Homer Iliad 3.111

ed. Robert Southey

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Iliad. Homer. ed. Robert Southey. London. 1847.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 3.111 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.) — 3.111 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.) — 3.76 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.111 focus
The Trojans and Achaeans were glad when they heard this, for they thought that they should now have rest. They backed their chariots toward the ranks, got out of them, and put off their armor, laying it down upon the ground; [115] and the armies were near to one another with a little space between them. Hector sent two messengers to the city to bring the lambs and to bid Priam come, while powerful Agamemnon told Talthybios to fetch the other lamb from the ships, [120] and he did as Agamemnon had said.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 3.111 focus
He spake, and both the Greeks and Trojans heard
His words with joy, and hoped the hour was come
To end the hard-fought war. They reined their steeds
Back to the ranks, alighted, and put off
Their armor, which they laid upon the ground
145
Near them in piles, with little space between.
Then Hector sent two heralds forth with speed
Into the town, to bring the lambs and call
King Priam. Meanwhile Agamemnon bade
Talthybius seek the hollow ships and find
150
A lamb for the altar. He obeyed the words
Of noble Agamemnon, king of men.
Meanwhile to white-armed Helen Iris came
A messenger. She took a form that seemed
Laodice, the sister of Paris, whom
155
Antenor's son, King Helicaon, wed, -
Fairest of Priam's daughters. She drew near
To Helen, in the palace, weaving there
An ample web, a shining double-robe,
Whereon were many conflicts fairly wrought,
160
Endured by the horse-taming sons of Troy
And brazen-mailed Achaians for her sake
Upon the field of Mars. Beside her stood
Swift-footed Iris, and addressed her thus:
"Dear lady, come and see the Trojan knights
165
And brazen-mailed Achaians doing things
To wonder at. They who, in this sad war,
Eager to slay each other, lately met
In murderous combat on the field, are now
Seated in silence, and the war hath ceased.
170
They lean upon their shields; their massive spears
Are near them, planted in the ground upright.
Paris, and Menelaus, loved of Mars,
With their long lances will contend for thee,
And thou wilt be declared the victor's spouse."
175
She said, and in the heart of Helen woke
Dear recollections of her former spouse
And of her home and kindred. Instantly
She left her chamber, robed and veiled in white,
And shedding tender tears; yet not alone,
180
For with her went two maidens, - Æthra, child
Of Pitheus, and the large-eyed Clymene.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 3.111 focus
The nations hear, with rising hopes possess'd,
And peaceful prospects dawn in every breast.
Within the lines they drew their steeds around,
155
And from their chariots issued on the ground:
Next all, unbuckling the rich mail they wore,
Laid their bright arms along the sable shore.
On either side the meeting hosts are seen
With lances fix'd, and close the space between.
160
Two heralds now, despatch'd to Troy, invite
The Phrygian monarch to the peaceful rite;
Talthybius hastens to the fleet, to bring
The lamb for Jove, th' inviolable king.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 3.111 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 3.111 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

New Alexandria Commentaries

Douglas Frame

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

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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)

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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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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.

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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.

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

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See anchor comment at I.12.188.

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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.

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Leonard Muellner

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

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

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variant reading at this verse (porphureē/marmareē)

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

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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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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.

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