Homer Iliad 20.340

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.) — 20.340 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.) — 20.340 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.340 focus
The god left him when he had given him these instructions, and at once removed the darkness from before the eyes of Achilles, who opened them wide indeed and said in great anger, “Alas! what marvel am I now beholding? [345] Here is my spear upon the ground, but I see not him whom I meant to kill when I hurled it. Of a truth Aeneas also must be under heaven’s protection, although I had thought his boasting was idle. Let him go hang; he will be in no mood to fight me further, [350] seeing how narrowly he has missed being killed. I will now give my orders to the Danaans and attack some other of the Trojans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.340 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.340 focus
With that, he left him wondering as he lay,
Then from Achilles chas'd the mist away:
390
Sudden, returning with the stream of light,
The scene of war came rushing on his sight.
Then thus amaz'd: ‘What wonders strike my mind!
‘My spear, that parted on the wings of wind,
‘Laid here before me! and the Dardan lord,
395
‘That fell this instant, vanish'd from my sword!
‘I thought alone with mortals to contend,
‘But powers celestial sure this foe defend.
‘Great as he is, our arm he scarce will try,
‘Content for once, with all his gods, to fly.
400
‘Now then let others bleed.’ This said, aloud
He vents his fury, and inflames the crowd:
‘O Greeks,’ (he cries, and every rank alarms,)
‘Join battle, man to man, and arms to arms!
‘'Tis not in me, though favour'd by the sky,
405
‘To mow whole troops, and make whole armies fly:
‘No god can singly such a host engage,
‘Not Mars himself, nor great Minerva's rage.
‘But whatsoe'er Achilles can inspire,
‘Whate'er of active force, or acting fire,
410
‘Whate'er this heart can prompt, or hand obey;
‘All, all Achilles, Greeks, is yours to-day.
‘Through yon wide host this arm shall scatter fear,
‘And thin the squadrons with my single spear.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.340 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.340 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.340 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

New Alexandria Commentaries

Douglas Frame

comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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evidence for contention that Homer understands ásmenoi only as an adjective and thus reinterprets original collocation ásmenoi ek thanátoio, originally a “return from death” as an “escape from death”

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analysis of the phrase asmenos ek thanatoio, with this verse as an example of its regularization

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suggests possibility that collocation ásmenos phúgeιn is based on Homeric phrase phúgen ásmenos ek thanátoio

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evidence for contention that Homer understands ásmenoi only as an adjective and thus reinterprets original collocation ásmenoi ek thanátoio, originally a “return from death” as an “escape from death”

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analysis of metheinai and contrasting it with loose-wittedness, and its application to Menelaus

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comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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comment on the Homeric poems’ awareness of Lydians and Gyges

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comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the Homeric poems’ awareness of Lydians and Gyges

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analysis of the implications of the reference to the “Gygaean lake” in these verses and allusion to the contemporary world of the Homeric audience

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analysis of the implications of the reference to Poseidon Helikonios in these verses and allusion to the contemporary world of the Homeric audience

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analysis of the simile and the view that it alludes to the Panionia

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comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

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Gregory Nagy

By now Achilles has a new set of armor, and he is ready to fight the Trojans. But his first major opponent seems to be a distraction. At least, our initial impression may lead us to think that there is a distraction going on here. The first major opponent of Achilles in Iliad 20 is Aeneas, hero of epic traditions that eventually became absorbed into the Aeneid of Virgil. Is this hero, we may ask, a truly worthy opponent of Achilles? Are the epic traditions that figure this son of Aphrodite / Venus truly worthy of the epic that is the Homeric Iliad? Once we examine more closely the oldest Greek epic traditions of Aeneas, it will become clear that this hero is indeed a most important opponent of Achilles, in that he represents ancient Greek epic traditions that are different from and antithetical to the epic tradition that prevailed in the Homeric Iliad as we know it. Not only does Aeneas challenge Achilles: even the epic traditions that figure Aeneas will challenge the epic traditions that figure Achilles. To say it another way, Aeneas represents a proto-Aeneid that challenges the proto-Iliad of Achilles. What makes Aeneas and his Aeneid—or, better, Aeneids—such a formidable challenge to Achilles is the enormous political prestige of the epic tradition that backs up Aeneas. By virtue of being the son of Aphrodite/Venus, Aeneas possesses a genealogical and dynastic charisma that threatens to overshadow the purely epic charisma of his Iliadic opponent Achilles.

draft js image error“Venus preventing her son Aeneas from killing Helen of Troy,” Luca Ferrari, circa 1650. Luca Ferrari [Public domain], via Wikimedia Commons.

