Homer Iliad 20.273

View: By Book
Then, rising ere he threw,
The forceful spear of great Achilles flew,
And pierc'd the Dardan shield's extremest bound,
Where the shrill brass return'd a sharper sound:
Through the thin verge the Pelian weapon glides,
325
And the slight covering of expanded hides.
Æneas his contracted body bends,
And o'er him high the riven targe extends,
Sees, through its parting plates, the upper air,
And at his back perceives the quivering spear:
330
A fate so near him chills his soul with fright,
And swims before his eyes the many-colour'd light.
Achilles, rushing in with dreadful cries,
Draws his broad blade, and at Æneas flies:
Æneas, rousing as the foe came on,
335
(With force collected,) heaves a mighty stone;
A mass enormous! which, in modern days
No two of earth's degenerate sons could raise.
But ocean's god, whose earthquakes rock the ground,
Saw the distress, and mov'd the powers around:
340

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.) — 20.273 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.) — 20.273 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.) — 20.340 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.273 focus
Achilles in his turn threw, and struck the round shield of Aeneas [275] at the very edge, where the bronze was thinnest; the spear of Pelian ash went clean through, and the shield rang under the blow; Aeneas was afraid, and crouched backwards, holding the shield away from him; the spear, however, flew over his back, and stuck quivering in the ground, [280] after having gone through both circles of the sheltering shield. Aeneas though he had avoided the spear, stood still, blinded with fear and grief [ akhos] because the weapon had gone so near him; then Achilles sprang furiously upon him, [285] with a cry as of death and with his keen blade drawn, and Aeneas seized a great stone, so huge that two men, as men now are, would be unable to lift it, but Aeneas wielded it quite easily.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.273 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.273 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.273 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.273 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

Notes on the current edition

Iliad

1. See B. xiii. 578. Strabo, B. xiii. supposes that Homer meant to say, that Æneas remained at Troy, and ruled there after Priam’s death, and that the story of his going into Italy is consequently a fiction. Dionysius of Halicarnassus, on the other hand, thinks that the prophecy might have been fulfilled by Æneas reigning over the Trojans, whom he carried with him into Italy, and their descendants.

New Alexandria Commentaries

Douglas Frame

comment on the goal of the second to last segment of the poem, books 17-20, Achilles’ return to battle, and their relationship with the final segment

source

evidence for contention that Homer understands ásmenoi only as an adjective and thus reinterprets original collocation ásmenoi ek thanátoio, originally a “return from death” as an “escape from death”

source

analysis of the phrase asmenos ek thanatoio, with this verse as an example of its regularization

source

suggests possibility that collocation ásmenos phúgeιn is based on Homeric phrase phúgen ásmenos ek thanátoio

source

evidence for contention that Homer understands ásmenoi only as an adjective and thus reinterprets original collocation ásmenoi ek thanátoio, originally a “return from death” as an “escape from death”

source
Gregory Nagy

By now Achilles has a new set of armor, and he is ready to fight the Trojans. But his first major opponent seems to be a distraction. At least, our initial impression may lead us to think that there is a distraction going on here. The first major opponent of Achilles in Iliad 20 is Aeneas, hero of epic traditions that eventually became absorbed into the Aeneid of Virgil. Is this hero, we may ask, a truly worthy opponent of Achilles? Are the epic traditions that figure this son of Aphrodite / Venus truly worthy of the epic that is the Homeric Iliad? Once we examine more closely the oldest Greek epic traditions of Aeneas, it will become clear that this hero is indeed a most important opponent of Achilles, in that he represents ancient Greek epic traditions that are different from and antithetical to the epic tradition that prevailed in the Homeric Iliad as we know it. Not only does Aeneas challenge Achilles: even the epic traditions that figure Aeneas will challenge the epic traditions that figure Achilles. To say it another way, Aeneas represents a proto-Aeneid that challenges the proto-Iliad of Achilles. What makes Aeneas and his Aeneid—or, better, Aeneids—such a formidable challenge to Achilles is the enormous political prestige of the epic tradition that backs up Aeneas. By virtue of being the son of Aphrodite/Venus, Aeneas possesses a genealogical and dynastic charisma that threatens to overshadow the purely epic charisma of his Iliadic opponent Achilles.

