Homer – Iliad

Original: ὣς οἳ μὲν κατὰ ἄστυ πεφυζότες ἠΰτε νεβροὶ ἱδρῶ ἀπεψύχοντο πίον τ’ ἀκέοντό τε δίψαν κεκλιμένοι καλῇσιν ἐπάλξεσιν ·

Translation: Thus , they , having fled into the city , rested like fawns , cooling their sweat , drinking , and healing their thirst while leaning on the fair ramparts .

Note

This sentence employs a vivid simile (ὡς... νεβροί) to describe the soldiers' exhaustion and relief. The comparison to fawns (νεβροί) emphasizes their vulnerability and the sudden, instinctive nature of their need for rest and water after fleeing the battlefield. The syntax features a series of coordinated verbs in the imperfect middle/passive (ἠύτε, ἀπεψύχοντο, ἀκέοντο) connected by the enclitic conjunction τε (and), creating a rhythmic enumeration of actions. The participle κεκλιμένοι (leaning) provides the physical posture for these actions, while the adjective καλησίσι (fair/beautiful) applied to the ramparts (ἐπάλξεσιν) serves as an epithet, a common Homeric feature that elevates the description of the setting. The phrase ἰδρῶ ἀπεψύχοντο (they cooled their sweat) uses a unique construction where the body fluid is the object of the cooling action, highlighting the physical sensation of relief.

Original: αὐτὰρ Ἀχαιοὶ τείχεος ἆσσον ἴσαν σάκε’ ὤμοισι κλίναντες .

Translation: But the Achaeans went close to the wall , having slung their shields upon their shoulders .

Note

The sentence opens with the enclitic postpositive particle αὐτάρ, which functions as a narrative connective to mark a sharp transition or contrast with the preceding action (often used in Homeric epic to shift focus between groups or events). The verb ἴσαν is an imperfect indicative of ἔρχομαι ('to go'), denoting continuous or habitual action in the past. The adverb ἄσσω ('close') modifies the verb of motion, indicating proximity to the object, τείχεος ('of the wall'), which is in the genitive case, a construction typical of verbs of motion indicating the goal or limit of movement. The participle κλῖναντες ('having slung/leaning') is aorist active, agreeing with the subject Αχαιοι, and introduces a circumstantial action that explains the manner in which the Achaeans advanced. The object of the participle is σακέ' (a contracted form of σάκεα, 'shields'), and the dative plural ωμοῖσι ('shoulders') indicates the location where the shields were placed. This specific image of carrying shields on the shoulders while advancing is a standard military preparation in Homeric warfare, often preceding the engagement. The syntax relies on a participial phrase to compress the sequence of actions (putting on armor) with the main movement, a common feature of the Homeric style for maintaining narrative momentum.

Original: Ἕκτορα δ’ αὐτοῦ μεῖναι ὀλοιὴ μοῖρα πέδησεν Ἰλίου προπάροιθε πυλάων τε Σκαιάων .

Translation: And his own destructive fate bound Hector to remain before the gates of Ilium and the Scaean gates .

Note

The sentence employs the verb πεδαάω (pedaō) in the sense of 'to bind' or 'to fetter,' metaphorically illustrating how fate (μοῖρα) acts as an inescapable shackle preventing Hector from retreating. The adjective ὀλοή (olōē), meaning 'destructive' or 'ruinous,' modifies μοῖρα, emphasizing the fatal nature of the destiny that awaits him. The phrase προπαρόψει πυλαῶν (before the gates) is reinforced by the asyndeton-like coordination with τε... Σκαιαίων (the Scaean gates), which serves to specify the location with precision and solemnity. The use of the genitive plural πυλαῶν and Σκαιαίων creates a tight nominal phrase that evokes the physical and symbolic threshold of Troy. The particle δέ (de) at the beginning of the clause marks a continuation of narrative, while αὐτοῦ (autou) functions adverbially to emphasize 'in his own person' or 'by his own self,' underscoring the personal nature of his doom. The structure highlights the inevitability of Hector's death, a central theme in the Iliad, where fate and human agency are inextricably linked.

