Homer Iliad 22.337

View: By Book

Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 22.337 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.) — 22.337 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.) — 22.344 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.337 focus
Then Hector of the shining helmet said, as the life-breath [ psūkhē] ebbed out of him, “I pray you by your life and knees, and by your parents, let not dogs devour me at the ships of the Achaeans, [340] but accept the rich treasure of gold and bronze which my father and mother will offer you, and send my body home, that the Trojans and their wives may give me my dues of fire when I am dead.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.337 focus
Prone on the field the bleeding warrior lies,
While thus, triumphing, stern Achilles cries:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.337 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.337 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.337 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

Douglas Frame

in a list of passages where mortals are compared to gods (in the context of analyzing Arete’s comparison to a god/Athena Polias)

source
Gregory Nagy

The time has come for Hector to die at the hands of Achilles, and his final moments of life are singularly grim. Achilles shows him no mercy, expressing the most brutal thoughts even before he vengefully finishes off the killer of Patroklos. Hector is forced to know in advance, before he loses consciousness to the death blow from Achilles, that his executioner intends to mutilate his corpse instead of allowing for a proper funeral. And the form of this mutilation is particularly horrific and morally shocking: attaching the body of Hector to the back of his chariot, Achilles will drag it around the walls of Troy for all to see the humiliation of his hated enemy. Is there any hope, then, for transcending such degradation? Only divine intervention, in the story yet to be told, could prevent the disfigurement of a heroic body’s beauty in death. But the story of transcendence must wait. For now, the focus is on the horror and the sorrow of a heroic death as seen through the eyes of Hector’s lamenting widow Andromache.

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

source

Although Priam and Hecuba, the parents of Hector, have already seen with horror and sorrow what has happened to him at the hands of Achilles, Andromache does not yet know, I.22.437–439. She is in her private quarters, weaving, I.22.440–441, and she calls out to her handmaidens to prepare a bath for Hector’s expected arrival, I.22.442–444, not knowing what has already happened to him, I.22.445–446. Then and only then does she hear the sound of wailing, I.22.447, and now she starts to feel emotionally and physically undone, as her legs and arms start shaking and her weaving pin drops from her trembling hand, I.22.448. She calls out to her handmaidens, telling them to accompany her to the walls of Troy, so that she may see for herself what is happening, I.22.449–450, and then she starts to express her premonitions about the fate of Hector, which are already becoming a part of the lament that formally gets underway only at I.22.477, lasting all the way to I.22.515. While she expresses her premonitions, she is feeling more and more undone, I.22.450–459. Now her heart is in her throat, I.22.451–452. As she rushes up to the walls of Troy, where she will see what has happened, Andromache is compared to a mainás or ‘maenad’, that is, a frenzied woman possessed by Dionysus, I.22.460. Then, finally, she and her handmaidens get to see the grim scene, I.22.261–265: Hector is dead, and his corpse is being dragged behind the speeding chariot of Achilles. At the ghastly sight, Andromache faints, I.22.466–467, and her elaborate headdress comes undone, falling to the ground, I.22.468–472. The women of her immediate family surround her as she comes out of her swoon, I.22.473–475, and now she begins her lament in earnest, I.22.476–515.

source

Like Helen at I.03.125–128, Andromache is shown here at I.22.440–441 in the act of pattern-weaving. And, like Helen, she is not pictured as singing while weaving: rather, she weaves her song into the web that she pattern-weaves. The song that she weaves into her web is pictured as throna, which can mean ‘flower patterns’ or ‘love charms’. It can be argued that both meanings apply in the present context. A similar argument can be made in the case of the epithet poikilo-thronos applied to the goddess Aphrodite in Sappho Song 1.1: this word can mean either ‘with varied [poikilo-] flower patterns [that are pattern-woven on your robe]’ or ‘with varied [poikilo-] love charms’. I have more to say about these details in MoM 2§76 (also PasP 101n40). Further, at I.22.441, there exists a variant epithet for the web that Andromache weaves: this diplax ‘pattern-woven fabric that folds in two’ is described in some medieval manuscripts as porphureē ‘purple’ but in others as marmareē ‘gleaming’. And we find the same variation of epithets for the web that Helen weaves at I.03.126: this diplax too is described in some medieval manuscripts as porphureē ‘purple’ but in others as marmareē ‘gleaming’. Similarly, the antux ‘rim’ that is being made for the Shield of Achilles at I.18.479 is described as triplax ‘threefold’ and marmareē ‘gleaming’ at I.18.480. In Eustathius Commentary on the Iliad vol. 4 p. 218 lines 14–17, the commentator draws attention to the morphological parallelism of triplax ‘threefold’ with diplax ‘twofold’. So, Eustathius recognizes here a crossover between the artistic worlds of metalwork and weaving. See the comment on I.18.479–480. See also the comment on I.09.130, where it is argued that the craft of pattern-weaving by Aeolian women is linked with the power of the craft of Homeric poetry to make contact with the Bronze Age. Finally, in the case of the two textual variants porphureē ‘purple’ and marmareē ‘gleaming’ as applied to the web of Helen at I.03.126 and to the web of Andromache at I.22.441, we learn from the scholia for I.03.126 that porphureē ‘purple’ happened to be the reading preferred by all three major Alexandrian editors of Homer—Zenodotus, Aristophanes, Aristarchus (see also HPC 274nn3, 4).

source

This word en-passein ‘sprinkle’ conveys a metaphor for the process of pattern-weaving. As we learn from the AT scholia for I.22.441, (en-)passein in the Cypriote dialect means poikillein ‘pattern-weave’. Metaphorically, Andromache is sprinkling flowers as love charms into her story by way of pattern-weaving floral patterns into a web that tells her story of love. By extension, the metaphorical world of pattern-weaving applies also to the process of making the kind of poetry that tells about the pattern-weaving of Andromache.

source

The wording here at I.22.444 is part of the lead-up to the lament of Andromache, which formally gets underway only at I.22.476. And the wording in this part of the lead-up, I.22.444, is prefigured by the wording of Zeus himself at I.17.207 in expressing the Will of Zeus regarding the sorrows of Andromache. To say it another way: the narrative arc represented by the Will of Zeus extends from the wording of the god’s plan all the way to the wording of the widow’s lament, I.22.476–515. See the comment on I.17.194–214.

source
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 lament), in the context of analyzing formula (A) and the meaning of eukhesthai

source

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 lament), in the context of analyzing formula (A) and the meaning of eukhesthai

source

analysis of the development of Greek posis compared with Vedic pati-

source
Richard Martin

The word epos consistently applies to what the addressee hears: Andromakhe says she wants to be out of hearing of Hektor's death—"May the epos be away from my ear" (22.454). The vocal quality of epos also underlies the phrase at 17.695: amphasiē epeō (Martin 1993:16).

source