Homer Iliad 7.398

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.) — 7.398 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.) — 7.398 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)) — 7.398 focus
They all held their peace, but presently Diomedes of the loud war cry spoke, saying, [400] “Let there be no taking, neither treasure, nor yet Helen, for even a child may see that the doom of the Trojans is at hand.” The sons of the Achaeans shouted approval at the words that Diomedes, breaker of horses, had spoken, [405] and then King Agamemnon said to Idaios, “Idaios, you have heard the answer the Achaeans make you—and I with them. But as concerning the dead, I give you leave to burn them, [410] for when men are once dead there should be no grudging them the rites of fire. Let Zeus, the high-thundering husband of Hera, be witness to this covenant.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.398 focus
He spake; and all were silent for a space.
500
Then spake at length the valiant Diomed: -
"Let none consent to take the Trojan's goods,
Nor even Helen; for a child may see
The utter ruin hanging over Troy."
He spake. The admiring Greeks confirmed with shouts
505
The words of Diomed the knight, and thus
King Agamemnon to Idæus said: -
"Idæus, thou thyself hast heard the Greeks
Pronounce their answer. What to them seems good
Pleases me also. For the slain, I give
510
Consent to burn them; to the dead we bear
No hatred; when they fall the rite of fire
Should soon be paid. Let Juno's husband, Jove
The Thunderer, bear witness to our truce."
The monarch spake, and raised to all the gods
515
His sceptre, while Idæus took his way
To hallowed Ilium. There in council sat
Trojans and Dardans, waiting his return.
He came, and standing in the midst declared
His message. Then they all went forth in haste,
520
Some to collect the slain and some to fell
Trees in the forest. From their well-benched ships
The Achaians also issued, some to bring
The dead together, some to gather wood.
Now from the gently tossing deep the sun
525
Began to climb the heavens, and with new rays
Smote the surrounding fields. The Trojans met,
But found it hard to know their dead again.
They washed away the clotted blood, and laid -
Shedding hot tears - the bodies on the cars.
530
And since the mighty Priam's word forbade
All wailing, silently they bore away
Their slaughtered friends, and heaped them on the pyre
With aching hearts, and, when they had consumed
The dead with fire, returned to hallowed Troy.
535
The nobly-armed Achaians also heaped
Their slaughtered warriors on the funeral pile
With aching hearts; and when they had consumed
Their dead with fire they sought their hollow ships.
And ere the morning came, while earth was gray
540
With twilight, by the funeral pile arose
A chosen band of Greeks, who, going forth,
Heaped round it from the earth a common tomb
For all, and built a wall and lofty towers
Near it, -a bulwark for the fleet and host.
545
And in the wall they fitted massive gates,
Through which there passed an ample chariot-way;
And on its outer edge they sank a trench, -
Broad, deep, - and planted it with pointed stakes.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.398 focus
The Greeks give ear, but none the silence broke;
At length Tydides rose, and rising spoke:
475
'O take not, friends! defrauded of your fame,
'Their proffer'd wealth, nor e'en the Spartan dame.
'Let conquest make them ours: fate shakes their wall,
'And Troy already totters to her fall.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.398 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 7.398 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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this line as one of the counterexamples for identifying unmodified laos as one’s own

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comparison with I.09.104 with regards to noos and muthos

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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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Nestor, in speaking to the assembled Achaeans, prescribes that they build a Wall for the purpose of protecting both them and their ships from the attacks of the Trojans. This purpose is spelled out at I.07.338. What Nestor prescribes for the Achaeans to accomplish here at I.07.336–343 is then actually accomplished by them, as described at I.07.434–442, where the purpose of protecting both the Achaeans and their ships is restated, I.07.437. The details of the prescription and of the description supplement each other. For example, an important detail that is absent in the prescription is supplemented in the description: the word teikhos ‘wall’, referring to the overall structure that the Achaeans are building, is absent in the prescription, I.07.337, but this word is present in the description, I.07.436. Both in the prescription and in the description, at I.07.336–338 and at I.07.435–437 respectively, the Wall is linked to the collective tomb that the Achaeans are to build for their war dead: this tomb is located right next to the pyre where the bodies of the dead are cremated, I.07.337 and I.07.436.

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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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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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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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Those who are equals, socially or as "performers" of deeds, can challenge one another's muthoi: Paris does so with Antenor's proposal in the Trojan assembly, answering "You know how to think of another muthos better than this one" (7.358) (Martin 1993:23).

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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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