Homer Iliad 18.360

View: By Book
‘What words are these?’ (th' imperial dame replies,
While anger flash'd from her majestic eyes;)
‘Succour like this a mortal arm might lend,
425
‘And such success mere human wit attend:
‘And shall not I, the second power above,
‘Heaven's queen, and consort of the thundering Jove,
‘Say, shall not I one nation's fate command,
‘Not wreak my vengeance on one guilty land?’
430

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.) — 18.360 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.) — 18.360 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)) — 18.360 focus
And Hera answered, “Dread son of Kronos, why should you say this thing? May not a man 363 who is mortal and who does not know so many devices [ mēdea] [as I do], do what he can for another person? And shall not I— [365] foremost of all goddesses both by descent and as wife to you who reign in the heavens—devise evil for the Trojans if I am angry with them?”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.360 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.360 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.360 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.360 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.

source

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.

source

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.

source

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’.

source

acc. loigon as occurring exclusively in combination with the verb amun-, in the context of analyzing the parallel diction used of the dire military situation resulting from Achilles’ mēnis and the plague resulting from Apollo’s mēnis, and the change from Achilles to Patroklos as the subject of the verb

source
Leonard Muellner

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

source

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

source

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

source

comment on Thetis’ exceptionality as a goddess with kēdea, which normally distinguish men from gods

source

comment on the relationship between ‘coming home’ and ‘escaping death’

source

comment on Thetis’ description of Achilles here in the context of analyzing Achilles as the first victim of his mēnis

source

comment on the nature of cross-reference in a tradition of performance, here the similarity of Thetis’ recounting to Hephaistos of the embassy to Achilles, which contains an expression otherwise found only in Phoenix’s description of the embassy to Meleagros

source

analysis of these verses and the meaning of legal eukhesthai in comparison with the Linear B tablet PY Ep 704, and development of the legal and secular usages of eukhesthai (etymology of eukhesthai)

source

in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

source