Homer Iliad 3.76

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He said. The challenge Hector heard with joy, 1
Then with his spear restrain'd the youth of Troy,
110
Held by the midst, athwart; and near the foe
Advanc'd with steps majestically slow;
While round his dauntless head the Grecians pour
Their stones and arrows in a mingled shower.

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

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.) — 3.76 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.) — 3.76 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.) — 3.76 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 3.76 focus
When Hector heard this he was glad, and went about among the Trojan ranks holding his spear by the middle to keep them back, and they all sat down at his bidding: [80] but the flowing-haired Achaeans still aimed at him with stones and arrows, till Agamemnon shouted to them saying, “Hold, Argives, shoot not, sons of the Achaeans; Hector desires to speak.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 3.76 focus
He spake, and Hector, hearing him, rejoiced,
And went between the hosts, and with his spear,
Held by the middle, pressed the phalanxes
Of Trojans back, and made them all sit down.
The long-haired Greeks meanwhile, with bended bows,
100
Took aim against him, just about to send
Arrows and stones; but Agamemnon, king
Of men, beheld, and thus he cried aloud: -
"Restrain yourselves, ye Argives; let not fly
Your arrows, ye Achaians; Hector asks
105
He of the beamy helmet asks to speak."
He spake, and they refrained, and all, at once,
Were silent. Hector then stood forth and said: -
"Hearken, ye Trojans and ye nobly-armed
Achaians, to what Paris says by me.
110
He bids the Trojans and the Greeks lay down
Their shining arms upon the teeming earth,
And he and Menelaus, loved of Mars,
Will strive in single combat, on the ground
Between the hosts, for Helen and her wealth;
115
And he who shall o'ercome, and prove himself
The better warrior, to his home shall bear
The treasure and the woman, while the rest
Shall frame a solemn covenant of peace."
He spake, and both the hosts in silence heard.
120
Then Menelaus, great in battle, said: -
"Now hear me also, - me whose spirit feels
The wrong most keenly. I propose that now
The Greeks and Trojans separate reconciled,
For greatly have ye suffered for the sake
125
Of this my quarrel, and the original fault
Of Paris. Whomsoever fate ordains
To perish, let him die; but let the rest
Be from this moment reconciled, and part.
And bring an offering of two lambs - one white,
130
The other black - to Earth and to the Sun,
And we ourselves will offer one to Jove.
And be the mighty Priam here, that he
May sanction this our compact, - for his sons
Are arrogant and faithless, - lest some hand
135
Wickedly break the covenant of Jove.
The younger men are of a fickle mood;
But when an elder shares the act he looks
Both to the past and future, and provides
What is most fitting and the best for all."
140
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 3.76 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 3.76 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 3.76 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 3 focus

Notes on the current edition

Iliad

1. Hector stays not to reply to his brother, but runs away with the challenge immediately. He looks upon all the Trojans as disgraced by the late flight of Paris, and thinks not a moment is to be lost to regain the honour of his country. Pope.

New Alexandria Commentaries

Douglas Frame

analysis of the suggestion of Helen’s earlier abduction, otherwise not told, in the Iliad

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analysis of Hector and Polydamas as treated as virtual twins in the Iliad, though not actually even brothers (as this line about Polydamas’ father shows)

