Homer Iliad 20.30

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.) — 20.30 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.) — 20.30 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)) — 20.30 focus
Thus spoke Zeus and gave the word for war, whereon the gods took their several sides and went into battle. Hera, Pallas Athena, earth-encircling Poseidon, Hermes bringer of good luck and excellent in all cunning— [35] all these joined the army that came from the assembly [ agōn] of ships; with them also came Hephaistos in all his glory, limping, but yet with his thin legs plying lustily under him. Arēs of gleaming helmet joined the Trojans, and with him Apollo of locks unshorn, and the archer goddess Artemis, [40] Leto, Xanthos, and laughter-loving Aphrodite.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.30 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.30 focus
He said, and fir'd their heavenly breasts with rage:
On adverse parts the warring gods engage.
Heaven's awful queen; and he whose azure round
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Girds the vast globe; the maid in arms renown'd;
Hermes, of profitable arts the sire,
And Vulcan, the black sovereign of the fire:
These to the fleet repair with instant flight;
The vessels tremble as the gods alight.
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In aid of Troy, Latona, Phoebus came,
Mars fiery-helm'd, the laughter-loving dame,
Xanthus, whose streams in golden currents flow,
And the chaste huntress of the silver bow.
Ere yet the gods their various aid employ,
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Each Argive bosom swell'd with manly joy,
While great Achilles (terror of the plain)
Long lost to battle, shone in arms again.
Dreadful he stood in front of all his host;
Pale Troy beheld, and seem'd already lost;
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Her bravest heroes pant with inward fear,
And trembling see another god of war.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.30 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.30 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

Notes on the current edition

Iliad

1. 33 Neptune.
2. 36 Walkers-feet.

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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