Homer Iliad 9.417

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And now I counsel all to sail for home,
For never will ye see the overthrow
Of lofty Ilium. Jove the Thunderer
520
Stretches his great hand o'er her, and her sons
Take courage. Go ye now, and take with you
This message to the princes of the Greeks, —
As is the office of an embassy, —
And bid them meditate some wiser plan
525
To save their galleys and the host of Greeks
Within the hollow barks. The plan which brought
You hither cannot serve you while I keep
My anger unappeased. Let Phœnix stay
To pass the night with us, that he may sail
530
To-morrow, if it please him, to the land
We love; I take him not against his will."
He ceased; and silent were the ambassadors,
Astonished at his passionate words. At last
Phœnix, the aged knight, with many tears
535
And sighs, took up the word, in grief and fear
Lest Hector should destroy the Grecian fleet:
"Illustrious son of Peleus, if indeed
Thou wilt return, nor carest to repel
From our swift galleys the consuming fire,
540
Because thou art offended, how shall I,
Dear child, remain without thee? When at first
Peleus, the aged knight, from Phthia sent
Thee, yet a boy, to Agamemnon's aid,
Unskilled as then thou wert in cruel war,
545
And martial councils, - where men also gain
A great renown, - he sent me with thee, charged
To teach thee both, that so thou might'st become
In words an orator, in warlike deeds
An actor. Therefore, my beloved child,
550
Not willingly shall I remain behind;
Not even though a god should promise me
That, overcoming the decays of age,
I might become a beardless youth again,
As when from Hellas and its companies
555
Of lovely maids I came a fugitive,
And left Amyntor, son of Ormenus, -
My father, - angry with me for the sake
Of a fair-tressèd wanton, whom he loved,
Treating my mother basely. To my knees
560
My mother came and prayed me ceaselessly,
First, to possess the woman, that she then
Might loathe the elder one; and I obeyed.
My father knew it, and with many a curse
Invoked the hateful furies to forbid
565
That any child who owed his birth to me
Should ever sit upon his knees. The gods-
The Jove of Hades and dread Proserpine -
Confirmed his curse. I could not brook to dwell
Within my father's palace while he thus
570
Was wroth with me. My kindred and my friends
Came round me, and besought me to remain,
And stayed beside me.

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.) — 9.417 focus
καὶ δʼ ἂν τοῖς ἄλλοισιν ἐγὼ παραμυθησαίμην
οἴκαδʼ ἀποπλείειν, ἐπεὶ οὐκέτι δήετε τέκμωρ
Ἰλίου αἰπεινῆς· μάλα γάρ ἑθεν εὐρύοπα Ζεὺς
χεῖρα ἑὴν ὑπερέσχε, τεθαρσήκασι δὲ λαοί.
420
ἀλλʼ ὑμεῖς μὲν ἰόντες ἀριστήεσσιν Ἀχαιῶν
ἀγγελίην ἀπόφασθε· τὸ γὰρ γέρας ἐστὶ γερόντων·
ὄφρʼ ἄλλην φράζωνται ἐνὶ φρεσὶ μῆτιν ἀμείνω,
ἥ κέ σφιν νῆάς τε σαῷ καὶ λαὸν Ἀχαιῶν
νηυσὶν ἔπι γλαφυρῇς, ἐπεὶ οὔ σφισιν ἥδέ γʼ ἑτοίμη
425
ἣν νῦν ἐφράσσαντο ἐμεῦ ἀπομηνίσαντος·
Φοῖνιξ δʼ αὖθι παρʼ ἄμμι μένων κατακοιμηθήτω,
ὄφρά μοι ἐν νήεσσι φίλην ἐς πατρίδʼ ἕπηται
αὔριον ἢν ἐθέλῃσιν· ἀνάγκῃ δʼ οὔ τί μιν ἄξω.
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.) — 9.417 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)) — 9.417 focus
To the rest of you, then, I say, ‘Go home, for you will not take Ilion.’ Zeus of the wide brows [420] has held his hand over her to protect her, and her people have taken heart. 421 But you must go back to the chieftains of the Achaeans 422 and give them this message—for that is the privilege of the Elders— 423 that they should devise in their thoughts another plan [ mētis] that is better 424 and that will rescue their ships and the host of the Achaeans [425] who are at the hollow ships. For this one [this mētis], 426 which they now devised during the time of my anger, does not suffice. As for Phoenix, let him sleep here that he may sail with me in the morning if he so will. But I will not take him by force.”
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 9.417 focus
'Go then, to Greece report our fix'd design:
'Bid all your councils, all your armies join,
545
'Let all your forces, all your arts conspire,
'To save the ships, the troops, the chiefs, from fire.
'One stratagem has fail'd, and others will:
'Ye find Achilles is unconquer'd still.
'Go then: digest my message as ye may:
550
'But here this night let reverend Phoenix stay:
'His tedious toils and hoary hairs demand
'A peaceful death in Phthia's friendly land.
'But whether he remain, or sail with me,
'His age be sacred, and his will be free.'
555
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.417 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.417 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.417 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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Here, finally, is the speech of Phoenix, postponed because Odysseus took the initiative of speaking first. 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 to introduce at I.09.432–433 the speech of Phoenix.