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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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In situations of strife among heroes as warriors, there is contention over status. Quarreling happens, as indicated here by way of the verb neikeîn ‘quarrel with’. Positive things about each warrior need to be praised, but negative things need to be blamed. At stake for each contending warrior-hero is the honor that he is apportioned in the course of any contention, and the contention itself is expressed by way of negative and positive speech, that is, by way of blame and praise respectively. Such an apportioning of honor is the essence of a warrior-hero’s aisa, which is visualized not only as a portion of plundered goods that gets apportioned to each warrior after such goods are communally divided (as at I.18.327) but also, in general, as a warrior’s ‘fate, destiny’ (as at I.01.416, and so on). The same can be said about the word moira, which can mean not only a ‘portion’ of plundered goods (as at O.11.534) or even of sacrificial meat (as at O.03.066) but also, in general, ‘fate, destiny’ (as at I.06.488, and so on). What is at stake, in the long run, is the aisa or moira of each contending warrior-hero. And this aisa or moira, in the sense of a ‘portion’ that is being apportioned, becomes the warrior’s ‘fate’ or ‘destiny’ in the poetry that tells about him. To restate in colloquial English: aisa or moira becomes the “bone of contention” in the language of praise and blame. Here at I.03.059 as also at I.06.333, Paris actually accepts the words of blame directed at him by his quarreling brother. He says that these words fit his own aisa, admitting that Hector’s words of blame here are kat’ aisan ‘in accord with aisa’ (κατ’ αἶσαν) and not huper aisan ‘in disaccord with aisa’ (ὑπὲρ αἶσαν). We find in Homeric diction comparable combinations of moira, synonym of aisa, with the same adverbs/prepositions kata ‘in accord with’ and huper ‘in disaccord with’, as for example in the case of kata moiran at I.09.059 (κατὰ μοῖραν) and huper moiran at I.20.336 (ὑπὲρ μοῖραν). Further, when the actual words of praise or blame fit the aisa or moira of a given warrior-hero, they will fit not only his destiny but even the overall plot of the epic, as at I.16.707 in the case of aisa and at Ι.16.853 in the case of moira. The plot of epic has a destiny of its own, and this overarching destiny integrates all the individual destinies of the heroes who populate the epic.

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The Trojan War is eris ‘strife’. See also eris ‘strife’ at Pindar Paean 6.50–53. That is how this war is seen in the words of Menelaos the Achaean, who claims a juridical grievance on the part of the Achaeans against the Trojans. In terms of the thinking revealed by these words, the beginning of the strife was the abduction of Helen, wife of Menelaos the Achaean, by Paris the Trojan. Accentuating the idea that this juridical grievance of Menelaos was an affair of state is the reference to Paris here by way of his princely name, Alexandros. In royal Hittite correspondences where the Hittite king speaks to and about the king of Ahhiyawa—which is the Hittite way of referring to the land of the Achaeans—we find occasional references to a princely figure by the name of Alaksandu, which is the Hittite pronunciation of Alexandros (Nagy 2015.07.22§25). By contrast, the name Paris is on the surface merely a shepherd’s name (on the symbolism, however, of the shepherd as a king-in-the-making, see Nagy 2009:309). In any case, the eris or ‘strife’ between the Achaeans and the Trojans was caused by ‘my strife’— according to Menelaos the Achaean. To say it more precisely in his words, the Trojan War was ‘because of my strife’ (εἵνεκ’ ἐμῆς ἔριδος). Correspondingly, the arkhē or ‘beginning’ of the strife as begun by Paris=Alexandros was ‘his beginning’ of that strife. To say it again more precisely in the words of Menelaos, the beginning of the Trojan War was ‘because of the beginning on the part of Paris=Alexandros’ (Ἀλεξάνδρου ἕνεκ’ ἀρχῆς). Here it is important to compare what was narrated in the Cypria, which as an epic belonging to a set of epics known as the epic Cycle. On the epic Cycle, see the inventory of Words and Ideas. In the Cypria of the epic Cycle as also in the Iliad, the Trojan War is likewise seen as eris ‘strife’. As we read in the plot-summary of the Cypria in Proclus 102.13–19 (ed. Allen 1912), it all began at a feast celebrating the marriage of Thetis and Peleus—a marriage that led to the conception of Achilles himself. It was the Will of Zeus that Eris ‘Strife’ personified would bring about a neikos ‘quarrel’ among the gods that would ultimately result in the Trojan War (Proclus 102.14/15 on Eris/neikos). As we see further in the plot-summary of the Cypria, Proclus 102.14–19, the Eris/neikos extends to the figure of Paris, who has to choose from among Hērā, Athena, and Aphrodite, Cypria/Proclus 102.14–19. This Judgment of Paris is recapitulated at I.24.025–030: the fact that Paris chose Aphrodite means that he aimed negative words at Hērā and Athena, as expressed by the verb neikeîn ‘quarrel with’ at I.24.029 (νείκεσσε), while he aimed positive words at Aphrodite, as expressed by the verb aineîn ‘praise’ at I.24.030 (ᾔνησ᾽). These verbs aineîn ‘praise’ and neikeîn ‘quarrel with’ express both the social and the poetic significance of praise and blame respectively.

