Homer Iliad 24.746

Samuel Butler (Translator)

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Bitterly did she weep the while, and the women joined in her lament. Hecuba in her turn took up the strains of woe. “Hector,” she cried, “dearest to me of all my children. So long as you were alive the gods loved you well, [750] and even in death they have not been utterly unmindful of you; for when swift-footed Achilles took any other of my sons, he would sell him beyond the seas, to Samos, Imbros, or rugged Lemnos; and when he had taken away with his sword your life-breath [ psūkhē] as well, [755] many a time did he drag you round the tomb [ sēma] of his comrade—though this could not give him life—yet here you lie all fresh as dew, and comely as one whom Apollo has slain with his painless shafts.”

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 24.746 focus
Translations (7)
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.) — 24.746 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.) — 24.782 focus
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.746 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.746 focus
The mournful mother next sustains her part:
‘O thou, the best, the dearest to my heart!
‘Of all my race thou most by heaven approv'd,
‘And by th' immortals ev'n in death belov'd!
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‘While all my other sons in barbarous bands
‘Achilles bound, and sold to foreign lands,
‘This felt no chains, but went, a glorious ghost,
‘Free, and a hero, to the Stygian coast.
‘Sentenc'd, 'tis true, by his inhuman doom,
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‘Thy noble corse was dragg'd around the tomb;
‘(The tomb of him thy warlike arm had slain;)
‘Ungenerous insult, impotent and vain!
‘Yet glow'st thou fresh with every living grace,
‘No mark of pain, or violence of face;
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‘Rosy and fair! as Phoebus' silver bow
‘Dismiss'd thee gently to the shades below!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.746 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 24.746 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.746 focus

New Alexandria Commentaries

Gregory Nagy

The Iliad ends with the funeral of Hector, not of Achilles. And it is Hector, not Achilles, who is lamented at the end. But it is Achilles who makes it all happen, since he has transcended his rage and has shown mercy to an old father. The tears of Priam had made Achilles think of his own old father, of his own ancestors—and of Patroklos, who embodied the glories of the ancestors. Achilles was looking bad at the beginning of Iliad 23 and even at the beginning of Iliad 24, but he looks very good by the time Iliad 24 comes to a close.

draft js image errorMourners lament as Hector’s corpse is laid out in preparation for the funeral that closes Iliad Rhapsody 24. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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The gods pity Hector and are on the verge of sending Hermes to hide the corpse of Hector, but this plan is vetoed by Hērā and Poseidon, in that order. They bear a grudge against Troy and Priam because of an atē ‘aberration’ of Paris=Alexandros. But the narrative concentrates only on Hērā, since the atē ‘aberration’ that the Master Narrator has in mind involves a direct insult to that goddess. On the story of that insult, see the comment on the verses that immediately follow.

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