of the warlike deeds of Athena and Ares. And the lovely things, which is the same as to say desirable and longed for, are said from the verb *imeirō* (to long for), 2.118 or to speak more precisely, from *himeros* (desire), which Euripides fashions as a poisonous drug of Aphrodite in the line "never against me may you shoot from your golden bow, having anointed with desire an inescapable arrow." And "the works of marriage" has a certain beauty, even if a faint one according to the rhetoricians, in that the ending of the first word becomes the beginning of the second. (Il. 5.430) [And "to swift Ares" and the following is a timely pre-announcement, since the Homeric Zeus, who is mind, will shortly work a marvelous warlike reversal involving Athena and Ares, through which Diomedes will appear majestic. (Il. 5.429) And it must be known that the poet here says the works of marriage are not those simply belonging to women, such as the loom, the distaff, and whatever else he himself knows, of which he made bare mention in "neither wits nor any works," that is, things after marriage in the sense of household management, but things useful for marriage itself, such as love, affection, desire, intimate talk, persuasion, and such things, fitting not for Athena Ergane, but for Aphrodite, mother of loves.] (Il. 5.432-42) That Diomedes is so bold that he is even bold against Apollo, when he was saving Aeneas, holding his hands over him. and three times he then rushed upon Aeneas, and three times Apollo struck back his shining shield. And the fourth time, after shouting terribly, that is, threatening him, he checked his charge. And the account shows that Diomedes now acts bravely even beyond what is fated. For Apollo also reveals a certain fate, just as Zeus does, as has been said before and will appear in many places. And in these things, see that, just as a little before it was said, "knowing that she was a strengthless 2.119 god," so also here lies the phrase "knowing that Apollo himself held his hands over him," that is, that he held over, which is, he held his hands above Aeneas, protecting him, and that "nor did he reverence the great god" is the mark of a god-fighting audacity. (Il. 5.438) And that the phrase "but when for the fourth time he rushed on like a god" will at some point express a daemonic insolence. And here *isos* (equal) would be used improperly, as also in countless other places. And indeed wise prose writers show its difference from *homoion* (like), and Euripides shows it no less clearly in "neither anything like nor equal to mortals," of which the one, *homoion*, is of quality, and the other, *isos*, of quantity, that is. (Il. 5.440-2) That one who is restraining someone from strife against the great might wittily say, "Consider and give way, and do not be willing to think thoughts equal to the gods, since the race of immortal gods and of men who walk upon the earth is never alike." The phrase "Consider, son of Tydeus, and give way" is a clear case of parison. And that *homoîon* (alike) is by analogy proparoxytone and not against the rule, according to the proparoxytone *hómoion* (like), is shown in many places, 2.120 just as *homoîos* is found in other places and in the Odyssey, which is in every way more analogical than *hómoios*. [And see here also in "to think thoughts equal" and in "a like race" that *ison* is taken instead of *homoion*, just as a little before. And it is clear that Homer lengthens the first syllable of *isos*, but the tragedians shorten it.] (Il. 5.446) That here also Pergamus is feminine in Homer for the Trojan acropolis, in which is also a temple of Apollo. For he says, "in sacred Pergamus, where his temple was built," and a little later "on the height of Pergamus." And the said temple seems to be large. (Il. 5.447 f.) Therefore he says: in the great sanctuary they were tending, that is, Apollo, his mother Leto and his sister Artemis. And this might be said also whenever a man of authority is honored somewhere in a sacred sanctuary. (Il. 5.449) That the phantom of Aeneas, which Apollo, that is, the sun, fashioned, over which the Trojans and Greeks fight, is an image, which remained in the armies from the sight and view of Aeneas under the sun, and the, so to speak, phantom-making of the hero, which the army, still bearing it in themselves from the initial incitement and recalling to mind the fallen one as in a phantom-making, joined in a heavy war as if Aeneas himself were truly present, even though he had been snatched away. But the ancients, solemnizing this myth in another way, say that according to a primary account the phantom is all this