Homer Iliad 22.405

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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.) — 22.405 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.) — 22.405 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.) — 22.416 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.405 focus
Thus was the head of Hector being dishonored in the dust. His mother tore her hair, and flung her veil from her with a loud cry as she looked upon her son. His father made piteous moan, and throughout the city the people fell to weeping and wailing. [410] It was as though the whole of frowning Ilion was being smirched with fire. Hardly could the people hold Priam back in his hot haste to rush without the gates of the city. He groveled in the mire and besought them, [415] calling each one of them by his name. “Let be, my friends,” he cried, “and for all your sorrow, suffer me to go single-handed to the ships of the Achaeans. Let me beseech this cruel and terrible man, if maybe he will respect the feeling of his fellow-men, and have compassion on my old age. [420] His own father is even such another as myself—Peleus, who bred him and reared him—to be the bane of us Trojans, and of myself more than of all others. Many a son of mine has he slain in the flower of his youth, and yet, grieve for these as I may, [425] I do so for one—Hector—more than for them all, and the bitterness of my sorrow [ akhos] will bring me down to the house of Hādēs. Would that he had died in my arms, for so both his ill-starred mother who bore him, and myself, should have had the comfort of weeping and mourning over him.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.405 focus
The mother first beheld with sad survey:
She rent her tresses, venerably grey,
And cast far off the regal veils away.
With piercing shrieks his bitter fate she moans,
While the sad father answers groans with groans;
515
Tears after tears his mournful cheeks o'erflow,
And the whole city wears one face of woe:
No less than if the rage of hostile fires,
From her foundations curling to her spires,
O'er the proud citadel at length should rise,
520
And the last blaze send Ilion to the skies.
The wretched monarch of the falling state,
Distracted, presses to the Dardan gate:
Scarce the whole people stop his desperate course,
While strong affliction gives the feeble force:
525
Grief tears his heart, and drives him to and fro,
In all the raging impotence of woe.
At length he roll'd in dust, and thus begun,
Imploring all, and naming one by one:
‘Ah! let me, let me go where sorrow calls;
530
‘I, only I, will issue from your walls,
‘(Guide or companion, friends! I ask ye none,)
‘And bow before the murderer of my son.
‘My grief perhaps his pity may engage;
‘Perhaps at least he may respect my age.
535
‘He has a father too; a man like me;
‘One, not exempt from age and misery:
‘(Vigorous no more, as when his young embrace
‘Begot this pest of me, and all my race.)
‘How many valiant sons, in early bloom,
540
‘Has that curs'd hand sent headlong to the tomb!
‘Thee, Hector! last; thy loss (divinely brave!)
‘Sinks my sad soul with sorrow to the grave.
‘Oh had thy gentle spirit pass'd in peace,
‘The son expiring in the sire's embrace,
545
‘While both thy parents wept thy fatal hour,
‘And, bending o'er thee, mix'd the tender shower!
‘Some comfort that had been, some sad relief,
‘To melt in full satiety of grief!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.405 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.405 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.405 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

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.

