Homer Iliad 20.340

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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.) — 20.340 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.) — 20.340 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.) — 20.340 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.340 focus
The god left him when he had given him these instructions, and at once removed the darkness from before the eyes of Achilles, who opened them wide indeed and said in great anger, “Alas! what marvel am I now beholding? [345] Here is my spear upon the ground, but I see not him whom I meant to kill when I hurled it. Of a truth Aeneas also must be under heaven’s protection, although I had thought his boasting was idle. Let him go hang; he will be in no mood to fight me further, [350] seeing how narrowly he has missed being killed. I will now give my orders to the Danaans and attack some other of the Trojans.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.340 focus
With that, he left him wondering as he lay,
Then from Achilles chas'd the mist away:
390
Sudden, returning with the stream of light,
The scene of war came rushing on his sight.
Then thus amaz'd: ‘What wonders strike my mind!
‘My spear, that parted on the wings of wind,
‘Laid here before me! and the Dardan lord,
395
‘That fell this instant, vanish'd from my sword!
‘I thought alone with mortals to contend,
‘But powers celestial sure this foe defend.
‘Great as he is, our arm he scarce will try,
‘Content for once, with all his gods, to fly.
400
‘Now then let others bleed.’ This said, aloud
He vents his fury, and inflames the crowd:
‘O Greeks,’ (he cries, and every rank alarms,)
‘Join battle, man to man, and arms to arms!
‘'Tis not in me, though favour'd by the sky,
405
‘To mow whole troops, and make whole armies fly:
‘No god can singly such a host engage,
‘Not Mars himself, nor great Minerva's rage.
‘But whatsoe'er Achilles can inspire,
‘Whate'er of active force, or acting fire,
410
‘Whate'er this heart can prompt, or hand obey;
‘All, all Achilles, Greeks, is yours to-day.
‘Through yon wide host this arm shall scatter fear,
‘And thin the squadrons with my single spear.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.340 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.340 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.340 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

New Alexandria Commentaries

Gregory Nagy

By now Achilles has a new set of armor, and he is ready to fight the Trojans. But his first major opponent seems to be a distraction. At least, our initial impression may lead us to think that there is a distraction going on here. The first major opponent of Achilles in Iliad 20 is Aeneas, hero of epic traditions that eventually became absorbed into the Aeneid of Virgil. Is this hero, we may ask, a truly worthy opponent of Achilles? Are the epic traditions that figure this son of Aphrodite / Venus truly worthy of the epic that is the Homeric Iliad? Once we examine more closely the oldest Greek epic traditions of Aeneas, it will become clear that this hero is indeed a most important opponent of Achilles, in that he represents ancient Greek epic traditions that are different from and antithetical to the epic tradition that prevailed in the Homeric Iliad as we know it. Not only does Aeneas challenge Achilles: even the epic traditions that figure Aeneas will challenge the epic traditions that figure Achilles. To say it another way, Aeneas represents a proto-Aeneid that challenges the proto-Iliad of Achilles. What makes Aeneas and his Aeneid—or, better, Aeneids—such a formidable challenge to Achilles is the enormous political prestige of the epic tradition that backs up Aeneas. By virtue of being the son of Aphrodite/Venus, Aeneas possesses a genealogical and dynastic charisma that threatens to overshadow the purely epic charisma of his Iliadic opponent Achilles.

draft js image error“Venus preventing her son Aeneas from killing Helen of Troy,” Luca Ferrari, circa 1650. Luca Ferrari [Public domain], via Wikimedia Commons.

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Leonard Muellner

in a list of secular eukhesthai indicating direct speech (introducing speech)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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analysis of cases where speeches introduced/concluded by formulas (X) = introduce speech – Greek speaker – dead Trojan, or (Y) = conclude speech – Trojan speaker – dead Greek, are challenges to a confrontation with another hero [MRBTP: 'ff']

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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Richard Martin

The brief encounter of Achilles and Hektor in Book 20 (20.449-54) is another instance of enemies exchanging winged words. The directive force of Achilles' words is that of a warning: he will finish off Hektor on their next meeting (20.452). It is not unlikely that the regular employment of the formula—usually introducing friendly, same-side directives between just two speakers—carried with it an implicit tone of voice and volume. Such speeches could properly be performed by a poet in a stage whisper, or with an intimate low modulation. If this same auditory effect was produced by Homer as he imitated Achilles' or Hektor's voice in the speeches we have just noted, the audience, recalling the more common employment, would hear the intimate voice of violence (Martin 1993:34).

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