Homer Iliad 24.339

A. T. Murray (Translator)

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

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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.) — 24.339 focus
Translations (7)
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.) — 24.314 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.339 focus
Hermes, guide and guardian, slayer of Argos, did as he was told. [340] Right then and there he bound on his glittering golden sandals with which he could fly like the wind over land and sea; he took the wand with which he seals men’s eyes in sleep, or wakes them just as he pleases, [345] and flew holding it in his hand till he came to Troy and to the Hellespont. To look at, he was like a young man of noble birth in the hey-day of his youth and beauty with the down just coming upon his face.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.339 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.339 focus
The god obeys, his golden pinions binds,
And mounts incumbent on the wings of winds,
That high through fields of air his flight sustain,
O'er the wide earth, and o'er the boundless main:
420
Then grasps the wand that causes sleep to fly,
Or in soft slumbers seals the wakeful eye:
Thus arm'd, swift Hermes steers his airy way,
And stoops on Hellespont's resounding sea.
A beauteous youth, majestic and divine,
425
He seem'd; fair offspring of some princely line!
Now twilight veil'd the glaring face of day,
And clad the dusky fields in sober gray;
What time the herald and the hoary king,
Their chariot stopping at the silver spring,
430
That circling Ilus' ancient marble flows,
Allow'd their mules and steeds a short repose.
Through the dim shade the herald first espies
A man's approach, and thus to Priam cries:
‘I mark some foe's advance: O king! beware;
435
‘This hard adventure claims thy utmost care;
‘For much I fear destruction hovers nigh:
‘Our state asks counsel. Is it best to fly?
‘Or, old and helpless, at his feet to fall,
‘(Two wretched suppliants,) and for mercy call?’
440
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.339 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 24.339 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.339 focus

New Alexandria Commentaries

Douglas Frame

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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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

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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