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Phoenix refers to the three ambassadors, including himself, as philtatoi, the ‘nearest and dearest’ to Achilles. But the relationship of Achilles to the three has its problems, as analyzed in the comment for I.09.193–198.

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The story told by Phoenix about Meleagros and Kleopatra is introduced at the very beginning, I.09.524, by the expression houtō ‘this is how’, which conventionally introduces a discourse containing a moral message, such as a fable. The Greek word for such discourse is ainos, the meaning of which is impossible to translate by way of any single English word. For want of a better alternative, I define ainos pragmatically as ‘coded words’—a ‘coded message’. In the case of the story told by Phoenix, it is intended to carry a moral message for Achilles. The story is described, already at I.09.524, as klea andrōn | hērōōn ‘the glories [klea] of men who were heroes’. By convention, such an expression refers to song, especially to the medium of epic. We saw at I.09.185–191 a truncated version of this expression, klea andrōn, ‘the glories [klea] of men’, I.09.189, and the performer in that context was Achilles himself, singing his song while accompanying himself on the lyre. The male hero in the story of Phoenix, Meleagros, is like Achilles. He too is angry at his community, and he too has withdrawn from fighting in a war, leaving his own people in desperate trouble. Those who are near and dear to him now approach Meleagros, imploring him to return to the fight and making their appeals to him as suppliants. The narrative arranges the order of the suppliants in terms of the hero’s ascending scale of affection. Those who are starting off on the lower levels of this scale will be mentioned earlier, while those who end up on the higher levels will be mentioned later. So, the highest someone on this scale will be mentioned last. Near the top of the scale are the hetairoi ‘companions’ of Meleagros, I.09.585, who are described at I.09.586 as philtatoi ‘nearest and dearest’ to him. So also Phoenix thinks that he and his fellow ambassadors, as companions of Achilles, should be placed at the very top of his ascending scale of affection. But the highest person on the ascending scale of affection for Meleagros turns out to be his wife, named Kleopatra, I.09.556. Her name fits the moral message of the story, since Kleopátrā means ‘she who has the glory [kleos] of the ancestors’. Thus Kleopatra is the very embodiment of the story described as klea andrōn | hērōōn ‘the glories [klea] of men who were heroes’, since heroes are figured as stylized ancestors of the community. But the question is, what meaning will this story have for Achilles? For this hero, the top of his own ascending scale of affection will turn out to be Patroklos, whose full name, Patrokléēs, has the same meaning as the name of Kleopátrā, but the two elements of the name, kleos ‘glory’ and pateres ‘ancestors’ are in reverse. Each of the two names is a “speaking name” (nomen loquens), and both names mean ‘he/she who has the glory [kleos] of the ancestors’. Further, as noted in the comment for I.09.185–191, the etymology of the name Patrokléēs can be adjusted by way of interpreting the component kléos ‘glory’ in the plural sense of the word, not only in the singular sense: ‘he who has the glories [klé(e)a of the ancestors [patéres]’. And the same can be said for Kleopátrā: ‘she who has the glories [klé(e)a of the ancestors [patéres]’.

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comment on the parallel between the loss of timē by Achilles in I.01 and Artemis’ being deprived of her share in a sacrifice, which qualifies as a dais in the Meleager story (Motto and Clark)

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Here at I.09.561–564, it is revealed that Kleopatra had a second “speaking name” (nomen loquens), and that this name had to do with the singing of laments. Her second name was Alkuónē, I.09.562, which was given to her as a reminder of sorrows suffered by her mother, who is said to have lamented just as a songbird laments, I.09.562–564. The lamenting songbird here is the halkúōn ‘halcyon’, described as polupenthēs ‘having much grief’, I.09.563. See also the comments on I.22.483 and on Ι.24.708, analyzing further contexts where penthos ‘grief’ is connected with singing songs of ritual lament.

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Leonard Muellner

analysis of Phoenix’s plea to Achilles (transitioning from Litai to story of Meleagros)

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analysis of Hector’s and Andromache’s exchange and comparison with Kleopatre’s with Meleagros (I.09) and Achilles and Patroklos, and analysis of kleos, patēr, and philoi in these contexts (here, specifically on the semantics of the collocation of pater and kleos as ‘the kleos of the ancestors’)

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analysis of Phoenix’s plea to Achilles (transitioning from Litai to story of Meleagros)

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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection

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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection

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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection and distinguishing philoi who are family members from philoi in general

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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection

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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection

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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection

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