Homer Iliad 6.503

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.) — 6.503 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.) — 6.512 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.503 focus
Paris did not remain long in his house. He donned his goodly armor overlaid with bronze, [505] and hastened through the city as fast as his feet could take him. As a horse, stabled and fed, breaks loose and gallops gloriously over the plain to the place where he is wont to bathe in the fair-flowing river—he holds his head high, and his mane streams [510] upon his shoulders as he exults in his strength and flies like the wind to the haunts and feeding ground of the mares—even so went forth Paris the son of Priam from high Pergamon, gleaming like sunlight in his armor, and he laughed aloud as he sped swiftly on his way. [515] Right away he came upon his brother, radiant Hector, who was then turning away from the place where he had held converse with his wife, and he was himself the first to speak. “Sir,” said he, “I fear that I have kept you waiting when you are in haste, and have not come as quickly as you bade me.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 6.503 focus
Nor waited Paris in his lofty halls,
But when he had put on his glorious arms,
Glittering with brass, he traversed with quick steps
The city; and as when some courser, fed
With barley in the stall, and wont to bathe
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In some smooth-flowing river, breaks his cord,
And prances o'er the plain in joy of heart,
And in the pride of beauty bears aloft
His head, and gives his tossing mane to stream
Upon his shoulders, while his flying feet
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Bear him to where the mares are wont to graze,
So came the son of Priam - Paris - down
From lofty Pergamus in glittering arms,
And, glorious as the sun, held on his way
Exulting and with rapid feet. He found
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His noble brother Hector as he turned
To leave the place in which his wife and he
Had talked together. Alexander then -
Of godlike form - addressed his brother thus:
"My elder brother! I have kept thee here
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Waiting, I fear, for me, though much in haste,
And came less quickly than thou didst desire."
And Hector of the plumed helm replied: -
"Strange being, no man justly can dispraise
Thy martial deeds, for thou art truly brave.
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But oft art thou remiss and wilt not join
The combat. I am sad at heart to hear
The Trojans - they who suffer for thy sake
A thousand hardships-speak so ill of thee.
Yet let us go: we will confer of this
670
Another time, if Jove should e'er vouchsafe
That to the immortal gods of heaven we pour
In our own halls the cup of liberty
When we have chased the well-armed Greeks from Troy."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 6.503 focus
But now, no longer deaf to honour's call,
Forth issues Paris from the palace wall.
In brazen arms that cast a gleamy ray,
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Swift through the town the warrior bends his way.
The wanton courser thus, with reins unbound,
Breaks from his stall, and beats the trembling ground;
Pamper'd and proud he seeks the wonted tides,
And laves, in height of blood, his shining sides:
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His head now freed he tosses to the skies;
His mane dishevell'd o'er his shoulders flies;
He snuffs the females in the distant plain,
And springs, exulting, to his fields again.
With equal triumph, sprightly, bold, and gay,
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In arms refulgent as the god of day,
The son of Priam, glorying in his might,
Rush'd forth with Hector to the fields of fight.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.503 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 6.503 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.503 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 6 focus

New Alexandria Commentaries

Douglas Frame

analysis of methienai and contrasting it with loose-wittedness, and its application to Menelaus

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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

source