Homer Iliad 18.1

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

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Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 18.1 focus
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.) — 18.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.1 focus
Thus then did they fight as it were a flaming fire. Meanwhile the fleet runner Antilokhos, who had been sent as messenger, reached Achilles, and found him sitting by his tall ships and boding that which was indeed too surely true. [5] “Alas,” 5 angered, he said tο his great-hearted thūmos, “why are the flowing-haired Achaeans again scouring the plain and flocking towards the ships? May the gods be not now bringing that sorrow upon me of which my mother Thetis spoke, [10] saying that while I was yet alive the bravest of the Myrmidons should fall before the Trojans, and see the light of the sun no longer. I fear the brave son of Menoitios has fallen through his own daring, and yet I bade him return to the ships as soon as he had driven back those that were bringing fire against them, and not join battle with Hector.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 18.1 focus
THUS like the rage of fire the combat burns,
1
And now it rises, now it sinks, by turns.
Meanwhile, where Hellespont's broad waters flow,
Stood Nestor's son, the messenger of woe.
There sat Achilles, shaded by his sails,
5
On hoisted yards extended to the gales;
Pensive he sat; for all that fate design'd
Rose in sad prospect to his boding mind.
Thus to his soul he said: ‘Ah what constrains
‘The Greeks, late victors, now to quit the plains ?
10
‘Is this the day, which heaven so long ago
‘Ordain'd, to sink me with the weight of woe,
‘(So Thetis warn'd,) when, by a Trojan hand,
‘The bravest of the Myrmidonian band
‘Should lose the light? Fulfill'd is that decree ?
15
‘Fall'n is the warrior, and Patroclus he?
‘In vain I charged him soon to quit the plain,
‘And warn'd to shun Hectorean force in vain!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

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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Before he has even been told about the death of Patroklos, Achilles is feeling anxious, and his anxiety is a premonition of the bad news coming his way. He is already thinking a thought that matches what has already happened, I.18.004, that Patroklos has been killed. In thinking this thought, Achilles reminds himself of something that his divine mother Thetis had once foretold to him: that the ‘best of the Myrmidons’ would be killed while Achilles was still alive, I.009–011. But why had Achilles failed to think this thought at an earlier time? Why did this thought about death for the best of the Myrmidons never occur to him when he sent out Patroklos to fight as his own substitute? It is as if Achilles had already recognized, back then, that Patroklos as his substitute had thereby already taken over, at least for the moment, the identity of Achilles as ‘best of the Achaeans’.

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At I.18.015–021, Achilles gets the grim news: that Patroklos has been killed by Hector, and that the fighting to recover his body, despoiled of the armor of Achilles, is still underway. Immediately, Achilles feels akhos ‘grief’, I.18.22. But the mourning and lamentation that is caused by this grief is aimed not only at Patroklos but also at Achilles in the narrative that follows, I.18.021–073. Within this narrative, Achilles gets to have his own wake, as it were. And the akhos ‘grief’ that is now felt by Achilles will never leave him, even after he unsays his mēnis ‘anger’ later on in Iliad 22. Unlike the goddess Demeter in the Homeric Hymn to Demeter, for whom the akhos ‘grief’ that she felt at verses 40 and 90 will go away at verse 436 as soon as she is reunited with Persephone, the akhos ‘grief’ of Achilles will never go away. As Thetis the lamenting mother of Achilles declares at I.18.061–062, this hero will never again stop ‘grieving’, akhnusthai, I.18.062. From now on, Achilles will be a man of constant sorrow (on precedents for this expression, see H24H 1§54). See the comments on I.09.249–250 and on I.23.046–047.

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Leonard Muellner

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

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Richard Martin

The pattern ta phroneonti ana thumon at 18.4—describing Achilles' premonitions as Antilokhos arrives with the news of Patroklos' death—is one of two narrative instances of a formula type that frames the poem at moments of emotional intensity. The other is 2.36, where Dream departs from Agamemnon "thinking thoughts in his spirit which were not to be fulfilled." The disjunction between thought (phroneont') and outcome (teleesthai, tetelesmena) produces pathetic irony when the concepts are juxtaposed in a single line: Agamemnon's ignorance and Achilles' premonitions frame the narrative and provide vivid capsule characterizations at two points of particular emotional intensity in the poem (Martin 1993:187-88).

The contrast between these narrative passages and the scene in Book 23 (23.544-46) is all the sharper because there Achilles can be persuaded to change an outcome himself. Thus, while thought and outcome at the narrative level are predetermined to diverge, at the level of speakers' discourse within the poem the one can influence the other—a fine narrator's trick for creating the illusion of fictive freedom (Martin 1993:188-89).

For the broader analysis of the phroneō verb patterns and Achilles' speech, see the comment on Iliad 9.307-429.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

(pp. 206--239)**

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