ὀχθήσας δ᾽ ἄρα εἶπε πρὸς ὃν μεγαλήτορα θυμόν:

ὤ μοι ἐγών, εἰ μέν κε πύλας καὶ τείχεα δύω,

Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει,100

ὅς μ᾽ ἐκέλευε Τρωσὶ ποτὶ πτόλιν ἡγήσασθαι

νύχθ᾽ ὕπο τήνδ᾽ ὀλοὴν ὅτε τ᾽ ὤρετο δῖος Ἀχιλλεύς.

ἀλλ᾽ ἐγὼ οὐ πιθόμην: ἦ τ᾽ ἂν πολὺ κέρδιον ἦεν.

νῦν δ᾽ ἐπεὶ ὤλεσα λαὸν ἀτασθαλίῃσιν ἐμῇσιν,

αἰδέομαι Τρῶας καὶ Τρῳάδας ἑλκεσιπέπλους,105

μή ποτέ τις εἴπῃσι κακώτερος ἄλλος ἐμεῖο:

Ἕκτωρ ἧφι βίηφι πιθήσας ὤλεσε λαόν.

ὣς ἐρέουσιν: ἐμοὶ δὲ τότ᾽ ἂν πολὺ κέρδιον εἴη

ἄντην ἢ Ἀχιλῆα κατακτείναντα νέεσθαι,

ἠέ κεν αὐτῷ ὀλέσθαι ἐϋκλειῶς πρὸ πόληος.110

εἰ δέ κεν ἀσπίδα μὲν καταθείομαι ὀμφαλόεσσαν

καὶ κόρυθα βριαρήν, δόρυ δὲ πρὸς τεῖχος ἐρείσας

αὐτὸς ἰὼν Ἀχιλῆος ἀμύμονος ἀντίος ἔλθω

καί οἱ ὑπόσχωμαι Ἑλένην καὶ κτήμαθ᾽ ἅμ᾽ αὐτῇ,

πάντα μάλ᾽ ὅσσά τ᾽ Ἀλέξανδρος κοίλῃς ἐνὶ νηυσὶν115

ἠγάγετο Τροίηνδ᾽, ἥ τ᾽ ἔπλετο νείκεος ἀρχή,

δωσέμεν Ἀτρεΐδῃσιν ἄγειν, ἅμα δ᾽ ἀμφὶς Ἀχαιοῖς

ἄλλ᾽ ἀποδάσσεσθαι ὅσα τε πτόλις ἥδε κέκευθε:

Τρωσὶν δ᾽ αὖ μετόπισθε γερούσιον ὅρκον ἕλωμαι

μή τι κατακρύψειν, ἀλλ᾽ ἄνδιχα πάντα δάσασθαι120

κτῆσιν ὅσην πτολίεθρον ἐπήρατον ἐντὸς ἐέργει:

ἀλλὰ τί ἤ μοι ταῦτα φίλος διελέξατο θυμός;

μή μιν ἐγὼ μὲν ἵκωμαι ἰών, ὃ δέ μ᾽ οὐκ ἐλεήσει

οὐδέ τί μ᾽ αἰδέσεται, κτενέει δέ με γυμνὸν ἐόντα

αὔτως ὥς τε γυναῖκα, ἐπεί κ᾽ ἀπὸ τεύχεα δύω.125

οὐ μέν πως νῦν ἔστιν ἀπὸ δρυὸς οὐδ᾽ ἀπὸ πέτρης

τῷ ὀαριζέμεναι, ἅ τε παρθένος ἠΐθεός τε

παρθένος ἠΐθεός τ᾽ ὀαρίζετον ἀλλήλοιιν.

βέλτερον αὖτ᾽ ἔριδι ξυνελαυνέμεν ὅττι τάχιστα:

εἴδομεν ὁπποτέρῳ κεν Ὀλύμπιος εὖχος ὀρέξῃ.130

    Hector considers the possibility of negotiating with Achilles on the return of Helen, only to dismiss it as fantasy. If he puts down his weapons Achilles will slaughter him where he stands. He must fight.

