Homer Iliad 18.1

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 18.1 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.) — 18.1 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.) — 18.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.1 focus
Thus then did they fight as it were a flaming fire. Meanwhile the fleet runner Antilokhos, who had been sent as messenger, reached Achilles, and found him sitting by his tall ships and boding that which was indeed too surely true. [5] “Alas,” 5 angered, he said tο his great-hearted thūmos, “why are the flowing-haired Achaeans again scouring the plain and flocking towards the ships? May the gods be not now bringing that sorrow upon me of which my mother Thetis spoke, [10] saying that while I was yet alive the bravest of the Myrmidons should fall before the Trojans, and see the light of the sun no longer. I fear the brave son of Menoitios has fallen through his own daring, and yet I bade him return to the ships as soon as he had driven back those that were bringing fire against them, and not join battle with Hector.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.1 focus
THUS like the rage of fire the combat burns,
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And now it rises, now it sinks, by turns.
Meanwhile, where Hellespont's broad waters flow,
Stood Nestor's son, the messenger of woe.
There sat Achilles, shaded by his sails,
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On hoisted yards extended to the gales;
Pensive he sat; for all that fate design'd
Rose in sad prospect to his boding mind.
Thus to his soul he said: ‘Ah what constrains
‘The Greeks, late victors, now to quit the plains ?
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‘Is this the day, which heaven so long ago
‘Ordain'd, to sink me with the weight of woe,
‘(So Thetis warn'd,) when, by a Trojan hand,
‘The bravest of the Myrmidonian band
‘Should lose the light? Fulfill'd is that decree ?
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‘Fall'n is the warrior, and Patroclus he?
‘In vain I charged him soon to quit the plain,
‘And warn'd to shun Hectorean force in vain!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Douglas Frame

analysis of Thetis’ speech to Nereids, where she schematizes Achilles’ fate in the following terms: (1) Achilles will not return because (2) (implicit) this is his fate. Compare to conception of Achilles’ fate in Il. XIX.412, Il. XVIII.89-96, Il. I.352

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analysis of Achilles’ and Thetis’ speech. Change in the sequence of ideas makes it appear that Achilles has chosen what has already been fated. Compare to Il. XIX.412, Il. XVIII.59-62, Il. I.352

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reference to Achilles’ apparent recognition of the fate his mother, Thetis, has revealed

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citation of Achilles’ appraisal of himself as not the best in the assembly. Suggests that Achilles is as dissociated from nóos as he is from néomai

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analysis of Achilles’ perception of fate as anterior to will

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analysis of Achilles’ acknowledgement of fate, which suggests that Achilles’ resolve to die is also a result of his own lack of “mind”

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

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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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Before he has even been told about the death of Patroklos, Achilles is feeling anxious, and his anxiety is a premonition of the bad news coming his way. He is already thinking a thought that matches what has already happened, I.18.004, that Patroklos has been killed. In thinking this thought, Achilles reminds himself of something that his divine mother Thetis had once foretold to him: that the ‘best of the Myrmidons’ would be killed while Achilles was still alive, I.009–011. But why had Achilles failed to think this thought at an earlier time? Why did this thought about death for the best of the Myrmidons never occur to him when he sent out Patroklos to fight as his own substitute? It is as if Achilles had already recognized, back then, that Patroklos as his substitute had thereby already taken over, at least for the moment, the identity of Achilles as ‘best of the Achaeans’.

