Homer Iliad 20.419

Samuel Butler (Translator)

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When Hector saw his brother Polydoros with his entrails in his hands [420] and sinking down upon the ground, a mist came over his eyes, and he could not bear to keep longer at a distance; he therefore poised his spear and darted towards Achilles like a flame of fire. When Achilles saw him he bounded forward and vaunted saying, [425] “This is he that has wounded my heart most deeply and has slain my beloved comrade. Not for long shall we two quail before one another on the highways of war.”

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.) — 20.419 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.) — 20.419 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.) — 20.438 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.419 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.419 focus
When Hector view'd, all ghastly in his gore,
485
Thus sadly slain, th' unhappy Polydore;
A cloud of sorrow overcast his sight,
His soul no longer brook'd the distant fight;
Full in Achilles' dreadful front he came,
And shook his javelin like a waving flame.
490
The son of Peleus sees, with joy possess'd,
His heart high-bounding in his rising breast:
‘And, Lo! the man, on whom black fates attend;
‘The man that slew Achilles in his friend!
‘No more shall Hector's and Pelides' spear
495
‘Turn from each other in the walks of war.’
Then with revengeful eyes he scann'd him o'er—
‘Come, and receive thy fate!’ He spake no more.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.419 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.419 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.419 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

New Alexandria Commentaries

Gregory Nagy

Zeus convenes a council of divinities. Many gods and goddesses are invited, and they all assemble, I.20.005–006. Included are all kinds of local divinities who preside over locales of their own, such as gods of various rivers and goddesses of various wildlands, I.20.007–009. A detail is ostentatiously added here: all the river gods actually attend the council—with the notable exception of Ōkeanos, I.20.007. This council of the divinities, held on Mount Olympus, is different from other such councils, which normally exclude local divinities and include only those gods and goddesses who are imagined as living on Mount Olympus together with Zeus. What, then is this special occasion? Or, to put it in terms of the question that Poseidon asks of Zeus, I.20.015, what is the Will of Zeus here? In response, Zeus tells Poseidon that, yes, the Will of Zeus is now at work, I.20.020, and he proceeds to say what he wants to happen: while Zeus stays behind on Mount Olympus, the other divinities may now proceed to the battleground of the Trojan War, and they will be allowed to give their individual help to whichever side they favor, Trojan or Achaean, I.20.021–030. Accordingly, the divinities now travel to the battlefield, I.20.31–40, and they are listed as follows: Hērā, Athena, Poseidon, Hermes, Hephaistos, Ares, Apollo, Artemis, Leto, Xanthos, and Aphrodite. Included in this list, almost surreptitiously, is the local river god Xanthos, I.20.40. On the battlefield, the divinities line up in opposition to each other, and the matches that are highlighted are: Poseidon and Apollo at I.20.057–068, Ares and Athena at I.20.069 (also already at I.20.047–052), Hērā and Artemis at I.20.70–71, Leto and Hermes at I.20.072, Hephaistos and Xanthos at I.20.073–074. Missing, so far, from any further matchings is Aphrodite. Later, at I.21.415–433, we will see that this goddess does in fact get involved in the upcoming conflict of divinities, but not as a combatant in her own right. For the moment, what is most striking about this list of matchings is the prominence given to the river god Xanthos at I.20.073–074. And, as we learn here at I.20.074, the immortals call this river god Xanthos, but mortals call him Skamandros. See also the comment on I.02.811–815. This name Skamandros, latinized as Scamander, refers to the most important river in the region of Troy. On this river, see already the comments on I.08.220–227 and I.11.497–500. As we will see later, in the comment on I.21.001–021, the role of Scamander as the local river god of the Trojans is vitally important for the plot of Iliad 21.

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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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