    Hector’s monologue expresses everything we have learned about him: his bravery and fears, his determination and regret. Yet in a way that is peculiar to Homeric poetry it is both an extraordinarily revealing portrait and the realization of a recurring type scene, “the lone fighter surrounded by enemies.”

    read full essay

    The usual elements of the scene are:

    1. a warrior finds himself facing an overpowering force, either a group of soldiers or one superior fighter, prompting the exclamation, ὤ μοι ἐγὼν, “ah me”
    2. a monologue in which the besieged man debates with himself the merits of flight and resistance and chooses one or the other, the decision marked by the verse ἀλλὰ τί ἤ μοι ταῦτα φίλος διελέξατο θυμός, “but why does my heart within debate these things?”
    3. a simile characterizing the choice, and
    4. the action that follows

    There are three other examples of the pattern in the Iliad: Odysseus surrounded by Trojans (11.401–20); Menelaus defending the body of Patroclus (17.89–113); and Agenor debating whether to fight Achilles (21.550–80).

    Though structured around a common set of elements, each of these passages tells us something about the besieged warrior. In the Iliad Odysseus is not primarily the clever trickster we encounter in the Odyssey. His persuasive speech-making is mentioned in Book 3 (189–224) and displayed in Book 10 (400–11), when he convinces the hapless Dolon to reveal information about the Trojans. Otherwise he appears as a no-nonsense soldier. When Agamemnon’s botched strategy sends the Greeks running toward their ships in Book 2 (169–210), it is Odysseus who picks up the scepter and herds them back into the assembly. Later, alone and surrounded by Trojans in Book 11, he has a brisk talk with himself:

    Spear-famed Odysseus was left alone; none of the
    Argives stood by him, since fear had seized them all.
    Troubled, he spoke to his own great-hearted spirit:
    “Ah me, what is happening to me? It will be a great evil
    if I run in fear of this crowd of enemies, but worse still
    if I am taken alone; the son of Kronos has routed the other Greeks.
    But why does my heart within debate these things?
    For I know that cowards hang back from fighting
    and he who would distinguish himself in battle must
    make a powerful stand, being killed or killing another.”

    Iliad 11.401–10

    This is the least elaborate version of the motif, befitting Odysseus’s straightforward character in the poem. He deliberates, decides, and acts. The shame that would attach to him for running finally outweighs his fear of being killed. The Trojans close in, prompting a simile comparing Odysseus to a wild boar cornered by hounds. Odysseus is wounded and withdraws from the field, but not before taking down one more Trojan (11.411–71).

    In the scene where Menelaus guards the corpse of Patroclus (17.89–113) the familiar elements are there again. Like Odysseus, he weighs the cost, to himself and others, of running. Menelaus, however, reaches a different conclusion. There would be shame in running, he admits. But fighting a warrior (in this case, Hector) whom some god is backing would bring μέγα πῆμα, “great misery” (99). So none of the Greeks will blame him for abandoning the body to look for help. He begins to back away but keeps turning around toward Hector and his troops. The rare participle ἐντροπαλιζόμενος, “turning back again and again” (109), which we saw applied to Andromache in Book 6 (496), leads into the simile, this time of a bearded lion, slowly giving way before hunters. Menelaus eventually finds reinforcements and returns to guard the body. His sensible decision to avoid death by finding help fits with what we know of him. He is a good fighter, but not among the best; when he volunteers to fight a duel with Hector in Book 7, others dissuade him, and he gives way to Ajax.

    Agenor is the least illustrious hero of the group. Homer calls him, ἀμύμονά τε κρατερόν τε, “blameless and strong” (21.546), a standard set of epithets for warriors in the poem. All the usual elements of the type scene appear. He acknowledges Achilles’ superior force, but toys with the idea that he might be able to run away from the city and hide in the bushes until nightfall. But no, Achilles might see him trying to escape and run him down. Better to make a stand in front of the walls. He is a mortal, after all; maybe a spear can wound him. His resolve to stay and fight reminds Homer of a leopard emerging from her lair to fight hunters. She is over-matched but refuses to budge. Agenor’s death will follow shortly, we feel, but Apollo has other plans for him, whisking him away in a cloud and taking his place, then running from the city to draw Achilles away.

