ὣς τοῦ μὲν κεκόνιτο κάρη ἅπαν: ἣ δέ νυ μήτηρ405

τίλλε κόμην, ἀπὸ δὲ λιπαρὴν ἔρριψε καλύπτρην

τηλόσε, κώκυσεν δὲ μάλα μέγα παῖδ᾽ ἐσιδοῦσα:

ᾤμωξεν δ᾽ ἐλεεινὰ πατὴρ φίλος, ἀμφὶ δὲ λαοὶ

κωκυτῷ τ᾽ εἴχοντο καὶ οἰμωγῇ κατὰ ἄστυ.

τῷ δὲ μάλιστ᾽ ἄρ᾽ ἔην ἐναλίγκιον ὡς εἰ ἅπασα410

Ἴλιος ὀφρυόεσσα πυρὶ σμύχοιτο κατ᾽ ἄκρης.

λαοὶ μέν ῥα γέροντα μόγις ἔχον ἀσχαλόωντα

ἐξελθεῖν μεμαῶτα πυλάων Δαρδανιάων.

πάντας δ᾽ ἐλλιτάνευε κυλινδόμενος κατὰ κόπρον,

ἐξονομακλήδην ὀνομάζων ἄνδρα ἕκαστον:415

σχέσθε φίλοι, καί μ᾽ οἶον ἐάσατε κηδόμενοί περ

ἐξελθόντα πόληος ἱκέσθ᾽ ἐπὶ νῆας Ἀχαιῶν.

λίσσωμ᾽ ἀνέρα τοῦτον ἀτάσθαλον ὀβριμοεργόν,

ἤν πως ἡλικίην αἰδέσσεται ἠδ᾽ ἐλεήσῃ

γῆρας: καὶ δέ νυ τῷ γε πατὴρ τοιόσδε τέτυκται420

Πηλεύς, ὅς μιν ἔτικτε καὶ ἔτρεφε πῆμα γενέσθαι

Τρωσί: μάλιστα δ᾽ ἐμοὶ περὶ πάντων ἄλγε᾽ ἔθηκε.

τόσσους γάρ μοι παῖδας ἀπέκτανε τηλεθάοντας:

τῶν πάντων οὐ τόσσον ὀδύρομαι ἀχνύμενός περ

ὡς ἑνός, οὗ μ᾽ ἄχος ὀξὺ κατοίσεται Ἄϊδος εἴσω,425

Ἕκτορος: ὡς ὄφελεν θανέειν ἐν χερσὶν ἐμῇσι:

τώ κε κορεσσάμεθα κλαίοντέ τε μυρομένω τε

μήτηρ θ᾽, ἥ μιν ἔτικτε δυσάμμορος, ἠδ᾽ ἐγὼ αὐτός.

ὣς ἔφατο κλαίων, ἐπὶ δὲ στενάχοντο πολῖται:

Τρῳῇσιν δ᾽ Ἑκάβη ἁδινοῦ ἐξῆρχε γόοιο:430

τέκνον ἐγὼ δειλή: τί νυ βείομαι αἰνὰ παθοῦσα

σεῦ ἀποτεθνηῶτος; ὅ μοι νύκτάς τε καὶ ἦμαρ

εὐχωλὴ κατὰ ἄστυ πελέσκεο, πᾶσί τ᾽ ὄνειαρ

Τρωσί τε καὶ Τρῳῇσι κατὰ πτόλιν, οἵ σε θεὸν ὣς

δειδέχατ᾽: ἦ γὰρ καί σφι μάλα μέγα κῦδος ἔησθα435

ζωὸς ἐών: νῦν αὖ θάνατος καὶ μοῖρα κιχάνει.

    Hecabe, Priam, and the people of Troy lament the death of Hector as if the city itself were burning. Priam rolls in the dirt and begs to be allowed to go to Achilles to ask for the body.

    The change of scene in mid-verse (405), from the battlefield to the city walls, from Hector’s head being torn to Hecabe tearing at hers, is unusually abrupt. Hector’s death spreads quickly like a contagion, from his corpse, to his mother, to his father, and finally through the whole city.

