Homer Iliad 18.284

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 1857))

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.) — 18.284 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.) — 18.284 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.) — 18.254 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.284 focus
Hector of the shining helmet looked fiercely at him and answered, [285] “Polydamas, your words are not to my liking in that you bid us go back and be pent within the city. Have you not had enough of being cooped up behind walls? In the old-days the city of Priam was famous the whole world over for its wealth of gold and bronze, [290] but our treasures are wasted out of our houses, and much goods have been sold away to Phrygia and fair Maeonia, for the hand of Zeus has been laid heavily upon us. Now, therefore, that the son of scheming Kronos has granted me to win glory here and to hem the Achaeans in at their ships, prate no more in this foolish way among the population [ dēmos]. [295] You will have no man with you; it shall not be; do all of you as I now say;—take your suppers in your companies throughout the army, and keep your watches and be wakeful every man of you. [300] If any Trojan is uneasy about his possessions, let him gather them and give them out among the people. Better let these, rather than the Achaeans, have them. At daybreak we will arm and fight about the ships; [305] granted that radiant Achilles has again come forward to defend them, let it be as he will, but it shall go hard with him. I shall not shun him, but will fight him, to fall or conquer. The god of war deals out like measure to all, and the slayer may yet be slain.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.284 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.284 focus
‘Return?’ (said Hector, fir'd with stern disdain,)
‘What! coop whole armies in our walls again?
‘Was't not enough, ye valiant warriors say,
335
‘Nine years imprison'd in those towers ye lay?
‘Wide o'er the world was Ilion fam'd of old
‘For brass exhaustless, and for mines of gold;
‘But while inglorious in her walls we stay'd,
‘Sunk were her treasures, and her stores decay'd;
340
‘The Phrygians now her scatter'd spoils enjoy,
‘And proud Mæonia wastes the fruits of Troy.
‘Great Jove at length my arms to conquest calls,
‘And shuts the Grecians in their wooden walls:
‘Dar'st thou dispirit whom the gods incite?
345
‘Flies any Trojan? I shall stop his flight.
‘To better counsel then attention lend;
‘Take due refreshment, and the watch attend.
‘If there be one whose riches cost him care,
‘Forth let him bring them for the troops to share;
350
‘'Tis better generously bestow'd on those,
‘Than left the plunder of our country's foes.
‘Soon as the morn the purple orient warms,
‘Fierce on yon navy will we pour our arms.
‘If great Achilles rise in all his might,
355
‘His be the danger: I shall stand the fight.
‘Honour, ye gods! or let me gain, or give;
‘And live he glorious, whosoe'er shall live!
‘Mars is our common lord, alike to all:
‘And oft the victor triumphs, but to fall.’
360
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.284 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.284 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Douglas Frame

this line as one of the counterexamples for identifying unmodified laos as one’s own

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analysis of Hector and Polydamas in terms of the twin myth (inverted)

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analysis of Hector and Polydamas in terms of the twin myth (inverted)

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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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Now that Patroklos has been killed, the Trojans are on the attack again, and they pursue the Achaeans all the way to the last point of refuge for those notional ancestors of Greek civilization. That point, once again, is visualized as the shores of the bay of Hellespont.

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Yet again, a retrospective: Patroklos has been killed as a therapōn of Achilles.

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As Achilles gets ready to rejoin his companions in the war against the Trojans, his head catches on fire, lit up by the power of the goddess Athena. This fire is described at I.18.206 as a phlox ‘burst of flame’.

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The word here for the fire bursting from the head of Achilles is selas ‘flash of light’. On this word, which signals the Will of Zeus, see especially the note on I.19.003.017.

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The word here for the fire emanating from the head of Achilles is simply pūr ‘fire’, I.18.225.

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I note here only in passing the association of this adjective kratero-, in the sense of ‘having the power to win’, with the noun kratos ‘winning-power’. For more about this noun, see the comments on I.01.509 and I.11.317–319.

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At this assembly, Polydamas advocates a defensive strategy now that Achilles has re-entered the war. But Hector insists on a strategy of maintaining the offensive, and his opinion prevails. The Master Narrator comments: this was a bad decision by the assembly, to approve the strategy of Hector, since the goddess Athena had taken away from them their senses, that is, their phrenes ‘thinking’, I.18.311. If the assembly had been sensible, they would have recognized that Hector’s mētis ‘mind, intelligence’ had failed him, I.18.312. As noted in the comments on I.06.286–311, I.07.017–061, I.08.538–541, I.10.043–052, I.11.200, and I.13.825–829, there is a pattern of personal hostility felt by the goddess Athena toward Hector as a hero who aspires to some of the same qualities that Athena herself exemplifies. Like the goddess, Hector can be seen as an exponent of (1) defensive tactics in the warfare of protecting a citadel from sieges and (2) mētis ‘mind, intelligence’—two qualities that are now tragically taken away from him when he most needs to have them in the macro-narrative of the Iliad.

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Leonard Muellner

analysis of the fire Athena makes blaze from Achilles’ head as the fire of mēnis converted into a symbolic instrument of the hero’s philotēs

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analysis of the fire Athena makes blaze from Achilles’ head as the fire of mēnis converted into a symbolic instrument of the hero’s philotēs

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analysis of the fire Athena makes blaze from Achilles’ head as the fire of mēnis converted into a symbolic instrument of the hero’s philotēs

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The word ἀριζήλη (arizēlē 'perspicuous'), whose repetition bridges tenor and vehicle in this simile, is an intensive form of the adjective δῆλος (dēlos), a word that is usually translated 'clear'. As the standard dictionaries and the etymological dictionaries say (see LSJ9 and Chantraine DEG s.vv.  δῆλος and ἀρίζηλος), it means 'clear' in a visual sense or in a logical sense, and in that respect, it is unlike the English word 'clear', which is also and unexceptionally used of sounds. In this passage, where the word arizēlē applies to a sound, phōnē, that issues from the mouth of Achilles and is echoed by the goddess Athena, we have a rare example of synesthesia in epic diction, a metaphor of visibility applied to a sound that is elaborated by a compressed simile that then goes ahead and visualizes a trumpet sounding when a city is besieged by its enemies.

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analysis of the fire Athena makes blaze from Achilles’ head as the fire of mēnis converted into a symbolic instrument of the hero’s philotēs, and here specifically of the description of the perspicuous shriek from Achilles and Athena as analogous to thunder

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analysis of the fire Athena makes blaze from Achilles’ head as the fire of mēnis converted into a symbolic instrument of the hero’s philotēs

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