Homer Iliad 20.373

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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.) — 20.373 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.) — 20.373 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)) — 20.373 focus
Thus urged the Trojans lifted up their spears against the Achaeans, and raised the cry of battle as they flung themselves into the midst of their ranks. [375] But Phoebus Apollo came up to Hector and said, “Hector, on no account must you challenge Achilles to single combat; keep a lookout for him while you are under cover of the others and away from the thick of the fight, otherwise he will either hit you with a spear or cut you down at close quarters.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.373 focus
Thus (breathing rage through all) the hero said;
A wood of lances rises round his head,
Clamours on clamours tempest all the air;
They join, they throng, they thicken to the war.
430
But Phoebus warns him from high heaven to shun
The single fight with Thetis' godlike son:
More safe to combat in the mingled band,
Nor tempt too near the terrors of his hand.
He hears, obedient to the god of light,
435
And, plunged within the ranks, awaits the fight.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.373 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.373 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.373 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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First, the chariot fighter is killed. Then and only then is the chariot driver, the therapōn, also killed: he is pierced in the back by a javelin as he turns the chariot team around and attempts to drive away from the scene of battle.

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Leonard Muellner

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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