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    By throwing off her veil, Hecabe gestures toward an inevitable consequence of Hector’s death. In Homeric poetry the veil is a symbol of modesty and/or chastity for women, and a prerequisite for any public appearance. Penelope always wears a veil in the presence of the suitors (e.g., Od. 1.334 and 18.210); when Nausicaa throws her veil aside at the seashore she makes herself vulnerable to the advances of the mysterious naked stranger (Od. 6.100–210); even Thetis must take up her veil when she leaves the cover of the sea and enters mortal society (Il. 24.93–94). The death of Hector will lead to the violation of Trojan women and, as Andromache’s response will soon affirm, to all of Troy. Homer’s fire simile rounds off this chain of misery by implicitly pointing to its agent, the character most consistently associated with fire in the poem, Achilles.

    The remainder of Book 22 is given over to the pain and sorrow of those who loved Hector. Their actions reflect an understanding of the experience of grief and patterns of behavior found elsewhere in the ancient Mediterranean world and still present today. Achilles’ response to the death of Patroclus is the most powerful example in the poem. When Antilochus brings him the news, Achilles throws himself on the ground (as Priam does here) and covers himself with ashes (18.22–27); Thetis rises from the sea and, finding him stretched out on the ground, holds his head in her hands, a gesture often seen in artistic images of those mourning someone already dead (18.70–721); he later vows to abstain from food, sleep, bathing, and sex until Patroclus is avenged (19.205–14, 24.128–31). All these acts reflect the early stages of grief as it is usually portrayed in the Iliad and elsewhere. At first, those left behind resist letting go; life goes on, but they do not want to go with it. Instead, they may act in ways that mimic the one they have lost, turning toward the dead and letting go of the living. Both Achilles and Priam begin their journey through grief by falling to the ground and covering themselves with dirt, a symbolic burial. Hecabe’s self-mutilation shares the same meaning. Achilles’ behavior in the aftermath of Patroclus’s death, the funereal tableau created by Thetis holding his head, and his abstention from the usual tokens of participation in human life, suggest that when Patroclus dies, Achilles undergoes a symbolic death, as if to follow his friend out of life. When Achilles refuses to eat, Athena compensates by infusing him with nectar and ambrosia, the food of the gods. Thetis uses the same substances to embalm the corpse of Patroclus, protecting it from corruption, another sign from the poet that when Patroclus dies, something in Achilles goes with him.

    Eventually, those grieving must let go of the dead and return to the living. In early Greek poetry, those who hope to encourage this change offer a seat and a drink. If the person grieving accepts these tokens, he or she is ready to accept the loss of the dead person and return to full participation in human life. The return of Hector’s body to Priam begins when Thetis accepts consolation from Zeus and Athena for his coming death (24.96–140). Achilles and Priam console each other when the old man comes to beg Achilles to accept ransom in return for Hector’s body (24.476–642). When Achilles releases Hector’s body for burial, it is a sign that his grief is easing and he himself is ready to return to the normal rhythms of human life. In Book 24 he and Priam then share a meal, marking each man’s acceptance of loss. Hector’s funeral, which brings the Iliad to a close, extends the healing to other Trojans who loved him.

    This portrayal of grief in the Iliad, though uniquely rich, is not peculiar to Homeric poetry. Vestiges can be found in the literature and culture of the ancient Mediterranean from 1800 to 600 BCE. When Enkidu dies, Gilgamesh puts on animal skins and roams the wilderness, mimicking his friend’s earlier life as a wild man who lived with animals. In the Homeric Hymn to Demeter, composed sometime in the 7th century BCE, the goddess Demeter mirrors the abduction of her daughter Persephone from Olympus to Hades by leaving Olympus and going to live with humans in Eleusis. When the royal family she has joined as a nurse attempt to console her for the loss of her daughter, they offer a seat and a drink. Though she accepts, her grieving is apparently not at an end. Only when a deal is struck between Zeus and Hades, allowing Persephone to leave the Underworld and be with her mother each spring, does Demeter allow the crops to grow again, a sign that she has accepted consolation for the yearly loss of her daughter.

