A World of Heroes [2 ed.] 9780521736466

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A World of Heroes second edition A World of Heroes is a reader designed for students who have just completed an introductory course in ancient Greek and wish to read substantial passages of ancient authors in the original language. It introduces three of ancient Greece’s most important authors, Homer, Herodotus and Sophocles, and includes such important and influential stories as the battle of Thermopylai (from Herodotus’ Histories); the death of Hektor (the Iliad); and the fall of Oedipus in Sophocles’ famous play. Notes accompanying each passage provide extensive help with vocabulary and translation, and each section contains a brief introduction to the author and his work. The first edition of the book proved very successful with students and instructors for more than three decades. This, the second edition, includes the same texts as the first but provides much more help with translating and understanding them in order to meet the needs of modern students. Although the book naturally follows on from the second edition of the introductory Reading Greek course, it could also be used with profit by students who have learned ancient Greek with any other available course.

the joint association of classical teachers’ greek course

A World of Heroes selections from h o m e r , h e r o d o t u s a n d so p h o c l e s second edition

University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9780521736466 © The Joint Association of Classical Teachers’ Greek Course 1979, 2015 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First edition published 1979 Second edition published 2015 Printed in the United Kingdom by TJ International Ltd. Padstow Cornwall A catalogue record for this publication is available from the British Library ISBN 978-0-521-73646-6 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Contents

List of illustrations Preface to the first edition Preface to the second edition (2015) List of abbreviations Reader’s guide

Part I

Part II

Part III

Homer Introduction Introductory passage: Akhilleus and Hektor (Iliad 22.1–130) Target passages: The death of Hektor (Iliad 22.131–end) Hektor and Andromakhe (Iliad 6.237–end) Herodotus Introduction Introductory passages: Persian customs (Histories 1.131–140 (passim)) Xerxes at Abydos (Histories 7.44–53) Target passage: The battle of Thermopylai (Histories 7.56–238 (passim)) Sophocles Introduction Introductory passage: Oedipus the king (Oedipus Tyrannus 300–862 (passim)) Target passage: The fall of Oedipus (Oedipus Tyrannus 950–end (passim))

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Achilles. Red-figured Attic amphora (detail). Gregorian Etruscan Museum, Vatican City. Photo: Alinari Archives. page 2 The walls of Troy, photographed in 1915. Photo: The Art Archive / Ernest Lloyd Harris / NGS Image Collection. 10 Priam before the walls. Attic black figure volute-krater (detail), c. 570 BC. Museo Archeologico Nazionale, Florence (Florence 4209). Photo: akg-images/Nimatallah. 13 Slaughter at Troy. Attic red figure hydria from Nola (detail), c. 500 BC. National Archaeological Museum, Naples (Naples 2422). Photo © 2012. Photo Scala, Florence / Fotografica Foglia − courtesy of the Ministero Beni e Att. Culturali. 16 Priam and Hekabe plead with Hektor. Attic red figure kylix (detail), c. 490–480 BC. Museum of Fine Arts, Boston. Henry Lillie Pierce Fund (Acc. no. 98.933). Photo: The Bridgeman Art Library. 17 Hektor leaves his parents. Attic red figure neck-amphora (detail), c. 450 BC. Gregorian Etruscan Museum, Vatican City. Photo: Alinari Archives. 18 Hektor pursued by Akhilleus. Attic red figure kylix (detail), c. 490–480 BC. Museum of Fine Arts, Boston. Henry Lillie Pierce Fund (Acc. no. 98.933). Photo: The Bridgeman Art Library. 20 A two-horse chariot. Chalcedony scaraboid gem, late fifth – early fourth century BC. Museum of Fine Arts, Boston (Acc. no 23.582). Photo: The Bridgeman Art Library. 21 ¨ The hunted fawn. Chalcedony gem. Photo: Staatliche Munzsammlung, Munich. 30 Hermes weighing the souls. Attic black figure lekythos (detail), c. 490–480 BC. Photo © The Trustees of the British Museum (B 639). 32 Hektor and Akhilleus fight. Attic red figure volute-krater (detail), c. 490–460 BC. British Museum, London (E 468). Photo: © The Trustees of the British Museum. 35 Eagles on a hare. Decadrachm of Akragas, c. 425–406 BC. Photo: ¨ Staatliche Munzsammlung, Munich. 40 Akhilleus moves in for the kill. Attic red figure stamnos (detail), c. 490–480 BC. Staatliche Antikensammlung und Glyptothek, Munich ¨ (Inv. 2406). Photo: Renate Kuhling. 41

List of illustrations

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Akhilleus drags off Hektor. Attic black figure hydria (detail), c. 520–510 BC. Museum of Fine Arts, Boston. William Francis Warden Fund (Acc. no. 63.473). Photo: The Bridgeman Art Library. (a) & (b) Hekabe and servants take the πέπλος to Athene. Boeotian relief pithos (detail), c. seventh century BC. Museum of Fine Arts, Boston (Acc. no. 99.506). Photos: The Bridgeman Art Library. Aphrodite and Πειθώ (Persuasion) send Helen away with Paris. Attic red figure skyphos (detail), c. 490–480 BC. Museum of Fine Arts, Boston. Francis Bartlett Donation (Acc. no. 13.186). Photo: The Bridgeman Art Library. Mother and child. Attic Panathenaic amphora (detail), c. 500–490 BC. Photo: © The Trustees of the British Museum (E 282). Andromakhe assists Hektor with an offering to the gods before battle. Attic red figure hydria (detail), c. 500–490 BC. Museum of Fine Arts, Boston. Henry Lillie Pearce Fund (Acc. no. 98.878). Photo: The Bridgeman Art Library. Persepolis. East staircase of the apadana, with Darius I’s palace in the background, c. 515 BC. Photo: Courtesy of the Oriental Institute of the University of Chicago. A king at a fire altar. Cylinder seal and imprint, Assyrian (detail). Photo: akg-images / Erich Lessing. A Greek sacrifice. Attic red figure bell-krater (detail), fifth century BC. Museum of Fine Arts, Boston. Catharine Page Perkins Fund (Acc. no. 95.24). Photo: The Bridgeman Art Library. A sick Greek. Attic red figure cup (interior). Photo: Martin von ¨ Wagner Museum, Wurzburg (Inv. 479). Heavy-armoured Greek (left) versus Persian in Median/Egyptian gear. Attic red figure neck-amphora (obverse, detail), c. 480–470 BC. Metropolitan Museum of Art, New York (Inv. 06.1021.117). Photo © 2012 The Metropolitan Museum of Art / Art Resource / Scala, Florence. Regular Persian guard (right) followed by a Median. Relief on the tripylon, palace complex of Darius I, Persepolis, fifth century BC. Photo: akg-images / DeAgostini Picture Library. Extent of the Persian Empire under Xerxes. Procession of Cappadocian tribute-bearers to the Persian king. East stairway of the apadana, Persepolis (detail), c. 515 BC. Photo: Courtesy of the Oriental Institute of the University of Chicago. Persian archers. Glazed tiles from the Palace of Darius I at Susa, c. 500 BC. Photo: © RMN − Grand Palais / Herv´e Lewandowski / Mus´ee du Louvre. Route of the Persian expedition.

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List of illustrations

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Model of a chariot drawn by four horses abreast. The Oxus Treasure, gold, fifth–fourth century BC. Photo: © The Trustees of the British Museum (OT 7). Dareios in his royal chariot. ‘The Darius Seal’, chalcedony cylinder seal, Persian (detail), c. sixth−fifth century BC. Photo: © The Trustees of the British Museum (Oxus 7). Hoplite formation – all together, in rank. Limestone relief from the Heroon of Gjolbaschi-Trysa, Lykia, Turkey (detail), early fourth century BC. Kunsthistorisches Museum, Vienna. Photo: akg-images / Erich Lessing. The pass of Thermopylai. General area of Thermopylai. Oedipus and the Sphinx. Attic red figure vase (detail), fifth century BC. Photo: akg-images. Φοῖβος ᾿Απόλλων. Apollo wearing a laurel wreath. Attic white-ground kylix attributed to the Pistoxenos painter (interior). Photo: Delphi Museum, Delphi (Inv. 8140). Oedipus (Ralph Fiennes) and Teiresias (Alan Howard). National Theatre production, London, 2008. Photo: Marilyn Kingwill / ArenaPAL. The area of the three roads. σοῦ δ’ ὦ τέκνον, σωτήρ. Euphorbos and the infant Oedipus. Attic red figure neck-amphora (detail), c. 450 BC. Biblioth`eque Nationale, Paris (Cab. M´ed. 372). Photo: Giraudon / The Bridgeman Art Library. Iokaste (far right) realizes the truth. Sicilian calyx-krater (detail). Museo Archeologico Regionale Paolo Orsi (Inv. 66557). Photo: by permission of the Assessorato dei Beni Culturali e dell’Indentita Siciliana. The golden brooches which pinned up her dress: (a) The creation of Pandora. Attic red figure pelike (detail), c. 460–450 BC. Photo: © The Trustees of the British Museum (1856,1213.1). (b) Gold dress pin, c. 650–600 BC. Photo: © The Trustees of the British Museum (1907,1201.106). Christopher Plummer as blinded Oedipus, 1967. Photo: PA Photos.

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Preface to the first edition

The JACT Greek Course The JACT Greek Course, which is aimed at beginning students in the upper school, at university and in adult education, was produced by a Project Team (Dr P. V. Jones, Dr K. C. Sidwell and Miss F. E. Corrie) working full-time at Hughes Hall, Cambridge, between 1974 and 1978, under the guidance of a Steering Committee and Advisory Panel made up as follows: Steering Committee: Professor J. P. A. Gould (Chairman; Bristol University)†; M. G. Balme (Harrow School)†; R. M. Griffin (Manchester Grammar School); Dr J. T. Killen (Joint Treasurer; Jesus College, Cambridge); Sir Desmond Lee (Joint Treasurer; President, Hughes Hall, Cambridge)†; A. C. F. Verity (Headmaster, Leeds Grammar School); Miss E. P. Story (Hughes Hall, Cambridge). Advisory Panel: G. L. Cawkwell (University College, Oxford); Dr J. Chadwick (Downing College, Cambridge)†; Professor A. Morpurgo Davies (Somerville College, Oxford); Sir Kenneth Dover (President, Corpus Christi College, Oxford)†; Professor E. W. Handley (University College, London)†; B. W. Kay (HMI)†; Dr A. H. Sommerstein (Nottingham University); Dr B. Sparkes (Southampton University); G. Suggitt (Headmaster, Stratton School)†; A. F. Turberfield (HMI). The first part of the JACT Greek Course is Reading Greek (Cambridge University Press, 1978), giving the student a thorough introduction to Attic Greek as well as to Herodotus and Homer. The Foreword to Reading Greek, written by Sir Kenneth Dover, and the Preface give details of the settingup, production, testing and methodology of the Course. The two volumes A World of Heroes: Selections from Homer, Herodotus and Sophocles, and The Intellectual Revolution: Selections from Euripides, Thucydides and Plato are designed to take students on from Reading Greek and to give them a graded introduction to six of Ancient Greece’s most important authors. A World of Heroes: Selections from Homer, Herodotus and Sophocles Each author is represented by a c. 300- to 400-line introductory extract, the aim of which is to acclimatize the student to the most important features of ix

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Preface to the first edition

the author’s work, followed by the c. 300-line ‘target’ passage, usually a continuous piece of Greek taken from one of his most important works. (Homer has two ‘target’ passages.) When students have completed the reading in any author, they should be well prepared to read widely in him. We have taken the selections from the very finest Greek literature, while attempting at the same time to make the selections both coherent and typical of the author’s work. There are two different types of help: one given in the Text itself, the other contained in the JACT Greek Course’s Greek Vocabulary (Cambridge University Press, 1980). Help in the Text is given on the assumption that the grammar and learning vocabulary of Reading Greek are known. Asterisked vocabulary will not be given again and has to be learnt. For students who have not used Reading Greek and for those whose memory lets them down, Greek Vocabulary contains all the learning vocabulary of Reading Greek together with all the vocabulary to be learnt in both A World of Heroes and The Intellectual Revolution. Students therefore have at hand all the help they should need to be able to read these texts with increasing fluency. Students who have used Reading Greek will also find that many of the assumptions that the authors of these selections make about their times and their art are familiar, and should therefore be in a good position to explore these texts sensitively and intelligently. Please note that the vocabulary help given for each author is provided quite independently of the help given with other authors in the selection. Consequently, students can read the authors in any order they like. This principle also applies to the alternative ‘target’ passages given for Homer: the help given with both ‘target’ passages assumes that only the preceding introductory passage has been read. Acknowledgements The Acknowledgements in Reading Greek lay out the full extent of the debt we owe to our Steering Committee and Advisory Panel (as well as others), and it is a pleasure to be able to recall that debt again. We must stress once more, however, that sole responsibility for all decisions taken about the Course and for all errors of omission and commission lies entirely with the Project Team. Peter V. Jones (Director) Keith C. Sidwell (Second Writer) Frances E. Corrie (Research Assistant)

Preface to the second edition (2015)

The second, fully revised and reset edition of Reading Greek (2007) consists of two volumes, one of Text and Vocabulary and one of Grammar and Exercises. The fully revised and reset second editions of The Intellectual Revolution and A World of Heroes contain the same selections of authors and follow the same principles as the first editions in the provision of vocabulary and learning vocabulary, and rely on Greek Vocabulary in the same way, but there are two vital differences: r all help is given in the order in which it appears in the text; r the help now includes extensive grammatical and syntactical notes, together

with comment of the sort one would expect to find in an edition of the works in hand. The revision of A World of Heroes was undertaken by Anthony Verity (Homer), James Neville and Alan Griffiths (Herodotus) and Keith Maclennan (Sophocles). We are most grateful for their care and expertise in providing today’s students with what they will need to read these texts fluently and intelligently. Dr Jones is responsible for the final editing. My very best thanks go to Cambridge University Press’s Leigh Mueller and Elizabeth Hanlon for the care they took over the editing of this new edition. Thanks also go to Cecilia Mackay for gathering the pictures and permissions. Dr Peter Jones, Director JACT Greek Project Newcastle on Tyne

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Abbreviations

abs.(olute) acc.(usative) act.(ive) adj.(ective) adv.(erb) aor.(ist) art.(icle) aug.(ment) cf.(= confer) (Latin: ‘compare’) comp.(arative) cond.(itional) conj.(ugated, ugation) contr.(acted, action) dat.(ive) decl.(ension) def.(inite) del.(iberative) dir.(ect) f.(eminine) fut.(ure) gen.(itive) imper.(ative) impf.(= imperfect) inc.(luding) ind.(icative) indec.(linable) indef.(inite) indir.(ect) inf.(initive) intrans.(itive) irr.(egular) lit.(erally) m.(asculine) mid.(dle) n.(euter) neg.(ative) nom.(inative) xii

obj.(ect) opt.(ative) part.(iciple) pass.(ive) perf.(ect) pl.(ural) plup.(erfect) prep.(osition) pres.(ent) prim.(ary) pron.(oun) q.(uestion) redupl.(icated, ication) rel.(ative) s.(ingular) sc.(ilicet) (Latin: ‘presumably’) sec.(ondary) seq.(uence) sp.(eech) str.(ong) subj.(unctive) sup.(erlative) tr.(anslate) trans.(itive) uncontr.(acted) unfulf.(illed) vb.(= verb) voc.(ative) wk.(= weak) 1st, 2nd, 3rd refer to persons of the verb, i.e. 1st s. = ‘I’ 2nd s. = ‘you’ 3rd s. = ‘he, she, it’ 1st pl. = ‘we’ 2nd pl. = ‘you’ 3rd pl. = ‘they’

Reader’s guide

1 Words to be learnt are asterisked. They will not appear in the vocabulary again. All such words, together with all the words set to be learnt in Reading Greek, appear in the JACT Greek Course’s Greek Vocabulary, which should be used with this book. 2 Linking devices, sparingly used in the text, link words which are to be taken together. The devices used are   and ╓ ╖. 3 Sections are numbered to run consecutively through each author. The text is based on the Oxford text, and the Oxford text reference is given in brackets after each section heading. 4 All translations are our own, though we acknowledge a special reliance upon Rawlinson for the Herodotus. 5 All dates are BC, unless otherwise stated. Conventions 1 Noun-types are indicated by a number and letter, e.g. a noun labelled 1a: declines like βοή 1b: ἀπορία 1c: τόλμα 1d: ναύτης, νεανίας 2a: ἄνθρωπος 2b: ἔργον 3a: λιμήν

3b: πρᾶγμα 3c: πλῆθος 3d: τριήρης 3e: πόλις, πρέσβυς 3f: ἄστυ 3g: βασιλεύς 3h: ὀφρῦς

2 Adjectives are quoted as follows: καλός ή όν, βραχύς εῖα ύ, ἀληθής ές, κακοδαίμων ον. 3 The most common alternative stem(s) of verbs are quoted unaugmented in brackets after the lexicon form, e.g. μανθάνω (μαθ-).

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Part I Homer

1. δῖος ᾿Αχιλλεύς

Introduction

‘Homer’ suggests an answer which the maiden singers of Delos should give when they are asked who is the sweetest singer of all:

τυφλὸς ἀνήρ, οἰκεῖ δὲ Χίῳ ἔνι παιπαλοέσσῃ, τοῦ πᾶσαι μετόπισθεν ἀριστεύουσιν ἀοιδαί. He is a blind man, and lives in rocky Chios; The best songs are all his, for all time. Homeric Hymn to Delian Apollo, 172–3

This selection Introductory passage: Akhilleus and Hektor (Iliad 22.1–130) page 6 Target passages: The death of Hektor (Iliad 22.131–end) page 23 Hektor and Andromakhe (Iliad 6.237–end) page 54

Homer and the Homeric poems The Iliad (᾿Ιλίας (ποίησις), the epic about Ilium (῎Ιλιος, or ῎Ιλιον, the city of Ilos, otherwise known as Troy)) – the story of the wrath of Akhilleus and its resolution during one stage of the Trojan War – and the Odyssey (᾿Οδύσσεια) – the story of Odysseus’ return home after the Trojan War – emerged in Ionia in substantially the form in which we now have them, around 700 BC. Their authorship was attributed to Homer (῞Ομηρος). Their composition owes much to a tradition of oral recitation extending back many hundreds of years, with the result that the poems are oral in style (even if writing played a part in their final shaping, a point of dispute). The main feature of an oral style of composition is the repetition of words, phrases, sentences and even whole scenes. Scholars are divided on the question of whether the same man was responsible for both epics, and in what sense the two epics offer an accurate historical perspective. The influence of the two epics on Greek thought was very considerable. 3

4

Homer

Background to the Iliad Paris (more often called Alexandros), son of the Trojan King Priam, has abducted and taken back to Ilium Helen, wife of the Greek King Menelaos (note that the name of the town is Ilium, ῎Ιλιον in Greek; Troy – Τροίη – is the region). To win Helen back, Menelaos persuades his brother Agamemnon to lead an expedition of Greeks against Troy. Included in the expedition are such Greek heroes as Odysseus (Ulysses in Latin), Aias (Ajax), Diomedes, Patroklos and the greatest fighter of the Greeks, Akhilleus, son of the mortal man Peleus and divine Thetis, and close friend of Patroklos. When the Iliad opens, a heaven-sent plague is spreading throughout the Greek army as it lays siege to Troy. Apollo has sent it, angry because Agamemnon has captured a Trojan girl, the daughter of the priest of Apollo, and refuses to allow her father to ransom her. Agamemnon releases the girl to stop the plague but, in accordance with his status and authority as leader of the expedition against Troy, demands in recompense (and gets) Briseis, a warcaptive belonging to Akhilleus. When the furious Akhilleus withdraws from the fighting, taking with him his Myrmidon troops and his friend Patroklos, the Greeks are steadily driven back from Troy. Overtures to Akhilleus fail. When the Trojans reach and burn some Greek ships, Akhilleus permits Patroklos to return to the fray. But Patroklos is killed by Hektor, son of King Priam and Troy’s greatest warrior. Akhilleus returns to the battlefield with revenge for Patroklos his only thought. War and the Iliad The context of the Iliad is war on the field of battle – between Greeks and Trojans, between hero and hero, between god and mortal. But the heart of the action is a human struggle of a different sort – in which the gods are centrally involved – and it is important not to allow the martial context to blur this essential point. Gabriel Germain writes: I must ask the modern reader who wishes to feel the sweep of the Iliad to forget the feelings he has cultivated about war, whatever they are. For the bard, war is not material for theories or sentimentality. It is not a Judgement of God (though the gods wage it) or of History: it does not take the direction of an evolution, good or bad. It does not assume the divine rhythm of destruction and creation. Death on the field of battle is a simple reality which requires no commentary. It is confronted in the same way as the other crude realities of existence: they are accepted by the very fact that life is accepted. Homeric man never renounces life; that is why he has no ‘problem’ about death . . . Considered thus, as a great phenomenon of nature, difficult for everyone at one time or another, painful for many, war is governed, at the level of man-to-man confrontation, by the law of the stronger. Such at least are the appearances as long as we do not see the supernatural background of events. It is here that the Iliad puts force at the centre of reality. (Gabriel Germain, Homer, trs. Richard Howard (New York: Grove Press, 1960))

Homer

Further reading M. Finkelberg, ed., The Homeric Encyclopedia (3 vols., Oxford University Press, 2011). R. Fowler, ed., The Cambridge Companion to Homer (Cambridge University Press, 2004). B. Graziosi and J. Haubold, Homer Iliad: VI (Cambridge University Press, 2010). Homer: The Iliad, tr. by Anthony Verity. Oxford World’s Classics (Oxford University Press, 2011). I. de Jong, Homer Iliad: XXII (Cambridge University Press, 2012). M. M. Willcock, A Commentary on Homer’s Iliad (2 vols., London: Macmillan, 1978–84).

5

Introductory passage: Akhilleus and Hektor (Iliad 22.1–130)

Introduction Akhilleus, enraged by the death of Patroklos at the hands of the Trojan hero Hektor, has gone berserk, and single-handedly driven the Trojans back from the Greek lines towards Troy. The Trojans have been saved from complete rout by the intervention of Apollo who, disguising himself as the Trojan Agenor, diverted Akhilleus long enough for the Trojans to retreat within Troy’s gates. This extract begins with Akhilleus railing at Apollo for deceiving him. In Book 16, Homer describes the death of Patroklos at Hektor’s hands and in Book 18 makes it clear that this was a tipping point: on hearing the news, Akhilleus decides to take his revenge on Hektor, even though he knows it will lead directly to his own death. Book 22 describes that revenge, after which Homer turns our attention to Priam and his family, who will have a major part to play in working out its consequences. This will culminate in Priam’s night journey to the Greek camp to ransom his son’s body. The poem will end with eulogies on Hektor by the three women in his life (Andromakhe, Hekabe and Helen), and his burial by the Trojans. Akhilleus’ original anger will have run its course. In line 25 the poet shows us Priam and his wife Hekabe watching Hektor and Akhilleus from the walls of Ilium. One effect of showing us their reactions to their son’s plight is to concentrate our attention on the single combat they observe taking place below on the plain of Troy (and though Homer doesn’t mention them, we can also imagine the rest of the Trojans watching from their city walls and the Greeks from their camp; the gods, as always, view mortal events as if in a theatre). This episode is, unsurprisingly, the longest fight scene in the Iliad (ll.131– 369) though only sixty-odd lines describe the actual fight. Homer intensifies its significance by means of a concentrated run of similes: seven of them, full of images of speed and brilliance. (Similes usually occur in Homer at moments of heightened action or emotion.) There are also ten speeches by characters on the mortal plane (six by Hektor, four by Akhilleus), and six by gods (two from Zeus and four from Athene), showing the intense interest of the immortals in the outcome of the human conflict. If that is not enough, we have the famous description of the chase around Troy, including what must be 6

Section 1, lines 1–9

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one of the most poignant allusions to the former times of peace (ll.147–56), ‘before the sons of the Akhaians came’. 1 As the Trojans flee in terror back into the city of Troy, only Hektor remains outside the walls. Apollo taunts the furious Akhilleus. (1–24)

ὣς οἱ μὲν κατὰ ἄστυ πεφυζότες ἠΰτε νεβροὶ ἱδρῶ ἀπεψύχοντο πίον τ’ ἀκέοντό τε δίψαν, κεκλιμένοι καλῇσιν ἐπάλξεσιν· αὐτὰρ ᾿Αχαιοὶ τείχεος ἆσσον ἴσαν, σάκε’ ὤμοισι κλίναντες. ῞Εκτορα δ’ αὐτοῦ μεῖναι ὀλοιὴ μοῖρα πέδησεν ᾿Ιλίου προπάροιθε πυλάων τε Σκαιάων. αὐτὰρ Πηλεΐωνα προσηύδα Φοῖβος ᾿Απόλλων· ‘τίπτε με, Πηλέος υἱέ, ποσὶν ταχέεσσι διώκεις, αὐτὸς θνητὸς ἐὼν θεὸν ἄμβροτον; οὐδέ νύ πώ με 1 ∗ ὥς like, thus, so οἱ μέν: who must these be? πεφυζότες = perf. part. of φεύγω. A true perfect like this indicates state, not action νεβρός, ὁ fawn (2a). Why fawns? 2 ἱδρώς (ὶδρώτ-), ὁ sweat (3a) (acc. ἱδρῶ) ἀποψύχομαι I wipe off πίον = ἔπιον, no augment ἀκέοντο: from ἀκέομαι I slake; no augment again δίψα, ἡ thirst (1c) 3 ∗ κλίνω I lean (perf. part. pass. κεκλιμένος) καλῇσιν: dat. pl. f. (Attic καλαῖς). The battlements are not especially beautiful; καλός is a general word of approval, ‘fine, splendid’ ἔπαλξις, ἡ battlement (3e) αὐτάρ: in contrast to οἱ μέν ∗ ’Αχαιοί, οἱ Akhaians, Greeks (2a). Homer has no word for Greeks, calling them ᾿Αχαιοί, ᾿Αργεῖοι ‘Argives’, or Δαναοί ‘Danaans’ 4 ἆσσον nearer (+ gen.) ∗ ἴσαν = ᾖσαν σάκος, τό shield (3c) κλίναντες: here (acti.) with an object 5 ∗ ῞Εκτωρ (῾Εκτορ-), ὁ Hektor (3a). Note his emphatic position; he has to be isolated for his single combat with Akhilleus. He will fight not only for personal glory but also in defence of his city and family; unlike Akhilleus, he has wider social responsibilities (see also l.541) αὐτοῦ there ∗ ὀλο(ι)ός ή όν deadly μεῖναι: the ‘explanatory’ or ‘epexegetive’ inf., which in Homer explains a nearby verb, here πέδησεν, from πεδάω I shackle, i.e. it forced him to stay

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μοῖρα, ἡ fate (1b): always in Homer one’s personal fate or destiny, not an overriding force that affects everyone; frequently the moment of death (see l.303, also l.61 αἴσῃ) πεδάω I shackle, hold fast ∗ ῎Ιλιον, τό (2b) or ῎Ιλιος, ἡ (2a) Ilium, Troy προπάροιθε in front of (+ gen.); take with ᾿Ιλίου and πυλάων ∗ πυλή, ἡ gate (1a) ∗ Σκαιαί Skaian Gate (the Trojan gate overlooking the plain, facing the Greek camp, and a symbolic dividing line between the spheres of war and peace; Hektor says farewell to his wife here) ∗ Πηλείων (Πηλειων-), ὁ son of Peleus, Akhilleus (3a) προσαυδάω I address. The η here is the augment ∗ Φοῖβος ᾿Απόλλων, ὁ Phoibos Apollo. Phoibos is a title. Apollo supports the Trojans; disguising himself as Agenor, a Trojan warrior, he has been leading Akhilleus astray in order to distract him from his wholescale slaughter of the Trojans (21.596–611) ∗ τίπτε = τί ποτε, a surprised ‘why’? Akhilleus may be famously swift-footed in pursuit but he is not fast enough to catch Apollo ∗ Πηλεύς, ὁ Peleus, father of Akhilleus (3g) ποσίν = dat. pl. of πούς θνητός ή όν mortal ἐών: the Ionic form of ὤν (from εἰμί); Homer’s dialect, a composite of more than one form of Greek, is predominantly Ionic ἄμβροτος ον immortal. What does θεὸν ἄμβροτον agree with in l.8? οὐδέ . . . πω = οὐδέπω, ‘not yet’

8

Homer

ἔγνως ὡς θεός εἰμι, σὺ δ’ ἀσπερχὲς μενεαίνεις. ἦ νύ τοι οὔ τι μέλει Τρώων πόνος, οὓς ἐφόβησας, οἳ δή τοι εἰς ἄστυ ἄλεν, σὺ δὲ δεῦρο λιάσθης. οὐ μέν με κτενέεις, ἐπεὶ οὔ τοι μόρσιμός εἰμι.’ τὸν δὲ μέγ’ ὀχθήσας προσέφη πόδας ὠκὺς ᾿Αχιλλεύς· ‘ἔβλαψάς μ’, ἑκάεργε, θεῶν ὀλοώτατε πάντων, ἐνθάδε νῦν τρέψας ἀπὸ τείχεος· ἦ κ’ ἔτι πολλοὶ γαῖαν ὀδὰξ εἷλον πρὶν ῎Ιλιον εἰσαφικέσθαι. νῦν δ’ ἐμὲ μὲν μέγα κῦδος ἀφείλεο, τοὺς δὲ σάωσας ῥηϊδίως, ἐπεὶ οὔ τι τίσιν γ’ ἔδεισας ὀπίσσω. ἦ σ’ ἂν τεισαίμην, εἴ μοι δύναμίς γε παρείη.’ ὣς εἰπὼν προτὶ ἄστυ μέγα φρονέων ἐβεβήκει, σευάμενος ὥς θ’ ἵππος ἀεθλοφόρος σὺν ὄχεσφιν, ὅς ῥά τε ῥεῖα θέῃσι τιταινόμενος πεδίοιο· ὣς ᾿Αχιλεὺς λαιψηρὰ πόδας καὶ γούνατ’ ἐνώμα. 10 ἔγνως: from γιγνώσκω ἀσπερχές furiously μενεαίνω I rage, am angry. People in Homer are often said to be full of μένος, the root of this verb. It seems to mean a kind of driving force, often implanted (as strong feelings are in Homer) from outside. We might call it adrenaline 11 ἦ: a ‘signpost’ particle, showing that a strong statement (or a surprised question) is coming τοι = σοι, dat. with μέλει ∗ Τρῶες, οἱ Trojans (3a) πόνος, ὁ hard fighting, toil (2a); subject of μέλει Τρώων: not the Trojans’ toil, which Akhilleus can hardly be expected to worry about, but his toil in chasing them φοβέω I put to flight 12 δή: directs attention to a statement, ‘as you can see’ or Welsh ‘look you’; does not always need translation τοι = σοι, as above, but here with the added sense of ‘as you can see’, drawing attention to a self-evident fact ἄλεν [they] were shut in λιάζομαι I withdraw, retire 13 μέν: not contrasted here with δέ, but meaning ‘however’ κτενέεις: uncontracted (Ionic) form of fut. of

κτείνω τοι = σοι, ‘at your hands’ μόρσιμος destined for death. Gods of course cannot be killed (though they can be temporarily wounded, even by mortals). Apollo ironically asserts his divinity; see further on 1.16

10

15

20

14 τόν = τοῦτον. ὅς ἥ τό regularly οccur in Homer where Attic uses οὕτος αὕτη τοῦτο ∗ ὀχθέω I am angry ∗ ὠκύς εῖα ύ (πόδας) swift (footed; πόδας = ‘as to his feet’, acc. of respect); Akhilleus is admired for his speed in pursuing an enemy worsted in single combat ∗ ᾿Αχιλ(λ)εύς, ὁ Akhilleus (3g) 15 βλάπτω I delude, thwart ∗ ἑκάεργος ον far-shooter (i.e. Apollo, the archer god) ὀλο(ι)ός όν deadly 16 τρέψας: take with με ἦ for sure κ’ = κε: Homeric alternative to ἄν; take with εἷλον. The unsaid ‘if’ part (protasis) of this conditional sentence is implied by Akhilleus’ previous statement, i.e. ‘if you hadn’t distracted me . . . ’. The irony here is that it is Apollo, through Paris, who will kill Akhilleus (l.359) 17 ὀδάξ with the teeth 18 νῦν δέ: as often, following something that might have happened but didn’t, ‘but as it is . . . ’ ∗ κῦδος, τό glory, honour (3c). Like τιμή, this is what the Homeric hero lives for, and Akhilleus more than any. It is won above all on the battlefield, killing another hero (or many fighters). In an extended sense, like κλέος, it lives on after a man’s death in the songs of bards ἀφείλεο = uncontr. 2nd. s. aor. mid. of ἀφαιρέω, I take X (acc.) from Y (acc.)

Sections 1–2, lines 10–30

τοὺς δέ: who are these? ∗ σαόω I save 19 ∗ ῥηιδίως = ῥᾳδίως. Note the emphatic position τι: acc. of respect, ‘in any way’ ∗ τίσις, ἡ revenge (3e) γ’ = γε usually emphasizes the preceding word, i.e. (here) = ‘well, being a god, you obviously weren’t afraid of revenge . . . ’ Like many particles, it probably conveyed a tone of voice or a gesture δείδω (δεισ-) I fear ὀπίσσω in the future 20 ἦ: Akhilleus’ speech is, as often, strong and assertive, even in the face of a god; though a mortal (albeit a powerful one), he is not afraid of Apollo. There is irony here, in that it is with Apollo’s help that Paris will kill Akhilleus (see ll.359–60) ∗ τίνομαι (τ(ε)ισ -) I exact satisfaction from (+ acc.); a fut. unreal condition παρείη: from πάρεστι 21 προτί = πρός μέγα φρονέω I am proud

9

ἐβεβήκει = plup. of βαίνω, which often suggests a stately or swaggering walk 22 σεύομαι (ἐσσυ-) I hurry ὣς: actually ὡς, with ἵππος. It ‘borrows’ its accent from θ’ (= τε), here the ‘generic’ τε = ‘as everyone knows’. Cf. ll.23, 26, 27, 29, 30 ἀεθλόφορος prize-winning. This is the first simile in the book, introducing a run of similes drawn mostly from hunting/racing/ chasing. Akhilleus is a winner because he is swift-footed ὄχεα, τά chariot (3c). –φι is an ancient case-ending, whose function in classical Greek was taken over by the dat. Note that the reference is, as commonly, to chariot-racing, not to ridden horses 23 ῥα = ἄρα (+ ὅς = ‘the very one which . . . ’) ῥεῖα lightly, easily θέῃσι: from θέω, I run τιταίνομαι I pull, exert myself ∗ πεδίον, τό plain 24 λαίψηρα swiftly νωμάω I move, ply; what tense is ἔνωμα?

