Homer Iliad 9.513

Samuel Butler (Translator)

Iliad. Homer. Samuel Butler (Translator). London. 1898.

Current edition Perseus

Iliad (English) (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.)

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.) — 9.492 focus
ὣς ἐπὶ σοὶ μάλα πολλὰ πάθον καὶ πολλὰ μόγησα,
τὰ φρονέων ὅ μοι οὔ τι θεοὶ γόνον ἐξετέλειον
ἐξ ἐμεῦ· ἀλλὰ σὲ παῖδα θεοῖς ἐπιείκελʼ Ἀχιλλεῦ
ποιεύμην, ἵνα μοί ποτʼ ἀεικέα λοιγὸν ἀμύνῃς.
495
ἀλλʼ Ἀχιλεῦ δάμασον θυμὸν μέγαν· οὐδέ τί σε χρὴ
νηλεὲς ἦτορ ἔχειν· στρεπτοὶ δέ τε καὶ θεοὶ αὐτοί,
τῶν περ καὶ μείζων ἀρετὴ τιμή τε βίη τε.
καὶ μὲν τοὺς θυέεσσι καὶ εὐχωλῇς ἀγανῇσι
λοιβῇ τε κνίσῃ τε παρατρωπῶσʼ ἄνθρωποι
500
λισσόμενοι, ὅτε κέν τις ὑπερβήῃ καὶ ἁμάρτῃ.
καὶ γάρ τε λιταί εἰσι Διὸς κοῦραι μεγάλοιο
χωλαί τε ῥυσαί τε παραβλῶπές τʼ ὀφθαλμώ,
αἵ ῥά τε καὶ μετόπισθʼ ἄτης ἀλέγουσι κιοῦσαι.
ἣ δʼ ἄτη σθεναρή τε καὶ ἀρτίπος, οὕνεκα πάσας
505
πολλὸν ὑπεκπροθέει, φθάνει δέ τε πᾶσαν ἐπʼ αἶαν
βλάπτουσʼ ἀνθρώπους· αἳ δʼ ἐξακέονται ὀπίσσω.
ὃς μέν τʼ αἰδέσεται κούρας Διὸς ἆσσον ἰούσας,
τὸν δὲ μέγʼ ὤνησαν καί τʼ ἔκλυον εὐχομένοιο·
ὃς δέ κʼ ἀνήνηται καί τε στερεῶς ἀποείπῃ,
510
λίσσονται δʼ ἄρα ταί γε Δία Κρονίωνα κιοῦσαι
τῷ ἄτην ἅμʼ ἕπεσθαι, ἵνα βλαφθεὶς ἀποτίσῃ.
ἀλλʼ Ἀχιλεῦ πόρε καὶ σὺ Διὸς κούρῃσιν ἕπεσθαι
τιμήν, ἥ τʼ ἄλλων περ ἐπιγνάμπτει νόον ἐσθλῶν.
εἰ μὲν γὰρ μὴ δῶρα φέροι τὰ δʼ ὄπισθʼ ὀνομάζοι
515
Ἀτρεΐδης, ἀλλʼ αἰὲν ἐπιζαφελῶς χαλεπαίνοι,
οὐκ ἂν ἔγωγέ σε μῆνιν ἀπορρίψαντα κελοίμην
Ἀργείοισιν ἀμυνέμεναι χατέουσί περ ἔμπης·
νῦν δʼ ἅμα τʼ αὐτίκα πολλὰ διδοῖ τὰ δʼ ὄπισθεν ὑπέστη,
ἄνδρας δὲ λίσσεσθαι ἐπιπροέηκεν ἀρίστους
520
κρινάμενος κατὰ λαὸν Ἀχαιϊκόν, οἵ τε σοὶ αὐτῷ
φίλτατοι Ἀργείων· τῶν μὴ σύ γε μῦθον ἐλέγξῃς
μηδὲ πόδας· πρὶν δʼ οὔ τι νεμεσσητὸν κεχολῶσθαι.
οὕτω καὶ τῶν πρόσθεν ἐπευθόμεθα κλέα ἀνδρῶν
ἡρώων, ὅτε κέν τινʼ ἐπιζάφελος χόλος ἵκοι·
525
δωρητοί τε πέλοντο παράρρητοί τʼ ἐπέεσσι.
μέμνημαι τόδε ἔργον ἐγὼ πάλαι οὔ τι νέον γε
ὡς ἦν· ἐν δʼ ὑμῖν ἐρέω πάντεσσι φίλοισι.
Κουρῆτές τʼ ἐμάχοντο καὶ Αἰτωλοὶ μενεχάρμαι
ἀμφὶ πόλιν Καλυδῶνα καὶ ἀλλήλους ἐνάριζον,
530
Αἰτωλοὶ μὲν ἀμυνόμενοι Καλυδῶνος ἐραννῆς,
Κουρῆτες δὲ διαπραθέειν μεμαῶτες Ἄρηϊ.
καὶ γὰρ τοῖσι κακὸν χρυσόθρονος Ἄρτεμις ὦρσε
χωσαμένη ὅ οἱ οὔ τι θαλύσια γουνῷ ἀλωῆς
Οἰνεὺς ῥέξʼ· ἄλλοι δὲ θεοὶ δαίνυνθʼ ἑκατόμβας,
535
οἴῃ δʼ οὐκ ἔρρεξε Διὸς κούρῃ μεγάλοιο.
ἢ λάθετʼ ἢ οὐκ ἐνόησεν· ἀάσατο δὲ μέγα θυμῷ.
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.) — 9.492 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.492 focus
I had infinite trouble with you, but I knew that the gods had granted me no offspring of my own, and I made a son of you, Achilles, [495] that in my hour of need you might protect me. Now, therefore, I say battle with your pride and beat it; cherish not your anger for ever; the might [ aretē] and majesty [ tīmē] of the gods are more than ours, [500] but even the gods may be appeased; and if a man has sinned he prays the gods, and reconciles them to himself by his piteous cries and by incense, with drink-offerings and the savor of burnt sacrifice. For Appeals [ Litai] are like daughters to great Zeus; lame, wrinkled, with eyes askance, they follow in the footsteps of the