    Agenor is only important because he is a surrogate for Hector. We have been waiting for the final showdown between Achilles and Hector at least since Book 19. Agenor’s monologue comes shortly before Hector’s and plays its part in setting the stage for the final duel. Though he would have no chance against Achilles, he stays to fight, a decision that will be in our minds when Hector’s moment comes, if we are alert to the presence of the type scene.

    In Hector’s version of the scene, the simile comes first. He waits, Homer tells us, like a poisonous snake coiled in his lair. The comparison might seem surprising, given that Hector has been cast as the one pursued by a menacing force. But defending his lair is exactly what Hector is doing. By putting this image here instead of later in the sequence, the poet keeps Hector’s role as the last defender of Troy vividly in our minds.

    Though the monologue itself follows the familiar form of deliberation, decision, and action, it is anything but conventional. Drawing on the scenes from Troy in Book 6, sometimes explicitly, Homer completes an intimate portrait of Hector. As in the case of Odysseus, and to a lesser degree, Menelaus, avoiding shame is on his mind as he weighs up his options:

    Troubled, he spoke to his own great-hearted spirit:
    “Ah me, if I should enter the gates and walls,
    Poulydamas would be the first to reproach me,
    who urged me to lead the Trojans toward the city
    on that dreadful night, when bright Achilles rose up.
    But I would not be persuaded, though it would have been much better.
    Now since I have destroyed my people with my rash folly,
    I feel ashamed before the Trojan men and Trojan women with
    trailing robes, that some lesser man would say of me:
    ‘Hector destroyed his people, trusting in his own strength.’
    So they will say. And for me it would be much better
    either to face Achilles, kill him and return,
    or be killed by him gloriously before the city.”

    Iliad 22.98–110

    Unlike the other warriors, Hector is specific about who will heap shame on him. Poulydamas plays the role of “wise adviser” to Hector in the story, twice urging restraint (12.210–29; 18.249–83). Hector scornfully refuses his counsel each time, with bad results. Now his regret makes the issue especially personal. His actions do not simply reflect the standards of the heroic shame culture, but more importantly, in his mind at least, they signify the cost of his personal failure to heed his fellow warrior. At the same time, in a way characteristic of him, he assumes responsibility for harming the entire city and its people. As he does so, his words echo verbatim the reply he gave to Andromache when she urged him to regroup inside the walls: αἰδέομαι Τρῶας καὶ Τρῳάδας ἑλκεσιπέπλους (22.105 = 6.442). The echo lingers through the next verse, with one telling change. At 6.407, Andromache predicts that Hector’s own strength will destroy him. Now he expands the thought to include all his people as victims of his overreaching. As he comes closer to death, we are reminded of everything we learned about him when he returned to Troy, but now, with Achilles drawing ever closer, the stakes are much higher.

    Still searching for some way to escape, Hector imagines himself bargaining with Achilles. He could promise to return Helen, along with all the riches Paris brought back from Sparta. But he knows his enemy; it will not work. Instead, his wistful dream becomes a nightmare. There will be no pity, no respect, as he sees himself kneeling naked without his armor, “like a woman,” before Achilles, who will kill him. Then, even as he renounces all hope of escape, one last fantasy drifts into his mind:

    There is no way, from an oak or a rock,
    to chat with him, the way a girl and a boy do,
    the way a girl and a boy chat together.
    Better to close with him and fight as soon as possible;
    we will see to whom the Olympian god grants glory.

    Iliad 22.126–30

    The unusual verb ὀαρίζειν, which appears in the Iliad only here and at the end of Hector’s parting from Andromache (6.516), surfaces here in a telling way. As he foresees his humiliating death two images float before him: a naked woman, and children flirting. The former recalls his parents’ abject pleading, the latter his wife’s. The dilemma that has characterized Hector throughout the poem reappears for last time. His love for his family fuels his determination to protect them and all the Trojans, but his understanding of himself as a warrior and a man will not let him heed their voices.

     

    Further Reading

    De Jong, I.J.F. 2012. Homer: Iliad Book XXII, 80–81. Cambridge: Cambridge University Press.