2 Priam, king of Troy and Hektor’s father, observes Akhilleus’ onslaught and begs Hektor not to face him. (25–55)

τὸν δ’ ὁ γέρων Πρίαμος πρῶτος ἴδεν ὀφθαλμοῖσι, παμφαίνονθ’ ὥς τ’ ἀστέρ’ ἐπεσσύμενον πεδίοιο, ὅς ῥα τ’ ὀπώρης εἶσιν, ἀρίζηλοι δέ οἱ αὐγαὶ φαίνονται πολλοῖσι μετ’ ἀστράσι νυκτὸς ἀμολγῷ· ὅν τε κύν’ ᾿Ωρίωνος ἐπίκλησιν καλέουσι. λαμπρότατος μὲν ὅ γ’ ἐστί, κακὸν δέ τε σῆμα τέτυκται, 25 ∗ Πρίαμος, ὁ Priam, king of Troy (2a) πρῶτος: i.e. Priam is the first Trojan on the walls to catch sight of Akhilleus in all his glory. He realizes in a moment what is going to happen ἴδεν = εἶδεν, no augment 26 παμφαίνω I shine brightly. This brilliant simile, comparing Akhilleus to a natural phenomenon, emphasizes both his shining new armour and his deadly power (see l.27). He is often associated with imagery of fire and light. The star’s threatening aspect is ‘focalized’ through the thoughts of Priam – this is how Priam sees him (see l.93) ὥς τ’ as in line 22. ∗ ἀστήρ (ἀστερ-), ὁ star (3a) (dat. pl. ἀστράσι). This is Sirius, the Dog Star, brightest of the fixed stars ∗ ἐπισεύομαι (ἐπέσσυ-) I sweep across (+ gen.)

25

30

27 ὀπώρη, ἡ autumn (1a); gen. of time ‘within which’. Sirius rises in late summer/early autumn, at a time of oppressive heat, which was thought to bring on fevers εἶσιν: s., so which verb does it come from? ἀρίζηλος η ον very bright οἱ: dat. ‘to it’, i.e. ‘its’ αὐγή, ἡ beam (1a) 28 νυκτὸς ἀμολγῷ at dead of night 29 ᾿Ωρίωνος: Sirius is in the constellation Orion the hunter ἐπίκλησιν καλέω I name; the subject of καλέουσι is ‘they/men’ 30 ∗ λαμπρός ά όν bright μέν . . . δέ: note the strong contrast γ’ i.e. ‘it is certainly very bright, but . . . ’ σῆμα, τό sign (3b) τεύχω (perf. τέτυγμαι) I make, prepare (pass. ‘be’)

10

Homer

2. Walls of Troy

καί τε φέρει πολλὸν πυρετὸν δειλοῖσι βροτοῖσιν· ὣς τοῦ χαλκὸς ἔλαμπε περὶ στήθεσσι θέοντος. ᾤμωξεν δ’ ὁ γέρων, κεφαλὴν δ’ ὅ γε κόψατο χερσὶν ὑψόσ’ ἀνασχόμενος, μέγα δ’ οἰμώξας ἐγεγώνει λισσόμενος φίλον υἱόν· ὁ δὲ προπάροιθε πυλάων ἑστήκει, ἄμοτον μεμαὼς ᾿Αχιλῆϊ μάχεσθαι· τὸν δ’ ὁ γέρων ἐλεεινὰ προσηύδα, χεῖρας ὀρεγνύς· ‘῞Εκτορ, μή μοι μίμνε, φίλον τέκος, ἀνέρα τοῦτον οἶος ἄνευθ’ ἄλλων, ἵνα μὴ τάχα πότμον ἐπίσπῃς Πηλεΐωνι δαμείς, ἐπεὶ ἦ πολὺ φέρτερός ἐστι, σχέτλιος· αἴθε θεοῖσι φίλος τοσσόνδε γένοιτο ὅσσον ἐμοί· τάχα κέν ἑ κύνες καὶ γῦπες ἔδοιεν κείμενον· ἦ κέ μοι αἰνὸν ἀπὸ πραπίδων ἄχος ἔλθοι· ὅς μ’ υἱῶν πολλῶν τε καὶ ἐσθλῶν εὖνιν ἔθηκε, κτείνων καὶ περνὰς νήσων ἔπι τηλεδαπάων. καὶ γὰρ νῦν δύο παῖδε, Λυκάονα καὶ Πολύδωρον, οὐ δύναμαι ἰδέειν Τρώων εἰς ἄστυ ἀλέντων, 31 πυρετός, ὁ fever (2a) δειλός ή όν wretched, cowardly 32 ὥς . . . : when a poet working in the oral tradition goes on a digression (as in a simile) he has to remind his listeners when he is rejoining the narrative. Scholars call this technique ‘ring-composition’: ‘as X . . . just

35

40

45

so did the bronze . . . ’ For an extended example, see ll.673–8 τοῦ = τούτου ∗ χαλκός, ὁ bronze (armour), sword (2a) ∗ λάμπω I shine στῆθος, τό (or στήθεα, τά) chest (3c uncontr.) 33 ∗ οἰμώζω I groan, lament

Section 2, lines 31–47 34 ὑψόσε on high ἀνέχομαι I raise (here = his hands, obviously) μέγα: take with either οἰμώξας or ἐγεγώνει γέγωνα (perf.) I shout 35 λισσόμενος: this word means more than ‘begging’; it places on the person supplicated a quasi-formal obligation to grant the other his/her request, and was felt to be so important in general that Greeks made no less a god than Zeus its overseer (Ζεὺς ἱκέσιος). Supplication is an important element throughout the Iliad (see l.338) φίλον: a word of wide application. Of course Hektor is dear to Priam; but φίλος in general means something like ‘one’s own, someone/something one can rely on’. Hence Homer mentions people using their ‘dear’ hands. φίλοι can mean one’s friends, but the group includes family as well ὁ δέ: who is this? προπάροιθε in front of (+ gen.) 36 ἑστήκει: plup. ἕστηκα (perf.) means ‘I am standing’. When this word comes first in a line, it usually means ‘was standing still/idle’. Contrast ἐπεσσύμενον πεδίοιο (l.26) ἄμοτον incessantly μέμονα (perf.) I am eager, furious (part. μεμαώς) 37 ἐλεεινά pitifully ∗ ὀρέγω I stretch out (pres. part. ὀρέγων or ὀρεγνύς) 38 Priam’s speech falls into three parts, moving from public concern for Troy to personal anguish μοι: the so-called ‘ethic’ dat., indicating that the speaker has a keen personal interest in the action described, cf. ‘He’s gone and died on me.’ ‘Please’ often comes close to it. See also l.12 ∗ μίμνω = μένω. Here it has a direct obj., ἀνέρα

τοῦτον τέκος, τό child (3c) ∗ ἀνέρα = ἄνδρα 39 οἶος α ον alone; note the breathing ἄνευθε apart from (+ gen.) πότμος, ὁ fate, death (2a) ἐφέπω (ἐπισπ-) I meet, draw down on myself 40 ∗ δαμάζω (δαμασ-, pass. δαμ-) I subdue, beat down φέρτερος α ον better, stronger 41 σχέτλιος α ον hard, unyielding, ruthless, stubborn; does this refer to Akhilleus or Hektor? Note the emphatic position

42

43

44 45

∗

46

47

11

αἴθε = εἴθε; Priam’s bitter wish is surprisingly expressed: ‘I wish Akhilleus were as dear to the gods . . . ’ is not how we expect him to begin, but it all becomes clear in the next line ∗ τόσ(σ)ος η ον . . . ὅσ(σ)ος to such an extent . . . as τάχα quickly, at once ἑ him, her (acc.) γύψ (γυπ-), ὁ vulture. Being eaten by dogs and vultures is the most shameful fate that can befall a hero, because it deprives him of the proper rites of burial. Priam later (ll.69–76) imagines such a fate for himself after the fall of Troy. It was important that corpses were not disfigured, since they would carry their shame to their shadowy half-life in Hades (see l.395), and also that they were given proper burial with a monument, so that they would be remembered ∗ ἔδω I eat, devour; note the opt. apodosis, following Priam’s wish κείμενον i.e. unburied ἦ: as often, introducing a vehement statement αἰνός ή όν terrible πραπίδες, αἱ heart (3a) ἄχος, τό grief, anguish (3c) ἔλθοι: another apodosis, like ἔδοιεν above ὅς i.e. Akhilleus εὖνις (εὐνιδ-) deprived of (+ gen.) πέρνημι (περνα-) I sell. The Greeks have had to sustain themselves in their ten years before Troy. They have sacked neighbouring towns for provisions and treasure, and sold well-born young men into captivity, where their new owners could in turn expect a large ransom to free them back to their families. Akhilleus sold Lykaon, a son of Priam, to a man on Lemnos (l.46); he was then ransomed and returned home, only to come face to face with Akhilleus a second time on the battlefield and be killed by him (21.34–114) τηλεδαπός ή όν distant, far-off καὶ γάρ ‘and now I come to think of it . . . ’, ‘what’s more’, i.e. an extra point Λυκάων (Λυκαον-), ὁ Lykaon (3a) Πολύδωρος, ὁ Polydoros (2a), another of Akhilleus’ high-profile victims during his rampage following the death of Patroklos (20.416–18) Τρώων . . . ἀλέντων: gen. abs., here = ‘among’; ἀλέντων is the aor. pass. part. of εἴλω (ἐλα-, ἀλ-) I shut in, block; cf. l.12

Homer

12

τούς μοι Λαοθόη τέκετο, κρείουσα γυναικῶν. ἀλλ’ εἰ μὲν ζώουσι μετὰ στρατῷ, ἦ τ’ ἂν ἔπειτα χαλκοῦ τε χρυσοῦ τ’ ἀπολυσόμεθ’· ἔστι γὰρ ἔνδον· πολλὰ γὰρ ὤπασε παιδὶ γέρων ὀνομάκλυτος ῎Αλτης. εἰ δ’ ἤδη τεθνᾶσι καὶ εἰν ᾿Αΐδαο δόμοισιν, ἄλγος ἐμῷ θυμῷ καὶ μητέρι, τοὶ τεκόμεσθα· λαοῖσιν δ’ ἄλλοισι μινυνθαδιώτερον ἄλγος ἔσσεται, ἢν μὴ καὶ σὺ θάνῃς ᾿Αχιλῆϊ δαμασθείς.’ 48 τούς = οὕς Λαοθόη, ἡ Laothoe (1a). Before the war started Priam had fifty sons, more born to him by his wife Hekabe than by anyone else, the others by high-born women, such as Laothoe here. It was normal for a great king like Priam to take concubines; their offspring would enjoy almost the same status as the children of the queen κρείων ουσα ον ruling; Laothoe is called this because her father was a king, Altes 49 εἰ . . . ζώουσι: Priam does not know that they are dead; the irony lies in the fact that the audience does know. We hear of eight other sons being killed in the course of the poem, apart from Hektor ∗ ζώω (ζάω) I live στρατός, ὁ army (2a) ∗ ἦ indeed ἔπειτα i.e. in the future 50 χρυσός, ὁ gold (2a); here (as χρυσοῦ) in the gen. of price. Ransom in the Homeric world was an accepted kind of trade between important people, and one of the chief uses of wealth (ἔστι γὰρ ἔνδον). In Book 1, the priest Khryses offers a huge ransom for his daughter, and ransoming forms a major theme from now until Akhilleus finally releases Hektor’s body to Priam in Book 24 ἀπολύομαι I ransom

3

50

55

51 πολλά: Homer mentions two transactions connected with marriage: the bride’s father gives a dowry (as here), and the husband hands over gifts to her father. There was either an exchange of presents, or the customs may have been in force at different periods in the heroic age but are mentioned side by side, in oral poetry’s usual ‘telescoping’ fashion (e.g. in the Iliad Homer mentions two methods of spear-fighting which probably did not exist at the same time) ὀπάζω I provide, bring παιδί i.e. to Laothoe ὀνομάκλυτος ον renowned ῎Αλτης, ὁ Altes, father of Laothoe 52 ∗ τεθνᾶσι = 3rd pl. perf. of θνῄσκω; a true perf., ‘they have died’ = ‘they are dead’ ∗ εἰν = ἐν ᾿Αΐδης, ὁ Hades, god of the underworld (1d/3a) 53 ἄλγος, τό anguish, pain (3c); sc. ‘there will be . . . ’ 54 ∗ λαός, ὁ people (2a) μινυνθάδιος α ον small, brief 55 ἔσσεται = ἔσται ἤν = ἐάν καὶ σύ i.e ‘you too’

Priam begs Hektor to retreat inside the walls, and foretells the sack of Troy and his own death. (56–76)

‘ἀλλ’ εἰσέρχεο τεῖχος, ἐμὸν τέκος, ὄφρα σαώσῃς Τρῶας καὶ Τρῳάς, μηδὲ μέγα κῦδος ὀρέξῃς Πηλεΐδῃ, αὐτὸς δὲ φίλης αἰῶνος ἀμερθῇς. πρὸς δ’ ἐμὲ τὸν δύστηνον ἔτι φρονέοντ’ ἐλέησον, δύσμορον, ὅν ῥα πατὴρ Κρονίδης ἐπὶ γήραος οὐδῷ

60

Sections 2–3, lines 48–60

13

3. Priam before the walls 56 ἀλλ’: when it comes first in conversation, ἀλλά is often used to grab someone’s attention; not so much ‘but’, as ‘look here / come on / please’ ὄφρα = ἵνα 57 ∗ Τρῳαί, αἱ Trojan women (1a). Priam appeals to Hektor’s sense of duty towards the Trojans κῦδος, τό glory (3c); see l.18 ὀρέγω (ὀρεξ-) I give, hold out ∗ 58 Πηλείδης = Πηλείων αἰών (αἰων-), ὁ/ἡ life (3a) ἀμέρδω I deprive of (+ gen.); ἀμερθῇς is subj. after ὄφρα (like ὀρέξῃς) 59 πρὸς δ’: adverbial, ‘in addition’; ἐμέ is the obj. of ἐλέησον. Priam leaves his most emotional plea to the end. The Iliad often

depicts the bond between father and son as the strongest in the Homeric world; it is this that unites Priam and Akhilleus briefly in the famous reconciliation scene in Book 24 (and cf. Hektor and Astyanax in Book 6) ∗ δύστηνος ον wretched ἔτι φρονέοντα ‘still being aware’, i.e. ‘still living’ ∗ ἐλεέω I have mercy on, pity 60 ∗ δύσμορος ον ill-fated πατήρ: not Priam’s father, of course, but a common title of Zeus Κρονίδης, ὁ son of Kronos, i.e. Zeus (1d) γῆρας, τό old age (3) οὐδός, ὁ threshold (2a); not entering old age, but about to leave it soon for death

14

Homer

αἴσῃ ἐν ἀργαλέῃ φθίσει, κακὰ πολλ’ ἐπιδόντα, υἶάς τ’ ὀλλυμένους ἑλκηθείσας τε θύγατρας, καὶ θαλάμους κεραϊζομένους, καὶ νήπια τέκνα βαλλόμενα προτὶ γαίῃ ἐν αἰνῇ δηϊοτῆτι, ἑλκομένας τε νυοὺς ὀλοῇς ὑπὸ χερσὶν ᾿Αχαιῶν. αὐτὸν δ’ ἂν πύματόν με κύνες πρώτῃσι θύρῃσιν ὠμησταὶ ἐρύσουσιν, ἐπεί κέ τις ὀξέϊ χαλκῷ τύψας ἠὲ βαλὼν ῥεθέων ἐκ θυμὸν ἕληται, οὓς τρέφον ἐν μεγάροισι τραπεζῆας θυραωρούς, οἵ κ’ ἐμὸν αἷμα πιόντες ἀλύσσοντες περὶ θυμῷ κείσοντ’ ἐν προθύροισι. νέῳ δέ τε πάντ’ ἐπέοικεν ἀρηϊκταμένῳ, δεδαϊγμένῳ ὀξέϊ χαλκῷ, κεῖσθαι· πάντα δὲ καλὰ θανόντι περ, ὅττι φανήῃ· ἀλλ’ ὅτε δὴ πολιόν τε κάρη πολιόν τε γένειον αἰδῶ τ’ αἰσχύνωσι κύνες κταμένοιο γέροντος, τοῦτο δὴ οἴκτιστον πέλεται δειλοῖσι βροτοῖσιν.’ 61 αἶσα, ἡ fate, death (see l.5). Note the relentless build-up in this long sentence (ll.61–5), as Priam envisages what he will be forced to witness when Troy is sacked, without Hektor to defend it ἀργαλέος ον painful φθί(ν)ω (φθισ-) I destroy ἐφοράω (ἐπιδ-) I live to see; ἐπιδόντα agrees with ἐμέ 62 υἷας = υἱούς ∗ ἑλκ(έ)ω I drag, violate, lift up; the verb seems to cover both being dragged from their houses and being raped. Homer’s audience would doubtless know of the rape of Priam’s daughter Kassandra by Agamemnon 63 θάλαμος, ὁ any private room, here = marriagechamber (2a) κεραΐζω I destroy, wreck νήπιος α ον young, innocent 64 βαλλόμενα . . . : a grim foreshadowing of the fate awaiting Astyanax, son of Hektor and Andromakhe; after the sack of Troy he was thrown from its walls by Akhilleus’ son Neoptolemos or (in a different version) Odysseus. Euripides exploits his death to the full in a powerfully emotional scene in Trojan Women ∗ προτί = πρός δηϊοτής (δηΐοτητ-), ἡ mortal struggle, death (3a) 65 νυός, ἡ daughter-in-law (2a); Priam’s sons and their wives lived in the royal palace (see ll.523–9)

65

70

75

66 αὐτὸν δέ . . . με: Priam imagines his corpse being shamefully eaten by dogs, and in a grisly twist makes them his very own guard-dogs, raised and fed at his table. This is a truly ghastly vision πύματος η ον last πρώτῃσι θύρῃσιν: i.e. in public, at the outer gates of the palace 67 ὠμηστής savage, brutal ἐρύω (ἐ(ι)ρυσ-) I drag away; fut. + ἄν = a sure future: ‘they certainly will . . . ’ (cf. ll.49–50) ὀξύς εῖα ύ sharp 68 τύψας ἠὲ βαλών i.e. from close quarters with a sword or from farther off with a spear ∗ ἠέ = ἤ (or) ῥέθεα, τά limbs (3c) ἐκ . . . ἕληται: tmesis 69 μέγαρα, τά palace (2b) τραπεζεύς fed at table θυραωρός gate-guardian 70 ∗ αἷμα, τό blood (3b) ἀλύσσω I am maddened, made restless 71 πρόθυρον, τό (and pl.) doorway, porch (2b) νέῳ: introducing a generalized thought: young men can look dignified when killed in battle, in contrast with an old man’s shameful treatment by dogs (line 75) ἐπέοικεν it is proper, seemly for (+ dat.) 72 ἀρηϊκτάμενος η ον slain in war δαΐζω I pierce ∗ ὀξύς εῖα ύ sharp 73 πάντα δὲ καλά: sc. ἐστί ∗ περ = καίπερ ὅττι φανήῃ ‘whatever can be seen [of him]’

Sections 3–4, lines 61–87 74 ∗ πολιός ά όν grey ∗ κάρη (καρηατ-, κρατ-,) τό head (3b) γένειον, τό chin, beard (2b) 75 αἰδώς, ἡ genitals (lit. ‘the shameful thing’)

15

αἰσχύνω I mutilate (κύνες are the subject of the preceding three nouns) ∗ κτάμενος η ον killed 76 τοῦτο δή: emphatic, summing up ll.74–5 οἰκτρός ά όν pitiable (sup. οἴκτιστος) πέλομαι I am

4 Hektor’s mother, Hekabe, joins in the appeal. (77–89)

ἦ ῥ’ ὁ γέρων, πολιὰς δ’ ἄρ’ ἀνὰ τρίχας ἕλκετο χερσὶ τίλλων ἐκ κεφαλῆς· οὐδ’ ῞Εκτορι θυμὸν ἔπειθε. μήτηρ δ’ αὖθ’ ἑτέρωθεν ὀδύρετο δάκρυ χέουσα, κόλπον ἀνιεμένη, ἑτέρηφι δὲ μαζὸν ἀνέσχε· καί μιν δάκρυ χέουσ’ ἔπεα πτερόεντα προσηύδα· ‘῞Εκτορ, τέκνον ἐμόν, τάδε τ’ αἴδεο καί μ’ ἐλέησον αὐτήν, εἴ ποτέ τοι λαθικηδέα μαζὸν ἐπέσχον· τῶν μνῆσαι, φίλε τέκνον, ἄμυνε δὲ δήϊον ἄνδρα τείχεος ἐντὸς ἐών, μηδὲ πρόμος ἵστασο τούτῳ, σχέτλιος· εἴ περ γάρ σε κατακτάνῃ, οὔ σ’ ἔτ’ ἔγωγε κλαύσομαι ἐν λεχέεσσι, φίλον θάλος, ὃν τέκον αὐτή, 77 ∗ ἦ he (she) spoke ἀνά . . . ἕλκετο: tmesis θρίξ (τριχ-), ἡ hair (3a) 78 τίλλω I pluck, tear – a common feature of mourning οὐδ’ . . . ἔπειθε: a plain and telling half-line: Priam’s rhetoric has no effect on Hektor (cf. ll.91 and 214) 79 αὖθ’ = αὖτε, ‘in her turn’ ἑτέρωθεν side by side, i.e. ‘beside him’ ὀδύρομαι I lament ∗ δάκρυ (δακρυ-), τό tear (3) ∗ χέω I pour 80 κόλπος, ὁ folds of dress (2a) ἀνίημι (ἀνε(ι)-) I let fall, open. Dresses were folded loosely over the bosom and fastened below it, rather as with an Empire-line garment. By unfastening her dress with one hand Hekabe lets the material hang loose, exposing her breast – a simple and dramatic gesture, a powerful reminder of the mother−baby relationship (see too l.83) ἑτέρηφι with her other hand; (-φι) is the lost instrumental suffix, (here) = ‘with’ μαζός, ὁ breast (2a) ἀνέχω I hold up 81 μιν: double acc. (with ἔπεα) after προσηύδα ∗ πτερόεις εσσα εν winged; a common epithet with ἔπεα: words fly from one speaker to another

80

85

82 τάδε: n. pl., but here refers to μαζόν ∗ αἰδέομαι I have respect for, feel shame in front of (see ll.105, 721) ∗ ἐλέω I have mercy on, pity 83 αὐτήν: emphatic position: ‘even/especially me’ τοι = σοι λαθικηδής ές care-banishing 84 τῶν = τούτων, ‘those occasions’, implicit in εἴ ποτε . . . μνῆσαι: aor. imper. (+ gen.) δήϊος η ον hostile, grim, enemy 85 ἐντός inside (+ gen.); Hekabe’s maternal emotions confuse her, as she asks Hektor to fight off Akhilleus from inside the walls. The heroic code means less to a woman πρόμος, ὁ champion (2a) ἵστασο = aor. imper. οf ἵσταμαι τούτῳ: who/what does this refer to? 86 ∗ σχέτλιος α ον hard, unyielding, stubborn; cf. l.41 – Hektor or Akhilleus? 87 κλαύσομαι = fut. οf κλαίω. The ritual laying of a dead man on his bier and lamenting him was the exclusive duty of women; men had the battlefield, women the house, and the two important rites of birth and death, seeing someone into life and out of it ∗ λέχος, τό bed, marriage, funeral bier (3c) θάλος, τό offspring, offshoot (3c)

Homer

16

4. Slaughter at Troy

οὐδ’ ἄλοχος πολύδωρος· ἄνευθε δέ σε μέγα νῶϊν ᾿Αργείων παρὰ νηυσὶ κύνες ταχέες κατέδονται.’ 88 ∗ ἄλοχος, ἡ wife (2a) πολύδωρος ον bringing a rich dowry (from her father E¨etion). (The adj. is one of a group that does not have separate m. and f. endings: ‘two-termination’) ∗ ἄνευθε far from (+ gen.), distant; take with μέγα. Hektor’s funeral rites should be held in his own house. The pathos of men dying

5

and being buried far from their home (τηλόθι πάτρης) is typically Homeric; Akhilleus is deeply troubled in Book 24 that his old father Peleus will not attend his funeral rites νῶϊν us two (gen.) 89 ∗ ᾿Αργεῖος α ον Greek κατέδομαι = fut. of κατεσθίω, I devour

Hektor remains resolute. He debates the likely consequences of retreating into the city. (90–110)

ὣς τώ γε κλαίοντε προσαυδήτην φίλον υἱόν, πολλὰ λισσομένω· οὐδ’ ῞Εκτορι θυμὸν ἔπειθον, ἀλλ’ ὅ γε μίμν’ ᾿Αχιλῆα πελώριον ἆσσον ἰόντα. 90 τώ the two of them (agreeing with the duals προσαυδήτην, κλαίοντε and λισσομένω) 91 ἔπειθον: what tense is this, and why? The repeated half-line (see l.78) shifts our attention back to Hektor, unmoved by his

90

parents’ pleas; he will be forced at last to face Akhilleus 92 πελώριος α ον huge, gigantic – used of people and things larger than normal, e.g. Akhilleus’ spear and Aias’ shield ∗ ἆσσον nearer, closer

Sections 4–5, lines 88–97

17

5. Priam and Hekabe plead with Hektor

ὡς δὲ δράκων ἐπὶ χειῇ ὀρέστερος ἄνδρα μένῃσι, βεβρωκὼς κακὰ φάρμακ’, ἔδυ δέ τέ μιν χόλος αἰνός, σμερδαλέον δὲ δέδορκεν ἑλισσόμενος περὶ χειῇ· ὣς ῞Εκτωρ, ἄσβεστον ἔχων μένος, οὐχ ὑπεχώρει, πύργῳ ἔπι προὔχοντι φαεινὴν ἀσπίδ’ ἐρείσας· 93 ὡς . . . Homeric similes tend to occur at moments of high tension or drama. Here the correspondences between the two elements are unusually close: the snake / Hektor waits for a man / Akhilleus coiled round his hole / before the walls of Troy, full of anger/determination. This is probably another example of ‘focalization’ (see l.26): this is how Akhilleus sees him. Hektor’s resolve will fail him when he actually faces Akhilleus δράκων (δρακοντ-), ὁ snake (3a) χείη, ἡ hole (1a) ὀρέστερος α ον mountain-reared 94 βιβρώσκω I feed on (perf. part. βεβρωκώς); it was thought that snakes got their venom from their food φάρμακον, τό poison (2b)

∗

95

δύ(ν)ω (δυ-) I enter, get into χόλος, ὁ anger, bitterness (2a) 95 σμερδαλέος α ον malignant. The n. is used adverbially here; take with δέδορκεν (δέδορκα (perf.) = I see) ἑλίσσω I coil 96 ἄσβεστος ον unquenchable ∗ μένος, τό strength, force, passion (3c) (see l.10) ∗ ὑποχωρέω I retreat 97 πύργος, ὁ tower, bastion (3c); probably the defensive tower that projected on to the plain by the Skaian Gate, from where the Trojans observed events. In Book 3, Helen points out the Greek heroes to Priam and the Trojan elders from here προέχω I jut; προὔχοντι = προέχοντι φαεινός ή όν shining ἀσπίς (ἀσπιδ-), ἡ shield (3a) ἐρείδω (ἐρεισ-) I lean

18

Homer

6. Hektor leaves his parents

ὀχθήσας δ’ ἄρα εἶπε πρὸς ὃν μεγαλήτορα θυμόν· ‘ὤ μοι ἐγών, εἰ μέν κε πύλας καὶ τείχεα δύω, Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει, ὅς μ’ ἐκέλευε Τρωσὶ ποτὶ πτόλιν ἡγήσασθαι νύχθ’ ὕπο τήνδ’ ὀλοήν, ὅτε τ’ ὤρετο δῖος ᾿Αχιλλεύς. ἀλλ’ ἐγὼ οὐ πιθόμην· ἦ τ’ ἂν πολὺ κέρδιον ἦεν. νῦν δ’ ἐπεὶ ὤλεσα λαὸν ἀτασθαλίῃσιν ἐμῇσιν, αἰδέομαι Τρῶας καὶ Τρῳάδας ἑλκεσιπέπλους, μή ποτέ τις εἴπῃσι κακώτερος ἄλλος ἐμεῖο· “῞Εκτωρ, ἧφι βίηφι πιθήσας, ὤλεσε λαόν.’’

100

105

Section 5, lines 98–110

ὣς ἐρέουσιν· ἐμοὶ δὲ τοτ’ ἂν πολὺ κέρδιον εἴη ἄντην ἢ ᾿Αχιλῆα κατακτείναντα νέεσθαι, ἠέ κεν αὐτῷ ὀλέσθαι ἐϋκλειῶς πρὸ πόληος.’ 98 ∗ ὅς ἥ ὅν one’s own. πρὸς ὃν . . . θυμόν: Homeric heroes do not question their inner emotional status, but occasionally they review two or three possible courses of action. Hektor’s groping for a solution is reflected in the long sentences which lack grammatical resolution. He begins with an if-clause (εἰ μέν . . . 99), reflects on how he should have listened to Poulydamas (ὅς μ’ ἐκέλευε . . . 101) but didn’t, and now imagines what the Trojans will say about him (νῦν δέ . . . 104). There is no answering apodosis, but another if-clause (εἰ δέ κεν . . . 111) in which he wonders whether he should approach Akhilleus unarmed and offer to return Helen and her possessions to the Greeks, plus a substantial gift from the Trojans, backed up by a public oath. At this point (122) he breaks off and asks himself why his θυμός has had this conversation with him. (Agenor, a minor hero, has gone through a similar process at 21.553–70. Homer often prefigures a major character’s situation in this way; cf. the similarities between Patroklos’ death in Book 16 and Hektor’s here) μεγαλήτωρ (μεγαλητορ-) noble, great-hearted ∗ 99 ἐγών = ἐγώ 100 Πουλυδάμας, ὁ Poulydamas, the only man who has dared to criticize Hektor’s orders. In 18.254–84 he advised a prudent withdrawal into Troy, scornfully rejected by Hektor ἐλεγχείη, ἡ criticism, abuse (1a) ἀναθήσει = fut. of ἀνατίθημι 101 ∗ ποτί = προτί ∗ πτόλις = πόλις 102 ὑπό (here) = at the beginning of (+ acc.). The Trojans were in the Greek camp, threatening to burn their ships and so cut off their retreat, when Akhilleus finally decided to return to the conflict, causing the Trojans to fall back to their camp on the plain outside the city ὄρνυμι (ὀρσ-, ὀρ-) I arouse, rise up, begin δῖος: an epithet often given to Akhilleus (and other heroes); its root is clearly the same as that of Ζεύς (gen. Διός), referring to his kingdom of the upper air – hence ‘bright/glorious’, or perhaps ‘godlike’ 103 ∗ κέρδιον better ∗ ἦεν = ἦν

19

110

104 νῦν δέ: as often after a past unful. condition (l.103) = ‘but (I didn’t, and) as it is . . . ’ λαόν: generally ‘people’, often in the sense of ‘army’ (Biblical ‘host’) – though neither Greeks nor Trojans fought as a disciplined army in the modern sense, more as bands of people grouped around their chieftain ἀτασθαλίη, ἡ folly (1a). Hektor is quite clear-sighted about his mistake 105 αἰδέομαι: see l.82, and l.721, where exactly the same words are given him. Hektor, as often, is restrained by the prospect of what the Trojans and their wives will think of him. His behaviour has a social aspect unshared by the Greeks, who are an army on active service. αἰδώς has been defined as ‘a responsiveness to social situations and the judgement of others’, a strong feeling that keeps a person from behaving in a way that might attract blame. In ancient Greek society, public image, i.e. what other people thought of you, seems to have been far more important than what you thought about yourself Τρῳάδες, αἱ Trojan women (3a) ἑλκεσίπεπλος ον with trailing gowns 106 ∗ μή in case, lest κακώτερος: i.e. ‘worse’ in the sense of having lower social standing ἐμεῖο = ἐμοῦ 107 ἧφι = ᾗ (from ὅς ἥ ὅν) βίη, ἡ force, strength (1a) πίθησας relying on (+ dat.) 108 Hektor resolves to make up for his past mistake by facing the ultimate challenge, one that he has constantly invited (e.g. 16.859–61, 18.305–9) 109 ἄντην face to face (take after ἤ, which goes with ἠέ, l.110) νέομαι I return 110 αὐτῷ: agrees with ἐμοί (l.108). ‘It would be better for me (ἐμοί) that I would come back having killed . . . ’ (κατακτείναντα, referring to the same person as ἐμοί, but drawn into the usual acc. that accompanies an inf.) ἐϋκλειῶς honourably, looking forward to l.304 where Hektor prays to die not ingloriously (ἀκλειῶς, without κλέος; being well remembered after death is all) πόληος = πόλεως

Homer

20

7. Hektor pursued by Akhilleus

6

Hektor debates the likely consequences of reaching an agreement with Akhilleus, but rejects this and his former thoughts in favour of facing Akhilleus in single combat. (111–30)

εἰ δέ κεν ἀσπίδα μὲν καταθείομαι ὀμφαλόεσσαν καὶ κόρυθα βριαρήν, δόρυ δὲ πρὸς τεῖχος ἐρείσας αὐτὸς ἰὼν ᾿Αχιλῆος ἀμύμονος ἀντίος ἔλθω καί οἱ ὑπόσχωμαι ῾Ελένην καὶ κτήμαθ’ ἅμ’ αὐτῇ, πάντα μάλ’ ὅσσα τ’ ᾿Αλέξανδρος κοίλῃς ἐνὶ νηυσὶν ἠγάγετο Τροίηνδ’, ἥ τ’ ἔπλετο νείκεος ἀρχή, δωσέμεν ᾿Ατρεΐδῃσιν ἄγειν, ἅμα δ’ ἀμφὶς ᾿Αχαιοῖς ἄλλ’ ἀποδάσσεσθαι, ὅσα τε πτόλις ἥδε κέκευθε· Τρωσὶν δ’ αὖ μετόπισθε γερούσιον ὅρκον ἕλωμαι 111 εἰ δέ κεν . . . there is no answering apodosis to this protasis, which is interrupted in l.122. Translate ‘Suppose I . . . ’ The structure is εἰ καταθείομαι . . . καὶ εἰ ἔλθω . . . καὶ εἰ ὑποσχῶμαι δωσέμεν . . . καὶ ἀποδάσσεσθαι . . . καὶ εἰ ἕλωμαι μὴ κατακρύψειν . . . ἀλλὰ δάσασθαι . . . ∗ ἀσπίς (ἀσπιδ-), ἡ shield (3a)

115

καταθείομαι = aor. subj. οf κατατίθημι I lay aside ὀμφαλόεις εσσα εν bossed 112 κόρυς (κορυθ-), ἡ helmet (3a) βριαρός ά όν heavy ∗ δόρυ (δουρ-, δορ-, δουρατ-), τό spear 113 αὐτός: note emphatic position

Section 6, lines 111–19

21

8. Chalcedony scaraboid: two-horse chariot

ἀμύμων (ἀμυμον-) noble. The traditional translation of this word is ‘blameless’, which is fine until one sees it applied to Aegisthus (Odyssey 1.29), a notorious wrongdoer. This has worried scholars. ‘Noble’ suggests high birth, without any moral overtones ἀντίος α ον face to face with (+ gen.) 114 ὑπόσχωμαι: take with δωσέμεν (l.117) and ἀποδάσσεσθαι (l.118), the usual fut. inf. after this verb κτήματα: Helen is rarely mentioned without the possessions she brought with her from Sparta (e.g. 3.282–91). In both Greek and Trojan eyes, theft of these by Paris was as heinous as abducting Helen, who was a kind of extension of Menelaos’ property ∗ ἅμα together with (+ dat.) 115 πάντα μάλα i.e. absolutely everything ᾿Αλέξανδρος, ὁ: the usual name for Paris in the poem κοῖλος η ον hollow; Homeric ships had very little decking, their function being not to engage in a sea-battle but to transport warriors to the battlefield 116 νεῖκος, τό quarrel (3c)

ἀρχή: Hektor more than once recollects how the war started. The Iliad looks beyond its temporal boundaries to the cause and the probable end of the Trojan War (see also ll.359–60) 117 δωσέμεν = δώσειν ᾿Ατρείδης, ὁ son of Atreus, i.e. Agamemnon and Menelaos (1d) ἄγειν: an epexegetic/explanatory inf. (cf. l.5), i.e. ‘for them to take . . . ’ ἀμφίς (here) = besides 118 ἄλλ’: note the accent ἀποδατέομαι (ἀποδασ(σ) -) I divide up πτόλις = πόλις ἥδε: as nearly always with parts of ὅδε, we have to imagine the speaker pointing here at Troy. The -δε suffix is called ‘deictic’ = ‘showing/pointing’ (cf. French celui-ci) κέκευθα (perf.) I keep hidden 119 μετόπισθε thereafter γερούσιος α ον taken in council (of elders, γέροντες) ὅρκος, ὁ oath (2a) ἕλωμαι: Hektor continues his flight of fancy in the subj.

