Homer Iliad 18.324

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‘In what vain promise, gods! did I engage,
‘When, to console Menoetius' feeble age,
380
‘I vow'd his much-lov'd offspring to restore,
‘Charged with rich spoils, to fair Opuntia's shore?
‘But mighty Jove cuts short, with just disdain,
‘The long, long views of poor designing man!
‘One fate the warrior and the friend shall strike,
385
‘And Troy's black sands must drink our blood alike:
‘Me, too, a wretched mother shall deplore,
‘An aged father never see me more!
‘Yet, my Patroclus! yet a space I stay,
‘Then swift pursue thee on the darksome way.
390
‘Ere thy dear relics in the grave are laid,
‘Shall Hector's head be offer'd to thy shade;
‘That, with his arms, shall hang before thy shrine;
‘And twelve, the noblest of the Trojan line,
‘Sacred to vengeance, by this hand expire,
395
‘Their lives effus'd around thy flaming pyre.
‘Thus let me lie till then! thus, closely press'd,
‘Bathe thy cold face, and sob upon thy breast!
‘While Trojan captives here thy mourners stay,
‘Weep all the night, and murmur all the day,
400
‘Spoils of my arms, and thine; when, wasting wide,
‘Our swords kept time, and conquer'd side by side.’

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 18.324 focus
Translations (8)
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.) — 18.324 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.) — 18.388 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.324 focus
“Alas! vain were the words [325] with which I cheered the hero Menoitios in his own house; I said that I would bring his brave son back again to Opoeis after he had ransacked Ilion and taken his share of the spoils—but Zeus does not give all men their heart’s desire. [330] The same soil shall be reddened here at Troy by the blood of us both, for I too shall never be welcomed home by the old charioteer Peleus, nor by my mother Thetis, but even in this place shall the earth cover me. Nevertheless, O Patroklos, now that I am left behind you, I will not bury you, till I have brought here [335] the head and armor of mighty Hector who has slain you. Twelve noble sons of Trojans will I behead before your bier to avenge you; till I have done so you shall lie as you are by the ships, [340] and fair women of Troy and Dardanos, whom we have taken with spear and strength of arm when we ransacked men’s goodly cities, shall weep over you both night and day.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.324 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.324 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.324 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.324 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Gregory Nagy

The centerpiece of Iliad 18 is the shield of Achilles, envisioned as a work of art that defines the universe. The divine artisan Hephaistos makes this shield by way of metalwork, but Homeric poetry reconfigures the artistry of this metalwork by way of verbal art. And the artistry of Homeric poetry will now create or re-create a cosmos that is designed to contain the Iliad itself.

draft js image error“The Shield of Achilles.” Illustration originally published in The Penny Magazine of the Society for the Diffusion of Useful Knowledge, September 22, 1832.

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The particle de (δέ) of I.18.356 is syntactically correlated with the particle men (μέν) in a preceding verse, I.18.354. But a rhapsode (rhapsōidos) could begin his performance with the de-clause, thus “stranding,” as it were, the preceding men-clause. Here is an example, with reference to the performance of a rhapsode in the Ptolemaic era of Alexandria:

καὶ ὁ μὲν ῥαψῳδὸς εὐθὺς ἦν διὰ στόματος πᾶσιν, ἐν τοῖς Πτολεμαίου γάμοις ἀγομένου τὴν ἀδελφὴν καὶ πρᾶγμα δρᾶν ἀλλόκοτον <νομιζ>ομένου καὶ ἄθεσμον ἀρξάμενος ἀπὸ τῶν ἐπῶν ἐκείνων·

Ζεὺς δ᾿ Ἥρην ἐκάλεσσε κασιγνήτην ἄλοχόν τε [I.18.356]

The rhapsode [rhapsōidos] was the talk of everybody—the one who, at the wedding of Ptolemy who, in marrying his own sister was considered to be committing a deed unnatural and unholy, began with the following words: ‘And [de] Zeus summoned Hērā his sister, his wife’ [I.18.356]

Plutarch Table Talk 736e

The historical occasion is the wedding, in the first quarter of the third century before our era, of Ptolemy II Philadelphus to his sister, Arsinoe, in accordance with the practice of Egyptian pharaohs—and in violation of Hellenic practices. Evidently, then, the particle de could be used to begin a rhapsodic performance, even in contexts were such a use was dependent on a preceding men-clause. For an example of such a de at the beginning of a Homeric rhapsody, see the comment on O.03.001.

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The domos ‘abode’ of Hephaistos, I.18.369, is described as aphthitos ‘imperishable’, I.18.370, and khalkeos ‘made of bronze’, Ι.18.371. More in a later comment about the implications.

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The cosmic river Ōkeanos is described here at I.18.399 as apsorrhoos ‘backward-flowing’ (ἀψορρόου Ὠκεανοῖο). Since this river is visualized as flowing around the world in a circle, its flow always comes back to where it started. Since the flow comes back full circle, the Ōkeanos is ‘backward-flowing’.

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Leonard Muellner

analysis of kēdea as a social phenomenon that creates a bond of solidarity

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in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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Hephaistos’ making objects that move by themselves, mētis and its associations with females (specifically the creation of children), and the Hesiodic account of his birth, in the context of analyzing his role in Iliad 1 in quelling the dispute between Zeus and Hera

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