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In the short-term logic of the narrative here about the one-on-one battle between Aeneas and Achilles, I.20.290–352, it becomes certain that Aeneas will lose the battle and be killed by Achilles, I.20.290. But now, most abruptly, this short-term certainty is contradicted by a long-term certainty, which is, that Aeneas must not be killed by Achilles. It simply cannot happen. And the divine agent of this long-term certainty is the god Poseidon, who notices what is happening short-term and will now intervene directly, I.20.291, in order to insure the long-term certainty that Aeneas must not be killed in this battle-scene. As Poseidon declares to his fellow divinities before he takes action, it is morimon ‘destined’ that Aeneas must avoid being killed by Achilles at this epic moment, I.20.302, since Aeneas as a descendant of Dardanos must not die without having further descendants of his own, I.20.303–306, and these descendants may then continue to rule over the Trojans even after Troy is completely destroyed, I.20.307–308. So, there is an eternity that is destined for the genes, as it were, of Aeneas, as I noted already in the anchor comment at I.20.209, since this hero’s descendants will have eternal rule over the Trojans. But this rule, says Poseidon, will not be in Troy, since both Hērā and Athena have committed themselves by oath to the complete destruction of that city, I.20.313–317. Having made these declarations, Poseidon now takes action. What happens right away is that Aeneas is literally lifted into the air by the power of the god, I.20.325, who spirits him off to a safe place that is removed from the battle scene, I.20.328–329. Once Aeneas is safe, Poseidon appears to him and declares that it would have been huper moiran ‘beyond fate [moira]’ for this hero to die at this epic moment, I.20.336. And, while Poseidon is taking action by rescuing Aeneas, he simultaneously beclouds the vision of Achilles, I.20.321–322, so that this hero cannot get to see the actual rescue of his opponent. Achilles is literally in the dark here. Then, after the rescue, the vision of Achilles is restored, I.20.341–342, and he now comprehends that some god must have arranged the escape of Aeneas, I.20.342–350. It is significant, however, that Achilles does not know the identity of the god who rescued Aeneas. Similarly, Achilles did not know the exact identity of the god who rescued Aeneas from the city of Lyrnessos, where that hero had once upon a time taken refuge from the pursuing Achilles. As I noted in the comment on I.20.187–194, the wording of Achilles is ostentatiously vague when he refers at I.20.194 to the action of ‘Zeus and the other gods’ in helping Aeneas escape from the besieged city of Lyrnessos before it was destroyed by Achilles. By contrast, the wording of Achilles is clear when he refers at I.20.192 to the action of Zeus and Athena together in helping him destroy Lyrnessos. I propose, then, that Achilles was kept in the dark about the agency of the god or goddess who helped Aeneas escape from Lyrnessos before it was destroyed, just as he is now being kept in the dark about the agency of Poseidon. Further, just as Achilles at I.20.194 is complaining about the divine help given to Aeneas, so also Aeneas at I.20.097–102 complains about the divine help given to Achilles—and there the one divinity who is singled out as that hero’s greatest divine helper is Athena, I.20.094–096. The implication of this complaint by Aeneas is that Athena gives to Achilles an unfair advantage, and that the two heroes would be evenly matched if Athena were taken out of the picture. Ironically, Athena is in fact out of the picture in the one-on-one battle between Aeneas and Achilles, and the only god who intervenes in this battle is Poseidon, who helps not Achilles but Aeneas. But, even with the help of Poseidon, Aeneas does not win the one-on-one battle. He succeeds only in escaping death at the hands of Achilles.

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The etymology of this word can be explained as ‘returning to light and life’. See the anchor comment on O.09.566.