    In their helplessness and pain, the laments of Priam and Hecabe echo the opening scene of Book 22 at the walls of Troy, when they beg Hector not to stay and fight Achilles. This ring form is a common structural device in early Greek narrative, giving a sense of closure to the entire book. At the same time, the end of Book 22 anticipates the poem’s final scenes in Book 24: Priam immediately begins trying to set out for the Greek camp to supplicate Achilles, while the laments of Hecabe and Andromache rehearse their last eulogies when Hector’s body reaches Troy. Finally, as we have seen, Hector’s monologue as he awaits Achilles looks back to his poignant exchange with Andromache in Book 6. Much of the Iliad’s power to move us comes from repeated forms, words, phrases, and scenes, as the poet builds meaning by accretion, enriching the familiar forms by placing them in new contexts, training our ears to hear an increasingly complex harmony that reaches its crescendo when Hector finally returns to Troy.

     

    Further Reading

    Alexiou, M. 1974. The Ritual Lament in Greek Tradition. Cambridge: Cambridge University Press.

    Nagler, M. 1974. Spontaneity and Tradition: The Oral Art of Homer, 44–63, 174–182. Berkeley and Los Angeles: University of California Press.

    Schein, S. 1984. The Mortal Hero: An Introduction to Homer’s Iliad, 150–151. Berkeley: University of California Press.

    Whitman, C. 1958. Homer and The Heroic Tradition, 128–153. Cambridge, MA: Harvard University Press.

     

    405: τοῦ: Hector’s. κεκόνιτο: "was covered in dust," plpf. pass.

    406: ἀπὸἔρριψε: “threw off from (herself),” aor. > ἀπορρίπτω in so-called tmesis.

    407 – 408: κώκυσενᾤμωξεν: both verbs mean “cry out,” but they are gender-specific terms for the immediate and instinctive expression of grief (de Jong).

    407: μάλα μέγα: “very loudly,” adverbial acc. adj. intensified by adverb μάλα. παῖδ᾽: = παῖδα, acc. sg. ἐσιδοῦσα: aor. ptc. > εἰσ-εῖδον, which supplies the aorist of ὁράω (Goodell 391).

    408: ᾤμωξεν: aor. > οἰμώζω, a verbalization of the exclamation οἴμοι. ἐλεεινὰ: neuter pl. internal acc., translated adverbially (“piteously”). φίλος: “his.” ἀμφὶ δὲ: “and around them.”

    409: κωκυτῷ of women, οἰμωγῇ of men; cp. the use of κώκυσεν and ᾤμωξεν in lines  407 and 408 (Monro). εἴχοντο: “were gripped by” + dat. The periphrasis with ἔχομαι indicates prolonged crying (de Jong). κατὰ: “throughout,” “over,” extensive use (Monro 212.1).

    410: τῷἐναλίγκιον, ὡς εἰ: “it most resembled this, as if….” ἔην: “(the mourning) was…,” impf. > εἰμί, Attic ἦν (Monro 12). τῷ is neuter: “and it was quite like to this, as if” etc. The sense is: such cries of grief were heard as would be raised if all beetling Troy were blazing in fire from the citadel down (Benner).

    411: πυρὶ: dat. of means. σμύχοιτο: “were smoldering,” pres. opt. expresses supposition for the purpose of comparison, after past-tense ἔην (Monro 311). κατ᾽ ἄκρης: “down from the acropolis,” supply πόλεως, gen. from which (Monro 213.1).

    412: ἔχον: “hold back,” impf. > ἔχω. ἀσχαλόωντα: “chafing,” cp. 2.293 (Monro).

    413: ἐξελθεῖν μεμαῶτα: “eager to go out,” acc. sg. ptc. > μέμονα, reduplicated perf. with pres. sense (Monro 36.5). πυλάων: gen. place from which, governed by ἐξ- of ἐξελθεῖν.

    414: ἐλλιτάνευε: “kept begging,” iterative impf., which suggests the speech to come was one among many. Cp. the repetitive “naming each man by name” in line 415. κατὰ: “through,” “in” (Monro 212.1).

    416: σχέσθε: “put restraint on yourselves,” i.e. “stop,” aor. mid. imper. > ἔχω. μ’ οἶον: “me alone.” ἐάσατε: aor. pl. imperative > ἐάω. περ: “although,” makes ptc. concessive (Goodell 593.b).

