Homer Iliad 20.373

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Thus (breathing rage through all) the hero said;
A wood of lances rises round his head,
Clamours on clamours tempest all the air;
They join, they throng, they thicken to the war.
430
But Phoebus warns him from high heaven to shun
The single fight with Thetis' godlike son:
More safe to combat in the mingled band,
Nor tempt too near the terrors of his hand.
He hears, obedient to the god of light,
435
And, plunged within the ranks, awaits the fight.

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.) — 20.373 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.) — 20.373 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)) — 20.373 focus
Thus urged the Trojans lifted up their spears against the Achaeans, and raised the cry of battle as they flung themselves into the midst of their ranks. [375] But Phoebus Apollo came up to Hector and said, “Hector, on no account must you challenge Achilles to single combat; keep a lookout for him while you are under cover of the others and away from the thick of the fight, otherwise he will either hit you with a spear or cut you down at close quarters.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 20.373 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.373 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 20.373 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.373 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 20 focus

Notes on the current edition

Iliad

1. There was no town in Lydia called Gygæ. Homer has, “at the Gygæan lake,” so called from Gyges, king of Lydia.
2. In Helice, a town of Achaia, three quarters of a league from the gulf of Corinth, Neptune had a magnificent temple, where the Ionians offered every year to him a sacrifice of a bull; and it was with these people an auspicious sign, and a certain mark that the sacrifice would be accepted, if the bull bellowed as he was led to the altar. Pope.

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

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comment on the Homeric poems’ awareness of Lydians and Gyges

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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

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example of laos as referring to one’s own in contexts where there is a contrast between “leader(s)” and those who “follow”

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the lateness of a linguistic feature in the verse, namely, the initial short syllable of the names Otrunteidēn and Otruntēi

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comment on the Homeric poems’ awareness of Lydians and Gyges

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analysis of the implications of the reference to the “Gygaean lake” in these verses and allusion to the contemporary world of the Homeric audience

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analysis of the implications of the reference to Poseidon Helikonios in these verses and allusion to the contemporary world of the Homeric audience

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analysis of the simile and the view that it alludes to the Panionia

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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

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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.