22

Homer

μή τι κατακρύψειν, ἀλλ’ ἄνδιχα πάντα δάσασθαι κτῆσιν ὅσσην πτολίεθρον ἐπήρατον ἐντὸς ἐέργει· ἀλλὰ τίη μοι ταῦτα φίλος διελέξατο θυμός; μή μιν ἐγὼ μὲν ἵκωμαι ἰών, ὁ δέ μ’ οὐκ ἐλεήσει οὐδὲ τί μ’ αἰδέσεται, κτενέει δέ με γυμνὸν ἐόντα αὔτως ὥς τε γυναῖκα, ἐπεί κ’ ἀπὸ τεύχεα δύω. οὐ μέν πως νῦν ἔστιν ἀπὸ δρυὸς οὐδ’ ἀπὸ πέτρης τῷ ὀαριζέμεναι, ἅ τε παρθένος ἠΐθεός τε, παρθένος ἠΐθεός τ’ ὀαρίζετον ἀλλήλοιιν. βέλτερον αὖτ’ ἔριδι ξυνελαυνέμεν ὅττι τάχιστα· εἴδομεν ὁπποτέρῳ κεν ᾿Ολύμπιος εὖχος ὀρέξῃ.’ 120 ἄνδιχα asunder, into two parts δατέομαι (δασ(σ)-) I divide 121 κτῆσις, ἡ goods (3e); here it is in apposition to πάντα (l.120) – presumably as a kind of reparation, in addition to Helen’s possessions πτολιέθρον, τό citadel (2b) ἐπήρατος ον lovely ἐντός inside 122 ἀλλά: Hektor suddenly interrupts his train of thought τίη; why? 123 μή (here) = ‘am I afraid that . . . ?’ ἵκωμαι: there may be an element here of approaching someone as a suppliant (ἱκετής, from ἱκνέομαι); doing so would confer a kind of formal obligation on the stronger man to be aware of αἰδώς and perhaps show mercy (see l.35). But Hektor knows (as we do, from Book 21) that Patroklos’ death has brutalized Akhilleus, and he is in no mood to keep to the rules of conventional behaviour in war 124 αἰδέσεται, κτενέει: what tense? ∗ γυμνός ή όν naked – though here it probably means ‘unarmed’ (see l.121) 125 ∗ αὔτως simply, without more ado ὥς τε i.e. ὥστε ‘like [as everyone knows]’; a grim comment on heroic warfare ἀπὸ . . . δύω I strip off ∗ τεύχεα, τά armour, harness (3c) 126 οὐ μὲν . . . πέτρης ‘for now, I suppose, it is not possible (ἔστιν), from an oak or a rock, to . . . ’; a proverbial expression of obscure origin. The meaning, however, is clear enough: Hektor and Akhilleus will meet

127

128

129

130

120

125

130

not to whisper lovers’ sweet nothings to each other but to fight to the death. The pastoral setting of rocks and oaks contrasts brilliantly with the brutality of the coming fight (cf. Aias at 15.508, ‘Hektor is inviting us to a fight, not a dance’). There may be a reminiscence here of Hektor’s parting from his wife Andromakhe at the self-same Skaian Gate in Book 6 – a private occasion when they exchanged intimacies over their son Astyanax, and when Hektor memorably looked forward to the fall of Troy (6.447–9; 726–8 in this selection). Throughout the Iliad, Hektor’s death is associated symbolically with the sack of his city τῷ i.e. Hektor ὀαρίζω I talk gently, intimately with; an unusual and striking word ἅ τε like, in the same way as (the ‘generic’ τε) παρθένος, ἡ maiden, young girl (2a) ἠΐθεος, ὁ young lover (2a) παρθένος: the repetition increases the pathos. We see the scene through Hektor’s eyes; more focalization. His thoughts turn in a moment of stillness to peacetime, ‘before the sons of the Akhaians came’ (l.156) ὀαρίζετον = dual of ὀαρίζω ἀλλήλοιιν = dual of ἀλλήλοις βέλτερον (sc. ἐστί) it is better αὖτε on the other hand ἔρις (ἐριδ-), ἡ battle, strife (3a) ξυνελαύνω I meet, close with εἴδομεν ‘let us see’ (aor. subj. of οἶδα) ᾿Ολύμπιος, ὁ the Olympian = Zeus (2a) εὖχος, τό prayer, glory (3c)

Target passages: The death of Hektor (Iliad 22.131−end)

Sections 1–6 serve as the introduction to this target passage. 7 At Akhilleus’ approach, Hektor turns to flee. Three times they run round the walls of Troy, as the gods watch. (131–66)

ὣς ὅρμαινε μένων, ὁ δέ οἱ σχεδὸν ἦλθεν ᾿Αχιλλεὺς ἶσος ᾿Ενυαλίῳ, κορυθάϊκι πτολεμιστῇ, σείων Πηλιάδα μελίην κατὰ δεξιὸν ὦμον δεινήν· ἀμφὶ δὲ χαλκὸς ἐλάμπετο εἴκελος αὐγῇ ἢ πυρὸς αἰθομένου ἢ ἠελίου ἀνιόντος. ῞Εκτορα δ’, ὡς ἐνόησεν, ἕλε τρόμος· οὐδ’ ἄρ’ ἔτ’ ἔτλη αὖθι μένειν, ὀπίσω δὲ πύλας λίπε, βῆ δὲ φοβειθείς· Πηλεΐδης δ’ ἐπόρουσε ποσὶ κραιπνοῖσι πεποιθώς. 131 ὁρμάινω I consider, ponder σχεδόν near 132 ἶσος η ον like (+ dat.) ᾿Ενυάλιος, ὁ: another name for Ares κορυθάϊξ (κορυθαικ-) helmet-shaking πτολεμιστής, ὁ warrior (1d) 133 σείω I shake, brandish μελίη, ἡ ash spear (1a). This is the famous huge, heavy spear which Akhilleus alone could handle and which had therefore not been lent to Patroklos. The Homeric poems mention two kinds of spear: a heavy weapon for thrusting, and a lighter throwing-javelin (usually carried in pairs). These two methods of fighting could not have existed at the same time, and their presence in the Iliad is explained by the centuries-long cumulative tradition of oral poetry, which telescoped changes in warfare. Akhilleus at other times uses two throwing-javelins. Similarly, bronze and iron are mentioned side by side, though we know that iron superseded bronze around 1200 BC Πηλιάς (Πηλιαδ-) from Mt Pelion 134 δεινήν: note the position

135 136

137

138

135

εἴκελος η ον like (+ dat.). The simile picks up that at ll.26–31: Akhilleus’ dazzling brilliance αὐγή, ἡ ray, beam (1a) αἴθομαι I blaze, burn ἠέλιος = ἥλιος ῞Εκτορα: Hektor is a great fighter, but ultimately not in Akhilleus’ league – and he knows it. It takes no time for his former determination to vanish. Akhilleus’ image is focalized through Hektor’s eyes – a huge opponent, whose dazzling armour blinds his eyes ἕλε: from αἱρέω τρόμος, ὁ trembling, fear (2a) τλάω I dare, bring myself to αὖθι on the spot. It would make rational sense for Hektor to stay where he is, with the walls protecting his back, but panic takes hold of him and he runs ὀπίσω behind ∗ φοβέομαι I am put to flight ἐπορούω I spring, leap forward κραιπνός ή όν swift. Akhilleus, as always, is swift in pursuit πέποιθα (perf.) I trust in, rely on

23

24

Homer

ἠΰτε κίρκος ὄρεσφιν, ἐλαφρότατος πετεηνῶν, ῥηϊδίως οἴμησε μετὰ τρήρωνα πέλειαν, ἡ δέ θ’ ὕπαιθα φοβεῖται, ὁ δ’ ἐγγύθεν ὀξὺ λεληκὼς ταρφέ’ ἐπαΐσσει, ἑλέειν τέ ἑ θυμὸς ἀνώγει· ὣς ἄρ’ ὅ γ’ ἐμμεμαὼς ἰθὺς πέτετο, τρέσε δ’ ῞Εκτωρ τεῖχος ὕπο Τρώων, λαιψηρὰ δὲ γούνατ’ ἐνώμα. οἱ δὲ παρὰ σκοπιὴν καὶ ἐρινεὸν ἠνεμόεντα τείχεος αἰὲν ὑπὲκ κατ’ ἀμαξιτὸν ἐσσεύοντο, κρουνὼ δ’ ἵκανον καλλιρρόω· ἔνθα δὲ πηγαὶ δοιαὶ ἀναΐσσουσι Σκαμάνδρου δινήεντος. ἡ μὲν γάρ θ’ ὕδατι λιαρῷ ῥέει, ἀμφὶ δὲ καπνὸς γίγνεται ἐξ αὐτῆς ὡς εἰ πυρὸς αἰθομένοιο· ἡ δ’ ἑτέρη θέρεϊ προρέει ἐϊκυῖα χαλάζῃ, ἢ χιόνι ψυχρῇ, ἢ ἐξ ὕδατος κρυστάλλῳ. ἔνθα δ’ ἐπ’ αὐτάων πλυνοὶ εὐρέες ἐγγὺς ἔασι καλοὶ λαΐνεοι, ὅθι εἵματα σιγαλόεντα πλύνεσκον Τρώων ἄλοχοι καλαί τε θύγατρες τὸ πρὶν ἐπ’ εἰρήνης, πρὶν ἐλθεῖν υἷας ᾿Αχαιῶν. τῇ ῥα παραδραμέτην, φεύγων, ὁ δ’ ὄπισθε διώκων· πρόσθε μὲν ἐσθλὸς ἔφευγε, δίωκε δέ μιν μέγ’ ἀμείνων καρπαλίμως, ἐπεὶ οὐχ ἱερήϊον οὐδὲ βοείην ἀρνύσθην, ἅ τε ποσσὶν ἀέθλια γίγνεται ἀνδρῶν, ἀλλὰ περὶ ψυχῆς θέον ῞Εκτορος ἱπποδάμοιο. 139 ἠΰτε like; another simile at a moment of high drama, the first of a series describing hunting and chasing. The hawk / Akhilleus, with its speed/his swift feet, swoops after / charges at a timid dove / Hektor, which/who turns in flight / runs for it. The sight of a hawk pursuing a dove would have been familiar to Homer’s audience; his similes often relate heroic deeds to everyday experience κίρκος, ὁ hawk (2a) ὄρεσφιν = ὄρεσιν ἐλαφρός ά όν light, nimble πετεηνά, τά winged creatures, birds (2b) 140 οἰμάω I swoop, pounce; this is a ‘gnomic’ aor., i.e. it happened once and will again, often (cf. ‘Curiosity killed the cat’). Tr. as pres. τρήρων (τρηρων-) trembling πέλεια, ἡ dove (1b); the contrast between this and the κίρκος could not be more pointed 141 ὕπαιθα under and away (the attack from above) ∗ ἐγγύθεν from near at hand ὀξύ: acc. s. n. used as an adv.

140

145

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λάσκω (perf. λέληκα) I scream; foreshadowing Akhilleus’ war cry 142 ταρφέα again and again ∗ ἐπαΐσσω I swoop on ∗ ἑ him, her, it (= the dove) θυμός: words which we think of as describing thoughts or emotions (‘heart/mind/spirit’) are seen in Homer as physical organs. The θυμός is located in the chest, and drives men on to do deeds of physical prowess, often through anger ἄνωγα (perf.) I urge 143 ἐμμεμαώς υῖα ός eager, raging ἰθύς straight ∗ πέτομαι I fly τρέω I fear, tremble 144 ὕπο: take with τεῖχος, as the accent shows; when a two-syllable preposition follows its noun its accent moves back onto the first syllable ∗ λαιψηρός ή όν swift γούνατα: Homeric heroes ply their knees rather than their legs, and it is there that they feel weakness ∗ νωμάω I move, ply

Section 7, lines 139–61 145 παρά (here) = ‘past’ σκοπιή, ἡ watching-post (1a) ἐρινεός, ὁ fig-tree (2a); this list of familiar landmarks outside Troy reminds us of the Trojans’ peacetime occupations before the Greeks came, when they were free to wander outside the city. This effect – here, a peaceful contrast with the desperate duel that will lead ultimately to the city’s destruction – is characteristic of Homer. The same technique appears in his similes, where he often compares an important action with an ordinary everyday occurrence (e.g. the mustering of the Greek army with flies crowding round brimming pails of milk). See also ll.146–56 below ἠνεμόεις εσσα εν windswept 146 ὑπέκ out from under (+ gen.); cf. ὕπαιθα in l.141 ἀμαξιτός, ὁ wagon-way (2a), which presumably ran round the walls ἐσσεύοντο: note the impf. Akhilleus keeps between Hektor and the wall with its gates 147 ∗ κρουνός, ὁ well-head (2a) καλλίρροος ον sweet-flowing; -ω is acc. pl. dual πηγή, ἡ spring (1a) 148 δοιός ά όν twin ἀναΐσσω I spring up ∗ Σκάμανδρος, ὁ Skamandros (2a), one of the two rivers that flow across the Trojan plain δινήεις εσσα εν whirling, eddying 149 ἡ μέν . . . ἡ δέ i.e. the two springs. There were indeed two springs, one warm and the other cold, at the source of the Skamandros, but they are 32 km away, on Mt Ida. Homeric geography does not always match the archaeological evidence, such as it is; it looks as if Homer – who had probably heard of the springs – places them near Troy in order to make the telling contrast in ll.155–6 λιαρός ά όν warm ∗ ῥέω I flow καπνός, ὁ smoke, steam (2a) 151 θέρος, τό summer (3c) ∗ προρέω I flow out ἐϊκώς υῖα ός like (+ dat.) χάλαζα, ἡ hail (1c) 152 χιών (χιον-), ἡ snow (3a) ψυχρός ά όν cold ἐξ (here) = ‘formed from’ κρύσταλλος, ὁ ice (2a) 153 ἐπ’ αὐτάων i.e. ‘by them’ (the springs) πλυνός, ὁ washing-place (2a) ἔασι = εἰσί

25

154 λαίνεος α ον made of stone σιγαλόεις εσσα εν shining. If the clothes were shining there would be no need to wash them; but this is a fixed epithet, i.e. characteristic of finely-made clothes (as at Odyssey 6.38, where Nausicaa is told to take her family’s dirty clothes, also ‘shining’, to wash in pools by the sea – where she meets the shipwrecked Odysseus) 155 πλύνεσκον: note the frequentative verb form; this was their custom 156 There can be few lines in the Iliad more full of simple pathos than this 157 τῇ ῥα . . . an oral poet has to remind his listeners where he was when he left his main narrative to digress (ringcomposition): ‘well, it was past here that . . . ’ See also ll.673–8 below παραδραμέτην ‘the two ran’ (dual) φεύγων: sc. ὁ μέν ∗ ὄπισθε behind 158 ∗ πρόσθε in front; note the μέν . . . δέ balance 159 καρπαλίμως swiftly ἱερήϊον, τό sacrificial victim (2b) βοείη, ἡ ox-hide (1a) 160 ἄρνυμαι I struggle over (ἀρνύσθην = dual) τε: the ‘generic’ τε, i.e. ‘the kind of prizes . . . ’ In later times, there were athletic contests all over the Greek world, often offering valuable prizes, and successful competitors could make a decent living from their profession. It was only at the four most prestigious games of mainland Greece (Olympic, Pythian, Nemean, Isthmian) that the prizes were symbolic (e.g. a laurel wreath at Olympia), but of course the τιμή attending victory in them was enormous. In Homer’s world the prizes were clearly objects of great value (cf. l.164). Remember that τιμή basically means ‘value’ ποσσίν ‘for feet’, i.e. ‘for running’ ἀέθλ(ι)ον, τό prize (2b), i.e. in a race. Ll. 159–61 look forward to the funeral games that Akhilleus stages in Book 23 to honour Patroklos; and the mention of Hektor in l.161 possibly hints at his death and funeral at the end of the poem (though no funeral games are described there) 161 περὶ ψυχῆς . . . ῞Εκτορος i.e. the most valuable prize θέον: note the accent – it cannot mean ‘god’ ∗ ἱππόδαμος ον horse-taming; a common epithet of Hektor and the Trojans, suggesting they owned a large hinterland where horses were raised

Homer

26

ὡς δ’ ὅτ’ ἀεθλοφόροι περὶ τέρματα μώνυχες ἵπποι ῥίμφα μάλα τρωχῶσι· τὸ δὲ μέγα κεῖται ἄεθλον, ἢ τρίπος ἠὲ γυνή, ἀνδρὸς κατατεθνηῶτος· ὣς τὼ τρὶς Πριάμοιο πόλιν πέρι δινηθήτην καρπαλίμοισι πόδεσσι· θεοὶ δ’ἐς πάντες ὁρῶντο· 162 ὅτ’ = ὅτε. ὅτι is never elided ἀεθλοφόρος ον victorious, prize-winning; another chariot-racing simile τέρμα, τό turning-post (3b); chariot races were run on a ‘there-and-back’ basis. In Book 23 the turning-post is a dead tree-stump. Is there a hint here at Akhilleus and Hektor turning as they run round the walls of Troy? μώνυξ (μωνυχ-) single-hoofed, i.e not cloven-hoofed like donkeys; a common epithet of horses 163 ῥίμφα lightly, swiftly τρωχάω I wheel around 164 τρίπος, ὁ tripod (2a); i.e. a highly wrought metal stand on which a large basin rested over a fire, ostensibly for cooking or heating water, but in fact possessing a symbolic elite value; part of the currency of gift-giving

8

165

γυνή women (= captured and enslaved) are among the gifts Agamemnon promises Akhilleus in Book 9, to lure him back to the fighting ἀνδρὸς κατατεθνηῶτος gen. abs., ‘when a man has died’, i.e. (here) = ‘in honour of . . . ’ (as for Patroklos in Book 23) 165 ∗ τώ the two of them (nom.) ∗ τρίς three times πέρι: with πόλιν, as the accent shows δινέομαι I sweep, whirl round 166 ∗ καρπάλιμος ον swift θεοί i.e. like spectators in a stadium; for the gods, who do not die, the deadly conflict of mortal men is (here and elsewhere) an enjoyable diversion. They are particularly close to heroes, and support their favourites like partisan fans

Zeus considers whether it is possible to save Hektor’s life. Athene reproaches him, and Zeus, backing down, tells her to play her part. She moves into the fray. (167–87)

τοῖσι δὲ μύθων ἦρχε πατὴρ ἀνδρῶν τε θεῶν τε· ‘ὢ πόποι, ἦ φίλον ἄνδρα διωκόμενον περὶ τεῖχος ὀφθαλμοῖσιν ὁρῶμαι· ἐμὸν δ’ ὀλοφύρεται ἦτορ ῞Εκτορος, ὅς μοι πολλὰ βοῶν ἐπὶ μηρί’ ἔκηεν ῎Ιδης ἐν κορυφῇσι πολυπτύχου, ἄλλοτε δ’ αὖτε ἐν πόλει ἀκροτάτῃ· νῦν αὖτέ ἑ δῖος ᾿Αχιλλεὺς ἄστυ πέρι Πριάμοιο ποσὶν ταχέεσσι διώκει. ἀλλ’ ἄγετε φράζεσθε, θεοί, καὶ μητιάασθε ἠέ μιν ἐκ θανάτοιο σαώσομεν, ἠέ μιν ἤδη Πηλεΐδῃ ᾿Αχιλῆϊ δαμάσσομεν ἐσθλὸν ἐόντα.’ τὸν δ’αὖτε προσέειπε θεὰ γλαυκῶπις ᾿Αθήνη· ‘ὦ πάτερ ἀργικέραυνε, κελαινεφές, οἷον ἔειπες· ἄνδρα θνητὸν ἐόντα, πάλαι πεπρωμένον αἴσῃ, ἂψ ἐθέλεις θανάτοιο δυσηχέος ἐξαναλῦσαι; ἔρδ’· ἀτὰρ οὔ τοι πάντες ἐπαινέομεν θεοὶ ἄλλοι.’ τὴν δ’ ἀπαμειβόμενος προσέφη νεφεληγερέτα Ζεύς· ‘θάρσει, Τριτογένεια, φίλον τέκος· οὔ νύ τι θυμῷ πρόφρονι μυθέομαι, ἐθέλω δέ τοι ἤπιος εἶναι· ἔρξον ὅπῃ δή τοι νόος ἔπλετο, μηδ’ ἔτ’ ἐρώει.’

170

175

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185

Sections 7–8, lines 162–85 167 τοῖσι: the scene moves easily to Olympos, cued by θεοί (l.166) – a typical example of Homeric ‘zooming out’. The gods will eventually approve of Hektor’s death μυθῶν: gen., with ἦρχε πατήρ . . . τε: a common title of Zeus 168 ὢ πόποι ‘what’s this?’, an angry or frustrated expostulation (possibly representing an explosion of breath), reinforced by ἦ . . . 169 ἦτορ, τό heart 170 ῞Εκτορος: obj. of ὀλοφύρεται + gen. ἐπὶ . . . ἔκηεν (impf. of καίω): tmesis μήρια, τά thigh-bones (2b). At a sacrifice, the victim’s thigh-bones were wrapped in fat and burnt for the gods, after which the rest of the animal was chopped, cooked and shared among those present. This division was explained by the myth of Prometheus, who was given the task of apportioning a roast ox between gods and mortals; he covered the best meat with some unappetizing offal, and the bones with succulent fat, and Zeus chose the latter (Zeus later withheld the gift of fire from mortals as a punishment.) In Homer, the gods enjoy the smell of the fat/bones as it rises to Olympos. Note the reciprocal nature of the ritual, common to Greek religion, recalled here: he did this for me, therefore I should do something for him in return 171 ῎Ιδη, ἡ Mt Ida (1a) κορυφή, ἡ crest, peak (1a) πολύπτυχος ον with many valleys, folds ∗ ἄλλοτε at other times αὖτε again, furthermore, in turn 172 ∗ ἀκρός ά όν top (where the important Trojan temples were located) 173 πέρι: note the accent; which is its noun? 174 ἀλλά: see l.56. φράζομαι I consider μητιάαομαι I take counsel 176 ἐσθλὸν ἐόντα: what is the force of this part.? 177 ∗ αὖτε again, furthermore, in turn γλαυκῶπις: usually translated as ‘grey-eyed’, but may originally have meant ‘owl-eyed’ (γλαύξ, γλαυκ-); cf. βοῶπις, ‘ox-eyed’, of Hera 178 ἀργικέραυνος ον of the shining thunderbolt κελαινεφής ές dark-clouded; Zeus is the supreme weather god (cf. l.182) οἷον ἔειπες: an expression of surprise

27

179 ∗ πεπρωμένος α ον fated, destined (on fate, see l.61). Zeus suggests interfering with this process, i.e. the timing of Hektor’s death, as he did with his son Sarpedon in Book 16, and there Hera answered him as Athene does here: he can do what he wishes, but it will cause dissension among the other gods. Athene and Hera are the Greeks’ principal supporters. The Iliad is not a theological treatise, and Homer has no definitive words for us on the relation between the gods and fate; sometimes Zeus seems to be subservient to fate, sometimes to embody it ∗ αἶσα, ἡ (personal) destiny (1c) 180 ἄψ again, back δυσηχής ές ill-sounding; the very mention of death causes a shudder, to mortals and immortals – Apollo cannot remain in Hektor’s presence when he is killed (l.213) 181 ∗ ἔρδω (ἐρξ-) I do, act ἀτάρ but τοι ‘I tell you / you may be sure’ i.e. ‘it’s not my opinion only’. Homer often portrays Zeus as the father of an unruly family. Sometimes (e.g. at the beginning of Book 8) he threatens them with his overriding power, sometimes he considers it politic to give way when they gang up on him 182 ∗ ἀπαμείβομαι I reply νεφεληγερέτα cloud-gatherer (nom.); Zeus and the weather again 183 θαρσέω I am cheered, of good courage. His swift change of mind reveals that Zeus almost knows that he has little hope of his scheme succeeding (and anyway Athene is his favourite). Note the almost casual tone of this exchange; it is as if the outcome on the plain of Troy is of minor concern to the gods. As always, it is the mortals, fated to die, who impart dignity and urgency to their actions Τριτογένεια, ἡ Athene (who was born at Lake Tritonis) (1b) 184 προφρών earnest μυθέομαι I speak, recount ἤπιος α ον gentle 185 ὅπῃ how, in whatever way ∗ ἔπλετο ‘is’ (πέλομαι) ἐρωέω I hold back

Homer

28

ὡς εἰπὼν ὄτρυνε πάρος μεμαυῖαν ᾿Αθήνην· βῆ δὲ κατ’ Οὐλύμποιο καρήνων ἀΐξασα. 186 ∗ ὀτρύνω I encourage πάρος previously, already, i.e. raring to go ∗ μεμαώς υῖα ός eager; μέμονα (μεμα-) I am eager, purpose, rage

9

187 κατ’: which way did she go? κάρηνα, τά peaks (2b)

The relentless chase continues, neither combatant able either to catch or to escape from the other. (188–207)

῞Εκτορα δ’ ἀσπερχὲς κλονέων ἔφεπ’ ὠκὺς ᾿Αχιλλεύς. ὡς δ’ ὅτε νεβρὸν ὄρεσφι κύων ἐλάφοιο διήται, ὄρσας ἐξ εὐνῆς, διά τ’ ἄγκεα καὶ διὰ βήσσας· τὸν δ’ εἴ πέρ τε λάθῃσι καταπτήξας ὑπὸ θάμνῳ, ἀλλά τ’ ἀνιχνεύων θέει ἔμπεδον, ὄφρα κεν εὕρῃ· ὣς ῞Εκτωρ οὐ λῆθε ποδώκεα Πηληΐωνα. ὁσσάκι δ’ ὁρμήσειε πυλάων Δαρδανιάων ἀντίον ἀΐξασθαι ἐϋδμήτους ὑπὸ πύργους, εἴ πώς οἱ καθύπερθεν ἀλάλκοιεν βελέεσσι, τοσσάκι μιν προπάροιθεν ἀποστρέψασκε παραφθὰς πρὸς πεδίον· αὐτὸς δὲ ποτὶ πτόλιος πέτετ’ αἰεί. ὡς δ’ ἐν ὀνείρῳ οὐ δύναται φεύγοντα διώκειν· οὔτ’ ἄρ’ ὁ τὸν δύναται ὑποφεύγειν οὔθ’ ὁ διώκειν· ὣς ὁ τὸν οὐ δύνατο μάρψαι ποσίν, οὐδ’ ὃς ἀλύξαι. πῶς δέ κεν ῞Εκτωρ κῆρας ὑπεξέφυγεν θανάτοιο, εἰ μή οἱ πύματόν τε καὶ ὕστατον ἤντετ’ ᾿Απόλλων ἐγγύθεν, ὅς οἱ ἐπῶρσε μένος λαιψηρά τε γοῦνα; λαοῖσιν δ’ ἀνένευε καρήατι δῖος ᾿Αχιλλεύς, οὐδ’ ἔα ἱέμεναι ἐπὶ ῞Εκτορι πικρὰ βέλεμνα, μή τις κῦδος ἄροιτο βαλών, ὁ δὲ δεύτερος ἔλθοι. 188 ∗ ἀσπερχές unceasingly κλονέω I drive in flight ἐφέπω I pursue 189 Another hunting simile: a dog / Akhilleus pursues a fawn / Hektor, which tries to take cover / seek the protection of the walls, but is always nosed out / cut off back towards the plain νεβρός, ὁ fawn (2a) ἔλαφος, ὁ deer (2a) δίομαι I put to flight, pursue 190 ∗ ὄρσας: from ὄρνυμι (ὀρσ-) I raise, lift, rouse; ὠρόμην, ὄρωρα I rose, began ∗ εὐνή, ἡ covert, bed (1a) ἄγκος, τό hollow, glen (3c) βήσσα, ἡ valley (1c)

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191 τὸν δέ: is this the fawn or the dog? εἴ περ ‘even if’ καταπτήσσω (καταπτηξ-) I crouch, cower θάμνος, ὁ thicket, bush (2a) 192 ἀλλά τ’ ‘all the same / even so’; generic τε. ἀνιχνεύω I track ἔμπεδον continually 193 λῆθε: from λανθάνω ∗ ποδώκης ες swift-footed ∗ 194 ὁσσάκι as often as, answered in l.197 (τοσσάκι); the opt. shows that this is the indefinite construction, referring to a number of occasions. This long sentence describes Hektor’s repeated attempts to reach the gates, and Akhilleus’ success in cutting him off from them. The language is

Sections 8–10, lines 186–212

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198 199

200 201

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elevated, rhetorical even, suited to the momentous action ∗ ὁρμάω I make a rush ∗ Δαρδάνιος α ον Dardanian = Trojan, probably (here) another name for the Skaian Gate ἀντίον in front of (+ gen.) ἐΰδμητος ον well-built ὑπό (here) under the protection of ∗ πύργος, ὁ tower (2a) εἴ πως ‘in the hope that . . . ’ οἱ: who are these people? καθύπερθεν from above ἄλαλκε (3rd. s. aor.) he defended (+ dat.) βέλος, τό missile, spear (3c) ∗ τοσσάκι so often ∗ προπάροιθε first, i.e. ‘before he could’ ἀποστρέφω (ἀποστρεψ-) I turn [someone] back; note the frequentative form παραφθάνω (παραφθα-) I get in front αὐτός: who is this? πτόλιος = πόλεως ὡς δ’ ἐν ὀνείρῳ . . . a famous simile, describing a common nightmare of frustration οὐ δύναται . . . i.e. ‘a man / someone’ cannot . . . ὁ i.e. the pursuer τόν, ὅς i.e. the pursued μάρπτω I catch up ἀλύσκω I escape, get away πῶς δέ κεν . . . ‘How could Hektor have . . . ?’

