Homer Iliad 7.354

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.) — 7.354 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.) — 7.354 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.) — 7.396 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.354 focus
He then sat down [355] and radiant Alexandros husband of lovely-haired Helen rose to speak. “Antenor,” said he, “your words are not to my liking; you can find a better saying than this if you will; if, however, you have spoken in good earnest, [360] then indeed have the gods robbed you of your reason. I will speak plainly, and hereby notify to the Trojans that I will not give up the woman; but the wealth that I brought home with her from Argos I will restore, and will add yet further of my own.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.354 focus
He spake, and sat him down. The noble chief
450
Paris, the fair-haired Helen's husband, rose
To answer him, and spake this winged speech: -
"Thy words, Antenor, please me not. Thy skill
Could offer better counsels. If those words
Were gravely meant, the gods have made thee mad.
455
But let me here, amid these knights of Troy,
Speak openly my mind. Give up my wife
I never will; but all the wealth I brought
With her from Argos I most willingly
Restore, with added treasures of my own."
460
He said, and took his seat, and in the midst
Dardanian Priam rose, a counsellor
Of godlike wisdom, and thus sagely spake: -
"Hear me, ye Trojans, Dardans, and allies!
I speak the thought that rises in my breast.
465
Take now, as ye are wont, your evening meal,
And set a watch and keep upon your guard;
But let Idæus to the hollow ships
Repair at morning, and to Atreus' sons -
To Agamemnon and his brother king-
470
Make known what Paris, author of this strife,
Proposes, and with fairly ordered speech
Ask further if they will consent to pause
From cruel battle till we burn the dead :
Then be the war renewed till fate shall part
475
The hosts and give to one the victory."
He spake. The assembly listened and obeyed;
All through the camp in groups they took their meal.
But with the morn Idæus visited
The hollow ships, and found the Achaian chiefs,
480
Followers of Mars, in council near the prow
Of Agamemnon's bark; and, standing there,
The loud-voiced herald spake his message thus:-
"Ye sons of Atreus, and ye other chiefs
Of all the tribes of Greece, I come to you
485
From Priam and the eminent men of Troy,
To say, if it be pleasing to your ears,
What Alexander, author of the war,
Proposes. All the wealth which in his ships
He brought to Troy - would he had perished first! -
490
He will, with added treasures of his own,
Freely restore; but her who was the wife
Of gallant Menelaus he denies
To render back, though all who dwell in Troy
Join to demand it. I am furthermore
495
Bidden to ask if you consent to pause
From cruel battle till we burn our dead:
Then be the war renewed till fate shall part
The hosts and give to one the victory."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.354 focus
The senior spoke, and sat. To whom replied
The graceful husband of the Spartan bride:
'Cold counsels, Trojan, may become thy years,
430
'But sound ungrateful in a warrior's ears:
'Old man, if void of fallacy or art
'Thy words express the purpose of thy heart,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.354 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 7.354 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 7 focus

New Alexandria Commentaries

Douglas Frame

analysis of mētis and the phrase “began to weave mētis,” used of Nestor (as here), as implying deception

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discussion of the transmission of the text of the Homeric poems (via Athens), and this passage as an apparent fifth-century Athenian interpolation

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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 Achaeans, faced with Hector’s challenge, hesitate, I.07.092–093. Their hesitation seems to indicate that not one of them is really the ‘best of the Achaeans’. Finally, Menelaos is first to volunteer for a one-on-one duel with Hector, I.07.094–103. An absence of volunteers, Menelaos knows, would be aklees ‘a thing without glory [kleos]’, I.07.100. It seems of course fitting for him to be the first, since his grievance against the Trojans over the abduction of Helen is primary, but the problem is that all the Achaean chieftains are aware of his inferiority to Hector, I.07.106, and so, fearing for his life, they restrain him from arming himself for a duel. Even the Master Narrator says outright that Hector was superior to Menelaos, I.07.104–105. Then Nestor goads the chieftains to take up the challenge of Hector, I.07.123–161, and his goading now prompts nine of these chieftains to volunteer, I.07.161–169: they are Agamemnon, Diomedes, the two Ajaxes, Idomeneus and Meriones, Eurypylos, Thoas, and Odysseus. It is significant that Nestor’s words refer to these nine chieftains as aristēes Panakhaiōn, I.07.159. For a translation of this expression, the singular form aristeus of plural aristēes first needs to be correlated with the verb aristeuein, which can be translated as ‘strive to be the best, to be aristos’, as at Ι.06.208 and I.11.784. In the second of these two passages, I find it most significant that the referent is Achilles himself. An aristeus, then, is a man who strives to be the best, aristos. Correspondingly, the expression aristēes Panakhaiōn at I.07.159 must refer to ‘men who strive to be the best of all the Achaeans’.

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The field of nine Achaeans competing for the title of ‘best of the Achaeans’ in response to Hector’s challenge and to Nestor’s reproach is now narrowed down to three: Ajax, Diomedes, and Agamemnon.