    417: ἐξελθόντα: acc. aor. ptc. > ἐξ-έρχομαι. πόληος: gen. > πόλις, Att. πόλεως. ἱκέσθ’: “arrive as a suppliant (ἱκέτης),” = ἱκέσθαι, aor. dep. mid. inf. > ἱκνέομαι.

    418: λίσσωμ’: “let me entreat,” = λίσσωμαι, 1st sg. hortatory subj. ἀνέρα: acc. sg. > ἀνήρ, Att. ἄνδρα, Achilles is identified by a circumlocution, which comes close to scolding (de Jong).

    419: ἤν πουαἰδέσσεται: “(to see) if perhaps.” ἤν = ἐάν. Conditional clauses in Homer with ἄν + subj. often express a purpose (Monro 293). αἰδέσσεται ἠδ’ ἐλεήσῃ: aorist subjunctives > αἰδέομαι and ἐλεέω; αἰδέσσεται has a short thematic vowel (Monro 80).

    420: τῷ: possessive dat. pronoun (“this man’s father, Peleus”), γε provides emphasis. τοιόσδε: “of such a sort (as I am),” i.e. “as old as I am,” pred. nom with τέτυκται. τέτυκται: “is made,” “is,” pf. pass. > τεύχω (Monro 28).

    421: γενέσθαι: “(so as) to become (a bane to the Trojans),” a blended infinitive of purpose/result (Goodell 565). πῆμα is an acc. predicate.

    422: περὶ πάντων: “beyond all others.”

    423: ἀπέκτανε: aor. > ἀποκτείνω. μοι: “my,” possessive dat. personal pronoun.

    424: τῶν πάντων: “for all these,” demonstrative pronoun with antecedent τόσσους παῖδας, gen. with verb of grieving (Monro 151.c). Genitive of cause (Benner).

    424–425: τόσσονὡς: “so much… as,” adverbial acc. correlated with ὡς. ἀχνύμενός περ: “though grieved,” pres. pass. ptc. > ἀχεύω, with περ: indicating that the ptc. is concessive (Goodell 593.b). See LSJ s.v. ἀχεύω II.2.

    425: ἑνός: “for (this) one,” gen. sg. > εἷς, genitive with understood ὀδύρομαι, a verb of grieving (Monro 151.c). οὗ: “for whom,” relative pronoun, objective gen. after ἄχος (Goodell 506). κατοίσεται: fut. dep. mid. > κατα-φέρω. Ἄϊδος εἴσω: “into the house of Hades,” = εἰς Ἄϊδος, (anastrophe), εἰς + gen. = “into the house of” (Goodell 507.a).

    426: Ἕκτορος: in apposition to ἑνός. ὥς ὄφελεν θανέειν: “would that he had died,” impossible past wish with aor. = “how he ought to have died!”

    427: τώ: “therefore,” “in that case,” the anaphoric pronoun here has an old instrumental ending (de Jong). κε κορεσσάμεθα: “we two would have had our fill (+ ptc.).” κε/ἄν + aor. indic. expresses past contrary-to-fact construction (Goodell 467.c). κλαίοντε … μυρομένω: dual nom. pres. supplementary participles, modifying the missing 1st pers. dual subj., “we two.”

    428: μήτηρἐγὼ: subjects of κορεσσάμεθα. : “who…,” relative. μιν: = αὐτόν,  Hector δυσάμμορος: the two-termination adjective modifies fem. nom. sg. ἥ.

    429: ἐπὶ δὲ: “and in response to,” adverbial. The repetition at line 515 is suggestive of the ritual nature of laments (de Jong).

    430: Τρῳῇσιν: “for the Trojan women,” or “among the Trojan women.”

    431: τέκνον: vocative direct address. δειλή: predicate, supply linking εἰμί. τίβείομαι: “what (life) will I live?” i.e. “why am I to go on living?” βείομαι is either a future indicative or aorist subjunctive with short thematic vowel (Goodell 471.a). αἰνὰ: “terrible things,” neut. acc. pl. substantive adjective. παθοῦσα: nom. sg. aor. ptc. > πάσχω.

    432: σεῦ ἀποτεθνηῶτος: “with you dead,” gen. absolute. : “(you) who…,” demonstrative pronoun functioning as a 2nd person relative. μοι: “for me,” dat. of interest (Goodell 523). νύκτάςἦμαρ: acc. duration of time.

