Homer Iliad 24.120

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.) — 24.120 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.) — 24.120 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)) — 24.120 focus
Silver-footed Thetis did as the god had told her, and right away she darted down from the topmost summits of Olympus. She went to her son’s tents where she found him grieving bitterly, while his trusty comrades round him were busy preparing their morning meal, [125] for which they had killed a great woolly sheep. His mother sat down beside him and caressed him with her hand saying, “My son, how long will you keep on thus grieving and making moan? You are gnawing at your own heart, [130] and think neither of food nor of woman’s embraces; and yet these too were well, for you have no long time to live, and death with the strong hand of fate are already close beside you. Now, therefore, heed what I say, for I come as a messenger from Zeus; he says that the gods are angry with you, [135] and himself more angry than them all, in that you keep Hector at the ships and will not give him up. Therefore let him go, and accept a ransom for his body.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.120 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.120 focus
His word the silver-footed queen attends,
155
And from Olympus' snowy tops descends.
Arriv'd, she heard the voice of loud lament,
And echoing groans that shook the lofty tent.
His friends prepare the victim, and dispose
Repast unheeded, while he vents his woes.
160
The goddess seats her by her pensive son;
She press'd his hand, and tender thus begun:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.120 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 24.120 focus

Notes on the current edition

Iliad

1. Jupiter justifies him against Apollo's charge, affirming him to be free from those mental defects which chiefly betray men into sin, folly, improvidence, and perverseness.

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

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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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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 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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postulation of the preservation, only in connection with Hector, of a phrase which might have once been hieratic (posis eukhomai/Vedic pátir … ohase), in the context of the analysis of the development of Greek posis compared with Vedic pati-

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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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Richard Martin

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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