Homer Iliad 22.38

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'Ah stay not, stay not! guardless and alone;
'Hector, my lov'd, my dearest, bravest son!
'Methinks already I behold thee slain,
'And stretch'd beneath that fury of the plain.
'Implacable Achilles! might'st thou be
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'To all the gods no dearer than to me!
'Thee, vultures wild should scatter round the shore,
'And bloody dogs grow fiercer from thy gore!
'How many valiant sons I late enjoy'd,
'Valiant in vain! by thy curs'd arm destroy'd:
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'Or, worse than slaughter'd, sold in distant isles
'To shameful bondage and unworthy toils.
'Two, while I speak, my eyes in vain explore,
'Two from one mother sprung, my Polydore
'And loved Lycaon; now perhaps no more!
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'Oh! if in yonder hostile camp they live,
'What heaps of gold, what treasures would I give!
'(Their grandsire's wealth, by right of birth their own,
'Consign'd his daughter with Lelegia's 1 throne:)
'But if (which heaven forbid) already lost,
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'All pale they wander on the Stygian coast,
'What sorrows then must their sad mother know,
'What anguish I! unutterable woe!
'Yet less that anguish, less to her, to me,
'Less to all Troy, if not depriv'd of thee.
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'Yet shun Achilles! enter yet the wall;
'And spare thyself, thy father, spare us all!
'Save thy dear life: or if a soul so brave
'Neglect that thought, thy dearer glory save.
'Pity, while yet I live, these silver hairs;
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'While yet thy father feels the woes he bears,
'Yet curs'd with sense! a wretch, whom in his rage
'(All trembling on the verge of helpless age)
'Great Jove has placed, sad spectacle of pain!
'The bitter dregs of fortune's cup to drain:
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'To fill with scenes of death his closing eyes,
'And number all his days by miseries!
'My heroes slain, my bridal bed o'erturn'd,
'My daughters ravish'd, and my city burn'd,
'My bleeding infants dash'd against the floor;
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'These I have yet to see, perhaps yet more!
'Perhaps ev'n I, reserv'd by angry fate
'The last sad relic of my ruined state,
'(Dire pomp of sovereign wretchedness!) must fall,
'And stain the pavement of my regal hall;
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'Where famish'd dogs, late guardians of my door,
'Shall lick their mangled master's spatter'd gore.
'Yet for my sons I thank ye, gods! 'twas well:
'Well have they perish'd, for in fight they fell.
'Who dies in youth and vigour, dies the best,
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'Struck through with wounds, all honest on the breast.
'But when the fates, in fulness of their rage,
'Spurn the hoar head of unresisting age,
'In dust the reverend lineaments deform,
'And pour to dogs the life-blood scarcely warm;
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'This, this is misery! the last, the worst,
'That man can feel: man, fated to be curs'd!’

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

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.) — 22.38 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.) — 22.38 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.) — 22.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.38 focus
“Hector,” he cried, “my son, stay not to face this man alone and unsupported, [40] or you will meet death at the hands of the son of Peleus, for he is mightier than you. Monster that he is; would indeed that the gods loved him no better than I do, for so, dogs and vultures would soon devour him as he lay stretched on earth, and a load of grief [ akhos] would be lifted from my heart, for many a brave son has he taken away from me, [45] either by killing them or selling them away in the islands that are beyond the sea: even now I miss two sons from among the Trojans who have thronged within the city, Lykaon and Polydoros, whom Laothoe peeress among women bore me. Should they be still alive and in the hands of the Achaeans, [50] we will ransom them with gold and bronze, of which we have store, for the old man Altes endowed his daughter richly; but if they are already dead and in the house of Hādēs, sorrow will it be to us two who were their parents; albeit the grief of others will be more short-lived [55] unless you too perish at the hands of Achilles. Come, then, my son, within the city, to be the guardian of Trojan men and Trojan women, or you will both lose your own life and afford a mighty triumph to the son of Peleus. Have pity also on your unhappy father [60] while life yet remains to him—on me, whom the son of Kronos will destroy by a terrible doom on the threshold of old age, after I have seen my sons slain and my daughters hauled away as captives, my bridal chambers pillaged, little children dashed to earth amid the rage of battle, [65] and my sons’ wives dragged away by the cruel hands of the Achaeans; in the end fierce hounds will tear me in pieces at my own gates after some one has beaten the life out of my body with sword or spear—hounds that I myself reared and fed at my own table to guard my gates, [70] but who will yet lap my blood and then lie all distraught at my doors. When a young man falls by the sword in battle, he may lie where he is and there is nothing unseemly; let what will be seen, all is honorable in death, but when an old man is slain there is nothing in this world more pitiable than that dogs should defile [75] his gray hair and beard and all that men hide for shame [ aidōs].”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 22.38 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.38 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 22.38 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.38 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 22 focus

