chariot, shaking his sharp spears;
And everywhere among the host he went,
Exhorting them to combat manfully;
And thus he kindled the fierce fight anew.
135
They, turning from the flight, withstood the Greeks.
The Greeks fell back and ceased to slay; they thought
That one of the immortals had come down
From out the starry heaven to help the men
Of Troy, so suddenly they turned and fought.
140
Then Hector to the Trojans called aloud :
"O valiant sons of Troy, and ye allies
Summoned from far! Be men, my friends; call back
Your wonted valor, while I go to Troy
To ask the aged men, our counsellors,
145
And all our wives, to come before the gods
And pray and offer vows of sacrifice."
So the plumed Hector spake, and then withdrew,
While the black fell that edged his bossy shield
Struck on his neck and ankles as he went.
150
Now came into the midst between the hosts
Glaucus, the offspring of Hippolochus,
And met the son of Tydeus, both intent
On combat. But when now the twain were near,
And ready to engage, brave Diomed
155
Spake first, and thus addressed his enemy: -
"Who may'st thou be, of mortal men? Most brave
Art thou, yet never in the glorious fight
Have I beheld thee. Thou surpassest now
All others in thy daring, since thou com'st
160
Within the reach of my long spear. The sons
Of most unhappy men are they who meet
My arm; but if thou comest from above,
A god-I war not with the gods of heaven;
For even brave Lycurgus lived not long,
165
The son of Dryas, who engaged in strife
With the celestial gods. He once pursued
The nurses of the frantic Bacchus through
The hallowed ground of Nyssa. All at once
They flung to earth their sacred implements,
170
Lycurgus the man-slayer beating them
With an ox-driver's goad. Then Bacchus fled
And plunged into the sea, where Thetis hid
The trembler in her bosom, for he shook
With panic at the hero's angry threats.
175
Thenceforward were the blessed deities
Wroth with Lycurgus. Him did Saturn's son
Strike blind, and after that he lived not long,
For he was held in hate by all the gods.
So will I never with the gods contend.
180
But if thou be indeed of mortal race,
And nourished by the fruits of earth, draw near;
And quickly shalt thou pass the gates of death."
Hippolochus's son, the far-renowned,
Made answer thus: "O large-souled Diomed,
185
Why ask my lineage? Like the race of leaves
Is that of humankind. Upon the ground
The winds strew one year's leaves; the sprouting wood
Puts forth another brood, that shoot and grow
In the spring season. So it is with man:
190
One generation grows while one decays.
Yet since thou takest heed of things like these,
And askest whence I sprang, - although to most
My birth is not unknown, - there is a town
Lapped in the pasture-grounds where graze the steeds
195
Of Argos, Ephyra by name, and there
Dwelt Sisyphus Æolides, most shrewd
Of men; his son was Glaucus, and the son
Of Glaucus was the good Bellerophon,
To whom the gods gave beauty and the grace
200
Of winning manners. Prœtus sought his death
And banished him, for Prœtus was the chief
Among the Argives; Jupiter had made
That people subject to his rule. The wife
Of Prœtus, nobly-born Anteia, sought
205
With passionate desire his secret love,
But failed to entice, with all her blandishments,
The virtuous and discreet Bellerophon.
Therefore went she to Prœtus with a lie, —
""Die, Prœtus, thou, or put Bellerophon
210
To death, for he has offered force to me.'
"The monarch hearkened, and was moved to wrath;
And then he would not slay him, for his soul
Revolted at the deed; he sent him thence
To Lycia, with a fatal tablet, sealed,
215
With things of deadly import writ therein,
Meant for Anteia's father, in whose hand
Bellerophon must place it, and be made
To perish. So at Lycia he arrived
Under the favoring guidance of the gods;
220
And when he came where Lycian Xanthus flows,
The king of that broad realm received his guest
With hospitable welcome, feasting him
Nine days, and offering up in sacrifice
Nine oxen. But when rosy-fingered morn
225
Appeared for the tenth time, he questioned him
And bade him show the token he had brought
From Prœtus. When the monarch had beheld
The fatal tablet from his son-in-law,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.116 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.116 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.116 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

Notes on the current edition

Iliad

1. A mountain in Thrace, of which Lycurgus was king.
2. "As of the green leaves on a thick tree, some fall and some grow, so is the generation of flesh and blood; one cometh to an end, and another is born." Ecclesiasticus, xiv. 18.
3. The same city that was afterwards called Corinth.