goddess Derangement [ Atē]. [505] She, being fierce and fleet of foot, leaves them far behind him, and ever baneful to humankind outstrips them even to the ends of the world; but nevertheless the Appeals [ Litai] come hobbling and healing after. If a man has pity upon these daughters of Zeus when they draw near him, they will bless him and hear him too when he is making his own appeals; [510] but if he deny them and will not listen to them, they go to Zeus the son of Kronos and make an appeal to him that this man may presently fall into derangement [ atē]—for him to regret bitterly hereafter. 513 So, Achilles, you too must grant that the Daughters of Zeus [= Litai] be given their 514 honor [ tīmē], which makes flexible the thinking [ noos] of others, good as they are. [515] Were not the son of Atreus offering you gifts and promising others later—if he were still furious and implacable—I am not he that would bid you throw off your anger [ mēnis] and help the Achaeans, no matter how great their need; but he is giving much now, and more hereafter; [520] he has sent his chiefs to urge his suit, and has selected [ krinein] those who of all the Argives are most acceptable to you; make not then their words and their coming to be of no effect. Your anger has been righteous so far. 524 This is how [ houtōs] we [= I, Phoenix] learned it, the glories [ klea] of men [ andrōn] of an earlier time [ prosthen], [525] who were heroes [ hērōes], whenever one of them was overcome by tempestuous anger. 526 They could be persuaded by way of gifts and could be swayed by words 527 I totally recall [ me-mnē-mai] how this was done—it happened a long time ago, it is not something new— 528 recalling exactly how it was. I will tell it in your company—since you are all near and dear [ philoi].
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 9.492 focus
Thus many things did I endure for thee,
605
And many toils perform; and since the gods
Vouchsafed no son to me, it was my thought
To train thee as a son, that thou might'st be,
O godlike man! the bulwark of my age.
And now subdue that mighty spirit of thine:
610
Ill it becomes thee to be merciless:
The gods themselves are placable, though far
Above us all in honor and in power
And virtue. We propitiate them with vows,
Incense, libations, and burnt-offerings,
615
And prayers for those who have offended. Prayers
Are daughters of almighty Jupiter, —
Lame, wrinkled, and squint-eyed, - that painfully
Follow Misfortune's steps; but strong of limb
And swift of foot Misfortune is, and, far
620
Outstripping all, comes first to every land,
And there wreaks evil on mankind, which prayers
Do afterwards redress. Whoe'er receives
Jove's daughters reverently when they approach,
Him willingly they aid, and to his suit
625
They listen. Whosoever puts them by
With obstinate denial, they appeal
To Jove, the son of Saturn, and entreat
That he will cause Misfortune to attend
The offender's way in life, that he in turn
630
May suffer evil and be punished thus.
Wherefore, Achilles! do thou also yield
The honor due Jove's daughters, freely given
By other valiant men. If Atreus' son
