Homer Iliad 21.434

ed. George Chapman

View: By Book

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.) — 21.434 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.) — 21.434 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.) — 21.424 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.434 focus
Goddess of the white arms, Hera smiled as she listened. [435] Meanwhile King Poseidon turned to Apollo saying, “Phoebus, why should we keep each other at arm’s length? it is not well, now that the others have begun fighting; it will be disgraceful to us if we return to Zeus’ bronze-floored mansion on Olympus without having fought each other; [440] therefore come on, you are the younger of the two, and I ought not to attack you, for I am older and have had more experience. Idiot, you have no sense, and forget how we two alone of all the gods fared hardly round about Ilion when we came from Zeus’ house and worked for Laomedon a whole year [445] at a stated wage and he gave us his orders. I built the Trojans the wall about their city, so wide and fair that it might be impregnable, while you, Phoebus, herded cattle for him in the dales of many-valleyed Ida. [450] When, however, the glad seasons [ hōrai] brought round the time-limit [ telos] for payment, mighty headstrong Laomedon robbed us of all our hire and sent us off with nothing but abuse. He threatened to bind us hand and foot and sell us over into some distant island. [455] He tried, moreover, to cut off the ears of both of us, so we went away in a rage, furious about the payment he had promised us, and yet withheld; in spite of all this, you are now showing favor [ kharis] to his people, [460] and will not join us in compassing the utter ruin of the proud Trojans with their wives and children.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.434 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.434 focus
Thus she, and Juno with a smile approv'd.
505
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.434 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.434 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

Notes on the current edition

Iliad

1. 422 Gratulate-confer favour on.

New Alexandria Commentaries

Douglas Frame

evidence for contention that Od. XVIII.265 is very old, as ἤ κεν and ἢ κεν is likely older than ἠέ κεν and ἢε κεν.

source

in a list of occurrences of the phrase thanatoi…halōnai in Homer, in the context of analyzing the meaning of the phrase in contrast with me nesei

source

analysis of original notion of verb halṓō, “to be seized by death”

source
Gregory Nagy

The momentum of Achilles continues to heat up. The Trojans are now retreating as fast as they can, heading back toward Troy to find safety there within the sacred walls of that ancient citadel. In their hurry to get away from the field of battle, their hasty retreat has quickly turned into a chaotic and humiliating rout. Achilles is right behind them, in hot pursuit, slaughtering left and right the fleeing Trojans. The hero seems unstoppable. But Achilles meets his match when he provokes the river god Scamander, whose clear streams he has polluted with the gore of countless Trojans that he slaughters while they are desperately attempting to ford the god’s river.

draft js image errorCopperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

source

Outraged by all the carnage caused by Achilles as that hero relentlessly keeps slaughtering droves of Trojans and clogs the river with their bloody corpses, Scamander as the divine embodiment of the river rises up with all his watery might and proceeds to fight Achilles one-on-one. What follows is an epitome from HQ 145–146. We know that ancient Greek narratives about hostile encounters between heroes and river gods can traditionally picture the river as taking the shape of a ferocious beast: a prime example is Archilochus F 286-287 (ed. West), where the hero Hēraklēs fights with the river god Akhelōios, who has taken on the shape of a raging bull. We may contrast the treatment of the fight between the hero Achilles and the river god Scamander here in Iliad 21, where the river Scamander does not take the shape of a bull and is not even theriomorphic: rather, the narrative opts for a variant tradition highlighting the elemental aspect of the river, as water personified, struggling with a hero whose ally, as we are about to see, will be the god Hephaistos in his role as fire personified. It has been argued, partly on the authority of the scholia for I.21.237, that the Archilochean representation is pre-Homeric. But it is enough for now to say that the Archilochean representation stems from a tradition that is independent of Homer. And the Homeric narrative goes out of its way to make an indirect reference to the other tradition. The river god Scamander, in the heat of battle with the hero Achilles, is described at I.21.237 as ‘bellowing like a bull’ (μεμυκὼς ἠύτε ταῦρος). The simile amounts to a conscious acknowledgment of a variant tradition. Finally the river god, after a lengthy struggle, is starting to overwhelm Achilles, and now this main hero of the Iliad finds himself in danger of getting swept away, cut off from all epic memory, in the flooding streams of the enraged Scamander.

source

reference to Reeve’s contention that Aristarchus’ use of perissós could have rested on documentary evidence (Reeve 1972.250). These three lines are examples of athetesis that rests on documentary evidence

source

passage adduced by Socrates at Protagoras 340a

source

In order to save the endangered Achilles, Hērā now induces her son Hephaistos to join the fray and to fight actively against the river god Scamander. Since Hephaistos is god of fire, he is the elemental antithesis of Scamander as god of water, that is, as the local god who embodies the principal river that waters the plain of Troy. So now the fight between fiery hero and streaming god escalates into a cosmic conflict between the elements of fire and water. In the end, then, fire wins over water, but now Hērā induces Hephaistos to stop his fight with Scamander.

source

one of Watkin’s three passages where menos is used as a functional equivalent of mēnis

source

Following up on the combat between Hephaistos and Scamander, other gods now also join in the fight, and, the next thing you know, the cosmic conflict between the elemental forces of fire and water is transformed into a personalized brawl between divine partisans of Trojans and Achaeans. The personalization intensifies to the point of becoming ludicrous, and, once such a point is reached, the whole scene becomes an exquisite exercise in divine burlesque. As Walter Burkert (1960:132) has observed, however, such a comic form is not innovative but archaizing, and there are numerous parallels to be found in the myths and rituals of ancient Near Eastern civilizations; this observation applies also to the divine burlesque that characterizes other narrative sequences Homeric poetry, most notably in Odyssey 8 and in Iliad 1 as well as here in Iliad 21—and in the Homeric Hymns.

source
Leonard Muellner

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

source

examples of the identical contexts in which eukhos and kudos occur

source

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

source

comparison of eukhos and kudos, and here specifically analysis of the phraseology surrounding them that is paralleled by only kleos

source

analysis of the meaning and uses of piphauskesthai (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai), in this verse as ‘show, reveal’

source

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige), and analysis of the lexical change in the eukhesthai einai formula in these verses

source
Richard Martin

At 21.286, Athena and Poseidon pledge faith to Achilles: "Taking hand in hand they pledged faith by means of words (epeessin)." The focus is on speech as a social bonding mechanism, the equivalent of a handshake—an affirmation between helping divinities and Achilles. The parallel between verbal and physical gesture is highlighted in this instance of the hand-and-word formula (Martin 1993:19).

source

Three exchanges between gods in Book 21 illustrate the versatile social function of remembering and reminding within the context of rebukes. Spoken in a tone of defiance, the words "Don't you remember" introduce a threat. Ares, in a flyting muthos (21.393), asks Athena, "Don't you recall when you drove Diomedes, son of Tydeus, to wounding, and yourself thrust at me, grasping the spear all could see?" (21.396-98). Ares turns his earlier injury into a cause for action, in language resembling a legal formulation: "Therefore I now think you will repay me as much as you have done" (21.399). A short while later, Poseidon rebukes Apollo with this phrase in a gentler manner, leading Apollo by the reminder of Laomedon's treachery to offer an elegiac dismissal of fighting for humankind (21.441-45). And Artemis deploys a third memory to say threateningly, "May I never hear you boasting—as you did before among immortal gods—that you fight face-to-face Poseidon" (21.471). To deny that an addressee has been consistently heroic is to constrain his further fame (Martin 1993:83).

For the broader analysis of memory as a muthos genre, see the comment on Iliad 1.259-274.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

source