Homer Iliad 3.38

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Hector beheld and thus upbraided him
Harshly: "O luckless Paris, nobly formed,
Yet woman-follower and seducer! Thou
Shouldst never have been born, or else at best
Have died unwedded; better were it far,
50
Than thus to be a scandal and a scorn
To all who look on thee. The long-haired Greeks,
How they will laugh, who for thy gallant looks
Deemed thee a hero, when there dwells in thee
No spirit and no courage? Wast thou such
55
When, crossing the great deep in thy stanch ships
With chosen comrades, thou didst make thy way
Among a stranger-people and bear off
A beautiful woman from that distant land,
Allied by marriage-ties to warrior-men,
60
A mischief to thy father and to us
And all the people, to our foes a joy,
And a disgrace to thee? Why couldst thou not
Await Atrides? Then hadst thou been taught
From what a valiant warrior thou didst take
65
His blooming spouse. Thy harp will not avail,
Nor all the gifts of Venus, nor thy locks,
Nor thy fair form, when thou art laid in dust.
Surely the sons of Troy are faint of heart,
Else hadst thou, for the evil thou hast wrought,
70
Been laid beneath a coverlet of stone."
Then Paris, of the godlike presence, spake
In answer: "Hector, thy rebuke is just;
Thou dost not wrong me. Dauntless is thy heart;
'T is like an axe when, wielded by the hand
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That hews the shipwright's plank, it cuts right through,
Doubling the wielder's force. Such tameless heart
Dwells in thy bosom. Yet reproach me not
With the fair gifts which golden Venus gave.
Whatever in their grace the gods bestow
80
Is not to be rejected: 't is not ours
To choose what they shall give us. But if thou
Desirest to behold my prowess shown
In combat, cause the Trojans and the Greeks
To pause from battle, while, between the hosts,
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I and the warlike Menelaus strive
In single fight for Helen and her wealth.
Whoever shall prevail and prove himself
The better warrior, let him take with him
The treasure and the woman, and depart;
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While all the other Trojans, having made
A faithful league of amity, shall dwell
On Ilium's fertile plain, and all the Greeks
Return to Argos, famed for noble steeds,
And to Achaia, famed for lovely dames."
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Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 3.38 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.) — 3.38 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.) — 3.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.38 focus
Then Hector upbraided him. “Paris,” said he, “evil-hearted Paris, fair to see, but woman-crazed, and false of tongue, [40] would that you had never been born, or that you had died unwed. Better so, than live to be disgraced and looked at askance. Will not the flowing-haired Achaeans mock at us and say that we have sent one to champion us who is fair to look at [45] but has neither might [ biē] in his heart nor any strength? Even so, did you not gather together oarsmen as your companions and set sail on the sea [ pontos]? Did you not carry off a lovely woman from a far country, already wedded among a people of warriors— [50] to bring sorrow upon your father, your city, and your whole locale [ dēmos], but joy to your enemies, and hang-dog shamefacedness to yourself? And now can you not dare face warlike Menelaos and learn what manner of man he is whose wife you have stolen? Where indeed would be your lyre and your love-tricks, [55] your comely locks and your fair favor, when you were lying in the dust before him? The Trojans are a weak-kneed people, or before this you would have had a shirt of stones for the wrongs you have done them.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 3.38 focus
As godlike Hector sees the prince retreat, 1
He thus upbraids him with a generous heat:
'Unhappy Paris! but to women brave!
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'So fairly form'd, and only to deceive!
'Oh, hadst thou died when first thou saw'st the light,
'Or died at least before thy nuptial rite!
'A better fate, than vainly thus to boast,
'And fly, the scandal of thy Trojan host.
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'Gods! how the scornful Greeks exult to see
'Their fears of danger undeceiv'd in thee!
'Thy figure promis'd with a martial air,
'But ill thy soul supplies a form so fair.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 3.38 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 3.38 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 3.38 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

New Alexandria Commentaries

Douglas Frame

example of possibility that in places Menelaos’s name was interpreted differently from the standard “he who reminds the warfolk”

