Homer Iliad 21.502

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.) — 21.502 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.) — 21.502 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.) — 21.502 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.502 focus
Leto then gathered up Artemis’ bow and arrows that had fallen about amid the whirling dust, and when she had got them she made all haste after her daughter. [505] Artemis had now reached Zeus’ bronze-floored mansion on Olympus, and sat herself down with many tears on the knees of her father, while her ambrosial raiment was quivering all about her. The son of Kronos drew her towards him, and laughing pleasantly the while began to question her saying, “Which of the heavenly beings, my dear child, [510] has been treating you in this cruel manner, as though you had been misconducting yourself in the face of everybody?” and the fair-crowned goddess of the chase answered, “It was your wife Hera of the white arms, father, who has been beating me; it is always her doing when there is any quarreling among the immortals.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.502 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.502 focus
He spoke, and pass'd: Latona, stooping low,
585
Collects the scatter'd shafts, and fallen bow,
That, glittering on the dust, lay here and there;
Dishonour'd relics of Diana's war.
Then swift pursued her to her blest abode,
Where, all confus'd, she sought the sovereign god;
590
Weeping she grasp'd his knees: th' ambrosial vest
Shook with her sighs, and panted on her breast.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.502 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.502 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

New Alexandria Commentaries

Douglas Frame

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

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

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example of opposition between verbs pheúgein and halonai. Compare to Il. XIV.81

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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.

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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.

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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

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passage adduced by Socrates at Protagoras 340a

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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.

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

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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.

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Leonard Muellner

examples of the identical contexts in which eukhos and kudos occur

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

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

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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’

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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

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analysis of the reason for Poseidon’s hatred against Trojans as different from that of Hera and Athena (although listed together in I.24.025-030)

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analysis of the reason for Poseidon’s hatred against Trojans as different from that of Hera and Athena (although listed together in I.24.025-030)

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an example of eukhos associated with secular eukhesthai

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analysis of the sacral-secular split in formulas with akouein and eukhesthai and where these words occur not in the same verse but with enjambment

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one of Corlu’s examples of eukhesthai referring to past actions

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in a list of secular eukhesthai reporting speech (absolute usage)

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in a list of usages contextually parallel to the death-eukhesthai usage, in the context of the analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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analysis of the simile of the devastation Achilles wreaks, where the hero with mēnis is a hero like mēnis

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analysis of the theme of biē as elemental, and here specifically the representation of Achilles’ biē as parallel to that of the cosmic aspect of biē (as manifested in the thunderstorm of Zeus/affected by the anger of gods)

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analysis of the similarity of the language and syntax of the simile and the description of Achilles’ mēnis in the prologue to the Iliad

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

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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).

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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.

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