Original: αὐτὰρ Πηλείωνα προσηύδα Φοῖβος Ἀπόλλων ·

Translation: But Phoebus Apollo addressed Peleus ' son .

Note

The sentence begins with αὐτάρ (autar), a common Homeric discourse particle used to mark a sharp transition, often signaling a shift in focus from a previous speaker or action to a new one. In this context, it functions as an adversative or continuative conjunction, effectively translating to 'but' or 'now'. The verb προσηύδα (prosēuida) is aorist active indicative of προσαυδάω, meaning 'to address' or 'speak to'; in epic poetry, this verb often implies a formal or authoritative speech act. The subject, Φοῖβος Ἀπόλλων (Phoibos Apollo), uses the epithet 'Phoebus' (meaning 'bright' or 'pure'), a standard appositional attribute for the god in the Iliad. The object, Πηληΐωνα (Pēleïona), is the accusative form of Πηληΐων, a patronymic meaning 'son of Peleus' (Achilles), which is frequently used in Homer to identify the hero without repeating his personal name. The syntactic structure follows a typical Homeric pattern where the subject (Apollo) is split by an epithet and placed after the verb, while the object precedes the verb, creating a balanced yet dynamic flow characteristic of dactylic hexameter.

Original: " τίπτέ με Πηλέος υἱὲ ποσὶν ταχέεσσι διώκεις αὐτὸς θνητὸς ἐὼν θεὸν ἄμβροτον ;

Translation: Why are you pursuing me , son of Peleus , with your swift feet , while you yourself are mortal and I am an immortal god ?

Note

The sentence features a direct rhetorical question (τίπτε) expressing Achilles' frustration at Apollo's relentless pursuit. The phrase 'son of Peleus' (υἱὲ Πηλεΐδαο) is a standard epic vocative address, though the genitive Πηλεΐδος is often used in other contexts; here the form Πηλέος is the genitive of Πηλεύς. The adjective ταχεέσσι (swift) modifying ποσίν (feet) is a common Homeric epithet emphasizing speed in chase. The contrast between θνητός (mortal) and θεὸν ἀμβρότον (immortal god) highlights the fundamental ontological difference between the two characters, a recurring theme in the Iliad. The structure employs an asyndetic juxtaposition of the mortal and the divine to heighten the dramatic tension.

Original: οὐ -δέ νύ πώ με ἔγνως ὡς θεός εἰμι , σὺ δ’ ἀσπερχὲς μενεαίνεις .

Translation: And yet , you have not yet recognized me as a god , but you persist in your reckless fury .

Note

The sentence features a chiastic-like contrast between the two clauses: the first denies recognition of divine status (με ... ως θεός εἰμι), while the second affirms the addressee's stubborn human behavior (σύ ... ἀσπέρχεσμεναι). The particle δέ (here appearing as -δέ and δ') functions to connect the clauses with a strong adversative force, emphasizing the speaker's frustration. The adverb πω (yet) combined with the negative οὐ creates a double negative construction common in Homeric Greek to emphasize that the action has not occurred up to the present moment. The adjective ἀσπέρχεσμεναι (reckless/insatiable) is an epic form describing the unbridled anger of the addressee, likely Agamemnon, highlighting the tragic gap between the speaker's divine nature and the mortal's inability to perceive it.

Original: ἦ νύ τοι οὔ τι μέλει Τρώων πόνος , οὓς ἐφόβησας , οἳ δή τοι εἰς ἄστυ ἄλεν , σὺ δὲ δεῦρο λιάσθης .

Translation: Yet it concerns you not at all the toil of the Trojans whom you frightened , whom indeed have come to the city , and you have lingered here .

