Homer Iliad 22.367

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 22.367 focus
Translations (8)
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.) — 22.344 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.367 focus
As he spoke he drew his spear from the body and set it on one side; then he stripped the blood-stained armor from Hector’s shoulders while the other Achaeans came running up [370] to view his wondrous strength and beauty; and no one came near him without giving him a fresh wound. Then would one turn to his neighbor and say, “It is easier to handle Hector now than when he was flinging fire on to our ships” [375] and as he spoke he would thrust his spear into him anew.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.367 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.367 focus
Then, forcing backward from the gaping wound
The reeking javelin, cast it on the ground.
The thronging Greeks behold with wondering eyes,
465
His manly beauty and superior size:
While some, ignobler, the great dead deface
With wounds ungenerous, or with taunts disgrace.
‘How changed that Hector! who, like Jove, of late
‘Sent lightning on our fleets and scatter'd fate!’
470
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.367 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.367 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.367 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

Douglas Frame

in a list of passages where theōi hōs is used

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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.

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Achilles strips the armor from the corpse of Hector, I.22.368–369, who is lying there naked on the battleground while the companions of Achilles are jeering at him and taking turns at inflicting further wounds on his dead body, I.22.369–375. Such mistreatment of the corpse can be seen as a form of degradation that anticipates an even more horrific form of degradation that is still waiting to happen, which is, the dreaded exposition of Hector’s body to dogs and birds.

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Further degradation awaits the naked corpse of Hector. Here at I.22.395–405, Achilles proceeds to subject the body of Hector to an act that is meant to disfigure it, and the Master Narrator hints at his own moral disapproval by referring to this act as aeikea . . . erga ‘things unseemly’, I.22.395. The generalized idea of ugliness as conveyed by aeikea ‘unseemly’ and other such words in Homeric diction is reciprocal: when you do something ugly to someone, making that someone look ugly, you are thereby making yourself look ugly as well. To be specific, I describe here in detail the ugly things that Achilles will now do to Hector. First, he pierces a hole between the ankle and the heel of Hector’s two feet, and then he threads through these two holes a leather strip that he attaches to the back of his chariot, I.22.396–398. Then he will drag the corpse through the dust and grime of the battleground as he mounts the chariot and drives off at top speed, with Hector in tow. At this horrific moment in the Homeric narrative, feelings of pity are prompted by the narrative itself at I.22.401–403. The Master Narrator prompts his listeners by focusing here on Hector’s hair, once so beautifully groomed but now all disheveled, and then on his head, with a face that was once so charming to look at—but now you expect this beautiful head to be mutilated beyond recognition, once it gets dragged over the harsh and scraping surface of the battleground. The Master Narrator concludes ruefully: the god Zeus himself is allowing all this to happen, I.22.403–404. But what is the god really allowing to happen? So far, there has been a mistreatment and even degradation of Hector’s body, yes. But, at least so far, there has been no disfigurement to be seen. As the Master Narrator takes one last look here at the corpse of Hector, the hero’s head is shrouded in a swirl of dust, I.22.405, and so his face is not visible. The next time the Master Narrator looks at the corpse of Hector, Achilles is displaying the body lying face down in the dust, I.23.024–026, near the stand where the dead body of Patroklos is lying in state, obviously face up. For a preview of this later moment, see the comment on 1.23.1–64. Even there at 1.23.1–64, though, it cannot be known whether the body that Achilles is intending to degrade has in fact already been disfigured. Once again, the face is not visible. At a later point, however, at I.23.184–191, it will become clear that the face and the head and in fact the whole body of Hector cannot be disfigured. The body is saved. In the anchor comment at I.23.184–191, there will be an analysis of this vision of salvation for Hector’s body.

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Leonard Muellner

analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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in the context of analyzing the only place in the Homeric corpus where a dative noun after eukhesthai is not a god/gods (but Hektor, and these verses among references to his ‘godhead’)

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comparison of variant formulas with eukhetasthai for eukhomai in formulas with enjambed, present tense, sacral eukhesthai, in the context of analyzing Allen’s text of I.08.526

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