Homer Iliad 6.263

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.) — 6.263 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.) — 6.305 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.263 focus
And tall Hector of the shining helmet answered, “Honored mother, bring no wine, [265] lest you unman me and I forget my strength. I dare not make a drink-offering to Zeus with unwashed hands; one who is bespattered with blood and filth may not pray to the son of Kronos. Get the matrons together, [270] and go with offerings to the temple of Athena driver of the spoil; 271 The peplos, whichever is for you the one that has the most pleasurable beauty [ kharis] and is the biggest 272 in the palace—the one that is by far the most near and dear [philos] to you yourself— 273 take that one and lay it on the knees of Athena with the beautiful hair. Promise, moreover, to sacrifice twelve yearling heifers [275] that have never yet felt the goad, in the temple of the goddess if she will take pity on the town, with the wives and little ones of the Trojans, and keep the son of Tydeus from off the goodly city of Ilion, for he fights with fury, and fills men’s spirits with panic. Go, then, to the temple of Athena, [280] while I seek Paris and exhort him, if he will hear my words. Would that the earth might open her jaws and swallow him, for Zeus bred him to be the bane of the Trojans, and of high-hearted Priam and Priam’s sons. Could I but see him go down into the house of Hādēs, [285] my heart would forget its heaviness.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.263 focus
And then he came to Priam's noble hall, -
A palace built with graceful porticos,
320
And fifty chambers near each other, walled
With polished stone, the rooms of Priam's sons
And of their wives; and opposite to these
Twelve chambers for his daughters, also near
Each other; and, with polished marble walls,
325
The sleeping-rooms of Priam's sons-in-law
And their unblemished consorts. There he met
His gentle mother on her way to seek
Her fairest child, Laodice. She took
His hand and held it fast, while thus she spake: -
330
"Why art thou come, my child, and why hast left
The raging fight? Full hard these hateful Greeks
Press us, in fighting round the city-walls.
Thy heart, I know, hath moved thee to repair
To our high citadel, and lift thy hands
335
In prayer to Jupiter. But stay thou here
Till I bring pleasant wine, that thou may'st pour
A part to Jove and to the other gods,
And drink and be refreshed; for wine restores
Strength to the weary, and I know that thou
340
Art weary, fighting for thy countrymen."
Great Hector of the crested helm replied: -
"My honored mother, bring not pleasant wine,
Lest that unman me, and my wonted might
And valor leave me. I should fear to pour
345
Dark wine to Jupiter with hands unwashed.
Nor is it fitting that a man like me,
Defiled with blood and battle-dust, should make
Vows to the cloud-compeller, Saturn's son.
But thou, with incense, seek the temple reared
350
To Pallas the despoiler, - calling first
Our honored dames together. Take with thee
What thou shalt deem the fairest of the robes,
And amplest, in thy palace, and the one
Thou prizest most, and lay it on the knees
355
Of the bright-haired Minerva. Make a vow
To offer to the goddess in her fane
Twelve yearling heifers that have never borne
The yoke, if she in mercy will regard
The city, and the wives and little ones
360
Of its defenders; if she will protect
Our sacred Ilium from the ruthless son
Of Tydeus, from whose valor armies flee.
So to the shrine of Pallas, warrior-queen,
Do thou repair, while I depart to seek
365
Paris, if he will listen to my voice.
Would that the earth might open where he stands,
And swallow him! Olympian Jupiter
Reared him to be the bane of all who dwell
In Troy, to large-souled Priam and his sons.
370
Could I behold him sinking to the shades,
My heart would lose its sense of bitter woe."
He spake. His mother, turning homeward, gave
Charge to her handmaids, who through all the town
Passed, summoning the matrons, while the queen
375
Descended to her chamber, where the air
Was sweet with perfumes, and in which were laid
Her rich embroidered robes, the handiwork
Of Sidon's damsels, whom her son had brought-
The godlike Alexander - from the coast
380
Of Sidon, when across the mighty deep
He sailed and brought the high-born Helen thence.
One robe, more beautiful than all the rest,
Of bright and varied hues and amplest folds,
Hecuba chose; it glistened like a star,
385
And lay beneath the rest. Then hastily
She left the chamber with the matron train.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.263 focus
'Far hence be Bacchus' gifts;' (the chief rejoin'd;)
'Inflaming wine, pernicious to mankind,
330
'Unnerves the limbs, and dulls the noble mind.
'Let chiefs abstain, and spare the sacred juice,
'To sprinkle to the gods, its better use.
'By me that holy office were profan'd;
'Ill fits it me, with human gore distain'd,
335
'To the pure skies these horrid hands to raise,
'Or offer heaven's great sire polluted praise.
'You, with your matrons, go, a spotless train!
'And burn rich odours in Minerva's fane.
'The largest mantle your full wardrobes hold,
340
'Most priz'd for art, and labour'd o'er with gold,
'Before the goddess's honour'd knees be spread,
'And twelve young heifers to her altar led.
'So may the power, aton'd by fervent prayer,
'Our wives, our infants, and our city spare,
345
'And far avert Tydides' wasteful ire,
'Who mows whole troops, and makes all Troy retire.
'Be this, O mother, your religious care;
'I go to rouse soft Paris to the war;
'If yet, not lost to all the sense of shame,
350
'The recreant warrior hear the voice of fame.
'Oh would kind earth the hateful wretch embrace,
'That pest of Troy, that ruin of our race!
'Deep to the dark abyss might he descend,
'Troy yet should flourish, and my sorrows end.'
355
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.263 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.263 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.263 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

Douglas Frame

analysis of the relation of the goddess and her image in the context of analyzing the statue of Athena on the Athenian acropolis (with this passage from Iliad as an illustration)

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analysis of Athena Polias and Zeus Polieus at Athens, and here, of this passage as suggesting an association of them in cult on the Trojan acropolis

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analysis of the relationship between Athena’s peplos described in the Iliad and the name of the giant slayed by Athena

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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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Hector is telling Hecuba what to do, which is, to offer a peplos ‘robe’ for Athena as the goddess of the citadel of Troy.

