Homer Iliad 22.1

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 22.1 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.) — 22.1 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.) — 22.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.1 focus
Thus the Trojans in the city, scared like fawns, wiped the sweat from off them and drank to quench their thirst, leaning against the goodly battlements, while the Achaeans with their shields laid upon their shoulders drew close up to the walls. [5] But stern fate bade Hector stay where he was before Ilion and the Scaean gates. Then Phoebus Apollo spoke to the son of Peleus saying, “Why, son of Peleus, do you, who are only a man, give chase to me who am immortal? [10] Have you not yet found out that it is a god whom you pursue so furiously? You did not inflict struggles [ ponos] on the Trojans whom you had routed, and now they are within their walls, while you have been decoyed here away from them. Me you cannot kill, for death can take no hold upon me.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.1 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.1 focus
THUS to their bulwarks, smit with panic fear,
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The herded Ilians rush like driven deer;
There safe, they wipe the briny drops away,
And drown in bowls the labours of the day.
Close to the walls, advancing o'er the fields,
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Beneath one roof of well-compacted shields,
March, bending on, the Greeks' embodied powers,
Far-stretching in the shade of Trojan towers.
Great Hector singly stay'd; chain'd down by fate,
There fix'd he stood before the Scæan gate;
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Still his bold arms determin'd to employ,
The guardian still of long-defended Troy.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.1 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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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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analysis of semantic overlap between perfect oida and aorist eidon

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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

examples of the identical contexts in which eukhos and kudos occur

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comparison of this verse with I.05.654, 11.445, and 16.625, where kudos could fit the metric just as well as eukhos, and the analysis of the meaning of eukhos in this verse

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

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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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