Homer Iliad 22.111

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 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.) — 22.111 focus
εἰ δέ κεν ἀσπίδα μὲν καταθείομαι ὀμφαλόεσσαν
καὶ κόρυθα βριαρήν, δόρυ δὲ πρὸς τεῖχος ἐρείσας
αὐτὸς ἰὼν Ἀχιλῆος ἀμύμονος ἀντίος ἔλθω
καί οἱ ὑπόσχωμαι Ἑλένην καὶ κτήμαθʼ ἅμʼ αὐτῇ,
πάντα μάλʼ ὅσσά τʼ Ἀλέξανδρος κοίλῃς ἐνὶ νηυσὶν
115
ἠγάγετο Τροίηνδʼ, ἥ τʼ ἔπλετο νείκεος ἀρχή,
δωσέμεν Ἀτρεΐδῃσιν ἄγειν, ἅμα δʼ ἀμφὶς Ἀχαιοῖς
ἄλλʼ ἀποδάσσεσθαι ὅσα τε πτόλις ἥδε κέκευθε·
Τρωσὶν δʼ αὖ μετόπισθε γερούσιον ὅρκον ἕλωμαι
μή τι κατακρύψειν, ἀλλʼ ἄνδιχα πάντα δάσασθαι
120
κτῆσιν ὅσην πτολίεθρον ἐπήρατον ἐντὸς ἐέργει·
ἀλλὰ τί ἤ μοι ταῦτα φίλος διελέξατο θυμός;
μή μιν ἐγὼ μὲν ἵκωμαι ἰών, ὃ δέ μʼ οὐκ ἐλεήσει
οὐδέ τί μʼ αἰδέσεται, κτενέει δέ με γυμνὸν ἐόντα
αὔτως ὥς τε γυναῖκα, ἐπεί κʼ ἀπὸ τεύχεα δύω.
125
οὐ μέν πως νῦν ἔστιν ἀπὸ δρυὸς οὐδʼ ἀπὸ πέτρης
τῷ ὀαριζέμεναι, ἅ τε παρθένος ἠΐθεός τε
παρθένος ἠΐθεός τʼ ὀαρίζετον ἀλλήλοιιν.
βέλτερον αὖτʼ ἔριδι ξυνελαυνέμεν ὅττι τάχιστα·
εἴδομεν ὁπποτέρῳ κεν Ὀλύμπιος εὖχος ὀρέξῃ.
130
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.) — 22.111 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.) — 22.141 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.111 focus
What, again, if I were to lay down my shield and helmet, lean my spear against the wall and go straight up to noble Achilles? What if I were to promise to give up Helen, who was the fountainhead of all this war, [115] and all the treasure that Alexandros brought with him in his ships to Troy, yes, and to let the Achaeans divide the half of everything that the city contains among themselves? I might make the Trojans, by the mouths of their princes, [120] take a solemn oath that they would hide nothing, but would divide into two shares all that is within the city— 122 But why do I have these things to talk about with my spirit [ thūmos]? Were I to go up to him he would show me no kind of mercy; he would kill me then and there as easily [125] as though I were a woman, when I had off my armor. 126 It is by now impossible to converse with him, starting from the oak or from the rock as young men and maidens prattle with one another. Better fight him at once, [130] and learn to which of us Zeus will grant victory.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.111 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.111 focus
'And yet suppose these measures I forego,
'Approach unarm'd, and parley with the foe,
155
'The warrior-shield, the helm, and lance lay down,
'And treat on terms of peace to save the town:
'The wife withheld, the treasure ill-detain'd,
'(Cause of the war, and grievance of the land,)
'With honourable justice to restore;
160
'And add half Ilion's yet remaining store,
'Which Troy shall, sworn, produce; that injur'd Greece
'May share our wealth, and leave our walls in peace.
'But why this thought? unarm'd if I should go,
'What hope of mercy from this vengeful foe,
165
'But woman-like to fall, and fall without a blow?
'We greet not here, as man conversing man,
'Met at an oak, or journeying o'er a plain;
'No season now for calm, familiar talk,
'Like youths and maidens in an evening walk:
170
'War is our business, but to whom is given
'To die or triumph, that determine heaven!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.111 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.111 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

Douglas Frame

example of laos as referring to one’s own even with ōlese

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example of laos as referring to one’s own even with ōlese

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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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Hector is well aware that he may die at the hands of Achilles, but he wishes to die in a way that will assure him of having the kleos ‘glory’ of poetry, and such ‘genuine’ glory, as marked by the prefix eü- of the adverb eü-kleiōs ‘with the genuine glory [kleos] (of poetry)’, is simultaneously ‘good’ glory, as also in the case of the adjective esthlon ‘genuine, good’, which applies as the epithet of kleos at I.18.121. See the comment on I.18.121. The overarching ambition of Hector to achieve the genuine kleos ‘glory’ of poetry is recognized at the end of Andromache’s second lament, I.22.514. See the comment on I.22.514.

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Leonard Muellner

analysis of the formulaic references to atasthaliai as indicating the responsibility of a whole group for what it suffers in the Iliad vs. the differentiation of blame in the Odyssey

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Richard Martin

By the final quotation he makes, just before his death, even Hektor can see that he has prematurely placed himself within the wrong poetic tradition: he now imagines a snippet of blame-discourse that will make him infamous: "Hektor trusting in his strength destroyed the fighting-troop (laon)" (22.107). In an ironic touch, soon after this Homer quotes, in the style of Hektor, anonymous Achaeans as they take turns stabbing his corpse: "Much softer to handle, really, is Hektor, indeed, than when he burnt the ships with fire" (22.374) (Martin 1993:137-38).

As Hektor nears death, he twice uses the rare figure of epanastrophe, as in his last long monologue (22.126-28), where the immediate repetition of a phrase sounds either like hesitancy in the speaker or an attempt to test out the appropriateness of his own formulation, to get it right. In Hektor's case, these amount to the same thing: his concern with style is ultimately too involuted to win him the universal fame—among Greeks and Trojans—that he envisioned (7.300). He is bested by a hero capable of the most expansive expression (Martin 1993:138).

For Hektor's distinctive quotation strategy throughout the poem, see the comment on Iliad 6.459-461.

References

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

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