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At I.18.015–021, Achilles gets the grim news: that Patroklos has been killed by Hector, and that the fighting to recover his body, despoiled of the armor of Achilles, is still underway. Immediately, Achilles feels akhos ‘grief’, I.18.22. But the mourning and lamentation that is caused by this grief is aimed not only at Patroklos but also at Achilles in the narrative that follows, I.18.021–073. Within this narrative, Achilles gets to have his own wake, as it were. And the akhos ‘grief’ that is now felt by Achilles will never leave him, even after he unsays his mēnis ‘anger’ later on in Iliad 22. Unlike the goddess Demeter in the Homeric Hymn to Demeter, for whom the akhos ‘grief’ that she felt at verses 40 and 90 will go away at verse 436 as soon as she is reunited with Persephone, the akhos ‘grief’ of Achilles will never go away. As Thetis the lamenting mother of Achilles declares at I.18.061–062, this hero will never again stop ‘grieving’, akhnusthai, I.18.062. From now on, Achilles will be a man of constant sorrow (on precedents for this expression, see H24H 1§54). See the comments on I.09.249–250 and on I.23.046–047.

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akhos and penthos as formulaic variants, here, as designating the grief of Achilles

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Thetis not only mourns her son Achilles as if he were already dead: she formally laments him in song. The wording of the verses spoken by Thetis here at I.18.051–060 corresponds morphologically to the wording of a song that could actually be sung as a lament. Leading her Nereid sisters, Thetis begins the singing at I.18.051, as signaled by the verb ex-arkhein ‘lead off [in performing]’, which indicates a performance by a lead performer in a song of lament performed by a group (see also PH 362). In this case, that group is represented by the Nereid sisters of Thetis. Such a performance involves not only singing but also a kinetic system of stylized movements—which is a kind of dancing that is integrated with the singing. On this point, see already the anchor comment on I.08.407–439. The movements of this kind of a kinetic system can be formalized by way of gestures such as swaying, tearing the cheeks, beating the chest, and so on, and it must be kept in mind that the singing of lament could regularly include the kind of stylized dancing that I describe here. As for the overall practice of singing this kind of lament, it is indicated here by a special word, góos, I.18.051. As we will see when we encounter further occurrences of this word, the góos is ordinarily sung only by relatives or close friends of the person who died. A typical theme in such a lament is what we see being sung by Thetis here at I.18.056–057, evoking the image of a tender young seedling that has tragically been cut down before its time.

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The grieving Achilles, shown lying prone here as if he himself were a corpse that needed to be mourned, is now held by the head from behind by her lamenting mother Thetis, Ι.18.071. This gesture re-enacts what typically happens at a real wake: the primary mourning woman will hold the head of the corpse from behind as she sings her song of lament. As we will see at I.24.724, such is the stance of Andromache when she cradles the head of her husband’s corpse while she sings her lament for him. See the comment on I.24.720–776. And the act of mourning performed by Thetis for Achilles here in Iliad 18 actually prefigures what will happen at the funeral of Achilles, which is of course not shown in the Iliad. At that funeral, which is shown only toward the end of the Odyssey, the corpse of Achilles will lie in state, and he will be mourned then by Thetis together with her Nereid sisters, O.24.058–059. Earlier in that narrative, as the corpse of Achilles is first seen lying in the dust after his death in battle, he is described there as larger than life in size, O.24.040: ‘you lay there, so huge in all your hugeness’ (κεῖσο μέγας μεγαλωστί). So also Achilles here in the Iliad is now being pictured as lying in the dust, and he is described here too in the same way, I.18.026–027: ‘all stretched out, so huge in all his hugeness, he lay there’ (μέγας μεγαλωστί τανυσθεὶς | κεῖτο). So, Achilles is already being prefigured here as a corpse that is larger than life.

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The akhos ‘grief’ experienced by Achilles at I.18.022 upon hearing the news about the death of Patroklos is here called a penthos ‘grief’. As in other Homeric contexts, we can see a synonymity here.

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In this retrospective narrative, I.18.074–077, Thetis recalls what Achilles had originally prayed for: the hero had wished that Zeus would allow the Trojans to succeed in their onslaught against the Achaeans—to the point where the attackers would reach the sterns of the beached ships of the Achaeans. At that point, the Achaeans would surely recognize how much they needed Achilles. Now that this wish of Achilles has already been translated into the Will of Zeus, what is to happen next? That is the point of the question asked by Thetis, but of course the answer of Achilles will have to be framed in terms of the consequences resulting from his original wish. Now that Patroklos has been killed, what is Achilles to do?