Note

The sentence features a complex structure where the subject (πόνος, 'toil') is displaced and modified by two relative clauses. The first relative clause (οὓς ἐφόβησας) describes the Trojans as the object of fear, while the second (οἳ δὲ τοι εἰς ἄστυ ἤλυθον) uses the enclitic δέ for contrast or continuation, with ἤλυθον (from εἶλω) meaning 'have come' or 'arrived'. The verb λιάσθης (from λιάζομαι) is a middle/passive form meaning 'to linger' or 'to delay', often used in contexts of hesitation or staying in a place. The phrase οὐ τί μελεῖ ('it does not concern') is a common idiom in Homeric Greek to express indifference. The use of ἡνύ (here ἡνυ) is an emphatic particle, and the asyndeton (lack of conjunction) between the clauses adds a sense of immediacy and urgency to the speaker's rebuke.

Original: οὐ μέν με κτενέεις , ἐπεὶ οὔ τοι μόρσιμός εἰμι " .

Translation: You will not kill me , for I am not fated for you .

Note

The sentence employs the conjunction μεν... (though the correlating de is absent here, the particle μεν alone often serves to mark a strong assertion or contrast in Homeric speech). The verb κτενεῖς (future indicative active, 2nd person singular) expresses a prediction or certainty regarding the action of killing, rather than a command. The clause introduced by εἰπεί (for/since) provides the causal reasoning. The adjective μορσίμος (fated, destined) is a key theological term in the Iliad, referring to the specific allotment of death determined by the gods or Moira (Fate). The dative pronoun τοι (to you) indicates the beneficiary or target of the fate; the speaker asserts that their death is not ordained for the listener's benefit or hands. The sentence structure highlights the tension between human agency (the threat of killing) and divine determinism (fate).

Original: τὸν δὲ μέγ’ ὀχθήσας προσέφη πόδας ὠκὺς Ἀχιλλεύς ·

Translation: But having greatly grieved him , swift-footed Achilles spoke to him .

Note

The sentence features the epithet 'swift-footed' (πολύς, literally 'many-footed' or 'quick-footed') which is a standard Homeric formulaic epithet for Achilles, emphasizing his speed and martial prowess. The participle 'having greatly grieved' (οχθησας) is an aorist active participle in the masculine nominative singular, agreeing with the subject Achilles, and functions adverbially to indicate the cause or accompanying circumstance of the main verb 'spoke' (προσεφη). The particle 'δε' (but/and) serves a connective function, linking this utterance to the preceding narrative. The word order places the object pronoun 'him' (τον) at the beginning of the clause for emphasis, a common feature in Homeric poetry known as hyperbaton, which creates a sense of dramatic focus on the interaction between the characters. The use of the aorist tense in both the participle and the main verb suggests a completed action, highlighting the immediacy of Achilles' emotional state before his speech.

Original: " ἔβλαψάς μ’ ἑκάεργε θεῶν ὀλοώτατε πάντων ἐνθάδε νῦν τρέψας ἀπὸ τείχεος ·

Translation: You struck me , Hecaeergus , most ruinous of all gods , having turned me back from the wall here and now .

Note

The sentence features the vocative epithet 'Ἑκάεργε' (Hecaeergus), a traditional Homeric title for Apollo, literally meaning 'far-worker' or 'he who works from afar,' here used ironically by a wounded warrior. The adjective 'ὀλοώτατε' (most ruinous/destructive) is in the superlative degree, intensifying the speaker's accusation of divine malice. The construction uses a perfect active participle 'τρέψας' (having turned) with the preposition 'ἀπό' (from) and the genitive 'τείχεος' (of the wall), indicating the result of the action. The adverbs 'ἐνθάδε' (here) and 'νῦν' (now) are placed together for emphasis, highlighting the immediacy and location of the divine intervention. The syntax reflects the oral formulaic style of Homeric epic, where divine intervention is often described through direct address and vivid participial phrases.