    Edwards, M. 1987. Homer: Poet of the Iliad, 71–77; 291–292. Baltimore and London: Johns Hopkins University Press.

    Owen, E.T. 1946. The Story of the Iliad, 219–222. Toronto: Clark and Irwin.

    Redfield, J. 1975. Nature and Culture in the Iliad, 113–119. Chicago and London: University of Chicago Press.

    Schein, S. 1984. The Mortal Hero: An Introduction to Homer’s Iliad, 150–152. Berkeley: University of California Press.

     

    98: ὀχθήσας: “becoming distressed” (angry, indignant, grieved), ingressive nom. sg. aor. act. ptc. > ὀχθέω (Goodell 464). ὃν: “his,” = ἑόν, 3rd pers. sg. acc. of the possessive pronoun (Goodell 204), thus θυμόν is the obj. of πρὸς. Hector is debating the matter with himself.

    99: ὤ μοι: “Ah me!” exclamatory. ἐγών: = ἐγώ, final -ν avoids elision.

    99–100: εἰκεδύω, ἀναθήσει: “if I enter…, will lay upon,” future-more-vivid condition (εἰ + κε/ἄν + subj., fut. indicative), δύω is pres. subj. and ἀναθήσει is fut. indic. > ἀνατίθημι (Goodell 650).

    100: πρῶτος: adverbial

    101: ὅς: “who,” relative. ἐκέλευε: “kept urging,” “kept bidding,” an iterative impf. is appropriate here. Τρωσὶ: dat. obj. of ἡγέομαι. ποτὶ: = πρός. ἡγήσασθαι: “to lead, direct,” see 18.254 ff. (Monro).

    102: νύχθ᾽ ὕπο τήνδ᾽ ὀλοὴν: “during this destructive night,” = ὑπὸ νύκτα. νύχθ᾽ is acc. sg. with elision before aspirated vowel (Monro 203.2). ὅτε τε: an irregular use of epic τε, which normally occurs in omnitemporal contexts, here in connection with one specific event (de Jong, with Monro 332.b). ὤρετο: "rose up" in a hostile sense, "hurled himself, pounced, attacked," aor. mid., see LSJ s.v. ὄρνυμι A.1.

    103: πιθόμην: unaugmented aor. mid. > πείθω. ἦ τ’: “and yet.” ἂνἦεν: “it would be,” ἄν + impf. indic. > εἰμί, Att. ἦν, in a present contrary-to-fact construction (with implied protasis “if I had obeyed”).

    104: νῦν δ᾽: “but as it is,” commonly follows contrafactuals. ὤλεσα: 1st sg. aor. act. > ὄλλυμι. ἀτασθαλίῃσιν ἐμῇσιν: “because of my folly,” dat. of cause (Goodell 526.a).

    105: αἰδέομαι: “I feel shame before” + acc.

    106: μήεἴπῃσι: “lest … say,” clause of fearing, μή + subj., here 3rd sg aor. thematic subjunctive with athematic ending > εἶπον (Goodell 611.b). κακώτερος: comparative. κακός in Homer is not a moral term (“bad”), but it refers to a cowardly, socially inferior, or harmful person (de Jong). ἐμεῖο: “than me,” Att. ἐμοῦ, gen. of comparison (Goodell 517).

    107: ἧφι βίηφι: “his might.” ἧφι = ἑῇ, dat. sg. obj. of πιθήσας (“trusting in”). ὤλεσε: 3rd sg. aor. > ὄλλυμι.

    108: ἐρέουσιν: “they will say,” i.e. Trojans in general, fut. > εἴρω. ἂνεἴη: “it would be,” potential opt. (ἄν + opt.), 3rd sg. pres. opt. > εἰμί (Goodell 479).

    109: ἄντην: “facing” (Achilles). This is the important word, the meaning being that it is better to face Achilles, whether the consequence is victory or death (Monro). ἠέ: “either … or.” Ἀχιλῆα κατακτείναντα νέεσθαι: “to return (home) having slain Achilles.” κατακτείναντα: aor. ptc., antecedent an understood μέ, the acc. subject of νέεσθαι. As often in impersonal constructions like κέρδιον εἴη, the grammar shifts between an understood acc. subject (thus the acc. participle) and the dat. (see αὐτῷ in line 110, below) (Monro 240).

