Homer Iliad 18.65

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She said, and left the caverns of the main.
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All bathed in tears, the melancholy train
Attend her way. Wide-opening part the tides,
While the long pomp the silver wave divides,
Approaching now, they touch'd the Trojan land;
Then, two by two, ascended up the strand.
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Th' immortal mother, standing close beside
Her mournful offspring, to his sighs replied;
Along the coast their mingled clamours ran,
And thus the silver-footed dame began:

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.) — 18.65 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.) — 18.65 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.) — 18.97 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.65 focus
She left the cave as she spoke, while the others followed weeping after, and the waves opened a path before them. When they reached the fertile plain of Troy, they came up out of the sea in a long line on to the sands, at the place where the ships of the Myrmidons were drawn up in close order round the tents of fleet Achilles. [70] His mother went up to him as he lay groaning; she laid her hand upon his head and spoke piteously, saying, “My son, why are you thus weeping? What sorrow [ penthos] has now befallen you? Tell me; hide it not from me. [75] Surely Zeus has granted you the prayer you made him, when you lifted up your hands and besought him that the Achaeans might all of them be pent up at their ships, and rue it bitterly that you were no longer with them.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 18.65 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.65 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 18.65 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.65 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 18 focus

New Alexandria Commentaries

Douglas Frame

analysis of Achilles’ and Thetis’ speech. Change in the sequence of ideas makes it appear that Achilles has chosen what has already been fated. Compare to Il. XIX.412, Il. XVIII.59-62, Il. I.352

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reference to Achilles’ apparent recognition of the fate his mother, Thetis, has revealed

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citation of Achilles’ appraisal of himself as not the best in the assembly. Suggests that Achilles is as dissociated from nóos as he is from néomai

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analysis of Achilles’ perception of fate as anterior to will

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analysis of Achilles’ acknowledgement of fate, which suggests that Achilles’ resolve to die is also a result of his own lack of “mind”

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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 armor of Achilles has been stripped from the body of Patroklos by Hector, who is now wearing it. This armor represents what Achilles has inherited from his immortal mother. By contrast, the ash spear as described at I.16.140–144 represents what Achilles has inherited from his mortal father. See the comment on I.16.140–144.

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Thetis calls Achilles ōku-moros ‘soon to have a fated death’, I.18.095, since she sees that the hero is resolved to kill Hector despite the consequences—which will be fatal for Achilles.

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Achilles, recognizing his immeasurable loss in having caused the death of Patroklos, who was all along his nearest and dearest hetairos ‘companion’, has only now come to recognize his commensurate loss in having also caused the deaths of many other hetairoi ‘companions’ who died defending the ships of the Achaeans from Hector’s fire.

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Now that Patroklos has been killed, Achilles can finally recognize what he has to do. He has to kill Hector, thus ensuring his own death soon thereafter, and by doing so he will win for himself a kleos ‘glory’ that is esthlon ‘real, genuine, good’. The verb arnusthai, which takes kleos ‘glory’ here as its direct object, means ‘struggle to win as a prize’. For more on this verb, see the comment on O.01.05.

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Leonard Muellner

analysis of the significance of (Peleus’ – and then, Achilles’) armor in terms of immortality and kleos aphthiton

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analysis of Achilles’ goal in sending Patroklos to fight, namely, timē, for this world (as different from his goal in returning to fighting himself, namely, kleos, epic, belonging to the hereafter)

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analysis of kēdea as a social phenomenon that creates a bond of solidarity – philotēs – and its narrowness in Achilles’ case in this passage

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain

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analysis of Patroklos’ death as not a result of Achilles’ “mistakes,” Achilles’ not feeling guilty for having sent Patroklos to fight but regretting not being by his side to defend him

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analysis of the difference in the scope of philotēs on Achilles’ part when sending Patroklos to fight and after his death

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain

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argument that there is no moral or epistemological failure or a “tragic” error on Achilles’ part regarding Patroklos’ death (despite these verses)

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain, and desire to avenge him and so win kleos

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analysis of kēdea as a social phenomenon that creates a bond of solidarity – philotēs – and its narrowness in Achilles’ case in this passage

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analysis of Patroklos’ and Achilles’ identification and (therefore) Achilles’ expressing not guilt for causing Patroklos’ death but grief at it and regret at not being able to protect him and others slain, and desire to avenge him and so win kleos

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