    433: κατὰ ἄστυ: “in the city”. πελέσκεο: “used to be,” “was,” the iterative impf. with -σκ- is used here simply to fit the meter. πᾶσι: “to everyone,” dat. of interest (Goodell 523), the datives that follow are in apposition.

    434: ΤρωσίΤρῳῇσι: both male and female Trojans. οἵ: relative. θεὸν ὣς: “just as a god” (see 22.394).

    435: δειδέχατ᾽: “saluted,” paid court to (Monro). > δέχομαι,  “welcome” a person, see LSJ s.v. δέχομαι II.1. 3rd pl. plpf. mid. = δειδέχατο. ἦ γὰρ καί: for indeed, καί is adverbial. σφι: “to them,” dat. parallel to μοι. ἔησθα: 2nd sg. impf. > εἰμί, Att. ἦσθα.

    436: ἐών: “while,” ptc. is circumstantial in force.

    κονίω, plpf. pass. κεκόνιτο: to cover with dust405

     

    κάρη κρατός τό: head

     

    τίλλω: to pluck, tear out

     

    κόμη: the hair, hair of the head

     

    λιπαρός: shining with oil, sleek, rich, shining

     

    ῥίπτω aor. ἔρριψε and ῥῖψε: to throw, cast, hurl

     

    καλύπτρη: a woman's veil

     

    τηλόσε: to a distance, far away

     

    κωκύω, impf. ἐκώκυε, aor. κώκυσεν, aor. partic. κωκύσασα: to shriek, cry, wail

     

    εἰσοράω, 2nd aor. εἴσιδε, aor. inf. εἰσιδέειν: to look into, look upon, view, behold

     

    οἰμώζω, aor. ᾤμωζεν, aor. partic. οἰμώξας: to wail aloud, lament

     

    ἐλεεινός, comp. ἐλεεινότερος: pitiable, to be pitied; ἐλεεινά: neut. as adv., pitifully, piteously

     

    φίλος –η –ον: friend; loved, beloved, dear

     

    λαός –οῦ ὁ: the people

     

    κωκυτός: a moaning, wailing

     

    οἰμωγή: lamentation

     

    ἄστυ ἄστεος τό: a city, town

     

    ἄρα, ῥά (enclit.), ἄρ, ῥ᾿: so, then, as you know, you know, it seems. Very often it marks an action as natural, or reminds of something recently said. It also marks transitions.410

     

    ἐναλίγκιος: like, resembling

     

    Ἴλιος: Ilian, Trojan

     

    ὀφρυόεις: on the brow of a rock, beetling

     

    σμύχω: to smoulder, burn

     

    ἄκρα: a headland, foreland, cape

     

    γέρων –οντος ὁ: an old man

     

    μόγις: adv. barely, scarcely

     

    ἀσχαλάω: to be vexed, be distressed

     

    ἐξέρχομαι ἐξελεύσομαι ἐξῆλθον ἐξελήλυθα ––– –––: to go out, come out

     

    μέμαα, perf.: to be eager, rush on impetuously. μεμαότες: eager

     

    πύλη –ης ἡ: one wing of a pair of double gates; (pl.) gate

     

    Δαρδάνιος: Dardanian

     

    λιτανεύω, impf. (ἐλ)λιτάνευε: to beg, beseech

     

    κυλίνδω: to roll

     

    κόπρος: dung; dirt, dust

     

    ἐξονομακλήδην: adv. by name, calling by name415

     

    κήδω: to trouble, distress, vex; (mid.) grieve, care for (+gen.)

     

    ἱκνέομαι and ἵκω, fut. ἵξομαι, aor. ἵκετο and ἷξε(ν), aor. subj. ἵκωμαι and ἵκηαι: to come, arrive at, reach

     

    Ἀχαιός: Achaian

     

    λίσσομαι: to beg, pray, entreat, beseech

     

    ἀτάσθαλος: contemptuous, haughty

     

    ὀβριμοεργός: of violent deeds

     

    ἡλικίη: time of life, age

     

    αἰδέομαι and αἴδομαι, aor. pass. partic. αἰδεσθείς: to feel honorable shame or self-respect, revere, be abashed before

     

    ἠδέ: and

     

    ἐλεέω, aor. ἐλέησε: to pity, take pity

     

    γῆρας –αως τό: old age420

     

    τεύχω τεύξω ἔτευξα τέτευχα τέτυγμαι ἐτύχθην: to make ready, make, build, work

     

    Πηλεύς gen. –ῆος and έος : Peleus, king of the Myrmidons. He was the son of Aeacus, husband of Thetis, and father of Achilles.