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Hecuba goes ahead and does what she has been told to do, which is, to offer a peplos ‘robe’ for Athena as the goddess of the citadel of Troy. The repetition of ritual wording in the sequence of three passages—from I.06.090–093 to I.06.271–273 to I.06.286–296—will culminate in a master plan, as it were, for performing the ritual of presenting the peplos ‘robe’ to Athena as goddess of Troy. What has just been described as a “repetition,” however, needs to be explained further (HPC 268):

In this sequence of three passages [I.06.090–093 to I.06.271–273 to I.06.286–296], we see three consecutive restatements of the same ritual act. I say three restatements instead of one statement and two restatements because none of the three passages is basic, from the standpoint of traditional formulaic diction. Not one of the three passages is formulaically predictable on the basis of the other two passages. To put it another way, the variation that we find in the three passages shows that none of the three forms is formally prior to the other two. What priorities we find are purely a function of the narration, not of any chronological order in the composition of the three passages. In terms of oral poetics, such variation is a display of virtuosity in the art of composition in performance.

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The general hostility of the divinity Athena toward the Trojans in this narrative sequence, despite the fact that the women of Troy are shown here in the act of formally worshipping her as the divine protector of their citadel, can be correlated with a pattern of personal hostility felt by the goddess toward Hector as a hero who aspires to some of the same roles that Athena herself exemplifies. In the case of the verses here, I.06.286–311, this goddess is worshipped in her role as protector of citadels under siege: that is why Theano as high priestess of Troy prays to Athena by invoking her as erusi-ptolis ‘protector of the citadel [p(t)olis]’ at I.06.305. Like the goddess, Hector can be seen as an exponent of defensive tactics in protecting a citadel from sieges: as we saw in the comment on I.05.473–474, even his name fits his intended role as the protector of the citadel of Troy, since Hék-tōr is an agent noun derived from the verb ekhein ‘hold’ in the specialized sense of ‘uphold’ or ‘protect’ or ‘guard’. In the context of I.05.473–474, the expected role of Hector is to protect the city of Troy, and the direct object of ekhein ‘uphold, protect, guard’ at I.05.473 is polis ‘city, citadel’, referring to Troy. But the tragedy is, Hector will fail in the role of protecting Troy, since he will abandon strategies of defending the city and will opt instead for staying on the offensive against an enemy that will ultimately capture Troy. And a key to his failure, as we will see in the course of the macro-narrative, is the fact that Athena herself will delude Hector into staying on the offensive until it is too late for him to revert to a defensive role. Such a pattern of antagonism between immortal and mortal, it can be argued, derives from the ideologies of hero cult.

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comparison of the wording in Sappho 44 with that in the presentation of the peplos to Athena in I.06

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lemmatizing: παμποίκιλοι vs. παμποίκιλα

There are variant stories about detours experienced by Helen after her abduction by Paris. A trip to Sidon in Phoenicia is one such variant story. Besides the verses of I.06.289–292, which represent a longer variant reading, I posit also a shorter variant featuring one verse only, I.06.289 minus I.06.290–292. In terms of such a one-verse variant, no detour of Helen is mentioned here, and the reading for the epithet describing the peploi ‘robes’ would then be pan-poikiloi = παμποίκιλοι instead of pan-poikila = παμποίκιλα. Both variants of this adjective pan-poikilo- mean ‘completely pattern-woven’. In terms of the longer variant, the peploi ‘robes’ stored in the chest were pattern-woven by Phoenician women; in terms of the posited shorter variant, by contrast, these robes presumably would have been pattern-woven by Trojan women or even by Helen. Herodotus (2.116.1–2.117.1) argued that the longer variant was truly Homeric in its grandeur, contrasting it with the shorter variant that he knew from the epic Cypria of his day. The historian treats the unaugmented story of a direct voyage of Paris and Helen from Sparta to Troy as a foil for the augmented story of their Phoenician detour. The poet of the unaugmented story, as Herodotus sees it, is a foil for Homer as the rightful poet of the augmented story.

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The noun poikilma at I.06.294 refers to ‘pattern-weaving’ in a concrete and not an abstract sense: so, ‘pattern-woven thing’. The ‘pattern-woven things’ here are the peploi ‘robes’ described by the adjective pan-poikilo- ‘completely pattern-woven’ at I.06.289. These words pan-poikilos and poikilma, which refer to the peplos ‘robe’ that is being chosen for Athena, convey not only the general idea of variation, which is relevant to the variability of the wording that describes the ritual of presenting the peplos to Athena. More than that, they convey also the specific idea of pattern-weaving a picture into a fabric. Such a picture was pattern-woven into the Panathenaic Peplos of Athena. See the comment on I.05.734–735. The adjective pan-poikilos ‘completely pattern-woven’ is the epithet of the Panathenaic Peplos (scholia for Aristophanes Birds 827), and the noun poikilma designates the pattern-weaving of the charter myth of the Gigantomachy into the Panathenaic Peplos (Plato Euthyphro 6b-c).

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Leonard Muellner

analysis of Herodotus’ concept of Homer and distinguishing him from the poet of the Cypria

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