Homer Iliad 21.324

A. T. Murray (Translator)

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

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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.) — 21.324 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.) — 21.361 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.324 focus
Then he raised his tumultuous flood high against Achilles, [325]seething as it was with foam and blood and the bodies of the dead. The dark waters of the river stood upright and would have overwhelmed the son of Peleus, but Hera, trembling lest Achilles should be swept away in the mighty torrent, lifted her voice on high [330] and called out to Hephaistos her son. “Crooked-foot,” she cried, “my child, be up and doing, for I deem it is with you that Xanthos is fain to fight; help us at once, kindle a fierce fire; I will then bring up the west and the white south wind in a mighty gale from the sea, [335] that shall bear the flames against the heads and armor of the Trojans and consume them, while you go along the banks of Xanthos burning his trees and wrapping him round with fire. Let him not turn you back neither by fair words nor foul, [340] and slacken not till I shout and tell you. Then you may stay your flames.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.324 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.324 focus
He said; and on the chief descends amain,
Increas'd with gore, and swelling with the slain.
Then, murmuring from his beds, he boils, he raves,
380
And a foam whitens on the purple waves:
At every step, before Achilles stood
The crimson surge, and delug'd him with blood.
Fear touch'd the queen of heaven: she saw dismay'd,
She call'd aloud, and summon'd Vulcan's aid.
385
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.324 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.324 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.324 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

Notes on the current edition

Iliad

1. 1

New Alexandria Commentaries

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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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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Leonard Muellner

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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