Homer Iliad 18.561

Samuel Butler (Translator)

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He wrought also a vineyard, golden and fair to see, and the vines were loaded with grapes. The bunches overhead were black, but the vines were trained on poles of silver. He ran a ditch of dark metal all round it, [565] and fenced it with a fence of tin; there was only one path to it, and by this the vintagers went when they would gather the vintage. Youths and maidens all blithe and full of glee, carried the luscious fruit in plaited baskets; and with them [570] there went a boy who made sweet music with his lyre, and sang the Linus-song with his clear boyish voice.

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.) — 18.561 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.) — 18.561 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.) — 18.590 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.561 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.561 focus
Next ripe, in yellow gold, a vineyard shines,
Bent with the ponderous harvest of its vines;
A deeper dye the dangling clusters shew,
And, curl'd on silver props, in order glow:
A darker metal mix'd, intrench'd the place;
655
And pales of glittering tin th' enclosure grace.
To this, one pathway gently winding leads,
Where march a train with baskets on their heads,
(Fair maids and blooming youths,) that smiling bear
The purple product of th' autumnal year.
660
To these a youth awakes the warbling strings,
Whose tender lay the fate of Linus 1 sings;
In measured dance behind him move the train,
Tune soft the voice, and answer to the strain.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.561 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.561 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.561 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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