    110: κεν: superfluous repetition of ἂν above. αὐτῷ:“or die myself,” predicative dat. in agreement with ἐμοί. ὀλέσθαι: “to perish,” aor. mid. inf. > ὄλλυμι. πρὸ πόληος: gen. > πόλις, Att. πόλεως. The literal meaning (“in front of”) and figurative one (“in defence of”) coincide (de Jong).

    111–121: εἰκενκαταθείομαι, ἔλθω, ὑπόσχωμαιἕλωμαι: lengthy protasis of a future-more-vivid condition that breaks off without an apodosis in line 121 in anacolouthon. Aorist subjunctives > κατατίθημι,  ἔρχομαι, ὑπισχνέομαι, and αἱρέω.

    111: καταθείομαι: aor. subjunctive with short thematic vowel; -ει- is due to metrical lengthening to avoid four short elements (de Jong).

    112: πρὸς: “on the side of.”

    113: αὐτὸς ἰὼν: “going on my own, just like that,” i.e. without armor. “In person,” not through herald or messenger (Monro). ἀντίος: postpositive, governs a gen.

    114: οἱ: = αὐτῷ, 3rd pers. sg. dat. of the personal pronoun (Monro 99), indirect object with ὑπόσχωμαι. ὑπόσχωμαι: governs complementary infins. δωσέμεν and ἀποδάσσεσθαι in lines 117–118. κτήμαθ᾽: = κτήματα. αὐτῇ: Helen.

    115: πάνταὅσσα: “quite all, as much as,” i.e. “everything that.” The governing verb is δωσέμεν in 117. νηυσὶν: “ships.”

    116: ἠγάγετο: aor. mid. > ἄγω. Τροίηνδ': “to Troy.” The suffix -δε designates a place to which (Monro 335.2). ἥ τε: “which,” relative attracted to the gender of ἀρχή and referring to all that preceded, i.e., Paris taking with him Helen and captured goods. τε does not have here its normal frequentative or generalizing force. ἔπλετο: “became,” “turned out to be.”

    117: δωσέμεν: “to give,” Aeolic future infinitive, Att. δώσειν (Monro 85.2) is governed by ὑπόσχωμαι above and in turn governs Ἑλένην … πάντα as a direct object. Ἀτρεΐδῃσιν: dat. indirect object. ἄγειν: “to carry off,” infin. of purpose (Goodell 565). ἅμα δ᾽: an adverb, not a preposition. ἀμφίς: “in two parts.” Some take it to mean “separately,” sc. that the treasure brought by Paris was not to count in the division of the Trojan possessions: but this is less natural. (Monro).

    118: ἄλλ᾽: ἄλλα, neuter acc. direct object. ἀποδάσσεσθαι: fut., parallel to δωσέμεν. κέκευθε: “holds,” “contains,” pf. > κεύθω.

    119: γερούσιον ὅρκον: an orath pledged by the Trojan elders in the name of the entire population (de Jong). ἕλωμαι: “I will exact” (de Jong).

    120: κατακρύψεινδάσασθαι: infinitives explaining the oath (Goodell 565). δάσασθαι: aor. dep. mid. inf. > δατέομαι, though some editors print the fut. infin. δάσεσθαι in agreement with κατακρύψειν.

    121: κτῆσιν: acc. obj. modifed by πάντα. ὅσην: “as much as.”

    122: τί ἤ: “why truly?” strengthened form of τί.  Hector breaks the future-more-vivid condition off without an apodosis and poses a question. μοι: the dative of the personal pronoun is often used in place of a possessive (Monro 143.1). φίλος: “my own,” adj. used alongside μοι to strengthen the possessive.

    123: μήἵκωμαι, ὁ δέ οὐκ ἐλεήσει: an example of parataxis, lit. “(I fear) that I come to him, and he will not pity me,” i.e. “I fear that if I will come up to him, he will not pity me.” ἵκωμαι: “come as a suppliant,” aor. dep mid. subj. > ἱκνέομαι, fearing clause in an independent construction (Monro 278.b). μιν: “him,” Achilles, = αὐτόν, acc. of direction without preposition. ἰών: nom. sg. pres. ptc. > εἶμι. ὃ δέ: “but he…,” Achilles.

