Homer Iliad 19.349

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.) — 19.349 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.) — 19.349 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 19.349 focus
With these words he urged Athena, who was already of the same mind. [350] She darted down from the heavens into the air like some falcon sailing on his broad wings and screaming. Meanwhile the Achaeans were arming throughout the army, and when Athena had dropped nectar and ambrosia into Achilles so that no cruel hunger should cause his limbs to fail him, [355] she went back to the house of her mighty father. Thick as the chill snow-flakes shed from the hand of Zeus and borne on the keen blasts of the north wind, even so thick did the gleaming helmets, [360] the bossed shields, the strongly plated breastplates, and the ashen spears stream from the ships. The sheen pierced the sky, the whole land was radiant with their flashing armor, and the sound of the tramp of their treading rose from under their feet. In the midst of them all radiant Achilles put on his armor; [365] he gnashed his teeth, his eyes gleamed like fire, for his grief [ akhos] was greater than he could bear. Thus, then, full of fury against the Trojans, did he don the gift of the god, the armor that Hephaistos had made him. 368 He [= Achilles] put it [= his armor] on, the gifts of the god, which Hephaistos had made for him with much labor.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 19.349 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 19.349 focus
He spoke, and sudden at the word of Jove
370
Shot the descending goddess from above.
So swift through ether the shrill Harpy springs, 1
The wide air floating to her ample wings.
To great Achilles she her flight address'd,
And pour'd divine ambrosia in his breast,
375
With nectar sweet, (refection of the gods!)
Then, swift ascending, sought the bright abodes.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 19.387 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 19.349 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.349 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 19 focus

Notes on the current edition

Iliad

1. 1

New Alexandria Commentaries

Gregory Nagy

The time has come for Achilles to re-enter the war against the Trojans. For this to happen, Agamemnon must first settle with Achilles. But the over-king feels the need to say more than simply to formulate his proposed terms of settlement. His aim is to excuse himself from responsibility for dishonoring Achilles, and the story that he tells in order to achieve this aim is a retelling of a cosmic atē ‘aberration’ that resulted in the Labors of Hēraklēs. Such a retelling, however, is destined to backfire: it will result in further damage to Agamemnon’s own royal status and in further advancement for the heroic prestige of Achilles, for whom Hēraklēs now becomes a perfect model.

draft js image errorHerakles at the tree of the Hesperides, holding three of the golden apples in his left hand. Behind him is the apple tree with the guardian serpent clinging around it. Bronze, 104.5cm (Roman, 1st century C.E.). Image via The British Museum.

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Achilles finally puts on the armor that had been made for him by the divine artisan Hephaistos. What dominates the visualization of this armor is the Shield.

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As Achilles lifts the mighty Shield, there is a selas ‘flash of light’ that streams from its bright surface, I.19.374, which is compared to the radiant light that streams from the moon; then this same selas ‘flash of light’ streaming from the surface of the Shield at I.19.374 is also compared to a selas ‘flash of light’ streaming from a fire that sends forth its light from a lighthouse, I.19.375. This saving light, with its promise of salvation for sailors lost at sea who are longing to be reunited with their loved ones at home, I.19.375, I.19.377–378, streams from a fire that is burning at a remote place described here as a solitary stathmos ‘station’ situated in the heights overlooking the dangerous seas below, I.19.376–377. By way of ring-composition, the description now returns, I.19.379, to the picturing of the selas ‘flash of light’ that is streaming from the Shield. This flash of light is aptly compared here to the moon, not to the sun, since it is nighttime, not daytime: the sailors who are lost at sea are literally in the dark, desperately looking for a light to orient them. And the source of the light as a blazing fire is most appropriate not only from a practical point of view, since a strong fire is needed for sending from the lighthouse a light strong enough to be spotted in the darkness from far away at sea, but also from a symbolic point of view, since the burning looks that emanate from the angry eyes of Achilles are compared at an earlier point to a selas ‘flash of light’ that emanates from a blazing fire, I.19.366 (πυρὸς σέλας). On the angry looks of Achilles as he streams fire from his eyes and lights up the surface of his Shield, see the comment on I.19.003–017. As for the lighthouse that sends forth the light of salvation to sailors lost at sea, it is visualized as a solitary stathmos ‘station’ situated on the heights overlooking the sea, I.19.376–377. Such a stathmos, as I indicate in the comment on I.18.587–589, can be visualized more precisely as a herdsman’s shelter that looms over the shores of the Hellespont, where the ship of Achilles is beached. This shelter is actually the tomb of Achilles, located on a high promontory that reaches into the Hellespont. See the anchor comment at I.23.125–126 on the tomb of Achilles, part 1, and the anchor comment at I.23.245–248…256–257 on the tomb of Achilles, part 2; also to be noted is the anchor comment at O.24.076–084 on the tomb of Achilles, part 3, posted in 2017.01.03. Here at I.19.373–380, the gleam from the bronze surface of the Shield is being compared to the light that streams from the blazing fire of a lighthouse marking the tomb of Achilles, and this comparison can be seen as a metaphor for the overwhelmingly radiant prestige of the Bronze Age.

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