Homer Iliad 18.97

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.) — 18.97 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.) — 18.97 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.) — 18.97 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.97 focus
Then said Achilles in his great grief, 98 “Right away may I die next, since it turns out that I did not help my comrade [ hetairos] 99 by protecting him when he was about to be killed. And there he was, far away from his fatherland, 100 and he died. He missed having me as his protector from harm. 101 And now, since I will not have a homecoming [ neesthai] to my dear fatherland, 102 and I did not become the Light [of salvation] for Patroklos or for my other hetairoi 103 those others, many of them, who were also dispatched by radiant Hector 104 —and here I am by the ships, just sitting here, a heavy load for Earth to bear— [105] I, who in fight have no peer among the Achaeans, though in council there are better than I. Therefore, perish strife both from among gods and men, and anger, wherein even a righteous man will harden his heart—which rises up in the spirit of a man like smoke, [110] and the taste thereof is sweeter than drops of honey. Even so has Agamemnon angered me. And yet—so be it, for it is over; I will force my spirit into subjection as I needs must; I will go; I will pursue Hector [115] who has slain him whom I loved so dearly, and will then abide my doom when it may please Zeus and the other gods to send it. Even Hēraklēs, the best beloved of Zeus—even he could not escape the hand of death, but fate and Hera’s fierce anger laid him low, [120] as I too shall lie when I am dead if a like doom awaits me. 121 but now let me win worthy [ kleos], and will bid Trojan and Dardanian women wring tears from their tender cheeks with both their hands in the grievousness of their great sorrow; thus shall they know that he who has held aloof so long will hold aloof no longer. [125] Hold me not back, therefore, in the love you bear me, for you shall not move me.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.97 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.97 focus
‘Let Hector die,
125
‘And let me fall!' (Achilles made reply.)
‘Far lies Patroclus from his native plain;
‘He fell, and, falling, wish'd my aid in vain.
‘Ah then, since from this miserable day
‘I cast all hope of my return away;
130
‘Since, unrevenged, a hundred ghosts demand
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.97 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.97 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Douglas Frame

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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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 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 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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