Homer Iliad 18.590

Samuel Butler (Translator)

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The renowned one [= the god Hephaistos], the one with the two strong arms, pattern-wove [ poikillein] in it [= the Shield of Achilles] a khoros. 591 It [= the khoros] was just like the one that, once upon a time in far-ruling Knossos, 592 Daedalus made for Ariadne, the one with the beautiful tresses [ plokamoi]. 593 There were young men there, and girls who are courted with gifts of cattle, 594 and they all were dancing with each other, holding hands at the wrist. [595] The girls were wearing delicate dresses, while the boys were clothed in tunics [ khitōn plural] 596 well-woven, gleaming exquisitely, with a touch of olive oil. 597 The girls had beautiful garlands [ stephanai], while the boys had knives 598 made of gold, hanging from knife-belts made of silver. 599 Half the time they moved fast in a circle, with expert steps, [600] showing the greatest ease, as when a wheel, solidly built, is given a spin by the hands 601 of a seated potter, who is testing it whether it will run well. 602 The other half of the time they moved fast in straight lines, alongside each other. 603 A huge crowd stood around the place of the song-and-dance [ khoros] that rouses desire, 604 and they were feeling delight [ terpesthai]; in their midst sang-and-danced [ melpesthai] a divine singer [ aoidos], [605] playing on the special lyre [ phorminx]; two special dancers [ kubistētēre] among them 606 were swirling as he led [ exarkhein] the singing and dancing [ molpē] in their midst.

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.) — 18.590 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.) — 18.590 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)) — 18.590 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.590 focus
A figured dance succeeds: such once was seen
In lofty Gnossus, for the Cretan queen, 1
Form'd by Dædalean art: A comely band
Of youths and maidens, bounding hand in hand;
The maids in soft cymars of linen dress'd;
685
The youths all graceful in the glossy vest;
Of those the locks with flowery wreaths inroll'd,
Of these the sides adorn'd with swords of gold,
That, glittering gay, from silver belts depend.
Now all at once they rise, at once descend,
690
With well-taught feet: now shape, in oblique ways,
Confus'dly regular, the moving maze:
Now forth at once, too swift for sight, they spring,
And undistinguish'd blend the flying ring:
So whirls a wheel, in giddy circle toss'd,
695
And, rapid as it runs, the single spokes are lost.
The gazing multitudes admire around;
Two active tumblers in the centre bound;
Now high, now low, their pliant limbs they bend,
And general songs the sprightly revel end.
700
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.590 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.590 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.590 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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