Homer Iliad 9.162

ed. David B. Monro, ed. Thomas W. Allen

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Iliad. Homer. ed. David B. Monro, ed. Thomas W. Allen. Oxford. 1908-1920.

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Ἰλιάς (Greek) (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.)

Translations (9)
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.) — 9.162 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.) — 9.182 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.162 focus
Then Nestor, the charioteer of Gerenia, answered, “Most noble son of Atreus, king of men, Agamemnon. The gifts you offer are no small ones, [165] let us then send chosen messengers, who may go to the tent of Achilles son of Peleus without delay. 167 But come, let those upon whom I am looking take on the task. 167 First of all, let Phoenix, dear to Zeus, take the lead; 167 and after him the great Ajax and brilliant Odysseus, [170] and of the heralds let Odios and Eurybates accompany them. Now bring water for our hands, and bid all keep silence while we pray to Zeus the son of Kronos, if so be that he may have mercy upon us.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 9.162 focus
Then answered Nestor the Gerenian knight: —
"Atrides Agamemnon! glorious king!
Gifts not to be contemned thou offerest
To Prince Achilles. Let us now despatch
A chosen embassy, who shall proceed
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At once to where Pelides holds his tent.
I name the men; and cheerfully will they
Perform the duty: Phenix, dear to Jove,
Shall be their leader, mighty Ajax next,
And then high-born Ulysses; heralds twain
205
Shall follow, - Hodius and Eurybates.
And now be water brought to cleanse our hands,
And charge be given that no ill-omened word
Be uttered, while we pray that Jupiter,
The son of Saturn, will assist our need."
210
He spake; and all approved the words he said.
Then poured the heralds water on the hands
Of those who sat. The young men crowned with wine
The goblets, and in seemly order passed
The brimming cups, distributing to each.
215
Part to the gods they poured, and next they drank
As each might choose, and then the embassy
Hastened from Agamemnon's tent. To each
Gerenian Nestor spake in turn, and fixed
His eyes on each intently, - most of all
220
Upon Ulysses, --and with many a charge
To turn Pelides from his angry mood.
Along the edge of the resounding deep
They went, and as they walked they offered prayer
To earth-embracing Neptune, that their words
225
Might move full soon the great Æacides
To change his purpose. When they reached the tents
And galleys of the Myrmidons, they found
The hero solacing his heart with notes
Drawn from a sweet-toned harp of silver frame,
230
Well-wrought and shapely, which he found among
The spoil he gathered when he overthrew
Eetion's city. With its sounds he soothed
His mood, and sang the exploits of valiant men.
On moved the messengers, - before them walked
235
High-born Ulysses, - till they stood beside
Achilles. He beheld, and with the harp
Sprang from his seat, surprised. Patroclus saw
The heroes also, and arose. Their hands
The swift Achilles took in his, and said: -
240
"Welcome! Ye come as friends. Some pressing cause
Must surely bring you hither, whom I prize,
Wronged as I am, beyond all other Greeks."
Thus speaking, the great son of Peleus led
His guests still farther on, and seated them
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On couches spread with purple coverings,
And thus addressed Patroclus, who was near:-
"Son of Menœtius, bring a larger vase,
And mingle purer wine, and place a cup
For each, since these are most beloved friends, -
250
These warriors who now sit beneath my roof."
He spake. Patroclus hearkened, and obeyed
His well-beloved friend, who meantime placed
A block beside the fire, and on it laid
Chines of a sheep and of a fatling goat,
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And of a sow, the fattest of her kind.
Automedon stood by and held them fast;
Achilles took the knife and skilfully
Carved them in portions, and transfixed the parts
With spits. Patroclus, the divine in form,
260
Woke to a blaze the fire; and when the flame
Had ceased to rise he raked the glowing coals
Apart, and o'er them stretched the spits, and strewed,
Raising the flesh, the sacred salt o'er all.
And when he had made ready and had spread
265
The banquet on the board, Patroclus took
The bread and offered it to all the guests
In shapely canisters. Achilles served
The meats, and took his seat against the wall,
In front of great Ulysses. There he bade
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His friend Patroclus offer sacrifice,
Casting the first rich morsels to the flames.
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 9.162 focus
The monarch thus: the reverend Nestor then:
215
'Great Agamemnon! glorious king of men!
'Such are thy offers as a prince may take,
'And such as fits a generous king to make.
'Let chosen delegates this hour be sent
'(Myself will name them) to Pelides' tent:
220
'Let Phoenix lead, rever'd for hoary age,
'Great Ajax next, and Ithacus the sage.
'Yet more to sanctify the word you send,
'Let Hodius and Eurybates attend.
'Now pray to Jove to grant what Greece demands;
225
'Pray, in deep silence, and with purest hands.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.162 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.162 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.162 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 is where Nestor formulates the sequence of speakers for the embassy to Achilles: Phoenix must lead, I.09.168, followed by Ajax and then by Odysseus, I.09.169. At I.09.167, Nestor reinforces his verbal formulation by specially glancing at each one of the three ambassadors.

