Homer Iliad 21.400

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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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.) — 21.400 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.) — 21.424 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.400 focus
As he spoke he struck her on the terrible tasseled aegis—so terrible that not even can Zeus’ lightning pierce it. Here did manslaughtering Arēs strike her with his great spear. She drew back and with her strong hand seized a stone that was lying on the plain—great and rugged and black— [405] which men of old had set for the boundary of a field. With this she struck Arēs on the neck, and brought him down. Nine roods did he cover in his fall, and his hair was all soiled in the dust, while his armor rang rattling round him. But Athena laughed and vaunted over him saying, [410] “Idiot, have you not learned how far stronger I am than you, but you must still match yourself against me? Thus do your mother’s curses now roost upon you, for she is angry and would do you mischief because you have deserted the Achaeans and are helping the Trojans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.400 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.400 focus
He spoke, and smote the loud-resounding shield,
Which bears Jove's thunder on its dreadful field;
465
The adamantine ægis of her sire,
That turns the glancing bolt, and forked fire.
Then heav'd the goddess in her mighty hand
A stone, the limit of the neighbouring land,
There fix'd from eldest times; black, craggy, vast.
470
This at the heavenly homicide she cast.
Thundering he falls; a mass of monstrous size,
And seven broad acres covers as he lies.
The stunning stroke his stubborn nerves unbound;
Loud o'er the fields his ringing arms resound:
475
The scornful dame her conquest views with smiles,
And, glorying, thus the prostrate god reviles:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.400 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.400 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.400 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

New Alexandria Commentaries

Gregory Nagy

The momentum of Achilles continues to heat up. The Trojans are now retreating as fast as they can, heading back toward Troy to find safety there within the sacred walls of that ancient citadel. In their hurry to get away from the field of battle, their hasty retreat has quickly turned into a chaotic and humiliating rout. Achilles is right behind them, in hot pursuit, slaughtering left and right the fleeing Trojans. The hero seems unstoppable. But Achilles meets his match when he provokes the river god Scamander, whose clear streams he has polluted with the gore of countless Trojans that he slaughters while they are desperately attempting to ford the god’s river.

draft js image errorCopperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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Following up on the combat between Hephaistos and Scamander, other gods now also join in the fight, and, the next thing you know, the cosmic conflict between the elemental forces of fire and water is transformed into a personalized brawl between divine partisans of Trojans and Achaeans. The personalization intensifies to the point of becoming ludicrous, and, once such a point is reached, the whole scene becomes an exquisite exercise in divine burlesque. As Walter Burkert (1960:132) has observed, however, such a comic form is not innovative but archaizing, and there are numerous parallels to be found in the myths and rituals of ancient Near Eastern civilizations; this observation applies also to the divine burlesque that characterizes other narrative sequences Homeric poetry, most notably in Odyssey 8 and in Iliad 1 as well as here in Iliad 21—and in the Homeric Hymns.

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Leonard Muellner

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige), and analysis of the lexical change in the eukhesthai einai formula in these verses

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