Iliad 3.225

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Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 3.225 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.) — 3.225 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.) — 3.243 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.225 focus
Priam then caught sight of Ajax and asked, “Who is that great and goodly warrior whose head and broad shoulders tower above the rest of the Argives?”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 3.225 focus
Beholding Ajax then, the aged king
Asked yet again: "Who is that other chief
Of the Achaians, tall, and large of limb, -
Taller and broader-chested than the rest?"
Helen, the beautiful and richly-robed,
285
Answered: "Thou seest the mighty Ajax there,
The bulwark of the Greeks. On the other side,
Among his Cretans, stands Idomeneus,
Of godlike aspect, near to whom are grouped
The leaders of the Cretans. Oftentimes
290
The warlike Menelaus welcomed him
Within our palace, when he came from Crete.
I could point out and name the other chiefs
Of the dark-eyed Achaians. Two alone,
Princes among their people, are not seen, -
295
Castor the fearless horseman, and the skilled
In boxing, Pollux, - twins; one mother bore
Both at one birth with me. Did they not come
From pleasant Lacedæmon to the war?
Or, having crossed the deep in their good ships,
300
Shun they to fight among the valiant ones
Of Greece, because of my reproach and shame?”
She spake; but they already lay in earth
In Lacedæmon, their dear native land.
And now the heralds through the city bore
305
The sacred pledges of the gods, - two lambs,
And joyous wine, the fruit of Earth, within
A goat-skin. One of them - Idæus-brought
A glistening vase and golden drinking-cups,
And summoned, in these words, the aged king:-
310
"Son of Laomedon, arise! The chiefs
Who lead the Trojan knights and brazen-mailed
Achaians pray thee to descend at once
Into the plain, that thou may'st ratify
A faithful compact. Alexander now
315
And warlike Menelaus will contend
With their long spears for Helen. She and all
Her treasures are to be the conqueror's prize;
While all the other Trojans, having made
A faithful league of amity, shall dwell
320
On Ilium's fertile plain, and all the Greeks
Return to Argos, famed for noble steeds,
And to Achaia, famed for lovely dames."
He spake, and Priam, shuddering, heard and bade
The attendants yoke the horses to his car.
325
Soon were they yoked; he mounted first and drew
The reins; Antenor took a place within
The sumptuous car, and through the Scæan gates
They guided the fleet coursers toward the field.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 3.225 focus
The king then ask'd, (as yet the camp he view'd,)
'What chief is that, with giant strength endu'd,
290
'Whose brawny shoulders, and whose swelling chest,
'And lofty stature, far exceed the rest?'
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 3.225 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 3.225 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

New Alexandria Commentaries

Douglas Frame

analysis of the Sun’s apparent endowment with an all-embracing consciousness. Compare to Xenophanes frag.20 (Diehl)

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epithet of Castor as “horse-breaking” to distinguish him from Polydeuces and parallels from Indic and the IE twin myth

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epithets of Castor and Polydeuces and how they are distinguished from one another

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brief analysis of the Dioscuri, who as a combination of immortal and mortal elements, experience an alternation between life and death

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analysis of Castor and Polydeuces as represented in the Iliad (as dead heroes)

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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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Kastōr and Poludeukēs, latinized as Castor and Pollux, are the Divine Twins, sons of Zeus. Another name for them is Dioskouroi ‘sons of Zeus’. Kastōr and Poludeukēs are also mentioned at O.11.300. The wording of I.03.237 and of O.11.300 is cognate with the wording we find a fragment of Stesichorus: see PH 458. On the etymology of Poludeúkēs, I epitomize from PasP 51. The noun Poludeúkēs as a name is straightforwardly related to the adjective poludeukḗs, in that the recessive accent of the name is typical of the naming function, as we see from such morphologically related formations as Poluneíkēs ‘having many quarrels [es-stem neîkos]’ or ‘having quarrels in many different ways’ (or ‘many times’). In the mythological functions of the divine figure Poludeúkēs, the idea of continuity, conveyed by the root deuk-, seems as evident as that of variety, since the Divine Twins are models of consistency, perseverance, reliability (as in Homeric Hymn 33). In an astrological sense, we could say that Poludeúkēs, in the role of Morning Star, is ‘repeating many times’, the symbol of many happy returns. On the Divine Twins as alternating Morning Star / Evening Star, I offer an analysis in GMP 258–259. And the repetition can be visualized as a cyclical one—a pattern of eternal return. There is a striking semantic and morphological parallel in poluderkḗs ‘seeing in many different ways’ (or ‘many times’), epithet of the dawn-goddess Ēōs in Hesiod (Theogony* 451).

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The noun aiskhos ‘disgrace, shame’ is used here as a synonym of the noun oneidos ‘words of insult’.

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Richard Martin

During the teikhoskopia, Antenor associates the word muthos with well-made plans (mēdea) (3.212-17). The passage shows a clear correspondence between the adjectives polumuthos and polumētis, "with much clever intelligence": mētis, in turn, bears a close relation to mēdea in Greek. Muthos is correlated elsewhere in the poem with words for counsel (boulē) and intellect (noēma) (Martin 1993:15).

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Antenor's description of Odysseus' rhetoric mentions voice (opa) and words (epea) in the same breath, and vividly compares the latter with winter snowflakes (3.221-22): the image is that of a powerful, silent natural phenomenon itself composed of single powerless parts (Martin 1993:17).

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The speeches that Homer gives his characters further the narrative strategy of ranking heroic worth, as can be seen in the teikhoskopia in Book 3, a device designed to turn the narrator's exposition of mundane fact into a dramatically persuasive scene. At the same time, the speeches embody an assumption, often overlooked: that heroes themselves can evaluate one another's "style," particularly in the act of speaking. Along with characterizing Agamemnon and the others in terms of physique and prowess, this scene serves to show us speech styles, through the reminiscences of Antenor. The details he notices when recalling an earlier visit to Troy by Menelaos and Odysseus relate specifically to the "performance" of muthoi (3.212-23): "But when they wove speeches (muthoi) and plans for all... Menelaos discoursed in running fashion, speaking little, but very clearly (ligeōs), since he is not much with words (polumuthos) nor one to cast words about (apharmatoepēs)... But when Odysseus much with wiles got up, he'd stand, he'd look down fixing his eyes on the ground... keeping still, looking like a witless man. Yet when he let the great voice out of his chest, and the words (epea), like winter flakes of snow, that is when no other mortal could contend with Odysseus" (Martin 1993:95-96).

Antenor assumes that there is a code of behavior for speakers in such situations, a set of performance conventions: one should move the scepter to make a point, for instance. Odysseus employs an unconventional strategy for capturing his audience, a style that plays off the shared knowledge of conventions, and thereby foregrounds his rhetorical act. By creatively modifying traditional material, Odysseus brings about a memorable performance. He creates a contrast between his appearance and the reality of his oratorical power; he characterizes himself by a muthos, the perfect vehicle for self-presentation. Such stylistic awareness is a cultural, and not just a "sophisticated," poetic process (Martin 1993:96).

The heroes' concern with speech style springs from the need to differentiate oneself and establish status, an imperative found in ethnographic descriptions of competitive cultures. That the status of a person is rated before the hero's speech emerges from Diomedes' remark, after giving his genealogy in full, that the Achaeans cannot now devalue his performance (muthon atimēsaite, 14.127) by calling him strengthless and ignoble. Speech style, status, and ranking must be taken as related manifestations of the workings of the all-important concept of timē (Martin 1993:97-98).

References

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

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