Brought thee no gifts, nor promised others still,
635
But kept his anger, I would never ask
That thou shouldst lay aside thy wrath and come
To help the Argives in their bitter need.
But he bestows large gifts, and adds a pledge
Of others yet in store, and he hath sent
640
The best men of the army, who to thee
Are dearest, to entreat thee. Spurn thou not
These, nor their embassy, although at first
Thine anger was not causeless. We have heard
The praise of heroes of the elder time,
645
Inflamed to vehement anger, yet appeased
By gifts, and yielding to persuasive words.
One instance I remember: long ago
It happened, and I will relate it here
Among my friends. Around the city-walls
650
Of Calydon did the Curetes strive
In battle with the Ætolians; they destroyed
Each other fearfully. The Ætolians fought
To save the pleasant town of Calydon,
And the Curetes warred to lay it waste.
655
Diana of the golden throne had caused
The war, displeased with Œneus, who withheld
From her the first-fruits of his fertile field:
While hecatombs were burnt in sacrifice
To feast the other gods, to her -
660
Daughter of Jove - no offering was brought;
For either he forgot, or thought the rite
Of little moment; but he greatly erred.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 9.492 focus
'The tender labours, the compliant cares;
'The gods (I thought) revers'd their hard decree,
'And Phoenix felt a father's joys in thee:
615
'Thy growing virtues justified my cares,
'And promis'd comfort to my silver hairs.
'Now be thy rage, thy fatal rage, resign'd;
'A cruel heart ill suits a manly mind:
'The gods (the only great, and only wise)
620
'Are mov'd by offerings, vows, and sacrifice;
'Offending man their high compassion wins,
'And daily prayers atone for daily sins.
'Prayers are Jove's daughters, of celestial race,
'Lame are their feet, and wrinkled is their face;
625
'With humble mien, and with dejected eyes,
'Constant they follow where Injustice flies:
'Injustice, swift, erect, and unconfin'd,
'Sweeps the wide earth, and tramples o'er mankind,
'While Prayers, to heal her wrongs, move slow behind.
630
'Who hears these daughters of almighty Jove,
'For him they mediate to the throne above:
'When man rejects the humble suit they make,
'The sire revenges for the daughters' sake;
'From Jove commission'd, fierce Injustice then
635
'Descends, to punish unrelenting men.
'Oh let not headlong passion bear the sway;
'These reconciling goddesses obey:
'Due honours to the seed of Jove belong;
'Due honours calm the fierce and bend the strong.
640
'Were these not paid thee by the terms we bring,
'Were rage still harbour'd in the haughty king,
'Nor Greece, nor all her fortunes, should engage
'Thy friend to plead against so just a rage.
'But since what honour asks, the general sends,
645
'And sends by those whom most thy heart commends,
'The best and noblest of the Grecian train;
'Permit not these to sue, and sue in vain!
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.492 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.492 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.492 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 9 focus