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This compressed reference to the positioning of the beached ships of the Achaeans needs to be seen in the broader context of the expanded references, on which see especially the comment on I.08.220–227.

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The restoration of honor for Achilles can now give him no pleasure, since the price for this restoration has been the death of the hetairos ‘companion’ who was most philos ‘near and dear’ to him.

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The armor of Achilles has been stripped from the body of Patroklos by Hector, who is now wearing it. This armor represents what Achilles has inherited from his immortal mother. By contrast, the ash spear as described at I.16.140–144 represents what Achilles has inherited from his mortal father. See the comment on I.16.140–144.

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Thetis calls Achilles ōku-moros ‘soon to have a fated death’, I.18.095, since she sees that the hero is resolved to kill Hector despite the consequences—which will be fatal for Achilles.

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Achilles, recognizing his immeasurable loss in having caused the death of Patroklos, who was all along his nearest and dearest hetairos ‘companion’, has only now come to recognize his commensurate loss in having also caused the deaths of many other hetairoi ‘companions’ who died defending the ships of the Achaeans from Hector’s fire.

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Now that Patroklos has been killed, Achilles can finally recognize what he has to do. He has to kill Hector, thus ensuring his own death soon thereafter, and by doing so he will win for himself a kleos ‘glory’ that is esthlon ‘real, genuine, good’. The verb arnusthai, which takes kleos ‘glory’ here as its direct object, means ‘struggle to win as a prize’. For more on this verb, see the comment on O.01.05.

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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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Leonard Muellner

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

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it [MRBTP: 'ff']

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

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comment on the relationship between ‘coming home’ and ‘escaping death’

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Achilles’ prayer specifically entailing that Trojans should prevail until they reach the ships of the Achaeans, coextensiveness of the Will of Zeus and Achilles’ prayer

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analysis of philotēs and timē going together with this passage as an example [MRBTP: 'ff']

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analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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analysis of Achilles’ goal in sending Patroklos to fight, namely, timē, for this world (as different from his goal in returning to fighting himself, namely, kleos, epic, belonging to the hereafter)

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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 Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain

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analysis of Patroklos’ death as not a result of Achilles’ “mistakes,” Achilles’ not feeling guilty for having sent Patroklos to fight but regretting not being by his side to defend him

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analysis of the difference in the scope of philotēs on Achilles’ part when sending Patroklos to fight and after his death

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain

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argument that there is no moral or epistemological failure or a “tragic” error on Achilles’ part regarding Patroklos’ death (despite these verses)

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain, and desire to avenge him and so win kleos

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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 Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain, and desire to avenge him and so win kleos

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Richard Martin

The pattern ta phroneonti ana thumon at 18.4—describing Achilles' premonitions as Antilokhos arrives with the news of Patroklos' death—is one of two narrative instances of a formula type that frames the poem at moments of emotional intensity. The other is 2.36, where Dream departs from Agamemnon "thinking thoughts in his spirit which were not to be fulfilled." The disjunction between thought (phroneont') and outcome (teleesthai, tetelesmena) produces pathetic irony when the concepts are juxtaposed in a single line: Agamemnon's ignorance and Achilles' premonitions frame the narrative and provide vivid capsule characterizations at two points of particular emotional intensity in the poem (Martin 1993:187-88).

The contrast between these narrative passages and the scene in Book 23 (23.544-46) is all the sharper because there Achilles can be persuaded to change an outcome himself. Thus, while thought and outcome at the narrative level are predetermined to diverge, at the level of speakers' discourse within the poem the one can influence the other—a fine narrator's trick for creating the illusion of fictive freedom (Martin 1993:188-89).

For the broader analysis of the phroneō verb patterns and Achilles' speech, see the comment on Iliad 9.307-429.

References

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

(pp. 206--239)**

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