Homer Iliad 22.141

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

Iliad (English) (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.)

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.) — 22.131 focus
Translations (8)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 22.131 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.131 focus
Thus did he stand and ponder, but Achilles came up to him as it were Arēs himself, plumed lord of battle. From his right shoulder he brandished his terrible spear of Pelian ash, [135] and the bronze gleamed around him like flashing fire or the rays of the rising sun. Fear fell upon Hector as he beheld him, and he dared not stay longer where he was but fled in dismay from before the gates, while Achilles darted after him at his utmost speed. As a mountain falcon, swiftest of all birds, [140] swoops down upon some cowering dove—the dove flies before him but the falcon with a shrill scream follows close after, resolved to have her—even so did Achilles make straight for Hector with all his might, while Hector fled under the Trojan wall as fast as his limbs could take him.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.131 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.131 focus
Thus pondering, like a god the Greek drew nigh:
His dreadful plumage nodded from on high;
The Pelian javelin, in his better hand,
175
Shot trembling rays that glitter'd o'er the land;
And on his breast the beamy splendours shone
Like Jove's own lightning, or the rising sun.
As Hector sees, unusual terrors rise,
Struck by some god, he fears, recedes, and flies:
180
He leaves the gates, he leaves the walls behind;
Achilles follows like the winged wind.
Thus at the panting dove the falcon flies;
(The swiftest racer of the liquid skies;)
Just when he holds, or thinks he holds, his prey,
185
Obliquely wheeling through th' aerial way,
With open beak and shrilling cries he springs,
And aims his claws, and shoots upon his wings:
No less fore-right the rapid chase they held,
One urg'd by fury, one by fear impell'd;
190
Now circling round the walls their course maintain,
Where the high watch-tower overlooks the plain;
Now where the fig-trees spread their umbrage broad,
(A wider compass,) smoke along the road.
Next by Scamander's double source they bound,
195
Where two fam'd fountains burst the parted ground:
This hot through scorching clefts is seen to rise,
With exhalations steaming to the skies;
That the green banks in summer's heat o'erflows,
Like crystal clear, and cold as winter snows.
200
Each gushing fount a marble cistern fills,
Whose polish'd bed receives the falling rills;
Where Trojan dames (e'er yet alarm'd by Greece)
Wash'd their fair garments in the days of peace.
By these they pass'd, one chasing, one in flight;
205
(The mighty fled, pursued by stronger might;)
Swift was the course; no vulgar prize they play,
No vulgar victim must reward the day;
(Such as in races crown the speedy strife;)
The prize contended was great Hector's life.
210
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.131 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.131 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.131 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

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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Leonard Muellner

comment on mythopoeic exchange of attributes, here Hektor’s becoming swift-footed when wearing the armor of Patroklos, formerly Achilles’

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