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First to the palace let the car proceed, Then pour your boundless sorrows o'er the dead." The waves of people at his word divide, Slow rolls the chariot through the following tide;
Even to the palace the sad pomp they wait: They weep, and place him on the bed of state. A melancholy choir attend around, With plaintive sighs, and music's solemn sound:
Alternately they sing, alternate flow The obedient tears, melodious in their woe. While deeper sorrows groan from each full heart, And nature speaks at every pause of art.
First to the corse the weeping consort flew; Around his neck her milk–white arms she threw, "And oh, my Hector! Oh, my lord! (she cries) Snatch'd in thy bloom from these desiring eyes!
Thou to the dismal realms for ever gone! And I abandon'd, desolate, alone! An only son, once comfort of our pains, Sad product now of hapless love, remains!
Never to manly age that son shall rise, Or with increasing graces glad my eyes: For Ilion now (her great defender slain) Shall sink a smoking ruin on the plain.
Who now protects her wives with guardian care? Who saves her infants from the rage of war? Now hostile fleets must waft those infants o'er (Those wives must wait them) to a foreign shore:
Thou too, my son, to barbarous climes shall go, The sad companion of thy mother's woe; Driven hence a slave before the victor's sword Condemn'd to toil for some inhuman lord:
Or else some Greek whose father press'd the plain, Or son, or brother, by great Hector slain, In Hector's blood his vengeance shall enjoy, And hurl thee headlong from the towers of Troy.[297]
For thy stern father never spared a foe: Thence all these tears, and all this scene of woe! Thence many evils his sad parents bore, His parents many, but his consort more.
Why gav'st thou not to me thy dying hand? And why received not I thy last command? Some word thou would'st have spoke, which, sadly dear, My soul might keep, or utter with a tear;
Which never, never could be lost in air, Fix'd in my heart, and oft repeated there!" Thus to her weeping maids she makes her moan, Her weeping handmaids echo groan for groan.
The mournful mother next sustains her part: "O thou, the best, the dearest to my heart! Of all my race thou most by heaven approved, And by the immortals even in death beloved!
While all my other sons in barbarous bands Achilles bound, and sold to foreign lands, This felt no chains, but went a glorious ghost, Free, and a hero, to the Stygian coast.
Sentenced, 'tis true, by his inhuman doom, Thy noble corse was dragg'd around the tomb; (The tomb of him thy warlike arm had slain;) Ungenerous insult, impotent and vain!
Yet glow'st thou fresh with every living grace; No mark of pain, or violence of face: Rosy and fair! as Phoebus' silver bow Dismiss'd thee gently to the shades below."
Thus spoke the dame, and melted into tears. Sad Helen next in pomp of grief appears; Fast from the shining sluices of her eyes Fall the round crystal drops, while thus she cries.
"Ah, dearest friend! in whom the gods had join'd[298] Tne mildest manners with the bravest mind, Now twice ten years (unhappy years) are o'er Since Paris brought me to the Trojan shore,
(O had I perish'd, ere that form divine Seduced this soft, this easy heart of mine!) Yet was it ne'er my fate, from thee to find A deed ungentle, or a word unkind.
When others cursed the authoress of their woe, Thy pity check'd my sorrows in their flow. If some proud brother eyed me with disdain, Or scornful sister with her sweeping train, Thy gentle accents soften'd all my pain.
For thee I mourn, and mourn myself in thee, The wretched source of all this misery. The fate I caused, for ever I bemoan; Sad Helen has no friend, now thou art gone!
Through Troy's wide streets abandon'd shall I roam! In Troy deserted, as abhorr'd at home!" So spoke the fair, with sorrow–streaming eye. Distressful beauty melts each stander–by.
On all around the infectious sorrow grows; But Priam check'd the torrent as it rose: "Perform, ye Trojans! what the rites require, And fell the forests for a funeral pyre;
Twelve days, nor foes nor secret ambush dread; Achilles grants these honours to the dead."[299]

FUNERAL OF HECTOR.

He spoke, and, at his word, the Trojan train Their mules and oxen harness to the wain, Pour through the gates, and fell'd from Ida's crown, Roll back the gather'd forests to the town.
These toils continue nine succeeding days, And high in air a sylvan structure raise. But when the tenth fair morn began to shine, Forth to the pile was borne the man divine,
And placed aloft; while all, with streaming eyes, Beheld the flames and rolling smokes arise. Soon as Aurora, daughter of the dawn, With rosy lustre streak'd the dewy lawn,
Again the mournful crowds surround the pyre, And quench with wine the yet remaining fire. The snowy bones his friends and brothers place (With tears collected) in a golden vase;
The golden vase in purple palls they roll'd, Of softest texture, and inwrought with gold. Last o'er the urn the sacred earth they spread, And raised the tomb, memorial of the dead.
(Strong guards and spies, till all the rites were done, Watch'd from the rising to the setting sun.) All Troy then moves to Priam's court again, A solemn, silent, melancholy train:
Assembled there, from pious toil they rest, And sadly shared the last sepulchral feast. Such honours Ilion to her hero paid, And peaceful slept the mighty Hector's shade.[300]

Conclusion

We have now passed through the Iliad, and seen the anger of Achilles, and the terrible effects of it, at an end, as that only was the subject of the poem, and the nature of epic poetry would not permit our author to proceed to the event of the war, it perhaps may be acceptable to the common reader to give a short account of what happened to Troy and the chief actors in this poem after the conclusion of it.

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297

Such was the fate of Astyanax, when Troy was taken.

"Here, from the tow'r by stern Ulysses thrown, Andromache bewail'd her infant son."

Merrick's Tryphiodorus, v. 675.

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298

The following observations of Coleridge furnish a most gallant and interesting view of Helen's character—

"Few things are more interesting than to observe how the same hand that has given us the fury and inconsistency of Achilles, gives us also the consummate elegance and tenderness of Helen. She is through the Iliad a genuine lady, graceful in motion and speech, noble in her associations, full of remorse for a fault for which higher powers seem responsible, yet grateful and affectionate towards those with whom that fault had committed her. I have always thought the following speech in which Helen laments Hector, and hints at her own invidious and unprotected situation in Troy, as almost the sweetest passage in the poem. It is another striking instance of that refinement of feeling and softness of tone which so generally distinguish the last book of the Iliad from the rest."—Classic Poets, p. 198, seq.

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299

"And here we part with Achilles at the moment best calculated to exalt and purify our impression of his character. We had accompanied him through the effervescence, undulations, and final subsidence of his stormy passions. We now leave him in repose and under the full influence of the more amiable affections, while our admiration of his great qualities is chastened by the reflection that, within a few short days the mighty being in whom they were united was himself to be suddenly cut off in the full vigour of their exercise.

The frequent and touching allusions, interspersed throughout the Iliad, to the speedy termination of its hero's course, and the moral on the vanity of human life which they indicate, are among the finest evidences of the spirit of ethic unity by which the whole framework of the poem is united."—Mure, vol. i. p 201.

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300

Cowper says,—"I cannot take my leave of this noble poem without expressing how much I am struck with the plain conclusion of it. It is like the exit of a great man out of company, whom he has entertained magnificently; neither pompous nor familiar; not contemptuous, yet without much ceremony." Coleridge, p. 227, considers the termination of "Paradise Lost" somewhat similar.