Homer Iliad 24.64

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.) — 24.64 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.) — 24.64 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.) — 24.104 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.64 focus
Then said Zeus, who gathers the clouds, [65] “Hera, be not so bitter. Their honor [ tīmē] shall not be equal, but of all that dwell in Ilion, Hector was dearest to the gods, as also to myself, for his offerings never failed me. Never was my altar stinted of its dues, [70] nor of the drink-offerings and savor of sacrifice which we claim of right. I shall therefore permit the body of mighty Hector to be stolen; and yet this may hardly be without Achilles coming to know it, for his mother keeps night and day beside him. Let some one of you, therefore, send Thetis to me, [75] and I will impart my counsel to her, namely that Achilles is to accept a ransom from Priam, and give up the body.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.64 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.64 focus
Then thus the Thunderer checks the imperial dame:
‘Let not thy wrath the court of heaven inflame;
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‘Their merits, nor their honours, are the same.
‘But mine, and every god's peculiar grace
‘Hector deserves, of all the Trojan race:
‘Still on our shrines his grateful offerings lay,
‘(The only honours men to gods can pay,)
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‘Nor ever from our smoking altar ceas'd
‘The pure libation, and the holy feast.
‘Howe'er, by stealth to snatch the corse away,
‘We will not: Thetis guards it night and day.
‘But haste, and summon to our courts above
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‘The azure queen: let her persuasion move
‘Her furious son from Priam to receive
‘The proffer'd ransom, and the corse to leave.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.64 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.64 focus

Notes on the current edition

Iliad

1. 71 Cates-delicacies.
2. 95 See note on Odyssey, x11. 370.

New Alexandria Commentaries

Douglas Frame

analysis of the significance of nóos and néomai in the speech of Diomedes

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analysis of the significance of nóos and néomai in the speech of Diomedes

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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 the speech of Zeus here, Ι.24.064–076, an elaborate plan leads to a most elaborate plot for the conclusion of the Iliad.

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Köhnken’s argument for inclusion of Odysseus in the dual construction preceding I.09.192, citing this passage and criticism of it

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On this expression, see the comment at O.01.342.

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Zeus tells Thetis to tell Achilles that the gods are angry at him and want him to release to Priam the body of Hector. In this case, the Will of Zeus becomes an unambiguous moral force for the maintenance of ritual correctness in the post-heroic age.

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Thetis conveys the Will of Zeus to her son. Her role here in Iliad 24 is symmetrical with her role in Iliad 1.

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See the anchor comment at O.07.256.

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See the anchor comment at O.07.256.

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Leonard Muellner

analysis of Thetis’ speech to Achilles for the three things (food, sex, and death) that are central to his philotēs/solidarity with his fellow humans

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Achilles’ apparent continuing of his antisocial behavior and refusal to let go after losing and mourning someone philos (comparison with situation in I.09.) vs. his immediate acquiescence to Thetis’ request (from Zeus)

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analysis of Achilles’ decision to ransom Hektor as a reconfirmation of his solidarity with Zeus

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analysis of the language affirming the rules of reciprocal exchange in Achilles’ ransoming Hektor/receiving Priam (Zeus’ words), with particular comment on endukeōs

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analysis of thuoskoos as not a particularly prestigious occupation, in the context of analyzing Odysseus’ response to Leodes in O.22.321

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Richard Martin

Zeus' directive for Thetis to transmit to Achilles (24.75) is the third of four instances of pukinon epos in the Iliad (7.375, 11.788, 24.75, 24.744). When applied to speech, the adjective pukinon carries the sense of language that is dense with meaning and filled with urgency (Martin 1993:35).

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The address that Hekabe makes to Priam as he leaves for Achilles' tent is explicitly presented in the language of lament ("she wailed [kōkusen], and answered with a muthos," 24.200). The speech starts with desperate rebukes of Priam's folly in going—a tone comparable to Andromakhe's lament at 24.743-45, chiding Hektor for not consoling her. Even more explicit is the call for others to join in her mourning, a theme found in Greek lament tradition. Hekabe concludes with a dramatization of her anger and grief: she could eat the liver of Achilles; only such violence would offer requital. In sum, the speech laments both her son, now dead, and her husband, whom she does not expect to see alive again (Martin 1993:87-88).

Given the male, heroic in-group orientation of the word muthos and its association with powerful self-presentation, it would seem to be a social taboo for women to employ this kind of speech. But both Hekabe and Helen, who also addresses Priam with a muthos at 3.166-80, are in fact enacting laments in the speeches labeled with this word. They fulfill an expected performance role, using a recognized genre of muthos as memory, but they are presented as doing so at unexpected times, to create dramatic effect (Martin 1993:87).

Helen's use is equally marked. When Priam on the wall asks her to name a hero below (3.166), she delays this identification and in her reply uses the language of lament, recalling her former home and wishing she had died when she followed Paris to Troy (3.171-80). The poet's use of the line Τὸν δ' Ελένη μύθοισιν ἀμείβετο, δῖα γυναικῶν keys an audience by the use of the word muthos to a graceful enactment of desire in the context of lament (Martin 1993:88).

These lamentations by Helen and Hekabe fulfill the conditions for performance found throughout the analysis of the three muthos genres: they are acts of self-presentation with an emphasis on extension and detail, in a public setting. It is, as well, the genre of lament in the context of larger memories that finally unites Achilles in thought with Priam and effects the closure of the Iliad, both men remembering their losses (Martin 1993:87).

References

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

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Zeus' full divine rhetoric shows itself in the muthos he makes to Thetis at 24.104-19. The subservience of the other Olympians emerges in details that contrast with the scene in Book 1: Hera serves Thetis now, instead of being a distant dissenter (contrast Hephaistos' service to her at 1.585-94). Zeus begins gently, recalling Thetis' anguish, something he himself knows. If the audience has been prepared to accept Zeus' sympathy as authentic, they have also been privileged to hear his earlier motives for summoning Thetis: he cannot let Hermes steal the corpse because the nymph is night and day beside her son (24.71-73), so he must convince her to persuade Achilles. When Zeus faces Thetis, he explains his motives much differently: "They urge the keen-sighted slayer of Argos to steal, but I grant this glory to Achilles, keeping safe your respect and affection in later time" (24.109-10). The audience is left wondering which version is more like the truth—who is being kept in the dark, Hera or Thetis? This is a paradigm for heroic rhetoric as well: through the depiction of muthos speeches among the gods, Homer illustrates the role of politic fiction in the poetics of power (Martin 1993:58-59).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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