Homer Iliad 9.286

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Three daughters there, within
The monarch's stately halls, - Chrysothemis,
Laodice, and Iphianassa, - dwell,
355
And thou may'st choose among them, and may'st lead
Home to the house of Peleus her who best
Deserves thy love. Nor needest thou endow
The bride, for he will give an ampler dower
Than ever father to his daughter gave, -
360
Seven cities with thronged streets, — Cardamyle,
Enope, grassy Hira, Pheræ famed
Afar, Antheia with rich pasture-grounds,
Arpeia beautiful, and Pedasus
With all its vineyards; all are near the sea,
365
And stand the last before you reach the coast
Of sandy Pylos. Rich in flocks and herds
Their dwellers are, and they will honor thee
As if thou wert a god, and, ruled by thee,
Will pay large tribute. These will he bestow,
370
Let but thine anger cease. But if the son
Of Atreus and his gifts still move thy hate,
At least have pity on the afflicted Greeks,
Pent in their camp, who now would honor thee
As if thou wert a god; and thou shalt gain
375
Great glory as their champion, and shalt slay
This Hector, who even now is close at hand,
And in a murderous frenzy makes his boast
That none of all the chieftains whom the fleet
Of Greece brought hither equals him in might."
380
The swift Achilles answered him and said: -
"Son of Laertes, nobly-born, and versed
In wise devices, let me frankly speak
Just as I think, and just as I shall act.
Hateful to me, as are the gates of hell,
385
Is he who, hiding one thing in his heart,
Utters another. I shall speak as seems
To me the best; nor deem I that the son
Of Atreus or the other Greeks can move
My settled purpose, since no thanks are paid
390
To him who with the enemy maintains
A constant battle: equal is the meed
Of him who stands aloof and him who fights
Manfully; both the coward and the brave
Are held in equal honor, and they die
395
An equal death, - the idler and the man
Of mighty deeds. For me there is no store
Of wealth laid up from all that I have borne,
Exposing life in battle. As a bird
Brings to her unfledged young the food she finds,
400
Though she herself be fasting, so have I
Had many a night unvisited by sleep,
And passed in combat many a bloody day,
Fighting beside these warriors for their wives.

Iliad. Homer. Boston. 1870.

Current edition Experimental

English (William Cullen Bryant, 1870) (OCR draft) (English) (English (William Cullen Bryant, 1870))

