Homer Iliad 9.581

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

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πολλὰ δέ μιν λιτάνευε γέρων ἱππηλάτα Οἰνεὺς
οὐδοῦ ἐπεμβεβαὼς ὑψηρεφέος θαλάμοιο
σείων κολλητὰς σανίδας γουνούμενος υἱόν·
πολλὰ δὲ τόν γε κασίγνηται καὶ πότνια μήτηρ
ἐλλίσσονθʼ· ὃ δὲ μᾶλλον ἀναίνετο· πολλὰ δʼ ἑταῖροι,
585
οἵ οἱ κεδνότατοι καὶ φίλτατοι ἦσαν ἁπάντων·
ἀλλʼ οὐδʼ ὧς τοῦ θυμὸν ἐνὶ στήθεσσιν ἔπειθον,
πρίν γʼ ὅτε δὴ θάλαμος πύκʼ ἐβάλλετο, τοὶ δʼ ἐπὶ πύργων
βαῖνον Κουρῆτες καὶ ἐνέπρηθον μέγα ἄστυ.
καὶ τότε δὴ Μελέαγρον ἐΰζωνος παράκοιτις
590
λίσσετʼ ὀδυρομένη, καί οἱ κατέλεξεν ἅπαντα
κήδεʼ, ὅσʼ ἀνθρώποισι πέλει τῶν ἄστυ ἁλώῃ·
ἄνδρας μὲν κτείνουσι, πόλιν δέ τε πῦρ ἀμαθύνει,
τέκνα δέ τʼ ἄλλοι ἄγουσι βαθυζώνους τε γυναῖκας.
τοῦ δʼ ὠρίνετο θυμὸς ἀκούοντος κακὰ ἔργα,
595
βῆ δʼ ἰέναι, χροῒ δʼ ἔντεʼ ἐδύσετο παμφανόωντα.
ὣς ὃ μὲν Αἰτωλοῖσιν ἀπήμυνεν κακὸν ἦμαρ
εἴξας ᾧ θυμῷ· τῷ δʼ οὐκέτι δῶρα τέλεσσαν
πολλά τε καὶ χαρίεντα, κακὸν δʼ ἤμυνε καὶ αὔτως.
ἀλλὰ σὺ μή μοι ταῦτα νόει φρεσί, μὴ δέ σε δαίμων
600
ἐνταῦθα τρέψειε φίλος· κάκιον δέ κεν εἴη
νηυσὶν καιομένῃσιν ἀμυνέμεν· ἀλλʼ ἐπὶ δώρων
ἔρχεο· ἶσον γάρ σε θεῷ τίσουσιν Ἀχαιοί.
εἰ δέ κʼ ἄτερ δώρων πόλεμον φθισήνορα δύῃς
οὐκέθʼ ὁμῶς τιμῆς ἔσεαι πόλεμόν περ ἀλαλκών.
605

