The Iliad 17.423–437

and the iron din went up through the unresting air to the brazen heaven. But the horses of the son of Aeacus being apart from the battle were weeping, since first they learned that their charioteer had fallen in the dust beneath the hands of man-slaying Hector. In sooth Automedon, valiant son of Diores, full often plied them with blows of the swift lash, and full often with gentle words bespake them, and oft with threatenings; yet neither back to the ships to the broad Hellespont were the twain minded to go, not yet into the battle amid the Achaeans. Nay, as a pillar abideth firm that standeth on the tomb of a dead man or woman, even so abode they immovably with the beauteous car, bowing their heads down to the earth. And hot tears ever flowed from their eyes to the ground, as they wept in longing for their charioteer, and their rich manes were befouled,

ὣς ἄρα τις εἴπεσκε, μένος δʼ ὄρσασκεν ἑκάστου. ὣς οἳ μὲν μάρναντο, σιδήρειος δʼ ὀρυμαγδὸς χάλκεον οὐρανὸν ἷκε διʼ αἰθέρος ἀτρυγέτοιο· ἵπποι δʼ Αἰακίδαο μάχης ἀπάνευθεν ἐόντες κλαῖον, ἐπεὶ δὴ πρῶτα πυθέσθην ἡνιόχοιο ἐν κονίῃσι πεσόντος ὑφʼ Ἕκτορος ἀνδροφόνοιο. ἦ μὰν Αὐτομέδων Διώρεος ἄλκιμος υἱὸς πολλὰ μὲν ἂρ μάστιγι θοῇ ἐπεμαίετο θείνων, πολλὰ δὲ μειλιχίοισι προσηύδα, πολλὰ δʼ ἀρειῇ· τὼ δʼ οὔτʼ ἂψ ἐπὶ νῆας ἐπὶ πλατὺν Ἑλλήσποντον ἠθελέτην ἰέναι οὔτʼ ἐς πόλεμον μετʼ Ἀχαιούς, ἀλλʼ ὥς τε στήλη μένει ἔμπεδον, ἥ τʼ ἐπὶ τύμβῳ ἀνέρος ἑστήκῃ τεθνηότος ἠὲ γυναικός, ὣς μένον ἀσφαλέως περικαλλέα δίφρον ἔχοντες οὔδει ἐνισκίμψαντε καρήατα· δάκρυα δέ σφι

Lattimore commentary

The perfect relevance of this simile to the context is increased if the poet has in mind tombstones such as were made in Athens in the early sixth century BC. Scenes with sculpted or painted warriors and horses might have been familiar to the audiences for epic poetry; other stêlai depicted lamenting kinfolk. This image captures both aspects. Once more the tragic incompatibility of mortal and divine is stressed.

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menos pothos