Homer Iliad 24.596

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.) — 24.596 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.) — 24.596 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.) — 24.571 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.596 focus
Great Achilles then went back into the tent and took his place on the richly inlaid seat from which he had risen, by the wall that was at right angles to the one against which Priam was sitting. “Sir,” he said, [600] “your son is now laid upon his bier and is ransomed according to desire; you shall look upon him when you take him away at daybreak. 601 But now the two of us must think of eating. 602 Even Niobe, the one with the beautiful hair, thought of eating grain, 603 the one who had twelve children, and all of them were killed in the palace, 604 six daughters and six sons in the bloom of youth. [605] Apollo killed the sons, shooting from his silver bow. 606 He was angry at Niobe—and the daughters were killed by Artemis, shooter of arrows— 607 angry because she [= Niobe] tried to make herself equal to Leto, the one with the beautiful cheeks. 608 She [= Niobe] said that she [= Leto] gave birth to two, while she herself produced many. 609 So the two of them [= Apollo and Artemis], only two though they were, destroyed the many. [610] They [= the children of Niobe] lay there in their gore for nine days, and there was no one 611 to bury them. The people had been turned into stone by the son of Kronos. 612. Then on the tenth day they [= the children of Niobe] were given a burial by the sky-dwelling gods themselves. 613 And she [= Niobe] thought of eating, since she was exhausted by her shedding of tears, 614 and now, somewhere amidst the rocks, on the desolate heights, [615] in Sipylos, where they say the goddesses have places to sleep 616 —the goddess nymphs, the ones who dance on the banks of the Akhelōios— 617 there does she [= Niobe], though she has been turned into stone, digest her sorrows inflicted by the gods. 618 So too now the two of us must think, radiant old man, 619 of eating grain. And then, after that, for your dear child you may weep again, [620] after you have brought him to Troy. And there will be many tears shed for him.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.596 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.596 focus
He said, and, entering, took his seat of state,
Where full before him reverend Priam sat:
To whom, compos'd, the godlike chief begun:
‘Lo! to thy prayer restor'd, thy breathless son;
‘Extended on the funeral couch he lies;
750
‘And, soon as morning paints the eastern skies,
‘The sight is granted to thy longing eyes.
‘But now the peaceful hours of sacred night
‘Demand refection, and to rest invite:
‘Nor thou, O father! thus consum'd with woe,
755
‘The common cares that nourish life forego.
‘Not thus did Niobe, of form divine,
‘A parent once, whose sorrows equall'd thine:
‘Six youthful sons, as many blooming maids,
‘In one sad day beheld the Stygian shades:
760
‘Those by Apollo's silver bow were slain,
‘These, Cynthia's arrows stretch'd upon the plain.
‘So was her pride chastis'd by wrath divine,
‘Who match'd her own with bright Latona's line;
‘But two the goddess, twelve the queen enjoy'd;
765
‘Those boasted twelve th' avenging two destroy'd.
‘Steep'd in their blood, and in the dust outspread,
‘Nine days, neglected, lay expos'd the dead;
‘None by to weep them, to inhume them none;
‘(For Jove had turn'd the nation all to stone;)
770
‘The gods themselves, at length, relenting, gave
‘Th' unhappy race the honours of a grave.
‘Herself a rock (for such was heaven's high will)
‘Through deserts wild now pours a weeping rill;
‘Where round the bed whence Acheloüs springs,
775
‘The watery fairies dance in mazy rings:
‘There, high on Sipylus's shady brow,
‘She stands, her own sad monument of woe;
‘The rock for ever lasts, the tears for ever flow.
‘Such griefs, O king! have other parents known:
780
‘Remember theirs, and mitigate thy own.
‘The care of heaven thy Hector has appear'd;
‘Nor shall he lie unwept, and uninterr'd;
‘Soon may thy aged cheeks in tears be drown'd,
‘And all the eyes of Ilion stream around.’
785
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.596 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.596 focus

New Alexandria Commentaries

Douglas Frame

brief analysis of the importance of ‘returning’ in this scene

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cited as evidence for the well recognized notion that Priam’s ransom of Hector in Iliad XXIV is represented as a journey to the underworld and a consequent “return to life”

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reference to same lines in similar thematic connection in Il. XXIV.328

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reference to location and time (sunset) of Herme’s meeting with Priam, the tomb if Ilus. Indication of Priam’s ransom of Hector as a to the underworld and consequent ‘return to life’ [MRBTP: 'ff']

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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brief analysis of the importance of ‘returning’ in this scene, as indicated by Athena’s words to Diomedes, nóstou dḕmnēsat

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analysis of Solon’s familiarity with the Homeric epics and their correspondence in language and theme with Solon fr. 4 West

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reference to the connection between the captured horses of Diomedes and Odysseus and the ‘the rays of the sun’

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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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In speaking to Priam, the god Hermes disguises himself as a therapōn of Achilles. It is as if he were the spirit of the dead Patroklos, the other self of Achilles himself.

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See again the comment on I.24.393.

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See the anchor comment at O.07.256.

