Homer Iliad 20.419

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.

Sponsored by Perseus Project, Tufts University.

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.) — 20.419 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.) — 20.438 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.419 focus
When Hector saw his brother Polydoros with his entrails in his hands [420] and sinking down upon the ground, a mist came over his eyes, and he could not bear to keep longer at a distance; he therefore poised his spear and darted towards Achilles like a flame of fire. When Achilles saw him he bounded forward and vaunted saying, [425] “This is he that has wounded my heart most deeply and has slain my beloved comrade. Not for long shall we two quail before one another on the highways of war.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.419 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.419 focus
When Hector view'd, all ghastly in his gore,
485
Thus sadly slain, th' unhappy Polydore;
A cloud of sorrow overcast his sight,
His soul no longer brook'd the distant fight;
Full in Achilles' dreadful front he came,
And shook his javelin like a waving flame.
490
The son of Peleus sees, with joy possess'd,
His heart high-bounding in his rising breast:
‘And, Lo! the man, on whom black fates attend;
‘The man that slew Achilles in his friend!
‘No more shall Hector's and Pelides' spear
495
‘Turn from each other in the walks of war.’
Then with revengeful eyes he scann'd him o'er—
‘Come, and receive thy fate!’ He spake no more.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.419 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.419 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.419 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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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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Leonard Muellner

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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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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Richard Martin

The brief encounter of Achilles and Hektor in Book 20 (20.449-54) is another instance of enemies exchanging winged words. The directive force of Achilles' words is that of a warning: he will finish off Hektor on their next meeting (20.452). It is not unlikely that the regular employment of the formula—usually introducing friendly, same-side directives between just two speakers—carried with it an implicit tone of voice and volume. Such speeches could properly be performed by a poet in a stage whisper, or with an intimate low modulation. If this same auditory effect was produced by Homer as he imitated Achilles' or Hektor's voice in the speeches we have just noted, the audience, recalling the more common employment, would hear the intimate voice of violence (Martin 1993:34).

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