Homer Iliad 22.289

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

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

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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.) — 22.289 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.) — 22.344 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.289 focus
He poised his spear as he spoke and hurled it. [290] His aim was true for he hit the middle of Achilles’ shield, but the spear rebounded from it, and did not pierce it. Hector was angry when he saw that the weapon had sped from his hand in vain, and stood there in dismay for he had no second spear. With a loud cry he called Deiphobos and asked him for one, [295] but there was no man; then he saw the truth and said to himself, “Alas! the gods have lured me on to my destruction. I thought that the hero Deiphobos was by my side, but he is within the wall, and Athena has inveigled me; [300] death is now indeed exceedingly near at hand and there is no way out of it—for so Zeus and his son Apollo the far-darter have willed it, though heretofore they have been ever ready to protect me. My doom has come upon me; let me not then die ingloriously and without a struggle, [305] but let me first do some great thing that shall be told among men hereafter.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.289 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.289 focus
He spoke, and launch'd his javelin at the foe;
But Hector shunn'd the meditated blow:
350
He stoop'd, while o'er his head the flying spear
Sung innocent, and spent its force in air.
Minerva watch'd it falling on the land,
Then drew, and gave to great Achilles' hand,
Unseen of Hector, who, elate with joy,
355
Now shakes his lance, and braves the dread of Troy:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.289 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.289 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.289 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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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

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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