Iliad 18.127

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 18.127 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.) — 18.127 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)) — 18.127 focus
Then silver-footed Thetis answered, “My son, what you have said is true. It is well to save your comrades from destruction, [130] but your armor is in the hands of the Trojans; Hector bears it in triumph upon his own shoulders. Full well I know that his vaunt shall not be lasting, for his end is close at hand; go not, however, into the press of battle [135] till you see me return here; tomorrow at break of day I shall be here, and will bring you goodly armor from King Hephaistos.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.127 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.127 focus
‘My son,’ (cærulean Thetis made reply,
To fate submitting with a secret sigh,)
‘The host to succour and thy friends to save,
165
‘Is worthy thee; the duty of the brave.
‘But canst thou, naked, issue to the plains?
‘Thy radiant arms the Trojan foe detains.
‘Insulting Hector bears the spoils on high,
‘But vainly glories, for his fate is nigh.
170
‘Yet, yet, awhile, thy generous ardour stay,
‘Assured I meet thee at the dawn of day,
‘Charged with refulgent arms, (a glorious load,)
‘Vulcanian arms, the labour of a god.’
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.127 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.127 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, 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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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’.

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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.

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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 the fire Athena makes blaze from Achilles’ head as the fire of mēnis converted into a symbolic instrument of the hero’s philotēs

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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

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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

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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.

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