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.) — 9.581 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.) — 9.644 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.581 focus
He was also supplicated many times by the old charioteer Oineus, 582 who was standing at the threshold of the chamber with the high ceiling 583 and beating at the locked double door, hoping to supplicate him by touching his knees. 584 Many times did his sisters and his mother the queen [585] supplicate [ lissesthai] him. But all the more did he say “no!” Many times did his comrades [ hetairoi] supplicate him, 586 those who were most cherished by him and were the most near and dear [ philoi] of them all, 587 but, try as they might, they could not persuade the heart [ thūmos] in his chest 588 —not until the moment when his chamber got a direct hit, and the walls of the high fortifications 589 were getting scaled by the Kouretes, who were starting to set fire to the great city [of Calydon]. [590] Then at long last Meleagros was addressed by his wife, who wears her waistband so beautifully around her waist. 591 She was crying as she supplicated [ lissesthai] him, telling everything in detail 592 —all the sorrowful things [ kēdea] that happen to those mortals whose city is captured. 593 They kill the men. Fire turns the city to ashes. 594 They take away the children and the wives, who wear their waistbands so beautifully around their waists. [595] His heart was stirred when he heard what bad things will happen. 596 He got up and went off. Then he covered his body with shining armor. 597 And this is how [ houtōs] he rescued the Aetolians from the evil day [of destruction]. 598 He yielded to his heart [ thūmos]. But they [= the Aetolians] no longer carried out the fulfillment [ teleîn] of their offers of gifts 599—those many pleasing [ kharienta] things that they had offered. But, in any case, he protected them from the evil event. [600] As for you [= Achilles], don’t go on thinking [ noeîn] in your mind [ phrenes] the way you are thinking now. Don’t let a superhuman force [ daimōn] do something to you 601 right here, turning you away, my near and dear one [ philos]. It would be a worse prospect 602 to try to rescue the ships [of the Achaeans] if they are set on fire. So, since the gifts are waiting for you, 603 get going! For if you do that, the Achaeans will honor [ tīnein] you—same as a god. 604 But if you have no gifts when you do go into the war, that destroyer of men, [605] you will no longer have honor [ tīmē] the same way, even if you have succeeded in blocking the [enemy’s] forces of war.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 9.581 focus
Did aged Œneus, famed for horsemanship,
Beseech him; to the chamber of his son,
High-roofed, he climbed, and at the threshold shook
The massive doors with knocking as he sued.
His sisters and his reverend mother joined
720
Their supplications: he resisted still.
And much his friends, the dearest and most prized,
Besought him, but they vainly strove to swerve
His steadfast mind, till his own chamber felt
The assault, and the Curetes climbed the walls
725
To fire the populous city. Then the nymph,
His graceful wife, entreated him with tears,
And spake of all the horrors which o'ertake
A captured city, - all the men cut off
By massacre, the houses given to flames,
730
The children and deep-bosomed women dragged
Into captivity. Her sorrowful words
He heard; his spirit was disturbed; he went
To gird his glittering armor on, and thus
He saved the Ætolians from a fearful doom,
735
Obeying his own impulse. The reward
Of rare and costly gifts they gave him not,
Though thus he rescued them. Be not thy thought
Like his, my friend; let no invisible power
Persuade thee thus to act. Far worse it were,
740
To wait, and when our fleet is all on fire
Offer thy aid. Accept the gifts at once:
Then will the Greeks, as if thou wert a god,
Hold thee in honor. If without the gifts
Thou enter later on the field of fight,
745
Thou wilt not have like honor with the host,
Although thou turn the assault of battle back."
Then did Achilles, swift of foot, reply: -
"O ancient Phœnix, father, loved of Jove,
Such honor need I not; for the decree
750
Of Jove, I deem, already honors me,
And will detain me by my beaked ships
While breath is in my lungs, and I have power
To move these knees. Yet one thing I would say, -
And bear it thou in mind, - vex not my soul
755
With weeping and lamenting for the sake
Of Agamemnon; it becomes thee not-
Thou who art loved by me- to yield thy love
To him, unless thou wouldst incur my hate.
And thou shouldst be the enemy of him
760
Who wrongs me. Reign thou equally with me,
And share my honors. These will carry back
My answer. Thou remain, and, softly couched,
Sleep here: with early morn will we consult
Whether to leave this region or remain."
765
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 9.581 focus
'His suppliant father, aged Œneus, came;
700
'His sisters follow'd: e'en the vengeful dame
'Althæa sues; his friends before him fall:
'He stands relentless, and rejects them all.
'Meanwhile the victors' 1 shouts ascend the skies;
'The walls are scal'd; the rolling flames arise;
705
'At length his wife (a form divine) appears,
'With piercing cries, and supplicating tears;
'She paints the horrors of a conquer'd town,
'The heroes slain, the palaces o'erthrown,
'The matrons ravish'd, the whole race enslav'd:
710
'The warrior heard, he vanquish'd, and he sav'd.
'Th' Ætolians, long disdain'd, now took their turn,
'And left the chief their broken faith to mourn. 2
'Learn hence, betimes to curb pernicious ire,
'Nor stay, till yonder fleets ascend in fire:
715
'Accept the presents; draw thy conquering sword;
'And be amongst our guardian gods ador'd.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.581 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.581 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.581 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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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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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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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, 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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Richard Martin

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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