Homer Iliad 22.437

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.) — 22.437 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.) — 22.437 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)) — 22.437 focus
So she [= Hecuba] spoke, lamenting, but the wife [= Andromache] had not yet heard, 438 Hector’s wife: for no true messenger had come to her 439 and told her the news, how her husband was standing his ground outside the gates. [440] She [= Andromache] was weaving [ huphainein] a web in the inner room of the lofty palace, 441 a purple [ porphureē] fabric that folds in two [= diplax], and she was inworking [ en-passein] patterns of flowers [ throna] that were varied [ poikila]. 442 And she called out to the attending women, the ones with the beautiful tresses [ plokamoi], in the palace 443 to set a big tripod on the fire, so that there would be 444 a warm bath for Hector when he had his return [ nostos] from battle. [445] Unwary [ nēpiē] as she was, she did not know [ noeîn] that, far from the bath, 446 the hands of Achilles had brought him [= Hector] down. It was the work of Athena, the one with the look of the owl. 447 She [= Andromache] heard the wailing and the cries of oimoi coming from the high walls [ purgos]. 448 Her limbs shook, and she dropped on the ground her shuttle. 449 And then she stood among the women slaves attending her, the ones with the beautiful tresses, and she spoke to them: [450] “Come, I want two of you to accompany me. I want to see what has happened 451 I just heard the voice of my venerable mother-in-law, and what I feel inside is that 452 my heart is throbbing hard in my chest right up to my mouth, and my knees down below 453 are frozen stiff. I now see that something bad is nearing the sons of Priam. 454 If only the spoken word had been too far away for me to hear. But I so terribly [455] fear for my bold Hector at the hands of radiant Achilles. 456 I fear that he has got him cut off from the rest, putting him on the run toward the open plain, 457 and that he has put a stop to a manliness that has gone too far, the cause of so much sorrow. 458 It was a thing that had a hold over him, since he could never just stand back and blend in with the multitude of his fellow warriors. 459Instead, he would keep on running ahead of the rest of them, not yielding to anyone as he pushed ahead with his vital force [ menos].”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.437 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.437 focus
But not as yet the fatal news had spread
To fair Andromache, of Hector dead;
As yet no messenger had told his fate,
Nor e'en his stay without the Scæan gate.
565
Far in the close recesses of the dome
Pensive she plied the melancholy loom;
A growing work employ'd her secret hours,
Confus'dly gay with intermingled flowers.
Her fair-hair'd handmaids heat the brazen urn,
570
The bath preparing for her lord's return:
In vain: alas! her lord returns no more!
Unbathed he lies, and bleeds along the shore!
Now from the walls the clamours reach her ear,
And all her members shake with sudden fear;
575
Forth from her ivory hand the shuttle falls,
As thus, astonish'd, to her maids she calls:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.437 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.437 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 theōi hōs is used

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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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Further degradation awaits the naked corpse of Hector. Here at I.22.395–405, Achilles proceeds to subject the body of Hector to an act that is meant to disfigure it, and the Master Narrator hints at his own moral disapproval by referring to this act as aeikea . . . erga ‘things unseemly’, I.22.395. The generalized idea of ugliness as conveyed by aeikea ‘unseemly’ and other such words in Homeric diction is reciprocal: when you do something ugly to someone, making that someone look ugly, you are thereby making yourself look ugly as well. To be specific, I describe here in detail the ugly things that Achilles will now do to Hector. First, he pierces a hole between the ankle and the heel of Hector’s two feet, and then he threads through these two holes a leather strip that he attaches to the back of his chariot, I.22.396–398. Then he will drag the corpse through the dust and grime of the battleground as he mounts the chariot and drives off at top speed, with Hector in tow. At this horrific moment in the Homeric narrative, feelings of pity are prompted by the narrative itself at I.22.401–403. The Master Narrator prompts his listeners by focusing here on Hector’s hair, once so beautifully groomed but now all disheveled, and then on his head, with a face that was once so charming to look at—but now you expect this beautiful head to be mutilated beyond recognition, once it gets dragged over the harsh and scraping surface of the battleground. The Master Narrator concludes ruefully: the god Zeus himself is allowing all this to happen, I.22.403–404. But what is the god really allowing to happen? So far, there has been a mistreatment and even degradation of Hector’s body, yes. But, at least so far, there has been no disfigurement to be seen. As the Master Narrator takes one last look here at the corpse of Hector, the hero’s head is shrouded in a swirl of dust, I.22.405, and so his face is not visible. The next time the Master Narrator looks at the corpse of Hector, Achilles is displaying the body lying face down in the dust, I.23.024–026, near the stand where the dead body of Patroklos is lying in state, obviously face up. For a preview of this later moment, see the comment on 1.23.1–64. Even there at 1.23.1–64, though, it cannot be known whether the body that Achilles is intending to degrade has in fact already been disfigured. Once again, the face is not visible. At a later point, however, at I.23.184–191, it will become clear that the face and the head and in fact the whole body of Hector cannot be disfigured. The body is saved. In the anchor comment at I.23.184–191, there will be an analysis of this vision of salvation for Hector’s body.

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Leonard Muellner

in the context of analyzing the only place in the Homeric corpus where a dative noun after eukhesthai is not a god/gods (but Hektor, and these verses among references to his ‘godhead’)

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comparison of variant formulas with eukhetasthai for eukhomai in formulas with enjambed, present tense, sacral eukhesthai, in the context of analyzing Allen’s text of I.08.526

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