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Here it is Alkimos who is called ozos Arēos ‘attendant of Ares’. See the anchor comment at I.12.188.

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While Priam mourns for his own son Hector, Achilles alternates in mourning for his own father Priam and for Patroklos as his own other self. By mourning for both his father and for Patroklos, Achilles shows the way—showing how to mourn for ancestors. Do as I do. Relevant is what the “speaking name” (nomen loquens) of Patroklos means: ‘he who has the glory [kleos] of the ancestors [pateres]’. See the comments on I.01.345, I.06.209, I.09.185–191. Such a meaning signals the basic fact that one’s father is one’s most immediate ancestor. The kleos ‘glory’ of Achilles is thus linked, for all time to come, with a poetic glory that originates from the ancestors.

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verses matching these quoted in the Derveni Papyrus and considered by the commentator as Orphic (Obbink 1997:41n4)

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The two heroes Automedon and Alkimos are both marked as therapontes of Achilles, I.24.573, by virtue of this detail: Achilles honored the two of them more than anyone else after the death of Patroklos, I.24.574–575 (tīein ‘honor’ at I.24.575). Here they are acting as the attendants of Achilles, I.24.576–580.

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Leonard Muellner

in a list of passages with eukhesthai + infinitive (aorist)

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analysis of the attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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analysis of the traditionality of the collocation of eukhesthai and spendein

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analysis of the ambiguity in the meaning of eukhesthai in this verse (‘make a wish,’ ‘pledge, promise,’ ‘boast’), discussion of Benveniste’s analysis of the collocations of spendein and eukhesthai

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analysis of the versatility of poetic technique to report prayers (invocation, grant of favor, request of favor)

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analysis of the section I of the classification of the attestations of eukhesthai + dative (consistent inflection but apparently irregular metrical position of eukhesthai)

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in a list of examples of eukhesthai + dative (sacral)

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analysis of the development of the meaning of Latin spendō, in the context of analyzing the development of uoueō/eukhesthai

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example of a transformation of the themes in a prayer, in the context of the analysis of composition by theme in prayers, which can be amplified or minimized according to circumstances

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comment on eukhomenos and epos being traditionally and syntactically bound together, despite the separate existence of epos ēuda# as in this verse

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example of a transformation of the themes in a prayer, in the context of the analysis of composition by theme in prayers, which can be amplified or minimized according to circumstances

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comment on overlap between Hermes and Athena (here, Athena’s wearing Hermes’ sandals), in the context of analyzing her reminding of Hermes in O.13.221ff.

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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analysis of the emotional claim Priam makes on Achilles as effective in turning each of them toward his own pain

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analysis of the emotional claim Priam makes on Achilles as effective in turning each of them toward his own pain

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comment on Priam’s exceptional behavior in kissing the hands of Achilles

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analysis of the emotional claim Priam makes on Achilles as effective in turning each of them toward his own pain

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analysis of Achilles’ extension of the notion of philotēs and seeing their encounter through Priam’s eyes

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analysis of Achilles’ extension of the notion of philotēs and seeing their encounter through Priam’s eyes

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analysis of the delicacy of the situation and the exchange between Achilles and Priam nearly not succeeding

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analysis of the exchange between Achilles and Priam nearly not succeeding and the difference in the perspectives of Achilles and Priam

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analysis of the delicacy of the situation and the exchange between Achilles and Priam nearly not succeeding

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Richard Martin

Achilles' words to Priam as the poem ends (24.518-51) are a mixture of reproach, pity, and encouragement: Priam is a "wretch" and foolish, with an "iron heart," to have dared approach the Achaean camp alone. Achilles directs him gently, however, to sit, mourn, and ultimately endure (line 549, anskheo forming a ring-composition with line 518, anskheo). These words are introduced as winged words. The triumph of this conclusion is tonal: enemies can exchange winged words without a killing (Martin 1993:34).

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Memory plays the pivotal role in the final scene of the poem, as Achilles recalls Peleus on seeing Priam, and joins the old man in weeping (24.518-51). The jars of Zeus and Niobe's grief arise in his recollection as transparent myths, nor do we feel (as with Diomedes) that these are stories meant to sway Priam. Memory bonds them, rather—except in one disturbing moment. Priam, hurrying Achilles to bring the corpse of Hektor, mentions the many gifts brought as ransom. If any piece of evidence is needed to confirm that Achilles had heard Agamemnon's offer in Book 9, it is here. For the words of Priam spark a dangerous shift in Achilles' mood precisely because Agamemnon had made the same mistake, as if mere goods could persuade Achilles. Achilles responds in language ironically echoing Agamemnon's original refusal to honor another old man's request (compare 24.560 and 1.32, mēketi m'erethize / mē m'erethize). Unlike Agamemnon, he relents. But this final touch of characterization by discourse style tells an audience that Achilles has full mastery of the genre of recollections, whether of injury or grief (Martin 1993:144-45).

For the broader analysis of Achilles' strategy of rebuking by recollection, see the comment on Iliad 9.646-647.

References

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

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