Homer Iliad 3.191

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 3.191 focus
Translations (8)
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.) — 3.161 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.191 focus
The old man next looked upon Odysseus; “Tell me,” he said, “who is that other, shorter by a head than Agamemnon, but broader across the chest and shoulders? [195] His armor is laid upon the ground, and he stalks in front of the ranks as it were some great woolly ram ordering his ewes.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 3.191 focus
Then Priam saw Ulysses, and inquired: -
"Dear daughter, tell me also who is that,
Less tall than Agamemnon, yet more broad
In chest and shoulders. On the teeming earth
245
His armor lies, but he, from place to place,
Walks round among the ranks of soldiery,
As when the thick-fleeced father of the flocks
Moves through the multitude of his white sheep."
And Jove-descended Helen answered thus:-
250
"That is Ulysses, man of many arts,
Son of Laertes, reared in Ithaca,
That rugged isle, and skilled in every form
Of shrewd device and action wisely planned."
Then spake the sage Antenor: "Thou hast said
255
The truth, O lady. This Ulysses once
Came on an embassy, concerning thee,
To Troy with Menelaus, great in war;
And I received them as my guests, and they
Were lodged within my palace, and I learned
260
The temper and the qualities of both.
When both were standing 'mid the men of Troy,
I marked that Menelaus's broad chest
Made him the more conspicuous, but when both
Were seated, greater was the dignity
265
Seen in Ulysses. When they both addressed
The council, Menelaus briefly spake
In pleasing tones, though with few words, -as one
Not given to loose and wandering speech, - although
The younger. When the wise Ulysses rose,
270
He stood with eyes cast down, and fixed on earth,
And neither swayed his sceptre to the right
Nor to the left, but held it motionless,
Like one unused to public speech. He seemed
An idiot out of humor. But when forth
275
He sent from his full lungs his mighty voice,
And words came like a fall of winter snow,
No mortal then would dare to strive with him
For mastery in speech. We less admired
The aspect of Ulysses than his words."
280
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 3.191 focus
This said, once more he view'd the warrior-train:
'What's he, whose arms lie scatter'd on the plain?
'Broad is his breast, his shoulders larger spread,
255
'Though great Atrides overtops his head.
'Nor yet appear his care and conduct small;
'From rank to rank he moves, and orders all.
'The stately ram thus measures o'er the ground,
'And, master of the flocks, surveys them round.'
260
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 3.191 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 3.191 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 3.191 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

New Alexandria Commentaries

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.

source
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).

source

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.

source