But when Aurora, daughter of the Dawn,
  Redden’d the east, then, thronging forth, all Troy
  Encompass’d noble Hector’s pile around. 995
  The whole vast multitude convened, with wine
  They quench’d the pile throughout, leaving no part
  Unvisited, on which the fire had seized. 
  His brothers, next, collected, and his friends,
  His white bones, mourning, and with tears profuse 1000
  Watering their cheeks; then in a golden urn
  They placed them, which with mantles soft they veil’d
  Maeonian-hued, and, delving, buried it,
  And overspread with stones the spot adust. 
  Lastly, short time allowing to the task, 1005
  They heap’d his tomb, while, posted on all sides,
  Suspicious of assault, spies watch’d the Greeks. 
  The tomb once heap’d, assembling all again
  Within the palace, they a banquet shared
  Magnificent, by godlike Priam given. 1010

Such burial the illustrious Hector found.[20]

* * * * *

[I cannot take my leave of this noble poem, without expressing how much I am struck with this 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.  I recollect nothing, among the works of mere man, that exemplifies so strongly the true style of great antiquity.]—­TR.

FOOTNOTES

Footnotes for Book I: 
1.  “Latona’s son and Jove’s,” was Apollo, the tutelary deity of the
   Dorians.  The Dorians had not, however, at this early age, become
   the predominant race in Greece proper.  They had spread along the
   eastern shores of the Archipelago into the islands, especially
   Crete, and had every where signalized themselves by the Temples of
   Apollo, of which there seems to have been many in and about Troy. 
   These temples were schools of art, and prove the Dorians to have
   been both intellectual and powerful.  Homer was an Ionian, and
   therefore not deeply acquainted with the nature of the Dorian god. 
   But to a mind like his, the god of a people so cultivated, and
   associated with what was most grand in art, must have been an
   imposing being, and we find him so represented.  Throughout the
   Iliad, he appears and acts with splendor and effect, but always
   against the Greeks from mere partiality to Hector.  It would perhaps
   be too much to say, that in this partiality to Hector, we detect
   the spirit of the Dorian worship, the only Paganism of antiquity
   that tended to perfect the individual—­Apollo being the expression
   of the moral harmony of the universe, and the great spirit of the
   Dorian culture being to make a perfect man, an incarnation of the
   {kosmos}.  This Homer could only have known intuitively.