Homer Iliad 21.502

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.) — 21.502 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)) — 21.502 focus
Leto then gathered up Artemis’ bow and arrows that had fallen about amid the whirling dust, and when she had got them she made all haste after her daughter. [505] Artemis had now reached Zeus’ bronze-floored mansion on Olympus, and sat herself down with many tears on the knees of her father, while her ambrosial raiment was quivering all about her. The son of Kronos drew her towards him, and laughing pleasantly the while began to question her saying, “Which of the heavenly beings, my dear child, [510] has been treating you in this cruel manner, as though you had been misconducting yourself in the face of everybody?” and the fair-crowned goddess of the chase answered, “It was your wife Hera of the white arms, father, who has been beating me; it is always her doing when there is any quarreling among the immortals.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.502 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 21.502 focus
He spoke, and pass'd: Latona, stooping low,
585
Collects the scatter'd shafts, and fallen bow,
That, glittering on the dust, lay here and there;
Dishonour'd relics of Diana's war.
Then swift pursued her to her blest abode,
Where, all confus'd, she sought the sovereign god;
590
Weeping she grasp'd his knees: th' ambrosial vest
Shook with her sighs, and panted on her breast.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.502 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.502 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.502 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

analysis of the simile of the devastation Achilles wreaks, where the hero with mēnis is a hero like mēnis

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analysis of the theme of biē as elemental, and here specifically the representation of Achilles’ biē as parallel to that of the cosmic aspect of biē (as manifested in the thunderstorm of Zeus/affected by the anger of gods)

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analysis of the similarity of the language and syntax of the simile and the description of Achilles’ mēnis in the prologue to the Iliad

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