Homer Iliad 9.538

A. T. Murray (Translator)

Iliad. Homer. A. T. Murray (Translator). London. 1924-1925.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Iliad (English) (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.)

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.) — 9.538 focus
ἣ δὲ χολωσαμένη δῖον γένος ἰοχέαιρα
ὦρσεν ἔπι χλούνην σῦν ἄγριον ἀργιόδοντα,
ὃς κακὰ πόλλʼ ἕρδεσκεν ἔθων Οἰνῆος ἀλωήν·
540
πολλὰ δʼ ὅ γε προθέλυμνα χαμαὶ βάλε δένδρεα μακρὰ
αὐτῇσιν ῥίζῃσι καὶ αὐτοῖς ἄνθεσι μήλων.
τὸν δʼ υἱὸς Οἰνῆος ἀπέκτεινεν Μελέαγρος
πολλέων ἐκ πολίων θηρήτορας ἄνδρας ἀγείρας
καὶ κύνας· οὐ μὲν γάρ κε δάμη παύροισι βροτοῖσι·
545
τόσσος ἔην, πολλοὺς δὲ πυρῆς ἐπέβησʼ ἀλεγεινῆς.
ἣ δʼ ἀμφʼ αὐτῷ θῆκε πολὺν κέλαδον καὶ ἀϋτὴν
ἀμφὶ συὸς κεφαλῇ καὶ δέρματι λαχνήεντι,
Κουρήτων τε μεσηγὺ καὶ Αἰτωλῶν μεγαθύμων.
ὄφρα μὲν οὖν Μελέαγρος ἄρηι φίλος πολέμιζε,
550
τόφρα δὲ Κουρήτεσσι κακῶς ἦν, οὐδὲ δύναντο
τείχεος ἔκτοσθεν μίμνειν πολέες περ ἐόντες·
ἀλλʼ ὅτε δὴ Μελέαγρον ἔδυ χόλος, ὅς τε καὶ ἄλλων
οἰδάνει ἐν στήθεσσι νόον πύκα περ φρονεόντων,
ἤτοι ὃ μητρὶ φίλῃ Ἀλθαίῃ χωόμενος κῆρ
555
κεῖτο παρὰ μνηστῇ ἀλόχῳ καλῇ Κλεοπάτρῃ
κούρῃ Μαρπήσσης καλλισφύρου Εὐηνίνης
Ἴδεώ θʼ, ὃς κάρτιστος ἐπιχθονίων γένετʼ ἀνδρῶν
τῶν τότε· καί ῥα ἄνακτος ἐναντίον εἵλετο τόξον
Φοίβου Ἀπόλλωνος καλλισφύρου εἵνεκα νύμφης,
560
τὴν δὲ τότʼ ἐν μεγάροισι πατὴρ καὶ πότνια μήτηρ
Ἀλκυόνην καλέεσκον ἐπώνυμον, οὕνεκʼ ἄρʼ αὐτῆς
μήτηρ ἀλκυόνος πολυπενθέος οἶτον ἔχουσα
κλαῖεν ὅ μιν ἑκάεργος ἀνήρπασε Φοῖβος Ἀπόλλων·
τῇ ὅ γε παρκατέλεκτο χόλον θυμαλγέα πέσσων
565
ἐξ ἀρέων μητρὸς κεχολωμένος, ἥ ῥα θεοῖσι
πόλλʼ ἀχέουσʼ ἠρᾶτο κασιγνήτοιο φόνοιο,
πολλὰ δὲ καὶ γαῖαν πολυφόρβην χερσὶν ἀλοία
κικλήσκουσʼ Ἀΐδην καὶ ἐπαινὴν Περσεφόνειαν
πρόχνυ καθεζομένη, δεύοντο δὲ δάκρυσι κόλποι,
570
παιδὶ δόμεν θάνατον· τῆς δʼ ἠεροφοῖτις Ἐρινὺς
ἔκλυεν ἐξ Ἐρέβεσφιν ἀμείλιχον ἦτορ ἔχουσα.
τῶν δὲ τάχʼ ἀμφὶ πύλας ὅμαδος καὶ δοῦπος ὀρώρει
πύργων βαλλομένων· τὸν δὲ λίσσοντο γέροντες
Αἰτωλῶν, πέμπον δὲ θεῶν ἱερῆας ἀρίστους,
575
ἐξελθεῖν καὶ ἀμῦναι ὑποσχόμενοι μέγα δῶρον·
ὁππόθι πιότατον πεδίον Καλυδῶνος ἐραννῆς,
ἔνθά μιν ἤνωγον τέμενος περικαλλὲς ἑλέσθαι
πεντηκοντόγυον, τὸ μὲν ἥμισυ οἰνοπέδοιο,
ἥμισυ δὲ ψιλὴν ἄροσιν πεδίοιο ταμέσθαι.
580
Translations (8)
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.) — 9.513 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.538 focus
Then the archer goddess in her displeasure sent a prodigious creature against him—a savage wild boar with great white tusks [540] that did much harm to his orchard lands, uprooting apple-trees in full bloom and throwing them to the ground. But Meleagros son of Oineus got huntsmen and hounds from many cities [545] and killed it—for it was so monstrous that not a few were needed, and many a man did it stretch upon the funeral pyre. Then the goddess set the Kouretes and the Aetolians fighting furiously about the head and skin of the boar.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 9.538 focus
And now the child of Jove, the archer-queen,
Incensed, sent forth against him from the wood
665
A white-tusked wild boar, which upon his lands
Entered, and ravaged them, and brought to earth
Many tall trees: tree after tree they fell,
With roots uptorn, and all the blossoms on,
That promised fruit. Him Meleager, son
670
Of Œneus, slew, with many hunters called
From neighboring cities, bringing many hounds.
A few could not subdue him: he had made
Many already mount the funeral pile.
Diana kindled round the boar a strife
675
For the beast's head and bristly hide, - a war
'Twixt the Curetes and the Ætolian band
Of braves. The war, while Meleager fought,
Went not with the Curetes, nor could they,
Though many, keep the field. But wrath at last
680
Seized Meleager, - wrath, which rages oft