Notes on the current edition

Iliad

1. B. xxi. 97.

New Alexandria Commentaries

Douglas Frame

example of laos as referring to one’s own even with ōlese

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example of laos as referring to one’s own even with ōlese

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in the context of analyzing the apobatēs race invented by Erichthonios

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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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analysis of semantic overlap between perfect oida and aorist eidon

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application of the epithet ōmēstēs to Achilles alone among Homeric heroes, otherwise to beasts, as in this verse

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Hector is well aware that he may die at the hands of Achilles, but he wishes to die in a way that will assure him of having the kleos ‘glory’ of poetry, and such ‘genuine’ glory, as marked by the prefix eü- of the adverb eü-kleiōs ‘with the genuine glory [kleos] (of poetry)’, is simultaneously ‘good’ glory, as also in the case of the adjective esthlon ‘genuine, good’, which applies as the epithet of kleos at I.18.121. See the comment on I.18.121. 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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On this proverb about the oak and the rock, see the comment at O.19.162–163.

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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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Achilles declares to the dying Hector how certain he is about his ghastly intent to expose the corpse of his hated enemy for dogs and birds to devour, I.22.248 (also I.22.354). This certainly is linked to an even more ghastly uncertainty, expressed as a wish: if only the thūmos and the menos of Achilles, I.22.346, which can be translated here as his ‘heart’ and his ‘mind’ respectively, could bring him to do something that would otherwise be unthinkable, which is, to cut up the body of Hector and eat it raw, I.22.346–347. The use of the two words thūmos and menos here at I.22.346 is relevant to a comparison made earlier by Achilles at I.22.262: Hector is to Achilles as men are to lions. Elsewhere in Homeric diction, Achilles is in fact described as thūmoleōn ‘having the heart of a lion’, at I.07.228. As for the noun menos, which can be translated more literally as ‘mental power’ in contexts where it applies to heroes, it is used at I.20.174 in collocation with thūmos ‘heart’ in describing the impetus of Achilles as an elemental force of nature, comparable to the impetus of an attacking lion, I.20.171.

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Achilles strips the armor from the corpse of Hector, I.22.368–369, who is lying there naked on the battleground while the companions of Achilles are jeering at him and taking turns at inflicting further wounds on his dead body, I.22.369–375. Such mistreatment of the corpse can be seen as a form of degradation that anticipates an even more horrific form of degradation that is still waiting to happen, which is, the dreaded exposition of Hector’s body to dogs and birds.

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Leonard Muellner

examples of the identical contexts in which eukhos and kudos occur

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comparison of this verse with I.05.654, 11.445, and 16.625, where kudos could fit the metric just as well as eukhos, and the analysis of the meaning of eukhos in this verse

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analysis of the formulaic references to atasthaliai as indicating the responsibility of a whole group for what it suffers in the Iliad vs. the differentiation of blame in the Odyssey

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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examples of the identical contexts in which eukhos and kudos occur

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analysis of the formula daimoni isos used of heroes in their aristeia only, and in the context of hero-god antagonism

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comment on mythopoeic exchange of attributes, here Hektor’s becoming swift-footed when wearing the armor of Patroklos, formerly Achilles’

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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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analysis of the equal power and danger accruing to the character who wields mēnis and to the one transgressing [MRBTP: 'ff']

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in the list of offenses that (threaten to) incur mēnis

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analysis of kēla theoio (as at I.01.053), here, through comparison with puri kēleōi

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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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By the final quotation he makes, just before his death, even Hektor can see that he has prematurely placed himself within the wrong poetic tradition: he now imagines a snippet of blame-discourse that will make him infamous: "Hektor trusting in his strength destroyed the fighting-troop (laon)" (22.107). In an ironic touch, soon after this Homer quotes, in the style of Hektor, anonymous Achaeans as they take turns stabbing his corpse: "Much softer to handle, really, is Hektor, indeed, than when he burnt the ships with fire" (22.374) (Martin 1993:137-38).

As Hektor nears death, he twice uses the rare figure of epanastrophe, as in his last long monologue (22.126-28), where the immediate repetition of a phrase sounds either like hesitancy in the speaker or an attempt to test out the appropriateness of his own formulation, to get it right. In Hektor's case, these amount to the same thing: his concern with style is ultimately too involuted to win him the universal fame—among Greeks and Trojans—that he envisioned (7.300). He is bested by a hero capable of the most expansive expression (Martin 1993:138).

For Hektor's distinctive quotation strategy throughout the poem, see the comment on Iliad 6.459-461.

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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