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∗

203

204 205

206

207

κήρ (κηρ-), ἡ fate. Sometimes in Homer (possibly here), this word suggests an actual spectre/demon which visits a man at the moment of death; at other times (e.g. l.210), it is a vaguer representation of his destiny / time of death ὑπεξέφυγεν: the force of the prefixes is that Hektor might have slipped away surreptitiously, cheating death πύματον for the last time; with ὕστατον it means ‘for the very last time’. Apollo, Hektor’s champion, who has saved him from Akhilleus before (20.443), now stands by him and gives him one last chance. Very soon he will desert him (l.213) ἄντομαι I come face to face with (+ dat.) ∗ ἐπόρνυμι (ἐπορσ-, ἐπορ-) I rouse, stir up λαιψηρά: see σιγαλοέντα (l.154) ἀνανεύω I forbid (+ dat.); literally ‘I nod upwards’, still the Greek equivalent of our shake of the head καρήατι with his head ἔα: from ἐάω ἱέμεναι: from ἵεμαι, I let fly πικρός ά όν bitter, sharp βέλεμνον, τό missile (2b) βαλών i.e. someone could kill Hektor by throwing a spear from a distance and so deprive Akhilleus of his glory δεύτερος α ον second; in Greek athletic competitions there was no prize for coming second

10 On the fourth circuit of the walls, the scales of fate clang down and Athene moves in to address Akhilleus, urging him to pause for breath. (208–25)

ἀλλ’ ὅτε δὴ τὸ τέταρτον ἐπὶ κρουνοὺς ἀφίκοντο, καὶ τότε δὴ χρύσεια πατὴρ ἐτίταινε τάλαντα, ἐν δὲ τίθει δύο κῆρε τανηλεγέος θανάτοιο, τὴν μὲν ᾿Αχιλλῆος, τὴν δ’ ῞Εκτορος ἱπποδάμοιο, ἕλκε δὲ μέσσα λαβών· ῥέπε δ’ ῞Εκτορος αἴσιμον ἦμαρ, 208 ∗ τὸ τέταρτον for the fourth time (we have been waiting since l.165 for this). ‘Three times . . . but on the fourth’ is a common Homeric expression, leading up to a climax (see e.g. 5.436–8; 16.702–5, 784–6; 20.445–7). For the springs, see l.147 above 209 καὶ τότε δή this is the crucial moment τιταίνω I hold up, balance τάλαντα, τά scales (2b) 210 ἐν . . . τίθει: tmesis

210

δύο κῆρε: here the spectres’ physical forms recede; Zeus puts unspecified ‘fates/deathtimes’ (αἴσιμον ἦμαρ) in the pans of his balance τανηλεγής ές that brings long misery; or that lays men low 212 ∗ μέσ(σ)ος η ον middle, in the middle ῥέπω I tilt, drop down ∗ αἴσιμος η ον fateful. These three lines (210–12) have a powerful finality. (See also l.798 and l.800)

30

Homer

9. The hunted fawn

ᾤχετο δ’ εἰς ᾿Αΐδαο, λίπεν δέ ἑ Φοῖβος ᾿Απόλλων. Πηλεΐωνα δ’ ἵκανε θεὰ γλαυκῶπις ᾿Αθήνη, ἀγκοῦ δ’ ἱσταμένη ἔπεα πτερόεντα προσηύδα· ‘νῦν δὴ νῶι ἔολπα, Διῒ φίλε φαίδιμ’ ᾿Αχιλλεῦ, οἴσεσθαι μέγα κῦδος ᾿Αχαιοῖσι προτὶ νῆας, ῞Εκτορα δῃώσαντε μάχης ἄατόν περ ἐόντα. οὔ οἱ νῦν ἔτι γ’ ἔστι πεφυγμένον ἄμμε γενέσθαι, οὐδ’ εἴ κεν μάλα πολλὰ πάθοι ἑκάεργος ᾿Απόλλων προπροκυλινδόμενος πατρὸς Διὸς αἰγιόχοιο. ἀλλὰ σὺ μὲν νῦν στῆθι καὶ ἄμπνυε, τόνδε δ’ ἐγώ τοι οἰχομένη πεπιθήσω ἐναντίβιον μαχέσασθαι.’ ὣς φάτ’ ᾿Αθηναίη, ὁ δ’ ἐπείθετο, χαῖρε δὲ θυμῷ, στῆ δ’ ἄρ’, ἐπὶ μελίης χαλκογλώχινος ἐρεισθείς. 213 ᾿Αΐδαο [gen.] = ‘the house of Hades’ λίπεν . . . ᾿Απόλλων: a plain, chilling half-line. Apollo cannot be associated with failure or death, and after championing Hektor throughout the poem simply deserts him. Hektor is on his own. When Apollo saved

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him on the battlefield in Book 20, Homer’s language was similar but the reverse of here: ‘Apollo snatched him away’ 214 ᾿Αθήνη: great heroes are close to the gods. Athene’s help takes nothing from Akhilleus’ coming triumph; rather, it

Sections 10–11, lines 213–33

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magnifies him and reminds us that he is marked out above the ordinary run of mortals, the kind of man (a winner) whom gods help. Note how quickly Athene appears after Apollo’s desertion of Hektor ∗ ἀγχοῦ near; cf. ἐγγύθεν (l.204) – gods may decide to involve themselves while on Olympos, but they join the action and stand near their favourites/victims νῦν δή almost = ‘at last’ νῶι we two (acc.). Athene associates herself with Akhilleus, who is glad (l.224) to have a goddess on his side, though he grudges mortals any part in his future victory (l.206) ἔολπα ‘I hope’ Διΐ: dat. of Ζεύς. Take closely with φίλε ∗ φαίδιμος η ον glorious οἴσεσθαι = fut. inf. of φέρω δῃόω I slaughter ἀατός thirsting for, insatiable in (+ gen.) περ = καίπερ, as often οὔ . . . ἔστι ‘it is not possible’ (+ dat., οἱ)

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πεφυγμένον γενέσθαι to escape ἄμμε = ἡμᾶς πολλὰ πάθοι (lit. ‘suffer many things’) i.e. ‘not even if Apollo were to go to all lengths’ προπροκυλίνδομαι I grovel before, intercede continually with (+ gen.); an insulting statement; even humans do not grovel before gods. Gods enjoy winning, and seeing others lose, as much as mortals do ∗ αἰγιόχος ον aegis-bearing. The aegis seems to have been a goatskin, stretched over a shield or worn by Zeus and other gods; it had the magical property of striking fear into opponents στῆθι = imper. from ἵσταμαι ἄμπνυε ‘get your breath back’ τόνδε: she points contemptuously at Hektor without bothering to name him πεπιθήσω ‘I shall persuade’ ἐναντίβιον face to face ∗ μελίη, ἡ ash spear (1a) χαλκογλώχις (χαλκογλωχιν-) bronze-barbed ∗ ἐρείδω (ἐρεισ-) I lean

11 Athene, disguised as Hektor’s brother Deiphobos, persuades Hektor to turn and fight Akhilleus with the promise that Deiphobos will help him. (226–46)

ἡ δ’ ἄρα τὸν μὲν ἔλειπε, κιχήσατο δ’ ῞Εκτορα δῖον Δηϊφόβῳ ἐϊκυῖα δέμας καὶ ἀτειρέα φωνήν· ἀγχοῦ δ’ ἱσταμένη ἔπεα πτερόεντα προσηύδα· ‘ἠθεῖ’, ἦ μάλα δή σε βιάζεται ὠκὺς ᾿Αχιλλεύς, ἄστυ πέρι Πριάμοιο ποσὶν ταχέεσσιν διώκων· ἀλλ’ ἄγε δὴ στέωμεν καὶ ἀλεξώμεσθα μένοντες.’ τὴν δ’ αὖτε προσέειπε μέγας κορυθαίολος ῞Εκτωρ· ‘Δηΐφοβ’, ἦ μέν μοι τὸ πάρος πολὺ φίλτατος ἦσθα 226 τὸν μέν i.e. Akhilleus ∗ κιγχάνω (κιχ-, κιχησ-) I meet, find 227 ∗ Δηΐφοβος, ὁ Deiphobos, a Trojan, Hektor’s brother (2a), last seen in retreat after being wounded by Meriones (13.527–39) ∗ ἐϊκώς υῖα ός like, resembling (+ dat.) δέμας, τό body ἀτειρής ές unwearying 229 ἠθεῖος α ον trusty, honoured; used three times in the Iliad when brother speaks to elder brother (see l.797) ἦ μάλα δή . . . emphatic: ‘Akhilleus is certainly . . . ’

ὠκύς: note the continued emphasis on Akhilleus’ speed 231 ἀλλ’ ἄγε δή ‘come on!’ στέωμεν = στῶμεν ἀλέξω I ward off, turn aside μένοντες: the main point of Deiphobos’/Athene’s speech 232 μέγας: refers to Hektor’s physical stature ∗ κορυθαιόλος ον flashing-helmeted; a common epithet of Hektor 233 ∗ (τὸ) πάρος previously φίλτατος = sup. οf φίλος

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Homer

10. ἐν δὲ τίθει δύο κῆρε

γνωτῶν, οὓς ῾Εκάβη ἠδὲ Πρίαμος τέκε παῖδας· νῦν δ’ ἔτι καὶ μᾶλλον νοέω φρεσὶ τιμήσασθαι, ὃς ἔτλης ἐμεῦ εἵνεκ’, ἐπεὶ ἴδες ὀφθαλμοῖσι, τείχεος ἐξελθεῖν, ἄλλοι δ’ ἔντοσθε μένουσι.’ τὸν δ’ αὖτε προσέειπε θεὰ γλαυκῶπις ᾿Αθήνη· ‘ἠθεῖ’, ἦ μὲν πολλὰ πατὴρ καὶ πότνια μήτηρ λίσσονθ’ ἑξείης γουνούμενοι, ἀμφὶ δ’ ἑταῖροι, αὖθι μένειν· τοῖον γὰρ ὑποτρομέουσιν ἅπαντες· ἀλλ’ ἐμὸς ἔνδοθι θυμὸς ἐτείρετο πένθεϊ λυγρῷ. νῦν δ’ ἰθὺς μεμαῶτε μαχώμεθα, μηδέ τι δούρων ἔστω φειδωλή, ἵνα εἴδομεν εἴ κεν ᾿Αχιλλεὺς νῶϊ κατακτείνας ἔναρα βροτόεντα φέρηται νῆας ἔπι γλαφυράς, ἦ κεν σῷ δουρὶ δαμήῃ.’

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Sections 11–12, lines 234–56 234 γνωτός ή όν well-known, brother ∗ ῾Εκάβη, ἡ Hekabe, Priam’s wife (1a) 235 τιμήσασθαι sc. σε 236 ∗ τλάω (τλη-) I dare, bring myself to 237 ἔντοσθε inside 238 Athene is quite ruthless in exploiting family ties to persuade Hektor to fight, lying outrageously to suit her purpose. As Apollo’s treatment of Hektor above shows, gods can treat mortals with a cynical disregard (cf. Aphrodite and Helen 3.414–17) 239 πολλά lit. ‘many things’, i.e. ‘many times’ πότνια, ἡ queen, lady; a kind of title, used when addressing goddesses and mothers 240 ἑξείης in turn, one after the other γουνοῦμαι I beseech ἀμφί: adverbial, sc. λίσσοντο 241 αὖθι i.e. in Troy

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τοῖον i.e ‘so much, greatly’ ὑποτρομέω I am afraid ἔνδοθι inside τείρω I distress, wear out πένθος, τό grief (3c) λυγρός ά όν aching, hard ∗ ἰθύς at once ἔστω = 3rd. pers. imper., ‘let there be . . . ’ φειδωλή, ἡ sparing (noun) (1a); it governs δούρων εἴδομεν = subj., after ἵνα ∗ νῶϊ us two (acc.) ἔναρα, τά spoils, arms (2b); it was standard practice to strip one’s slain opponent of his armour and take it home as a mark of one’s τιμή βροτόεις εσσα εν bloodstained γλαφυρός ά όν hollow ἦ (here) = ‘or’

12 Hektor fails to secure an agreement from Akhilleus that the corpse of the loser will be respected. (247–72)

ὣς φαμένη καὶ κερδοσύνῃ ἡγήσατ’ ᾿Αθήνη· οἱ δ’ ὅτε δὴ σχεδὸν ἦσαν ἐπ’ ἀλλήλοισιν ἰόντες, τὸν πρότερος προσέειπε μέγας κορυθαίολος ῞Εκτωρ· ‘οὔ σ’ ἔτι, Πηλέος υἱέ, φοβήσομαι, ὡς τὸ πάρος περ τρὶς περὶ ἄστυ μέγα Πριάμου δίον, οὐδέ ποτ’ ἔτλην μεῖναι ἐπερχόμενον· νῦν αὖτέ με θυμὸς ἀνῆκε στήμεναι ἀντία σεῖο· ἕλοιμί κεν, ἤ κεν ἁλοίην. ἀλλ’ ἄγε δεῦρο θεοὺς ἐπιδώμεθα· τοὶ γὰρ ἄριστοι μάρτυροι ἔσσονται καὶ ἐπίσκοποι ἁρμονιάων· οὐ γὰρ ἐγώ σ’ ἔκπαγλον ἀεικιῶ, αἴ κεν ἐμοὶ Ζεὺς 247 κερδοσύνη, ἡ cunning (1a) 248 ὅτε . . . ἰόντες: a form of words commonly used before a single combat; there is a kind of formality in two warriors taking up a position within spear-cast of each other, and then exchanging speeches. Fights in Homer usually follow one of a number of battle patterns (see below, ll.275–327) ∗ σχεδόν near 250 οὔ . . . ἔτι i.e. οὐκέτι φοβήσομαι: in Homer φοβοῦμαι nearly always means ‘I run in fear from’ 251 ∗ δίον ‘I fled in fear’, from δείδω (δεισ- δεδιδεδοικε-) I fear 252 μεῖναι + dir. obj. = ‘I withstand, stand up to’ ∗ ἀνίημι (ἀνε(ι)-) I urge ∗ 253 ἀντία face to face with (+ gen.)

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ἕλοιμι, ἁλοίην: from αἱρέω, the first act. and the second pass.; sc. ‘let us see if . . . ’ 254 ἐπιδίδομαι I take X (acc.) as witness; the subj. is ‘jussive’, i.e. ‘let us . . . ’ τοί = οὗτοι, i.e. the gods 255 ἐπίσκοπος, ὁ guardian (2a) ἁρμονία, ἡ agreement (1b); Hektor looks for the same burial terms as he did in his duel with Aias (7.76–86), where they were accepted (see l.259 below). Akhilleus’ treatment of Hektor (see below ll.395–404) is therefore utterly shocking 256 ἔκπαγλος ον brutal, violent; the n. acc. here is adverbial ∗ ἀεικίζω I defile, outrage; ἀεικιῶ is the common contr. fut. of an -ιζω verb. This is precisely what Akhilleus will do to Hektor’s corpse

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Homer

δώῃ καμμονίην, σὴν δὲ ψυχὴν ἀφέλωμαι· ἀλλ’ ἐπεὶ ἄρ κέ σε συλήσω κλυτὰ τεύχε’, ᾿Αχιλλεῦ, νεκρὸν ᾿Αχαιοῖσιν δώσω πάλιν· ὣς δὲ σὺ ῥέζειν.’ τὸν δ’ ἄρ’ ὑπόδρα ἰδὼν προσέφη πόδας ὠκὺς ᾿Αχιλλεύς· ‘῞Εκτορ, μή μοι, ἄλαστε, συνημοσύνας ἀγορεύε· ὡς οὐκ ἔστι λέουσι καὶ ἀνδράσιν ὅρκια πιστά, οὐδὲ λύκοι τε καὶ ἄρνες ὁμόφρονα θυμὸν ἔχουσιν, ἀλλὰ κακὰ φρονέουσι διαμπερὲς ἀλλήλοισιν, ὣς οὐκ ἔστ’ ἐμὲ καὶ σὲ φιλήμεναι, οὐδέ τι νῶϊν ὅρκια ἔσσονται, πρίν γ’ ἢ ἕτερόν γε πεσόντα αἵματος ἆσαι ῎Αρηα, ταλαύρινον πολεμιστήν. παντοίης ἀρετῆς μιμνήσκεο· νῦν σε μάλα χρῆ αἰχμητήν τ’ ἔμεναι καὶ θαρσαλέον πολεμιστήν. οὔ τοι ἔτ’ ἔσθ’ ὑπάλυξις, ἄφαρ δέ σε Παλλὰς ᾿Αθήνη ἔγχει ἐμῷ δαμάᾳ· νῦν δ’ ἀθρόα πάντ’ ἀποτείσεις κήδε’ ἐμῶν ἑτάρων, οὓς ἔκτανες ἔγχεϊ θύων.’ 257 καμμονίη, ἡ endurance (1a) ψυχήν broadly speaking = breath, or the physical principle of life; when a man dies, his ψυχή leaves his body. Elsewhere it is referred to as a wraith which after death flits away to Hades, in the likeness of the man it once inhabited (see l.362 below) 258 ∗ συλάω I strip X (acc.) from Y (acc.) ∗ κλυτός ή όν glorious; the κλυτὰ τεύχεα were made for Akhilleus by Hephaistos as a replacement for his original armour, worn by Patroklos and stripped from him by Hektor in Book 16. The scenes fashioned by Hephaistos on his new shield are described in loving detail in Book 18, the majority of them representing, in a poignant contrast, activities and occupations of peacetime 259 νεκρὸν . . . δώσω: convention demanded that an opponent’s body should be handed back to his kinsfolk and friends for burial, and that the victor should not disfigure it after death. A dead body was felt to retain something of its former dignity, and should be treated with respect. After a general engagement, a truce was declared to allow each side to recover and bury their men’s bodies ∗ ῥεζω I do, act; the inf. stands here for imper. 260 ὑπόδρα darkly, grimly 261 ἄλαστος ον unforgiveable (because of Patroklos’ death), or wild, uncontrolled (meaning uncertain)

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συνημοσύνη, ἡ agreement (1a); just as Akhilleus refuses to accept Agamemnon’s offer of compensation in Book 9, so he here refuses to abide by the conventions of warfare; he sees himself and Hektor as animals, far beyond the reach of human society. His cruel behaviour in Books 20 and 21, and his subsequent treatment of Hektor’s body, underline his brutalization since Patroklos’ death ∗ οὐκ ἔστι (here) = ‘there can be no . . . ’; take with ὅρκια πιστά (n. pl. subject + s. vb.) λέων (λεοντ-), ὁ lion (3a) ὅρκιον, τό oath (2b) πιστός ά όν binding λύκος, ὁ wolf (2a) ἀρήν (ἀρν-), ὁ/ἡ lamb, sheep (3a); Akhilleus’ language is as violent as his actions ὁμόφρων ον like-thinking διαμπερές forever, entirely οὐκ ἔστι ‘it is not possible’ φιλήμεναι i.e. ‘to be friends’ πρὶν ἤ = πρὶν ἄω I sate, satisfy X (acc.) with Y (gen.) ∗ ῎Αρης, ὁ Ares, god of war ταλαύρινος ον shield-bearing πολεμιστής, ὁ warrior, fighter (1d) παντοίης all kinds of, i.e. ‘all that you can summon up’ (gen. after μιμνήσκεο) αἰχμητής, ὁ spearman (1d) τοι i.e. ‘I tell you / you must know’ ὑπάλυξις, ἡ escape (3e) ἄφαρ immediately

Sections 12–13, lines 257–79

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11. Hektor and Akhilleus fight

Παλλὰς ᾿Αθήνη: Akhilleus knows Athene is on his side (cf. l.214 above) 271 ἔγχος, τό spear (3c) δαμάᾳ = fut. ∗ ἀθρόος α ον all together, all at once

∗

ἀποτίνω (ἀποτ(ε)ισ-) I pay for 272 κηδέα, τά agonies (3c) ἐμῶν ἑτάρων i.e. not only Patroklos, though possibly the pl. is for rhetorical effect θύω I seethe, rage ∗

13 Akhilleus hurls his spear but misses. Hektor’s throw fails to penetrate Akhilleus’ shield. Hektor determines to die gloriously. (273–305)

ἦ ῥα, καὶ ἀμπεπαλὼν προΐει δολιχόσκιον ἔγχος· καὶ τὸ μὲν ἄντα ἰδὼν ἠλεύατο φαίδιμος ῞Εκτωρ· ἕζετο γὰρ προϊδών, τὸ δ’ ὑπέρπτατο χάλκεον ἔγχος, ἐν γαίῃ δ’ ἐπάγη· ἀνὰ δ’ ἥρπασε Παλλὰς ᾿Αθήνη, ἂψ δ’ ᾿Αχιλῆϊ δίδου, λάθε δ’ ῞Εκτορα, ποιμένα λαῶν. ῞Εκτωρ δὲ προσέειπεν ἀμύμονα Πηλεΐωνα· ‘ἤμβροτες, οὐδ’ ἄρα πώ τι, θεοῖς ἐπιείκελ’ ᾿Αχιλλεῦ, 273 ἀμπεπαλών = pres. part. of ἀναπάλλω (epic ἀμπάλλω) I balance, brandish δολιχόσκιος ον long-shadowing; Hektor and Akhilleus have only one throwing spear each, contrary to the usual practice. See l.289 ∗ ἔγχος, τό spear (3c) 274 τὸ μέν: what is this? ἄντα face to face, straight ahead; Hektor keeps his eye on the spear ∗ ἀλέομαι (aor. ἠλευάμην) I avoid 275 ∗ ἔζομαι I sit, duck, crouch ∗ ὑπερπέτομαι (ὑπερεπτα-) I fly over. According to one typical pattern of single combat in Homer, A throws first but misses B, B hits A but does not pierce his shield/armour, A then kills B. A good example is at 11.233–41

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276 ∗ πήγνυμι (πηξ-, παγ-) I stick (fast) ἀνὰ . . . ἥρπασε: tmesis. Note the force of ἀνά. This is the most direct instance of divine aid in the Iliad. Athene’s interference does not change the order of events, but demonstrates that Akhilleus is a natural winner – and he indeed expected Athene’s help (ll.270–1 above). The favouritism here, to our taste, however, verges on the grotesque. Athene performs a similar service for Diomedes at 23.390 278 ∗ ἀμύμων ον noble, blameless 279 ἤμβροτες = ἥμαρτες (from ἁμαρτάνω) θεοῖς ἐπιείκελε: not a compliment, but (as often) like an extra name, something that Akhilleus always is ἐπιείκελος ον like (+ dat.)

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Homer

ἐκ Διὸς ἠείδης τὸν ἐμὸν μόρον· ἦ τοι ἔφης γε· ἀλλά τις ἀρτιεπὴς καὶ ἐπίκλοπος ἔπλεο μυθῶν, ὄφρα σ’ ὑποδείσας μένεος ἀλκῆς τε λάθωμαι. οὐ μέν μοι φεύγοντι μεταφρένῳ ἐν δόρυ πήξεις, ἀλλ’ ἰθὺς μεμαῶτι διὰ στήθεσφιν ἔλασσον, εἴ τοι ἔδωκε θεός· νῦν αὖτ’ ἐμὸν ἔγχος ἄλευαι χάλκεον· ὡς δή μιν σῷ ἐν χροῒ πᾶν κομίσαιο. καί κεν ἐλαφρότερος πόλεμος Τρώεσσι γένοιτο σεῖο καταφθιμένοιο· σὺ γάρ σφισι πῆμα μέγιστον.’ ἦ ῥα, καὶ ἀμπεπαλὼν προΐει δολιχόσκιον ἔγχος, καὶ βάλε Πηλεΐδαο μέσον σάκος οὐδ’ ἀφάμαρτε· τῆλε δ’ ἀπεπλάγχθη σάκεος δόρυ· χώσατο δ’ ῞Εκτωρ ὅττι ῥά οἱ βέλος ὠκὺ ἐτώσιον ἔκφυγε χειρός, στῆ δὲ κατηφήσας, οὐδ’ ἄλλ’ ἔχε μείλινον ἔγχος. Δηΐφοβον δε ἐκάλει λευκάσπιδα μακρὸν ἀΰσας· ᾔτεε μιν δόρυ μακρόν· ὁ δ’ οὔ τί οἱ ἐγγύθεν ἦεν· ῞Εκτωρ δ’ ἔγνω ᾗσιν ἐνὶ φρεσὶ φώνησέν τε· ‘ὢ πόποι, ἢ μάλα δή με θεοὶ θάνατόνδε κάλεσσαν· Δηΐφοβον γὰρ ἔγωγ’ ἐφάμην ἥρωα παρεῖναι· ἀλλ’ ὁ μὲν ἐν τείχει, ἐμὲ δ’ ἐξαπάτησεν ᾿Αθήνη. νῦν δὲ δὴ ἐγγύθι μοι θάνατος κακός, οὐδ’ ἔτ’ ἄνευθεν, οὐδ’ ἀλέη· ἦ γάρ ῥα πάλαι τό γε φίλτερον ἦεν Ζηνί τε καὶ Διὸς υἷι ἑκηβόλῳ, οἵ με πάρος γε πρόφρονες εἰρύατο· νῦν αὖτέ με μοῖρα κιχάνει. μὴ μὰν ἀσπουδί γε καὶ ἀκλειῶς ἀπολοίμην, ἀλλὰ μέγα ῥέξας τι καὶ ἐσσομένοισι πυθέσθαι.’ 280 ἠείδης = ᾔδησθα ∗ μόρος, ὁ death, fate (2a) ἔφης γε ‘yet you thought (γε) you did’; φημί often means ‘ I think’ in Homer 281 ἀρτιεπής ές glib ἐπίκλοπος ον deceptive in (+ gen.). Cf. Aeneas (20.200) and Hektor (20.431–3): a typical ‘words versus deeds’ antithesis, part of the traditional exchange of insults (‘flyting’) before combat ἔπλεο (here) = ‘you have turned out to be’ 282 ὄφρα almost = ‘intending that I . . . ’ ἀλκή, ἡ courage (1a) 283 ∗ μετάφρενον, τό back (2b) 284 μεμαῶτι: why is this dat.? ∗ στήθεα, τά chest (3c) ∗ ἐλαύνω (ἐλα(σ)σ-) I drive, strike; ἔλασσον is aor. imper. 285 εἰ . . . θεός: ironic; little does Hektor know, though he will quickly find out

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ἄλευαι = aor. imper. 286 ὡς: here introduces a wish μιν i.e. the spear; πᾶν agrees with it 287 κεν . . . γένοιτο i.e. treating the wish in l.286 as the protasis of a condition: ‘(if you did) the war would be . . . ’ ἐλαφρός ά όν easy, light (to bear) 288 καταφθίω I destroy, ruin (aor. pass. κατεφθίμην) σεῖο καταφθιμένοιο: gen. abs. σὺ γάρ sc. εἶ πῆμα, τό curse, calamity (3b) 289 cf. l.273 290 ∗ σάκος, τό shield (3c) 291 τῆλε far from ἀποπλάζομαι (ἀποπλαγχθ-) I bounce off χώομαι I am angry 292 ὅττι because ἐτώσιος ον in vain 293 καταφέω I am discouraged ἄλλ’ i.e. ἄλλο (ἔγχος)

Sections 13–14, lines 280–309

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μείλινος η ον made of ash; the wood of the ash grows straight, and makes for a good spear λεύκασπις of the white shield (an epithet that appears nowhere else in Homer) μακρόν lit. ‘a long way’, i.e. ‘loudly’ αὔω I shout ᾔτεε: from αἰτέω, which takes a double acc., ‘I ask someone for something’ ῞Εκτωρ δ’ ἔγνω: two of the most powerful words in the Iliad, the moment of realization. Hektor does not complain, or bewail his ill fortune; he knows in a flash that he has been outwitted and deserted by gods, but that is what gods do. All that is left for him is to gain as much as possible of the κλέος (l.304) that Homeric heroes longed for, by rushing at Akhilleus with his sword (l.306). It is all futile, of course, as Akhilleus will kill him with his spear before Hektor gets to him ᾗσιν: from ὅς ἥ ὅ, ‘his own’ ὢ πόποι: a common exclamation, often conveying exasperation; here it must mean something like ‘It’s the end / It’s all over’ ἢ μάλα δή = a very strong statement. Hektor’s realization is immediate γάρ: as always, explains what he has just said; no need to translate ἐφάμην: see l.280 (‘I said to myself / I thought . . . ’) ∗ ἥρως, ὁ hero, i.e. warrior ὁ μέν . . . ἐμὲ δέ: another powerfully simple line ἐν τείχει sc. ἐστί

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300 ἐγγύθι sc. ἐστί 301 ἀλέη, ἡ escape, defence (1a) ἦ γάρ ῥα: (here) ῥα is the ‘inferential’ (ἄ)ρα = ‘now, after all, I see that . . . ’ ἦεν: the subject is ‘it’ (τό) 302 ἑκηβόλος ον (the) far-shooter, a common epithet of Apollo, the archer god. In Book 1 Apollo sent the plague among the Greeks by means of his arrows πάρος γε i.e. ‘in the past, at any rate . . . ’, a kind of verbal shrug 303 ∗ πρόφρων ον willing, kind ἐρύομαι (εἰρυ-, ῥυ-) I defend, protect. Hektor is right: Zeus used him to fulfil Thetis’ plea that the Greeks should suffer while her son Akhilleus kept away from the fighting, and Apollo protected him; now that Akhilleus has returned, the plan of Zeus no longer operates, and Apollo withdraws his protection εἰρύατο = (Ionic) 3rd pl. αὖτε ‘in its turn’ μοῖρα: as always in Homer, one’s personal fate = moment of death 304 μή . . . ἀπολοίμην: a negative wish μάν = μήν ἀσπουδί without a fight ἀκλειῶς ingloriously 305 μέγα . . . τι i.e. the hero’s κλέος ἐσσομένοισι ‘for men to come’ (fut. part. of εἰμί) πυθέσθαι: an epexegetic inf. – so Hektor’s κλέος will be secured in future years. This passage (ll.296–306) was doubtless one of those Matthew Arnold had in mind when he described Homer as ‘noble’

14 The death of Hektor (1). (306–36)

ὣς ἄρα φωνήσας εἰρύσσατο φάσγανον ὀξύ, τό οἱ ὑπὸ λαπάρην τέτατο μέγα τε στιβαρόν τε, οἴμησεν δὲ ἀλεὶς ὥς τ’ αἰετὸς ὑψιπετήεις, ὅς τ’ εἶσιν πεδίονδε διὰ νεφέων ἐρεβεννῶν 306 ∗ ἐρύω (ἐ(ι)ρυσ(σ)-, ῥυ-), I draw, drag ∗ φάσγανον, τό sword (2b) 307 τό οἱ lit. ‘which for him . . . ’ λαπάρη, ἡ side (1a); the sword-belt was slung over one shoulder τέτατο (it) hung (τείνω) στιβαρός ά όν heavy 308 ∗ οἰμάω I swoop ἀλείς ‘gathering himself’

αἰετός, ὁ eagle (2a); the eagle / Hektor swoops on the cowering lamb or hare / Akhilleus.The simile underlines Hektor’s return to heroic behaviour, and is probably focalized through his eyes: he sees himself defeating Akhilleus ὑψιπετήεις έσσα εν high-flying 309 νέφος, τό cloud (3c) ἐρεβεννός ή όν dark, gloomy

38

Homer

ἁρπάξων ἢ ἄρν’ ἀμαλὴν ἢ πτῶκα λαγωόν· ὣς ῞Εκτωρ οἴμησε τινάσσων φάσγανον ὀξύ. ὁρμήθη δ’ ᾿Αχιλεύς, μένεος δ’ ἐμπλήσατο θυμὸν ἀγρίου, πρόσθεν δὲ σάκος στέρνοιο κάλυψε καλὸν δαιδάλεον, κόρυθι δ’ ἐπένευε φαεινῇ τετραφάλῳ· καλαὶ δὲ περισσείοντο ἔθειραι χρύσειαι, ἃς ῞Ηφαιστος ἵει λόφον ἀμφὶ θαμειάς. οἷος δ’ ἀστὴρ εἶσι μετ’ ἀστράσι νυκτὸς ἀμολγῷ ἕσπερος, ὃς κάλλιστος ἐν οὐρανῷ ἵσταται ἀστήρ, ὣς αἰχμῆς ἀπέλαμπ’ εὐήκεος, ἣν ἄρ’ ᾿Αχιλλεὺς πάλλεν δεξιτερῇ φρονέων κακὸν ῞Εκτορι δίῳ, εἰσορόων χρόα καλόν, ὅπῃ εἴξειε μάλιστα. τοῦ δὲ καὶ ἄλλο τόσον μὲν ἔχε χρόα χάλκεα τεύχεα, καλά, τὰ Πατρόκλοιο βίην ἐνάριξε κατακτάς· φαίνετο δ’ ᾗ κληῗδες ἀπ’ ὤμων αὐχέν’ ἔχουσι, λαυκανίην, ἵνα τε ψυχῆς ὤκιστος ὄλεθρος· τῇ ῥ’ ἐπὶ οἷ μεμαῶτ’ ἔλασ’ ἔγχεϊ δῖος ᾿Αχιλλεύς, ἀντικρὺ δ’ ἁπαλοῖο δι’ αὐχένος ἤλυθ’ ἀκωκή· οὐδ’ ἄρ’ ἀπ’ ἀσφάραγον μελίη τάμε χαλκοβάρεια, ὄφρα τί μιν προτιείποι ἀμειβόμενος ἐπέεσσιν. ἤριπε δ’ ἐν κονίῃς· ὁ δ’ ἐπεύξατο δῖος ᾿Αχιλλεύς· ‘῞Εκτορ, ἀτάρ που ἔφης Πατροκλῆ’ ἐξεναρίζων σῶς ἔσσεσθ’, ἐμὲ δ’ οὐδὲν ὀπίζεο νόσφιν ἐόντα, νήπιε· τοῖο δ’ ἄνευθεν ἀοσσητὴρ μέγ’ ἀμείνων νηυσὶν ἔπι γλαφυρῇσιν ἐγὼ μετόπισθε λελείμμην, 310 ἁρπάξων: note the tense; what does it convey? ἀρήν (ἀρν-), ὁ/ἡ sheep, lamb (3a) ἀμαλός ή όν tender πτώξ (πτωκ-) cowering λαγωός, ὁ hare (2a) 311 ∗ οἰμάω I swoop τινάσσω I shake, brandish 312 ∗ ἐμπίμπλημι (ἐμπλησ-) I fill. Akhilleus has nine lines of description, including a brilliant simile, while Hektor has six. As always, μένος is thought of as something physical, causing the chest to swell 313 ἄγριος α ον wild, savage στέρνον, τό chest (2b) καλύπτω I cover, protect 314 δαιδάλεος α ον decorated, intricately worked. This (ll.314–16) is the impenetrable, divine armour made for Akhilleus by Hephaistos (cf. 19.381–3) ∗ κόρυς (κορυθ-), ἡ helmet (3a)

310

315

320

325

330

ἐπινεύω I nod; lit. ‘he nodded with his helmet’ φαεινός ή όν shining 315 τετραφάλος ον with four horns or plates. A φάλος was either a horn projecting from the front of a helmet or a plate that was part of its construction; no one can be quite sure περισσείω I shake, wave. A helmet’s crest was partly decorative, partly used to inspire fear in one’s opponent. At 6.466–70, as Hektor reaches out to hold his baby son Astyanax in his arms, the nodding plumes on his helmet terrify the boy ἔθειρα, ἡ hair, fringe 316 ῞Ηφαιστος, ὁ, Hephaistos (the blacksmith god); he made new armour for Akhilleus (Book 18) at Thetis’ request. Patroklos wore Akhilleus’ original gear, minus spear (1.133), which was stripped from him and subsequently

Section 14, lines 310–34

317 318

319

320 321 322

323

324

325

326

327

328

worn by Hektor (Book 16, and l.323). Neither of them could live up to it λόφος, ὁ crest (2a) ἀμφί: with λόφον θαμέες ειαί thick; used here predicatively, ‘in profusion / thickly’ νυκτὸς ἀμολγῷ: see l.27 ἕσπερος (ἀστήρ), ὁ Hesperos, the evening star = the planet Venus, exceeded in brightness only by the sun and moon (2a) αἰχμή, ἡ spear (1a) ἀπέλαμπε ‘there was a gleam from’ (+ gen.); the spear’s point gleams in its flight like the evening star as it moves through the high sky εὐήκης ες keen-edged ∗ πάλλω I shake, brandish ∗ ὅπῃ where εἴκει (impersonal) it is likely (sc. ‘to be hit’) τοῦ δὲ καὶ ἄλλο ‘as for the rest of him [Hektor]’ τόσον μέν ‘to a certain extent’, answered by φαίνετο δέ (l.324) ∗ ἔχω (here) = I protect ∗ Πάτροκλος, ὁ (acc. Πατροκλῆα) Patroklos (friend of Akhilleus, killed by Hektor) (2a); Πατρόκλοιο βίην lit. ‘the might of Patroklos’ = ‘the mighty Patroklos’ ἐξεναρίζω I strip X (acc.) from Y (acc.) φαίνετο ᾗ ‘the flesh showed where’ κληΐς (κληιδ-), ἡ collar-bone (3a) αὐχήν (αὐχεν-), ὁ neck (3a) λαυκανίη, ἡ gullet (1a); in acc. here, where grammatically it should be nom., but is attracted into the case of αὐχένα ἵνα where τε i.e. the ‘generic’ τε ψυχή (here) = ‘the principle of life / life’ (cf. l.257 above) ὄλεθρος, ὁ death (2a), sc. ἐστί τῇ there οἷ i.e. at Akhilleus (dat. reflexive – hence accent) μεμαῶτ’ i.e. μεμαῶτα acc., i.e. Hektor ἀντικρύ right through ἁπαλός ή όν soft αὐχήν (αὐχεν-), ὁ neck (3a) ἤλυθε = ἦλθε ἀκωκή, ἡ point (1a) ∗ ἀποτέμνω (ἀποταμ-) I cut through, sever ἀσφάραγος, ὁ windpipe (2a) ∗ μελίη, ἡ ash spear (1a) χαλκοβαρής εῖα ές heavy with bronze; this is Akhilleus’ original spear, too heavy

329

330–66

331

332

333

39

for Patroklos to handle, and so not lent to him with the rest of Akhilleus’ gear προτιείποι: dying warriors, like expiring operatic heroines, must make speeches, to mark the momentousness of the occasion. But Homer is careful to point out that Hektor’s windpipe is still intact Hektor’s death closely parallels that of Patroklos (Book 16). Both Hektor there (16.829) and Akhilleus here (22.330) boast; both speculate on what their enemy’s foolish hopes had been (16.830–3, 22.331–3); both claim that vultures will have the body (16.836, 22.335–6). Hektor in Book 22 – but not Patroklos in Book 16 – begs for burial (22.337–43) and Akhilleus refuses. In their final speeches both dying men prophesy their enemy’s death (16.851–5, 22.358–60); they die in the same way (16.855–7 = 22.361–3); and both victors talk of their future, Hektor full of confidence (16.859–61), Akhilleus in the sure knowledge that he will die (22.365–6). This foreshadowing is the kind of evidence cited by scholars who believe that the Iliad is the work of one man (‘the monumental poet’), not a loose collection of self-standing episodes edited into one large episode ∗ κονίη, ἡ dust (1a) ἐπεύχομαι I boast που: scornful, as often; ‘I suppose’ ἔφης: see l.280 ἐξεναρίζω I strip ἔσσεσθ’ i.e. ἔσσεσθαι, fut. inf. after ἔφης οὐδέν: stronger than οὐ, ‘not at all’ ὀπίζομαι I fear, am in awe of νόσφιν far off; when Hektor fought Patroklos, Akhilleus was still refusing to join the battle ∗ νήπιος α ον foolish, childish; note the emphatic position τοῖο = τοῦ, i.e. Patroklos; the gen. is dependent on either ἀοσσητήρ, who is of course Akhilleus (ἐγώ, l.334), or on

