Homer Iliad 3.146

ed. George Chapman

View: By Book

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.) — 3.146 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.) — 3.146 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.) — 3.161 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.146 focus
The two sages, Oukalegon and Antenor, elders of the people, were seated by the Scaean gates, with Priam, Panthoös, Thymoetes, Lampos, Klytios, and Hiketaon, of the lineage of Arēs. [150] These were too old to fight, but they were fluent orators, and sat on the tower like cicadas that chirrup delicately from the boughs of some high tree in a wood. When they saw Helen coming towards the tower, [155] they said softly to one another, “There is no way to wish for retribution [ nemesis] that Trojans and strong-greaved Achaeans should endure so much and so long, for the sake of a woman so marvelously and divinely lovely. Still, fair though she be, let them take her and go, [160] or she will breed sorrow for us and for our children after us.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 3.146 focus
Straight to the Scean gates they walked, by which
Panthoüs, Priam, and Thymætes sat,
Lampus and Clytius, Hicetaon sprung
185
From Mars, Antenor and Ucalegon,
Two sages, -elders of the people all.
Beside the gates they sat, unapt, through age,
For tasks of war, but men of fluent speech,
Like the cicadas that within the wood
190
Sit on the trees and utter delicate sounds.
Such were the nobles of the Trojan race
Who sat upon the tower. But when they marked
The approach of Helen, to each other thus
With winged words, but in low tones, they said:
195
"Small blame is theirs, if both the Trojan knights
And brazen-mailed Achaians have endured
So long so many evils for the sake
Of that one woman. She is wholly like
In feature to the deathless goddesses.
200
So be it: let her, peerless as she is,
Return on board the fleet, nor stay to bring
Disaster upon us and all our race."
So spake the elders. Priam meantime called
To Helen: "Come, dear daughter, sit by me.
205
Thou canst behold thy former husband hence,
Thy kindred and thy friends. I blame thee not;
The blame is with the immortals who have sent
These pestilent Greeks against me. Sit and name
For me this mighty man, the Grecian chief,
210
Gallant and tall. True, there are taller men;
But of such noble form and dignity
I never saw: in truth, a kingly man."
And Helen, fairest among women, thus
Answered: "Dear second father, whom at once
215
I fear and honor, would that cruel death
Had overtaken me before I left,
To wander with thy son, my marriage-bed,
And my dear daughter, and the company
Of friends I loved. But that was not to be;
220
And now I pine and weep. Yet will I tell
What thou dost ask. The hero whom thou seest
Is the wide-ruling Agamemnon, son
Of Atreus, and is both a gracious king
And a most dreaded warrior. He was once
225
Brother-in-law to me, if I may speak -
Lost as I am to shame- of such a tie."
She said, the aged man admired, and then
He spake again: "O son of Atreus, born
Under a happy fate, and fortunate
230
Among the sons of men! A mighty host
Of Grecian youths obey thy rule. I went
To Phrygia once, - that land of vines, - and there
Saw many Phrygians, heroes on fleet steeds,
The troops of Otreus, and of Mygdon, shaped
235
Like one of the immortals. They encamped
By the Sangarius. I was an ally;
My troops were ranked with theirs upon the day
When came the unsexed Amazons to war.
Yet even there I saw not such a host
240
As this of black-eyed Greeks who muster here."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 3.146 focus
There sat the seniors of the Trojan race;
(Old Priam's chiefs, and most in Priam's grace;)
The king the first; Thymoetes at his side;
Lampus and Clytius, long in council tried;
Panthus, and Hicetaon, once the strong;
195
And next the wisest of the reverend throng,
Antenor grave, and sage Ucalegon,
Lean'd on the walls, and bask'd before the sun.
Chiefs, who no more in bloody fights engage,
But, wise through time, and narrative with age,
200
In summer-days like grasshoppers rejoice, 1
A bloodless race, that send a feeble voice.
These, when the Spartan queen approach'd the tower,
In secret own'd resistless Beauty's power:
They cried, 'No wonder, such celestial charms
205
'For nine long years have set the world in arms!
'What winning graces! what majestic mien!
'She moves a goddess, and she looks a queen.
'Yet hence, oh heaven! convey that fatal face,
'And from destruction save the Trojan race.'
210
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 3.146 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 3.146 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

Notes on the current edition

Iliad

1. Spiny. Nares says he never met with this word. Thin, thorny-looking. It is peculiarly expressive here.
2. Only presence—his mere appearance.
3. Pines—causes to pine.
4. Contained my blood—restrained my passions.

