Homer Iliad 22.232

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.) — 22.224 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.) — 22.224 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.224 focus
Thus spoke Athena. Achilles obeyed her gladly, [225] and stood still, leaning on his bronze-pointed ashen spear, while Athena left him and went after radiant Hector in the form and with the voice of Deiphobos. She came close up to him and said, 229 “Dear brother, indeed swift Achilles uses biē against you, [230] as he chases you with swift feet around the city of Priam. Let us await his onset and stand on our defense.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.224 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.224 focus
Her voice divine the chief with joyful mind
Obey'd, and rested, on his lance reclin'd.
290
While like Deïphobus the martial dame,
(Her face, her gesture, and her arms, the same,)
In show an aid, by hapless Hector's side
Approach'd, and greets him thus with voice belied:
'Too long, O Hector! have I borne the sight
295
'Of this distress, and sorrow'd in thy flight:
'It fits us now a noble stand to make,
'And here, as brothers, equal fates partake.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.224 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.224 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.224 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

Douglas Frame

evidence for contention that Od. XVIII.265 is very old, as ἤ κεν and ἢ κεν is likely older than ἠέ κεν and ἢε κεν.

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analysis of meaning of halonai, “to be killed” as a genuine opposite of hairéō

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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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In this speech, Hector finally understands that he has been delusional all along in thinking that he could possibly defeat Achilles. Athena has actively contributed to the hero’s tragic delusion, and now Hector sees clearly that his death at the hands of Achilles is near. Hector’s delusion is already signaled at I.18.243–314, where the assembly of the Trojans approves of Hector’s plan to stay on the offensive against the Achaeans—even after Achilles has already re-entered the Trojan War. The Master Narrator had commented at I.18.311: this was a bad decision by the assembly, to approve the strategy of Hector, since the goddess Athena had taken away from them their senses, phrenes. If the assembly had been sensible, they would have recognized that Hector’s mētis ‘mind, intelligence’ had failed him, I.18.312. As noted in the comment on I.18.243–314 as also in the earlier comments on I.06.286–311, I.07.017–061, I.08.538–541, I.10.043–052, I.11.200, and I.13.825–829, there is a pattern of personal hostility felt by the goddess Athena toward Hector as a hero who aspires to some of the same qualities that Athena herself exemplifies. Like the goddess, Hector can be seen as an exponent of (1) defensive tactics in the warfare of protecting a citadel from sieges and (2) mētis ‘mind, intelligence’—two qualities that were tragically taken away from him when he most needed to have them.

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Hector is now quite certain that he will in fact die at the hands of Achilles, but he wishes all the more to die in a way that will assure him of having the kleos ‘glory’ of poetry, and such ‘genuine’ glory is marked here by the negation of the adverb a-kleiōs ‘without the genuine glory [kleos] (of poetry)’. What he is saying, then, is that he wishes not to die without being assured of the kleos ‘glory’ of poetry. He has already been saying that at I.22.110. See also the comment on I.22.110, where it is already noted that the overarching ambition of Hector to achieve the genuine kleos ‘glory’ of poetry is recognized at the end of Andromache’s second lament, I.22.514. See the comment on I.22.514.

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After wounding Hector mortally at I.22.326–330, Achilles now declares to his enemy his intention to expose Hector’s corpse as prey for dogs and birds to devour while Patroklos will be getting a proper funeral, I.22.335–336. In response, the dying Hector begs to be spared the horror of exposition to dogs and birds, offering ransom if his sōma ‘body’ is restored safely to his family, I.22.342, who can give him a proper funeral that features the all-important ritual of cremation, I.22.342–343. But Achilles rejects the offer, I.22.344–354, and he declares again his intention to deprive Hector of cremation and to subject his enemy’s corpse to the horrors of exposition, I.22.354.

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Leonard Muellner

analysis of the meaning of epidōsometh’ in I.10.463 and its variant reading epibōsometh’

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in a list of examples of formulas for introducing a speech by an eukhomenos warrior, which Paris’ name-epithet formulas do not fit (in the context of analyzing I.11.379)

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Richard Martin

Achilles' words to Hektor at 22.268-69, "order Hektor to 'remember every sort of excellence: now you must be spearman and intrepid fighter,'" deploy the formulaic "remember strength" phrase in a radically changed way. As the analysis of battle formulas shows, it is always the commander urging on his own troops who uses this turn of phrase. By throwing this familiar encouragement at Hektor, Achilles violates a linguistic constraint with precisely the same tonal effect as when he uses "winged words" to an enemy. The ultimate rhetorical insult to a warrior is to be infantilized or feminized: if Achilles can "remind" Hektor how to fight, he has already negated Hektor's ability to win. This is a strategy Hektor knows as well, since he used a direct "quotation" to Patroklos (the alleged "order" of Achilles, 16.838-41) in order to reduce his adversary to the status of an unthinking, obedient follower of directions. Here the rhetoric of recollection comes full circle: a commander's persuasive power depends on an ability to construct memories, and so does a warrior's attack on the enemy (Martin 1993:83-85).

For the broader analysis of memory as a muthos genre, see the comment on Iliad 1.259-274.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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An observance of the role of speech in combat marks Hektor's later flyting speeches. He vows that Achilles will not complete his words (muthois, 20.365), and later attempts to insult his opponent with the conventional "words not deeds" tactic: "You were somewhat glib with words (artiepēs) and thieving about speeches (epiklopos muthōn)," he says when Achilles has missed him with the spear (22.281). The insult makes a global stylistic comment because it implies that Achilles' form was good at the level of utterance (epos), but his authority to speak, based on warring skill, was lacking—he only stole others' muthoi. Yet Hektor is upstaged as a critic of flyting language by Aeneas, whose long discourse on insults delivered to Achilles (20.200-58) is one Hektor can only manage a fraction of, and which strikes us as a borrowing from his cousin at that (20.431-33 = 20.200-202). As Hektor nears his death, he begins to lose confidence not only as a fighter but as one who creatively manipulates the language of war (Martin 1993:135-36).

For the broader analysis of Hektor's flyting style, see the comment on Iliad 4.336-421.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

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