ἀμείνων ἀοσσητήρ, ὁ helper (3a) 334 ∗ γλαφυρός ά όν hollow μετόπισθε behind, i.e. beside the ships, in the camp 335 σὲ μέν: contrasted with τὸν δέ (l.336)

Homer

40

12. Eagles on a hare

ὅς τοι γούνατ’ ἔλυσα· σὲ μὲν κύνες ἠδ’ οἰωνοὶ ἑλκήσουσ’ ἀϊκῶς, τὸν δὲ κτερεοῦσιν ᾿Αχαιοί.’ 335 οἰωνός, ὁ vulture (2a) 336 ἀϊκῶς shamefully, foully; once again, the importance of treating a dead body honourably. Threats that a body will become the prey of dogs and vultures

15

335

become more insistent from Book 16 onwards τόν δέ: who is this? κτερίζω I bury (with proper funeral rites); note the contr. fut. κτεριοῦσιν

The death of Hektor (2). (337–366)

Τὸν δ’ ὀλιγοδρανέων προσέφη κορυθαίολος ῞Εκτωρ· ‘λίσσομ’ ὑπὲρ ψυχῆς καὶ γούνων σῶν τε τοκήων, μή με ἔα παρὰ νηυσὶ κύνας καταδάψαι ᾿Αχαιῶν, ἀλλὰ σὺ μὲν χαλκόν τε ἅλις χρυσόν τε δέδεξο, δῶρα τά τοι δώσουσι πατὴρ καὶ πότνια μήτηρ, σῶμα δὲ οἴκαδ’ ἐμὸν δόμεναι πάλιν, ὄφρα πυρός με Τρῶες καὶ Τρώων ἄλοχοι λελάχωσι θανόντα.’ τὸν δ’ ἄρ’ ὑπόδρα ἰδὼν προσέφη πόδας ὠκὺς ᾿Αχιλλεύς· ‘μή με, κύον, γούνων γουνάζεο μηδὲ τοκήων· αἲ γάρ πως αὐτόν με μένος καὶ θυμὸς ἀνείη

340

345

Sections 14–15, lines 335–46

41

13. Akhilleus moves in for the kill

337 ὀλιγοδρανέω I am feeble, powerless 338 λίσσομαι: this is the last in a series of unsuccessful formal supplications in the poem. A supplication would normally place the stronger party under an obligation to listen, and possibly to spare the suppliant’s life, in return for a ransom. Hektor, however, is not asking for his life, only for the proper funeral rites. (It was usual to grasp the knees (γούνων) or right hand of the person supplicated, though Hektor probably does not do so here) ∗ τοκεύς, ὁ parent (3g); an ineffective plea here, but instrumental in Priam’s supplication of Akhilleus in Book 24 339 καταδάπτω I feed on 340 ἅλις enough, in plenty δέδεξο take! (from δέχομαι)

341 δῶρα: in apposition to χαλκόν and χρυσόν (l.340), i.e. the normal process of ransom, here for Hektor’s corpse (σῶμα, l.342) – which will in fact happen in Book 24 342 δόμεναι = inf. for imper. 343 λαγχάνω (λαχ-) give X (acc.) his due of Y (gen.) 344 ὑπόδρα darkly, grimly 345 γουνάζομαι I beseech X (acc.) in name of Y (gen.) 346–54 an unusually long sentence, perhaps revealing the intensity of Akhilleus’ passion 346 αἲ γάρ = εἰ γάρ, a wish + opt. αὐτόν: take with με and ἀποταμνόμενον, emphasizing that Akhilleus himself would do the deed ἀνίημι I set free, allow

42

Homer

ὤμ’ ἀποταμνόμενον κρέα ἔδμεναι, οἷα ἔοργας, ὡς οὐκ ἔσθ’ ὃς σῆς γε κύνας κεφαλῆς ἀπαλάλκοι, οὐδ’ εἴ κεν δεκάκις τε καὶ εἰκοσινήριτ’ ἄποινα στήσωσ’ ἐνθάδ’ ἄγοντες, ὑπόσχωνται δὲ καὶ ἄλλα, οὐδ’ εἴ κέν σ’ αὐτὸν χρυσῷ ἐρύσασθαι ἀνώγοι Δαρδανίδης Πρίαμος· οὐδ’ ὧς σέ γε πότνια μήτηρ ἐνθεμένη λεχέεσσι γοήσεται, ὃν τέκεν αὐτή, ἀλλὰ κύνες τε καὶ οἰωνοὶ κατὰ πάντα δάσονται.’ τὸν δὲ καταθνῄσκων προσέφη κορυθαίολος ῞Εκτωρ· ‘ἦ σ’ εὖ γιγνώσκων προτιόσσομαι, οὐδ’ ἄρ’ ἔμελλον πείσειν· ἦ γὰρ σοί γε σιδήρεος ἐν φρεσὶ θυμός. φράζεο νῦν, μή τοί τι θεῶν μήνιμα γένωμαι ἤματι τῷ ὅτε κέν σε Πάρις καὶ Φοῖβος ᾿Απόλλων ἐσθλὸν ἐόντ’ ὀλέσωσιν ἐνὶ Σκαιῇσι πύλῃσιν.’ ὣς ἄρα μιν εἰπόντα τέλος θανάτοιο κάλυψε, ψυχὴ δ’ ἐκ ῥεθέων πταμένη ᾿Αϊδόσδε βεβήκει, ὃν πότμον γοόωσα, λιποῦσ’ ἀνδροτῆτα καὶ ἥβην. τὸν καὶ τεθνηῶτα προσηύδα δῖος ᾿Αχιλλεύς· ‘τέθναθι· κῆρα δ’ ἐγὼ τότε δέξομαι, ὁππότε κεν δὴ Ζεὺς ἐθέλῃ τελέσαι ἠδ’ ἀθάνατοι θεοὶ ἄλλοι.’ 347 ∗ ὠμός ή όν raw ἀποτέμνω (ἀποταμ-) I hack off κρέα, τά flesh ἔδμεναι: from ἐσθίω, as if Akhilleus were a dog and not a man; at ll.262–3 above, he had compared himself to a lion or a wolf. At 24.212–14, Hekabe wishes she could eat Akhilles’ raw flesh – more evidence of the brutalizing effect of a long war οἷα ἔοργας (perf. of ἔρδω), lit. ‘what things you have done’, i.e. ‘seeing what . . . ’ 348 ὡς . . . ‘as surely as . . . ’ Note the angry build-up: οὐκ ἔσθ’ . . . οὐδ’ . . . οὐδ’ . . . οὐδ’ ὧς ἀπάλαλκε he kept off (the verb occurs only in 3rd pers.) 349 εἰκοσινήριτος η ον twenty times. Akhilleus was similarly not impressed by Agamemnon’s lavish offer of compensation in 9.379–87 ἄποινα, τά ransom (2b) 350 στήσωσι i.e. ‘weigh out’. In a pre-coinage society, wealth was measured by weight of metal. The subject of this and ὑπόσχωνται is ‘the Trojans / your family’ ἄλλα i.e. ‘more’

350

355

360

365

351 χρυσῷ i.e. ‘against gold’ ἐρύσασθαι (here) = ‘to be weighed’ ∗ ἄνωγα (perf.) I order 352 Δαρδανίδης, ὁ son of Dardanos (ancestor of the Trojans) (1d) οὐδ’ ὧς ‘not even then . . . ’, the climax σέ γε i.e. she may mourn others of your family, but not you 353 ∗ γοάω I lament. The mood becomes ind., conveying Akhilleus’ confidence that this will not happen αὐτή: a cruel emphasis 354 καταδατέομαι I divide up πάντα: agrees with σέ (l.352) 356 προτιόσσομαι I foresee. Its unsupplied obj. here is something like ‘my fate’ ἄρα; the inferential particle, often occurring with ἔμελλον = ‘after all / as it has turned out . . . ’ 357 σιδήρεος α ον made of iron; sc. ἐστί. Iron, a much harder metal, succeeded bronze 358 φράζομαι I consider; Hektor’s last attempt to have his body properly treated μή ‘in case’ μήνιμα, τό cause of divine anger, curse (3b). Τhis word and its cognate μῆνις imply a specifically divine, vengeful anger; Hektor says the gods will be

Sections 15–16, lines 347–74 angry if Akhilleus outrages his body, contrary to the usage of war. (μῆνις, the first word of the Iliad, is remarkably used to describe Akhilleus’ anger, almost god-like in its intensity.) τι: agrees with μήνιμα 359–60 this is the last and clearest prophecy in a series (starting at 18.96) relating to Akhilleus’ death, which is not described in the poem, but looms darkly over its action. Paris the archer and Phoibos Apollo will kill him, just as Hektor and Apollo killed Patroklos. The Greek does not say so, but it is easy to imagine Akhilleus’ reaction to the thought of being killed by the feckless seducer who started the war. He knows (21.278) that he will die by an arrow from Apollo; god and mortal will as usual combine (‘double causation’)

43

360 ἐσθλὸν ἐόντα: what is the force of the part. here? 361–3 the same words are used to describe Patroklos’ death at 16.855–7 – an example of a lesser death foreshadowing a greater 361 ∗ τέλος, τό end, consummation (3c) 362 ψυχή: the life-force, in the shape of a wraith, flits away to Hades ∗ ῥέθεα, τά limbs (3c) 363 ὅν ‘its own’ ∗ πότμος, ὁ fate, death (2a) ἀνδρότης (ἀνδροτητ-), ἡ manliness (3a) ἥβη, ἡ youth (1a) 364 καί: what is the force of this? 365 ὁππότε + κεν + subj. = the indefinite construction κῆρα: see l.202 366 ∗ τελέω I accomplish

16 Akhilleus drags Hektor’s body away. (367–404)

ἦ ῥα, καὶ ἐκ νεκροῖο ἐρύσσατο χάλκεον ἔγχος, καὶ τό γ’ ἄνευθεν ἔθηχ’, ὁ δ’ ἀπ’ ὤμων τεύχε’ ἐσύλα αἱματόεντ’· ἄλλοι δὲ περίδραμον υἷες ᾿Αχαιῶν, οἳ καὶ θηήσαντο φυὴν καὶ εἶδος ἀγητὸν ῞Εκτορος· οὐδ’ ἄρα οἵ τις ἀνουτητί γε παρέστη. ὧδε δέ τις εἴπεσκεν ἰδὼν ἐς πλησίον ἄλλον· ‘ὢ πόποι, ἦ μάλα δὴ μαλακώτερος ἀμφαφάασθαι ῞Εκτωρ ἢ ὅτε νῆας ἐνέπρησεν πυρὶ κηλέῳ.’ 368 τό γ’ i.e. the spear τεύχεα: Akhilleus now has two sets of armour – his original, which he is now stripping from Hektor, and the gift of Thetis, fashioned by Hephaistos. Homer shows no interest in the story that after Akhilleus’ death the Greeks awarded his armour (which set?) as a prize to their greatest hero, though this entered the mainstream of myth. It was, for instance, the background of Sophocles’ play Ajax; in this, the armour was given to Odysseus, much to the chagrin of Ajax, who committed suicide out of shame 369 ∗ αἱματόεις εσσα εν bloodstained περίδραμον: from περιτρέχω 370 ∗ θηέομαι I wonder at, admire φυή, ἡ stature (1a) εἶδος, τό beauty (3c) ἀγητός ή όν wonderful, imposing 371 οὐδ’ . . . τίς i.e. ‘and no one’

370

οἵ i.e. Hektor; take with παρέστη ἀνουτητί without stabbing [him]; the double negative makes the point strongly 372 ὧδε δέ τις . . . ἄλλον: a commonly repeated line, describing a typical reaction among bystanders εἴπεσκεν: note the frequentative ending (and οὐτήσασκε, l.375) 373 ὢ πόποι (here + ἦ μάλα δή) = an expression of amazement μαλακός ή όν soft ἀμφαφάω, I touch, feel; the inf. is dependent on μαλακώτερος. The ordinary man hardly figures in the Iliad, apart from Thersites in Book 2; references are rarely complimentary 374 ἐμπίμπρημι (ἐμπρησ-) I burn, set on fire. Hektor had very nearly succeeded in firing the Greek ships (Book 15) and thus cutting off their retreat κήλεος ον blazing

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ὣς ἄρα τις εἴπεσκε καὶ οὐτήσασκε παραστάς. τὸν δ’ ἐπεὶ ἐξενάριξε ποδάρκης δῖος ᾿Αχιλλεύς, στὰς ἐν ᾿Αχαιοῖσιν ἔπεα πτερόεντ’ ἀγόρευεν· ‘ὦ φίλοι, ᾿Αργείων ἡγήτορες ἠδὲ μέδοντες, ἐπεὶ δὴ τόνδ’ ἄνδρα θεοὶ δαμάσασθαι ἔδωκαν, ὃς κακὰ πόλλ’ ἔρρεξεν, ὅσ’ οὐ σύμπαντες οἱ ἄλλοι, εἰ δ’ ἄγετ’ ἀμφὶ πόλιν σὺν τεύχεσι πειρηθέωμεν, ὄφρα κ’ ἔτι γνῶμεν Τρώων νόον, ὅν τιν’ ἔχουσιν, ἢ καταλείψουσιν πόλιν ἄκρην τοῦδε πεσόντος, ἦε μένειν μεμάασι καὶ ῞Εκτορος οὐκέτ’ ἐόντος. ἀλλὰ τίη μοι ταῦτα φίλος διελέξατο θυμός; κεῖται πὰρ νήεσσι νέκυς ἄκλαυτος ἄθαπτος Πάτροκλος· τοῦ δ’ οὐκ ἐπιλήσομαι, ὄφρ’ ἂν ἔγωγε ζωοῖσιν μετέω καί μοι φίλα γούνατ’ ὀρώρῃ· εἰ δὲ θανόντων περ καταλήθοντ’ εἰν ᾿Αΐδαο, αὐτὰρ ἐγὼ καὶ κεῖθι φίλου μεμνήσομ’ ἑταίρου. νῦν δ’ ἄγ’ ἀείδοντες παιήονα κοῦροι ᾿Αχαιῶν νηυσὶν ἔπι γλαφυρῇσι νεώμεθα, τόνδε δ’ ἄγωμεν. ἠράμεθα μέγα κῦδος· ἐπέφνομεν ῞Εκτορα δῖον, ᾧ Τρῶες κατὰ ἄστυ θεῷ ὣς εὐχετόωντο.’ ἦ ῥα, καὶ ῞Εκτορα δῖον ἀεικέα μήδετο ἔργα. ἀμφοτέρων μετόπισθε ποδῶν τέτρηνε τένοντε ἐς σφυρὸν ἐκ πτέρνης, βοέους δ’ ἐξῆπτεν ἱμάντας, ἐκ δίφροιο δ’ ἔδησε, κάρη δ’ ἕλκεσθαι ἔασεν· ἐς δίφρον δ’ ἀναβὰς ἀνά τε κλυτὰ τεύχε’ ἀείρας μάστιξέν ῥ’ ἐλάαν, τὼ δ’ οὐκ ἀέκοντε πετέσθην. 375 οὐτάζω I stab 376 ∗ ποδάρκης swift-footed 377 ἀγόρευεν i.e. made a public pronouncement, as if in the ἀγορά 378 ἡγήτωρ (ἡγητορ-), ὁ leader (3a) μέδων (μεδοντ-), ὁ counsellor (3a) 379 τόνδ’ ἄνδρα i.e. pointing at him; the tone is probably scornful 380 ὅσ(α) i.e. ‘as many as’ ∗ σύμπας = πᾶς οἱ ἄλλοι sc. ἔρρεξαν 381 εἰ δ’ ἄγετε come now! πειράομαι I make an attempt on. Note the jussive subj. (‘let us’). Akhilleus is back to his old self, and immediately proposes a kind of armed recce, now that the Trojans are off their guard; but (ll.385–94 below) he remembers that he is still to bury Patroklos

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382 ὅν τιν’ ἔχουσιν: a common form of indirect question, of the kind ‘I know thee, who thou art’ 383 καταλείψουσιν: the Trojans are the subject ∗ ἄκρος α ον top τοῦδε πεσόντος = gen. abs. 384 καί = καίπερ ῞Εκτορος . . . ἐόντος = gen. abs. 385 Akhilleus breaks off as he remembers the unburied Patroklos 386 πάρ = παρά ∗ νέκυς, ὁ corpse (3h) ἄκλαυτος, ἄθαπτος i.e. lacking the proper rites. The absence of a connecting word (‘asyndeton’) is unusual, and helps to make an emotional point 387 Πάτροκλος: note the emphatic, run-over position ἐπιλήσομαι: from ἐπιλανθάνομαι (+ gen.) ὄφρ’ ἄν while, as long as

Section 16, lines 375–400

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14. Akhilleus drags off Hektor 388 ∗ μετέω (subj. of μέτειμι) I remain among (+ dat.) ὀρώρῃ: from ὄρνυμι, here used intransitively = ‘have the power to rise’ 389 εἰ . . . περ ‘even if’ καταλήθομαι Ι forget utterly (+ gen.); the subject is ‘they/men’ 390 κεῖθι there; Akhilleus means he will remember Patroklos, even in Hades 391 ἄγε ‘come!’ ἀείδω I sing παιήων (παιηον-) ὁ, victory song (3a). The ‘paean’ was usually associated with Apollo, but this seems unlikely to be the case here, given Apollo’s enmity towards the Greeks. Its general sense was probably that of a song connected with relief from trouble κοῦρος, ὁ young man (2a) 392 νέομαι I return; νεώμεθα and ἄγωμεν are jussive subj. τόνδε: who is this? 393 ἠράμεθα: from αἴρομαι ἔπεφνον (aor.) I slew 394 εὐχετάομαι I pray to, glorify (+ dat.) θεῷ ὥς i.e. ὡς θεῷ 395 μήδομαι I plan, think of something X (acc.) for someone Y (acc.)

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ἀεικής ές shameful, disgraceful; not a moral comment on Akhilleus’ action, but on the appearance of Hektor’s body (‘disfiguring’, 1.404) – though the gods later (24.33–54) do condemn Akhilleus’ behaviour μετόπισθε at the back of (+ gen.); Akhilleus drills next to Hektor’s tendons, between the ankle-bone and heel τετραίνω I drill holes in τένων (τενοντ-), ὁ tendon (3a) σφυρόν, τό ankle (2b). The succession of short sentences suggests Akhilleus’ deliberate actions, and the matter-of-fact description is in sharp contrast with Hektor’s former heroic stature πτέρνη, ἡ heel (1a) βόεος η ον leather ἐξάπτω I attach, fix; (here) = thread ἱμάς (ἱμαντ-), ὁ thong, strap (3a) δίφρος, ὁ chariot (2a) δέω I bind ἀείρω I raise, lift κλυτὰ τεύχεα i.e his former armour, stripped from Hektor’s body μαστίζω I touch with a whip ἐλάω = ἐλαύνω (supply ἵππους as obj.); ἐλάαν is epexegetic inf. τὼ . . . πετέσθην (dual) i.e. the two chariot-horses ἀέκων = ἄκων

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τοῦ δ’ ἦν ἑλκομένοιο κονίσαλος, ἀμφὶ δὲ χαῖται κυάνεαι πίτναντο, κάρη δ’ ἅπαν ἐν κονίῃσι κεῖτο πάρος χαρίεν· τότε δὲ Ζεὺς δυσμενέεσσι δῶκεν ἀεικίσσασθαι ἑῇ ἐν πατρίδι γαίῃ. 401 τοῦ . . . ἑλκομένου i.e. Hektor κονίσαλος, ὁ dust-cloud (2a) ἀμφί: (here) adverbial χαίτη, ἡ hair (1a). The camera zooms in, to show us Hektor’s head and hair 402 κυάνεος ον dark πίτναντο was spread out (Attic πετάννυμι) 403 χαρίεις εσσα εν graceful, handsome; χαρίεν agrees with κάρη, and its position in the

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line adds to the pathos, as does ἑῇ . . . γαίῃ – a melancholy close to the account of Hektor’s death: it is bad enough that his enemy disgraces his body, worse that it should happen outside his own city δυσμενής ές enemy 404 ἀεικίσσασθαι pass.; its subject is Hektor ∗ ἑός = ὅς one’s own

Priam and Hekabe, with the rest of Troy, lament the dead Hektor. (405–36)

ὣς τοῦ μὲν κεκόνιτο κάρη ἅπαν· ἡ δέ νυ μήτηρ τίλλε κόμην, ἀπὸ δὲ λιπαρὴν ἔρριψε καλύπτρην τηλόσε, κώκυσεν δὲ μάλα μέγα παῖδ’ ἐσιδοῦσα· ᾤμωξεν δ’ ἐλεεινὰ πατὴρ φίλος, ἀμφὶ δὲ λαοὶ κωκυτῷ τ’ εἴχοντο καὶ οἰμωγῇ κατὰ ἄστυ. τῷ δὲ μάλιστ’ ἄρ’ ἔην ἐναλίγκιον, ὡς εἰ ἅπασα ῎Ιλιος ὀφρυόεσσα πυρὶ σμύχοιτο κατ’ ἄκρης. λαοὶ μέν ῥα γέροντα μόγις ἔχον ἀσχαλόωντα, ἐξελθεῖν μεμαῶτα πυλάων Δαρδανιάων. πάντας δὲ λιτάνευε κυλινδόμενος κατὰ κόπρον, ἐξ ὀνομακλήδην ὀνομάζων ἄνδρα ἕκαστον· ‘σχέσθε, φίλοι, καί μ’ οἶον ἐάσατε κηδόμενοί περ ἐξελθόντα πόληος ἱκέσθ’ ἐπὶ νῆας ᾿Αχαιῶν, λίσσωμ’ ἀνέρα τοῦτον ἀτάσθαλον ὀβριμοεργόν, ἤν πως ἡλικίην αἰδέσσεται ἠδ’ ἐλεήσῃ γῆρας· καὶ δέ νυ τῷ γε πατὴρ τοιόσδε τέτυκται, Πηλεύς, ὅς μιν ἔτικτε καὶ ἔτρεφε πῆμα γενέσθαι Τρωσί· μάλιστα δ’ ἐμοὶ περὶ πάντων ἄλγε’ ἔθηκε. τόσσους γάρ μοι παῖδας ἀπέκτανε τηλεθάοντας· τῶν πάντων οὐ τόσσον ὀδύρομαι ἀχνύμενός περ ὡς ἑνός, οὗ μ’ ἄχος ὀξὺ κατοίσεται ῎Αϊδος εἴσω, ῞Εκτορος· ὡς ὄφελεν θανέειν ἐν χερσὶν ἐμῇσι· τῶ κε κορεσσάμεθα κλαίοντέ τε μυρομένω τε, μήτηρ θ’, ἥ μιν ἔτικτε δυσάμμορος, ἠδ’ ἐγὼ αὐτός.’ ὣς ἔφατο κλαίων, ἐπὶ δὲ στενάχοντο πολῖται· 405–36 The camera has rested on Hektor’s outraged corpse, as it were; now it moves into Troy, to explore the crushing implications of his death. The

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speeches by Priam and Hekabe balance those at the beginning of the book (ll.25–89) 405 κονίω I make dusty

Sections 16–17, lines 401–29 406 τίλλω I pluck, pull out (part of the mourning ritual); what is the force of the impf.? κόμη, ἡ hair (1a) λιπαρός ά όν shining καλύπτρη, ἡ veil (1a). A respectable lady would not be seen in public unveiled; now her world has collapsed, Hekabe sees no need for keeping up appearances ἀπὸ . . . ἔρριψε: tmesis 407 τηλόσε to a distance, a long way off ∗ κωκύω, I shriek (used exclusively of mourning) 408 ∗ ἐλεεινός ή όν piteous, pitying, pitied; here used adverbially (n. pl.) 409 ∗ κωκυτός, ὁ wailing (2a) εἴχοντο lit. ‘were held by’, i.e. ‘were overcome by’, ‘gave way to’ ∗ οἰμωγή, ἡ lamentation (1a) 410 τῷ = Attic τούτῳ, anticipating ὡς εἰ ἔην ‘it was’ ἐναλίγκιος α ον like (+ dat.) 411 ῎Ιλιος: is f. ὀφρυόεις εσσα εν beetling, high σμύχω I smoulder κατ’ ἄκρης from top to bottom. The people’s lamentation, echoing that of Priam and Hekabe, underlines the sense of impending disaster for the whole city; it was as if Troy were already on fire and smouldering – which it will soon be, though not in the Iliad. Hektor’s fate and Troy’s are linked by Homer, e.g. at 6.440–65 412 μόγις scarcely, with difficulty ἀσχαλάω I am distressed 413 ∗ Δαρδάνιος α ον of Dardanos (i.e. Trojan) (see l.194) 414 λιτανεύω I pray, entreat (note the tense) κυλίνδω I roll κόπρος, ὁ dung (2a); left in the palace’s open spaces by mules and horses. Akhilleus similarly befouled himself on the ground after Patroklos’ death (18.26–7) 415 ∗ ἐξ . . . ὀνομάζω I call aloud on ὀνομακλήδην by name 416 σχέσθε: aor. mid. imper. of ἔχω, lit. ‘hold yourselves back’, i.e. ‘leave me alone’. A long, passionate sentence follows οἶον: note the breathing ∗ κήδομαι I am anxious, concerned for περ = καίπερ 417 ἱκέσθαι = inf. dependent on ἐάσατε

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ἐπὶ νῆας ᾿Αχαιῶν: an obviously crazy idea, as Hekabe tells him in Book 24, but understandable in terms of his excessive grief. It is in fact what Priam will eventually do λίσσωμαι: subj., as if Priam had said ‘in order that . . . ’. Homer prepares us for Priam’s night visit to Akhilleus and his appeal to him in Peleus’ name (24.486–506, where much of the language is echoed) ἀτάσθαλος ον reckless, wicked ὀβριμοεργός όν doer of violent deeds ἤν (= ἐάν) πως (as often) ‘to see if’ ἡλικίη, ἡ age (1a), i.e. ‘my age’ αἰδέσσεται: old people were traditionally given respect γῆρας, τό old age. Note the emphatic position (and Πηλεύς, Τρωσί and ῞Εκτορος below) πατήρ . . . a clear foreshadowing of Book 24, where Priam does persuade Akhilleus to give up Hektor’s body by reminding him of his father Peleus at home in Greece, and by comparing Peleus’ situation to own. Priam has lost many sons at Akhilleus’ hands, especially Hektor, and Akhilleus knows that Peleus will never see his only son again. It is this shared grief that helps to bring about the extraordinary reconciliation of Book 24 τοιόσδε i.e. like me ∗ τεύχω (τευξ-, τετ(ε)υκ-) I act, make, prepare; be, be made (perf. pass.) ∗ πῆμα, τό bane, affliction, calamity (3b) γενέσθαι: epexegetic inf. περί (here) ‘above, more than’ (+ gen.) ∗ ἄλγος, τό grief, pain (3c) τηλεθάω I flourish ∗ ὀδύρομαι I lament (+ gen.) ∗ ἄχνυμαι I grieve περ = καίπερ οὗ ‘for whom’ ∗ ἄχος, τό pain, distress (3c) κατοίσεται: fut. mid. of καταφέρω. Note the prefix ∗ ὡς ὄφελεν ‘would that he . . . !’ (+ inf.) τῶ then, in that case ∗ κορέννυμι I satisfy, fill μύρομαι I shed tears. Note the dual ending here and on κλαίοντε, preparing the way for Hekabe’s lament ∗ δυσάμμορος ον most miserable, ill-fated ∗ στενάχομαι I bewail, lament

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Τρῳῇσιν δ’ ῾Εκάβη ἁδινοῦ ἐξῆρχε γόοιο· ‘τέκνον, ἐγὼ δειλή· τί νυ βείομαι αἰνὰ παθοῦσα, σεῦ ἀποτεθνηῶτος; ὅ μοι νύκτας τε καὶ ἦμαρ εὐχωλὴ κατὰ ἄστυ πελέσκεο, πᾶσί τ’ ὄνειαρ Τρωσί τε καὶ Τρῳῇσι κατὰ πτόλιν, οἵ σε θεὸν ὣς δειδέχατ’· ἦ γὰρ καί σφι μάλα μέγα κῦδος ἔησθα ζωὸς ἐών· νῦν αὖ θάνατος καὶ μοῖρα κιχάνει.’ 430 ἁδινός ή όν loud, vehement ∗ γόος, ὁ lament (2a); the gen. is dependent on ἐξῆρχε. Hekabe’s lament is shorter than Priam’s, and more resigned (Priam’s thoughts have turned to how he may recover Hektor’s body). She looks back to Hektor’s glorious past (as traditional laments probably did) 431 ∗ δειλός ή όν miserable, wretched, cowardly; sc. εἰμί βείομαι (subj.) ‘I am to live’ 432 ὅ ‘you who’

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433 εὐχωλή, ἡ glory, boast (1a) πελέσκεο: note the frequentative form ∗ ὄνειαρ (ὀνειατ-), τό source of strength (3b) 434 Τρῳῇσι: a reminder of Hektor’s responsibilities to all the people of Troy. He had so much more to fight for than the Greeks did θεὸν ὥς = ὡς θεόν 435 δειδέχατο = 3rd pl. plup. of δέχομαι σφι ‘for them’, i.e. the Trojans 436 ∗ ζωός ή όν alive αὖ ‘in its turn’

Hektor’s wife Andromakhe, still ignorant of the event, hears the lament and expresses her fears. (437–59)

ὣς ἔφατο κλαιόυσ’, ἄλοχος δ’οὔ πώ τι πέπυστο ῞Εκτορος· οὐ γάρ οἵ τις ἐτήτυμος ἄγγελος ἐλθὼν ἤγγειλ’ ὅττι ῥά οἱ πόσις ἔκτοθι μίμνε πυλάων, ἀλλ’ ἥ γ’ ἱστὸν ὕφαινε μυχῷ δόμου ὑψηλοῖο δίπλακα πορφυρέην, ἐν δὲ θρόνα ποικίλ’ ἔπασσε. κέκλετο δ’ ἀμφιπόλοισιν ἐϋπλοκάμοις κατὰ δῶμα ἀμφὶ πυρὶ στῆσαι τρίποδα μέγαν, ὄφρα πέλοιτο ῞Εκτορι θερμὰ λοετρὰ μάχης ἒκ νοστήσαντι, νηπίη, οὐδ’ ἐνόησεν ὅ μιν μάλα τῆλε λοετρῶν χερσὶν ᾿Αχιλλῆος δάμασε γλαυκῶπις ᾿Αθήνη. κωκυτοῦ δ’ ἤκουσε καὶ οἰμωγῆς ἀπὸ πύργου· τῆς δ’ ἐλελίχθη γυῖα, χαμαὶ δέ οἱ ἔκπεσε κερκίς· ἡ δ’ αὖτις δμῳῇσιν ἐϋπλοκάμοισι μετηύδα· ‘δεῦτε, δύω μοι ἕπεσθον, ἴδωμ’ ὅτιν’ ἔργα τέτυκται. αἰδοίης ἑκυρῆς ὀπὸς ἔκλυον, ἐν δ’ ἐμοὶ αὐτῇ στήθεσι πάλλεται ἦτορ ἀνὰ στόμα, νέρθε δὲ γοῦνα πήγνυται· ἐγγὺς δή τι κακὸν Πριάμοιο τέκεσσιν. αἲ γὰρ ἀπ’ οὔατος εἴη ἐμεῦ ἔπος· ἀλλὰ μάλ’ αἰνῶς δείδω μὴ δή μοι θρασὺν ῞Εκτορα δῖος Αχιλλεὺς μοῦνον ἀποτμήξας πόλιος πεδίονδε δίηται, καὶ δή μιν καταπαύσῃ ἀγηνορίης ἀλεγεινῆς, ἥ μιν ἔχεσκ’, ἐπεὶ οὔ ποτ’ ἐνὶ πληθυῖ μένεν ἀνδρῶν, ἀλλὰ πολὺ προθέεσκε, τὸ ὃν μένος οὐδενὶ εἴκων.’

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Sections 17–18, lines 430–59 437 ἄλοχος . . . ῞Εκτορος the narrative moves to Andromakhe, who will occupy centre stage for the rest of the book. We left her at 6.502, instructed by Hektor to return to their house and busy herself with the loom and supervision of her maids’ work, i.e. a wife’s occupation, while he engages in men’s work: ‘War must be the concern of men, of all those who were born in Ilium, and mine more than any man’s.’ When she reached the house, she and the maidservants ‘wept for Hektor . . . while he was still alive, for they did not believe that he would come back again from the war, escaping the fury and hands of the Akhaians’. Here Andromakhe is at the loom (440–1), ordering her maids to prepare for Hektor’s return (442–4). Her ignorance of what has happened to her husband is all the more moving for her own fears that something like this might happen (6.406–31), and her awareness of Hektor’s vulnerability (6. 460–1, 487–93). It is as if we, and she, have been waiting for this moment; but when it comes it is far more terrible than could ever have been expected ∗ πέπυστο: plup. of πυνθάνομαι 438 οἵ ‘to her’ ἐτήτυμος ον true, reliable 439 ∗ ἔκτοθι outside (+ gen.) μίμνε: note the tense 440 ἱστός, ὁ loom (2a) ὑφαίνω I work at, weave μυχός, ὁ corner, innermost part (2a) ὑψηλός ή όν high 441 δίπλαξ (διπλακ-), ἡ double-folded cloth (to be folded and made into a cloak or mantle) πορφυρέος α ον purple. Greeks seem not to have distinguished between shades of colours as we do; they would not have seen the point of giving different names to the seven colours of the rainbow, being more interested in differences of brightness. πορφυρέος is applied by Homer to everything between ‘crimson’ (blood) and ‘dark’ (the sea) θρόνα, τά flower patterns ποικίλος η ον many-coloured ἐμπάσσω I weave into (tmesis). Unlike Helen, who at 3.125–8 was weaving battle-scenes on to her double cloak, Andromakhe’s designs evoke times of peace – which will never return 442 κέλομαι I give orders (κέκλετο = redupl. aor.) ∗ δῶμα, τό house (3b) 443 τρίπος (τριποδ-), ὁ cauldron (3a)

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444 ∗ θερμός ή όν hot ∗ λοετρόν, τό bath (2b) ἔκ: take with μάχης ∗ νοστέω I return 445 ὅ (here) = ‘that’ μιν = obj. of δάμασε ∗ τῆλε far, far from (+ gen.) 446 a classic example of dual causation 447 κωκυτοῦ (specifically) a cry of lamentation ∗ πύργος, ὁ tower (2a) 448 ἐλελίζομαι I tremble, shake; both actions in this line are involuntary – the shuttle seems to have a life of its own γυῖον, τό limb (2b) χαμαί to the ground κερκίς (κερκιδ-), ἡ shuttle (for weaving) (3a) 449 ∗ δμῳή, ἡ female slave (1a) 450 δεῦτε ‘come here!’ ἕπεσθον: 3rd pers. imper. ἴδωμ’ i.e. ἴδωμαι (jussive subj.) ὅτινα = ἅτινα 451 ∗ αἰδοῖος α ον respected ἑκυρά, ἡ mother-in-law (1b) ὄψ (ὀπ-), ἡ voice (3a) 452 πάλλομαι I leap, shake ∗ ἦτορ, τό heart νέρθε beneath, below 453 ἐγγύς . . . τι κακόν sc. ἐστί 454 ἀπ’ οὔατος ‘away from my ear’, i.e. unheard; a form of words to avoid misfortune (here, of course, futile) 455 ∗ δείδω (δεισ-, δεδοικ-) I fear μοι an ‘ethic’ dat, showing Andromakhe’s concern in what has happened. ∗ θρασύς εῖα ύ bold, brave 456 ἀποτμήγω I cut off (+ gen.) δίομαι I pursue 457 καταπαύω I put an end to (+ gen.) ἀγηνορίη, ἡ manliness, courage (1a) ἀλεγεινός ή όν causing pain, grievous (to her and the Trojans) 458 ἥ an unusual personification of an abstract noun (ἀγηνορίη) ἔχεσκε: note the frequentative impf. (and προθέεσκε); Andromakhe fears Hektor is dead, and already speaks of him as he used to be ἀνδρῶν: take with πληθυῖ. In Homeric warfare, two masses of men (πληθέα) usually advanced towards each other and then stopped, and from them two or more champions went on into the middle ground and fought a duel. The πλῆθος could also serve as a place of refuge for the timid or defeated fighter 459 εἴκω I yield in X (acc.) to Y (dat.)

