Homer Iliad 7.1

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.) — 7.1 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.) — 7.1 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.) — 7.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.1 focus
With these words Hector, the glorious, passed through the gates, and his brother Alexandros with him, both eager for the fray. As when some god sends [5] a breeze to sailors who have long looked for one in vain, and have labored at their oars till they are faint with toil, even so welcome was the sight of these two heroes to the Trojans.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.1 focus
THE illustrious Hector spake, and rapidly
1
Passed through the gate, and with him issued forth
His brother Alexander, - eager, both,
For war and combat. As when God bestows,
To glad the long-expecting mariners,
5
A favorable wind while wearily
They beat the ocean with their polished oars,
Their arms all nerveless with their length of toil, -
Such to the expecting Trojans was the sight
Of the two chiefs. First Alexander slew
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Menesthius, who in Arne had his home,
A son of Areïthoüs the king.
Large-eyed Philomedusa brought him forth
To the mace-bearer Areïthoüs.
And Hector smote Eïoneus, the spear
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Piercing his neck beneath the brazen casque,
And straightway he dropped lifeless. Glaucus then -
Son of Hippolochus, and chief among
The Lycians in that fiery onset slew
Iphinoüs, son of Dexius, with his spear.
20
It pierced the warrior's shoulder as he sprang
To mount his rapid car, and from the place
He fell to earth, his limbs relaxed in death.
Now when Minerva of the azure eyes
Beheld them in the furious combat thus
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Wasting the Grecian host, she left the peaks
Of high Olympus, and came down in haste
To sacred Ilium. Straight Apollo flew
To meet her, for he marked from Pergamus
Her coming, and he greatly longed to give
30
The victory to the Trojans. As they met
Beside the beechen tree, the son of Jove,
The king Apollo, spake to Pallas thus:-
"Why hast thou, daughter of imperial Jove,
Thus left Olympus in thine eager haste?
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Seek'st thou to turn in favor of the Greeks
War's wavering chances? - for I know too well
Thou hast no pity when the men of Troy
Are perishing. But, if thou wilt give ear
To me, I shall propose a better way.
40
Cause we the conflict for this day to cease,
And be it afterward renewed until
An end be made of Troy, since it hath pleased
You, goddesses, to lay the city waste."
And blue-eyed Pallas answered: "Be it so,
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O mighty Archer. With a like intent
I left Olympus for this battle-field
Of Greeks and Trojans. But by what device
Think'st thou to bring the combat to a pause?"
Then spake the king Apollo, son of Jove,
50
In turn to Pallas: "Let us seek to rouse
The fiery spirit of the Trojan knight
Hector, that he may challenge in the field
Some Greek to meet him, singly and alone,
In mortal combat. Then the well-armed Greeks,
55
Stung by the bold defiance, will send forth
A champion against Priam's noble son."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.1 focus
So spoke the guardian of the Trojan state,
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Then rush'd impetuous through the Scæan gate.
Him Paris follow'd to the dire alarms;
Both breathing slaughter, both resolv'd in arms.
As when to sailors labouring through the main,
5
That long had heav'd the weary oar in vain,
Jove bids at length th' expected gales arise;
The gales blow grateful, and the vessel flies:
So welcome these to Troy's desiring train:
The bands are cheer'd, the war awakes again.
10
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.1 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.1 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 7 focus

New Alexandria Commentaries

Douglas Frame

analysis of (the location of) the river Keladon

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analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story in Iliad 7 and its reworking to locate Pylos in Elis (as opposed to Messenia)

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analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia), and here in particular the theory of Visser 1997 (and others) to explain the passage

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analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia)

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analysis of the reference to the river Iardanos and its location, and the variant versions of I.07.133-135 known to Strabo and Didymus

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analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia)

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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 hero Dexiades is described at I.07.015 by way of the participle epi-almenos meaning ‘one who leaps on’, and the preverb epi- ‘on’ of the participle takes as its object the noun hippoi ‘horses’ in the genitive case. But the meaning of this combination is not ‘one who leaps on horses’ but rather ‘one who leaps on the chariot drawn by horses’. That, is, hippoi in such a context is an elliptic plural referring not only to the two horses that conventionally draw a chariot in Homeric diction but to the chariot drawn by the two horses. In the action being described here, the same hero Dexiades is mortally wounded at I.07.13 by a spear-throw that hits him and knocks him out of the chariot, and here the preposition ex ‘out of’ in combination with the noun hippoi ‘horses’ as its grammatical object in the genitive case means that the hero has been knocked off the platform of the chariot, falling out of the chariot and landing on the ground with a mighty thud. In short, then, epi + the genitive of hippoi at I.07.11 means ‘on the chariot’, with reference to standing on the platform of a chariot, while ex + the genitive of hippoi at I.07.13 means ‘out of the chariot’, with reference to getting knocked out of the chariot while standing on the platform.