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Gregory Nagy

The Master Narrator of the Homeric Iliad is looking here at Helen for the very first time—or, to say it more accurately, as if for the very first time. Just as Rhapsody 2 needed a new Catalogue of Ships—or, again to say it more accurately—a renewed Catalogue, so also Rhapsody 3 needs a new look at Helen. It seems as if the Trojan War is happening all over again, starting from the very beginning. The old grievances of Menelaos about the abduction of Helen by Paris can now be renewed and even relived, becoming fresh new grievances as the estranged husband and the new lover proceed to engage in mortal combat. But this one-on-one struggle over life and death will soon modulate into a renewal of all-out war between the Achaeans and the Trojans.

draft js image errorMenelaos pulling Paris by the helmet. Detail of Roman sarcophagus of Aurelia Botania Demetria (2nd c. CE); Antalya Archaeological Museum. Photo via Wikimedia Commons.

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In situations of strife among heroes as warriors, there is contention over status. Quarreling happens, as indicated here by way of the verb neikeîn ‘quarrel with’. Positive things about each warrior need to be praised, but negative things need to be blamed. At stake for each contending warrior-hero is the honor that he is apportioned in the course of any contention, and the contention itself is expressed by way of negative and positive speech, that is, by way of blame and praise respectively. Such an apportioning of honor is the essence of a warrior-hero’s aisa, which is visualized not only as a portion of plundered goods that gets apportioned to each warrior after such goods are communally divided (as at I.18.327) but also, in general, as a warrior’s ‘fate, destiny’ (as at I.01.416, and so on). The same can be said about the word moira, which can mean not only a ‘portion’ of plundered goods (as at O.11.534) or even of sacrificial meat (as at O.03.066) but also, in general, ‘fate, destiny’ (as at I.06.488, and so on). What is at stake, in the long run, is the aisa or moira of each contending warrior-hero. And this aisa or moira, in the sense of a ‘portion’ that is being apportioned, becomes the warrior’s ‘fate’ or ‘destiny’ in the poetry that tells about him. To restate in colloquial English: aisa or moira becomes the “bone of contention” in the language of praise and blame. Here at I.03.059 as also at I.06.333, Paris actually accepts the words of blame directed at him by his quarreling brother. He says that these words fit his own aisa, admitting that Hector’s words of blame here are kat’ aisan ‘in accord with aisa’ (κατ’ αἶσαν) and not huper aisan ‘in disaccord with aisa’ (ὑπὲρ αἶσαν). We find in Homeric diction comparable combinations of moira, synonym of aisa, with the same adverbs/prepositions kata ‘in accord with’ and huper ‘in disaccord with’, as for example in the case of kata moiran at I.09.059 (κατὰ μοῖραν) and huper moiran at I.20.336 (ὑπὲρ μοῖραν). Further, when the actual words of praise or blame fit the aisa or moira of a given warrior-hero, they will fit not only his destiny but even the overall plot of the epic, as at I.16.707 in the case of aisa and at Ι.16.853 in the case of moira. The plot of epic has a destiny of its own, and this overarching destiny integrates all the individual destinies of the heroes who populate the epic.

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Richard Martin

Hektor's direct insults to his brother Paris at 3.38-57 deploy every flyting device. Paris' response is described as a muthos (3.76 and 3.87), and his proposal to stage a duel produces a temporary harmony within Trojan ranks, as it opens the possibility of ending the larger neikos of the war. Yet Paris' muthos, set in the context of a fraternal dispute, still bears the marks of flyting discourse. It includes a strong prohibitive—"Do not bring up against me the lovely gifts of Aphrodite"—which is the rhetorical equivalent of a denial of responsibility. Another mark is the comparison of Hektor's heart and mind to a woodsman's unwearied axe (3.61-64). In Homer's diction, the adjective ateirēs either describes a bronze weapon or a voice raised in rough encouragement mixed with rebuke; Hektor has used the same rare word (katēpheiē, 3.51) in his flyting speech. Paris' retort, "your heart is like an 'unwearied' axe," thus registers Hektor's tone of voice while also suggesting that Hektor requires flyting language as compensation for lack of power in arms. Paris' manipulation of poetic simile is a dexterous face-saving performance that proves to be an accurate prediction of Hektor's ultimate dilemma (Martin 1993:74-75).

For the broader analysis of flyting as a muthos genre, 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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