Homer Iliad 9.114

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To whom the king: 'With justice hast thou shewn
'A prince's faults, and I with reason own.
'That happy man whom Jove still honours most,
'Is more than armies, and himself a host.
150
'Bless'd in his love, this wondrous hero stands; 1
'Heaven fights his war, and humbles all our bands.

Iliad. Homer. London. 1863.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) (English) (English (Alexander Pope, 1720, ed. Watson, 1857))

Provisional text from uncorrected OCR; expect errors.

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.) — 9.114 focus
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.) — 9.114 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.) — 9.89 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.114 focus
And the lord of men, Agamemnon, answered, [115] “You have reproved my derangement [ atē pl.] justly. I was wrong. I own it. One whom the gods befriend is in himself a host, and Zeus has shown that he befriends this man by destroying much people of the Achaeans. I was blinded with passion and yielded to my lesser mind; [120] therefore I will make amends, and will give him great gifts by way of atonement. I will tell them in the presence of you all. I will give him seven tripods that have never yet been on the fire, and ten talents of gold. I will give him twenty iron cauldrons and twelve strong horses that have won races and carried off prizes. [125] Rich, indeed, both in land and gold is he that has as many prizes as my horses have won me. 128 And I will give seven women, skilled in flawless handiwork [ erga], 129 women from Lesbos. These women, when Lesbos with all its beautiful settlements was captured by him [= Achilles] all by himself, [130] were chosen by me as my own share [of the war prizes], and in beauty they were winners over all other rival groups of women. 131 These are the women I will give him. And there will be among them the woman whom I took away back then, 132the daughter of Brisēs [= Brisēis]; and I swear a great oath that I never went up into her couch, nor have been with her after the manner [ themis] of men and women.
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 9.114 focus
Then Agamemnon, king of men, replied: -
"O ancient man, most truly hast thou named
My faults. I erred, and I deny it not.
That man indeed is equal to a host
Whom Jupiter doth love and honor thus,
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Humbling the Achaian people for his sake.
And now, since, yielding to my wayward mood,
I erred, let me appease him, if I may,
With gifts of priceless worth. Before you all
I number them, - seven tripods which the fire
145
Hath never touched, six talents of pure gold,
And twenty shining caldrons, and twelve steeds
Of hardy frame, victorious in the race,
Whose feet have won me prizes in the games.
No beggar would he be, nor yet with store
150
Of gold unfurnished, in whose coffers lay
The prizes those swift steeds have brought to me.
Seven faultless women, skilled in household arts,
I give moreover, - Lesbians, whom I chose
When he o'erran the populous Lesbian isle, —
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Damsels in beauty who excel their sex.
These I bestow, and with them I will send
Her whom I took away, - Briseis, pure -
I swear it with a mighty oath - as pure
As when she left his tent. All these I give
160
At once; and if by favor of the gods
We lay the mighty city of Priam waste,
He shall load down his galley with large store
Of gold and silver, entering first when we,
The Greeks, divide the spoil. Then may he choose
165
Twice ten young Trojan women, beautiful
Beyond their sex save Helen. If we come
Safe to Achaian Argos, richly stocked
With milky kine, he may become to me
A son-in-law, and cherished equally
170
With my sole son Orestes, who is reared
Most royally. Three daughters there within
My stately palace-walls, - Chrysothemis,
Laodice, and Iphianassa, - dwell,
And he may choose among them, and may lead
175
Home to the house of Peleus her who best
Deserves his love. Nor need he to endow
The bride, for I will give an ampler dower
Than ever father to his daughter gave,
Seven cities with thronged streets, - Cardamyle,
180
Enope, grassy Hira, Pheræ famed
Afar, Antheia with rich pasture-fields,
Æpeia beautiful, and Pedasus
With all its vineyards; all are near the sea,
And stand the last before you reach the coast
185
Of sandy Pylos. Rich in flocks and herds
Their dwellers are, and they will honor him
As if he were a god, and, ruled by him,
Will pay large tribute. These will I bestow,
Let but his anger cool and his resolve
190
Give way. 'Tis Pluto who is deaf to prayer
And ne'er relents, and he, of all the gods,
Most hateful is to men. Now let the son
Of Peleus yield at length to me, who stand
Above him in authority and years."
195
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.114 focus
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 9.114 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.114 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 9 focus