New Alexandria Commentaries

Douglas Frame

list of/analysis of passages where humans are likened to gods

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analysis of the formulaic element at work in the diction to do with “remembering return”

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example of relationship between verbs signifying mind as nóstos. Compare to Il. X.509, Od. III.142

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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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For Meleagros, what elevates Kleopatra to the top of his own ascending scale of affection is her lament at I.09.590–594 expressing her grim premonition about a destroyed city. Suddenly, Meleagros comes to his senses and sees for the very first time that the doomed city as pictured in the lament of Kleopatra will be his very own city if he does not take immediate action.

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Once again, the fire of Hector looms as a threat to the salvation of the Achaeans.

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The speech of Achilles in response to Phoenix is remarkably brief in comparison to his speech in response to Odysseus. If Phoenix had spoken first, the response of Achilles would have been different.

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Once again, the pairing of Ajax and Odysseus is a plural instead of a dual construction.

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This speech is not even addressed to Achilles: Ajax speaks to Odysseus, telling him that it is not even worth trying to speak to Achilles. It is a form of ignoring a person, comparable perhaps to the partial ignoring of Odysseus by way of dual constructions. See the comment on I.09.193–198.

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Ajax here is accusing Achilles of ranking Briseis ahead of his own companions by failing to be swayed when they assure him that they are near and dear to him. There will be more about this speech in a future comment, with analysis of parallelisms between this passage and a passage dealing with a litigation scene as depicted on the Shield of Achilles.

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use of poinē as in the sense of wergild in the context of discussing the litigation scene on Achilles’ Shield

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Leonard Muellner

analysis of Phoenix’s speech regarding Litai and Atē as meaning that Achilles is being appeased like a god with mēnis but if he is inflexible, he is danger of falling victim to Atē

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

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contra Watkins that this is the only time a mortal utters the root noun mēnis

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

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list of instances when mortals (and narrator and gods) utter the root noun mēnis

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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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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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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, here specifically to do with verbs from the root of the word Litai

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analysis of Ajax’s speech to Achilles as corresponding to the penultimate group of pleaders in Phoenix’s Meleagros story

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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 also to do with verbs from the root of the word Litai

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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

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analysis of kēdea as a word for the solidarity bond arising from a death in the community or through marriage

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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 Achilles’ response in light of the parallels with the Shield and the embassies to Meleagros, here also whether Achilles’ refusal of Agamemnon’s prizes is really harmful to his timē as Phoenix claims

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analysis of Achilles’ response to Phoenix in terms of timē and philotēs/solidarity with Achaeans or with his family

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analysis of Achilles’ response to Phoenix for how the latter’s speech affects Achilles’ decision

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analysis of Achilles’ response to Phoenix in terms of timē and philotēs

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analysis of kēdea as a word for the solidarity bond between those who share grief

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analysis of Achilles’ response to Phoenix for how the latter’s speech affects Achilles’ decision

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analysis of Ajax’s speech to Odysseus

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analysis of Ajax’s speech, his use of the third person of Achilles and reference to philotēs

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comparison with, and analysis of the litigation scene (with eukhesthai) on Achilles’ shield

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analysis of Ajax’s speech (esp. about poinē) and its comparison with Phoenix’s Meleagros story and Achilles’ Shield in I.18

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apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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analysis of Ajax’s speech, his legal analogy for Achilles

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analysis of the application of ilaos (and cognates) to gods (and heroes) with mēnis, here Achilles

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apoina as object of dekhesthai, in the context of analyzing I.18.499-500 (litigation scene on the Shield), and Corlu, Benveniste, and Chantraine

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analysis of Ajax’s speech, change to second person address to Achilles

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analysis of Ajax’s legal analogy for Achilles’ situation and his belonging to their friendship group

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Richard Martin

When Ajax performs a muthos before Achilles during the embassy (9.623-42), Achilles approves the format of the carefully made speech, although he seems little swayed by its content: "You appear to have said formally (muthēsasthai) all to me according to your heart (thumos)" (9.644-45). Achilles believes that Ajax has made a full disclosure of his views. The verb mutheomai here marks the speech as having a formal nature; full detail is laid out for the audience (Martin 1993:40).

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The denial of command authority in Achilles' speeches comes out clearly in the command to Phoinix, "Be king equally with me and share half the honor" (9.616); in the granting of power to Patroklos to "rule the Myrmidons in battle" (16.65); in Achilles' later commitment to obey all commands of Patroklos (23.95-96); and in his directive—really an entreaty—that his companion's spirit "not be angered with me" (24.592) for having released Hektor's corpse. There is a slightly odd sound to these at first, as if Achilles were telling his audience not to regard him as worth listening to. But this self-deprecating strategy fits with Achilles' preference for two-way communication between speaker and addressee. And the denial of command only increases respect for the hero who can risk such apparent undercutting: it is a sign of higher authority. It gives substance to Achilles' assertion that he does not need the timē given by Agamemnon, since Zeus honors him (9.607-8) (Martin 1993:140-41).

For the broader analysis of Achilles' distinctive speech style, see the comment on Iliad 9.646-647.

References

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

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