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Nestor signals to the three ambassadors, glancing at them with coded looks, especially at Odysseus. Once again, the special glances of Nestor, I.09.180, reinforce his verbal formulation. See the comment on I.09.167–170.

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As the three ambassadors and the two heralds proceed toward the shelter of Achilles, a series of dual forms is activated in the narrative, starting already with the very first verse and continuing from there: 182, 183, 185, 192, 196, 197, 198. The intervening plurals as at 186 are negligible, since plurals can normally substitute for duals in Homeric diction. But duals cannot substitute for plurals. So, the problem is, who are the referents in these contexts where the dual form is used? One way to approach the problem is to follow through on the formulation of Nestor, who had said that Phoenix must lead the embassy, I.09.168, followed by Ajax and then by Odysseus, I.09.169. See the comment on I.09.167–170. But then, when the group reaches the shelter of Achilles, it is said explicitly that Odysseus now takes the lead, I.09.192. Further, when Ajax signals to Phoenix at I.09.223, it is Odysseus who picks up the signal instead, as indicated by the verb noeîn ‘take note (of), notice’ (see further the comment on I.09.223), and now it will be Odysseus and not Phoenix who delivers the first of the three speeches. At I.09.224, Odysseus fills a goblet with wine and toasts Achilles—a gesture that may have seemed more appropriate for Achilles to perform as the host, not for Odysseus as the guest. For Odysseus to violate the etiquette is not to violate the traditions of myth, however, in that it is traditional for the figure of Odysseus to violate rules of etiquette. At O.08.475–476, to cite another example, Odysseus seems to be behaving like a host in a situation where he is really the guest. For more on this point, see HQ 142. In any case, right after pouring the wine and toasting Achilles, Odysseus starts at I.09.225 to deliver the first of the three speeches addressed by the three ambassadors to Achilles. Only after this speech of Odysseus, I.09.225–306, and after the reply of Achilles to that speech, I.09.308–429, will Phoenix get a chance to give his own speech, I.09.434–605—even though Nestor had intended for Phoenix to be the first speaker. So, returning to I.09.192, where Odysseus already takes the lead away from Phoenix, we can view this point in the narrative as the marker of a transition: before this point, the dual forms could refer to Ajax and Odysseus, as led by Phoenix, but then, after this point, the dual forms could refer to Phoenix and Ajax, as led by Odysseus. Alternatively the dual forms in these verses could have an elliptic function, where a singular X is paired with a group Y. This way, the dual still refers to a pair, even though the second part of the pair is a group.

