Homer Iliad 9.417

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

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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.

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

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.) — 9.417 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 (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 9.417 focus
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.
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

Douglas Frame

this line as one of the counterexamples for identifying unmodified laos as one’s own

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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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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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The syntax for referring to the pair of Ajax and Odysseus here is constructed in the plural. To be contrasted are the earlier constructions in the dual, I.09.182–198, where the referents might be the pair of Phoenix and Ajax—or a pairing of Phoenix with the whole group that he leads.

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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 speaks here about the need for Achilles to prevent the fire of Hector from setting the beached ships of the Achaeans on fire.

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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 mēnis as a tabu deformation and here specifically an example the relaxation of the speech tabu

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analysis of philotēs and timē going together with this passage as an example

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analysis of Phoenix’ Meleagros story and its parallels with his own story

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Richard Martin

The heroic imperative as crystallized in Phoinix's words to Achilles—μύθων τε ῥητήρ' ἔμεναι πρηκτῆρά τε ἔργων (9.443)—demands that a hero learn to "be a doer of deeds" and a speaker, not of words, but of muthoi, "authoritative speech-acts." Both deeds and such words can be enacted (Martin 1993:25).

Diomedes' development within the Iliad illustrates the striving for this ideal. When Nestor approves the substance of his speech but tells him he has not reached the "perfection of speeches" (telos muthōn, 9.56), Nestor then demonstrates it himself—delivering a simple proposal in elegant form, with polyptoton, asyndetic gnomic statements, and full praise for his audience Agamemnon, all of whom approve his muthon (9.79). By Book 14, Diomedes has learned to construct an impregnable speech by preemptive action against possible objections, and the poet concludes his proposal with the identical line that followed Nestor's exemplary muthos in Book 9: "Thus he spoke and then they listened and obeyed" (14.133 = 9.79) (Martin 1993:24-25).

References

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

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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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