Homer Iliad 7.244

ed. Robert Southey

View: By Book

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.) — 7.244 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.) — 7.244 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.) — 7.287 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.244 focus
He poised his spear as he spoke, and hurled it from him. [245] It struck the sevenfold shield in its outermost layer—the eighth, which was of bronze—and went through six of the layers but in the seventh hide it stayed. Then Ajax threw in his turn, [250] and struck the round shield of the son of Priam. The terrible spear went through his gleaming shield, and pressed onward through his cuirass of cunning workmanship; it pierced the khiton against his side, but he swerved and thus saved his life. [255] They then each of them drew out the spear from his shield, and fell on one another like savage lions or wild boars of great strength and endurance: the son of Priam struck the middle of Ajax’s shield, but the bronze did not break, and the point of his dart was turned. [260] Ajax then sprang forward and pierced the shield of Hector; the spear went through it and staggered him as he was springing forward to attack; it gashed his neck and the blood came pouring from the wound, but even so Hector did not cease fighting; he drew back, and with his strong hand seized a stone [265] that was lying on the plain—great and rugged and black; with this he struck the shield of Ajax on the boss that was in its middle, so that the bronze rang again. But Ajax in turn caught up a far larger stone, swung it aloft, and hurled it with prodigious force. [270] This millstone of a rock broke Hector’s shield inwards and threw him down on his back with the shield crushing him under it, but Apollo raised him at once. Then they would have hacked at one another in close combat with their swords, had not heralds, messengers of gods and men, [275] come forward, one from the Trojans and the other from the bronze-armored Achaeans—Talthybios and Idaios both of them honorable men; these parted them with their staves, and the good herald Idaios said, “My sons, fight no longer, [280] you are both of you valiant, and both are dear to Zeus who gathers clouds; we know this; but night is now falling, and the requests of night may not be well ignored.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.244 focus
He spake, and, brandishing his ponderous lance,
Hurled it; and on the outer plate of brass,
Which covered the seven bullock-hides, it struck
The shield of Ajax. Through the brass and through
Six folds of hides the irresistible spear
320
Cut its swift way, and at the seventh was stopped.
Then high-born Ajax cast his massive spear
In turn, and drove it through the fair, round shield
Of Priam's son. Through that bright buckler went
The rapid weapon, pierced the well-wrought mail,
325
And tore the linen tunic at the flank.
But Hector stooped and thus avoided death.
They took their spears again, and, coming close,
Like lions in their hunger, or wild boars
Of fearful strength, joined battle. Priam's son
330
Sent his spear forward, striking in the midst
The shield of Ajax, but it broke not through
The brass; the metal turned the weapon's point.
While Ajax, springing onward, smote the shield
Of Hector, drave his weapon through, and checked
335
His enemy's swift advance, and wounded him
Upon the shoulder, and the black blood flowed.
Yet not for this did plumèd Hector cease
From combat, but went back, and, lifting up
A huge, black, craggy stone that near him lay,
340
Flung it with force against the middle bolt
Of the broad sevenfold shield that Ajax bore.
The brass rang with the blow. Then Ajax raised
A heavier stone, and whirled it, putting forth
His arm's immeasurable strength; it brake
345
Through Hector's shield as if a millstone's weight
Had fallen. His knees gave way; he fell to earth
Headlong; yet still he kept his shield. At once
Apollo raised him up; and now with swords,
Encountering hand to hand, they both had flown
350
To wound each other, if the heralds sent
As messengers from Jupiter and men
Had not approached, - Idæus from the side
Of Troy, Talthybius from the Grecian host, —
Wise ancients both. Betwixt the twain they held
355
Their sceptres, and the sage Idæus spake: -
"Cease to contend, dear sons, in deadly fray;
Ye both are loved by cloud-compelling Jove,
And both are great in war, as all men know.
The night is come; be then the night obeyed."
360
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.244 focus
He said, and, rising high above the field,
295
Whirl'd the long lance against the sevenfold shield.
Full on the brass descending from above
Through six bull-hides the furious weapon drove,
Till in the seventh it fix'd. Then Ajax threw;
Through Hector's shield the forceful javelin flew;
300
His corslet enters, and his garment rends,
And, glancing downwards, near his flank descends.
The wary Trojan shrinks, and, bending low
Beneath his buckler, disappoints the blow.
From their bor'd shields the chiefs their javelins drew,
305
Then close impetuous, and the charge renew:
Fierce as the mountain lions bath'd in blood,
Or foaming boars, the terror of the wood.
At Ajax, Hector his long lance extends;
The blunted point against the buckler bends.
310
But Ajax, watchful as his foe drew near,
Drove through the Trojan targe the knotty spear;
It reach'd his neck, with matchless strength impell'd;
Spouts the black gore, and dims the shining shield.
Yet ceas'd not Hector thus; but, stooping down,
315
In his strong hand upheav'd a flinty stone,
Black, craggy, vast: to this his force he bends;
Full on the brazen boss the stone descends;
The hollow brass resounded with the shock.
Then Ajax seiz'd the fragment of a rock,
320
Applied each nerve, and, swinging round on high,
With force tempestuous let the ruin fly:
The huge stone thundering through his buckler broke;
His slacken'd knees receiv'd the numbing stroke;
Great Hector falls extended on the field,
325
His bulk supporting on the shatter'd shield:
Nor wanted heavenly aid: Apollo's might
Confirm'd his sinews, and restor'd to fight.
And now both heroes their broad faulchions drew;
In flaming circles round their heads they flew;
330
But then by heralds' voice the word was given,
The sacred ministers of earth and heaven:
Divine Talthybius whom the Greeks employ,
And sage Idæus on the part of Troy,
Between the swords their peaceful sceptres rear'd;
335
And first Idæus' awful voice was heard:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.244 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.244 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

source
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

source

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’.

source

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

source

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’.

source

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.

source

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.

source

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.

source
Leonard Muellner

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

source

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

source

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

source

in a list of examples of eukhesthai + dative

source

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

source

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

source

in a list of examples of eukhesthai + dative

source

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

source

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

source

examples of the identical context in which eukhos and kudos occur

source

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

source

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

source

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’

source

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

source
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).

source

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.

source