New Alexandria Commentaries

Douglas Frame

analysis of the suggestion of Helen’s earlier abduction, otherwise not told, in the Iliad

source

analysis of Hector and Polydamas as treated as virtual twins in the Iliad, though not actually even brothers (as this line about Polydamas’ father shows)

source
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.

source

The Trojan War is eris ‘strife’. See also eris ‘strife’ at Pindar Paean 6.50–53. That is how this war is seen in the words of Menelaos the Achaean, who claims a juridical grievance on the part of the Achaeans against the Trojans. In terms of the thinking revealed by these words, the beginning of the strife was the abduction of Helen, wife of Menelaos the Achaean, by Paris the Trojan. Accentuating the idea that this juridical grievance of Menelaos was an affair of state is the reference to Paris here by way of his princely name, Alexandros. In royal Hittite correspondences where the Hittite king speaks to and about the king of Ahhiyawa—which is the Hittite way of referring to the land of the Achaeans—we find occasional references to a princely figure by the name of Alaksandu, which is the Hittite pronunciation of Alexandros (Nagy 2015.07.22§25). By contrast, the name Paris is on the surface merely a shepherd’s name (on the symbolism, however, of the shepherd as a king-in-the-making, see Nagy 2009:309). In any case, the eris or ‘strife’ between the Achaeans and the Trojans was caused by ‘my strife’— according to Menelaos the Achaean. To say it more precisely in his words, the Trojan War was ‘because of my strife’ (εἵνεκ’ ἐμῆς ἔριδος). Correspondingly, the arkhē or ‘beginning’ of the strife as begun by Paris=Alexandros was ‘his beginning’ of that strife. To say it again more precisely in the words of Menelaos, the beginning of the Trojan War was ‘because of the beginning on the part of Paris=Alexandros’ (Ἀλεξάνδρου ἕνεκ’ ἀρχῆς). Here it is important to compare what was narrated in the Cypria, which as an epic belonging to a set of epics known as the epic Cycle. On the epic Cycle, see the inventory of Words and Ideas. In the Cypria of the epic Cycle as also in the Iliad, the Trojan War is likewise seen as eris ‘strife’. As we read in the plot-summary of the Cypria in Proclus 102.13–19 (ed. Allen 1912), it all began at a feast celebrating the marriage of Thetis and Peleus—a marriage that led to the conception of Achilles himself. It was the Will of Zeus that Eris ‘Strife’ personified would bring about a neikos ‘quarrel’ among the gods that would ultimately result in the Trojan War (Proclus 102.14/15 on Eris/neikos). As we see further in the plot-summary of the Cypria, Proclus 102.14–19, the Eris/neikos extends to the figure of Paris, who has to choose from among Hērā, Athena, and Aphrodite, Cypria/Proclus 102.14–19. This Judgment of Paris is recapitulated at I.24.025–030: the fact that Paris chose Aphrodite means that he aimed negative words at Hērā and Athena, as expressed by the verb neikeîn ‘quarrel with’ at I.24.029 (νείκεσσε), while he aimed positive words at Aphrodite, as expressed by the verb aineîn ‘praise’ at I.24.030 (ᾔνησ᾽). These verbs aineîn ‘praise’ and neikeîn ‘quarrel with’ express both the social and the poetic significance of praise and blame respectively.

source

Helen is seen here at I.03.125–128 for the first time in the Iliad. She is shown in the act of pattern-weaving. Instead of singing while weaving, she weaves her song into the web that she pattern-weaves. See also the comment on I.22.440–441, where comparable wording shows Andromache weaving a web of her own. In the case of Helen at I.03.125–128 here, the song that she weaves into her web is about the aethloi (āthloi) ‘ordeals’ of war suffered by Trojans and Achaeans alike—a war they suffered all because of her. The song of the Trojan War is the song of the Iliad—and it is Helen’s song. Purple is the dominant color of Helen’s web, matching the blood of war that stains her song. There also exists, however, a variant epithet for the web that Helen weaves at I.03.126: this diplax ‘pattern-woven fabric that folds in two’ is described in some medieval manuscript versions as porphureē ‘purple’ but in others as marmareē ‘gleaming’. For more on this variant marmareē ‘gleaming’, see the comment on I.22.440-441 on the web of Andromache.

