Homer Iliad 18.254

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

Iliad (English) (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.)

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.) — 18.243 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.) — 18.243 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.243 focus
Now the Trojans when they had come out of the fight, [245] unyoked their horses and gathered in assembly before preparing their supper. They kept their feet, nor would any dare to sit down, for fear had fallen upon them all because Achilles had shown himself after having held aloof so long from battle. Careful Polydamas son of Panthoös was first to speak, a man of judgment, [250] who alone among them could look both before and after. He was comrade to Hector, and they had been born upon the same night; with all sincerity and goodwill, therefore, he addressed them thus-
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.243 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.243 focus
The frighted Trojans (panting from the war,
Their steeds unharness'd from the weary car)
A sudden council call'd: each chief appear'd
In haste, and standing; for to sit they fear'd.
290
'Twas now no season for prolong'd debate;
They saw Achilles, and in him their fate.
Silent they stood: Polydamas at last,
Skill'd to discern the future by the past,
The son of Panthus, thus express'd his fears:
295
(The friend of Hector, and of equal years:
The self-same night to both a being gave,
One wise in council, one in action brave:)
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.243 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.243 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.243 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Douglas Frame

analysis of Hector and Polydamas in terms of the twin myth (inverted)

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analysis of Hector and Polydamas in terms of the twin myth (inverted)

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comment on the identification of Enualios with Ares, in the context of analyzing the identity of the war goddess in “Tsountas’s House”

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analysis of Hector and Polydamas in terms of the twin myth (inverted)

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analysis of Achilles reference to nóēma, which consists in his own nóstos, and which will remain unaccomplished precisely because he will not “return”

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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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At this assembly, Polydamas advocates a defensive strategy now that Achilles has re-entered the war. But Hector insists on a strategy of maintaining the offensive, and his opinion prevails. The Master Narrator comments: this was a bad decision by the assembly, to approve the strategy of Hector, since the goddess Athena had taken away from them their senses, that is, their phrenes ‘thinking’, I.18.311. If the assembly had been sensible, they would have recognized that Hector’s mētis ‘mind, intelligence’ had failed him, I.18.312. As noted in the comments on I.06.286–311, I.07.017–061, I.08.538–541, I.10.043–052, I.11.200, and I.13.825–829, there is a pattern of personal hostility felt by the goddess Athena toward Hector as a hero who aspires to some of the same qualities that Athena herself exemplifies. Like the goddess, Hector can be seen as an exponent of (1) defensive tactics in the warfare of protecting a citadel from sieges and (2) mētis ‘mind, intelligence’—two qualities that are now tragically taken away from him when he most needs to have them in the macro-narrative of the Iliad.

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The particle de (δέ) of I.18.356 is syntactically correlated with the particle men (μέν) in a preceding verse, I.18.354. But a rhapsode (rhapsōidos) could begin his performance with the de-clause, thus “stranding,” as it were, the preceding men-clause. Here is an example, with reference to the performance of a rhapsode in the Ptolemaic era of Alexandria:

καὶ ὁ μὲν ῥαψῳδὸς εὐθὺς ἦν διὰ στόματος πᾶσιν, ἐν τοῖς Πτολεμαίου γάμοις ἀγομένου τὴν ἀδελφὴν καὶ πρᾶγμα δρᾶν ἀλλόκοτον <νομιζ>ομένου καὶ ἄθεσμον ἀρξάμενος ἀπὸ τῶν ἐπῶν ἐκείνων·

Ζεὺς δ᾿ Ἥρην ἐκάλεσσε κασιγνήτην ἄλοχόν τε [I.18.356]

The rhapsode [rhapsōidos] was the talk of everybody—the one who, at the wedding of Ptolemy who, in marrying his own sister was considered to be committing a deed unnatural and unholy, began with the following words: ‘And [de] Zeus summoned Hērā his sister, his wife’ [I.18.356]

Plutarch Table Talk 736e

The historical occasion is the wedding, in the first quarter of the third century before our era, of Ptolemy II Philadelphus to his sister, Arsinoe, in accordance with the practice of Egyptian pharaohs—and in violation of Hellenic practices. Evidently, then, the particle de could be used to begin a rhapsodic performance, even in contexts were such a use was dependent on a preceding men-clause. For an example of such a de at the beginning of a Homeric rhapsody, see the comment on O.03.001.

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Leonard Muellner

in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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analysis of kēdea as a social phenomenon that creates a bond of solidarity

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analysis of the variant prologue to the Iliad connecting the mēnis of Achilles and of Apollo and the parallels in its diction to this line

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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 kēdea as a social phenomenon that creates a bond of solidarity

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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Richard Martin

When Achilles refers to his earlier boast at 18.324—"A vain epos I tossed forth that day"—the use of epos rather than muthos can be explained by the nature of the original speech-act: as a boast, it is attracted into the language of actual boast descriptions, which often contain the formula eukhomenos epos ēuda. External factors—formulaic pressure, poetic themes in the larger discourse—can mask the inherent semantic distinction between muthos and epos. See also the companion case at Iliad 5.715, where Hera uses muthos with the same qualifier halion ("in vain") for a similar kind of failed public commitment (Martin 1993:28).

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