Homer Iliad 7.206

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Now Ajax brac'd his dazzling armour on;
Sheath'd in bright steel the giant warrior shone:
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He moves to combat with majestic pace;
So stalks in arms the grizly god of Thrace,
When Jove to punish faithless men prepares,
And gives whole nations to the waste of wars.
Thus march'd the chief, tremendous as a god;
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Grimly he smil'd; earth trembled as he strode:
His massy javelin quivering in his hand,
He stood, the bulwark of the Grecian band.
Through every Argive heart new transport ran;
All Troy stood trembling at the mighty man.
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E'en Hector paus'd; and, with new doubt oppress'd,
Felt his great heart suspended in his breast:
'Twas vain to seek retreat, and vain to fear;
Himself had challeng'd, and the foe drew near.

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.) — 7.206 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.) — 7.206 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)) — 7.206 focus
Thus they prayed, and Ajax armed himself in his suit of gleaming bronze. When he was in full array he sprang forward as monstrous as Arēs the war god when he takes part among men whom Zeus [210] has set fighting with one another—even so did huge Ajax, bulwark of the Achaeans, spring forward with a grim smile on his face as he brandished his long spear and strode onward. The Argives were elated as they beheld him, but the Trojans [215] trembled in every limb, and the heart even of Hector beat quickly, but he could not now retreat and withdraw into the ranks behind him, for he had been the challenger. Ajax came up bearing his shield in front of him like a wall— [220] a shield of bronze with seven folds of ox-hide—the work of Tykhios, who lived in Hyle and was by far the best worker in leather. He had made it with the hides of seven full-fed bulls, and over these he had set an eighth layer of bronze. Holding this shield before him, [225] Ajax, son of Telamon, came close up to Hector, and menaced him saying, “Hector, you shall now learn, man to man, what kind of champions the Danaans have among them even besides lion-hearted Achilles, cleaver of the ranks of men. He now abides at the ships [230] in anger with Agamemnon, shepherd of his people, but there are many of us who are well able to face you; therefore begin the fight.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.206 focus
Such were their words, while Ajax armed himself
In glittering brass; and, when about his limbs
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The mail was buckled, forward rushed the chief.
As moves the mighty Mars to war among
The heroes whom the son of Saturn sends
To struggle on the field in murderous strife,
So the great Ajax, bulwark of the Greeks,
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With a grim smile came forward, and with strides
Firm-set and long, and shook his ponderous spear.
The Greeks exulted at the sight; dismay
Seized every Trojan: even Hector's heart
Quailed in his bosom; yet he might not now
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Withdraw through fear, nor seek to hide among
The throng of people, since himself had given
The challenge. Ajax, drawing near, upheld
A buckler like a rampart, bright with brass,
And strong with ox-hides seven. The cunning hand
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Of Tychius, skilled beyond all other men
In leather-work, had wrought it at his home
In Hyla. He for Ajax framed the shield
With hides of pampered bullocks in seven folds,
And an eighth fold of brass, - the outside fold.
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This Telamonian Ajax held before
His breast, as he approached, and threatening said: -
"Now shalt thou, Hector, singly matched with me,
Learn by what chiefs the Achaian host is led
Besides Achilles, mighty though he be
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To break through squadrons, and of lion-heart.
Still in the beaked ships in which he crossed
The sea he cherishes his wrath against
The shepherd of the people, - Atreus' son.
But we have those that dare defy thee yet,
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And they are many. Let the fight begin."
Then answered Hector of the plumèd helm :-
"O high-born Ajax, son of Telamon,
And prince among thy people, think thou not
To treat me like a stripling weak of arm,
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Or woman all untrained to tasks of war.
I know what battles are and bloody frays,
And how to shift to right and left the shield
Of seasoned hide, and, unfatigued, maintain
The combat; how on foot to charge the foe
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With steps that move to martial airs, and how
To leap into the chariot and pursue
The war with rushing steeds. Yet not by stealth
Seek I to smite thee, valiant as thou art,
But in fair open battle, if I may."
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.206 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.206 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 7.206 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

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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)

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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

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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)

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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

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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)

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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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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’.

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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.

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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’.

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See the comment at I.02.401.

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

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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.

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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.

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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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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)

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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

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

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in a list of examples of directly quoted prayers not concluded by formula (A)

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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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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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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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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.

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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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