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.) — 9.286 focus
τρεῖς δέ οἵ εἰσι θύγατρες ἐνὶ μεγάρῳ εὐπήκτῳ
Χρυσόθεμις καὶ Λαοδίκη καὶ Ἰφιάνασσα,
τάων ἥν κʼ ἐθέλῃσθα φίλην ἀνάεδνον ἄγεσθαι
πρὸς οἶκον Πηλῆος· ὃ δʼ αὖτʼ ἐπὶ μείλια δώσει
πολλὰ μάλʼ, ὅσσʼ οὔ πώ τις ἑῇ ἐπέδωκε θυγατρί·
290
ἑπτὰ δέ τοι δώσει εὖ ναιόμενα πτολίεθρα
Καρδαμύλην Ἐνόπην τε καὶ Ἱρὴν ποιήεσσαν
Φηράς τε ζαθέας ἠδʼ Ἄνθειαν βαθύλειμον
καλήν τʼ Αἴπειαν καὶ Πήδασον ἀμπελόεσσαν.
πᾶσαι δʼ ἐγγὺς ἁλός, νέαται Πύλου ἠμαθόεντος·
295
ἐν δʼ ἄνδρες ναίουσι πολύρρηνες πολυβοῦται,
οἵ κέ σε δωτίνῃσι θεὸν ὣς τιμήσουσι
καί τοι ὑπὸ σκήπτρῳ λιπαρὰς τελέουσι θέμιστας.
ταῦτά κέ τοι τελέσειε μεταλήξαντι χόλοιο.
εἰ δέ τοι Ἀτρεΐδης μὲν ἀπήχθετο κηρόθι μᾶλλον
300
αὐτὸς καὶ τοῦ δῶρα, σὺ δʼ ἄλλους περ Παναχαιοὺς
τειρομένους ἐλέαιρε κατὰ στρατόν, οἵ σε θεὸν ὣς
τίσουσʼ· ἦ γάρ κέ σφι μάλα μέγα κῦδος ἄροιο·
νῦν γάρ χʼ Ἕκτορʼ ἕλοις, ἐπεὶ ἂν μάλα τοι σχεδὸν ἔλθοι
λύσσαν ἔχων ὀλοήν, ἐπεὶ οὔ τινά φησιν ὁμοῖον
305
οἷ ἔμεναι Δαναῶν οὓς ἐνθάδε νῆες ἔνεικαν.
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.) — 9.286 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.) — 9.334 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.286 focus
Agamemnon has three daughters, Khrysothemis, Laodike, and Iphianassa; you may take the one of your choice, freely and without gifts of wooing, to the house of Peleus; he will add such dower [290] to boot as no man ever yet gave his daughter, and will give you seven well-established cities, Kardamyle, Enope, and Hirē where there is grass; holy Pherai and the rich meadows of Anthea; lovely Aipeia also, and the vine-clad slopes of Pedasos, [295] all near the sea, and on the borders of sandy Pylos. The men that dwell there are rich in cattle and sheep; they will honor you with gifts as if you were a god, and be obedient to your comfortable ordinances [ themis pl.]. All this will he do if you will now forgo your anger. [300] Moreover, though you hate both him and his gifts with all your heart, yet pity the rest of the Achaeans who are being hard pressed as the whole army of warriors; they will honor you as a god, and you will earn great glory at their hands. You might even kill Hector; he will come within your reach, [305] for he has a wolfish rage [ lyssa] and declares that not a Danaan whom the ships have brought can hold his own against him.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 9.286 focus
'Yet more-three daughters in his court are bred,
'And each well worthy of a royal bed;
375
'Laodicé and Iphigenia fair,
'And bright Chrysothemis with golden hair;
'Her shalt thou wed whom most thy eyes approve;
'He asks no presents, no reward for love:
'Himself will give the dower: so vast a store,
380
'As never father gave a child before.
'Seven ample cities shall confess thy sway,
'Thee Enopé, and Pheræ thee obey,
'Cardamylé with ample turrets crown'd,
'And sacred Pedasus, for vines renown'd:
385
'Æpea fair, the pastures Hira yields,
'And rich Antheia with her flowery fields:
'The whole extent to Pylos' sandy plain
'Along the verdant margin of the main.
'There heifers graze, and labouring oxen toil;
390
'Bold are the men, and generous is the soil.
'There shalt thou reign with power and justice crown'd,
'And rule the tributary realms around.
'Such are the proffers which this day we bring,
'Such the repentance of a suppliant king.
395
'But if all this, relentless, thou disdain,
'If honour, and if interest, plead in vain;
'Yet some redress to suppliant Greece afford,
'And be, amongst her guardian gods, ador'd.
'If no regard thy suffering country claim,
400
'Hear thy own glory, and the voice of fame:
'For now that chief, whose unresisted ire
'Made nations tremble, and whole hosts retire,
'Proud Hector, now, th' unequal fight demands,
'And only triumphs to deserve thy hands.'
405
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.286 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.286 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.286 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 9 focus

New Alexandria Commentaries

Gregory Nagy

The Master Narrator now approaches what can surely be seen as the highest point so far in the narrative arc of the Homeric Iliad. Achilles has not spoken since Rhapsody 1. Now, in Rhapsody 9, he will speak again. And what he says will define what can and cannot happen in the rest of the Iliad.

draft js image errorThe embassy to Achilles, featuring Phoenix and Odysseus in front of Achilles. Attic red-figure hydra, circa 480 BCE. Public domain image via Wikimedia Commons.

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Whereas the Master Narrator did not use formal wording to introduce the speech of Odysseus at I.09.225–306, he does use formal wording both to introduce at I.09.307 the speech of Achilles and then to conclude it at I.430

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The response of Achilles to the speech of Odysseus continues. The passion intensifies even further.

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As we will see in later comments, especially starting with the comment on I.19.373–380, Achilles has a special relationship with the Hellespont.