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19

Andromakhe sees Hektor’s body dragged from Troy. (460–76)

ὣς φαμένη μεγάροιο διέσσυτο μαινάδι ἴση, παλλομένη κραδίην· ἅμα δ’ ἀμφίπολοι κίον αὐτῇ. αὐτὰρ ἐπεὶ πύργον τε καὶ ἀνδρῶν ἷξεν ὅμιλον, ἔστη παπτήνασ’ ἐπὶ τείχεϊ, τὸν δὲ νόησεν ἑλκόμενον πρόσθεν πόλιος· ταχέες δέ μιν ἵπποι ἕλκον ἀκηδέστως κοίλας ἐπὶ νῆας ᾿Αχαιῶν. τὴν δὲ κατ’ ὀφθαλμῶν ἐρεβεννὴ νὺξ ἐκάλυψεν, ἤριπε δ’ ἐξοπίσω, ἀπὸ δὲ ψυχὴν ἐκάπυσσε. τῆλε δ’ ἀπὸ κρατὸς βάλε δέσματα σιγαλόεντα, ἄμπυκα κεκρύφαλόν τε ἰδὲ πλεκτὴν ἀναδέσμην κρήδεμνόν θ’, ὅ ῥά οἱ δῶκε χρυσέη ᾿Αφροδίτη ἤματι τῷ ὅτε μιν κορυθαίολος ἠγάγεθ’ ῞Εκτωρ ἐκ δόμου ᾿Ηετίωνος, ἐπεὶ πόρε μυρία ἕδνα. ἀμφὶ δέ μιν γαλόῳ τε καὶ εἰνατέρες ἅλις ἔσταν, αἵ ἑ μετὰ σφίσιν εἶχον ἀτυζομένην ἀπολέσθαι. ἡ δ’ ἐπεὶ οὖν ἔμπνυτο καὶ ἐς φρένα θυμὸς ἀγέρθη, ἀμβλήδην γοόωσα μετὰ Τρῳῇσιν ἔειπεν· 460 ∗ διασσεύομαι I rush through (+ gen.) μαινάς (μαιναδ-), ἡ madwoman, maenad (3a), related to μαίνομαι, I am mad; inspired/ possessed female followers of Dionysos were called maenads. At 6.388–9 Andromakhe was described as rushing to the Trojan bastion by the Skaian Gate, fearing that Hektor was dead ∗ ἴσος η ον resembling, equal to (+ dat.) 461 ∗ κραδίη, ἡ heart (1a) κίω I go 462 ∗ ἵκω I come ὅμιλος, ὁ crowd, gathering (2a) 463 παπταίνω I scan, look around searchingly τὸν δέ i.e. Hektor 465 ἀκηδέστως ruthlessly. The horses do what horses do, without a thought for the man they are dragging cruelly behind Akhilleus’ chariot ∗ κοῖλος η ον hollow 466 ἐρεβεννός ή όν gloomy, dark 467 ∗ ἐρείπω I throw, tear down; ἤριπον I fell down ἐξοπίσω backwards ἀπο . . . καπύω I breathe, gasp away (i.e. temporarily, in a faint) 468 βάλε: clearly she did this before collapsing δέσμα, τό headdress (3b). Andromakhe’s headdress is very elaborate, as befits a great lady. It was particularly associated with a

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woman’s wedding day (see l.470 below), and Andromakhe’s action here perhaps signifies the end of her marriage. δέσματα (lit. ‘bindings’) probably means the sum of the subsequently named parts (in apposition) σιγαλόεις εσσα εν shining ἄμπυξ (ἀμπυκ-), ὁ diadem (3a): a headband across the forehead, probably of metal κεκρύφαλος, ὁ hairnet, cap, kerchief (2a): used to keep the hair in order πλεκτός ή όν twisted ἀναδεσμή, ἡ hairband (1a): a kind of plaited binding κρήδεμνον, τό veil, headscarf (2b): possibly a kind of mantilla, worn over everything, and especially associated with a woman’s wedding day ὅ . . . δῶκε: the mention of this day is particularly poignant χρυσέη golden, Aphrodite’s usual epithet ∗ ᾿Αφροδίτη, ἡ Aphrodite (1a) ἄγομαι I lead, bring (in marriage) ᾿Ηετίων (᾿Ηετιων-), ὁ E¨etion (king of Thebai and father of Andromakhe) (3a) μυρίος α ον numberless ἕδνον, τό bride-price, wedding-gift (2b) (see l.51)

Sections 19–20, lines 460–88 473 γαλόως, ἡ husband’s sister (nom. pl. γαλόῳ) εἰνάτερες, αἱ brothers’ wives ∗ ἅλις in crowds, plenty 474 ἀτύζομαι I am distraught (+ inf. ‘to the point of’) 475 ἔμπνυτο ‘she recovered consciousness’ (ἀναπνέω)

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ἀγείρω (ἠγειρ-, ἠγερθ-) I gather together, assemble. Andromakhe’s θυμός is thought of as returning to her φρήν, the physical seat of rational thought 476 ἀμβλήδην in sudden bursts, i.e. sobbing deeply

20 Andromakhe’s lament. (477–515)

‘῞Εκτορ, ἐγὼ δύστηνος· ἰῇ ἄρα γιγνόμεθ’ αἴσῃ ἀμφότεροι, σὺ μὲν ἐν Τροίῃ Πριάμου κατὰ δῶμα, αὐτὰρ ἐγὼ Θήβῃσιν ὑπὸ Πλάκῳ ὑληέσσῃ ἐν δόμῳ ᾿Ηετίωνος, ὅ μ’ ἔτρεφε τυτθὸν ἐοῦσαν, δύσμορος αἰνόμορον· ὡς μὴ ὤφελλε τεκέσθαι. νῦν δὲ σὺ μὲν ᾿Αΐδαο δόμους ὑπὸ κεύθεσι γαίης ἔρχεαι, αὐτὰρ ἐμὲ στυγερῷ ἐνὶ πένθεϊ λείπεις χήρην ἐν μεγάροισι· πάϊς δ’ ἔτι νήπιος αὔτως, ὃν τέκομεν σύ τ’ ἐγώ τε δυσάμμοροι· οὔτε σὺ τούτῳ ἔσσεαι, ῞Εκτορ, ὄνειαρ, ἐπεὶ θάνες, οὔτε σοι οὗτος. ἤν περ γὰρ πόλεμόν γε φύγῃ πολύδακρυν ᾿Αχαιῶν, αἰεί τοι τούτῳ γε πόνος καὶ κηδέ’ ὀπίσσω 477 ἰή (f.) one and the same. The emphasis is on this word. Andromakhe contrasts her and Hektor’s former lives – he in Ilium and she in Thebai, soon to be married – with their present state: Hektor in Hades, and she in grief, a widow (6. 395–8, 409–16, and ll.482–4 below) ἄρα: inferential, i.e. ‘now I see that . . . ’ γιγνόμεθα: in its original sense, ‘we were born’ αἶσα, ἡ lot, destiny, (1c) 479 Θήβαι, αἱ Thebai (home of E¨etion, destroyed by Akhilleus) Πλάκος, ἡ mountain above Thebai (2a) ὑλήεις εσσα εν wooded 480 τυτθός, όν small 481 αἰνόμορος ον doomed to a sad end. Note the endings of this word and of δύσμορος: Greek writers were fond of this kind of juxtaposition ὡς μὴ ὤφελλε: see l.426 482 δόμους = acc. after ἔρχεαι κεῦθος, τό depths (3c) 483 ∗ στυγερός ά όν hateful ∗ πένθος, τό grief, sorrow, mourning (3c)

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484 χήρη, ἡ widow (3c); emphatic. To be left a widow, with no husband to protect you, was a miserable fate. An orphan’s lot, as Andromakhe goes on to describe in detail, was little better πάϊς = παῖς, made into two syllables here (and at ll.492 and 499) to help the metre αὔτως just so, mere 486 ὄνειαρ: take with τούτῳ and σοί. Hektor’s son will not be a comfort to him in his old age 487 ἤνπερ = ἐάνπερ, ‘even if’, a poignant contrast with Hektor’s hopes for his son at 6.476–81. (Ultimately Aeneas was destined to rule Troy) γάρ: explains the statement in the previous line, expanded (from here to l.507) into a graphic picture of a fatherless boy’s life φύγῃ sc. Astyanax πολύδακρυς much-lamented, bringer of many tears 488 τοι (here) = a general statement, ‘as everyone knows’ ∗ πόνος, ὁ distress, trouble, labour (2a) ὀπίσσω in the future

52

Homer

ἔσσοντ’· ἄλλοι γάρ οἱ ἀπουρίσσουσιν ἀρούρας. ἦμαρ δ’ ὀρφανικὸν παναφήλικα παῖδα τίθησι· πάντα δ’ ὑπεμνήμυκε, δεδάκρυνται δὲ παρειαί, δευόμενος δέ τ’ ἄνεισι πάϊς ἐς πατρὸς ἑταίρους, ἄλλον μὲν χλαίνης ἐρύων, ἄλλον δὲ χιτῶνος· τῶν δ’ ἐλεησάντων κοτύλην τις τυτθὸν ἐπέσχε, χείλεα μέν τ’ ἐδίην’, ὑπερῴην δ’ οὐκ ἐδίηνε. τὸν δὲ καὶ ἀμφιθαλὴς ἐκ δαιτύος ἐστυφέλιξε, χερσὶν πεπληγὼς καὶ ὀνειδείοισιν ἐνίσσων· “ἔρρ’ οὕτως· οὐ σός γε πατὴρ μεταδαίνυται ἡμῖν.” δακρυόεις δέ τ’ ἄνεισι πάϊς ἐς μητέρα χήρην, ᾿Αστυάναξ, ὃς πρὶν μὲν ἑοῦ ἐπὶ γούνασι πατρὸς μυελὸν οἶον ἔδεσκε καὶ οἰῶν πίονα δημόν· αὐτὰρ ὅθ’ ὕπνος ἕλοι, παύσαιτό τε νηπιαχεύων, εὕδεσκ’ ἐν λέκτροισιν, ἐν ἀγκαλίδεσσι τιθήνης, εὐνῇ ἔνι μαλακῇ, θαλέων ἐμπλησάμενος κῆρ· νῦν δ’ ἂν πολλὰ πάθῃσι, φίλου ἀπὸ πατρὸς ἁμαρτῶν, ᾿Αστυάναξ, ὅν Τρῶες ἐπίκλησιν καλέουσιν· οἶος γάρ σφιν ἔρυσο πύλας καὶ τείχεα μακρά. νῦν δὲ σὲ μὲν παρὰ νηυσὶ κορωνίσι νόσφι τοκήων αἰόλαι εὐλαὶ ἔδονται, ἐπεί κε κύνες κορέσωνται, γυμνόν· ἀτάρ τοι εἵματ’ ἐνὶ μεγάροισι κέονται λεπτά τε καὶ χαρίεντα, τετυγμένα χερσὶ γυναικῶν. ἀλλ’ ἤτοι τάδε πάντα καταφλέξω πυρὶ κηλέῳ, οὐδὲν σοί γ’ ὄφελος, ἐπεὶ οὐκ ἐγκείσεαι αὐτοῖς, ἀλλὰ πρὸς Τρώων καὶ Τρωϊάδων κλέος εἶναι.’ ὣς ἔφατο κλαίουσ’, ἐπὶ δὲ στενάχοντο γυναῖκες. 489 ἀπουρίζω I take away [possibly connected with οὖρα, boundary-stones, i.e. men will confiscate his land by removing these] ἄρουρα, ἡ land, field (1b) 490 ὀρφανικός ή όν of orphanhood παναφῆλιξ (παναφηλικ-) completely alone, bereft of friends 491 πάντα: adverbial acc. n. pl., ‘in all things, wholly’ ὑπεμνήμυκε ‘he is utterly rejected’ παρειά, ἡ cheek (1b) 492 δευόμενος = δεόμενος ἄνεισι: as in English, ‘goes up to’ 493 χλαίνα, ἡ cloak (1c) ∗ χίτων (χιτων-), ὁ tunic (worn next to the skin) (3a) 494 κοτύλη, ἡ cup (1a) ἐπέσχε: gnomic aor., tr. as present (as ἐδίηνε and ἐστυφέλιξε below)

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τυτθόν (adv.) briefly 495 χεῖλος, τό lip (3c) διαίνω I wet, moisten (aor. ἐδίηνα) ὑπερῴη, ἡ palate (1a) 496 ἀμφιθαλής, ὁ child with both parents alive δαιτύς, ὁ meal, feast (3h); as always, a formal and important occasion στυφελίζω I beat, shove away 497 ∗ πλήττω (πληξ-, πλαγ-, πεπληγ-) I strike, hit ∗ ὀνείδειος ον reproachful, insulting (sc. ‘words’) ἐνίσσω I attack 498 ἔρρε ‘be off with you!’ The verb has a coarse ring to it οὕτως (here) = ‘immediately, without more ado’ γε: emphasizes σός μεταδαίνυμαι I share a feast with (+ dat.) 499 ∗ δακρυόεις εσσα εν in tears

Section 20, lines 489–515 500 ᾿Αστυάναξ (᾿Αστυανακτ-), ὁ Astyanax (son of Hektor and Andromakhe, see l.506) (3a). The narrative returns to his specific case 501 μυελός, ὁ marrow (2a) ∗ οἶος α ον alone ἔδεσκε: from ἐσθίω + frequentative ending ∗ ὄϊς, ὁ/ἡ sheep πίων (πιον-) rich δημός, ὁ fat (2a); not a delicacy generally offered to small children today (distinguish from δῆμος, people) 502 ἕλοι, παύσαιτο: indefinites (‘whenever’), as the opt. shows νηπιαχεύω I play as a child 503 ∗ εὕδω I sleep λέκτρον, τό couch, bed (2b) ἀγκαλίς (ἀγκαλιδ-) ἡ arms (3a) τιθήνη, ἡ nurse (1a) 504 εὐνή, ἡ bed (1a) μαλακός ή όν soft θάλεα, τά happy thoughts, contentment (3c) κῆρ (κέαρ), τό heart. Homer’s observation of (a privileged) childhood is remarkable. See also 9.485–91, where Phoinix describes feeding the infant Akhilleus 505 νῦν δέ i.e. back to harsh reality ἂν . . . πάθῃσι = subj. standing for fut. (see l.220) ἀπὸ . . . ἁμαρτών: tmesis (ἀφαμαρτάνω + gen.) 506 ἐπίκλησιν καλέω I call by that name. Astyanax means ‘Town-Lord’. At 6.402–3 (= 681–2 in this selection) we are told that

507 508 509 510

511 512 513

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Hektor called his son Skamandrios, while the Trojans gave him this name, ‘because Hektor on his own defended Ilion’ (῞Εκτωρ was thought in antiquity to be connected with ἔχειν, ‘to hold, protect’) ἔρυσο: the previous line leads Andromakhe back to address Hektor κορωνίς (κορωνιδ-) curved νόσφι far from (+ gen.) αἰόλος η ον wriggling εὐλή, ἡ worm, maggot (1a) γυμνόν (emphatic): the outraged state of Hektor’s body reminds Andromakhe of the fine clothes she has ready for his funeral at home. Since she thinks she will not be able to give him a proper burial, she decides to ‘cremate’ them as a kind of substitute funeral rite in his honour – a moving gesture showing her faithfulness and despair κέονται = κεῖνται λεπτός ή όν fine, delicate ∗ χαρίεις εσσα εν elegant, graceful καταφλέγω I burn up κήλεος ον blazing σοί γε i.e. no use to Hektor, but see the next line ∗ ὄφελος, τό use, help (3c) ἔγκειμαι I lie in, am wrapped in πρός (+ gen.) ‘in the eyes of’ ∗ κλέος, τό renown (1c) i.e. her act will contribute to Hektor’s glory in the sight of (πρός) the Trojans and their wives εἶναι: epexegetic inf.

Target passages: Hektor and Andromakhe (Iliad 6.237−end)

Introduction Diomedes, the Greek hero, has run amok, and the Trojans are in desperate straits. Hektor is advised by his brother Helenos to go back to Troy and to ask their mother, Hekabe, to gather the women and pray to Athene to spare the Trojans. 21

Hektor, ordering the women to pray, reaches the palace of his father Priam, king of Troy. The palace is described. (237–50)

῞Εκτωρ δ’ ὡς Σκαιάς τε πύλας καὶ φηγὸν ἵκανεν, ἀμφ’ ἄρα μιν Τρώων ἄλοχοι θέον ἠδὲ θύγατρες εἰρόμεναι παῖδάς τε κασιγνήτους τε ἔτας τε καὶ πόσιας· ὁ δ’ ἔπειτα θεοῖς εὔχεσθαι ἀνώγει πάσας ἑξείης· πολλῇσι δὲ κήδε’ ἐφῆπτο. ἀλλ’ ὅτε δὴ Πριάμοιο δόμον περικαλλέ’ ἵκανε, ξεστῇς αἰθούσῃσι τετυγμένον – αὐτὰρ ἐν αὐτῷ πεντήκοντ’ ἔνεσαν θάλαμοι ξεστοῖο λίθοιο, πλησίον ἀλλήλων δεδμημένοι· ἔνθα δὲ παῖδες κοιμῶντο Πριάμοιο, παρὰ μνηστῇς ἀλόχοισι· κουράων δ’ ἑτέρωθεν ἐναντίοι ἔνδοθεν αὐλῆς δώδεκ’ ἔσαν τέγεοι θάλαμοι ξεστοῖο λίθοιο, πλησίον ἀλλήλων δεδμημένοι· ἔνθα δὲ γαμβροὶ κοιμῶντο Πριάμοιο παρ’ αἰδοίῃς ἀλόχοισιν. 516 Σκαιάς . . . πύλας: the boundary between city and battlefield. As soon as Hektor reaches these gates he is surrounded by women asking for news of their menfolk φηγός, ἡ oak tree (2a); this was evidently a landmark on the plain, just outside the gates, and probably the spot where Athene and Apollo meet at 7.22, 60 517 μιν i.e. Hektor; the subject changes to the Trojan women θέον: note the accent 518 ∗ ἐ(ί)ρομαι I ask about ∗ κασίγνητος, ὁ brother (2a) ∗ ἔτης, ὁ kinsman (1d)

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519 ∗ πόσις, ὁ husband (3e) (acc. pl. πόσιας) ∗ ἄνωγα (perf.) I order 520 ἑξείης in turn ∗ κήδεα, τά sorrows, grief (3c) ἐφάπτω I attach to; a striking verb: grief has been ‘fastened on to’ those who have been bereaved 521 ἀλλ’ ὅτε δή . . . the main clause of this sentence does not come until l.530. The intervening digression is a set piece. Priam’s palace is described in detail that emphasizes its size, large enough to accommodate a considerable extended family (‘the breeding ground of a great dynasty’); the

Sections 21–2, lines 516–35 presence of Priam’s sons-in-law emphasizes his power, and his ability to call on them to fight on Troy’s behalf περικαλλής ές very fine, beautiful 522 ∗ ξεστός ή όν smooth, polished; referring either to the courtyard floors or to well-dressed building blocks (as in ll.523, 527). These colonnades (= roofed spaces projecting into a courtyard) were set around the main palace. It is not necessary to take the description of Priam’s palace, or of the number and domestic arrangements of his family, too literally αἴθουσα, ἡ colonnade (1c) ∗ τεύχω (τευξ-, τετυκ-) I build, prepare; (pass. can = I am made, am) 523 πεντήκοντα: the traditional number of Priam’s sons; nineteen were by Hekabe, and the rest by in-house concubines. Of

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these, twenty-two are named and eleven killed in the Iliad ἔνεσαν = ἐνῆσαν θάλαμος, ὁ any private room, but especially a bedroom (2a) ∗ δέμω I build (perf. part. pass. δεδμημένος η ον) ∗ κοιμάομαι I sleep μνηστός ή όν wedded. The evocation of peaceful family life is in strong contrast with events on the plain ἑτέρωθεν on the other side ἐναντίος α ον opposite, facing ἔνδοθεν inside (+ gen.); a loose description – the rooms probably led off the colonnades αὐλή, ἡ hall (1a) ∗ ἔσαν = ἦσαν τέγεος ον roofed or near the roof γαμβρός, ὁ son-in-law (2a) ∗ αἰδοῖος α ον respectable

22 Hekabe meets Hektor and offers him wine. Hektor refuses it and orders her to see to the prayers to Athene. Hektor, meanwhile, will try to find Paris and bring him back into the battle. (251–85)

ἔνθα οἱ ἠπιόδωρος ἐναντίη ἤλυθε μήτηρ Λαοδίκην ἐσάγουσα, θυγάτρων εἶδος ἀρίστην· ἔν τ’ ἄρα οἱ φῦ χειρὶ ἔπος τ’ ἔφατ’ ἔκ τ’ ὀνόμαζε· ‘τέκνον, τίπτε λιπὼν πόλεμον θρασὺν εἰλήλουθας; ἦ μάλα δὴ τείρουσι δυσώνυμοι υἷες ᾿Αχαιῶν μαρνάμενοι περὶ ἄστυ· σὲ δ’ ἐνθάδε θυμὸς ἀνῆκεν 530 ἠπιόδωρος bountiful, generous ∗ ἐναντίος α ον opposite, facing (+ dat.); take with οἱ (= Hektor) ∗ ἤλυθε = ἦλθε 531 Λαοδίκη, ἡ Laodike (daughter of Priam) (1a). It looks as if Hekabe and Laodike are on their way from some errand or visit (women do not venture out unaccompanied), and are interrupted by Hektor; at this point he enters a world where women meet according to their own patterns of domestic life εἶδος, τό looks, form, beauty (3c); acc. of respect, with ἀρίστην 532 ἐν . . . φύομαι χειρί I cling by the hand to (+ dat.), lit. ‘I am grafted into . . . with my hand’ ∗ ἐξονομάζω I call aloud on, address 533 τίπτε = τί ποτε: a surprised question, ‘why on earth?’

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θρασύς εῖα ύ bold εἰλήλουθα = ἐλήλυθα 534 ἦ μάλα δή: as usual, adds energy to a statement (‘it must be that’); ll.534–6 are Hekabe’s explanation to herself as to why Hektor has left the fighting: things are getting serious, and it is time to pray to the gods. She comes across as a lively, strong-minded woman intent on doing what she can to remedy a situation over which she has, ultimately, no control τείρω I exhaust, wear out δυσώνυμος ον accursed ∗ υἷες = υἱοί 535 μάρναμαι I fight, battle ∗ ἀνίημι (ἀνε(ι)-) I encourage; not in fact the promptings of Hektor’s θυμός but the advice of the seer Helenos ∗

56

Homer

ἐλθόντ’ ἐξ ἄκρης πόλιος Διὶ χεῖρας ἀνάσχειν. ἀλλὰ μέν’, ὄφρα κέ τοι μελιηδέα οἶνον ἐνείκω, ὡς σπείσῃς Διὶ πατρὶ καὶ ἄλλοις ἀθανάτοισι πρῶτον, ἔπειτα δὲ καὐτὸς ὀνήσεαι, αἴ κε πίῃσθα. ἀνδρὶ δὲ κεκμηῶτι μένος μέγα οἶνος ἀέξει, ὡς τύνη κέκμηκας, ἀμύνων σοῖσιν ἔτῃσι.’ τὴν δ’ ἠμείβετ’ ἔπειτα μέγας κορυθαίολος ῞Εκτωρ· ‘μή μοι οἶνον ἄειρε μελίφρονα, πότνια μῆτερ, μή μ’ ἀπογυιώσῃς μένεος, ἀλκῆς τε λάθωμαι· χερσὶ δ’ ἀνίπτοισιν Διὶ λείβειν αἴθοπα οἶνον ἅζομαι· οὐδέ πῃ ἔστι κελαινεφέϊ Κρονίωνι αἵματι καὶ λύθρῳ πεπαλαγμένον εὐχετάασθαι. ἀλλὰ σὺ μὲν πρὸς νηὸν ᾿Αθηναίης ἀγελείης ἔρχεο σὺν θυέεσσιν, ἀολλίσσασα γεραιάς· πέπλον δ’, ὅς τίς τοι χαριέστατος ἠδὲ μέγιστος ἔστιν ἐνὶ μεγάρῳ καί τοι πολὺ φίλτατος αὐτῇ, τὸν θὲς ᾿Αθηναίης ἐπὶ γούνασιν ἠϋκόμοιο, καί οἱ ὑποσχέσθαι δυοκαίδεκα βοῦς ἐνὶ νηῷ ἤνις ἠκέστας ἱερευσέμεν, αἴ κ’ ἐλεήσῃ ἄστυ τε καὶ Τρώων ἀλόχους καὶ νήπια τέκνα, αἴ κεν Τυδέος υἱὸν ἀπόσχῃ ᾿Ιλίου ἱρῆς, ἄγριον αἰχμητήν, κρατερὸν μήστωρα φόβοιο. ἀλλὰ σὺ μὲν πρὸς νηὸν ᾿Αθηναίης ἀγελείης ἔρχευ, ἐγὼ δὲ Πάριν μετελεύσομαι, ὄφρα καλέσσω, αἴ κ’ ἐθέλῃσ’ εἰπόντος ἀκουέμεν· ὥς κέ οἱ αὖθι γαῖα χάνοι· μέγα γάρ μιν ᾿Ολύμπιος ἔτρεφε πῆμα Τρῶσί τε καὶ Πριάμῳ μεγαλήτορι τοῖό τε παισίν. 536 ∗ ἄκρος α ον top; the gods’ temples were often built on the highest point (acro-polis) of the city, the place of final refuge in attack πόλιος = πόλεως χειρὰς ἀνασχεῖν: the usual gesture to accompany prayer 537 ἀλλὰ μένε: like the other women Hektor meets in Troy, Hekabe tries to delay him. These three will lament over his body when it is returned to Troy by Priam in Book 24 ∗ ὄφρα κε until μελιηδής ές honey-sweet ∗ οἶνος, ὁ wine (2a) ἐνείκω = ἐνέγκω 538 σπείσῃς: from σπένδω 539 πρῶτον i.e. proper treatment of the gods first, personal comfort second καὐτός = καὶ αὐτός (crasis)

540

545

550

555

560

ὀνίνημαι (ὀνησ-) I gain benefit, i.e. (here) = ‘feel better’ πίῃσθα: from πίνω 540 ∗ κάμνω (καμ-, κεκμηκ-) I work, toil, am weary μένος: though this comes from the gods, Hekabe claims it can be revived by wine. Hektor holds a different view ἀέξω I increase, foster 541 τύνη = σύ ἀμύνω I defend, protect (+ dat.) ἔτης, ὁ kinsman (1d). For Hekabe, the war is a family matter, while for Hektor it means both winning glory and defending his city, fellow-citizens, wife and son. In this respect he is a more complex, socially responsible character than Akhilleus and the Greeks, who are fighting only for glory and booty (and to preserve their temporary encampment)

Section 22, lines 536–62 542 ∗ κορυθαίολος ον shining-helmeted 543 ἀείρω I raise, lift, bring, offer μελίφρων (μελιφρον-) sweet, delicious ∗ πότνια, ἡ lady, mistress, queen 544 ∗ μή = ἵνα μή ἀπογυιόω I enfeeble X (acc.) in respect of Y (gen.) ∗ ἀλκή, ἡ courage (1a) λάθωμαι: in effect, a consecutive clause, ‘so that I . . . ’ 545 ἄνιπτος ον unwashed. Hektor crisply reminds his mother that one must have clean hands when dealing with the gods (otherwise there is a risk of ritual pollution). In any case, he is in a hurry to fetch his unsatisfactory brother Paris λείβω I pour (a drink offering) αἴθοψ (αἰθοπ-) sparkling 546 ἅζομαι I stand in awe of -ing (+ inf.) πῃ in any way ∗ ἔστι (here) = ἔξεστι ‘it is possible’ κελαινεφής ές dark-clouded ∗ Κρονίων (Κρονίων-), ὁ son of Kronos, i.e. Zeus (3a) 547 λύθρον, τό gore (2b) παλάσσω I spatter, defile ∗ εὐχετάασθαι = εὔχεσθαι 548 ἀλλά (here) = ‘no, [you must go]’ σὺ μέν: emphatic, contrasted with ἐγὼ δέ (l.559). Men, who are fighting to protect their women, rely on them to help by performing the proper rituals; theirs is a world of purity, separate from the bloodshed of the battlefield ∗ νηός, ὁ temple (2a) ᾿Αθηναίης: Homer sees no anomaly in giving the Trojans the same gods as the Greeks, despite the fact that Athene favours the Greeks throughout the poem ἀγελείη, ἡ the plunderer (a common epithet of Athene) 549 θύος, τό burnt sacrifice (3c) ἀολλίζω I gather together, assemble ∗ γεραιός ά όν old: note the gender 550–7 earlier in the book Helenos, Priam’s son and a seer, has told Hektor that this is what he must tell his mother to do ∗ πέπλος, ὁ robe (2a); the acc. is the object of θές (l.552), imper. from τίθημι. Both the robe and the heifers (below) are valuable, and therefore more likely to please Athene and persuade her to help the Trojans χαρίεις εσσα εν beautiful, elegant 551 τοι = σοι (with αὐτῇ)

57

552 τόν: repeats πέπλον, for the benefit of listeners after a short digression: ‘well, that one’ ∗ ἠΰκομος ον lovely haired 553 ὑποσχέσθαι = inf. for imper. ∗ δυοκαίδεκα twelve ∗ βοῦς (βο-), ὁ/ἡ ox, bull, cow (but here = heifer, as the next line shows) 554 ἤνις yearling (acc. pl.) ἤκεστος η ον unbroken ∗ ἱερεύω I sacrifice; ἱερεύσεμεν is fut. inf. depending on ὑποσχέσθαι αἴ κε . . . + subj. (as often) = ‘in the hope that’ (see also ll.556 and 560) 555 ἀλόχους . . . τέκνα: an appropriate prayer from women ∗ νήπιος α ον innocent, child-like 556 Τυδεύς, ὁ Tydeus (father of Diomedes). Diomedes, a major Greek hero, has been carrying all before him on the battlefield in Book 5. His importance is emphasized by being given a whole line (l.557) to describe him – albeit ‘focalized’ through Hektor ἀπόσχῃ from ἀπέχω ἱρός = ἱερός 557 ἄγριος α ον wild, fierce, savage αἰχμητής, ὁ spearman (1d) ∗ κρατερός ά όν strong μήστωρ (μηστωρ-), ὁ adviser, provoker (3a) φόβοιο: as nearly always in Homer, not ‘fear’ but ‘(panic) flight’ 559 ἔρχευ = ἔρχου ∗ Πάρις, ὁ Paris μετελεύσομαι = fut. of μετέρχομαι 560 αἴ κε cf. l.556 εἰπόντος sc. μου: Paris tries Hektor’s patience hard (see 3.39–57, and below). He has been absent from the fighting, staying in his house with Helen, since being rescued in Book 3 by Aphrodite. She favours the Trojans and Paris because he awarded her the beauty prize over Hera and Athene ὥς κε: introducing a wish, ‘would that!’ αὖθι at once (or perhaps, ‘where he stands’) 561 χάσκω (χαν-) I yawn (i.e. here = ‘swallow him up’) μέγα . . . πῆμα: in apposition to μιν ∗ ᾿Ολύμπιος, ὁ the Olympian i.e. Zeus (2a) πῆμα, τό source of grief, bane, affliction (3b) (often sent by the gods) 562 τοῖο = τοῦ ‘his’ παισίν: see on l.523 above

Homer

58

εἰ κεῖνόν γε ἴδοιμι κατελθόντ’ ῎Αϊδος εἴσω, φαίην κε φρέν’ ἀτέρπου ὀϊζύος ἐκλελαθέσθαι.’ 563 κατελθόντα: note the prefix 564 ἀτερπής ές joyless. Hektor’s feelings of frustration with his brother get the better of him

23

ὀϊζύς, ἡ anguish (3h) ∗ ἐκλανθάνομαι I forget utterly (+ gen.) (ἐκλελαθέσθαι = redupl. aor. inf.)

