Homer Iliad 22.77

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.) — 22.77 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.) — 22.77 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)) — 22.77 focus
The old man tore his gray hair as he spoke, but he moved not the heart of Hector. His mother hard by wept and moaned aloud [80] as she bared her bosom and pointed to the breast which had suckled him. “Hector,” she cried, weeping bitterly the while, “Hector, my son, spurn not this breast, but have pity upon me too: if I have ever given you comfort from my own bosom, think on it now, dear son, and come within the wall to protect us from this man; [85] stand not without to meet him. Should the wretch kill you, neither I nor your richly dowered wife shall ever weep, dear offshoot of myself, over the bed on which you lie, for dogs will devour you at the ships of the Achaeans.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.77 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.77 focus
He said, and acting what no words could say,
Rent from his head the silver locks away.
With him the mournful mother bears a part:
110
Yet all their sorrows turn not Hector's heart:
The zone unbraced, her bosom she display'd;
And thus, fast-falling the salt tears, she said:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.77 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.77 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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in the context of analyzing the apobatēs race invented by Erichthonios

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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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application of the epithet ōmēstēs to Achilles alone among Homeric heroes, otherwise to beasts, as in this verse

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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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On this proverb about the oak and the rock, see the comment at O.19.162–163.

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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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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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examples of the identical contexts in which eukhos and kudos occur

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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comment on mythopoeic exchange of attributes, here Hektor’s becoming swift-footed when wearing the armor of Patroklos, formerly Achilles’

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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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