    124: οὐδέ τί: “nor at all,” “and not a bit.”  τι is adverbial accusative (Goodell 540) before enclitic με. κτενέει: uncontracted fut. > κτείνω. 

    125: αὔτως ὥς τε: “in the same way as,” simile introduced by epic τε (Monro 332.b). ἐπεί κ᾽: “when,” subjunctive (> δύω) + κε/ἄν in a general temporal clause of indefinite frequency (Goodell 629). ἀπὸδύω: “take off.”

    126: οὐ μένἔστιν: “it is not … possible.” οὐ μέν (= μήν) suggests an emphatic denial. ἀπὸ δρυὸςἀπὸ πέτρης: although the precise meaning of the obviously proverbial “from oak or from rock” is lost, it here means something like “(to talk about) irrelevant, fanciful things.” See Odyssey 19.163 and Hesiod, Theogony 35, where the meaning is somewhat different.

    127: τῷ: “with this one,” Achilles. ὀαριζέμεναι: "to gossip," "to "chat confidentially," inf. subject with impersonal ἔστιν (Goodell 574).

    127–128: Hector lets his thoughts trail, and the construction changes in the course of the sentence: “to talk, as girl and boy (do), (as) girl and boy talk with each other” (de Jong).

    128: ἅ τε: “just as,” “like,” Att. ἅτε, acc. neut. pl. in an accusative of respect (“in respect to which things”) > ὅστε, the relative pronoun with epic τε in generalizing relative clauses. παρθένος ἠΐθεός τε: “a maiden and a young man,” repeated for emphasis at the beginning of 128, in an example of epanalepsis, which Eustathius suggests gives expression to Hector’s fear and nervousness (de Jong). ὀαρίζετον: dual 3rd pers. pres. ἀλλήλοιιν: dual dat. reciprocal pronoun (Goodell 202).

    129: βέλτερον: “(it is) better.” ἔριδι: “in…,” specifying dative (Goodell 527.b). ὅττι τάχιστα: “as quickly as possible.”

    130: εἴδομεν: “let us know,” 1st pl. hortatory subjunctive > οἶδα, Attic εἰδῶμεν, here with the short thematic vowel (Monro 80). ὁπποτέρῳ: “to whichever one,” dat. indirect obj. κενὀρέξῃ: “will hold out,” anticipatory subj. indicating limitation to circumstances in the future (Goodell 283b). εὖχος: “a reason to boast,” i.e. “glory,” neuter acc. object.

    ὀχθέω, aor. ὤχθησαν, aor. partic. ὀχθήσας: to be vexed; to be troubled, be distressed

    ἑός ἑή ἑόν: his, her own

    μεγαλήτωρ -ορος: great-hearted, heroic

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

    Πουλυδάμας: Polydamas, a Trojan, son of Panthous.100

    ἐλεγχείη: reproach, disgrace

    ἀνατίθημι: to heap upon

    Τρῶες: Trojans

    ὀλοός: destroying, destructive, fatal, deadly, murderous

    ὄρνυμι: to stir, stir up

    δῖος –α –ον: divine, noble, illustrious; marvelous, magnificent

    κερδίων -ον: more profitable, more advantageous, better; (superl.) κέρδιστος, the slyest

    ὄλλυμι, fut. ὀλεῖται, ὀλέσεις, aor. ὤλεσα, ὀλέσ(σ)ῃς, ὄλοντο, οὐλόμενος, perf. ὀλώλῃ: to ruin, destroy, kill, lose; mid. and perf. to be destroyed, perish, die

    λαός –οῦ ὁ: the people

    ἀτασθαλία: presumptuous sin, recklessness, arrogance

    Τρώϊος: Trojan105

    ἑλκεσίπεπλος: with trailing robes

    βία –ας ἡ: bodily strength, force, power, might

    ἄντην: adv. face to face

    νέομαι: to go

    εὐκλεής –ές: famous, glorious110

    ἀσπίς –ίδος ἡ: shield

    κατατίθημι: to lay down, set down

    ὀμφαλόεις: bossed, studded

    κόρυς –υθος ἡ: a helmet

    βριαρός: heavy

    δόρυ, gen. δόρατος or δουρός: timber, beam, spear

    ἐρείδω: to lean, prop, support

    Ἀχιλλεύς -έως or -ῆος ὁ: Achilles, son of Peleus and Thetis, leader of the Myrmidons and Hellenes in Thessaly, the mightiest warrior before Troy, and the principal hero of the Iliad.

