Homer Iliad 22.111

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.) — 22.111 focus
εἰ δέ κεν ἀσπίδα μὲν καταθείομαι ὀμφαλόεσσαν
καὶ κόρυθα βριαρήν, δόρυ δὲ πρὸς τεῖχος ἐρείσας
αὐτὸς ἰὼν Ἀχιλῆος ἀμύμονος ἀντίος ἔλθω
καί οἱ ὑπόσχωμαι Ἑλένην καὶ κτήμαθʼ ἅμʼ αὐτῇ,
πάντα μάλʼ ὅσσά τʼ Ἀλέξανδρος κοίλῃς ἐνὶ νηυσὶν
115
ἠγάγετο Τροίηνδʼ, ἥ τʼ ἔπλετο νείκεος ἀρχή,
δωσέμεν Ἀτρεΐδῃσιν ἄγειν, ἅμα δʼ ἀμφὶς Ἀχαιοῖς
ἄλλʼ ἀποδάσσεσθαι ὅσα τε πτόλις ἥδε κέκευθε·
Τρωσὶν δʼ αὖ μετόπισθε γερούσιον ὅρκον ἕλωμαι
μή τι κατακρύψειν, ἀλλʼ ἄνδιχα πάντα δάσασθαι
120
κτῆσιν ὅσην πτολίεθρον ἐπήρατον ἐντὸς ἐέργει·
ἀλλὰ τί ἤ μοι ταῦτα φίλος διελέξατο θυμός;
μή μιν ἐγὼ μὲν ἵκωμαι ἰών, ὃ δέ μʼ οὐκ ἐλεήσει
οὐδέ τί μʼ αἰδέσεται, κτενέει δέ με γυμνὸν ἐόντα
αὔτως ὥς τε γυναῖκα, ἐπεί κʼ ἀπὸ τεύχεα δύω.
125
οὐ μέν πως νῦν ἔστιν ἀπὸ δρυὸς οὐδʼ ἀπὸ πέτρης
τῷ ὀαριζέμεναι, ἅ τε παρθένος ἠΐθεός τε
παρθένος ἠΐθεός τʼ ὀαρίζετον ἀλλήλοιιν.
βέλτερον αὖτʼ ἔριδι ξυνελαυνέμεν ὅττι τάχιστα·
εἴδομεν ὁπποτέρῳ κεν Ὀλύμπιος εὖχος ὀρέξῃ.
130
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.) — 22.111 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)) — 22.111 focus
What, again, if I were to lay down my shield and helmet, lean my spear against the wall and go straight up to noble Achilles? What if I were to promise to give up Helen, who was the fountainhead of all this war, [115] and all the treasure that Alexandros brought with him in his ships to Troy, yes, and to let the Achaeans divide the half of everything that the city contains among themselves? I might make the Trojans, by the mouths of their princes, [120] take a solemn oath that they would hide nothing, but would divide into two shares all that is within the city— 122 But why do I have these things to talk about with my spirit [ thūmos]? Were I to go up to him he would show me no kind of mercy; he would kill me then and there as easily [125] as though I were a woman, when I had off my armor. 126 It is by now impossible to converse with him, starting from the oak or from the rock as young men and maidens prattle with one another. Better fight him at once, [130] and learn to which of us Zeus will grant victory.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.111 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.111 focus
'And yet suppose these measures I forego,
'Approach unarm'd, and parley with the foe,
155
'The warrior-shield, the helm, and lance lay down,
'And treat on terms of peace to save the town:
'The wife withheld, the treasure ill-detain'd,
'(Cause of the war, and grievance of the land,)
'With honourable justice to restore;
160
'And add half Ilion's yet remaining store,
'Which Troy shall, sworn, produce; that injur'd Greece
'May share our wealth, and leave our walls in peace.
'But why this thought? unarm'd if I should go,
'What hope of mercy from this vengeful foe,
165
'But woman-like to fall, and fall without a blow?
'We greet not here, as man conversing man,
'Met at an oak, or journeying o'er a plain;
'No season now for calm, familiar talk,
'Like youths and maidens in an evening walk:
170
'War is our business, but to whom is given
'To die or triumph, that determine heaven!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.111 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.111 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

Notes on the current edition

Iliad

1. The repetition follows the Original, and the Scholiast is of opinion that Homer uses it here that he may express more emphatically the length to which such conferences are apt to proceed.— Δια την πολυλογιαν τῃ ἀναληψει ἐχρησατο.

New Alexandria Commentaries

Douglas Frame

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

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Leonard Muellner

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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