Homer Iliad 21.434

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.) — 21.434 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.) — 21.424 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.434 focus
Goddess of the white arms, Hera smiled as she listened. [435] Meanwhile King Poseidon turned to Apollo saying, “Phoebus, why should we keep each other at arm’s length? it is not well, now that the others have begun fighting; it will be disgraceful to us if we return to Zeus’ bronze-floored mansion on Olympus without having fought each other; [440] therefore come on, you are the younger of the two, and I ought not to attack you, for I am older and have had more experience. Idiot, you have no sense, and forget how we two alone of all the gods fared hardly round about Ilion when we came from Zeus’ house and worked for Laomedon a whole year [445] at a stated wage and he gave us his orders. I built the Trojans the wall about their city, so wide and fair that it might be impregnable, while you, Phoebus, herded cattle for him in the dales of many-valleyed Ida. [450] When, however, the glad seasons [ hōrai] brought round the time-limit [ telos] for payment, mighty headstrong Laomedon robbed us of all our hire and sent us off with nothing but abuse. He threatened to bind us hand and foot and sell us over into some distant island. [455] He tried, moreover, to cut off the ears of both of us, so we went away in a rage, furious about the payment he had promised us, and yet withheld; in spite of all this, you are now showing favor [ kharis] to his people, [460] and will not join us in compassing the utter ruin of the proud Trojans with their wives and children.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.434 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.434 focus
Thus she, and Juno with a smile approv'd.
505
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.434 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.434 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.434 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

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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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

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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