Homer Iliad 18.284

ed. Robert Southey

View: By Book

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.) — 18.284 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.) — 18.284 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.) — 18.254 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.284 focus
Hector of the shining helmet looked fiercely at him and answered, [285] “Polydamas, your words are not to my liking in that you bid us go back and be pent within the city. Have you not had enough of being cooped up behind walls? In the old-days the city of Priam was famous the whole world over for its wealth of gold and bronze, [290] but our treasures are wasted out of our houses, and much goods have been sold away to Phrygia and fair Maeonia, for the hand of Zeus has been laid heavily upon us. Now, therefore, that the son of scheming Kronos has granted me to win glory here and to hem the Achaeans in at their ships, prate no more in this foolish way among the population [ dēmos]. [295] You will have no man with you; it shall not be; do all of you as I now say;—take your suppers in your companies throughout the army, and keep your watches and be wakeful every man of you. [300] If any Trojan is uneasy about his possessions, let him gather them and give them out among the people. Better let these, rather than the Achaeans, have them. At daybreak we will arm and fight about the ships; [305] granted that radiant Achilles has again come forward to defend them, let it be as he will, but it shall go hard with him. I shall not shun him, but will fight him, to fall or conquer. The god of war deals out like measure to all, and the slayer may yet be slain.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.284 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.284 focus
‘Return?’ (said Hector, fir'd with stern disdain,)
‘What! coop whole armies in our walls again?
‘Was't not enough, ye valiant warriors say,
335
‘Nine years imprison'd in those towers ye lay?
‘Wide o'er the world was Ilion fam'd of old
‘For brass exhaustless, and for mines of gold;
‘But while inglorious in her walls we stay'd,
‘Sunk were her treasures, and her stores decay'd;
340
‘The Phrygians now her scatter'd spoils enjoy,
‘And proud Mæonia wastes the fruits of Troy.
‘Great Jove at length my arms to conquest calls,
‘And shuts the Grecians in their wooden walls:
‘Dar'st thou dispirit whom the gods incite?
345
‘Flies any Trojan? I shall stop his flight.
‘To better counsel then attention lend;
‘Take due refreshment, and the watch attend.
‘If there be one whose riches cost him care,
‘Forth let him bring them for the troops to share;
350
‘'Tis better generously bestow'd on those,
‘Than left the plunder of our country's foes.
‘Soon as the morn the purple orient warms,
‘Fierce on yon navy will we pour our arms.
‘If great Achilles rise in all his might,
355
‘His be the danger: I shall stand the fight.
‘Honour, ye gods! or let me gain, or give;
‘And live he glorious, whosoe'er shall live!
‘Mars is our common lord, alike to all:
‘And oft the victor triumphs, but to fall.’
360
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.284 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.284 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

Notes on the current edition

Iliad

1. Καταδημοβορῆσαι.

New Alexandria Commentaries

Douglas Frame

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

source

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

source

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

source

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

source

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

source

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

source
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.

source

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’.

source

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.

source

The word here for the fire emanating from the head of Achilles is simply pūr ‘fire’, I.18.225.

source

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.

source

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.

source

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.

source

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.

source

The cosmic river Ōkeanos is described here at I.18.399 as apsorrhoos ‘backward-flowing’ (ἀψορρόου Ὠκεανοῖο). Since this river is visualized as flowing around the world in a circle, its flow always comes back to where it started. Since the flow comes back full circle, the Ōkeanos is ‘backward-flowing’.

source
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

source

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

source

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

source

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.

source

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

source

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

source

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

source

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

source

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

source

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

source

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

source

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

source

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

source
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).

source