Homer Iliad 7.175

View: By Book
The lots produc'd, each hero signs his own;
Then in the general's helm the fates are thrown.
The people pray with lifted eyes and hands,
And vows like these ascend from all the bands:
'Grant thou, Almighty! in whose hand is fate,
215
'A worthy champion for the Grecian state.
'This task let Ajax or Tydides prove,
'Or he, the king of kings, belov'd by Jove.'

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.) — 7.175 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.) — 7.175 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.) — 7.181 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.175 focus
Thus he spoke, and when each of them had marked his lot, and had thrown it into the helmet of Agamemnon son of Atreus, the people lifted their hands in prayer, and thus would one of them say as he looked into the vault of the sky, “Father Zeus, grant that the lot fall on Ajax, [180] or on Diomedes, the strong son of Tydeus, or upon the king of rich Mycenae himself.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.175 focus
Such was their prayer, while the Gerenian knight,
Old Nestor, shook the lots; and from the helm
Leaped forth the lot of Ajax, as they wished.
A herald took it, and from right to left
240
Bore it through all the assembly, showing it
To all the leaders of the Greeks. No one
Knew it, and all disclaimed it. When at last,
Carried through all the multitude, it came
To Ajax the renowned, who had inscribed
245
And laid it in the helmet, he stretched forth
His hand, while at his side the herald stood,
And took and looked upon it, knew his sign,
And gloried as he looked, and cast it down
Upon the ground before his feet, and said: -
250
"O friends! the lot is mine, and I rejoice
Heartily, for I think to overcome
The noble Hector. Now, while I put on
My armor for the fight, pray ye to Jove,
The mighty son of Saturn, silently,
255
Unheard by them of Troy, or else aloud,
Since we fear no one. None by strength of arm
Shall vanquish me, or find me inexpert
In battle, nor was I to that degree
Ill-trained in Salamis, where I was born.
260
He spake; and they to Saturn's monarch-son
Prayed, looking up to the broad heaven, and said:
"O Father Jove! most mighty, most august!
Who rulest from the Idæan mount, vouchsafe
That Ajax bear away the victory
265
And everlasting honor; but if thou
Dost cherish Hector and protect his life,
Give equal strength to both, and equal fame."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.175 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.175 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 7.175 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 7 focus

New Alexandria Commentaries

Douglas Frame

analysis of (the location of) the river Keladon

source

analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story in Iliad 7 and its reworking to locate Pylos in Elis (as opposed to Messenia)

source

analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia), and here in particular the theory of Visser 1997 (and others) to explain the passage

source

analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia)

source

analysis of the reference to the river Iardanos and its location, and the variant versions of I.07.133-135 known to Strabo and Didymus

source

analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia)

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

The Achaeans, faced with Hector’s challenge, hesitate, I.07.092–093. Their hesitation seems to indicate that not one of them is really the ‘best of the Achaeans’. Finally, Menelaos is first to volunteer for a one-on-one duel with Hector, I.07.094–103. An absence of volunteers, Menelaos knows, would be aklees ‘a thing without glory [kleos]’, I.07.100. It seems of course fitting for him to be the first, since his grievance against the Trojans over the abduction of Helen is primary, but the problem is that all the Achaean chieftains are aware of his inferiority to Hector, I.07.106, and so, fearing for his life, they restrain him from arming himself for a duel. Even the Master Narrator says outright that Hector was superior to Menelaos, I.07.104–105. Then Nestor goads the chieftains to take up the challenge of Hector, I.07.123–161, and his goading now prompts nine of these chieftains to volunteer, I.07.161–169: they are Agamemnon, Diomedes, the two Ajaxes, Idomeneus and Meriones, Eurypylos, Thoas, and Odysseus. It is significant that Nestor’s words refer to these nine chieftains as aristēes Panakhaiōn, I.07.159. For a translation of this expression, the singular form aristeus of plural aristēes first needs to be correlated with the verb aristeuein, which can be translated as ‘strive to be the best, to be aristos’, as at Ι.06.208 and I.11.784. In the second of these two passages, I find it most significant that the referent is Achilles himself. An aristeus, then, is a man who strives to be the best, aristos. Correspondingly, the expression aristēes Panakhaiōn at I.07.159 must refer to ‘men who strive to be the best of all the Achaeans’.

source

Not only Menelaos but Nestor too blames the other Achaean chieftains for hesitating. He goads them into action not only by blaming them but also by telling a story about one of his past successes as a warrior.

source

Nestor’s story of his fight with Ereuthalion amounts to a lesson about strategy in warfare. A pivotal figure in the story is the predecessor of Ereuthalion: he is Arēi-thoos, at I.07.137 and again at I.07.138, whose name is a combination of themes involving the god Ares and a primary characteristic of Ares: this god runs with the speed of wind, as conveyed by the adjective thoós ‘running, swift’, derived from the verb theein ‘run’.

source

See the comment at I.02.401.

source

In the immediate context, only the surface meaning of therapōn as ‘attendant’ is evident.

source

By goading the Achaeans, Nestor is engaged in the act of neikeîn: so he ‘quarrels with’ the Achaeans. This way, he engages in the language of blame as opposed to praise. And, even before Nestor starts blaming the Achaeans, Menelaos has already engaged in his own act of neikos ‘quarrel’, I.07.095.

source

The field of nine Achaeans competing for the title of ‘best of the Achaeans’ in response to Hector’s challenge and to Nestor’s reproach is now narrowed down to three: Ajax, Diomedes, and Agamemnon.

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
Leonard Muellner

analysis of the location of Pylos/battle between Pylos and Arcadia in Nestor’s story and its reworking to locate Pylos in Elis (as opposed to Messenia)

source

analysis of the reference to the river Iardanos and its location, and the variant versions of I.07.133-135 known to Strabo and Didymus

source

in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

source

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
Richard Martin

Nestor's speech at 7.124-60 illustrates his strategy of thickly layered memory. He begins with his characteristic expression of dismay—"A great sorrow has come to Akhaia. Peleus, the honored horse-driver, would groan"—a phrase that reuses the strategy of his first speech in the poem (1.245-46). He recalls three separate items: Peleus once questioned him about Argive genealogy (7.127-28); he wishes he were young as when he fought the Arkadians (7.133-57); and embedded in the latter ring-composition is a third memory, the heritage of the armor of Ereuthalion, whom he defeated long ago. The importance of armor as a signifier of heroism in the poem (consider Achilles' equipment) and the relevance of genealogical lore place this narrative sign in a wider context. All three memories are set in terms appropriate to flyting as the speech ends: "Thus did Nestor make a neikos" (7.161). It becomes clear that he has used himself as foil to shame the Achaeans into volunteering for the duel (Martin 1993:82-83).

For the broader analysis of Nestor as master of the memory genre, see the comment on Iliad 1.259-274.

References

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

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