Homer Iliad 24.228

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.) — 24.228 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.) — 24.228 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.) — 24.217 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.228 focus
So saying he lifted the lids of his chests, and took out twelve goodly vestments. He took also twelve cloaks of single fold, twelve rugs, [230] twelve fair mantles, and an equal number of khitons. He weighed out ten talents of gold, and brought moreover two burnished tripods, four cauldrons, and a very beautiful cup which the Thracians had given him when he had gone to them on an embassy; it was very precious, [235] but he grudged not even this, so eager was he to ransom the body of his son. Then he chased all the Trojans from the court and rebuked them with words of anger. “Out,” he cried, “shame and disgrace to me that you are. Have you no grief in your own homes that you are come to plague me here? [240] Is it a small thing, think you, that the son of Kronos has sent this sorrow upon me, to lose the bravest of my sons? I tell you, you shall prove it in person, for now that he is gone the Achaeans will have easier work in killing you. As for me, let me go down within the house of Hādēs, [245] before my eyes behold the ransacking and wasting of the city.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.228 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.228 focus
Forth from his open'd stores, this said, he drew
Twelve costly carpets of refulgent hue;
As many vests, as many mantles told,
And twelve fair veils, and garments stiff with gold;
Two tripods next, and twice two chargers shine,
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With ten pure talents from the richest mine;
And last a large, well-labour'd bowl had place,
(The pledge of treaties once with friendly Thrace;)
Seem'd all too mean the stores he could employ,
For one last look to buy him back to Troy!
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.228 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 24.228 focus

Notes on the current edition

Iliad

1. But, at first, he did fly. It is therefore spoken, as the Scholiast observes, φιλοτοργῶς, and must be understood as the language of strong maternal affection.

New Alexandria Commentaries

Douglas Frame

cited as evidence for the well recognized notion that Priam’s ransom of Hector in Iliad XXIV is represented as a journey to the underworld and a consequent “return to life”

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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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Leonard Muellner

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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