Homer Iliad 18.22

Samuel Butler (Translator)

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A dark cloud of grief [ akhos] fell upon Achilles as he listened. He filled both hands with dust from off the ground, and poured it over his head, disfiguring his comely face, [25] and letting the refuse settle over his khiton so fair and new. He flung himself down all huge and hugely at full length, and tore his hair with his hands. The bondswomen whom Achilles and Patroklos had taken captive wailed aloud for grief, [30] beating their breasts, and with their limbs failing them for sorrow. Antilokhos bent over him the while, weeping and holding both his hands as he lay groaning for he feared that he might plunge a knife into his own throat. Then valiant Achilles gave a loud cry [35] and his mother heard him as she was sitting in the depths of the sea by the old man her father, whereon she wailed, and all the goddesses daughters of Nereus that dwelt at the bottom of the sea, came gathering round her. There were Glauke, Thalia and Kymodoke, [40] Nesaia, Speo, Thoe, and dark-eyed Halie, Kymothoe, Aktaia and Limnorea, Melite, Iaira, Amphithoe and Agaue, Doto and Proto, Pherousa and Dynamene, Dexamene, Amphinome and Kallianeira, [45] Doris, Panope, and the famous sea-nymph Galatea, Nemertes, Apseudes and Kallianassa. There were also Klymene, Ianeira and Ianassa, Maira, Oreithuia and lovely-haired Amatheia of the lovely locks, with other Nereids who dwell in the depths of the sea. [50] The crystal cave was filled with their multitude and they all beat their breasts while Thetis led them in their lament.

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 18.22 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.) — 18.22 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.) — 18.1 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.22 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.22 focus
A sudden horror shot through all the chief,
25
And wrapt his senses in the cloud of grief;
Cast on the ground, with furious hand he spread
The scorching ashes o'er his graceful head;
His purple garments, and his golden hairs,
Those he deforms with dust, and these he tears:
30
On the hard soil his groaning breast he threw,
And roll'd and grovell'd, as to earth he grew.
The virgin captives, with disorder'd charms,
(Won by his own, or by Patroclus' arms,)
Rush'd from the tents with cries; and, gathering round,
35
Beat their white breasts, and fainted on the ground:
While Nestor's son sustains a manlier part,
And mourns the warrior with a warrior's heart;
Hangs on his arms, amidst his frantic woe,
And oft prevents the meditated blow.
40
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.22 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.22 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.22 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Gregory Nagy

The centerpiece of Iliad 18 is the shield of Achilles, envisioned as a work of art that defines the universe. The divine artisan Hephaistos makes this shield by way of metalwork, but Homeric poetry reconfigures the artistry of this metalwork by way of verbal art. And the artistry of Homeric poetry will now create or re-create a cosmos that is designed to contain the Iliad itself.

draft js image error“The Shield of Achilles.” Illustration originally published in The Penny Magazine of the Society for the Diffusion of Useful Knowledge, September 22, 1832.

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At I.18.015–021, Achilles gets the grim news: that Patroklos has been killed by Hector, and that the fighting to recover his body, despoiled of the armor of Achilles, is still underway. Immediately, Achilles feels akhos ‘grief’, I.18.22. But the mourning and lamentation that is caused by this grief is aimed not only at Patroklos but also at Achilles in the narrative that follows, I.18.021–073. Within this narrative, Achilles gets to have his own wake, as it were. And the akhos ‘grief’ that is now felt by Achilles will never leave him, even after he unsays his mēnis ‘anger’ later on in Iliad 22. Unlike the goddess Demeter in the Homeric Hymn to Demeter, for whom the akhos ‘grief’ that she felt at verses 40 and 90 will go away at verse 436 as soon as she is reunited with Persephone, the akhos ‘grief’ of Achilles will never go away. As Thetis the lamenting mother of Achilles declares at I.18.061–062, this hero will never again stop ‘grieving’, akhnusthai, I.18.062. From now on, Achilles will be a man of constant sorrow (on precedents for this expression, see H24H 1§54). See the comments on I.09.249–250 and on I.23.046–047.

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