The women gather to pray. (286–311)

ὣς ἔφαθ’, ἡ δὲ μολοῦσα ποτὶ μέγαρ’ ἀμφιπόλοισι κέκλετο· ταὶ δ’ ἄρ’ ἀόλλισσαν κατὰ ἄστυ γεραιάς. αὐτὴ δ’ ἐς θάλαμον κατεβήσετο κηώεντα, ἔνθ’ ἔσαν οἱ πέπλοι παμποίκιλα ἔργα γυναικῶν Σιδονίων, τὰς αὐτὸς ᾿Αλέξανδρος θεοειδὴς ἤγαγε Σιδονίηθεν, ἐπιπλὼς εὐρέα πόντον, τὴν ὁδὸν ἣν ῾Ελένην περ ἀνήγαγεν εὐπατέρειαν· τῶν ἕν’ ἀειραμένη ῾Εκάβη φέρε δῶρον ᾿Αθήνῃ, ὃς κάλλιστος ἔην ποικίλμασιν ἠδὲ μέγιστος, ἀστὴρ δ’ ὣς ἀπέλαμπεν· ἔκειτο δὲ νείατος ἄλλων. βῆ δ’ ἰέναι, πολλαὶ δὲ μετεσσεύοντο γεραιαί. αἱ δ’ ὅτε νηὸν ἵκανον ᾿Αθήνης ἐν πόλει ἄκρῃ, τῇσι θύρας ὤϊξε Θεανὼ καλλιπάρῃος, Κισσηΐς, ἄλοχος ᾿Αντήνορος ἱπποδάμοιο· τὴν γὰρ Τρῶες ἔθηκαν ᾿Αθηναίης ἱέρειαν. αἱ δ’ ὀλολυγῇ πᾶσαι ᾿Αθήνῃ χεῖρας ἄνεσχον· ἡ δ’ ἄρα πέπλον ἑλοῦσα Θεανὼ καλλιπάρῃος θῆκεν ᾿Αθηναίης ἐπὶ γούνασιν ἠϋκόμοιο, εὐχομένη δ’ ἠρᾶτο Διὸς κούρῃ μεγάλοιο· ‘πότνι’ ᾿Αθηναίη, ῥυσίπτολι, δῖα θεάων, ἆξον δὴ ἔγχος Διομήδεος, ἠδὲ καὶ αὐτὸν πρηνέα δὸς πεσέειν Σκαιῶν προπάροιθε πυλάων, ὄφρα τοι αὐτίκα νῦν δυοκαίδεκα βοῦς ἐνὶ νηῷ ἤνις ἠκέστας ἱερεύσομεν, αἴ κ’ ἐλεήσῃς ἄστυ τε καὶ Τρώων ἀλόχους καὶ νήπια τέκνα.’ ὣς ἔφατ’ εὐχομένη, ἀνένευε δὲ Παλλὰς ᾿Αθήνη. 565 μολοῦσα: from ∗ βλώσκω (μολ-, μεμβλωκ-) I go ∗ ποτί = πρός (here + dat.) 566 ∗ κέλομαι I give orders (κέκλετο = redupl. aor.) ἀολλίζω I gather together, assemble (intrans.) 567 κατεβήσετο: note the prefix – the natural place for a store-chamber κηώεις εσσα εν fragrant 568 οἱ: dat., referring to Hekabe πέπλος, ὁ robe (2a) παμποίκιλος ον elaborate, richly decorated

565

570

575

580

585

590

ἔργα i.e. worked at the loom, which was where women spent much of their time; in apposition to πέπλοι 569 Σιδόνιος α ον from Sidon, chief town of Phoenicia (modern Lebanon). It is not clear why Paris and Helen put in here on their way back to Troy, though according to another tradition (in the Cypria, part of the epic cycle) Hera drove them there in a storm, and Paris promptly sacked the city.

Sections 22–4, lines 563–96

570 571 572 573 574

575 577

The Phoenicians were well known for their high-quality craftsmanship, especially in glass and purple-dyed cloth. They were renowned traders, setting up way-stations all round the Mediterranean and beyond in their search for metals. The most famous of these was Carthage, in modern Tunisia ∗ ᾿Αλέξανδρος, ὁ another name for Paris (2a) ∗ θεοειδής ές god-like, lit. ‘who looked like a god’. Paris’ beauty, which doubtless helped him to ensnare Helen, is more than once thrown in his face by Hektor Σιδονίηθεν from Sidon ∗ ἐπιπλώς = aor. part. of ἐπιπλέω τὴν ὁδὸν ἣν . . . i.e. ‘on that voyage, when . . . ’ εὐπατέρεια, ἡ daughter of a noble father (1b) τῶν: what are these? ἕν’ i.e. ἕνα (m.) ποίκιλμα, τό (woven) pattern (3b) ἀστὴρ δ’ ὣς = ὡς ἀστήρ. Star similes in the Iliad are often associated with a sense of foreboding; this robe will not save the Trojans νείατος η ον at the bottom of (presumably because it was intended for use only in an emergency) μετεσσεύοντο i.e. after her (μετά) ∗ οἴγω I open Θεανώ, ἡ Theano (priestess of Athene; her husband Antenor was a leading Trojan elder and son of Priam) καλλιπάρῃος ον with lovely cheeks

59

578 Κισσηΐς, ἡ daughter of Kissˆes (king of Thrace); several peoples bordering on the N. Aegean were Trojan allies ᾿Αντήνωρ, ὁ Antenor (3a) ∗ ἱππόδαμος ον tamer of horses 580 ὀλολυγή, ἡ ritual female shriek (1a) 583 ἀράομαι I pray κούρῃ . . . Διός: Athene had no mother, having sprung fully grown from the head of Zeus 584 ῥυσίπτολις, ὁ/ἡ defender of the city (3e) δῖα θεάων ‘bright among goddesses’ 585 ἄγνυμι (ἀξ-) I break ∗ ἔγχος, τό weapon, spear (3c) ∗ Διομήδης, ὁ Diomedes (3d); see l.556 αὐτόν i.e. Diomedes himself. Helenos had actually told Hektor to instruct Hekabe (not Theano) to pray only that Diomedes be kept away from Troy; Theano’s initiative may influence Athene’s refusal (l.590) – and in any case Homer’s audience would know that Diomedes was not to be killed at Troy 586 πρηνής ές head-first δός: imper. of δίδωμι, (here) = ‘grant that’ (+ inf.) προπάροιθε before (+ gen.); this prayer is added by Theano, and was not part of Helenos’ more cautious advice 588 ἤνις yearling. See ll.553–5 ἤκεστος η ον unbroken ἱερεύω I sacrifice 590 ἀνανεύω I refuse; see l.205. Athene is too committed to the Greek side to consent

24 Hektor arrives at Paris’ (= Alexandros’) house and rebukes him for his failure to fight. (312–31)

ὣς αἱ μέν ῥ’ εὔχοντο Διὸς κούρῃ μεγάλοιο, ῞Εκτωρ δὲ πρὸς δώματ’ ᾿Αλεξάνδροιο βεβήκει καλά, τά ῥ’ αὐτὸς ἔτευξε σὺν ἀνδράσιν οἳ τότ’ ἄριστοι ἦσαν ἐνὶ Τροίῃ ἐριβώλακι τέκτονες ἄνδρες, οἵ οἱ ἐποίησαν θάλαμον καὶ δῶμα καὶ αὐλὴν ἐγγύθι τε Πριάμοιο καὶ ῞Εκτορος, ἐν πόλει ἄκρῃ. 591 αἱ μέν . . . ῞Εκτωρ δέ: Homer’s usual rapid transition. Though it seems from the Greek as if the second action follows the first, it is hard not to think of them as simultaneous 592 δώματα: pl. because a palace usually consisted of more than one building 593 ἄριστοι: take with τότε, and τέκτονες ἄνδρες 594 ἐριβῶλαξ (ἐριβωλακ-) fertile, with rich soil. Homer clearly envisages Troy as having a

595

rich hinterland, as well as plenty of space to raise horses (l.578) τέκτων (τεκτον-), ὁ carpenter, builder (3a) 595 οἵ, οἱ: distinguish between these two! ∗ δῶμα, τό house (3b) ∗ αὐλή, ἡ hall, courtyard (1a) 596 ∗ ἐγγύθι = ἐγγύς. So Paris (and Hektor) did not live in Priam’s palace, where there were rooms for his fifty sons (l.523)

60

Homer

(a)

(b)

15a & b. Hekabe and servants take the πέπλος to Athene

ἔνθ’ ῞Εκτωρ εἰσῆλθε Διὶ φίλος, ἐν δ’ ἄρα χειρὶ ἔγχος ἔχ’ ἑνδεκάπηχυ· πάροιθε δὲ λάμπετο δουρὸς αἰχμὴ χαλκείη, περὶ δὲ χρύσεος θέε πόρκης. τὸν δ’ εὗρ’ ἐν θαλάμῳ περικαλλέα τεύχε’ ἕποντα, ἀσπίδα καὶ θώρηκα, καὶ ἀγκύλα τόξ’ ἁφόωντα· ᾿Αργείη δ’ ῾Ελένη μετ’ ἄρα δμῳῇσι γυναιξὶν ἧστο, καὶ ἀμφιπόλοισι περικλυτὰ ἔργα κέλευε. τὸν δ’ ῞Εκτωρ νείκεσσεν ἰδὼν αἰσχροῖς ἐπέεσσι· ‘δαιμόνι’, οὐ μὲν καλὰ χόλον τόνδ’ ἔνθεο θυμῷ. λαοὶ μὲν φθινύθουσι, περὶ πτόλιν αἰπύ τε τεῖχος μαρνάμενοι· σέο δ’ εἵνεκ’ ἀϋτή τε πτόλεμός τε ἄστυ τόδ’ ἀμφιδέδηε· σὺ δ’ ἂν μαχέσαιο καὶ ἄλλῳ, ὅν τινά που μεθιέντα ἴδοις στυγεροῦ πολέμοιο. ἀλλ’ ἄνα, μὴ τάχα ἄστυ πυρὸς δηΐοιο θέρηται.’ 598 ἑνδεκάπηχυς 11 cubits long, i.e. about 16 feet / 5 metres; enormous, but not impossible for a thrusting spear. There is perhaps a contrast between Hektor the serious warrior and Paris the playboy ∗ πάροιθε at the top, in front 599 αἰχμή, ἡ spear-point (1a)

600

605

610

πόρκης, ὁ ring (which was tightened round the shaft to fasten the point to it) (1d) 600 τὸν δέ i.e. Paris περικαλλής ές very fine; Paris may not be a great fighter, but he looks good in his armour ἕπω I attend to 601 θώρηξ (θωρηκ-), ὁ breastplate (3a)

Sections 24–5, lines 597–617

602

603

604 605

ἀγκύλος η ον curved τόξον, τό bow (2b). τὰ τόξα (pl.) usually = ‘bow and arrows’, but of course only the bow is curved. Paris, like Pandaros and Teukros, is a skilled archer, a method of fighting looked down on by traditional heroes like Aias and Hektor, presumably because it avoided the danger of a hand-to-hand struggle (though there are prizes for archery in Patroklos’ funeral games, 23.850–3) ἁφάω I handle ᾿Αργείη ‘Argive’ can refer either to the area in the N.E. Peloponnese around Argos, or (as here) to the Greek mainland in general. Homer has no word for ‘Greeks’, calling them Argives, Akhaians, or Danaans ∗ ῾Ελένη, ἡ Helen (1a) ∗ δμῳή, ἡ maidservant, female slave (1a) ∗ ἧμαι I am seated (ἥμην = aor.) περικλυτός ή όν renowned, magnificent; a woman’s glory lay in her handiwork at the loom νεικέ(ι)ω I rebuke, quarrel with ∗ δαιμόνιε (originally) one under the influence of a daimon = an unseen divine force, hence behaving strangely; always used when

606 607

608

609

610

61

addressing someone known to the speaker. Tr. (here) ‘what is the matter with you?’ καλά: adverbial, ‘it is not well/good that . . . ’ χόλος, ὁ anger (2a); Hektor perhaps assumes that Paris is sulking angrily after being worsted in single combat by Menelaos (Book 3), and absenting himself from the fighting. In effect, he gives him an excuse for his inactivity ἔνθεο = ἔνθου (from ἐντίθημι) φθινύθω I die, perish αἰπύς εῖα ύ steep μάρναμαι I fight σέο: note the emphatic position (with εἵνεκα), ‘It’s because of you . . . ’ ἀϋτή, ἡ battle-cry (1a) (distinguish from αὐτή) ἀμφιδέδηε ‘flares up around’ μαχέσαιο (here) = ‘quarrel with’. Note the opt. here and in l.609 μεθίημι (μεθε(ι)-) I slack, hang back from (+ gen.) ∗ στυγερός ά όν loathsome, hateful ἀλλά: see l.56 ἄνα ‘get up!’ δήϊος α ον destructive θέρομαι I burn, am on fire

25 Paris accepts Hektor’s rebuke (332–41)

τὸν δ’αὖτε προσέειπεν ᾿Αλέξανδρος θεοειδής· ‘῞Εκτορ, ἐπεί με κατ’ αἶσαν ἐνείκεσας οὐδ’ ὑπὲρ αἶσαν, τοὔνεκά τοι ἐρέω· σὺ δὲ σύνθεο καί μευ ἄκουσον· οὔ τοι ἐγὼ Τρώων τόσσον χόλῳ οὐδὲ νεμέσσι ἥμην ἐν θαλάμῳ, ἔθελον δ’ ἄχεϊ προτραπέσθαι. νῦν δέ με παρειποῦσ’ ἄλοχος μαλακοῖς ἐπέεσσιν ὅρμησ’ ἐς πόλεμον· δοκέει δέ μοι ὧδε καὶ αὐτῷ 612 αἶσα, ἡ fate, what is right, proper. Paris is quick to admit his failings, though the words are easily said, unlike Helen’s at ll.623–7 ∗ ὑπέρ (here) = beyond (+ acc.) 613 τοὔνεκα: picks up all of l.612; best omitted in translation συντίθεμαι (συνθε-) I hear; cf. l.605 614 οὐ . . . τόσσον . . . δέ lit. ‘it was not so much that I was . . . as that I wanted to . . . ’. Paris points out that he has no cause to be angry with the Trojans (χόλῳ answers χόλον in l.605); his true feeling is ἄχος νέμεσις, ἡ bitterness, sense of grievance (3e) 615 ἥμην: see l.603

∗

615

ἄχος, τό sorrow, depression (because of his defeat by Menelaos?) 616 νῦν δέ: as always, brings us back to reality πάρειπον I advised μαλακός ή όν soft. In fact, Helen’s words in Book 3 were quite tart, and she does not mince them in ll. 629–31. Paris massages her rebuke for Hektor’s ears. Women in the Iliad generally try to restrain their men from actions likely to endanger them 617 ὁρμάω I urge δοκέει: impersonal, i.e. the subject is ‘it’ (agreeing with λώϊον) μοι . . . καὶ αὐτῷ to me myself as well

Homer

62

λώϊον ἔσσεσθαι· νίκη δ’ ἐπαμείβεται ἄνδρας. ἀλλ’ ἄγε νῦν ἐπίμεινον, ᾿Αρήϊα τεύχεα δύω· ἢ ἴθ’, ἐγὼ δὲ μέτειμι· κιχήσεσθαι δέ σ’ ὀΐω.’ 618 λώϊον better ἔσσεσθαι: note the tense ἐπαμείβομαι I alternate between 619–20 Paris vacillates, even over small decisions. From a storytelling point of view, Homer has to have Hektor on his own

26

620

for his approaching meeting with Andromakhe ᾿Αρήϊος α ον of Ares, warlike δύω = jussive subj. 620 ∗ κιχάνω (κιχ-, κιχησ-) I meet, catch up with ∗ ὀΐω I think

Helen, Paris’ ‘wife’, agrees with Hektor’s rebuke. Hektor refuses her hospitality and urges her to hurry Paris along. (342–68)

ὣς φάτο, τὸν δ’ οὔ τι προσέφη κορυθαίολος ῞Εκτωρ· τὸν δ’ ῾Ελένη μύθοισι προσηύδα μειλιχίοισι· ‘δᾶερ ἐμεῖο κυνὸς κακομηχάνου ὀκρυοέσσης, ὥς μ’ ὄφελ’ ἤματι τῷ ὅτε με πρῶτον τέκε μήτηρ οἴχεσθαι προφέρουσα κακὴ ἀνέμοιο θύελλα εἰς ὄρος ἢ εἰς κῦμα πολυφλοίσβοιο θαλάσσης, ἔνθα με κῦμ’ ἀπόερσε πάρος τάδε ἔργα γενέσθαι. αὐτὰρ ἐπεὶ τάδε γ’ ὧδε θεοὶ κακὰ τεκμήραντο, ἀνδρὸς ἔπειτ’ ὤφελλον ἀμείνονος εἶναι ἄκοιτις, ὃς ᾔδη νέμεσίν τε καὶ αἴσχεα πόλλ’ ἀνθρώπων. τούτῳ δ’ οὔτ’ ἂρ’ νῦν φρένες ἔμπεδοι οὔτ’ ἄρ’ ὀπίσσω ἔσσονται· τῶ καί μιν ἐπαυρήσεσθαι ὀΐω. ἀλλ’ ἄγε νῦν εἴσελθε καὶ ἕζεο τῷδ’ ἐπὶ δίφρῳ, δᾶερ, ἐπεί σε μάλιστα πόνος φρένας ἀμφιβέβηκεν εἵνεκ’ ἐμεῖο κυνὸς καὶ ᾿Αλεξάνδρου ἕνεκ’ ἄτης, οἷσιν ἐπὶ Ζεὺς θῆκε κακὸν μόρον, ὡς καὶ ὀπίσσω ἀνθρώποισι πελώμεθ’ ἀοίδιμοι ἐσσομένοισι.’ τὴν δ’ ἠμείβετ’ ἔπειτα μέγας κορυθαίολος ῞Εκτωρ· ‘μή με κάθιζ’, ῾Ελένη, φιλέουσά περ· οὐδέ με πείσεις· ἤδη γάρ μοι θυμὸς ἐπέσσυται ὄφρ’ ἐπαμύνω Τρώεσσ’, οἳ μέγ’ ἐμεῖο ποθὴν ἀπεόντος ἔχουσιν. ἀλλὰ σύ γ’ ὄρνυθι τοῦτον, ἐπειγέσθω δὲ καὶ αὐτός, ὥς κεν ἔμ’ ἔντοσθεν πόλιος καταμάρψῃ ἐόντα. καὶ γὰρ ἐγὼν οἶκόνδε ἐλεύσομαι, ὄφρα ἴδωμαι οἰκῆας ἄλοχόν τε φίλην καὶ νήπιον υἱόν. οὐ γὰρ οἶδ’ εἰ ἔτι σφιν ὑπότροπος ἵξομαι αὖτις, ἦ ἤδη μ’ ὑπὸ χερσὶ θεοὶ δαμόωσιν ᾿Αχαιῶν.’ 621 οὔ τι προσέφη: a resounding silence; Hektor does not bother to reply to his brother. He has a warmer relationship,

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which is reciprocated, with Helen; she admires him, and expresses warm feelings of gratitude to him in her

Sections 25–6, lines 618–47

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lament over his dead body (24.762–75) μειλίχιος α ον kind, gentle δαήρ (δαερ-), ὁ brother-in-law (3a) κακομήχανος η ον evil-scheming ὀκρυόεις εσσα εν chilling, cold-hearted (or perhaps ‘dreadful’; derivation uncertain). Helen is savagely critical of her part in the war (she twice in this passage calls herself a κύων), and bitter about her isolation in Trojan society (despite the kindness of Hektor and Priam, see 3.173); this is a passionate utterance. More than others in the Iliad, Helen has the detachment to look critically at the war and her own part in it ὄφελ(λ)ον (ὡς) would that! (+ inf.) θύελλα, ἡ storm (1c) ∗ κῦμα, τό wave (3b) πολύφλοισβος ον loud-roaring; a favourite epithet for the sea, perhaps onomatopoeic ἀπόερσε: the apodosis of a past unreal condition (here without κε/ἄν), whose protasis is ὄφελον: ‘would have swept me away’ (i.e. to the limits of the civilized world) ∗ πάρος = πρίν ὤφελλον = ὄφελλον (as l.624) ἄκοιτις (ἀκοιτ-), ἡ wife. Note that Paris is present during this tirade ὃς ᾔδη . . . αἴσχεα i.e. one who understands what other men think of him νέμεσις, ἡ disapproval (3e) αἴσχος, τό shame, reproach (3c) τούτῳ i.e. Paris, in contrast with ἀνδρός (l.629) ἔμπεδος ον steadfast, sound; sc. ἐστί ∗ ἄρ = ἄρα ∗ ὀπίσσω in the future τῶ for this reason ἐπαυρίσκομαι (ἐπαυρ-) I reap the consequences of εἴσελθε i.e. Hektor has stopped by the door in order to speak to Paris ∗ ἕζομαι I sit δίφρος, ὁ chair (2a) σε, φρένας both obj. of ἀμφιβέβηκεν πόνος, ὁ labour, work (2a) ἄτη, ἡ blind act (1a). This is a key word in the Iliad = a force which enters someone violently from outside, disturbing his reason and judgement and compelling him to an act of blind folly. ἄτη also

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means the ruin/destruction that results from such an act. Something of the force of this belief remains in our expression ‘I don’t know what got into me.’ Agamemnon will admit in Book 19.86–90 to having been driven out of his mind by ἄτη when he took the girl Brise¨ıs from Akhilleus. He then tells a story of how even Zeus was once deluded by ῎Ατη (here personified as a goddess) to do something against his better judgement – and went on to hurl ῎Ατη out of Olympos in his rage. But, as always in Homer, though a man may be led astray by external compulsion, he is still personally accountable for his own actions οἷσιν i.e. Paris and Helen ∗ μόρος, ὁ destiny (2a) ὡς = ἵνα ∗ πέλομαι I am ἀοίδιμος ον famous in song – as indeed it has turned out, thanks to Homer περ = καίπερ ἐπέσσυται (perf.) is eager ἐπαμύνω I help, defend (+ dat.) ποθή, ἡ desire for (+ gen.) (1a) – usually for something/someone you have had but have no longer ὄρνυμι I arouse, stir up τούτον: Hektor cannot bring himself to name his brother. He suspects that Paris cannot act under his own volition (though he then half-corrects himself). The language is abrupt ∗ ἐπείγομαι I hurry; ἐπειγέσθω is 3rd pers. imper. ἔντοσθεν inside (+ gen.) καταμάρπτω I catch, overtake. Here is Hektor the man of action: Paris will have to hurry to catch him on his way out of Troy, even though he intends to call at his own house first καὶ γάρ: adds a further piece of information: ‘I for my part . . . ’ ἐλεύσομαι = fut. of ἔρχομαι οἰκεύς, ὁ member of household (3g) Hektor has a premonition that this will be his last meeting with his wife and son, a feeling shared by Andromakhe: see ll.686–7, 743, 766 and especially 779–81 ὑπότροπος ον returning, back ∗ αὖτις = αὖθις θεοί . . . ᾿Αχαιῶν: as usual, double causation

Homer

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27

Hektor arrives home, but finds neither Andromakhe his wife nor their child. A servant tells him they have gone to watch the battle. (369–89)

This section leads up to the famous encounter between Hektor and Andromakhe, one of the pivotal points of the Iliad. Hektor’s failure to find his wife at home (probably an unusual occurrence), and his conversation with the housekeeper, serve to build up the tension. Husband and wife are driven to meet each other by a sense of anxious foreboding: Hektor leaves his house hurriedly, and Andromakhe later runs from the bastion towards him at the Skaian Gate.

ὣς ἄρα φωνήσας ἀπέβη κορυθαίολος ῞Εκτωρ· αἶψα δ’ ἔπειθ’ ἵκανε δόμους εὖ ναιετάοντας, οὐδ’ εὗρ’ ᾿Ανδρομάχην λευκώλενον ἐν μεγάροισιν, ἀλλ’ ἥ γε ξὺν παιδὶ καὶ ἀμφιπόλῳ ἐϋπέπλῳ πύργῳ ἐφεστήκει γοόωσά τε μυρομένη τε. ῞Εκτωρ δ’ ὡς οὐκ ἔνδον ἀμύμονα τέτμεν ἄκοιτιν, ἔστη ἐπ’ οὐδὸν ἰών, μετὰ δὲ δμῳῇσιν ἔειπεν· ‘εἰ δ’ ἄγε μοι, δμῳαί’ νημερτέα μυθήσασθε· πῇ ἔβη ᾿Ανδρομάχη λευκώλενος ἐκ μεγάροιο; ἠέ πῃ ἐς γαλόων ἢ εἰνατέρων ἐϋπέπλων, ἦ ἐς ᾿Αθηναίης ἐξοίχεται, ἔνθα περ ἄλλαι Τρῳαὶ ἐϋπλόκαμοι δεινὴν θεὸν ἱλάσκονται;’ τὸν δ’ αὖτ’ ὀτρηρὴ ταμίη πρὸς μῦθον ἔειπεν· ‘῞Εκτορ, ἐπεὶ μάλ’ ἄνωγας ἀληθέα μυθήσασθαι, οὔτε πῃ ἐς γαλόων οὔτ’ εἰνατέρων ἐϋπέπλων οὔτ’ ἐς ᾿Αθηναίης ἐξοίχεται, ἔνθα περ ἄλλαι Τρῳαὶ ἐϋπλόκαμοι δεινὴν θεὸν ἱλάσκονται, ἀλλ’ ἐπὶ πύργον ἔβη μέγαν ᾿Ιλίου, οὕνεκ’ ἄκουσε τείρεσθαι Τρῶας, μέγα δὲ κράτος εἶναι ᾿Αχαιῶν. ἡ μὲν δὴ πρὸς τεῖχος ἐπειγομένη ἀφικάνει, μαινομένῃ ἐϊκυῖα· φέρει δ’ ἅμα παῖδα τιθήνη.’ 649 δόμους: see l.592 ναιετάω I am established 650 οὐδ’ εὗρε This is the only occasion in the poem when a person looking for someone fails to find them. There is an air of unease about this episode: Hektor looking for Andromakhe at home (l.650) and Andromakhe looking for him on the battlefield (l.665) are both out of their normal areas of action ∗ ᾿Ανδρομάχη, ἡ Andromakhe, wife of Hektor (1a) ∗ λευκώλενος ον white-armed; well-bred ladies spent most of their time indoors and did not get sunburned, nor did they leave their house unaccompanied 651 ∗ ἐϋπέπλος ον fair-robed; despite their endings, this word and its noun here are

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f., both being two-termination compound words 652 ∗ πύργος, ὁ tower, bastion (2a) – part of the city wall, near the Skaian Gate, from where the Trojans watched events on the plain ∗ γοάω I lament μύρομαι I am in tears 653 ∗ ἀμύμων ον perfect, honourable, blameless τέτμε(ν) he met, found ∗ ἄκοιτις (ἀκοιτ-), ἡ wife 654 οὐδός, ὁ threshold (2a); Hektor must be coming from inside the house, having looked unsuccessfully for Andromakhe

ἐν μεγάροισιν

655 ∗ εἰ δ’ ἄγε come now! νημερτής ές true ∗ μυθέομαι I tell

Sections 27–8, lines 648–71

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16. Aphrodite and Πειθώ (Persuasion) send Helen away with Paris 656 ∗ πῇ; where? 657 ∗ πῃ somewhere (no accent) γάλοως, ἡ husband’s sister (2a contr.); visits to relatives were normal peacetime activities for women εἰνάτερες, αἱ brothers’ wives (3a). Why are these relations (and ᾿Αθηναίης, l.658) in the gen.? 658 ἦ (here) = ‘or’ 659 δεινήν: all deities are δεινός, because they induce a sense of awe and dread θεόν its adjective tells us that this is f. ἱλάσκομαι I conciliate, propitiate 660 ὀτρηρός ή όν swift, busy, bustling ταμίη, ἡ housekeeper (1a)

661 ἄνωγα (perf.) I order 662–4 typically of oral poetry, when an action or speech is described more than once, the same words are repeated 666 τείρω I weaken, wear down ∗ κράτος, τό strength, power, ascendancy (3c) 667 ∗ ἐπείγομαι I hurry 668 μαίνομαι I am mad (cf. 22.460). Does Andromakhe fear that Hektor is dead? ∗ ἐϊκυῖα = ἐοικυῖα τίθηνη, ἡ nurse (1a)

28 Hektor retraces his steps and finds Andromakhe with their son, Astyanax. Andromakhe pleads with him to stay within the walls and not return to the battle. (390–413)

ἧ ῥα γυνὴ ταμίη, ὁ δ’ ἀπέσσυτο δώματος ῞Εκτωρ τὴν αὐτὴν ὁδὸν αὖτις ἐϋκτιμένας κατ’ ἀγυιάς. εὖτε πύλας ἵκανε διερχόμενος μέγα ἄστυ 669 ἦ ‘she spoke’ (see l.367) 670 τὴν αὐτὴν ὁδόν: Hektor retraces his steps towards the Skaian Gate, towards the plain

ἐϋκτίμενος well-built ἀγυιά, ἡ street (1b) 671 εὖτε when

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Homer

Σκαιάς, τῇ ἄρ’ ἔμελλε διεξίμεναι πεδίονδε, ἔνθ’ ἄλοχος πολύδωρος ἐναντίη ἦλθε θέουσα ᾿Ανδρομάχη, θυγάτηρ μεγαλήτορος ᾿Ηετίωνος, ᾿Ηετίων, ὃς ἔναιεν ὑπὸ Πλάκῳ ὑληέσσῃ, Θήβῃ ῾Υποπλακίῃ, Κιλίκεσσ’ ἄνδρεσσιν ἀνάσσων· τοῦ περ δὴ θυγάτηρ ἔχεθ’ ῞Εκτορι χαλκοκορυστῇ. ἥ οἱ ἔπειτ’ ἤντησ’, ἅμα δ’ ἀμφίπολος κίεν αὐτῇ παῖδ’ ἐπὶ κόλπῳ ἔχουσ’ ἀταλάφρονα, νήπιον αὔτως, ῾Εκτορίδην ἀγαπητόν, ἀλίγκιον ἀστέρι καλῷ, τόν ῥ’ ῞Εκτωρ καλέεσκε Σκαμάνδριον, αὐτὰρ οἱ ἄλλοι ᾿Αστυάνακτ’· οἶος γὰρ ἐρύετο ῎Ιλιον ῞Εκτωρ. ἤτοι ὁ μὲν μείδησεν, ἰδὼν ἐς παῖδα, σιωπῇ· ᾿Ανδρομάχη δέ οἱ ἄγχι παρίστατο δάκρυ χέουσα, ἔν τ’ ἄρα οἱ φῦ χειρὶ ἔπος τ’ ἔφατ’ ἔκ τ’ ὀνόμαζε· ‘δαιμόνιε, φθίσει σε τὸ σὸν μένος, οὐδ’ ἐλεαίρεις παῖδά τε νηπίαχον καὶ ἔμ’ ἄμμορον, ἣ τάχα χήρη σεῦ ἔσομαι· τάχα γάρ σε κατακτανέουσιν ᾿Αχαιοὶ πάντες ἐφορμηθέντες· ἐμοὶ δέ κε κέρδιον εἴη σεῦ ἀφαμαρτούσῃ χθόνα δύμεναι· οὐ γὰρ ἔτ’ ἄλλη ἔσται θαλπωρή, ἐπεὶ ἂν σύ γε πότμον ἐπίσπῃς, ἀλλ’ ἄχε’· οὐδέ μοι ἔστι πατὴρ καὶ πότνια μήτηρ. 672 τ(ᾗ) where διεξίμεναι = διεξίεναι 673–8 When an oral poet has embarked on a digression and then wants to resume his narrative, he has to remind the audience of the point where he left it. Homer often does this by means of a neat circular process, called by scholars ‘ring-composition’: (A) Hektor’s wife came to meet him – (B) i.e. Andromakhe, daughter of E¨etion – (C) who lived under Mt Plakos – in Thebe, ruling over Kilikians – (B) his daughter was Hektor’s wife – (A) who came to meet Hektor. Homer relates at 1.366–9 that Akhilleus was attacking E¨etion’s town of Thebe when he took Khryseis, and at 2.689–92 that on this expedition he also took Briseis. Here (ll.693–706) we learn that on the same occasion Akhilleus killed Andromakhe’s father and brothers and ransomed her mother. Akhilleus will kill her husband, too (22.325–63). He is central to the tragic life of this woman, past and future

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673 πολύδωρος ον bountiful (referring to the dowry that Andromakhe brought to Hektor) ∗ ἐναντίος η ον face to face. Andromakhe has left the tower, and comes running to meet (ἐναντίη) Hektor 674–6 Three lines are devoted to Andromakhe and her father, emphasizing her dignity and standing; Thebe was clearly a town of importance ᾿Ηετίων (᾿Ηετιων-), ὁ E¨etion 675 ∗ ναίω I dwell Πλάκος, ἡ Plakos (2a), probably a spur of Ida, the mountain that looked over Troy ὑλήεις εσσα εν wooded 676 Θήβη, ἡ Thebe (1a) ῾Υποπλάκιος η ον under Plakos, i.e. the town is ‘Thebe-under-Plakos’ Κίλικες, οἱ Kilikians (3a) ∗ ἀνάσσω I rule (+ dat.) 677 τοῦ περ i.e. E¨etion; note the emphasis, ‘well, it was his daughter . . . ’ ἔχομαι (here) = I am married to χαλκοκορυστής bronze-helmeted 678 οἱ: who is this? ἀντάω I meet (+ dat.) ∗ κίω I come

Sections 28–9, lines 672–97 679 ∗ κόλπος, ὁ breast, bosom (2a) ἀταλάφρων ον tender αὔτως only, just 680 ῾Εκτορίδης son of Hektor; -ίδης is a common patronymic ἀγαπητός ή όν only beloved. These lines are full of expressions of affection, ‘focalized’ through the baby’s mother ἀλίγκιος α ον like (+ dat.) 681 καλέεσκε: note the frequentative ending Σκαμάνδριος, ὁ Skamandrios (2a). Skamandros was one of the two rivers that flowed across the Trojan plain 682 ᾿Αστυάναξ (᾿Αστυανακτ-), ὁ Astyanax (3a). The name means ‘Town-Lord’, the title presumably representing a tribute to the boy’s father and hopes for his future – hopes that the audience know will be dashed when Troy falls. (See l.506 above) οἶος: note the breathing (ἐ)ρύομαι I protect, defend 683 ἤτοι then μειδάω I smile (Hektor’s only smile in the whole poem) σιωπῇ: some feelings are too strong for words 684 ∗ ἄγχι nearby ∗ χέω I drop, pour 685 ∗ ἔν . . . φύομαι χειρί I clasp by the hand ἔκ τ’ ὀνόμαζε: see l.532

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686 δαιμόνιε: see l.605, though possibly conveying a gentler rebuke than there ∗ φθίνω I destroy Andromakhe rightly suspects that Hektor’s bravery will be his undoing. Her speech is a mixture of rebuke, appeal for pity, and lament, ending (surprisingly) with a tactical military proposal ἐλεαίρω I pity 687 νηπίαχος ον youthful, baby ∗ ἄμμορος ον luckless, ill-fated χήρη deprived of, widowed (+ gen.) 688 κατακτανέουσι: what tense? Andromakhe in effect pronounces Hektor’s death-lament before its time; and her gloomy prophecy will in a sense be fulfilled, because, though he is killed by Akhilleus alone, many Greeks will then gather round his corpse and stab it (22.369–75 above) 690 σεῦ = gen. dependent on ἀφαμαρτούσῃ ∗ χθών (χθον-), ἡ earth (3a) δύω (here) = I sink 691 θαλπωρή, ἡ comfort, consolation (1a) πότμος, ὁ fate, death (2a) ἐφέπω (ἐπισπ-) I go to meet, come upon 692 ἄχε’ = ἄχεα (pl. of ἄχος), subject of ἔσται οὐδέ . . . μήτηρ: see below, ll.695–707 and summarized in l.708