source

This word en-passein ‘sprinkle’ conveys a metaphor for the process of pattern-weaving. See further at I.22.441.

source

See anchor comment at I.12.188.

source

By referring to the will of the gods in general instead of the Will of Zeus in particular, Priam avoids saying directly that the abduction of Helen is part of the overarching plot of the Homeric Iliad.

source
Leonard Muellner

analysis of the meaning of diakridon, and the disengagement of armies (as in this line) as an example of it

source

analysis of the meaning of diakridon, and the disengagement of armies (as in this line) as an example of it

source

variant reading at this verse (porphureē/marmareē)

source

analysis of grieving as social and here of goos as the product of himeros, which is also sexual desire associated with Aphrodite and philotēs

source
Richard Martin

During the teikhoskopia, Antenor associates the word muthos with well-made plans (mēdea) (3.212-17). The passage shows a clear correspondence between the adjectives polumuthos and polumētis, "with much clever intelligence": mētis, in turn, bears a close relation to mēdea in Greek. Muthos is correlated elsewhere in the poem with words for counsel (boulē) and intellect (noēma) (Martin 1993:15).

source

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.

source

The speeches that Homer gives his characters further the narrative strategy of ranking heroic worth, as can be seen in the teikhoskopia in Book 3, a device designed to turn the narrator's exposition of mundane fact into a dramatically persuasive scene. At the same time, the speeches embody an assumption, often overlooked: that heroes themselves can evaluate one another's "style," particularly in the act of speaking. Along with characterizing Agamemnon and the others in terms of physique and prowess, this scene serves to show us speech styles, through the reminiscences of Antenor. The details he notices when recalling an earlier visit to Troy by Menelaos and Odysseus relate specifically to the "performance" of muthoi (3.212-23): "But when they wove speeches (muthoi) and plans for all... Menelaos discoursed in running fashion, speaking little, but very clearly (ligeōs), since he is not much with words (polumuthos) nor one to cast words about (apharmatoepēs)... But when Odysseus much with wiles got up, he'd stand, he'd look down fixing his eyes on the ground... keeping still, looking like a witless man. Yet when he let the great voice out of his chest, and the words (epea), like winter flakes of snow, that is when no other mortal could contend with Odysseus" (Martin 1993:95-96).

Antenor assumes that there is a code of behavior for speakers in such situations, a set of performance conventions: one should move the scepter to make a point, for instance. Odysseus employs an unconventional strategy for capturing his audience, a style that plays off the shared knowledge of conventions, and thereby foregrounds his rhetorical act. By creatively modifying traditional material, Odysseus brings about a memorable performance. He creates a contrast between his appearance and the reality of his oratorical power; he characterizes himself by a muthos, the perfect vehicle for self-presentation. Such stylistic awareness is a cultural, and not just a "sophisticated," poetic process (Martin 1993:96).

The heroes' concern with speech style springs from the need to differentiate oneself and establish status, an imperative found in ethnographic descriptions of competitive cultures. That the status of a person is rated before the hero's speech emerges from Diomedes' remark, after giving his genealogy in full, that the Achaeans cannot now devalue his performance (muthon atimēsaite, 14.127) by calling him strengthless and ignoble. Speech style, status, and ranking must be taken as related manifestations of the workings of the all-important concept of timē (Martin 1993:97-98).

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

source

Homer pictures the Trojan elders as spectators to the action, rather than participants; this emerges later in the famous scene on the wall, where they are described as "stopped by old age from warring, but fine public speakers (agorētai), like cicadas" (3.150-51). Their style is not more harshly judged only because the Trojan elders are innocuous. By heroic standards, it is certainly as distasteful as Thersites' style. Those who perform earn the right to talk, because deeds enacted automatically offer a defense against blame (Martin 1993:110-11).

For the broader analysis of Thersites as the negative foil and the performance value of akritomuthos, see the comment on Iliad 2.211-243.

References

Martin, R. P. 1993. The Language of Heroes: Speech and Performance in the Iliad. Ithaca.

source