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At I.07.063–064, we saw that a young hero named Phríxos escaped the dangers of the póntos ‘[sea-] crossing’ that is the Hellespont, as we read in Pindar Pythian 4.160–161: Pindar’s wording goes on to say that Phríxos was ‘saved’, saōthē, because he was carried to safety by the ram with the golden fleece. But the young heroine Héllē, who was the sister of Phrixos, did not escape the dangers: she fell off the ram and drowned in the stormy waters of the Hellespont, as we read in Apollodorus 1.9.1. That is why the Hellespont is named after her: Hellḗs-pontos means ‘the [sea-] crossing of Hellē’.

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In the Iliad and Odyssey, Apollo at Delphi is mentioned only here at Ι.09.404–405 and at O.08.079–081.

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Leonard Muellner

analysis of Achilles’ response to Odysseus’ speech in terms of his alienation, mēnis, desire to realize his heroic identity and win kleos, as well as the hostility between Achilles and Odysseus

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analysis of Achilles’ response to Odysseus’ speech in terms of his alienation, mēnis, desire to realize his heroic identity and win kleos, as well as the hostility between Achilles and Odysseus

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analysis of the goal of Agamemnon’s offer of gifts and the questions of relative status (rank) involved, specifically Agamemnon’s offer of gifts as an assertion of the giver’s prestige (potlatch) and Achilles’ responses

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analysis of Achilles’ response to Odysseus’ speech in terms of his alienation, mēnis, desire to realize his heroic identity and win kleos, as well as the hostility between Achilles and Odysseus

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analysis of the goal of Agamemnon’s offer of gifts and the questions of relative status (rank) involved, specifically Agamemnon’s offer of gifts as an assertion of the giver’s prestige (potlatch) and Achilles’ responses

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analysis of Achilles’ statement of the value of his life’s breath in light of the relative value system of the society represented in epic

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Richard Martin

The reply of Achilles to Odysseus in Book 9 (9.307-429) has been the focus of a long debate about the "language of Achilles," originating with Adam Parry's argument that Achilles, "bound by the formulaic nature of his diction, has no language with which to express his disillusionment" and yet succeeds by "misusing the language he disposes of." M. D. Reeve persuasively challenged this view, pointing out that "neither an unanswerable question nor an impossible demand is by its nature a misuse of language." The approach that best illuminates Achilles' speech is to compare every expression in his reply with similar expressions elsewhere in the Iliad, treating deviation from that norm as the site of characterization. The resulting analysis operates at the level of discourse—the full stretch of a speech—rather than at the level of particles, verb moods, or metrical features, which would not be perceptible to a listening audience (Martin 1993:152-53, 159-60).

For this analysis, formulas are divided into two types: syntagmatic (regularly repeated phrase groups—Parry's original definition) and paradigmatic (single words in regular metrical positions). A close reading of Chart 1, the full formulaic breakdown of Achilles' speech (9.307-429), produces the following finding: almost all of the speech consists of formulas, either paradigmatic or syntagmatic. Achilles' speech is thus traditional, in terms of the Iliad itself. But the number of paradigmatic formulas far outweighs the number of syntagmatic: Achilles uses very small, unconnected bricks for his edifice, choosing rather to rely on the ready-made longer phrase only occasionally. Each choice of word in a given place in the line is one that can be paralleled elsewhere, but the effect is one of tone: one seems to hear a man searching laboriously for the right word at every turn (Martin 1993:165-66).

Achilles generally employs familiar formulas in new ways; at the same time, what seem like new and innovative uses can in fact be explained as reworkings of familiar expressions paralleled elsewhere within the poem. His idiosyncrasy in formula use consists in his use of syntagmatic expressions elsewhere used exclusively by gods in speeches, or by the narrator in diegesis. There is a cohesiveness to these "deviations" (Martin 1993:169).

The key innovation that characterizes Achilles' speech over all other heroic discourse is what will be demonstrated as the "expansion aesthetic": an ability to ornament by expansion. Only Achilles, for example, asks essentially the same rhetorical question three times in succession (9.337-39). What is not conventional is the expanded form he gives to this strategy; and it is this expansion aesthetic that explains the dozens of fine deviations from the norm that a close reading of the speech reveals. Ultimately, it is this expansion aesthetic that shows the motivations for Homer's own poetry (Martin 1993:204).

For the analysis of kleos aphthiton as the speech's most marked formula, see the comment on Iliad 9.413. For the expansion aesthetic in full development, see the comment on Iliad 9.308-429 in Chapter 5.

