Homer Iliad 7.1

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THE illustrious Hector spake, and rapidly
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Passed through the gate, and with him issued forth
His brother Alexander, - eager, both,
For war and combat. As when God bestows,
To glad the long-expecting mariners,
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A favorable wind while wearily
They beat the ocean with their polished oars,
Their arms all nerveless with their length of toil, -
Such to the expecting Trojans was the sight
Of the two chiefs. First Alexander slew
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Menesthius, who in Arne had his home,
A son of Areïthoüs the king.
Large-eyed Philomedusa brought him forth
To the mace-bearer Areïthoüs.
And Hector smote Eïoneus, the spear
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Piercing his neck beneath the brazen casque,
And straightway he dropped lifeless. Glaucus then -
Son of Hippolochus, and chief among
The Lycians in that fiery onset slew
Iphinoüs, son of Dexius, with his spear.
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It pierced the warrior's shoulder as he sprang
To mount his rapid car, and from the place
He fell to earth, his limbs relaxed in death.
Now when Minerva of the azure eyes
Beheld them in the furious combat thus
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Wasting the Grecian host, she left the peaks
Of high Olympus, and came down in haste
To sacred Ilium. Straight Apollo flew
To meet her, for he marked from Pergamus
Her coming, and he greatly longed to give
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The victory to the Trojans. As they met
Beside the beechen tree, the son of Jove,
The king Apollo, spake to Pallas thus:-
"Why hast thou, daughter of imperial Jove,
Thus left Olympus in thine eager haste?
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Seek'st thou to turn in favor of the Greeks
War's wavering chances? - for I know too well
Thou hast no pity when the men of Troy
Are perishing. But, if thou wilt give ear
To me, I shall propose a better way.
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Cause we the conflict for this day to cease,
And be it afterward renewed until
An end be made of Troy, since it hath pleased
You, goddesses, to lay the city waste."
And blue-eyed Pallas answered: "Be it so,
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O mighty Archer. With a like intent
I left Olympus for this battle-field
Of Greeks and Trojans. But by what device
Think'st thou to bring the combat to a pause?"
Then spake the king Apollo, son of Jove,
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In turn to Pallas: "Let us seek to rouse
The fiery spirit of the Trojan knight
Hector, that he may challenge in the field
Some Greek to meet him, singly and alone,
In mortal combat. Then the well-armed Greeks,
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Stung by the bold defiance, will send forth
A champion against Priam's noble son."

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.) — 7.1 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.) — 7.1 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.) — 7.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.1 focus
With these words Hector, the glorious, passed through the gates, and his brother Alexandros with him, both eager for the fray. As when some god sends [5] a breeze to sailors who have long looked for one in vain, and have labored at their oars till they are faint with toil, even so welcome was the sight of these two heroes to the Trojans.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.1 focus
So spoke the guardian of the Trojan state,
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Then rush'd impetuous through the Scæan gate.
Him Paris follow'd to the dire alarms;
Both breathing slaughter, both resolv'd in arms.
As when to sailors labouring through the main,
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That long had heav'd the weary oar in vain,
Jove bids at length th' expected gales arise;
The gales blow grateful, and the vessel flies:
So welcome these to Troy's desiring train:
The bands are cheer'd, the war awakes again.
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 7.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 7 focus

New Alexandria Commentaries

Gregory Nagy

Up to now, Diomedes has been the hero who comes closest to Achilles in competing for the title ‘best of the Achaeans’. Here in Rhapsody 7, however, the focus shifts to Ajax, who responds to the challenge of Hector to fight in a duel the one hero among all the Achaeans who is truly the ‘best of the Achaeans’. As we know from the overall references to Ajax in both the Iliad and the Odyssey, this hero is considered to be the second-best of the Achaeans in both epics. So, it does not bode well for Hector that, in his duel with Ajax, he cannot succeed beyond fighting such a hero to a draw. If Hector can do no better than fight to a draw the second-best of the Achaeans, he is surely doomed when the time comes for him to face the very best of the Achaeans in Rhapsody 22.

draft js image errorHector and Ajax separated by heralds, pen and ink drawing by John Flaxman, 1790’s Victoria and Albert Museum

