Homer Iliad 18.388

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 18.388 focus
Translations (8)
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.) — 18.388 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.388 focus
The goddess led the way as she spoke, and bade Thetis sit on a richly decorated seat inlaid with silver; [390] there was a footstool also under her feet. Then she called Hephaistos and said, “Hephaistos, come here, Thetis wants you”; and the far-famed lame god answered, “Then it is indeed an august and honored goddess who has come here; [395] she it was that took care of me when I was suffering from the heavy fall which I had through my cruel mother’s anger—for she would have got rid of me because I was lame. It would have gone hardly with me had not Eurynome, daughter of the ever-encircling waters of Okeanos, and Thetis, taken me to their bosom. [400] Nine years did I stay with them, and many beautiful works in bronze, brooches, spiral armlets, cups, and chains, did I make for them in their cave, with the roaring waters of Okeanos foaming as they rushed ever past it; and no one knew, neither of gods nor men, [405] save only Thetis and Eurynome who took care of me. If, then, lovely-haired Thetis has come to my house I must make her due requital for having saved me; entertain her, therefore, with all hospitality, while I put by my bellows and all my tools.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.388 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.388 focus
High on a throne, with stars of silver graced,
And various artifice, the queen she placed;
A footstool at her feet: then, calling, said,
‘Vulcan, draw near, 'tis Thetis asks your aid.’
460
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.388 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.388 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.388 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

Notes on the current edition

Iliad

1. 319.1
2. 319.2

New Alexandria Commentaries

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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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’.

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