Homer Iliad 22.405

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.) — 22.405 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 (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.405 focus
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 (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

Notes on the current edition

Iliad

1. 341 "Achilles' tyranny to Hector's person, which we lay on his fury and love to his slain friend, for whom himself living suffered so much."-CHAPMAN.
2. 341 Whitleather-i. e. white leather.
3. 360 In.-Dr. Taylor has erroneously omitted this word.
4. 360 Fil'd with tumbling. Fil'd, i. e. defiled. Dr. Taylor has committed a strange error in printing "all fill'd with rumbling," conveying to the reader a most unhappy picture of the effects of poor Priam's distress.

New Alexandria Commentaries

Douglas Frame

evidence for contention that Od. XVIII.265 is very old, as ἤ κεν and ἢ κεν is likely older than ἠέ κεν and ἢε κεν.

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analysis of meaning of halonai, “to be killed” as a genuine opposite of hairéō

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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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In this speech, Hector finally understands that he has been delusional all along in thinking that he could possibly defeat Achilles. Athena has actively contributed to the hero’s tragic delusion, and now Hector sees clearly that his death at the hands of Achilles is near. Hector’s delusion is already signaled at I.18.243–314, where the assembly of the Trojans approves of Hector’s plan to stay on the offensive against the Achaeans—even after Achilles has already re-entered the Trojan War. The Master Narrator had commented at I.18.311: this was a bad decision by the assembly, to approve the strategy of Hector, since the goddess Athena had taken away from them their senses, phrenes. If the assembly had been sensible, they would have recognized that Hector’s mētis ‘mind, intelligence’ had failed him, I.18.312. As noted in the comment on I.18.243–314 as also in the earlier comments on I.06.286–311, I.07.017–061, I.08.538–541, I.10.043–052, I.11.200, and I.13.825–829, there is a pattern of personal hostility felt by the goddess Athena toward Hector as a hero who aspires to some of the same qualities that Athena herself exemplifies. Like the goddess, Hector can be seen as an exponent of (1) defensive tactics in the warfare of protecting a citadel from sieges and (2) mētis ‘mind, intelligence’—two qualities that were tragically taken away from him when he most needed to have them.

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Hector is now quite certain that he will in fact die at the hands of Achilles, but he wishes all the more to die in a way that will assure him of having the kleos ‘glory’ of poetry, and such ‘genuine’ glory is marked here by the negation of the adverb a-kleiōs ‘without the genuine glory [kleos] (of poetry)’. What he is saying, then, is that he wishes not to die without being assured of the kleos ‘glory’ of poetry. He has already been saying that at I.22.110. See also the comment on I.22.110, where it is already noted that 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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After wounding Hector mortally at I.22.326–330, Achilles now declares to his enemy his intention to expose Hector’s corpse as prey for dogs and birds to devour while Patroklos will be getting a proper funeral, I.22.335–336. In response, the dying Hector begs to be spared the horror of exposition to dogs and birds, offering ransom if his sōma ‘body’ is restored safely to his family, I.22.342, who can give him a proper funeral that features the all-important ritual of cremation, I.22.342–343. But Achilles rejects the offer, I.22.344–354, and he declares again his intention to deprive Hector of cremation and to subject his enemy’s corpse to the horrors of exposition, I.22.354.

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Achilles declares to the dying Hector how certain he is about his ghastly intent to expose the corpse of his hated enemy for dogs and birds to devour, I.22.248 (also I.22.354). This certainly is linked to an even more ghastly uncertainty, expressed as a wish: if only the thūmos and the menos of Achilles, I.22.346, which can be translated here as his ‘heart’ and his ‘mind’ respectively, could bring him to do something that would otherwise be unthinkable, which is, to cut up the body of Hector and eat it raw, I.22.346–347. The use of the two words thūmos and menos here at I.22.346 is relevant to a comparison made earlier by Achilles at I.22.262: Hector is to Achilles as men are to lions. Elsewhere in Homeric diction, Achilles is in fact described as thūmoleōn ‘having the heart of a lion’, at I.07.228. As for the noun menos, which can be translated more literally as ‘mental power’ in contexts where it applies to heroes, it is used at I.20.174 in collocation with thūmos ‘heart’ in describing the impetus of Achilles as an elemental force of nature, comparable to the impetus of an attacking lion, I.20.171.

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Achilles strips the armor from the corpse of Hector, I.22.368–369, who is lying there naked on the battleground while the companions of Achilles are jeering at him and taking turns at inflicting further wounds on his dead body, I.22.369–375. Such mistreatment of the corpse can be seen as a form of degradation that anticipates an even more horrific form of degradation that is still waiting to happen, which is, the dreaded exposition of Hector’s body to dogs and birds.

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Leonard Muellner

analysis of the meaning of epidōsometh’ in I.10.463 and its variant reading epibōsometh’

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in a list of examples of formulas for introducing a speech by an eukhomenos warrior, which Paris’ name-epithet formulas do not fit (in the context of analyzing I.11.379)

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analysis of the equal power and danger accruing to the character who wields mēnis and to the one transgressing [MRBTP: 'ff']

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in the list of offenses that (threaten to) incur mēnis

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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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Richard Martin

Achilles' words to Hektor at 22.268-69, "order Hektor to 'remember every sort of excellence: now you must be spearman and intrepid fighter,'" deploy the formulaic "remember strength" phrase in a radically changed way. As the analysis of battle formulas shows, it is always the commander urging on his own troops who uses this turn of phrase. By throwing this familiar encouragement at Hektor, Achilles violates a linguistic constraint with precisely the same tonal effect as when he uses "winged words" to an enemy. The ultimate rhetorical insult to a warrior is to be infantilized or feminized: if Achilles can "remind" Hektor how to fight, he has already negated Hektor's ability to win. This is a strategy Hektor knows as well, since he used a direct "quotation" to Patroklos (the alleged "order" of Achilles, 16.838-41) in order to reduce his adversary to the status of an unthinking, obedient follower of directions. Here the rhetoric of recollection comes full circle: a commander's persuasive power depends on an ability to construct memories, and so does a warrior's attack on the enemy (Martin 1993:83-85).

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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An observance of the role of speech in combat marks Hektor's later flyting speeches. He vows that Achilles will not complete his words (muthois, 20.365), and later attempts to insult his opponent with the conventional "words not deeds" tactic: "You were somewhat glib with words (artiepēs) and thieving about speeches (epiklopos muthōn)," he says when Achilles has missed him with the spear (22.281). The insult makes a global stylistic comment because it implies that Achilles' form was good at the level of utterance (epos), but his authority to speak, based on warring skill, was lacking—he only stole others' muthoi. Yet Hektor is upstaged as a critic of flyting language by Aeneas, whose long discourse on insults delivered to Achilles (20.200-58) is one Hektor can only manage a fraction of, and which strikes us as a borrowing from his cousin at that (20.431-33 = 20.200-202). As Hektor nears his death, he begins to lose confidence not only as a fighter but as one who creatively manipulates the language of war (Martin 1993:135-36).

For the broader analysis of Hektor's flyting style, see the comment on Iliad 4.336-421.

References

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

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