Homer Iliad 15.220

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Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 15.220 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.) — 15.220 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.) — 15.200 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.220 focus
Then Zeus said to Apollo, “Go, dear Phoebus, to brazen-helmeted Hector, for Poseidon who holds the earth in his embrace has now gone down under the sea to avoid the severity of my displeasure. Had he not done so those gods [225] who are below with Kronos would have come to hear of the fight between us. It is better for both of us that he should have curbed his anger and kept out of my reach, for I should have had much trouble with him. Take, then, your tasseled aegis, [230] and shake it furiously, so as to set the Achaean heroes in a panic; take, moreover, brave Hector, O Far-Darter, into your own care, and rouse him to deeds of daring, till the Achaeans are sent fleeing back to their ships and to the Hellespont. From that point I will think it well over, [235] how the Achaeans may have a respite from their troubles [ ponoi].”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 15.220 focus
The lord of thunders from his lofty height
Beheld, and thus bespoke the source of light:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.220 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 15.220 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.220 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 15 focus

New Alexandria Commentaries

Douglas Frame

example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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Gregory Nagy

The climax of the fighting in the Iliad is now approaching. Patroklos is about to enter the war, and the Will of Zeus is about to be fulfilled.

draft js image errorAjax defending the ships of the Greeks. After a drawing by John Flaxman. Image via Wikimedia Commons.

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As the divine artisan or craftsman, the god Hephaistos is conventionally called a khalkeus ‘bronze-smith’, as here. It will become clear from later contexts, like I.18.474–475, that this appelation of the god does not restrict him to work in bronze: he works in other metals as well. See the comment on I.18.468–613.

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Leonard Muellner

in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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Richard Martin

Along with his excellence at the javelin, Thoas excels in speech: "Few of the Achaeans would beat him at speaking, whenever they used to engage in strife concerning muthoi" (15.283-84). The word for this style of speech connected with muthoi here is also used precisely for a place—the public arena of speech (Martin 1993:37).

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At 15.284-85, Thoas is described as a good speaker "whenever young men engage in strife (erisseian) concerning speech-acts (muthoi)." This narrative phrase alludes to the agonistic quality of muthoi directly: such muthoi are not only the various proposals brought forward by potential commanders but also the counterarguments that denigrate others' commands. One can "engage in strife" about them not only in terms of content but in the matter of their style. The difference between a muthos command and a flyting speech may at times be minimal, since every instance of the former, even those by Zeus, is open to challenge. The two genres thus complement one another (Martin 1993:68-69).

For the broader analysis of the flyting genre, see the comment on Iliad 4.336-421.

References

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

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