Even in prudent minds. Incensed against
Althæa, his own mother, he remained
At home with Cleopatra, his young wife,
The beauteous, whom a delicate-footed dame,
685
Marpessa, daughter of Evenus, bore
To Idas, bravest in his time among
The sons of men, - so brave that once he drew
A bow against Apollo for the sake
Of his neat-footed bride. The honored pair
690
Within the palace used to call their child
Alcyone; for when the archer-god,
Apollo, from her husband bore away
The mother, Cleopatra sadly wailed,
As wails the halcyon. So beside his spouse
695
Dwelt Meleager, brooding ever o'er
The violent anger which his mother's curse
Had kindled. Grieving for a brother's death,
She supplicated heaven, and often struck
Her hands against the teeming earth, and called -
700
Kneeling, her bosom all bedewed with tears
On Pluto and the cruel Proserpine,
To put her son to death. From Erebus
The pitiless Erinnys, wandering
In darkness, heard the prayer. Then straightway rose
705
A sound of fearful tumult at the gates:
The towers were battered, and the elder chiefs
Of the Ætolians hastened to entreat
The aid of Meleager, and they sent
Priests of the gods, a chosen band, to pray
710
That he would come to their defence. Large gifts
They promised. Where the soil of Calydon
Was best, they bade him choose a fruitful field
Of fifty acres, half for vines, and half,
Cleared of the trees, for tillage. Earnestly
715
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 9.538 focus
'In vengeance of neglected sacrifice;
'On Œneus' 1 fields she sent a monstrous boar,
'That levell'd harvests and whole forests tore:
660
'This beast (when many a chief his tusks had slain)
'Great Meleager stretch'd along the plain.
'Then, for his spoils, 2 a new debate arose,
'The neighbour nations thence commencing foes.
'Strong as they were, the bold Curetes fail'd,
665
'While Meleager's thundering arm prevail'd:
'Till rage at length inflam'd his lofty breast,
'(For rage invades the wisest and the best.)
'Curs'd by Althæa, 3 to his wrath he yields,
'And, in his wife's embrace, 4 forgets the fields.
670
'She from Marpessa sprung, divinely fair,
'And matchless Idas, more than man in war;
'The god of day ador'd the mother's charms:
'Against the god the father bent his arms: 5
'Th' afflicted pair, their sorrows to proclaim,
675
'From Cleopatra chang'd this daughter's name,
'And call'd Alcyone; a name to shew
'The father's grief, the mourning mother's woe.)
'To her the chief retir'd from stern debate,
'But found no peace from fierce Althæa's hate:
680
'Althæa's hate th' unhappy warrior drew,
'Whose luckless hand his royal uncle slew;
'She beat the ground, and call'd the powers beneath
'On her own son to wreak her brother's death: 6
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.538 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.538 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.538 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 9 focus

Notes on the current edition

Iliad

1. 421.1
2. 423.1
3. 423.2
4. 423.3

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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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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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 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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analysis of Phoenix’s Meleagros story in terms of Kakridis’ folktale motif of the ascending scale of affection, here specifically to do with verbs from the root of the word Litai

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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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