Homer Iliad 20.1

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.) — 20.1 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.) — 20.1 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.) — 20.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.1 focus
Thus, then, did the Achaeans arm by their ships round you, O son of Peleus, who were hungering for battle; while the Trojans over against them armed upon the rise of the plain.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.1 focus
THUS round Pelides breathing war and blood,
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Greece, sheath'd in arms, beside her vessels stood;
While, near impending from a neighbouring height,
Troy's black battalions wait the shock of fight.
Then Jove to Themis gives command, to call
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The gods to council in the starry hall:
Swift o'er Olympus' hundred hills she flies,
And summons all the senate of the skies.
These, shining on, in long procession come
To Jove's eternal adamantine dome.
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Not one was absent, not a rural power
That haunts the verdant gloom, or rosy bower;
Each fair-hair'd Dryad of the shady wood,
Each azure sister of the silver flood;
All but old Ocean, hoary sire! who keeps
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His ancient seat beneath the sacred deeps.
On marble thrones with lucid columns crown'd
(The work of Vulcan) sat the powers around.
E'en he, whose trident sways the watery reign,
Heard the loud summons, and forsook the main,
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Assum'd his throne amid the bright abodes,
And question'd thus the sire of men and gods:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

Notes on the current edition

Iliad

1. * Mars.

New Alexandria Commentaries

Douglas Frame

comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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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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example of a context where Enūalios is distinct from Ares in Homer

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Aeneas tells about a past encounter with Achilles in an epic story that is situated outside the time-frame of the Iliad, I.20.089–102. At a later point, I.20.187–194, the story will be supplemented by what Achilles himself says about such an encounter. As we will see, what Achilles says at that later point reflects a different though related version of the same story. In the story as told by Aeneas here at I.20.089–102, he was pasturing his cattle in the highlands of the mountain range known simply as Mount Ida, and Achilles evidently caught him off guard in a cattle-raid, I.20.090–091. Aeneas, as he was being pursued by Achilles, fled from the highlands of Mount Ida all the way down to the coastland in the south. The general direction of the flight of Aeneas is indicated by a detail about the pursuit by Achilles. After he chased Aeneas down from the heights of Mount Ida, Achilles conquered the cities of Pedasos and Lyrnessos, I.20.092. As we know from other contexts, I.06.034–035 and I.21.086–087, Pedasos was a city situated near the river Satnioeis, and we know from Strabo 13.1.50 C605 that this river flowed into the Gulf of Adramytteion at the coastline situated to the southwest of Mount Ida. As for Lyrnessos, it was situated further off to the east along the coastline, as we know from Strabo 13.1.60 C611. Whereas Lyrnessos was inhabited by Kilikes, as noted in the anchor comment at I.02.689–693 with reference to Strabo 13.1.7 C586, Pedasos was inhabited by Leleges, as we read at I.21.086–087. The story as told by Aeneas explains how he succeeded in escaping from Achilles: at I.20.092–093, Aeneas boasts that he received the divine aid of Zeus himself, who gave to him the superhuman speed that he needed to run away from that most prodigious of all runners, Achilles. As for the story as told by Achilles at I.20.187–194, we will see in the comment on those verses that there are added details about the escape of Aeneas from Achilles, and that some of those details do not mesh with the version of the story as told by Aeneas.

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Thetis as an example of a divine figure with local traits that resists Panhellenic systematization as tending to be non-Olympian

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Leonard Muellner

analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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analysis of the application of isos Arēi (and variants) to heroes in their aristeiai and of the use of isos aellēi/lailapi in these contexts

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analysis of the fragmentation of the functions of Eos (here, other goddesses’ qualifying as Dios thugatēr and/or performing (some of) the functions of abduction, preservation, and death/killing, in this passage Aphrodite, Artemis, and Athena), and that while the functions of Eos that prevail in the Greek myths are largely beneficient (promoting the immortality of the hero), the functions associated with her epithet Dios thugatēr/thugatēr Dios are ambivalent (beneficent/maleficent)

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analysis of the linguistic and contextual anomalies of this verse, as formally distinct from the other aristos + eukesthai einai formulas, though with pagkhalkeos as functioning as the divine equivalent of aristos

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in a list of examples of eukhesthai einai + comparative/superlative (secular contexts)

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analysis of the linguistic and contextual anomalies of this verse, as formally distinct from the other aristos + eukesthai einai formulas, though with pagkhalkeos as functioning as the divine equivalent of aristos

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in a list of examples of eukhesthai + dative (sacral)

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analysis of the section I of the classification of the attestations of eukhesthai + dative and the flottement in the position of eukheo around the beginning of the line (enjambment and improvisation)

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in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing secular eukhesthai)

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comment on phanai substituting for eukhesthai, and contrast between Aeneas’ descent from an Olympian mother and Achilles’ from a sea-nymph

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