    ἀμύμων –ονος: blameless, noble, excellent

    ἀντίος -α or -ιη -ον: opposite, against

    οἱ (enclitic, dat. 3rd pers. pron.): (to) him, (to) her

    ὑπισχνέομαι, aor. imp. ὑπόσχεο, aor. inf. ὑποσχέσθαι: to promise

    Ἑλένη: Helen, daughter of Zeus, sister of Castor and Polydeuces, wife of Menelaus, mother of Hermione. Famed for her beauty. Carried off by Paris, son of Priam, to Troy, which was the root cause of the Trojan War. After the capture of Ilios she returned to Sparta with Menelaus.

    κτῆμα –ατος τό: a possession; (pl.) possessions, treasures

    Ἀλέξανδρος –ου ὁ: Paris, son of Priam, husband of Helen, and thus the author of the Trojan War.115

    κοῖλος -η -ον : hollow, hollowed

    Τροίανδε: to Troy

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

    νεῖκος –εος τό: a quarrel, strife

    Ἀτρεΐδης, gen. Ἀτρεΐδαο or Ἀτρεΐδεω: son of Atreus (either Agamemnon or Menelaus)

    ἀμφίς: apart, dividedly

    Ἀχαιός: Achaian

    ἀποδατέομαι, fut. ἀποδάσσομαι, fut. inf. ἀποδάσσεσθαι: to portion out, divide

    κεύθω: to hide, conceal, contain

    Τρῶες: Trojans

    μετόπισθε: from behind, backwards, back

    γερούσιος: of the elders

    ὅρκος –ου ὁ: oath

    κατακρύπτω, fut. inf. κατακρύψειν: to hide, conceal120

    ἄνδιχα: in two parts

    δατέομαι: to divide, distribute

    κτῆσις –ιος ἡ: goods, possessions

    πτολίεθρον: city

    ἐπήρατος: lovely, charming, pleasant

    ἐντός: within, inside

    ἔργω, perf. pass. ἔρχαται: to press, shut in, hem in, confine, enclose, bound

    τίη: why? wherefore?

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

    διαλέγομαι: to converse with, debate

    μιν: him, her, it

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

    ἐλεέω, aor. ἐλέησε: to pity, take pity

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

    κτείνω, aor. subj. κτείνῃς, aor. (ἔ)κτανε(ν) and ἔκτα, aor. mid. as pass. κτάμενος: to slay, kill

    γυμνός –ή –όν: naked, unclad, unmarried

    αὔτως: in this very manner, even so, just so, as it is, merely; νήπιον αὔτως 'merely a child'125

    τεῦχος –εος τό: (pl.) arms, armor

    δύω, fut. δύσω, aor. inf. δῦσαι, aor. mid. (ἐ)δύσετο, aor. ἔδυ, perf. δέδυκεν: to enter, go into, put on; πρὶν ἠέλιον δῦναι, before the sun set; γαῖαν ἐδύτην, (their souls) entered the earth

    δρῦς –υός ἡ: an oak tree

    πέτρη: rock, cliff, stone

    ὀαρίζω, inf. ὀαριζέμεναι: to chat, gossip

    παρθένος –ου ἡ: a maiden

    ἠίθεος: (unmarried) youth

    βέλτερος: better

    αὖτε: again, on the other hand, however, but

    ἔρις –ιδος ἡ: strife

    συνελαύνω: to meet, clash

    ὁππότερος: which of two130

    Ὀλύμπιος: Olympian, of Olympus, dwelling on Olympus

    εὖχος –εος τό: glory, honor, victory

    ὀρέγω: to reach, stretch, stretch out

     

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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-98-130