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Ajax boasts that he is superior to other Achaeans both by way of biē ‘force, violence, strength’, I.07.197, and by way of idreiē ‘intelligence’, I.07.198. In Homeric diction, a synonym for the second of these two words would be mētis ‘mind, intelligence’.

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

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Even Hector acknowledges the superior status of Ajax among the Achaeans: Ajax excels in biē ‘force, violence, strength’, I.07.288, and in pinutē ‘intelligence, I.07.289. In Homeric diction, a synonym for the second of these two words would be mētis ‘mind, intelligence’.

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Hector seems to be saying that the Trojan women ‘pray’ to him, as expressed by the verb eukhesthai. This turn of phrase may point to the status of Hector as cult hero beyond his epic existence.

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The theme of awarding the choice cut of meat to the foremost warrior in the context of a dais ‘feast, division’ continues to accentuate what is missing in this picture, which is the fact that Achilles lost his equitable share at the beginning of the Iliad.

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The choice of the word mētis ‘mind, intelligence’ in the sense of ‘plan’ here is relevant to the undercurrent of an opposition between this word and the word biē ‘force, violence, strength’. The opposition of mētis and biē corresponds to a potential antagonism between Odysseus and Achilles.

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Leonard Muellner

in a list of examples of directly quoted prayers not concluded by formula (A)

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analysis of the phraseological correspondence between the two ‘modes’ of ritual narrative sub-genre, ritual prescription and ritual description, with I.07.194 and 200 as examples

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I.07.194 as the only instance in Section II (= eukh—˘, under eukhesthai + dative) of deviation from the inflection eukhonto and I.07.200 as filling the prescription

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in a list of examples of eukhesthai + dative

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switch from Dii patri to Dii t’alloisin te theoisin attested with a variation of the || (short OR two shorts) euxamenos Dii patri # formula which uses epeukhesthai instead of eukhesthai, in the context of analyzing Allen’s text at I.08.526 vs. Zenodotus’s version of the verse

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analysis of the phraseological correspondence between the two ‘modes’ of ritual narrative sub-genre, ritual prescription and ritual description, with I.07.194 and 200 as examples

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in a list of examples of eukhesthai + dative

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I.07.194 as the only instance in Section II (= eukh—˘, under eukhesthai + dative) of deviation from the inflection eukhonto and I.07.200 as filling the prescription

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comparison of eukhos and kudos, and here specifically analysis of the phraseology surrounding them that is paralleled by only kleos

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examples of the identical context in which eukhos and kudos occur

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in a list of examples of directly quoted prayers not concluded by formula (A)

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in a list of attestations of eukhesthai + dative in sacral contexts, in the subcategory of anomalous attestations (isolated metrical position of eukhesthai)

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the only place in Homer where a dative after eukhesthai is not a god/a collection of gods, and argument that this usage promotes Hektor from man to ‘god’

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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Richard Martin

The duel of Hektor and Ajax would have continued if not for the intervention of the heralds, one of whom, the Trojan Idaios, "said a muthos" (eipe te muthon, 7.277). Ajax replies: "Bid Hektor to speak these things (muthēsasthai). For he himself challenged all the best to battle. Let him take the lead" (7.284-86). Hektor then pronounces the end of the duel (7.290-93): "Let us cease from battle and strife."

Because Homeric poetry so keenly attends to socially correct forms of speech, Hektor's words are more than a simple directive: they represent an actual "performative utterance"—language that brings about a desired end by virtue of the very pronouncement. There are "felicity conditions" for performative utterances, and the poem respects just such parameters: to be linguistically correct, Hektor, who began the duel with the challenge, must "pronounce" its end. Ajax, with a good sense of propriety that marks the most successful Homeric warriors, defers to his opponent. Idaios has an exact analogue in the religious or legal official who instructs the groom to say "I thee wed." (Martin 1993:40).

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A remarkable testimony by Hektor himself about his ability as a performer comes when Ajax challenges him to fight the "best of the Achaeans" after Achilles (7.235-41): "Do not try me like a simple child, or a woman, who does not know war-work. / I know well fights and man-slayings, / I know to the right, I know to the left how to move my ox-hide shield / that I own for warring. / I know how to leap into the moil of swift horses, / I know how to dance to hostile Ares in the close fighting." The convergence of fighting and dancing in Hektor's words puts the two activities on the same level of stylized action. The mention of the performance theme by Hektor is itself a well-crafted musical performance, "an old, pre-epic lyric sword-dance song." The anaphora of "I know" (oida, lines 237, 238, 240, 241) marks off metrical cola that strongly resemble later-attested Greek lyric metrical segments (Martin 1993:132-33).

But the concentration on his own performance is like that of the dancer so concerned with the criticism of the audience that he or she limits expressiveness by paying too much attention to footwork. Hektor's style in commanding is remarkable for its inwardness: he orders primarily himself. No other speaker makes explicit so consistently the next moves he intends to make (Martin 1993:133-34).

For Hektor's distinctive quotation strategy in the memory genre, see the comment on Iliad 6.459-461.

References

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

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