Homer Iliad 20.54

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.) — 20.54 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.) — 20.86 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.54 focus
Thus did the gods spur on both armies [55] to fight, and rouse fierce contention also among themselves. The sire of gods and men thundered from the heavens above, while from beneath Poseidon shook the vast earth, and bade the high hills tremble. The spurs and crests of many-fountained Ida quaked, [60] as also the city of the Trojans and the ships of the Achaeans. Hādēs, king of the realms below, was struck with fear; he sprang panic-stricken from his throne and cried aloud in terror lest Poseidon, lord of the earthquake, should crack the ground over his head, and lay bare his moldy mansions to the sight of mortals and immortals— [65] mansions so ghastly grim that even the gods shudder to think of them. Such was the uproar as the gods came together in battle. Apollo with his arrows took his stand to face King Poseidon, while owl-vision Athena took hers against the god of war; [70] the archer-goddess Artemis with her golden arrows, sister of far-darting Apollo, stood to face Hera; generous Hermes the lusty bringer of good luck faced Leto, while the mighty eddying river whom men call Skamandros, but gods Xanthos, matched himself against Hephaistos.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.54 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 20.54 focus
But when the powers descending swell'd the fight,
Then tumult rose; fierce rage and pale affright
Varied each face; then discord sounds alarms,
65
Earth echoes, and the nations rush to arms.
Now through the trembling shores Minerva calls,
And now she thunders from the Grecian walls.
Mars, hovering o'er his Troy, his terror shrouds
In gloomy tempests, and a night of clouds:
70
Now through each Trojan heart he fury pours
With voice divine from Ilion's topmost towers;
Now shouts to Simois, from her beauteous hill;
The mountain shook, the rapid stream stood still.
Above, the sire of gods his thunder rolls,
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And peals on peals redoubled rend the poles.
Beneath, stern Neptune shakes the solid ground;
The forests wave, the mountains nod around;
Through all their summits tremble Ida's woods,
And from their sources boil her hundred floods.
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Troy's turrets totter on the rocking plain;
And the toss'd navies beat the heaving main.
Deep in the dismal regions of the dead,
Th' infernal monarch rear'd his horrid head,
Leap'd from his throne, lest Neptune's arm should lay
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His dark dominions open to the day,
And pour in light on Pluto's drear abodes,
Abhorr'd by men, and dreadful e'en to gods.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.54 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.54 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.54 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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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

Zeus convenes a council of divinities. Many gods and goddesses are invited, and they all assemble, I.20.005–006. Included are all kinds of local divinities who preside over locales of their own, such as gods of various rivers and goddesses of various wildlands, I.20.007–009. A detail is ostentatiously added here: all the river gods actually attend the council—with the notable exception of Ōkeanos, I.20.007. This council of the divinities, held on Mount Olympus, is different from other such councils, which normally exclude local divinities and include only those gods and goddesses who are imagined as living on Mount Olympus together with Zeus. What, then is this special occasion? Or, to put it in terms of the question that Poseidon asks of Zeus, I.20.015, what is the Will of Zeus here? In response, Zeus tells Poseidon that, yes, the Will of Zeus is now at work, I.20.020, and he proceeds to say what he wants to happen: while Zeus stays behind on Mount Olympus, the other divinities may now proceed to the battleground of the Trojan War, and they will be allowed to give their individual help to whichever side they favor, Trojan or Achaean, I.20.021–030. Accordingly, the divinities now travel to the battlefield, I.20.31–40, and they are listed as follows: Hērā, Athena, Poseidon, Hermes, Hephaistos, Ares, Apollo, Artemis, Leto, Xanthos, and Aphrodite. Included in this list, almost surreptitiously, is the local river god Xanthos, I.20.40. On the battlefield, the divinities line up in opposition to each other, and the matches that are highlighted are: Poseidon and Apollo at I.20.057–068, Ares and Athena at I.20.069 (also already at I.20.047–052), Hērā and Artemis at I.20.70–71, Leto and Hermes at I.20.072, Hephaistos and Xanthos at I.20.073–074. Missing, so far, from any further matchings is Aphrodite. Later, at I.21.415–433, we will see that this goddess does in fact get involved in the upcoming conflict of divinities, but not as a combatant in her own right. For the moment, what is most striking about this list of matchings is the prominence given to the river god Xanthos at I.20.073–074. And, as we learn here at I.20.074, the immortals call this river god Xanthos, but mortals call him Skamandros. See also the comment on I.02.811–815. This name Skamandros, latinized as Scamander, refers to the most important river in the region of Troy. On this river, see already the comments on I.08.220–227 and I.11.497–500. As we will see later, in the comment on I.21.001–021, the role of Scamander as the local river god of the Trojans is vitally important for the plot of Iliad 21.

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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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example of a context where Enūalios is distinct from Ares in Homer

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Leonard Muellner

analysis of the fragmentation of the functions of Eos (here, other goddesses’ qualifying as Dios thugatēr and/or performing (some of) the functions of abduction, preservation, and death/killing, in this passage Aphrodite, Artemis, and Athena), and that while the functions of Eos that prevail in the Greek myths are largely beneficient (promoting the immortality of the hero), the functions associated with her epithet Dios thugatēr/thugatēr Dios are ambivalent (beneficent/maleficent)

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