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Helen is seen here at I.03.125–128 for the first time in the Iliad. She is shown in the act of pattern-weaving. Instead of singing while weaving, she weaves her song into the web that she pattern-weaves. See also the comment on I.22.440–441, where comparable wording shows Andromache weaving a web of her own. In the case of Helen at I.03.125–128 here, the song that she weaves into her web is about the aethloi (āthloi) ‘ordeals’ of war suffered by Trojans and Achaeans alike—a war they suffered all because of her. The song of the Trojan War is the song of the Iliad—and it is Helen’s song. Purple is the dominant color of Helen’s web, matching the blood of war that stains her song. There also exists, however, a variant epithet for the web that Helen weaves at I.03.126: this diplax ‘pattern-woven fabric that folds in two’ is described in some medieval manuscript versions as porphureē ‘purple’ but in others as marmareē ‘gleaming’. For more on this variant marmareē ‘gleaming’, see the comment on I.22.440-441 on the web of Andromache.

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This word en-passein ‘sprinkle’ conveys a metaphor for the process of pattern-weaving. See further at I.22.441.

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See anchor comment at I.12.188.

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Leonard Muellner

analysis of the meaning of diakridon, and the disengagement of armies (as in this line) as an example of it

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analysis of the meaning of diakridon, and the disengagement of armies (as in this line) as an example of it

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variant reading at this verse (porphureē/marmareē)

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analysis of grieving as social and here of goos as the product of himeros, which is also sexual desire associated with Aphrodite and philotēs

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Richard Martin

Hektor's direct insults to his brother Paris at 3.38-57 deploy every flyting device. Paris' response is described as a muthos (3.76 and 3.87), and his proposal to stage a duel produces a temporary harmony within Trojan ranks, as it opens the possibility of ending the larger neikos of the war. Yet Paris' muthos, set in the context of a fraternal dispute, still bears the marks of flyting discourse. It includes a strong prohibitive—"Do not bring up against me the lovely gifts of Aphrodite"—which is the rhetorical equivalent of a denial of responsibility. Another mark is the comparison of Hektor's heart and mind to a woodsman's unwearied axe (3.61-64). In Homer's diction, the adjective ateirēs either describes a bronze weapon or a voice raised in rough encouragement mixed with rebuke; Hektor has used the same rare word (katēpheiē, 3.51) in his flyting speech. Paris' retort, "your heart is like an 'unwearied' axe," thus registers Hektor's tone of voice while also suggesting that Hektor requires flyting language as compensation for lack of power in arms. Paris' manipulation of poetic simile is a dexterous face-saving performance that proves to be an accurate prediction of Hektor's ultimate dilemma (Martin 1993:74-75).

For the broader analysis of flyting as a muthos genre, see the comment on Iliad 4.336-421.

References

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

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Homer pictures the Trojan elders as spectators to the action, rather than participants; this emerges later in the famous scene on the wall, where they are described as "stopped by old age from warring, but fine public speakers (agorētai), like cicadas" (3.150-51). Their style is not more harshly judged only because the Trojan elders are innocuous. By heroic standards, it is certainly as distasteful as Thersites' style. Those who perform earn the right to talk, because deeds enacted automatically offer a defense against blame (Martin 1993:110-11).

For the broader analysis of Thersites as the negative foil and the performance value of akritomuthos, see the comment on Iliad 2.211-243.

References

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

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