Homer Iliad 7.206

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.) — 7.206 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.) — 7.206 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.) — 7.181 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.206 focus
Thus they prayed, and Ajax armed himself in his suit of gleaming bronze. When he was in full array he sprang forward as monstrous as Arēs the war god when he takes part among men whom Zeus [210] has set fighting with one another—even so did huge Ajax, bulwark of the Achaeans, spring forward with a grim smile on his face as he brandished his long spear and strode onward. The Argives were elated as they beheld him, but the Trojans [215] trembled in every limb, and the heart even of Hector beat quickly, but he could not now retreat and withdraw into the ranks behind him, for he had been the challenger. Ajax came up bearing his shield in front of him like a wall— [220] a shield of bronze with seven folds of ox-hide—the work of Tykhios, who lived in Hyle and was by far the best worker in leather. He had made it with the hides of seven full-fed bulls, and over these he had set an eighth layer of bronze. Holding this shield before him, [225] Ajax, son of Telamon, came close up to Hector, and menaced him saying, “Hector, you shall now learn, man to man, what kind of champions the Danaans have among them even besides lion-hearted Achilles, cleaver of the ranks of men. He now abides at the ships [230] in anger with Agamemnon, shepherd of his people, but there are many of us who are well able to face you; therefore begin the fight.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.206 focus
Such were their words, while Ajax armed himself
In glittering brass; and, when about his limbs
270
The mail was buckled, forward rushed the chief.
As moves the mighty Mars to war among
The heroes whom the son of Saturn sends
To struggle on the field in murderous strife,
So the great Ajax, bulwark of the Greeks,
275
With a grim smile came forward, and with strides
Firm-set and long, and shook his ponderous spear.
The Greeks exulted at the sight; dismay
Seized every Trojan: even Hector's heart
Quailed in his bosom; yet he might not now
280
Withdraw through fear, nor seek to hide among
The throng of people, since himself had given
The challenge. Ajax, drawing near, upheld
A buckler like a rampart, bright with brass,
And strong with ox-hides seven. The cunning hand
285
Of Tychius, skilled beyond all other men
In leather-work, had wrought it at his home
In Hyla. He for Ajax framed the shield
With hides of pampered bullocks in seven folds,
And an eighth fold of brass, - the outside fold.
290
This Telamonian Ajax held before
His breast, as he approached, and threatening said: -
"Now shalt thou, Hector, singly matched with me,
Learn by what chiefs the Achaian host is led
Besides Achilles, mighty though he be
295
To break through squadrons, and of lion-heart.
Still in the beaked ships in which he crossed
The sea he cherishes his wrath against
The shepherd of the people, - Atreus' son.
But we have those that dare defy thee yet,
300
And they are many. Let the fight begin."
Then answered Hector of the plumèd helm :-
"O high-born Ajax, son of Telamon,
And prince among thy people, think thou not
To treat me like a stripling weak of arm,
305
Or woman all untrained to tasks of war.
I know what battles are and bloody frays,
And how to shift to right and left the shield
Of seasoned hide, and, unfatigued, maintain
The combat; how on foot to charge the foe
310
With steps that move to martial airs, and how
To leap into the chariot and pursue
The war with rushing steeds. Yet not by stealth
Seek I to smite thee, valiant as thou art,
But in fair open battle, if I may."
315
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.206 focus
Now Ajax brac'd his dazzling armour on;
Sheath'd in bright steel the giant warrior shone:
250
He moves to combat with majestic pace;
So stalks in arms the grizly god of Thrace,
When Jove to punish faithless men prepares,
And gives whole nations to the waste of wars.
Thus march'd the chief, tremendous as a god;
255
Grimly he smil'd; earth trembled as he strode:
His massy javelin quivering in his hand,
He stood, the bulwark of the Grecian band.
Through every Argive heart new transport ran;
All Troy stood trembling at the mighty man.
260
E'en Hector paus'd; and, with new doubt oppress'd,
Felt his great heart suspended in his breast:
'Twas vain to seek retreat, and vain to fear;
Himself had challeng'd, and the foe drew near.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.206 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.206 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 7 focus

New Alexandria Commentaries

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 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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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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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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