Homer Iliad 7.313

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A steer for sacrifice the king design'd,
380
Of full five years, and of the nobler kind.
The victim falls; they strip the smoking hide,
The beast they quarter, and the joints divide;
Then spread the tables, the repast prepare,
Each takes his seat, and each receives his share.
385
The king himself (an honorary sign)
Before great Ajax placed the mighty chine.

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.) — 7.313 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.) — 7.313 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.) — 7.287 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.313 focus
When they reached the quarters of the son of Atreus, Agamemnon sacrificed for them [315] a five-year-old bull in honor of Zeus the all-powerful son of Kronos. They flayed the carcass, made it ready, and divided it into joints; these they cut carefully up into smaller pieces, putting them on the spits, roasting them sufficiently, and then drawing them off. 319 But when they finished with their efforts and prepared the feast [ dais] [320] they feasted [= had the dais], and there was no thūmos lacking in a fair allotment [ dais]. 321–322 And wide-ruling Agamemnon the hero, son of Atreus, gave as honorifc portion [ geras] to Ajax the whole back [of beef]. As soon as they had had enough to eat and drink, [325] old Nestor whose counsel was ever truest began to speak; with all sincerity and goodwill, therefore, he addressed them thus:
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 7.313 focus
When the chiefs
Were in his tents, the monarch sacrificed
A bullock of twelve summers to the son
400
Of Saturn, sovereign Jupiter. They flayed
The carcass, dressed it, carved away the limbs,
Divided into smaller parts the flesh,
Fixed them on spits, and roasted them with care,
And drew them from the fire. And when the task
405
Was finished, and the banquet all prepared,
They feasted, and there was no guest who lacked
His equal part in that repast. The son
Of Atreus, Agamemnon, brave, and lord
Of wide dominions, gave the chine entire
410
To Ajax as his due. Now when the calls
Of thirst and hunger ceased, the aged chief
Nestor, whose words had ever seemed most wise,
Opened the council with this prudent speech:-
"Atrides, and ye other chiefs of Greece!
415
Full many a long-haired warrior of our host
Hath perished. Cruel Mars hath spilt their blood
Beside Scamander's gentle stream; their souls
Have gone to Hades. Give thou, then, command
That all the Greeks to-morrow pause from war,
420
And come together at the early dawn,
And bring the dead in chariots drawn by mules
And oxen, and consume them near our fleet
With fire, that we, when we return from war,
May carry to our native land the bones,
425
And give them to the children of the slain.
And then will we go forth and heap from earth,
Upon the plain, a common tomb for all
Around the funeral pile, and build high towers
With speed beside it, which shall be alike
430
A bulwark for our navy and our host.
And let the entrance be a massive gate,
Through which shall pass an ample chariot-way.
And in a circle on its outer edge
Sink we a trench so deep that neither steeds
435
Nor men may pass, if these proud Trojans yet
Should, in the coming battles, press us sore."
He spake; the princes all approved his words.
Meanwhile, beside the lofty citadel
Of Ilium and at Priam's palace-gates
440
In turbulence and fear the Trojans held
A council, and the wise Antenor spake: -
“Hearken, ye Trojans, Dardans, and allies,
To what my sober judgment bids me speak.
Send we the Argive Helen back with all
445
Her treasures; let the sons of Atreus lead
The dame away; for now we wage the war
After our faith is broken, and I deem
We cannot prosper till we make amends."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.313 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 7.313 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 7.313 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 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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analysis of mētis and the phrase “began to weave mētis,” used of Nestor (as here), as implying deception

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discussion of the transmission of the text of the Homeric poems (via Athens), and this passage as an apparent fifth-century Athenian interpolation

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this line as one of the counterexamples for identifying unmodified laos as one’s own

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comparison with I.09.104 with regards to noos and muthos

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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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Hector seems to be saying that the Trojan women ‘pray’ to him, as expressed by the verb eukhesthai. This turn of phrase may point to the status of Hector as cult hero beyond his epic existence.

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The theme of awarding the choice cut of meat to the foremost warrior in the context of a dais ‘feast, division’ continues to accentuate what is missing in this picture, which is the fact that Achilles lost his equitable share at the beginning of the Iliad.