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The hero Dexiades is described at I.07.015 by way of the participle epi-almenos meaning ‘one who leaps on’, and the preverb epi- ‘on’ of the participle takes as its object the noun hippoi ‘horses’ in the genitive case. But the meaning of this combination is not ‘one who leaps on horses’ but rather ‘one who leaps on the chariot drawn by horses’. That, is, hippoi in such a context is an elliptic plural referring not only to the two horses that conventionally draw a chariot in Homeric diction but to the chariot drawn by the two horses. In the action being described here, the same hero Dexiades is mortally wounded at I.07.13 by a spear-throw that hits him and knocks him out of the chariot, and here the preposition ex ‘out of’ in combination with the noun hippoi ‘horses’ as its grammatical object in the genitive case means that the hero has been knocked off the platform of the chariot, falling out of the chariot and landing on the ground with a mighty thud. In short, then, epi + the genitive of hippoi at I.07.11 means ‘on the chariot’, with reference to standing on the platform of a chariot, while ex + the genitive of hippoi at I.07.13 means ‘out of the chariot’, with reference to getting knocked out of the chariot while standing on the platform.

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In general, the noun hippoi/hippō as elliptic plural/dual means not ‘horses’ but ‘chariot’ when this noun functions as a grammatical object in the genitive (G) or dative (D) or accusative (A) case in combination with prepositions or preverbs referring to such situations as standing on the platform of a chariot (epi+G, epi+D) or leaping down from the platform (apo+G, kata+G) or leaping up onto the platform (epi+G, eis+A) or getting knocked off and falling down from the platform (ek+G, kata+G). What follows is a list showing these occurrences of the word hippoi/hippō with the elliptic meaning of ‘chariot’ but not showing other occurrences where the ellipsis is canceled by way of correlating this word with other words like harma and diphros, both of which have the non-elliptic meaning of ‘chariot’. Here, then, are occurrences showing only hippoi/hippō with the elliptic meaning of ‘chariot’ and without an explicit mention of harma ‘chariot’ or diphros ‘chariot’: I.03.265 (ek+G), I.04.500 (para+G), I.05.013 (apo+G/D), I.05.019 (apo+G), I.05.046 (epi+G), I.05.111 (kata+G), I.05.163 (ek+G), I.05.227 (apo+G), I.05.249 (epi+G), I.05.255 (epi+G), I.05.321 (epi+A), I.05.328 (epi+G), I.05.835 (apo+G), I.06.232 (kata+G), I.07.013 (epi+G), I.07.015 (ek+G), I.07.240 (epi+G), I.08.127 (epi+G), I.08.492 (ek+apo+G), I.10.330 (epi+D), I.10.513 (epi+G), I.10.529 (epi+G), I.11.094 (ek+G), I.11.109 (ek+G), I.11.143 (apo+G), I.11.179 (ek+G), I.11.192 (eis+A), I.11.207 (eis+A), I.11.320 (apo+G), I.11.423 (kata+G), I.12.082 (epi+G), I.14.435 (ek+G), I.15.386 (apo+G), I.15.447 (kata+A), I.16.343 (epi+G), I.16.733 (apo+G), I.16.749 (ek+G), I.16.755 (apo+G), I.17.460 (epi+D), I.17.40 (apo+G), I.17.501 (epi+A), I.18.531 (epi+G), I.19.396 (epi+G/D), I.20.401 (kata+G), I.20.461 (ek+G), I.24.051 (ek+G), I.24.356 (epi+G), I.24.459 (ek+G), I.24.469 (ek+G). These elliptic usages compensate, in part, for the fact that the Mycenaean word for ‘chariot’, hikkʷiā (spelled i-qi-ja in the Linear B tablets), is missing in Homeric diction, where it would be pronounced hippiā. The metrical shape of such a form, long-short-long, would be incompatible with the rhythmical contour of the dactylic hexameter, which generally does not tolerate forms that have such a shape. But the survival of elliptic plural/dual hippoi/hippō* is not necessarily a substitution for the missing hippiā*, nor is it justified to assume that such elliptic forms represent some kind of deformity in Homeric diction.

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The divinities Athena and Apollo are not only supporting the Achaeans and the Trojans respectively. They are also opposing the Trojans and the Achaeans respectively. Even more than that, these divinities are also personally antagonistic toward individual heroes: Athena opposes Hector while Apollo opposes Achilles. In this passage, the antagonism between Athena and Hector is particularly evident. When the seer Helenos at I.07.047 addresses his brother Hector by describing him as comparable to the god Zeus himself with respect to Hector’s qualities of mētis ‘mind, intelligence’, the wording of this description is a direct affront to the divinity of Athena, who is the goddess of mētis ‘mind, intelligence’ personified.

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The role of Athena in awarding nīkē ‘victory’ to the Achaeans is only secondary, while the corresponding role of Zeus is primary.

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