Homer Iliad 24.93

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.

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 (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.) — 24.93 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.) — 24.104 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.93 focus
The goddess took her dark veil, than which there can be no robe more somber, [95] and went forth with fleet Iris leading the way before her. The waves of the sea opened them a path, and when they reached the shore they flew up into the heavens, where they found the all-seeing son of Kronos of the wide brows with the blessed gods that live for ever assembled near him. Athena gave up her seat to her, [100] and she sat down by the side of father Zeus. Hera then placed a fair golden cup in her hand, and spoke to her in words of comfort, whereon Thetis drank and gave her back the cup; and the sire of gods and men was the first to speak.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 24.93 focus
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 24.93 focus
She spake, and veil'd her head in sable shade, 1
Which, flowing long, her graceful person clad;
And forth she paced majestically sad.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.93 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 24.93 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.93 focus

New Alexandria Commentaries

Gregory Nagy

The Iliad ends with the funeral of Hector, not of Achilles. And it is Hector, not Achilles, who is lamented at the end. But it is Achilles who makes it all happen, since he has transcended his rage and has shown mercy to an old father. The tears of Priam had made Achilles think of his own old father, of his own ancestors—and of Patroklos, who embodied the glories of the ancestors. Achilles was looking bad at the beginning of Iliad 23 and even at the beginning of Iliad 24, but he looks very good by the time Iliad 24 comes to a close.

draft js image errorMourners lament as Hector’s corpse is laid out in preparation for the funeral that closes Iliad Rhapsody 24. Copperplate etching (1795) by Tommaso Piroli, after a drawing (1793) by John Flaxman. Image via Wikimedia Commons.

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Köhnken’s argument for inclusion of Odysseus in the dual construction preceding I.09.192, citing this passage and criticism of it

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On this expression, see the comment at O.01.342.

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Zeus tells Thetis to tell Achilles that the gods are angry at him and want him to release to Priam the body of Hector. In this case, the Will of Zeus becomes an unambiguous moral force for the maintenance of ritual correctness in the post-heroic age.

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Richard Martin

Zeus' full divine rhetoric shows itself in the muthos he makes to Thetis at 24.104-19. The subservience of the other Olympians emerges in details that contrast with the scene in Book 1: Hera serves Thetis now, instead of being a distant dissenter (contrast Hephaistos' service to her at 1.585-94). Zeus begins gently, recalling Thetis' anguish, something he himself knows. If the audience has been prepared to accept Zeus' sympathy as authentic, they have also been privileged to hear his earlier motives for summoning Thetis: he cannot let Hermes steal the corpse because the nymph is night and day beside her son (24.71-73), so he must convince her to persuade Achilles. When Zeus faces Thetis, he explains his motives much differently: "They urge the keen-sighted slayer of Argos to steal, but I grant this glory to Achilles, keeping safe your respect and affection in later time" (24.109-10). The audience is left wondering which version is more like the truth—who is being kept in the dark, Hera or Thetis? This is a paradigm for heroic rhetoric as well: through the depiction of muthos speeches among the gods, Homer illustrates the role of politic fiction in the poetics of power (Martin 1993:58-59).

For the ideal of Zeus' muthos commands, see the comment on Iliad 8.5-27.

References

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

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