Homer Iliad 22.260

ed. David B. Monro, ed. Thomas W. Allen

View: By Card

Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 22.260 focus
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.) — 22.232 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.260 focus
Swift-footed Achilles glared at him and answered, “Fool, prate not to me about covenants. There can be no covenants between men and lions, wolves and lambs can never be of one mind, but hate each other out and out all through. [265] Therefore there can be no understanding between you and me, nor may there be any covenants between us, till one or other shall fall and glut grim Arēs with his life’s blood. Be mindful of all your excellence [ aretē]; you have need now to prove yourself indeed a bold warrior and fighter. [270] You have no more chance, and Pallas Athena will right then and there vanquish you by my spear: you shall now pay me in full for the grief you have caused me on account of my comrades whom you have killed in battle.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.260 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.260 focus
'Talk not of oaths,’ (the dreadful chief replies,
While anger flash'd from his disdainful eyes,)
'Detested as thou art, and ought to be,
335
'Nor oath nor pact Achilles plights with thee;
'Such pacts, as lambs and rabid wolves combine,
'Such leagues, as men and furious lions join,
'To such I call the gods! one constant state
'Of lasting rancour and eternal hate:
340
'No thought but rage, and never-ceasing strife,
'Till death extinguish rage, and thought, and life.
'Rouse then thy forces this important hour,
'Collect thy soul, and call forth all thy power.
'No farther subterfuge, no farther chance;
345
'Tis Pallas, Pallas gives thee to my lance.
'Each Grecian ghost by thee depriv'd of breath,
'Now hovers round, and calls thee to thy death.’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.260 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.260 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.260 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.

source
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.

source

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.

source