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The choice of the word mētis ‘mind, intelligence’ in the sense of ‘plan’ here is relevant to the undercurrent of an opposition between this word and the word biē ‘force, violence, strength’. The opposition of mētis and biē corresponds to a potential antagonism between Odysseus and Achilles.

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Nestor, in speaking to the assembled Achaeans, prescribes that they build a Wall for the purpose of protecting both them and their ships from the attacks of the Trojans. This purpose is spelled out at I.07.338. What Nestor prescribes for the Achaeans to accomplish here at I.07.336–343 is then actually accomplished by them, as described at I.07.434–442, where the purpose of protecting both the Achaeans and their ships is restated, I.07.437. The details of the prescription and of the description supplement each other. For example, an important detail that is absent in the prescription is supplemented in the description: the word teikhos ‘wall’, referring to the overall structure that the Achaeans are building, is absent in the prescription, I.07.337, but this word is present in the description, I.07.436. Both in the prescription and in the description, at I.07.336–338 and at I.07.435–437 respectively, the Wall is linked to the collective tomb that the Achaeans are to build for their war dead: this tomb is located right next to the pyre where the bodies of the dead are cremated, I.07.337 and I.07.436.

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In contexts where the plural therapontes in combination with Arēos ‘of Ares’ is applied to the Achaeans=Danaans=Argives (at I.07.382 here, to the Danaans) as a grouping of warriors, the deeper meaning is more evident than in other contexts.

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What follows is epitomized from H24H 10§30. The cosmic river Okeanos is situated at the outermost limits of the world, which is encircled by its stream. The circular stream of the Okeanos flows eternally around the world and eternally recycles the infinite supply of fresh water that feeds upon itself: see I.14.246–246a, I.18.399, I.20.065. This mystical river Okeanos, surrounding not only the earth but even the seas surrounding the earth, defines the limits of the known world. Every evening, as the sun sets at sunset, it literally plunges into the fresh waters of this eternally self-recycling cosmic stream, I.08.485, and it is from these same fresh waters that the sun rises again every morning at sunrise, as here at I.08.421–423 as also at O.19.433–434. This cosmic river Ōkeanos, encircling the known world, is a boundary delimiting light from darkness, wakefulness from sleep, life from death. The movement of the sun both into and out from the waters of the Ōkeanos is envisioned as a cosmic model for an alternation between sleep and awakening, between death and rebirth.

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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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in a list of attestations of eukhesthai + dative in sacral contexts, in the subcategory of anomalous attestations (isolated metrical position of eukhesthai)

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the only place in Homer where a dative after eukhesthai is not a god/a collection of gods, and argument that this usage promotes Hektor from man to ‘god’

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anomaly of the formula in this verse, namely, the complement to eukhomai is not a noun (e.g. name of divinity) but a pronoun

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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 transformation of formula (A) to (B), which resumes the narrative after an order/exhortation by a man in authority to a group of men to do something (here, to prepare dinner), and conclusion that (A)’s eukhomenos was felt to be have sacral connotations inappropriate to the secular contexts of (B)

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analysis of the development of Greek posis compared with Vedic pati-

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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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Those who are equals, socially or as "performers" of deeds, can challenge one another's muthoi: Paris does so with Antenor's proposal in the Trojan assembly, answering "You know how to think of another muthos better than this one" (7.358) (Martin 1993:23).

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The adjective puknos and its by-form pukinos, "dense" or "tightly-packed," are the only words associated with both epos and pteroeis when those are examined separately; when applied to speech, the adjective carries the sense of language that is dense with meaning and filled with urgency. Priam's formal bid to call a truce (7.375) is the first of four instances of pukinon epos in the Iliad (7.375, 11.788, 24.75, 24.744).

The adjective pukinon modifies arms and armor, beds, troop formations, house construction, branches, and clouds; mental products can also be thus qualified—a tightly constructed plan (2.55), Odyssean wiles (3.202), an ambush (4.392), a trick (6.187). This particularized form of speech is the paradigm for the best kind of epos, speech that has become a lasting possession for its hearer, the "last word" to remain with an intimate (Achilles, Andromakhe) or to put an end to strife (the truce in Book 7, the ransom in Book 24) (Martin 1993:35).

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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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