Homer Iliad 3.1

ed. George Chapman

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Iliad. Homer. ed. George Chapman. London. 1887.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1611, ed. Hooper 1857))

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.) — 3.1 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.) — 3.1 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.) — 3.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.1 focus
When the companies were thus arrayed, each under its own chief, the Trojans advanced as a flight of wild fowl or cranes that scream overhead when rain and winter [5] drive them over the flowing waters of Okeanos to bring death and destruction on the Pygmies, and they wrangle in the air as they fly; but the Achaeans marched silently, in high heart, and minded to stand by one another.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 3.1 focus
NOW when both armies were arrayed for war,
1
Each with its chiefs, the Trojan host moved on
With shouts and clang of arms, as when the cry
Of cranes is in the air, that, flying south
From winter and its mighty breadth of rain,
5
Wing their way over ocean, and at dawn
Bring fearful battle to the pigmy race,
Bloodshed and death. But silently the Greeks
Went forward, breathing valor, mindful still
To aid each other in the coming fray.
10
As when the south wind shrouds a mountain-top
In vapors that awake the shepherd's fear,
A surer covert for the thief than night, -
And round him one can only see as far
As one can hurl a stone, - such was the cloud
15
Of dust that from the warriors' trampling feet
Rose round their rapid march and filled the air.
Now drew they near each other, face to face,
And Paris in the Trojan van pressed on,
In presence like a god. A leopard's hide
20
Was thrown across his shoulders, and he bore
A crooked bow and falchion. Brandishing
Two brazen-pointed javelins, he defied
To mortal fight the bravest of the Greeks.
Him Menelaus, loved of Mars, beheld
25
Advancing with large strides before the rest;
And as a hungry lion who has made
A prey of some large beast - a hornèd stag
Or mountain goat-rejoices, and with speed
Devours it, though swift hounds and sturdy youths
30
Press on his flank, so Menelaus felt
Great joy when Paris, of the godlike form,
Appeared in sight, for now he thought to wreak
His vengeance on the guilty one, and straight
Sprang from his car to earth with all his arms.
35
But when the graceful Paris saw the chief
Come toward him from the foremost ranks, his heart
Was troubled, and he turned and passed among
His fellow-warriors and avoided death.
As one who meets within a mountain glade
40
A serpent starts aside with sudden fright,
And takes the backward way with trembling limbs
And cheeks all white, - the graceful Paris thus
Before the son of Atreus shrank in fear,
And mingled with the high-souled sons of Troy.
45
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 3.1 focus
THUS by their leader's care each martial band
1
Moves into ranks, and stretches o'er the land.
With shouts the Trojans, rushing from afar,
Proclaim their motions, and provoke the war:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 3.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 3.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

Notes on the current edition

Iliad

1. His brave—bravado, boasting speech, or challenge. A very frequent word.
2. Her dear wreath—the wreath, or victor's crown, the sign of conquest. Here put for Helen herself.
3. Clanges—so both the folios. Dr. Taylor has printed clangour. I have retained the old reading, as Chapman probably meant it for the plural of clange or clang.
4. Unsuffer'd—insufferable.
5. Pygmei—Pygmy, the battle of the Cranes and Pygmies.
6. Thankless—not liked by, not grateful to.
7. Allow'd—liked by, approved of.
"O heavens / If you do love old men, if your sweet sway / Allow obedience."
— SHAKESPEARE. Lear, II. 4.
8. That blinds a stone's cast off men's eyes—that prevents one seeing beyond a stone's throw.
9. So thirsted wreak—so desired revenge.

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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Hector quarrels with Paris, as signaled by the verb neikeîn ‘quarrel with’. He aims words of blame at Paris, and these words are aiskhra ‘disgraceful, shameful’ because they are meant to make Paris feel ashamed. Hector’s words are shaming, since he blames things done by Paris that are perceived as shameful and disgraceful.

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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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Leonard Muellner

analysis of khaire/khairete followed by an aporetic question as signalling a shift in perspective but not in subject, i.e. a deferral of metabasis and a prolongation of the first subject

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analysis of words as a form of action in epic, here an example of antibios being applied to both physical and verbal exchanges

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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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