Notes on the current edition

Iliad

1. It is remarkable, that Agamemnon here never uses the name of Achilles: though he is resolved to court his friendship, yet he cannot bear the mention of his name. EUSTATHIUS. Pope.
2. There were two kinds of tripods: in the one they used to boil water, the other was used as goblets, in which they mixed wine and water.
3. In Greece, the bridegroom, before he married, was obliged to make two presents; one to his betrothed wife, and the other to his father-in-law. This custom is very ancient; it was practised by the Hebrews in the time of the patriarchs. Pope.

New Alexandria Commentaries

Douglas Frame

suggestion that Hirēn poiēssan “grassy Hire” should perhaps be read as hirēn Poiēssan “sacred Poieessa”

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presupposing a Spartan conquest of territory on the Messenian Gulf as possibly explaining Agamemnon’s offer of 7 cities there to Achilles (here, Phērai)

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presupposing a Spartan conquest of territory on the Messenian Gulf as possibly explaining Agamemnon’s offer of 7 cities there to Achilles

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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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Agamemnon here formulates the terms of the compensation that he offers to Achilles. The last four verses of his formulation, I.09.158–161, bluntly reassert his claim to be superior to Achilles. When Odysseus restates to Achilles the terms of Agamemnon, Ι.09.260–299, he omits what Agamemnon claims about his superiority to Achilles. It can be argued that Achilles, if he had accepted the terms of Agamemnon as reasserted by Agamemnon himself, would have put at risk his own epic stature in the Iliad.

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Here is where Agamemnon reasserts his claim to be superior to Achilles. See the comment on the whole passage, I.09.120–161.

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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

demonstration that there is no gap between statements of superiority in age and statements of superiority in prestige, physical prowess, and physical beauty (in the context of demonstrating the contextual unity of eukhesthai einai + superlative/comparative formulas and their relationship with genos eukhesthai einai formulas)

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comparison of Agamemnon and Achilles in terms of basileuteros and progenesteros (also, of Zeus and Poseidon in same terms)

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analysis and comparison of the claims to equal/higher rank between Zeus and Poseidon and Agamemnon and Achilles

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demonstration that there is no gap between statements of superiority in age and statements of superiority in prestige, physical prowess, and physical beauty (in the context of demonstrating the contextual unity of eukhesthai einai + superlative/comparative formulas and their relationship with genos eukhesthai einai formulas)

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in a list of examples of eukhesthai einai + comparative (regarding age)

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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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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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analysis of the significance of the sacrificial meal Patroklos is cooking being salted

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Richard Martin

Agamemnon's most noticeable rhetorical miscalculation comes in his instructions to the embassy: "Let him be subdued—Hades you know is unappeasable and unconquerable—for which reason it is most hateful of gods to men. And let him be subservient to me, inasmuch as I am more kingly and claim to be more advanced in ancestry" (9.158-61). The gibe at the end of a speech recurs in other contexts, as when Agamemnon tries to save the life of Menelaos (supposedly) but reminds his brother that "even Achilles feared to meet this one {Hektor} in glorifying battle, and he is far better than you" (7.113-14), cutting two victims at once with flyting rhetoric that is disconcerting in the context. In some passages, it appears that Agamemnon uses the tactics of neikos to the wrong audience. The general resort to the language of neikos by Agamemnon betrays an uncertainty about his power at speech which, in circular fashion, only makes his rhetoric more nervous and deficient (Martin 1993:116-17).

For the broader analysis of Agamemnon's style, see the comment on Iliad 4.336-421.

References

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

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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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