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In the first lament of Andromache for Hector, as we saw in the anchor comment at I.06.407–439, she was already lamenting the death of Hector before he was even dead. As for her second lament, here at I.22.476–515, she sings it when she sees the corpse of Hector for the first time. As for her third lament, to be featured at I.24.723–746, Andromache will sing it on the occasion of Hector’s funeral. The second lament here is in some ways a preview of the third, which as we will see is technically the most formal of Andromache’s three laments. The beginning of Andromache’s second lament is signaled here at I.22.476 by the technical poetic term amblēdēn, an adverb that means ‘making a start [in performance]’ just as the adverb hupoblēdēn at I.01.292 means ‘continuing [in response]’. As Andromache starts to sing her second lament, the word that refers here at I.22.476 to the form of her singing is the verb goân ‘make lament’, corresponding to the noun góos ‘lament’. We have already seen the noun góos at I.18.051, with reference to the lament sung by Thetis for the future death of Achilles. This form of lament, góos, is conventionally sung by female members of the bereaved family, and there will be more to say about this form in the comment on I.24.720–776. For the moment, however, I focus on what happens after Andromache has finished singing her lament at I.22.476–514. Now the Trojan women who are attending her respond to her lament by continuing it with their own lament, in antiphonal performance, at I.22.515: ‘So she [= Andromache] spoke, and the women wailed in response’ (ὣς ἔφατο κλαίουσ’, ἐπὶ δὲ στενάχοντο γυναῖκες). The antiphonal refrain here at I.22.515 is signaled by the verb epi–stenakhesthai ‘wail in response’, matching the antiphonal refrain at I.19.301 in response to the lament of Briseis. See the anchor comment at I.19.282–302. So, the second lament of Andromache, as we see it come to a conclusion at I.22.515, is a classic example of a group performance as rounded out by way of an antiphonal refrain. For more on such group performance, see again the anchor comment on I.19.282–302, where it is emphasized that Briseis the Aeolian is featured as a distinctly choral personality, analogous to the personality of Sappho herself in the choral songs attributed to that Aeolian prima donna of a later era. See also anchor comment at I.06.407–439 on: three laments by Andromache, part 1; and anchor comment at I.24.723–746 on: three laments by Andromache, part 3.

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On the naming of the son of Hector, Astyanax, see the comment on I.22.506–507.

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Here at I.22.506–507, the meaning of the name of Hector is made explicit. As noted already in the comment on I.06.402–403, the first of two names given to the son of Hector, Astyanax [Astuanax], I.06.403, means ‘king [anax] of the city [astu]’. This meaning is relevant to the heroic role of the father as protecting a citadel from sieges. This role is expressed by the “speaking name” (nomen loquens) of Hector, Héktōr, which is an agent noun meaning ‘one who holds [ekhein]’. The translation ‘hold’ here conveys the sense of ‘uphold, protect, guard’: so Hector’s name destines him to be the ‘protector’ of the city of Troy. See the comment on I.05.473–474. The name of Hector is relevant to the fact that Hector’s son is named after him. More than that, Hector’s son is named after the primary function of Hector as signaled by the father’s name, and the rationale for that naming is made explicit at I.22.506–507: as Andromache says to her dead husband here, Astyanax is named Astyanax or ‘king of the city’ precisely because his father was protector of the city. Here is the wording at I.22.507: ‘because you [= Héktōr], all by yourself, protected [eruesthai] for them [= the Trojans] the gates and the walls [of their city]’ (οἶος γάρ σφιν ἔρυσο πύλας καὶ τείχεα μακρά). We see at work here the mythological convention of naming a son after a primary heroic trait of the father, as in the case of the son of Ajax, whose name Eurusakēs means ‘the one with the wide shield [sakos]’; this meaning is made explicit in the wording of Sophocles Ajax 574–578. In the case of Hector’s name as Hék-tōr or ‘protector’, there is a serious danger portended by his function as protector of the citadel of Troy: this heroic function of Hector makes him a rival of the goddess Athena in her own divine function as protector of the same citadel of Troy. See the comment on I.06.286–311, especially with reference to the epithet of Athena as erusi-ptolis ‘protector of the citadel [p(t)olis]’ at I.06.305.

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Reaching the end of her lament for Hector, Andromache declares ruefully: all that Hector cares about is whether the men and women of Troy will in the end think of him as a hero who deserves to have the kleos ‘glory’ of poetry. Even in defeat, Hector hopes to be worthy of epic. See already the comment on I.22.110.

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The lament of Andromache, as we see it come to a conclusion here at I.22.515, is a classic example of a group performance as rounded out here at I.22.515 by way of an antiphonal refrain. For more on such group performance, see the anchor comment on I.19.282–302, where Briseis the Aeolian is featured as a distinctly choral personality, analogous to the personality of Sappho herself in the choral songs attributed to that Aeolian prima donna of a later era.

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

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