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In general, the noun hippoi/hippō as elliptic plural/dual means not ‘horses’ but ‘chariot’ when this noun functions as a grammatical object in the genitive (G) or dative (D) or accusative (A) case in combination with prepositions or preverbs referring to such situations as standing on the platform of a chariot (epi+G, epi+D) or leaping down from the platform (apo+G, kata+G) or leaping up onto the platform (epi+G, eis+A) or getting knocked off and falling down from the platform (ek+G, kata+G). What follows is a list showing these occurrences of the word hippoi/hippō with the elliptic meaning of ‘chariot’ but not showing other occurrences where the ellipsis is canceled by way of correlating this word with other words like harma and diphros, both of which have the non-elliptic meaning of ‘chariot’. Here, then, are occurrences showing only hippoi/hippō with the elliptic meaning of ‘chariot’ and without an explicit mention of harma ‘chariot’ or diphros ‘chariot’: I.03.265 (ek+G), I.04.500 (para+G), I.05.013 (apo+G/D), I.05.019 (apo+G), I.05.046 (epi+G), I.05.111 (kata+G), I.05.163 (ek+G), I.05.227 (apo+G), I.05.249 (epi+G), I.05.255 (epi+G), I.05.321 (epi+A), I.05.328 (epi+G), I.05.835 (apo+G), I.06.232 (kata+G), I.07.013 (epi+G), I.07.015 (ek+G), I.07.240 (epi+G), I.08.127 (epi+G), I.08.492 (ek+apo+G), I.10.330 (epi+D), I.10.513 (epi+G), I.10.529 (epi+G), I.11.094 (ek+G), I.11.109 (ek+G), I.11.143 (apo+G), I.11.179 (ek+G), I.11.192 (eis+A), I.11.207 (eis+A), I.11.320 (apo+G), I.11.423 (kata+G), I.12.082 (epi+G), I.14.435 (ek+G), I.15.386 (apo+G), I.15.447 (kata+A), I.16.343 (epi+G), I.16.733 (apo+G), I.16.749 (ek+G), I.16.755 (apo+G), I.17.460 (epi+D), I.17.40 (apo+G), I.17.501 (epi+A), I.18.531 (epi+G), I.19.396 (epi+G/D), I.20.401 (kata+G), I.20.461 (ek+G), I.24.051 (ek+G), I.24.356 (epi+G), I.24.459 (ek+G), I.24.469 (ek+G). These elliptic usages compensate, in part, for the fact that the Mycenaean word for ‘chariot’, hikkʷiā (spelled i-qi-ja in the Linear B tablets), is missing in Homeric diction, where it would be pronounced hippiā. The metrical shape of such a form, long-short-long, would be incompatible with the rhythmical contour of the dactylic hexameter, which generally does not tolerate forms that have such a shape. But the survival of elliptic plural/dual hippoi/hippō* is not necessarily a substitution for the missing hippiā*, nor is it justified to assume that such elliptic forms represent some kind of deformity in Homeric diction.

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The divinities Athena and Apollo are not only supporting the Achaeans and the Trojans respectively. They are also opposing the Trojans and the Achaeans respectively. Even more than that, these divinities are also personally antagonistic toward individual heroes: Athena opposes Hector while Apollo opposes Achilles. In this passage, the antagonism between Athena and Hector is particularly evident. When the seer Helenos at I.07.047 addresses his brother Hector by describing him as comparable to the god Zeus himself with respect to Hector’s qualities of mētis ‘mind, intelligence’, the wording of this description is a direct affront to the divinity of Athena, who is the goddess of mētis ‘mind, intelligence’ personified.

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

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The noun phríx ‘shuddering’, which conveys the subjectivized feeling of an observer who shudders when he looks at the sea being stirred up by the West Wind named Zephyros while feeling the sudden blast of the wind, is related not only formally but even thematically to the “speaking name” (nomen loquens) of Phríxos, a hero who escaped the dangers of the pontos ‘[sea-] crossing’ that is the Hellespont, as we read in Pindar Pythian 4.160–161. The wording of Pindar goes on to say there that Phríxos was ‘saved’, saōthē, because he was carried to safety by the ram with the golden fleece. Before the occurrence of the name Zephyros here at I.07.063, the same name for the West Wind has occurred in previous similes: I.02.147, I.04.276, 04.423. In a forthcoming simile showing the sea stirred up by the North Wind named Boreas together with the West Wind named Zephyros, I.09.004–008, the subjective feeling of fear that overcomes the observer is described as kruoeis ‘chilling’, I.09.002. So, the observer shudders at the chilling power of the storm at sea. The stormy combination of Boreas and Zephyros is described as stirring up the pontos ‘sea[-crossing]’ also at I.23.230, and this sea, described there as ‘Thracian’, is to be equated with the Hellespont.

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Whoever is ‘best of the Achaeans’ is challenged by Hector to fight him in a one-on-one duel. Hector boasts that he will kill this fighter, still to be named, who will then be entombed inside a sēma ‘tomb’ overlooking the Hellespont, I.07.086, and thus Hector will have a kleos ‘glory’ that is eternal, I.07.091. The irony here is that the fighter still to be named will be the winner of a future duel with Hector. That fighter will be Achilles, and the eternal kleos ‘glory’ will be primarily his. On the other hand, Hector’s wording is on the mark when he says at I.07.086 that the hero who is ‘best of the Achaeans’ will be entombed inside a sēma ‘tomb’ overlooking the Hellespont. And that hero will be Achilles.

