Homer Iliad 21.468

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.) — 21.468 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.) — 21.502 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.468 focus
He turned away as he spoke, for he would lay no hand on the brother of his own father. [470] But his sister the huntress Artemis, patroness of wild beasts, was very angry with him and said, “So you would flee, Far-Darter, and hand victory over to Poseidon with a cheap vaunt to boot. Baby, why keep your bow thus idle? [475] Never let me again hear you bragging in my father’s house, as you have often done in the presence of the immortals, that you would stand up and fight with Poseidon.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.468 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.468 focus
Then turns his face, far beaming heavenly fires,
And from the senior power submiss retires;
Him, thus retreating, Artemis upbraids,
545
The quiver'd huntress of the sylvan shades:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.468 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.468 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.468 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

New Alexandria Commentaries

Douglas Frame

example of opposition between verbs pheúgein and halonai. Compare to Il. XIV.81

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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

analysis of the reason for Poseidon’s hatred against Trojans as different from that of Hera and Athena (although listed together in I.24.025-030)

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an example of eukhos associated with secular eukhesthai

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analysis of the sacral-secular split in formulas with akouein and eukhesthai and where these words occur not in the same verse but with enjambment

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one of Corlu’s examples of eukhesthai referring to past actions

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in a list of secular eukhesthai reporting speech (absolute usage)

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in a list of usages contextually parallel to the death-eukhesthai usage, in the context of the analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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