Diomedes, son of Tydeus, occupies a singular position in the depth-psychology corpus as the Homeric hero who most completely enacts the principle of divinely augmented human excellence. Unlike Achilles, whose greatness is shadowed by tragic withdrawal, Diomedes operates as the paradigm of active, Athena-sustained aristeia: the warrior whose capacities are so aligned with the goddess’s will that the boundary between mortal courage and divine power becomes temporarily permeable. Walter F. Otto’s readings locate in the Diomedes episode of Iliad Book Five a supreme instance of divine manifestation—Athena not merely inspiring but bodily present, driving the chariot, deflecting Ares’ spear, steering the hero’s weapon into the war-god’s own body. For Otto, no other episode in the Iliad so vividly dramatizes the interpenetration of human and divine reality. The philological tradition represented by Lattimore and Nagy situates Diomedes differently: as the representative figure of the Epigonoi, the generation that succeeded where fathers failed, and as one of the rare heroes for whom immortalization on the Isles of the Blessed was claimed. Cairns and Adkins illuminate the shame-culture dynamics operative in his battlefield conduct, while the Iliad text itself preserves his restraint—his obedience to Athena’s limits even under provocation—as a counterpoint to Achilles’ excess. Diomedes thus concentrates a cluster of concerns central to archaic Greek psychology: the relation between divine favor and human merit, the ethics of martial restraint, and the psychology of the hero who acts within, rather than against, divine order.