References

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

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At 9.372-74, three phrases from Achilles' earlier exchange with Agamemnon in Book 1 recur together in a cluster: aien anaideian epieimenon (9.372 = 1.149), kuneōs per eōn eis ōpa idesthai (9.373, recalling kunōpa, 1.159), and boulās sumphrassomai (9.374 = from the narrator and Hera at 1.537, 540). The ensemble of phrases points back to another passage in which the expressions occur together. These are not random formulas but repetitions with "contextual surplus": they create meaning by providing a sense of the consistency of Achilles' own view of the world, characterizing the hero inasmuch as telling us his hatred of Agamemnon remains ever fresh. The phrase boulās sumphrassomai is particularly marked, since it is found nowhere else in the Iliad; the patterning of its speakers—Achilles, two goddesses, and the narrator—accords with Achilles' use of other, more regularly repetitive expressions elsewhere used only by gods or the poet (Martin 1993:173-74).

For the broader analysis of Achilles' reply and the typology of repetition, see the comment on Iliad 9.307-429.

References

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

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The mention of great wealth at home (9.364-65), gold, bronze, and iron, belongs to the conventions of battlefield supplication. When the sons of Antimakhos plead before Agamemnon for mercy (11.130-35), their promise of ransom begins: "Many possessions lie in the house of Antimakhos, bronze and gold and much-enduring iron." Adrestos, appealing to Agamemnon, cites the identical objects (6.47-48); Dolon refers to the precious metals with which his father will buy his freedom (10.378-79). The reference to a rich father, a store of goods at home, gold, bronze, and iron—all these are features of Achilles' words at 9.364-400. But there is a change in context: instead of begging for his life, Achilles is rejecting the supplication being made by the Achaeans. A second genre of discourse has been called on to fill out Achilles' words, as a portion of this section (9.366) also seems to have been imported from the discourse associated with raiding boasts. The hero uses the conventional routine for a new purpose: isolated from the fray, he speaks as though in the thick of battle, his private life taking on the tone of the public conflict (Martin 1993:202-4).

For the raiding boast genre and its deployment in Achilles' speech, see the comment on Iliad 11.677-705. For the broader analysis of Achilles' reply, see the comment on Iliad 9.307-429.

References

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

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Only Achilles speaks of the "soul" and of his "self" in the same breath within the Iliad, both at 9.322 and 9.401 (emēn psukhēn, emoi psukhēs antaxion). Reminders of the quarrel scene in Book 1 occur at 9.401: Achilles uses antaxion, a word not employed elsewhere in the context of recompense except at 1.136, where Agamemnon had demanded a gift "fitting in return." There is a point to the repetition: whereas Agamemnon had demanded a gift antaxion, Achilles asserts that there is nothing to exchange for his psuchē. These repeated phrases create meaning by providing a sense of the consistency of Achilles' view of the world, telling us his hatred of Agamemnon remains ever fresh. Furthermore, Achilles' final words ou ti min axō (9.429) are surely to be contrasted with Agamemnon's threat to take Briseis by force (1.139): Achilles refuses to use compulsion to detain Phoinix (Martin 1993:173-74).

For the broader analysis of Achilles' reply and the typology of repetition, see the comment on Iliad 9.307-429.

References

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

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Achilles' hyperbolic denial at 9.379—"Not even if Agamemnon gives ten and twenty times as much will he persuade me"—is part of a tripartite structure, each section of which is also triplex. Form contrasts with context in the expression: although the limits of wealth are considered and refused, the expression of refusal itself is hyperbolic, verbally full, "excessive." This rhetorical auxēsis adds weight to Achilles' verbal defeat of his adversary, as he simply outtalks Agamemnon. The strategy of auxēsis—magnification at every point, usually accomplished by doubling and tripling of expressions—is what I call the "expansion aesthetic," and it characterizes Achilles' speech in contrast to the rhetoric of all other Iliadic heroes. The ultimate result of this repetition is the construction of a cohesive and forceful speech: the narrative attests to the power of Achilles' discourse, as his audience is silent in amazement at the muthos (9.431) (Martin 1993:220-22).

The parallel with Homer's recusatio at 2.488-92 furnishes the most important evidence that this strategy belongs to Homer himself. See the comment on Iliad 2.488-492.

References

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

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