Homer Iliad 22.224

ed. Robert Southey

View: By Book

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.) — 22.224 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.) — 22.224 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.) — 22.232 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.224 focus
Thus spoke Athena. Achilles obeyed her gladly, [225] and stood still, leaning on his bronze-pointed ashen spear, while Athena left him and went after radiant Hector in the form and with the voice of Deiphobos. She came close up to him and said, 229 “Dear brother, indeed swift Achilles uses biē against you, [230] as he chases you with swift feet around the city of Priam. Let us await his onset and stand on our defense.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.224 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.224 focus
Her voice divine the chief with joyful mind
Obey'd, and rested, on his lance reclin'd.
290
While like Deïphobus the martial dame,
(Her face, her gesture, and her arms, the same,)
In show an aid, by hapless Hector's side
Approach'd, and greets him thus with voice belied:
'Too long, O Hector! have I borne the sight
295
'Of this distress, and sorrow'd in thy flight:
'It fits us now a noble stand to make,
'And here, as brothers, equal fates partake.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.224 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.224 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

Notes on the current edition

Iliad

1. προπροκυλινδόμενος.

New Alexandria Commentaries

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.

source

In this speech, Hector finally understands that he has been delusional all along in thinking that he could possibly defeat Achilles. Athena has actively contributed to the hero’s tragic delusion, and now Hector sees clearly that his death at the hands of Achilles is near. Hector’s delusion is already signaled at I.18.243–314, where the assembly of the Trojans approves of Hector’s plan to stay on the offensive against the Achaeans—even after Achilles has already re-entered the Trojan War. The Master Narrator had commented at I.18.311: this was a bad decision by the assembly, to approve the strategy of Hector, since the goddess Athena had taken away from them their senses, phrenes. If the assembly had been sensible, they would have recognized that Hector’s mētis ‘mind, intelligence’ had failed him, I.18.312. As noted in the comment on I.18.243–314 as also in the earlier comments on I.06.286–311, I.07.017–061, I.08.538–541, I.10.043–052, I.11.200, and I.13.825–829, there is a pattern of personal hostility felt by the goddess Athena toward Hector as a hero who aspires to some of the same qualities that Athena herself exemplifies. Like the goddess, Hector can be seen as an exponent of (1) defensive tactics in the warfare of protecting a citadel from sieges and (2) mētis ‘mind, intelligence’—two qualities that were tragically taken away from him when he most needed to have them.

source
Richard Martin

Achilles' words to Hektor at 22.268-69, "order Hektor to 'remember every sort of excellence: now you must be spearman and intrepid fighter,'" deploy the formulaic "remember strength" phrase in a radically changed way. As the analysis of battle formulas shows, it is always the commander urging on his own troops who uses this turn of phrase. By throwing this familiar encouragement at Hektor, Achilles violates a linguistic constraint with precisely the same tonal effect as when he uses "winged words" to an enemy. The ultimate rhetorical insult to a warrior is to be infantilized or feminized: if Achilles can "remind" Hektor how to fight, he has already negated Hektor's ability to win. This is a strategy Hektor knows as well, since he used a direct "quotation" to Patroklos (the alleged "order" of Achilles, 16.838-41) in order to reduce his adversary to the status of an unthinking, obedient follower of directions. Here the rhetoric of recollection comes full circle: a commander's persuasive power depends on an ability to construct memories, and so does a warrior's attack on the enemy (Martin 1993:83-85).

For the broader analysis of memory as a muthos genre, see the comment on Iliad 1.259-274.

References

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

source

An observance of the role of speech in combat marks Hektor's later flyting speeches. He vows that Achilles will not complete his words (muthois, 20.365), and later attempts to insult his opponent with the conventional "words not deeds" tactic: "You were somewhat glib with words (artiepēs) and thieving about speeches (epiklopos muthōn)," he says when Achilles has missed him with the spear (22.281). The insult makes a global stylistic comment because it implies that Achilles' form was good at the level of utterance (epos), but his authority to speak, based on warring skill, was lacking—he only stole others' muthoi. Yet Hektor is upstaged as a critic of flyting language by Aeneas, whose long discourse on insults delivered to Achilles (20.200-58) is one Hektor can only manage a fraction of, and which strikes us as a borrowing from his cousin at that (20.431-33 = 20.200-202). As Hektor nears his death, he begins to lose confidence not only as a fighter but as one who creatively manipulates the language of war (Martin 1993:135-36).

For the broader analysis of Hektor's flyting style, see the comment on Iliad 4.336-421.

References

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

source