Homer Iliad 21.324

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He said; and on the chief descends amain,
Increas'd with gore, and swelling with the slain.
Then, murmuring from his beds, he boils, he raves,
380
And a foam whitens on the purple waves:
At every step, before Achilles stood
The crimson surge, and delug'd him with blood.
Fear touch'd the queen of heaven: she saw dismay'd,
She call'd aloud, and summon'd Vulcan's aid.
385

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.) — 21.324 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.) — 21.324 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.) — 21.361 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.324 focus
Then he raised his tumultuous flood high against Achilles, [325]seething as it was with foam and blood and the bodies of the dead. The dark waters of the river stood upright and would have overwhelmed the son of Peleus, but Hera, trembling lest Achilles should be swept away in the mighty torrent, lifted her voice on high [330] and called out to Hephaistos her son. “Crooked-foot,” she cried, “my child, be up and doing, for I deem it is with you that Xanthos is fain to fight; help us at once, kindle a fierce fire; I will then bring up the west and the white south wind in a mighty gale from the sea, [335] that shall bear the flames against the heads and armor of the Trojans and consume them, while you go along the banks of Xanthos burning his trees and wrapping him round with fire. Let him not turn you back neither by fair words nor foul, [340] and slacken not till I shout and tell you. Then you may stay your flames.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.324 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.324 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.324 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.324 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

New Alexandria Commentaries

Gregory Nagy

The momentum of Achilles continues to heat up. The Trojans are now retreating as fast as they can, heading back toward Troy to find safety there within the sacred walls of that ancient citadel. In their hurry to get away from the field of battle, their hasty retreat has quickly turned into a chaotic and humiliating rout. Achilles is right behind them, in hot pursuit, slaughtering left and right the fleeing Trojans. The hero seems unstoppable. But Achilles meets his match when he provokes the river god Scamander, whose clear streams he has polluted with the gore of countless Trojans that he slaughters while they are desperately attempting to ford the god’s river.

draft js image errorCopperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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In order to save the endangered Achilles, Hērā now induces her son Hephaistos to join the fray and to fight actively against the river god Scamander. Since Hephaistos is god of fire, he is the elemental antithesis of Scamander as god of water, that is, as the local god who embodies the principal river that waters the plain of Troy. So now the fight between fiery hero and streaming god escalates into a cosmic conflict between the elements of fire and water. In the end, then, fire wins over water, but now Hērā induces Hephaistos to stop his fight with Scamander.

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Following up on the combat between Hephaistos and Scamander, other gods now also join in the fight, and, the next thing you know, the cosmic conflict between the elemental forces of fire and water is transformed into a personalized brawl between divine partisans of Trojans and Achaeans. The personalization intensifies to the point of becoming ludicrous, and, once such a point is reached, the whole scene becomes an exquisite exercise in divine burlesque. As Walter Burkert (1960:132) has observed, however, such a comic form is not innovative but archaizing, and there are numerous parallels to be found in the myths and rituals of ancient Near Eastern civilizations; this observation applies also to the divine burlesque that characterizes other narrative sequences Homeric poetry, most notably in Odyssey 8 and in Iliad 1 as well as here in Iliad 21—and in the Homeric Hymns.

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Leonard Muellner

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige), and analysis of the lexical change in the eukhesthai einai formula in these verses

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Richard Martin

Three exchanges between gods in Book 21 illustrate the versatile social function of remembering and reminding within the context of rebukes. Spoken in a tone of defiance, the words "Don't you remember" introduce a threat. Ares, in a flyting muthos (21.393), asks Athena, "Don't you recall when you drove Diomedes, son of Tydeus, to wounding, and yourself thrust at me, grasping the spear all could see?" (21.396-98). Ares turns his earlier injury into a cause for action, in language resembling a legal formulation: "Therefore I now think you will repay me as much as you have done" (21.399). A short while later, Poseidon rebukes Apollo with this phrase in a gentler manner, leading Apollo by the reminder of Laomedon's treachery to offer an elegiac dismissal of fighting for humankind (21.441-45). And Artemis deploys a third memory to say threateningly, "May I never hear you boasting—as you did before among immortal gods—that you fight face-to-face Poseidon" (21.471). To deny that an addressee has been consistently heroic is to constrain his further fame (Martin 1993:83).

For the broader analysis of memory as a muthos genre, see the comment on Iliad 1.259-274.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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