draft js image error“Venus preventing her son Aeneas from killing Helen of Troy,” Luca Ferrari, circa 1650. Luca Ferrari [Public domain], via Wikimedia Commons.

source

In the short-term logic of the narrative here about the one-on-one battle between Aeneas and Achilles, I.20.290–352, it becomes certain that Aeneas will lose the battle and be killed by Achilles, I.20.290. But now, most abruptly, this short-term certainty is contradicted by a long-term certainty, which is, that Aeneas must not be killed by Achilles. It simply cannot happen. And the divine agent of this long-term certainty is the god Poseidon, who notices what is happening short-term and will now intervene directly, I.20.291, in order to insure the long-term certainty that Aeneas must not be killed in this battle-scene. As Poseidon declares to his fellow divinities before he takes action, it is morimon ‘destined’ that Aeneas must avoid being killed by Achilles at this epic moment, I.20.302, since Aeneas as a descendant of Dardanos must not die without having further descendants of his own, I.20.303–306, and these descendants may then continue to rule over the Trojans even after Troy is completely destroyed, I.20.307–308. So, there is an eternity that is destined for the genes, as it were, of Aeneas, as I noted already in the anchor comment at I.20.209, since this hero’s descendants will have eternal rule over the Trojans. But this rule, says Poseidon, will not be in Troy, since both Hērā and Athena have committed themselves by oath to the complete destruction of that city, I.20.313–317. Having made these declarations, Poseidon now takes action. What happens right away is that Aeneas is literally lifted into the air by the power of the god, I.20.325, who spirits him off to a safe place that is removed from the battle scene, I.20.328–329. Once Aeneas is safe, Poseidon appears to him and declares that it would have been huper moiran ‘beyond fate [moira]’ for this hero to die at this epic moment, I.20.336. And, while Poseidon is taking action by rescuing Aeneas, he simultaneously beclouds the vision of Achilles, I.20.321–322, so that this hero cannot get to see the actual rescue of his opponent. Achilles is literally in the dark here. Then, after the rescue, the vision of Achilles is restored, I.20.341–342, and he now comprehends that some god must have arranged the escape of Aeneas, I.20.342–350. It is significant, however, that Achilles does not know the identity of the god who rescued Aeneas. Similarly, Achilles did not know the exact identity of the god who rescued Aeneas from the city of Lyrnessos, where that hero had once upon a time taken refuge from the pursuing Achilles. As I noted in the comment on I.20.187–194, the wording of Achilles is ostentatiously vague when he refers at I.20.194 to the action of ‘Zeus and the other gods’ in helping Aeneas escape from the besieged city of Lyrnessos before it was destroyed by Achilles. By contrast, the wording of Achilles is clear when he refers at I.20.192 to the action of Zeus and Athena together in helping him destroy Lyrnessos. I propose, then, that Achilles was kept in the dark about the agency of the god or goddess who helped Aeneas escape from Lyrnessos before it was destroyed, just as he is now being kept in the dark about the agency of Poseidon. Further, just as Achilles at I.20.194 is complaining about the divine help given to Aeneas, so also Aeneas at I.20.097–102 complains about the divine help given to Achilles—and there the one divinity who is singled out as that hero’s greatest divine helper is Athena, I.20.094–096. The implication of this complaint by Aeneas is that Athena gives to Achilles an unfair advantage, and that the two heroes would be evenly matched if Athena were taken out of the picture. Ironically, Athena is in fact out of the picture in the one-on-one battle between Aeneas and Achilles, and the only god who intervenes in this battle is Poseidon, who helps not Achilles but Aeneas. But, even with the help of Poseidon, Aeneas does not win the one-on-one battle. He succeeds only in escaping death at the hands of Achilles.

source

the synonymity of moira and aisa

source

The etymology of this word can be explained as ‘returning to light and life’. See the anchor comment on O.09.566.

source