Homer Iliad 6.297

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.) — 6.297 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)) — 6.297 focus
When these [women] had come to Athena’s temple at the top of the citadel, 298 Theano of the fair cheeks opened the door for them, 299 daughter of Kissēs and wife of Antenor, breaker of horses, [300] she whom the Trojans had established to be priestess of the Athenian goddess. 301 With a cry of ololu! all lifted up their hands to Athena, 302 and Theano of the fair cheeks, taking up the peplos, laid it 303 along the knees of Athena the lovely-haired, and praying 304 she supplicated the daughter of powerful Zeus: [305] “O Lady Athena, our city’s defender, shining among goddesses: 306 break the spear of Diomedes, and grant that the man be 307 hurled on his face in front of the Scaean Gates; so may we 308 instantly dedicate within your shrine twelve heifers, 309 yearlings, never broken, if only you will have pity [310] on the city of Troy, and the Trojan wives, and their innocent children.” Thus she prayed, but Pallas Athena granted not her prayer.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.297 focus
They reached Minerva's temple, and its gates
Were opened by Theano, the fair child
Of Cisseus and the knight Antenor's wife,
390
Made priestess to the goddess by the sons
Of Troy. Then all the matrons lifted up
Their voices and stretched forth their suppliant hands
To Pallas, while the fair Theano took
The robe and spread its folds upon the lap
395
Of fair-haired Pallas, and with solemn vows
Prayed to the daughter of imperial Jove:-
"O venerated Pallas, Guardian-Power
Of Troy, great goddess! shatter thou the lance
Of Diomed, and let him fall in death
400
Before the Scæan gates, that we forthwith
May offer to thee in thy temple here
Twelve yearling heifers that have never worn
The yoke, if thou wilt pity us and spare
The wives of Trojans and their little ones."
405
So spake she, supplicating; but her prayer
Minerva answered not; and while they made
Vows to the daughter of Almighty Jove,
Hector was hastening to the sumptuous home
Of Alexander, which that prince had built
410
With aid of the most cunning architects
In Troy the fruitful, by whose hands were made
The bed-chamber and hall and ante-room.
There entered Hector, dear to Jove; he bore
In hand a spear eleven cubits long:
415
The brazen spear-head glittered brightly, bound
With a gold circle. In his room he there
Found Paris, busied with his shining arms, -
Corslet and shield; he tried his curvèd bow;
While Argive Helen with the attendant maids
420
Was sitting, and appointed each a task.
Hector beheld, and chid him sharply thus: -
"Strange man! a fitting time indeed is this,
To indulge thy sullen humor, while in fight
Around our lofty walls the men of Troy
425
Are perishing, and for thy sake the war
Is fiercely blazing all around our town.
Thou wouldst thyself reprove him, shouldst thou see
Another warrior as remiss as thou
In time of battle. Rouse thee, then, and act,
430
Lest we behold our city all in flames."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.297 focus
Soon as to Ilion's topmost tower they come,
370
And awful reach the high Palladian dome,
Antenor's consort, fair Theano, waits
As Pallas' priestess, and unbars the gates.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.297 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.297 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.297 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 the statue of Athena on the Athenian acropolis with the passage from Iliad as an illustration

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in the context of discussing ērato and Arētē

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analysis of Arete’s pose as evidence for the pose of the statue of Athena Polias in Athens

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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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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 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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With each repetition of the wording for the presentation of the peplos ‘robe’ to Athena as goddess of Troy—from I.06.090–093 to I.06.271–273 to I.06.286–296—the master plan seems to fit more and more the ritual of presenting a pattern-woven peplos ‘robe’ to Athena as goddess of Athens at the Athenian festival of the Panathenaia. On the Panathenaic Peplos, see again the comment on I.05.734–735; see also HPC 270. Looking back at the entire narrative sequence as analyzed here—I.06.090–093, I.06.271–273, I.06.286–296, I.06.297–310—I highlight two most salient visual details at Ι.06.297, namely, the citadel or acropolis of Troy and the temple on top of that acropolis. These two details correspond to the two most visible details distinguishing the city of Athens from most other cities. At work here is a process I describe as split referencing. The reference is split between Troy and Athens. The referent is both the prehistorical citadel of Troy and the historical citadel or acropolis of Athens. As for the narrative here at I.06.286-311 about the presentation of the peplos ‘robe’ to Athena, the peplos to be chosen is highlighted as the biggest of all the peploi (I.06.90, I.06.271, I.06.294). It is the peplos that is most ‘beautiful’ or kalon (I.06.294), with the most ‘pleasurable beauty’ or kharis (I.06.90, I.06.271). The size and the beauty of the fabric evoke a vision of the quadrennial Panathenaic Peplos, which is notionally the biggest and most beautiful of all imaginable peploi. As for the association of the word kharis ‘pleasurable beauty’ with the fabric, it is appropriate not only to the peplos that is being described but also to the medium that describes the peplos. That medium is Homeric poetry as performed at the quadrennial festival of the Panathenaia. The concept of kharis conveys the charisma of Homeric poetry as described by Homeric poetry. In terms of this description, the peplos in this narrative, I.06.286-311, can be seen as a metaphor for epic as performed at the Panathenaia. This epic is notionally the biggest and the most beautiful of all epics. Like the peplos that is being offered by the women to Athena, this epic as performed at the Panathenaia has more kharis than all other epics.

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Hector quarrels with Paris, as signaled by the verb neikeîn ‘quarrel with’. He aims words of blame at Paris, and these words are aiskhra ‘disgraceful, shameful’ because they are meant to make Paris feel ashamed. Hector’s words are shaming, since he blames things done by Paris that are perceived as shameful and disgraceful.

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Leonard Muellner

the one attestation of potni’ Athēnaiē in Homer, in the context of the analysis of the development of Greek posis compared with Vedic pati-

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in a list of examples of Homeric prayers, in the context of analyzing the meaning of eukhesthai in formula (A) and here specifically the Homeric notion of prayer

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analysis and comparison of uoueō with eukhesthai

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analysis of the attestations of eukhesthai + future infinitive, where eukhesthai has been translated as ‘vow’ rather than ‘pray’, and arguing that they are not significant transformations of the prayer structure

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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas

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