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[385] τοξότα: only here in H. (but 23.850 “τοξευτής”); it is a word of contempt (see on 4.242) as opposed to the hoplite who meets his foe “ἀντίβιον σὺν τεύχεσι. λωβητήρ”: cf. 2.275, 24.239. It has been disputed from ancient times whether we should read κέραι or “κέρα” (“κέραα”? or “κέραε”, dual acc.?), and there is nothing to decide the point; nor does it make any difference. The horn is generally taken to mean ‘the bow of horn’; but Ar. explained it as a mode of dressing the hair, “εἰς κέρατος τρόπον ἀνεπλέκοντο οἱ ἀρχαῖοι”. This interpretation, strange though it may seem, is completely established by Helbig H. E. ^{2} p. 241. He gives a curious archaic illustration of the spirally curled locks which received this name. The old lexica shew that this explanation was always generally received. Cf. schol. on Od. 24.81, “οἱ νεώτεροι κέρας τὴν συμπλοκὴν τῶν τριχῶν ὁμοίαν κέρατι: τὸν κεροπλάστην ἄειδε Γλαῦκον, Ἀρχίλοχος”, and “ὀρθοκέρως” “φρίκη” quoted by Pollux from Soph. and explained “ὀρθόθριξ”. So Juvenal xiii. 165 madido torquentem cornua cirro. ἀγλαέ thus receives its proper sense, fine, brilliant. At the same time the proximity of “τοξότα” suggests that there may have been an intentional ambiguity. For Paris' hair cf. 3.55 “ἥ τε κόμη τό τε εἶδος”. For παρθενοπῖπα, ogler of girls, cf. Od. 19.67 “ὀπιπεύσεις δὲ γυναῖκας”.

The Iliad, edited, with apparatus criticus, prolegomena, notes, and appendices. Walter Leaf. London. Macmillan. 1900.

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