Homer Iliad 22.405

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.) — 22.405 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.) — 22.416 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.405 focus
Thus was the head of Hector being dishonored in the dust. His mother tore her hair, and flung her veil from her with a loud cry as she looked upon her son. His father made piteous moan, and throughout the city the people fell to weeping and wailing. [410] It was as though the whole of frowning Ilion was being smirched with fire. Hardly could the people hold Priam back in his hot haste to rush without the gates of the city. He groveled in the mire and besought them, [415] calling each one of them by his name. “Let be, my friends,” he cried, “and for all your sorrow, suffer me to go single-handed to the ships of the Achaeans. Let me beseech this cruel and terrible man, if maybe he will respect the feeling of his fellow-men, and have compassion on my old age. [420] His own father is even such another as myself—Peleus, who bred him and reared him—to be the bane of us Trojans, and of myself more than of all others. Many a son of mine has he slain in the flower of his youth, and yet, grieve for these as I may, [425] I do so for one—Hector—more than for them all, and the bitterness of my sorrow [ akhos] will bring me down to the house of Hādēs. Would that he had died in my arms, for so both his ill-starred mother who bore him, and myself, should have had the comfort of weeping and mourning over him.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.405 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 22.405 focus
The mother first beheld with sad survey:
She rent her tresses, venerably grey,
And cast far off the regal veils away.
With piercing shrieks his bitter fate she moans,
While the sad father answers groans with groans;
515
Tears after tears his mournful cheeks o'erflow,
And the whole city wears one face of woe:
No less than if the rage of hostile fires,
From her foundations curling to her spires,
O'er the proud citadel at length should rise,
520
And the last blaze send Ilion to the skies.
The wretched monarch of the falling state,
Distracted, presses to the Dardan gate:
Scarce the whole people stop his desperate course,
While strong affliction gives the feeble force:
525
Grief tears his heart, and drives him to and fro,
In all the raging impotence of woe.
At length he roll'd in dust, and thus begun,
Imploring all, and naming one by one:
‘Ah! let me, let me go where sorrow calls;
530
‘I, only I, will issue from your walls,
‘(Guide or companion, friends! I ask ye none,)
‘And bow before the murderer of my son.
‘My grief perhaps his pity may engage;
‘Perhaps at least he may respect my age.
535
‘He has a father too; a man like me;
‘One, not exempt from age and misery:
‘(Vigorous no more, as when his young embrace
‘Begot this pest of me, and all my race.)
‘How many valiant sons, in early bloom,
540
‘Has that curs'd hand sent headlong to the tomb!
‘Thee, Hector! last; thy loss (divinely brave!)
‘Sinks my sad soul with sorrow to the grave.
‘Oh had thy gentle spirit pass'd in peace,
‘The son expiring in the sire's embrace,
545
‘While both thy parents wept thy fatal hour,
‘And, bending o'er thee, mix'd the tender shower!
‘Some comfort that had been, some sad relief,
‘To melt in full satiety of grief!’
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.405 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.405 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.405 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

New Alexandria Commentaries

Douglas Frame

in a list of passages where mortals are compared to gods (in the context of analyzing Arete’s comparison to a god/Athena Polias)

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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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Further degradation awaits the naked corpse of Hector. Here at I.22.395–405, Achilles proceeds to subject the body of Hector to an act that is meant to disfigure it, and the Master Narrator hints at his own moral disapproval by referring to this act as aeikea . . . erga ‘things unseemly’, I.22.395. The generalized idea of ugliness as conveyed by aeikea ‘unseemly’ and other such words in Homeric diction is reciprocal: when you do something ugly to someone, making that someone look ugly, you are thereby making yourself look ugly as well. To be specific, I describe here in detail the ugly things that Achilles will now do to Hector. First, he pierces a hole between the ankle and the heel of Hector’s two feet, and then he threads through these two holes a leather strip that he attaches to the back of his chariot, I.22.396–398. Then he will drag the corpse through the dust and grime of the battleground as he mounts the chariot and drives off at top speed, with Hector in tow. At this horrific moment in the Homeric narrative, feelings of pity are prompted by the narrative itself at I.22.401–403. The Master Narrator prompts his listeners by focusing here on Hector’s hair, once so beautifully groomed but now all disheveled, and then on his head, with a face that was once so charming to look at—but now you expect this beautiful head to be mutilated beyond recognition, once it gets dragged over the harsh and scraping surface of the battleground. The Master Narrator concludes ruefully: the god Zeus himself is allowing all this to happen, I.22.403–404. But what is the god really allowing to happen? So far, there has been a mistreatment and even degradation of Hector’s body, yes. But, at least so far, there has been no disfigurement to be seen. As the Master Narrator takes one last look here at the corpse of Hector, the hero’s head is shrouded in a swirl of dust, I.22.405, and so his face is not visible. The next time the Master Narrator looks at the corpse of Hector, Achilles is displaying the body lying face down in the dust, I.23.024–026, near the stand where the dead body of Patroklos is lying in state, obviously face up. For a preview of this later moment, see the comment on 1.23.1–64. Even there at 1.23.1–64, though, it cannot be known whether the body that Achilles is intending to degrade has in fact already been disfigured. Once again, the face is not visible. At a later point, however, at I.23.184–191, it will become clear that the face and the head and in fact the whole body of Hector cannot be disfigured. The body is saved. In the anchor comment at I.23.184–191, there will be an analysis of this vision of salvation for Hector’s body.

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Leonard Muellner

in a list of parallels to the opening of formula (A) hōs ephat’ eukhomenos… occurring in the last 9 books of the Iliad (with participles after phanai categorizing the speech, here as lament), in the context of analyzing formula (A) and the meaning of eukhesthai

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