     

    μιν: him, her, it

     

    πῆμα –ατος τό: suffering, disaster, bane

     

    Τρῶες: Trojans

     

    ἄλγος –εος τό: pain

     

    τόσ(σ)ος: so great, so vast, so much, so long. adv. τόσ(σ)ον

     

    ἀποκτείνω ἀποκτενῶ ἀπέκτεινα ἀπέκτονα: to kill, slay

     

    τηλεθάω: to flourish, bloom

     

    ὀδύρομαι: to lament, bewail, mourn for, grieve

     

    ἀχεύω or ἀχέω: to grieve, be in sorrow, be troubled

     

    ἄχος –εος τό: grief, sadness425

     

    καταφέρω, fut. mid. κατοίσεται: to bring down

     

    ᾍδης, gen. Ἀίδεω and Ἄϊδος, dat. Ἄϊδι, Ἀϊδωνῆι: Hades, god of the unseen lower world. His realm is the home of the dead, and in the Iliad it is beneath the earth, while in the Odyssey Odysseus sails to it, across Oceanus, and finds in it a faint, ghostly imitation of life on earth.

     

    εἴσω (ἔσω): to within, into

     

    Ἕκτωρ: Hector, the most distinguished warrior of the Trojans, son of Priam and Hecabe, and husband of Andromache.

     

    ὀφείλω, aor. ὄφελ(λ)ον or ὤφελ(λ)ον: should have, ought to have. With αἴθε and ὡς it is used to express a wish which cannot be realized: αἴθ᾿ ὄφελες ἄγαμος ἀπολέσθαι: if only you had died unmarried.

     

    κορέννυμι, aor. opt. κορέσειεν, aor. mid. κορεσσάμεθα, aor. mid. subj. κορέσωνται, perf. κεκόρησθε: to sate, satiate, satisfy; mid. to have one's fill

     

    κλαίω, opt. κλαίοισθα, impf. κλαῖε, fut. κλαύσομαι, κλαύονται: to weep, lament, wail

     

    μύρω: to weep

     

    δυσάμμορος: most miserable

     

    στενάχω, impf. mid. στενάχοντο: to sigh, groan

     

    πολίτης –ου ὁ: townsman

     

    Τρώϊος: Trojan430

     

    Ἑκάβη: Hecabe, wife of King Priam of Troy

     

    ἁδινός: restless; thick

     

    ἐξάρχω, impf. ἐξῆρκε: to take the lead in, begin

     

    γόος -ου, ὁ: groaning, lamentation

     

    δειλός –ή –όν: cowardly, fearful; wretched

     

    βέομαι: shall live

     

    αἰνός –ή –όν: dread, dire, grim

     

    ἦμαρ –ατος τό: day

     

    εὐχωλή: a prayer, vow, glory

     

    πέλω and πέλομαι, aor. as pres. ἔπλεο, ἔπλετο: to be

     

    ὄνειαρ –ατος τό: help, support, profit

     

    σφεῖς, σφείων gen., σφίσι(ν) or σφί(ν) dat., σφέας acc.: (pl. 3rd pers. pron.) them435

     

    κῦδος -εος τό: glory, renown

     

    ζωός or ζώς: alive, living

     

    μοῖρα –ας ἡ: portion, fate, lot

     

    κιχάνω, fut. κιχήσεσθαι, aor. κιχήσατο, aor. subj. κιχείω [κιχῶ], aor. partic. κιχήμενον: to find, come to, overtake

     

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    Suggested Citation

    Thomas Van Nortwick and Geoffrey Steadman, Homer: Iliad 6 and 22. Carlisle, Pennsylvania: Dickinson College Commentaries, 2018. ISBN: 978-1-947822-11-5.https://dcc.dickinson.edu/homer-iliad/homer-iliad-xxii-405-436