Iliad 24.440

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 24.440 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.) — 24.440 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.) — 24.468 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.440 focus
The bringer of good luck then sprang on to the chariot, and seizing the whip and reins he breathed fresh spirit into the mules and horses. When they reached the trench and the wall that was before the ships, those who were on guard had just been getting their suppers, [445] and the slayer of Argos threw them all into a deep sleep. Then he drew back the bolts to open the gates, and took Priam inside with the treasure he had upon his wagon. Ere long they came to the lofty dwelling of the son of Peleus [450] for which the Myrmidons had cut pine and which they had built for their king; when they had built it they thatched it with coarse tussock-grass which they had mown out on the plain, and all round it they made a large courtyard, which was fenced with stakes set close together. The gate was barred with a single bolt of pine which it took three men to force into its place, [455] and three to draw back so as to open the gate, but Achilles could draw it by himself. Hermes opened the gate for the old man, and brought in the treasure that he was taking with him for the son of Peleus. Then he sprang from the chariot on to the ground and said, [460] “Sir, it is I, immortal Hermes, that am come with you, for my father sent me to escort you. I will now leave you, and will not enter into the presence of Achilles, for it might anger him that a god should befriend mortal men thus openly. [465] Go you within, and embrace the knees of the son of Peleus: beseech him by his father, his lovely mother, and his son; thus you may move him.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.440 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.440 focus
He said, then took the chariot at a bound,
And snatch'd the reins, and whirl'd the lash around:
Before th' inspiring god that urged them on,
The coursers fly, with spirit not their own.
And now they reach'd the naval walls, and found
545
The guards repasting, while the bowls go round:
On these the virtue of his wand he tries,
And pours deep slumber on their watchful eyes:
Then heav'd the massy gates, remov'd the bars,
And o'er the trenches led the rolling cars.
550
Unseen, through all the hostile camp they went,
And now approach'd Pelides' lofty tent.
Of fir the roof was rais'd, and cover'd o'er
With reeds collected from the marshy shore;
And, fenced with palisades, a hall of state,
555
(The work of soldiers,) where the hero sat.
Large was the door, whose well-compacted strength
A solid pine-tree barr'd of wondrous length;
Scarce three strong Greeks could lift its mighty weight,
But great Achilles singly closed the gate.
560
This Hermes (such the power of gods) set wide;
Then swift alighted the celestial guide,
And thus, reveal'd: ‘Hear prince! and understand
‘Thou ow'st thy guidance to no mortal hand;
‘Hermes I am, descended from above,
565
‘The king of arts, the messenger of Jove.
‘Farewell: to shun Achilles' sight I fly;
‘Uncommon are such favours of the sky,
‘Nor stand confess'd to frail mortality.
‘Now fearless enter, and prefer thy prayers;
570
‘Adjure him by his father's silver hairs,
‘His son, his mother! urge him to bestow
‘Whatever pity that stern heart can know.’
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 24.440 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.440 focus

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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reference to same lines in similar thematic connection in Il. XXIV.328

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reference to location and time (sunset) of Herme’s meeting with Priam, the tomb if Ilus. Indication of Priam’s ransom of Hector as a to the underworld and consequent ‘return to life’ [MRBTP: 'ff']

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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quoted and translated; analysis of the role of nóos in the encounter between Priam and Hermes

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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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In speaking to Priam, the god Hermes disguises himself as a therapōn of Achilles. It is as if he were the spirit of the dead Patroklos, the other self of Achilles himself.

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See again the comment on I.24.393.

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See the anchor comment at O.07.256.

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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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comment on overlap between Hermes and Athena (here, Athena’s wearing Hermes’ sandals), in the context of analyzing her reminding of Hermes in O.13.221ff.

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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