Iliad 6.466

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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.) — 6.466 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.) — 6.466 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.) — 6.512 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.466 focus
He stretched his arms towards his child, but the boy cried and nestled in his nurse’s bosom, scared at the sight of his father’s armor, [470] and at the horse-hair plume that nodded fiercely from his helmet. His father and mother laughed to see him, but glorious Hector took the helmet from his head and laid it all gleaming upon the ground. Then he took his darling child, kissed him, and dandled him in his arms, [475] praying over him the while to Zeus and to all the gods. “Zeus,” he cried, “grant that this my child may be even as myself, chief among the Trojans; let him be not less excellent in strength, and let him rule Ilion with his might. Then may one say of him as he comes from battle, ‘The son is far better than the father.’ [480] May he bring back the bloodstained spoils of him whom he has laid low, and let his mother’s heart be glad.’”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.466 focus
So speaking, mighty Hector stretched his arms
To take the boy; the boy shrank crying back
To his fair nurse's bosom, scared to see
His father helmeted in glittering brass,
600
And eying with affright the horse-hair plume
That grimly nodded from the lofty crest.
At this both parents in their fondness laughed;
And hastily the mighty Hector took
The helmet from his brow and laid it down
605
Gleaming upon the ground, and, having kissed
His darling son and tossed him up in play,
Prayed thus to Jove and all the gods of heaven:-
"O Jupiter and all ye deities,
Vouchsafe that this my son may yet become
610
Among the Trojans eminent like me,
And nobly rule in Ilium. May they say,
'This man is greater than his father was!'
When they behold him from the battle-field
Bring back the bloody spoil of the slain foe, -
615
That so his mother may be glad at heart."
So speaking, to the arms of his dear spouse
He gave the boy; she on her fragrant breast
Received him, weeping as she smiled. The chief
Beheld, and, moved with tender pity, smoothed
620
Her forehead gently with his hand and said:-
"Sorrow not thus, beloved one, for me.
No living man can send me to the shades
Before my time; no man of woman born,
Coward or brave, can shun his destiny.
625
But go thou home, and tend thy labors there, -
The web, the distaff, - and command thy maids
To speed the work. The cares of war pertain
To all men born in Troy, and most to me."
Thus speaking, mighty Hector took again
630
His helmet, shadowed with the horse-hair plume,
While homeward his beloved consort went,
Oft looking back, and shedding many tears.
Soon was she in the spacious palace-halls
Of the man-queller Hector. There she found
635
A troop of maidens, - with them all she shared
Her grief; and all in his own house bewailed
The living Hector, whom they thought no more
To see returning from the battle-field,
Safe from the rage and weapons of the Greeks.
640
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.466 focus
Thus having spoke, th' illustrious chief of Troy
Stretch'd his fond arms to clasp the lovely boy.
595
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.466 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.466 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

Gregory Nagy

A high point here in Rhapsody 6 is a tearful scene of farewell for Andromache and Hector. The loving wife will never again see her husband alive. The scene is justly admired for its artistic portrayal of this tragically doomed couple, but the verbal artistry extends even further: also to be most admired here is the remarkable precision of poetic language in representing lament as it was actually performed in ancient Greek song culture.

draft js image errorApulian red-figure column-crater (ca. 370–360 BCE) depicting an intimate family scene: Hector removes his helmet as he says his final farewell to his wife Andromache and to their child Astyanax. Public domain image by Jastrow via Wikimieda Commons

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The wording of Hector, addressed to Andromache here at I.06.447–464, reveals a morbid but realistic premonition of the grim future that awaits her. This kind of premonition is typical in women’s laments: see the anchor comment at I.06.407–439. Here at I.06.447–464, however, it is Hector who expresses the premonition, which could otherwise have been expressed by Andromache herself in her own song of lament.

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The “great floating horsetail crested helmet” worn by Hector frightens his child when the hero first tries to embrace him. I follow here the incisive observation of Vermeule 1987:146. This wistful detail can be dated back to a world otherwise long forgotten, if Vermeule is right in saying that this kind of helmet went out of production sometime around the middle of the second millennium BCE.

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lemmatizing: δακρυόεν γελάσασα

As Andromache watches her husband Hector embracing their child, she ‘smiles through her tears’, or, more literally, she ‘smiles a smile that is tearful’. This weak smile carries over from I.06.471, where both father and mother smile when their child is frightened by the helmet of Hector.

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Leonard Muellner

switch from Dii patri to Dii t’alloisin te theoisin attested with a variation of the || (short OR two shorts) euxamenos Dii patri # formula which uses epeukhesthai instead of eukhesthai, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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Richard Martin

It is in the discourse of recollection that Hektor shows the clearest differences with other heroic speakers. A remarkable trait of his style is the use of direct quotation to dramatize for his audience what he imagines will happen. More than this, the quotations are actually representations of what already has taken place. In other words, Hektor displaces memory onto an anonymous voice that speaks the language of praise or blame. His discourse of recollection is ordered in the hierarchy of three genres beneath flyting; his rhetoric is still constrained by the imagined speech-acts of others (Martin 1993:136).

The first clear example comes in his meeting with his wife. The passage quotes an unnamed speaker's comment on seeing Andromakhe as a prize of war after the fall of Troy: "And sometime someone may say, 'Here is the wife of Hektor, he who excelled at fighting, of the horse-taming Trojans, when they fought about Ilion'" (6.459-61). The dramatic realism increases our sympathy for Andromakhe as it convinces us of Hektor's affection. But the actual content of the quote constitutes a snatch of praise-poetry concerning Hektor himself; in an oblique manner, Hektor is creating the exact format of his own reputation, like a poet writing his own epitaph (Martin 1993:135-36).

For the broader analysis of Hektor's style in all three genres, see the comment on Iliad 7.235-241.

References

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

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