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As the three ambassadors and the two heralds enter the shelter of Achilles, they find the hero singing klea andrōn ‘the glories [klea] of men’ while his companion Patroklos is listening to the song, waiting to continue it where Achilles will leave off. We see here a dramatization of relay singing, which is a model for the poetic world of rhapsōidoi ‘rhapsodes’ who perform Homeric poetry in sequence. But the relay from one performance to the next is a sequencing that does not have to happen only at one particular time. The sequencing can be seen as happening over time. Relevant here is the meaning of the name of Patroklos, which is a “speaking name” (nomen loquens), Patrokléēs ‘he who has the glories [klé(e)a of the ancestors [patéres]’. Here the etymology of the name is adjusted by way of interpreting the component kléos ‘glory’ in the plural sense of the word, not only in the singular sense that was noted in the comment on I.01.345. In terms of this meaning, the kléos ‘glory’ of song is passed on, from one generation to the next, as the living heritage of the patéres ‘ancestors’. As for the original singing of Achilles himself in his shelter, it mirrors the singing of the god Apollo, who performs his songs while accompanying himself on the lyre. In the case of the lyre played by Achilles as he sings, it had once belonged to Eëtion, father of Andromache. As we have seen in the anchor comment at I.06.407–439, Andromache in the Iliad sings laments in expressing her sorrows. Such singing is relevant to songs sung about and perhaps also by Achilles himself. In the case of songs sung about Achilles, we know for a fact that these songs touched on that hero’s direct involvement in the sorrowful fate of Andromache herself. On that involvement, see the comment on I.17.194–214.

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analysis of the convergences between the (wording) of Sappho 44 and the Iliad and the application of the epithet theoeikelos in Sappho 44 to Hector and Andromache and its ominous dimension when analyzed in light of the Iliad, here also the transfer of the sorrows of Andromache to Achilles as he performs klea andrōn on Eëtion’s lyre

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analysis of the change of leader from Phoinix to Odysseus and the dual (I.09.192) in the passage on the embassy to Achilles

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Achilles greets the ambassadors in the dual, I.09.197–198, and not in the plural. And he refers to them first as philoi ‘near and dear’, I.09.197, and then as the philtatoi ‘most near and dear’ among the Achaeans, I.09.198; again at I.09.204, he refers to them as philtatoi ‘most near and dear’. But are the ambassadors really at the very top of this hero’s ascending scale of affection? The dual construction of the verb in the syntax of I.09.197 might indicate that one of the three ambassadors is being left out of the hero’s reference to his nearest and dearest friends among all the Achaeans. The ambassador who might be left out is Odysseus. At I.09.312–313, Achilles says to Odysseus: whoever says one thing but means another thing is as ekhthros ‘hateful’ to me as the Gates of Hādēs, I.09.313.

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Leonard Muellner

analysis of Achilles’ response to Odysseus’ speech, and the place of those who are philoi to him in his mēnis’ turning into philotēs

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on mētis (here, Nestor’s) in the context of the embassy to Achilles

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analysis of the place of Achilles’ singing klea andrōn in his mēnis’ turning into philotēs

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analysis of Achilles’ response to Odysseus’ speech, and the place of those who are philoi to him in his mēnis’ turning into philotēs

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analysis of the place of Achilles’ singing klea andrōn in his mēnis’ turning into philotēs

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analysis of the place of Achilles’ singing klea andrōn in his mēnis’ turning into philotēs

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analysis of the place of Achilles’ singing klea andrōn in his mēnis’ turning into philotēs

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Richard Martin

The vexed problem of the dual-number verb forms in the embassy scene of Book 9—where verbs referring to two persons are applied to an embassy comprising three, Phoinix, Odysseus, and Aias—admits of a solution based on the close contact between Homer and Achilles. Gregory Nagy's suggestion that Odysseus, the traditional nemesis of Achilles, is the intrusive element in the embassy has the advantage of being grounded in attested themes of Greek epic. If one prefers a solution from larger patterns of narrative voice, the close contact between Homer and Achilles, his voice, would lead one to consider Phoinix the odd man out, because the relationship between Achilles and Phoinix is such that the young hero, speaking, could assume the presence of the older man as natural and address dual verb forms to Odysseus and Aias, neither of whom belongs in his quarters. It is one of the more pragmatically interesting features of literary semantics that a speaker may assume the presence of a non-introduced hearer who shares his own knowledge. Achilles is such a speaker; Homer, as narrator, takes the stance of Achilles and uses the speech habit again—the duals—associated with this stance (Martin 1993:236-37).

For the apostrophe to Patroklos as a related consequence of Achilles' role as focalizer, see the comment on Iliad 16.19. For the broader argument regarding the identification of Homer's narrative voice with Achilles, 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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