Homer Iliad 7.354

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.) — 7.354 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.) — 7.354 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)) — 7.354 focus
He then sat down [355] and radiant Alexandros husband of lovely-haired Helen rose to speak. “Antenor,” said he, “your words are not to my liking; you can find a better saying than this if you will; if, however, you have spoken in good earnest, [360] then indeed have the gods robbed you of your reason. I will speak plainly, and hereby notify to the Trojans that I will not give up the woman; but the wealth that I brought home with her from Argos I will restore, and will add yet further of my own.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.354 focus
He spake, and sat him down. The noble chief
450
Paris, the fair-haired Helen's husband, rose
To answer him, and spake this winged speech: -
"Thy words, Antenor, please me not. Thy skill
Could offer better counsels. If those words
Were gravely meant, the gods have made thee mad.
455
But let me here, amid these knights of Troy,
Speak openly my mind. Give up my wife
I never will; but all the wealth I brought
With her from Argos I most willingly
Restore, with added treasures of my own."
460
He said, and took his seat, and in the midst
Dardanian Priam rose, a counsellor
Of godlike wisdom, and thus sagely spake: -
"Hear me, ye Trojans, Dardans, and allies!
I speak the thought that rises in my breast.
465
Take now, as ye are wont, your evening meal,
And set a watch and keep upon your guard;
But let Idæus to the hollow ships
Repair at morning, and to Atreus' sons -
To Agamemnon and his brother king-
470
Make known what Paris, author of this strife,
Proposes, and with fairly ordered speech
Ask further if they will consent to pause
From cruel battle till we burn the dead :
Then be the war renewed till fate shall part
475
The hosts and give to one the victory."
He spake. The assembly listened and obeyed;
All through the camp in groups they took their meal.
But with the morn Idæus visited
The hollow ships, and found the Achaian chiefs,
480
Followers of Mars, in council near the prow
Of Agamemnon's bark; and, standing there,
The loud-voiced herald spake his message thus:-
"Ye sons of Atreus, and ye other chiefs
Of all the tribes of Greece, I come to you
485
From Priam and the eminent men of Troy,
To say, if it be pleasing to your ears,
What Alexander, author of the war,
Proposes. All the wealth which in his ships
He brought to Troy - would he had perished first! -
490
He will, with added treasures of his own,
Freely restore; but her who was the wife
Of gallant Menelaus he denies
To render back, though all who dwell in Troy
Join to demand it. I am furthermore
495
Bidden to ask if you consent to pause
From cruel battle till we burn our dead:
Then be the war renewed till fate shall part
The hosts and give to one the victory."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 7.354 focus
The senior spoke, and sat. To whom replied
The graceful husband of the Spartan bride:
'Cold counsels, Trojan, may become thy years,
430
'But sound ungrateful in a warrior's ears:
'Old man, if void of fallacy or art
'Thy words express the purpose of thy heart,
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.354 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.354 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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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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In contexts where the plural therapontes in combination with Arēos ‘of Ares’ is applied to the Achaeans=Danaans=Argives (at I.07.382 here, to the Danaans) as a grouping of warriors, the deeper meaning is more evident than in other contexts.

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What follows is epitomized from H24H 10§30. The cosmic river Okeanos is situated at the outermost limits of the world, which is encircled by its stream. The circular stream of the Okeanos flows eternally around the world and eternally recycles the infinite supply of fresh water that feeds upon itself: see I.14.246–246a, I.18.399, I.20.065. This mystical river Okeanos, surrounding not only the earth but even the seas surrounding the earth, defines the limits of the known world. Every evening, as the sun sets at sunset, it literally plunges into the fresh waters of this eternally self-recycling cosmic stream, I.08.485, and it is from these same fresh waters that the sun rises again every morning at sunrise, as here at I.08.421–423 as also at O.19.433–434. This cosmic river Ōkeanos, encircling the known world, is a boundary delimiting light from darkness, wakefulness from sleep, life from death. The movement of the sun both into and out from the waters of the Ōkeanos is envisioned as a cosmic model for an alternation between sleep and awakening, between death and rebirth.

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Within these verses I.07.433–465 is a description of the building of the Achaean Wall at I.07.434–442 that matches the prescription given by Nestor at I.07.336–343. While the Wall is being built, I.07.434–442, the gods are watching, I.07.443–444, and Poseidon makes a speech to Zeus, I.445–453, indicating that this Achaean project is against his will and, presumably, against the will of Apollo. Poseidon is concerned that the kleos or epic ‘glory’ of the Achaean Wall, I.07.451, will detract from the corresponding glory of the Trojan Wall that had been built by him together with Apollo for Laomedon, who had been king of Troy before Priam, I.07.452–453. Zeus responds with reassurances, I.07.454–464, reaffirming the kleos or epic ‘glory’ that belongs to Poseidon, I.07.458 (σὸν …κλέος). In other words, Poseidon and Apollo will never lose the epic glory that is theirs because they built the Wall of Troy. And Zeus then utters a prophecy about the teikhos ‘wall’ of the Achaeans, I.07.461: it will be destroyed once the Achaeans leave the Trojan landscape, I.07.459–464. So the kleos or epic ‘glory’ of the Achaean Wall, as signaled in the wording of Poseidon at I.07.451, will not destroy the kleos or epic ‘glory’ that is owed to Poseidon and to Apollo for their building of the Trojan Wall. In terms of this formulation made by Zeus, it is not clear whether the Trojan Wall will later be utterly destroyed or simply damaged when the Achaeans finally conquer Troy. Such a distinction is relevant to a claim made in historical times by the inhabitants of New Ilion, which was in fact the Old Ilion, otherwise known simply as Troy: the people of Ilion maintained that their Wall had not been completely destroyed by the Achaeans in the Trojan War and that their city, despite all the destruction, had never been left completely abandoned. This claim is documented but rejected by Strabo 13.1.40 C599. See Point 7 of the anchor comment at I.09.328–333 about efforts of Aeolians to possess ancient Troy and its environs in the historical period.

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Leonard Muellner

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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analysis of the transformation of formula (A) to (B), which resumes the narrative after an order/exhortation by a man in authority to a group of men to do something (here, to prepare dinner), and conclusion that (A)’s eukhomenos was felt to be have sacral connotations inappropriate to the secular contexts of (B)

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analysis of the development of Greek posis compared with Vedic pati-

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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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The adjective puknos and its by-form pukinos, "dense" or "tightly-packed," are the only words associated with both epos and pteroeis when those are examined separately; when applied to speech, the adjective carries the sense of language that is dense with meaning and filled with urgency. Priam's formal bid to call a truce (7.375) is the first of four instances of pukinon epos in the Iliad (7.375, 11.788, 24.75, 24.744).

The adjective pukinon modifies arms and armor, beds, troop formations, house construction, branches, and clouds; mental products can also be thus qualified—a tightly constructed plan (2.55), Odyssean wiles (3.202), an ambush (4.392), a trick (6.187). This particularized form of speech is the paradigm for the best kind of epos, speech that has become a lasting possession for its hearer, the "last word" to remain with an intimate (Achilles, Andromakhe) or to put an end to strife (the truce in Book 7, the ransom in Book 24) (Martin 1993:35).

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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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