Homer Iliad 21.537

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Thus charged the reverend monarch: wide were flung
The opening folds! the sounding hinges rung.
Phoebus rush'd forth, the flying bands to meet,
Struck slaughter back, and cover'd the retreat.
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On heaps the Trojans crowd to gain the gate,
And gladsome see their last escape from fate:
Thither, all parch'd with thirst, a heartless train,
Hoary with dust, they beat the hollow plain;
And gasping, panting, fainting, labour on
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With heavier strides, that lengthen tow'rd the town.
Enraged Achilles follows with his spear;
Wild with revenge, insatiable of war.

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.) — 21.537 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.) — 21.537 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.) — 21.502 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.537 focus
As he spoke they drew back the bolts and opened the gates, and when these were opened there was a haven of refuge for the Trojans. Apollo then came full speed out of the city to meet them [540] and protect them. Right for the city and the high wall, parched with thirst and grimy with dust, still they hurried on, with Achilles wielding his spear furiously behind them. For he was as one possessed, and was thirsting after glory.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 21.537 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.537 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 21.537 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.537 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 21 focus

New Alexandria Commentaries

Douglas Frame

example of opposition between verbs pheúgein and halonai. Compare to Il. XIV.81

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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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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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analysis of the reason for Poseidon’s hatred against Trojans as different from that of Hera and Athena (although listed together in I.24.025-030)

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analysis of the reason for Poseidon’s hatred against Trojans as different from that of Hera and Athena (although listed together in I.24.025-030)

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an example of eukhos associated with secular eukhesthai

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analysis of the sacral-secular split in formulas with akouein and eukhesthai and where these words occur not in the same verse but with enjambment

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one of Corlu’s examples of eukhesthai referring to past actions

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in a list of secular eukhesthai reporting speech (absolute usage)

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in a list of usages contextually parallel to the death-eukhesthai usage, in the context of the analysis of section II attestations, i.e. secular eukhesthai reporting speech (absolute usage)

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analysis of the simile of the devastation Achilles wreaks, where the hero with mēnis is a hero like mēnis

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analysis of the theme of biē as elemental, and here specifically the representation of Achilles’ biē as parallel to that of the cosmic aspect of biē (as manifested in the thunderstorm of Zeus/affected by the anger of gods)

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analysis of the similarity of the language and syntax of the simile and the description of Achilles’ mēnis in the prologue to the Iliad

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

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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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