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[Epitomized from HPC 229–230.] Here at I.20.404–405, the bellowing of a mortally wounded Trojan warrior is compared to the bellowing of a bull that is about to be sacrificed on the occasion of a ritual that was central to the people of the Ionian Dodecapolis in worshipping the god Poseidon. Such a comparison, which occurs in a context that is proximal to the narrative about the rescue of Aeneas by Poseidon, I.20.290–352, evokes the Ionian connections of the god with Aeneas as a hero who was appropriated by the Ionians of the Ionian Dodecapolis: see Point 4 of the anchor comment at I.20.302–308 about Aeneas the Ionian, part 2. Strabo (8.7.2 C384) makes it explicit that the Ionians even in his own time worshipped Poseidon Helikōnios and celebrated (thuein) the festival of the Panionia at the Panionion: ‘even today, the Ionians honor [tīmân] him [= Poseidon], and they still celebrate [thuein] at that place [= the Panionion] the festival of the Panionia’ (ὃν καὶ νῦν ἔτι τιμῶσιν Ἴωνες, καὶ θύουσιν ἐκεῖ τὰ Πανιώνια). And he proceeds to describe this festival as a thusiā ‘sacrifice’ in the context of noting that Homer actually mentions it here at I.20.404–405: ‘he [= Homer] makes mention, as some suggest, of this sacrifice [thusiā] when he says …’ (μέμνηται δ’, ὡς ὑπονοοῦσί τινες, ταύτης τῆς θυσίας Ὅμηρος ὅταν φῇ … [the quotation from Homer follows]). I draw special attention to Strabo’s metonymic use of thusiā ‘sacrifice’ here to designate the whole festival of the Panionia. On metonymy, see the inventory of Words and Ideas. The geographer then proceeds to quote the verses at I.20.404–405 that concern the sacrifice of a bellowing bull to Poseidon Helikōnios: ‘as when a bull | bellows when he is being dragged toward the lord who is Helikōnios’ (ὡς ὅτε ταῦρος | ἤρυγεν ἑλκόμενος Ἑλικώνιον ἀμφὶ ἄνακτα). As Strabo observes (again, 8.7.2 C384), the climax of the festival of the Panionia at the Panionion is the sacrifice of the bull to Poseidon Helikōnios—I note the word thusiā, used here in the specific sense of ‘sacrifice’—and special care must be taken by the sacrificers to induce the bull to bellow before it is sacrificed. Accordingly, Strabo continues, the reference at I.20.404–405 to the sacrifice of a bellowing bull to Poseidon Helikōnios can be used to argue that the birth of Homer ‘the Poet’ par excellence is to be dated after the Ionian apoikiā ‘migration’, on the grounds that Homer actually mentions the Panionian sacrifice of the Ionians to Poseidon Helikōnios in the environs of Priene: ‘they use [this] as evidence for aguing that the Poet was born after the Ionian migration [apoikiā], given that he makes mention of the Panionian festival [thusiā] that the Ionians celebrate in the territory of the people of Priene in honor of Poseidon Helikōnios’ (τεκμαίρονταί τε νεώτερον εἶναι τῆς Ἰωνικῆς ἀποικίας τὸν ποιητήν, μεμνημένον γε τῆς Πανιωνικῆς θυσίας ἣν ἐν τῇ Πριηνέων χώρᾳ συντελοῦσιν ῎Ιωνες τῷ ῾Ελικωνίῳ Ποσειδῶνι). (On the Ionian Migration, see the inventory of Words and Ideas.) As we see from Strabo, then, this Homeric passage may well refer to the special way of sacrificing bulls at the festival of the Panionia at the Panionion in Priene. The testimony of Strabo is in fact corroborated by the Homeric scholia (bT for I.20.404). As we see from the context of the Iliadic passage here, the mode of inflicting the mortal blow in sacrificing the bull highlights the vitality of the bull, who is “pumped up” with fear and rage. In the scholia bT for I.20.406a (see also bT for 404b), the commentator takes great care in noting the explosion of arterial blood at the climactic moment when the sacrificial blow severs the carotid artery of the “pumped up” animal. It appears that this mode of sacrificing the bull intensifies the rush of arterial blood spurting from the sacrificial blow.

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Leonard Muellner

in a list of parallels to the opening of formula (A) hōs ephat’ eukhomenos… occurring in the last 9 books of the Iliad (with participles after phanai categorizing the speech, here as exhortation), in the context of analyzing formula (A) and the meaning of eukhesthai

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in a list of examples of formulas for introducing a speech by an eukhomenos warrior, which Paris’ name-epithet formulas do not fit (in the context of analyzing I.11.379)

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comment on the association of the statements of a hero’s birth and death

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manuscripts attesting this verse with epeukhomenos

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this verse as one of two places where the dictional bonds tying together (A1)-(A5) are shattered – resumes the narrative not after prayers but boasts

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in a list of secular eukhesthai indicating direct speech (introducing speech)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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analysis of cases where speeches introduced/concluded by formulas (X) = introduce speech – Greek speaker – dead Trojan, or (Y) = conclude speech – Trojan speaker – dead Greek, are challenges to a confrontation with another hero [MRBTP: 'ff']

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