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As noted in the previous comment, the tomb of the hero whom Hector imagines he will kill is the tomb of Achilles, who in fact will kill Hector before he dies his own death. For details about the funeral and entombment of Achilles see the comment on I.16.456–457, with special reference to the word tarkhuein ‘ritually prepare’, as attested here at I.07.085.

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The memorial language imagined here in the wording of Hector corresponds to the formulaic language of poetry written down on stone in the form of epigrams. So, Homeric diction shows here an awarenes of the genre of epigrammatic poetry. But this genre needed the technology of writing only for the sake of recording a given epigrammatic poem, not for the sake of actually composing it. Therefore, the awareness of epigrammatic language in Homeric diction does not require us to think that the technology of writing was needed for either the composition or the performance of Homeric poetry.

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In Hector’s imagined scenario of an outcome for his duel with a hero who is the ‘best of the Achaeans’, that hero, whom he will kill, is pictured as ‘striving to be the best’, as expressed by the verb aristeuein, I.07.090. The corresponding noun, not attested in Homeric diction, is aristeiā ‘epic high point’, on which see the comment on I.05.103.

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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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While volunteering to accept the challenge of Hector, Menelaos blames the other Achaean chieftains for hesitating. He engages them in ‘quarrel’, neikos, and ‘he says words of insult’, oneidizein.

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In the immediate context, only the surface meaning of therapontes as ‘attendants’ is evident.

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Not only Menelaos but Nestor too blames the other Achaean chieftains for hesitating. He goads them into action not only by blaming them but also by telling a story about one of his past successes as a warrior.

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Nestor’s story of his fight with Ereuthalion amounts to a lesson about strategy in warfare. A pivotal figure in the story is the predecessor of Ereuthalion: he is Arēi-thoos, at I.07.137 and again at I.07.138, whose name is a combination of themes involving the god Ares and a primary characteristic of Ares: this god runs with the speed of wind, as conveyed by the adjective thoós ‘running, swift’, derived from the verb theein ‘run’.

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See the comment at I.02.401.

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In the immediate context, only the surface meaning of therapōn as ‘attendant’ is evident.

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By goading the Achaeans, Nestor is engaged in the act of neikeîn: so he ‘quarrels with’ the Achaeans. This way, he engages in the language of blame as opposed to praise. And, even before Nestor starts blaming the Achaeans, Menelaos has already engaged in his own act of neikos ‘quarrel’, I.07.095.

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Leonard Muellner

in the discussion of the rationale of the classification of the attestations of eukhesthai + dative

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analysis of the third person references to oneself by a speaker in Iliad

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia)

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analysis of the reference to the river Iardanos and its location, and the variant versions of I.07.133-135 known to Strabo and Didymus

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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Richard Martin

Nestor's speech at 7.124-60 illustrates his strategy of thickly layered memory. He begins with his characteristic expression of dismay—"A great sorrow has come to Akhaia. Peleus, the honored horse-driver, would groan"—a phrase that reuses the strategy of his first speech in the poem (1.245-46). He recalls three separate items: Peleus once questioned him about Argive genealogy (7.127-28); he wishes he were young as when he fought the Arkadians (7.133-57); and embedded in the latter ring-composition is a third memory, the heritage of the armor of Ereuthalion, whom he defeated long ago. The importance of armor as a signifier of heroism in the poem (consider Achilles' equipment) and the relevance of genealogical lore place this narrative sign in a wider context. All three memories are set in terms appropriate to flyting as the speech ends: "Thus did Nestor make a neikos" (7.161). It becomes clear that he has used himself as foil to shame the Achaeans into volunteering for the duel (Martin 1993:82-83).

For the broader analysis of Nestor as master of the memory genre, see the comment on Iliad 1.259-274.

References

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

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Two more times Hektor practices eulogistic dramatization, when he sets the terms for his single combat with an Achaean and when he calls a formal halt to the duel. Again he uses the figure of his addressee as the starting point for a quotation that ultimately returns praise to himself: if he kills his enemy, in future time someone sailing past the man's burial mound at the Hellespont will say, "This is the marker of a man who died long ago, whom once shining Hektor slew as he was excelling" (7.89-90). In this imagined eulogy, which echoes the diction of attested epitaphs, the dead hero remains nameless, obliterated by Hektor's reputation (Martin 1993:136-37).

Hektor's strategy must be contrasted with that of Diomedes in the Book 6 scene: if Diomedes has fabricated a past, Hektor fictionalizes a future, and then, just as Diomedes had, makes the fiction affect the present. His suggestion of an exchange of gifts "in order that someone of both Achaeans and Trojans may say 'They fought over spirit-devouring strife, then in amity joined they parted'" (7.301-2) presents us not with a portrait of the developing hero but with a man already living in the poetic tradition that is to overtake him (Martin 1993:137).

For Hektor's distinctive quotation strategy and its psychological consistency, 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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