Homer Iliad 18.388

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.) — 18.388 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.) — 18.388 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.) — 18.388 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.388 focus
The goddess led the way as she spoke, and bade Thetis sit on a richly decorated seat inlaid with silver; [390] there was a footstool also under her feet. Then she called Hephaistos and said, “Hephaistos, come here, Thetis wants you”; and the far-famed lame god answered, “Then it is indeed an august and honored goddess who has come here; [395] she it was that took care of me when I was suffering from the heavy fall which I had through my cruel mother’s anger—for she would have got rid of me because I was lame. It would have gone hardly with me had not Eurynome, daughter of the ever-encircling waters of Okeanos, and Thetis, taken me to their bosom. [400] Nine years did I stay with them, and many beautiful works in bronze, brooches, spiral armlets, cups, and chains, did I make for them in their cave, with the roaring waters of Okeanos foaming as they rushed ever past it; and no one knew, neither of gods nor men, [405] save only Thetis and Eurynome who took care of me. If, then, lovely-haired Thetis has come to my house I must make her due requital for having saved me; entertain her, therefore, with all hospitality, while I put by my bellows and all my tools.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.388 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.388 focus
High on a throne, with stars of silver graced,
And various artifice, the queen she placed;
A footstool at her feet: then, calling, said,
‘Vulcan, draw near, 'tis Thetis asks your aid.’
460
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.388 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.388 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

Notes on the current edition

Iliad

1. 339 Fere—companion, lover.
2. 352 Had I.—The second folio and Taylor, " I had.”

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

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comment on the identification of Enualios with Ares, in the context of analyzing the identity of the war goddess in “Tsountas’s House”

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

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analysis of Achilles reference to nóēma, which consists in his own nóstos, and which will remain unaccomplished precisely because he will not “return”

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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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The particle de (δέ) of I.18.356 is syntactically correlated with the particle men (μέν) in a preceding verse, I.18.354. But a rhapsode (rhapsōidos) could begin his performance with the de-clause, thus “stranding,” as it were, the preceding men-clause. Here is an example, with reference to the performance of a rhapsode in the Ptolemaic era of Alexandria:

καὶ ὁ μὲν ῥαψῳδὸς εὐθὺς ἦν διὰ στόματος πᾶσιν, ἐν τοῖς Πτολεμαίου γάμοις ἀγομένου τὴν ἀδελφὴν καὶ πρᾶγμα δρᾶν ἀλλόκοτον <νομιζ>ομένου καὶ ἄθεσμον ἀρξάμενος ἀπὸ τῶν ἐπῶν ἐκείνων·

Ζεὺς δ᾿ Ἥρην ἐκάλεσσε κασιγνήτην ἄλοχόν τε [I.18.356]

The rhapsode [rhapsōidos] was the talk of everybody—the one who, at the wedding of Ptolemy who, in marrying his own sister was considered to be committing a deed unnatural and unholy, began with the following words: ‘And [de] Zeus summoned Hērā his sister, his wife’ [I.18.356]

Plutarch Table Talk 736e

The historical occasion is the wedding, in the first quarter of the third century before our era, of Ptolemy II Philadelphus to his sister, Arsinoe, in accordance with the practice of Egyptian pharaohs—and in violation of Hellenic practices. Evidently, then, the particle de could be used to begin a rhapsodic performance, even in contexts were such a use was dependent on a preceding men-clause. For an example of such a de at the beginning of a Homeric rhapsody, see the comment on O.03.001.

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The domos ‘abode’ of Hephaistos, I.18.369, is described as aphthitos ‘imperishable’, I.18.370, and khalkeos ‘made of bronze’, Ι.18.371. More in a later comment about the implications.

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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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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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analysis of kēdea as a social phenomenon that creates a bond of solidarity

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analysis of the variant prologue to the Iliad connecting the mēnis of Achilles and of Apollo and the parallels in its diction to this line

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analysis of kēdea as a social phenomenon that creates a bond of solidarity – philotēs – and its narrowness in Achilles’ case in this passage

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analysis of kēdea as a social phenomenon that creates a bond of solidarity

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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Hephaistos’ making objects that move by themselves, mētis and its associations with females (specifically the creation of children), and the Hesiodic account of his birth, in the context of analyzing his role in Iliad 1 in quelling the dispute between Zeus and Hera

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Richard Martin

When Achilles refers to his earlier boast at 18.324—"A vain epos I tossed forth that day"—the use of epos rather than muthos can be explained by the nature of the original speech-act: as a boast, it is attracted into the language of actual boast descriptions, which often contain the formula eukhomenos epos ēuda. External factors—formulaic pressure, poetic themes in the larger discourse—can mask the inherent semantic distinction between muthos and epos. See also the companion case at Iliad 5.715, where Hera uses muthos with the same qualifier halion ("in vain") for a similar kind of failed public commitment (Martin 1993:28).

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