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[Epitomized from HPC 229–230.] Here at I.20.404–405, the bellowing of a mortally wounded Trojan warrior is compared to the bellowing of a bull that is about to be sacrificed on the occasion of a ritual that was central to the people of the Ionian Dodecapolis in worshipping the god Poseidon. Such a comparison, which occurs in a context that is proximal to the narrative about the rescue of Aeneas by Poseidon, I.20.290–352, evokes the Ionian connections of the god with Aeneas as a hero who was appropriated by the Ionians of the Ionian Dodecapolis: see Point 4 of the anchor comment at I.20.302–308 about Aeneas the Ionian, part 2. Strabo (8.7.2 C384) makes it explicit that the Ionians even in his own time worshipped Poseidon Helikōnios and celebrated (thuein) the festival of the Panionia at the Panionion: ‘even today, the Ionians honor [tīmân] him [= Poseidon], and they still celebrate [thuein] at that place [= the Panionion] the festival of the Panionia’ (ὃν καὶ νῦν ἔτι τιμῶσιν Ἴωνες, καὶ θύουσιν ἐκεῖ τὰ Πανιώνια). And he proceeds to describe this festival as a thusiā ‘sacrifice’ in the context of noting that Homer actually mentions it here at I.20.404–405: ‘he [= Homer] makes mention, as some suggest, of this sacrifice [thusiā] when he says …’ (μέμνηται δ’, ὡς ὑπονοοῦσί τινες, ταύτης τῆς θυσίας Ὅμηρος ὅταν φῇ … [the quotation from Homer follows]). I draw special attention to Strabo’s metonymic use of thusiā ‘sacrifice’ here to designate the whole festival of the Panionia. On metonymy, see the inventory of Words and Ideas. The geographer then proceeds to quote the verses at I.20.404–405 that concern the sacrifice of a bellowing bull to Poseidon Helikōnios: ‘as when a bull | bellows when he is being dragged toward the lord who is Helikōnios’ (ὡς ὅτε ταῦρος | ἤρυγεν ἑλκόμενος Ἑλικώνιον ἀμφὶ ἄνακτα). As Strabo observes (again, 8.7.2 C384), the climax of the festival of the Panionia at the Panionion is the sacrifice of the bull to Poseidon Helikōnios—I note the word thusiā, used here in the specific sense of ‘sacrifice’—and special care must be taken by the sacrificers to induce the bull to bellow before it is sacrificed. Accordingly, Strabo continues, the reference at I.20.404–405 to the sacrifice of a bellowing bull to Poseidon Helikōnios can be used to argue that the birth of Homer ‘the Poet’ par excellence is to be dated after the Ionian apoikiā ‘migration’, on the grounds that Homer actually mentions the Panionian sacrifice of the Ionians to Poseidon Helikōnios in the environs of Priene: ‘they use [this] as evidence for aguing that the Poet was born after the Ionian migration [apoikiā], given that he makes mention of the Panionian festival [thusiā] that the Ionians celebrate in the territory of the people of Priene in honor of Poseidon Helikōnios’ (τεκμαίρονταί τε νεώτερον εἶναι τῆς Ἰωνικῆς ἀποικίας τὸν ποιητήν, μεμνημένον γε τῆς Πανιωνικῆς θυσίας ἣν ἐν τῇ Πριηνέων χώρᾳ συντελοῦσιν ῎Ιωνες τῷ ῾Ελικωνίῳ Ποσειδῶνι). (On the Ionian Migration, see the inventory of Words and Ideas.) As we see from Strabo, then, this Homeric passage may well refer to the special way of sacrificing bulls at the festival of the Panionia at the Panionion in Priene. The testimony of Strabo is in fact corroborated by the Homeric scholia (bT for I.20.404). As we see from the context of the Iliadic passage here, the mode of inflicting the mortal blow in sacrificing the bull highlights the vitality of the bull, who is “pumped up” with fear and rage. In the scholia bT for I.20.406a (see also bT for 404b), the commentator takes great care in noting the explosion of arterial blood at the climactic moment when the sacrificial blow severs the carotid artery of the “pumped up” animal. It appears that this mode of sacrificing the bull intensifies the rush of arterial blood spurting from the sacrificial blow.

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Leonard Muellner

in a list of parallels to the opening of formula (A) hōs ephat’ eukhomenos… occurring in the last 9 books of the Iliad (with participles after phanai categorizing the speech, here as exhortation), in the context of analyzing formula (A) and the meaning of eukhesthai

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in a list of examples of formulas for introducing a speech by an eukhomenos warrior, which Paris’ name-epithet formulas do not fit (in the context of analyzing I.11.379)

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comment on the association of the statements of a hero’s birth and death

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manuscripts attesting this verse with epeukhomenos

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this verse as one of two places where the dictional bonds tying together (A1)-(A5) are shattered – resumes the narrative not after prayers but boasts

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in a list of secular eukhesthai indicating direct speech (introducing speech)

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in a list of occurrences of the figura etymologica ‘eukhomenos epos ēuda’ in Homeric Greek (in comparison of the figure in Indo-Iranian)

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analysis of cases where speeches introduced/concluded by formulas (X) = introduce speech – Greek speaker – dead Trojan, or (Y) = conclude speech – Trojan speaker – dead Greek, are challenges to a confrontation with another hero [MRBTP: 'ff']

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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in a list of examples of eukhesthai + dative, and in a list of anomalous attestations (divergent inflection of eukhesthai, has a relative pronoun in dative instead of a noun, and not in ritual-narrative sub-genre)

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Richard Martin

The brief encounter of Achilles and Hektor in Book 20 (20.449-54) is another instance of enemies exchanging winged words. The directive force of Achilles' words is that of a warning: he will finish off Hektor on their next meeting (20.452). It is not unlikely that the regular employment of the formula—usually introducing friendly, same-side directives between just two speakers—carried with it an implicit tone of voice and volume. Such speeches could properly be performed by a poet in a stage whisper, or with an intimate low modulation. If this same auditory effect was produced by Homer as he imitated Achilles' or Hektor's voice in the speeches we have just noted, the audience, recalling the more common employment, would hear the intimate voice of violence (Martin 1993:34).

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