New Alexandria Commentaries

Douglas Frame

analysis of the spelling of Dionysos in Homeric poetry with this line as an example of the spelling with omega (as opposed to the Attic spelling with omicron, in the context of analyzing O.11.321-325 and the evidence for its being an interpolation)

source

analysis of the spelling of Dionysos in Homeric poetry with this line as an example of the spelling with omega (as opposed to the Attic spelling with omicron, in the context of analyzing O.11.321-325 and the evidence for its being an interpolation)

source
Gregory Nagy

A high point here in Rhapsody 6 is a tearful scene of farewell for Andromache and Hector. The loving wife will never again see her husband alive. The scene is justly admired for its artistic portrayal of this tragically doomed couple, but the verbal artistry extends even further: also to be most admired here is the remarkable precision of poetic language in representing lament as it was actually performed in ancient Greek song culture.

draft js image errorApulian red-figure column-crater (ca. 370–360 BCE) depicting an intimate family scene: Hector removes his helmet as he says his final farewell to his wife Andromache and to their child Astyanax. Public domain image by Jastrow via Wikimieda Commons

source

The encounter of Glaukos and Diomedes prompts an exquisite meditation on the opposition of heroic mortality vs. immortality in terms of nature vs. culture.

source
Leonard Muellner

example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

source

example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

source

example of an elaborated speech about one’s geneē (Glaukos), in the context of analyzing the more common short genos eukhesthai einai formulas

source

example of an elaborated speech about one’s geneē (Glaukos), in the context of analyzing the more common short genos eukhesthai einai formulas

source
Richard Martin

The encounter between Glaukos and Diomedes in Book 6 is the turning point in Diomedes' education in performance, as that affects his speech to enemies (Martin 1993:126). Within the Iliad the process of learning a tradition and the growth of creative ability at performance is depicted through Diomedes. Had there been little other evidence, this depiction alone would encourage the imagination that the poet in such a medium composed as he performed. After this encounter, the hero delivers several quite good flyting attacks, against Dolon (10.369 and 10.446), Hektor (11.361), and Paris (11.384).

The demand to know Glaukos' genealogy makes sense in the context of flyting, since it gives the speaker a hold with which to throw his opponent. The implication of Diomedes' remark that Glaukos has not appeared before in "man-glorifying" battle is that Glaukos has no ability to be glorified; and the reference to the "boldness" of Glaukos has to be read with an eye to the negative connotations of "boldness" when a speaker's deeds do not authorize this. The apparent digression into the story of Dionysos furthers this strategy: scared women, a comforting mother-figure, a threatening male who engages in rough language—these figures in Diomedes' miniature dramatization of "myth" are in fact projections of the participants in the very muthos of flyting in which he is engaged. For Dionysos and the nurses, read Glaukos; for Lykourgos, Diomedes; and for Thetis, compare the women of Troy. Diomedes' myth, then, is a version of his victory, a wish fulfillment of the threatening physical encounter (Martin 1993:127-28).

Glaukos is not naive. His first strategy—to question the value of genealogy—contains the famous image of the "generations of leaves," but in the language of Homer, falling to the ground connotes the end of human as well as vegetal life: this is a coded threat. The invitation to learn Glaukos' genealogy from him also contains a veiled insult: the reply, "Many men know it" (6.151), implies that Diomedes, who professes not to, is unpracticed in feats of memory, an essential genre for the performing hero to perfect. Glaukos' tale of ancestry is thus not factual information but makes sense only in performance: it is a symbol in a game of dueling narratives, an act of self-presentation that attempts to wrest authority (Martin 1993:128-29).

Diomedes' second speech—how Oineus, his grandfather, played host to Bellerophon (6.215-31)—is the only passage in which such a "myth" of Oineus' meeting with Bellerophon is ever mentioned because Diomedes has just invented the "tradition" in order to force Glaukos into the socially correct ritual exchange. He speaks to win, and does. Zeus "took away the wits of Glaukos, who exchanged golden armor for bronze, 100-cows'-worth for that of nine" (6.234-36): Glaukos resembles Laomedon, involved as he is in a shamefully bad exchange; Diomedes is analogous to Sarpedon, since he induced his enemy to switch armor. Diomedes' creative expansion of "tradition" is at work; the mention of the theme by Glaukos opens a narrative chink at which Diomedes has thrust successfully (Martin 1993:129-30).

References

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

source