29 Andromakhe relates her family’s fate, and reminds Hektor of her dependence on him. (414–39)

‘ἤτοι γὰρ πατέρ’ ἁμὸν ἀπέκτανε δῖος ᾿Αχιλλεύς, ἐκ δὲ πόλιν πέρσεν Κιλίκων εὖ ναιετάουσαν, Θήβην ὑψίπυλον· κατὰ δ’ ἔκτανεν ᾿Ηετίωνα, οὐδέ μιν ἐξενάριξε, σεβάσσατο γὰρ τό γε θυμῷ, ἀλλ’ ἄρα μιν κατέκηε σὺν ἔντεσι δαιδαλέοισιν 694 ἐκ . . . πέρθω (περσ-) I destroy utterly Κίλικες, οἱ Kilikians (3a), the people of Thebe ναιετάω I am established 695 ὑψίπυλος ον high-gated κατά . . . ἔκτανεν: tmesis 696 ἐξεναρίζω I strip X (acc.) of armour. Once Akhilleus was minded to treat the dead with respect in the usual way, and to ransom the living. No longer σεβάζομαι I am afraid of, feel awe before; this is the restraining force, akin to αἰδώς, that prevents heroes from going too far –

695

though stripping the armour of a dead foe was common enough on the battlefield 697 ∗ κατακαίω (aor. = κατέκηα) I cremate; this was the usual, and honourable, treatment of bodies. The folk-theory was that this finally released the dead from the earth and allowed their souls to find rest in the underworld. It also released the living from the fear that the dead would return to haunt them. For a full treatment of such a funeral (Patroklos’), see Books 23 and 24 ἔντεα, τά war-gear (3c) δαιδάλεος α ον elaborate, skilfully worked

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17. Mother and child

ἠδ’ ἐπὶ σῆμ’ ἔχεεν· περὶ δὲ πτελέας ἐφύτευσαν νύμφαι ὀρεστιάδες, κοῦραι Διὸς αἰγιόχοιο. οἳ δέ μοι ἑπτὰ κασίγνητοι ἔσαν ἐν μεγάροισιν, οἱ μὲν πάντες ἰῷ κίον ἤματι ῎Αϊδος εἴσω· πάντας γὰρ κατέπεφνε ποδάρκης δῖος ᾿Αχιλλεὺς βουσὶν ἐπ’ εἰλιπόδεσσι καὶ ἀργεννῇς ὀΐεσσι. μητέρα δ’, ἣ βασίλευεν ὑπὸ Πλάκῳ ὑληέσσῃ, τὴν ἐπεὶ ἂρ δεῦρ’ ἤγαγ’ ἅμ’ ἄλλοισι κτεάτεσσιν, ἂψ ὅ γε τὴν ἀπέλυσε λαβὼν ἀπερείσι’ ἄποινα, πατρὸς δ’ ἐν μεγάροισι βάλ’ ῎Αρτεμις ἰοχέαιρα. ῞Εκτορ, ἀτὰρ σύ μοί ἐσσι πατὴρ καὶ πότνια μήτηρ ἠδὲ κασίγνητος, σὺ δέ μοι θαλερὸς παρακοίτης· ἀλλ’ ἄγε νῦν ἐλέαιρε καὶ αὐτοῦ μίμν’ ἐπὶ πύργῳ, μὴ παῖδ’ ὀρφανικὸν θήῃς χήρην τε γυναῖκα· λαὸν δὲ στῆσον παρ’ ἐρινεόν, ἔνθα μάλιστα ἀμβατός ἐστι πόλις καὶ ἐπίδρομον ἔπλετο τεῖχος. τρὶς γὰρ τῇ γ’ ἐλθόντες ἐπειρήσανθ’ οἱ ἄριστοι ἀμφ’ Αἴαντε δύω καὶ ἀγακλυτὸν ᾿Ιδομενῆα

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Section 29, lines 698–715 698 ∗ σῆμα, τό earthen mound, barrow, tomb (3b); this was heaped up over the remains of the funeral pyre, and contained unburnt bones and precious objects belonging to the dead man ∗ χέω (here) I heap up πτελέη, ἡ elm-tree. This glimpse of the world outside leads us briefly away from Troy and the relentless fighting around it. Some scholars think there may have been in later times a grove of elms near Troy known as ‘the tomb of E¨etion’ φυτεύω I plant 699 ∗ νύμφη, ἡ nymph (1a); not the shepherd’s pretty playmate of later pastoral, but a wild and sometimes dangerous divinity of mountains, springs and groves. Nymphs often drove those who chanced upon them insane ὀρεστιάς (ὀρεστιαδ-) of the mountains αἰγίοχος ον aegis-bearing/-wearing (see l.221) 700 οἳ δέ . . . ἔσαν ‘as for those who . . . ’ 701 οἱ μέν: answered by μητέρα δέ l.704 ἴος α ον one and the same 702 κατέπεφνον (aor.) I killed ποδάρκης ες swift-footed 703 ἐπί (+ dat.) (here) = ‘in charge of, looking after’. Young men of good family were not above doing a stint as cowherds and shepherds outside their town. Isolated herdsmen were exposed to marauders εἰλίπους ουν (εἰλιποδ-) with shambling, rolling gait ἀργεννός ή όν white ὄϊς (οἰ-), ὁ/ἡ sheep 705 τήν: picks up μητέρα, reminding the audience that she is in the acc. δεῦρο i.e. to Troy ἤγαγε sc. Akhilleus (ὅ γε, l.706) κτέαρ (κτεατ-), τό possession (3b). Men, and especially women, formed part of the loot from a captured town, and the noblest-born were often ransomed afterwards (see l.45), thus contributing to their captors’ store of κλέος. Book 24 deals with Priam’s perilous mission to the Greek camp to ransom his son from Akhilleus, and later in this book Hektor imagines Andromakhe becoming the slave (ll.733–42) of some Greek lord; she cannot return to her father’s house (he is dead), and there will be no one to ransom her when Troy has fallen 706 ἄψ back again ἀπειρέσιος α ον boundless ἄποινα, τά ransom (2b)

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707 πατρός δ’ ἐν μεγάροισι i.e. Andromakhe’s grandfather. Her mother had returned to her childhood home after being ransomed, and there succumbed to an illness. Artemis was generally considered responsible for the death of women (and her brother Apollo for disease, such as the plague in the Greek camp in Book 1) ∗ βάλλω I strike down, i.e. kill ἰοχέαιρα delighting in arrows 708–9 All of Andromakhe’s family are dead; now she has no one but Hektor 709 θαλερός ά όν young, sturdy παρακοίτης, ὁ husband (1d); note the crescendo in these two lines 710 αὐτοῦ there μίμνω I remain, wait ἐπὶ πύργῳ: Andromakhe seems to think that Hektor can direct operations from there – though στῆσον (l.712) suggests that she sees him going outside and remaining close to the walls. Scholars have been puzzled by Andromakhe’s sudden venture into battle tactics; but it makes sense to read this as a desperate attempt to keep her husband out of danger 711 ὀρφανικός ή όν orphaned, fatherless θήῃς = aor. subj. of τίθημι 712 ἐρινεός, ὁ fig-tree (2a); the same tree that figures at l.145 713 ἀμβατός όν open to attack ἐπίδρομος ον scaleable, assailable 714 τρίς three times. This is not mentioned elsewhere in the poem, nor is there any suggestion that the wall is weak at this point; it is possibly an invention of Andromakhe’s to keep Hektor from the fighting οἱ ἄριστοι i.e. the flower of the Greek heroes 715 ἀμφί: the Greek army was made up of separate bands fighting under (ἀμφί) their leaders (all listed in the ‘Catalogue of Ships’ in Book 2) Αἴαντε δύω: there were two warriors called Aias (Ajax in Latin): the ‘greater’, son of Telamon and second only to Akhilleus, who came from Salamis; and the son of O¨ıleus, known as the ‘lesser’, a brutal fighter who came from Lokris ἀγακλυτός όν renowned ᾿Ιδομενεύς, ὁ Ιdomeneus, a formidable Greek warrior, king of Crete (3g)

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ἠδ’ ἀμφ’ ᾿Ατρεΐδας καὶ Τυδέος ἄλκιμον υἱόν· ἤ πού τίς σφιν ἔνισπε θεοπροπίων ἐῢ εἰδώς, ἤ νυ καὶ αὐτῶν θυμὸς ἐποτρύνει καὶ ἀνώγει.’ 716 ᾿Ατρεΐδαι the sons of Atreus, i.e. Agamemnon and Menelaos Τυδέος υἱόν son of Tydeus, i.e. Diomedes ἄλκιμος η ον courageous 717 που ‘perhaps’

30

ἐνέπω (ἐνισπ-) I speak, tell θεοπρόπιον, τό prophecy (2b) εἰδώς υῖα ός = part. of οἶδα 718 ∗ ἐποτρύνω I urge on, encourage

Hektor explains why he must return to the fighting. (440–65)

τὴν δ’ αὖτε προσέειπε μέγας κορυθαίολος ῞Εκτωρ· ‘ἦ καὶ ἐμοὶ τάδε πάντα μέλει, γύναι· ἀλλὰ μάλ’ αἰνῶς αἰδέομαι Τρῶας καὶ Τρῳάδας ἑλκεσιπέπλους, αἴ κε κακὸς ὣς νόσφιν ἀλυσκάζω πολέμοιο· οὐδέ με θυμὸς ἄνωγεν, ἐπεὶ μάθον ἔμμεναι ἐσθλὸς αἰεὶ καὶ πρώτοισι μετὰ Τρώεσσι μάχεσθαι, ἀρνύμενος πατρός τε μέγα κλέος ἠδ’ ἐμὸν αὐτοῦ. εὖ γὰρ ἐγὼ τόδε οἶδα κατὰ φρένα καὶ κατὰ θυμόν· ἔσσεται ἦμαρ ὅτ’ ἄν ποτ’ ὀλώλῃ ῎Ιλιος ἱρὴ καὶ Πρίαμος καὶ λαὸς ἐϋμμελίω Πριάμοιο. ἀλλ’ οὔ μοι Τρώων τόσσον μέλει ἄλγος ὀπίσσω, οὔτ’ αὐτῆς ῾Εκάβης οὔτε Πριάμοιο ἄνακτος οὔτε κασιγνήτων, οἵ κεν πολέες τε καὶ ἐσθλοὶ ἐν κονίῃσι πέσοιεν ὑπ’ ἀνδράσι δυσμενέεσιν, ὅσσον σεῦ, ὅτε κέν τις ᾿Αχαιῶν χαλκοχιτώνων δακρυόεσσαν ἄγηται, ἐλεύθερον ἦμαρ ἀπούρας· καί κεν ἐν ῎Αργει ἐοῦσα πρὸς ἄλλης ἱστὸν ὑφαίνοις, καί κεν ὕδωρ φορέοις Μεσσηΐδος ἢ ῾Υπερείης πόλλ’ ἀεκαζομένη, κρατερὴ δ’ ἐπικείσετ’ ἀνάγκη· καί ποτέ τις εἴπῃσιν ἰδὼν κατὰ δάκρυ χέουσαν· “῞Εκτορος ἥδε γυνή, ὃς ἀριστεύεσκε μάχεσθαι Τρώων ἱπποδάμων, ὅτε ῎Ιλιον ἀμφιμάχοντο.” ὣς ποτέ τις ἐρέει· σοὶ δ’ αὖ νέον ἔσσεται ἄλγος χήτεϊ τοιοῦδ’ ἀνδρὸς ἀμύνειν δούλιον ἦμαρ. ἀλλά με τεθνεῶτα χυτὴ κατὰ γαῖα καλύπτοι, πρίν γέ τι σῆς τε βοῆς σοῦ θ’ ἑλκηθμοῖο πυθέθαι.’ 720 καὶ ἐμοί i.e. ‘I too . . . ’ Hektor does not argue with his wife, but simply states his position: his strong sense of duty and protectiveness towards the Trojans

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(ll.721–2), and his innate drive to win glory for himself and his father, mean that there is only one way to go. The

Sections 29–30, lines 716–44

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future is bleak (the destruction of Troy), but it is inevitable αἰδέομαι: an important concept (see l.82 and l.105) Τρῶας καὶ Τρῳάδας: constantly in Hektor’s thoughts: he cares about what others may think of him if he does not do his utmost to protect city and citizens ἑλκεσίπεπλος ον with trailing robes ∗ αἰ = εἰ κακὸς ὥς = ὡς κακός, ‘like a coward’ νόσφιν far off, away from (+ gen.) ἀλυσκάζω I skulk, slink off ἐπεὶ μάθον . . . αὐτοῦ: this is what a hero does: he wins κλέος πρώτοισι i.e. ‘in the front ranks’ ἄρνυμαι I win ∗ κλέος, τό honour, glory (3c) ἐμόν: agrees with κλέος, while αὐτοῦ refers to Hektor γάρ: in effect, Hektor is saying ‘I must fight because I know well . . . ’ There is often much unsaid behind γάρ τόδε: often refers to something coming, here l.727 ἔσσεται: emphatic by position: ‘there will be . . . ’ ∗ ἱρή = ἱερή ἐϋμμελίης of the good ash spear (= 1d). ἐϋμμελίω is gen. These two lines are said also by Agamemnon, in Book 4 – confidently, as opposed to Hektor’s resigned tone here. He and others see his death and the end of Troy as synonymous. Troy’s fall forms no part of the Iliad’s action, but it looms darkly over the whole poem. Hektor is full of foreboding, and envisages Andromakhe’s fate when their city has been sacked. τόσσον: answered by ὅσσον (l.733). Hektor contemplates the effect of Troy’s fall on all he loves: the Trojan people, his parents, his brothers, and finally Andromakhe ∗ ἄλγος, τό pain, grief, anguish πολέες = πολλοί ∗ κονίη, ἡ dust (1a) πέσοιεν: opt. because it refers to an indefinite number of occasions ∗ δυσμενής ές hostile σεῦ sc. ἄλγος, ‘your anguish’

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χαλκοχίτων bronze-armoured (= 3a); a common epithet of the Greeks ∗ δακρυόεις εσσα εν weeping ἀπούρας wresting away (ἀπαυράω) ἐν ῎Αργει i.e. in mainland Greece πρός (here) = at the command of (+ gen.) ἄλλης: note the gender ∗ ἱστός, ὁ loom (2a) ∗ ὑφαίνω I weave at (+ acc.); a common task (with fetching water, below) of skilled female captives φορέω I carry Μεσσηΐς (Μεσσηιδ-), ἡ Messeian spring (3a) ῾Υπερείη, ἡ Hypereian spring (1a). These are not specific places, but stand for anywhere in Greece (‘Middle Spring’ and ‘Upper Spring’) πολλ’: adverbial ἀεκαζόμενος η ον unwillingly κρατερός ή όν hard, strong ἐπικείμαι I lie upon, press on. The sudden change of subject is stark ἥδε: said with a pointing finger; sc. ἐστί. Note the position of ῞Εκτορος. Hektor imagines a time when even the Greeks will recognize his κλέος (ὃς ἀριστεύεσκε μάχεσθαι), though this will have been bought at the price of Troy’s fall and his wife’s enslavement ἀριστεύω I am the best at ἀμφιμάχοντο sc. ‘they, men’. The words read like an epitaph χήτος, τό need, want, lack (+ gen.) (3c) ∗ ἀμύνω I keep off; the inf. is epexegetic, explaining τοιοῦδ’ ἀνδρός ἀλλά με i.e. in contrast with Andromakhe’s fate χυτός ή όν piled ∗ κατακαλύπτω I cover over; the opt. indicates a wish ἑλκηθμός, ὁ seizure, being dragged off (2a) Hektor’s words may strike us as unfeeling, but he is simply stating the way things will be, what happens to men and women. When he says he would rather die than hear Andromakhe being dragged off to slavery, he is expressing his quiet determination that neither will happen, if he has anything to do with it

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31

Hektor prays over Astyanax and tries to comfort Andromakhe. (466–93)

ὣς εἰπὼν οὗ παιδὸς ὀρέξατο φαίδιμος ῞Εκτωρ· ἂψ δ’ ὁ πάϊς πρὸς κόλπον ἐϋζώνοιο τιθήνης ἐκλίνθη ἰάχων, πατρὸς φίλου ὄψιν ἀτυχθείς, ταρβήσας χαλκόν τε ἰδὲ λόφον ἱππιοχαίτην, δεινὸν ἀπ’ ἀκροτάτης κόρυθος νεύοντα νοήσας. ἐκ δὲ γέλασσε πατήρ τε φίλος καὶ πότνια μήτηρ· αὐτίκ’ ἀπὸ κρατὸς κόρυθ’ εἵλετο φαίδιμος ῞Εκτωρ, καὶ τὴν μὲν κατέθηκεν ἐπὶ χθονὶ παμφανόωσαν· αὐτὰρ ὅ γ’ ὃν φίλον υἱὸν ἐπεὶ κύσε πῆλέ τε χερσίν, εἶπε δ’ ἐπευξάμενος Διί τ’ ἄλλοισίν τε θεοῖσι· ‘Ζεῦ ἄλλοι τε θεοί, δότε δὴ καὶ τόνδε γενέσθαι παῖδ’ ἐμόν, ὡς καὶ ἐγώ περ, ἀριπρεπέα Τρώεσσιν, ὧδε βίην τ’ ἀγαθόν, καὶ ᾿Ιλίου ἶφι ἀνάσσειν· καί ποτέ τις εἴποι “πατρός γ’ ὅδε πολλὸν ἀμείνων” ἐκ πολέμου ἀνιόντα· φέροι δ’ ἔναρα βροτόεντα κτείνας δήϊον ἄνδρα, χαρείη δὲ φρένα μήτηρ.’ ὣς εἰπὼν ἀλόχοιο φίλης ἐν χερσὶν ἔθηκε παῖδ’ ἑόν· ἡ δ’ ἄρα μιν κηώδεϊ δέξατο κόλπῳ δακρυόεν γελάσασα· πόσις δ’ ἐλέησε νοήσας, χειρί τέ μιν κατέρεξεν ἔπος τ’ ἔφατ’ ἔκ τ’ ὀνόμαζε· ‘δαιμονίη, μή μοί τι λίην ἀκαχίζεο θυμῷ· οὐ γάρ τίς μ’ ὑπὲρ αἶσαν ἀνὴρ ῎Αϊδι προϊάψει· μοῖραν δ’ οὔ τινά φημι πεφυγμένον ἔμμεναι ἀνδρῶν, οὐ κακόν, οὐδὲ μὲν ἐσθλόν, ἐπὴν τὰ πρῶτα γένηται. ἀλλ’ εἰς οἶκον ἰοῦσα, τὰ σ’ αὐτῆς ἔργα κόμιζε, ἱστόν τ’ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε ἔργον ἐποίχεσθαι· πόλεμος δ’ ἄνδρεσσι μελήσει πᾶσι, μάλιστα δ’ ἐμοί, τοὶ ᾿Ιλίῳ ἐγγεγάασιν.’ 745–61 Despite Hektor’s words above, it is clear that he and Andromakhe share a happy domestic life with their baby son. Hektor’s laying aside of his helmet (l.751) symbolizes his moving temporarily from the world of fighting into that of domesticity ὀρέξατο: (+ gen., in common with most verbs of reaching/striving/aiming) ∗ φαίδιμος η ον glorious 746 ἄψ back again ἐΰζωνος η ον well-girdled τιθήνη, ἡ nurse (1a) 747 ἰάχω I scream, yell ἀτύζομαι I am terrified 748 ταρβέω I fear ∗ ἰδέ and

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λόφος, ὁ crest (2a) ἱππιοχαίτης made of horsehair (= 1d) 749 δεινόν: adverbial, with νεύοντα κορύς (κορυθ-), ἡ helmet (3a) νεύω I nod 750 ἐκ . . . γέλασσε: Hektor and his wife are reunited in the frightened reaction of their son. Homer as usual simply reports, and leaves us to construct the change of atmosphere. What is the force of ἐκ- here? 752 τήν i.e. the helmet παμφανοών ωσα shining, radiant. The usual epithet at this point in the line would be πουλυβοτείρῃ, ‘much-nourishing’, agreeing with χθονί. One scholar comments: ‘The

Sections 31–2, lines 745–77

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unexpected effect, startling to anyone familiar with the usual formulae, directs attention to the sight of the helmet lying on the ground and to its glitter, the reason for the child’s fright’ κυνέω (κυσ-) I kiss πάλλω (πηλ-) I dandle, toss δότε (here) = ‘grant’ (+ inf.) καί i.e. ‘as well as me’ ἀριπρεπής ές pre-eminent, outstanding βίην: acc. of respect, with ἀγαθόν ἶφι by force, strongly εἴποι: a wish (opt.), as φέροι (l.759) γ’ ὅδε i.e. ‘well, this one is better . . . ’ ἀμείνων sc. ἐστί ἀνιόντα: agreeing with an unexpressed acc. αὐτόν, obj. of εἴποι, ‘say of him . . . ’ ἔναρα, τά spoils (2b) βροτόεις εσσα εν bloody δήϊος α ον hostile χαρείη: from χαρίζομαι φρένα: acc. of respect Hektor may have laid aside his helmet for the moment, but he remains what he is, a fighter who finds fulfilment in killing men and stripping their armour on the battlefield; and this is the life he prays his son too will have. There is heavy irony here ∗ ἑόν = ὅν κηώδης ες fragrant δακρυόεν through tears καταρρέζω I stroke, caress

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765 δαιμονίη: see l.605; not a strong expression here, possibly ‘don’t take on so’ μοι: ethic dat., ‘please’ λίην so much, too much ἀκαχίζω I grieve 766 οὐ . . . τις . . . ἀνήρ take together ∗ αἶσα, ἡ fate (1c); ὑπὲρ αἶσαν Hektor’s personal destiny is fixed; he will die when his time comes, and nothing can change that προϊάπτω I hurl down 767 μοῖρα = the same as αἶσα. This is a general statement explaining l.766. Note its position: ‘as to one’s death . . . ’ οὔ τινά φημι ‘I do not say that anyone’ = ‘I say that no one’ πεφυγμένον ἔμμεναι is free from (a rare roundabout way of expressing the perf.) 768 μέν (here) = μήν, ‘indeed’ ἐπήν = ἐπεὶ ἄν τὰ πρῶτα (adverbial) = once γένηται: in its original sense, ‘has been born’ 769 ἀλλ’ . . . ἰοῦσα: the gap between women’s and men’s work opens up again, though it has to be said that nowhere in Homer is one considered superior to the other σ’ = σά ∗ κομίζω I take up 770 ἠλακάτη, ἡ distaff (1a) 771 ἐποίχομαι I go about 772 τοί: explaining πᾶσι ἐγγεγάασιν have been born in (perf. of ἐγγίγνομαι)

32 Hektor and Andromakhe part. (494–502)

ὣς ἄρα φωνήσας κόρυθ’ εἵλετο φαίδιμος ῞Εκτωρ ἵππουριν· ἄλοχος δὲ φίλη οἶκόνδε βεβήκει ἐντροπαλιζομένη, θαλερὸν κατὰ δάκρυ χέουσα. αἶψα δ’ ἔπειθ’ ἵκανε δόμους εὖ ναιετάοντας ῞Εκτορος ἀνδροφόνοιο, κιχήσατο δ’ ἔνδοθι πολλὰς 774 ἵππουρις with a horsehair crest 775 ἐντροπαλίζομαι I turn back repeatedly. A poignant moment, one word picturing the scene so vividly, encouraging the imagination to race at what Andromakhe is feeling. Hektor does not look back θαλερός ά όν abundant 776 αἶψα quickly ναιετάω I am founded

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777 ἀνδρόφονος ον man-slaying. Epithets of people are often determined by their metrical position in a line, but there is a powerful extra point made here: for all his tenderness in the preceding scene, what Hektor does from now on is to kill people, until he himself is killed κιχήσατο: life goes on, the women at their loom and the men on the battlefield ἔνδoθι inside

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18. Andromakhe assists Hektor with an offering to the gods before battle

ἀμφιπόλους, τῇσιν δὲ γόον πάσῃσιν ἐνῶρσεν. αἱ μὲν ἔτι ζωὸν γόον ῞Εκτορα ᾧ ἐνὶ οἴκῳ· οὐ γάρ μιν ἔτ’ ἔφαντο ὑπότροπον ἐκ πολέμοιο ἵξεσθαι, προφυγόντα μένος καὶ χεῖρας ᾿Αχαιῶν. 778 ∗ γόος, ὁ lamentation (2a). Andromakhe and her women mourn Hektor as if he were already dead – an ill-omened thing to do ἐνόρνυμι (ἐνορσ-) I arouse 779 ∗ ζωός ή όν alive

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γόον they lamented (premature mourning once again); there is an oxymoron with ζωόν 780 ἔφαντο ‘they thought’ (as often with φημί) ὑπότροπος ον returning, back

Hektor now meets Paris, ready for battle, and the two march off. (503−29)

οὐδὲ Πάρις δήθυνεν ἐν ὑψηλοῖσι δόμοισιν, ἀλλ’ ὅ γ’, ἐπεὶ κατέδυ κλυτὰ τεύχεα, ποικίλα χαλκῷ, σεύατ’ ἔπειτ’ ἀνὰ ἄστυ, ποσὶ κραιπνοῖσι πεποιθώς. ὡς δ’ ὅτε τις στατὸς ἵππος, ἀκοστήσας ἐπὶ φάτνῃ, δεσμὸν ἀπορρήξας θείῃ πεδίοιο κροαίνων, εἰωθὼς λούεσθαι ἐϋρρεῖος ποταμοῖο, κυδιόων· ὑψοῦ δὲ κάρη ἔχει, ἀμφὶ δὲ χαῖται ὤμοις ἀΐσσονται· ὁ δ’ ἀγλαΐηφι πεποιθώς,

785

Sections 32–3, lines 778–97

ῥίμφα ἑ γοῦνα φέρει μετά τ’ ἤθεα καὶ νομὸν ἵππων· ὣς υἱὸς Πριάμοιο Πάρις κατὰ Περγάμου ἄκρης τεύχεσι παμφαίνων ὥς τ’ ἠλέκτωρ ἐβεβήκει καγχαλόων, ταχέες δὲ πόδες φέρον· αἶψα δ’ ἔπειτα ῞Εκτορα δῖον ἔτετμεν ἀδελφεόν, εὖτ’ ἄρ’ ἔμελλε στρέψεσθ’ ἐκ χώρης ὅθι ᾗ ὀάριζε γυναικί. τὸν πρότερος προσέειπε ᾿Αλέξανδρος θεοειδής· ‘ἠθεῖ’, ἦ μάλα δή σε καὶ ἐσσύμενον κατερύκω 782 We return to Paris, who said (l.620) he would catch Hektor up δηθύνω I delay ∗ ὑψηλός ή όν high 783 ∗ κλυτός ή όν glorious ποικίλος η ον elaborate 784 κραιπνός ή όν swift ∗ πεποιθώς trusting in (+ dat.) 785–90 This brilliant simile, using many unusual words, will be used again of Hektor when he returns to the fighting in Book 15.263–8. It graphically describes an impatient horse breaking its restraints and galloping free, exulting in its speed. Horses are noble creatures, and this one’s delight in its beauty and the detail of its mane suit Paris well. Not all Homer’s references to him are critical 785 στατός ή όν standing, kept in a stable ἀκοστήσας well-fed (aor. part.) φάτνη, ἡ manger, stall (1a) 786 δεσμός, ὁ rope (2a) ἀπορρήγνυμι (ἀπορρηξ-) I break off θείῃ: from θέω κροαίνω I gallop 787 εἰωθώς υῖα ός accustomed (perf. part.) λούομαι I bathe ἐϋρρεής ές sweet-running 788 κυδιόω I exult, am proud ὑψοῦ high χαίτη, ἡ flowing hair, mane (1a) 789 αΐσσομαι I am tossed, stream out ἀγλαΐη, ἡ splendour (1a); -φι here stands for the dat., with πεποιθώς 790 ῥίμφα swiftly γοῦνα: the subject changes abruptly μετά (+ acc.) making for ἤθεα, τά haunts (3c) νομός, ὁ pasture (2a) ἵππων: when Virgil imitated this simile (Aeneid 11.494) he made the horses mares (they could be m. or f. in Greek). Though this might perhaps suit the sex-crazed Paris, he is here rushing not

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to bed but to battle; and in any case Homer avoids this kind of sexual allusion – not that this has prevented much academic ink being spilled on both sides of the question κατά: what must this mean here? Πέργαμος, ἡ the highest quarter (acropolis) of Troy παμφαίνω I shine brightly ἠλέκτωρ, ὁ beaming sun καγχαλόω I laugh aloud. The word is possibly onomatopoeic, and (like κυδιόων l.788) in an emphatic position. The imagery surrounding Paris evokes brightness, energy, speed and noise αἶψα quickly ἔτετμε(ν) he found, met εὖτε when ἔμελλε i.e. Hektor. His encounter with Andromakhe took place in a kind of neutral zone, neither home nor battlefield (and both had stepped briefly outside their respective worlds, Andromakhe to offer military advice and Hektor to enjoy his moment of intimacy with wife and son). Now they must return, and life must go on – though Hektor momentarily stands still, reflecting perhaps on his meeting with his wife, in marked contrast with Paris’ exuberant arrival στρέφομαι I turn back (i.e. towards the gates and the plain) ὀαρίζω I talk intimately with. Implying the exchange of spouses or lovers (‘sweet talk’), this word recurs ironically at l.127 above, describing the meeting of enemies on the battlefield ἠθεῖος α ον lit. ‘trusted, honoured’, used more than once by Homer when brother addresses elder brother ἦ μάλα δή . . . ; Paris apologizes unnecessarily κατερύκω I detain

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δηθύνων, οὐδ’ ἦλθον ἐναίσιμον, ὡς ἐκέλευες.’ τὸν δ’ ἀπαμειβόμενος προσέφη κορυθαίολος ῞Εκτωρ· ‘δαιμόνι’, οὐκ ἄν τίς τοι ἀνήρ, ὃς ἐναίσιμος εἴη, ἔργον ἀτιμήσειε μάχης, ἐπεὶ ἄλκιμός ἐσσι· ἀλλὰ ἑκὼν μεθιεῖς τε καὶ οὐκ ἐθέλεις· τὸ δ’ ἐμὸν κῆρ ἄχνυται ἐν θυμῷ, ὅθ’ ὑπὲρ σέθεν αἴσχε’ ἀκούω πρὸς Τρώων, οἳ ἔχουσι πολὺν πόνον εἵνεκα σεῖο. ἀλλ’ ἴομεν· τὰ δ’ ὄπισθεν ἀρεσσόμεθ’, αἴ κέ ποθι Ζεὺς δώῃ ἐπουρανίοισι θεοῖς αἰειγενέτῃσι κρητῆρα στήσασθαι ἐλεύθερον ἐν μεγάροισιν, ἐκ Τροίης ἐλάσαντας ἐϋκνήμιδας ᾿Αχαιούς.’ 798 ἐναίσιμον on time 800 δαιμόνιε: Hektor is baffled by his brother’s behaviour, but speaks more kindly to him this time, albeit in a somewhat stilted way οὐ . . . τίς . . . ἀνήρ: take together τοι: either a generalization (‘as everyone knows’) or standing for σοι (‘in your case’) ἐναίσιμος η ον fair-minded, right-thinking; the shared meaning with ἐναίσιμον (l.798) is something like ‘in due order’ (ἐν + αἶσα) 801 ἔργον . . . μάχης: take together; Hektor admits Paris is a good fighter when he puts his mind to it ἄλκιμος η ον courageous. One can sense a ‘but’ coming (l.802) 802 ἑκών willingly μεθίημι (μεθ(ι)ε-) I hang back ἐθέλεις: used absolutely, i.e. without an inf. to complete its meaning κῆρ (κηρ-), τό heart 803 ἄχνυμαι I grieve at; its obj. is τό in the previous line ὅθ’ = ὅτε ∗ αἴσχος, τό reproach (3c), i.e. reports that bring shame on Paris

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804 πρός (here) ‘from’ (+ gen.) ∗ πόνος, ὁ toil, labour, suffering (2a) εἵνεκα σεῖο: a timely reminder of why the Trojans are at war 805 ἴομεν = ἴωμεν τὰ δέ = obj. of ἀρεσσόμεθα, ‘these things’ i.e. ‘what I have said [if it was unfair]’ ὄπισθεν later ἀρέσκομαι (ἀρεσ(σ)-) I set right, make amends for 806 δώῃ (here) = ‘grant’, with στήσασθαι ἐπουράνιος ον living in heaven ἀειγενέτης, ὁ immortal (1d) 807 ∗ κρητήρ (κρητηρ-), ὁ wine-bowl; with ἐλεύθερον, a vivid expression. Greek wine was strong and sweet, and was drunk watered-down and served from a large bowl (κεράννυμι, I mix). The (compressed) reference is to a feast of thanksgiving to the gods 808 ∗ ἐλαύνω (ἐλασ-) I drive. The part. agrees with ‘us’ understood as the obj. of δώῃ ∗ ἐϋκνήμις (ἐϋκνημιδ-) well-greaved, i.e. with good shin-guards

Part II Herodotus

19. Persepolis, a royal residence

Introduction

The opening words of the Histories:

῾Ηροδότου ῾Αλικαρνησσέος ἱστορίης ἀπόδεξις ἥδε, ὡς μήτε τὰ γενόμενα ἐξ ἀνθρώπων τῷ χρόνῳ ἐξίτηλα γένηται, μήτε ἔργα μεγάλα τε καὶ θωμαστά, τὰ μὲν ῞Ελλησι, τὰ δὲ βαρβάροισι ἀποδεχθέντα, ἀκλεᾶ γένηται, τά τε ἄλλα καὶ δι’ ἣν αἰτίην ἐπολέμησαν ἀλλήλοισι. Here is the result of researches of Herodotus of Halikarnassos. His intention has been to ensure that the passage of time will not obscure what men have done, and that great and astonishing deeds, some Greek, some non-Greek, do not go without their rightful celebration. Particular attention has been paid to the reasons which brought the Greeks and Persians into conflict with each other. Histories 1.1

Observe that ‘gods’ and ‘fate’ do not feature in this preface. This selection Introductory passages: Persian customs (Histories 1.131–40 (passim)) page 82 Xerxes at Abydos (Histories 7.44–53) page 89 Target passage: The battle of Thermopylai (Histories 7.56–238 (passim)) page 100 Herodotus, the historian Herodotus (῾Ηρόδοτος) came from Halikarnassos on the coast of Asia Minor, but visited Athens and finally settled at Thourioi (in southern Italy). He was born c. 484 BC and died after 431. His researches took him all over the Mediterranean as he compiled his one work (in nine books), a history of the Greek and Persian peoples, culminating in the Persian Wars. In it, he attempts to understand how and why the two came into conflict, first at Marathon in 490 when the Persian landing was repulsed, and again in 480–479, when a Persian invading force was heroically opposed at Thermopylai and had its fleet defeated at the subsequent sea-battle off Salamis. His reputation as a historian rests on his attempt to bring some critical judgement to bear upon 79

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the complex network of reports and traditions which he heard on his travels, without suppressing what he was told. A man of ceaseless curiosity, he is a famous storyteller. Introduction to the selection Herodotus accounts for the conflict between the Greeks and the Persians in a narrative which begins with the original enmity between the two, traces the rise of the Persian Empire and ends with the Persian Wars (490–479 BC). There is a broad chronological framework to the narrative, but the peoples of the Mediterranean with whom Greeks and Persians come into contact are as central to the narrative as the history of the war itself. The characteristics of these peoples (Egyptians, Lydians, Scythians, Babylonians and literally hundreds more), their institutions and beliefs and their ‘great and astonishing deeds’ lie at the heart of the Histories: Herodotus’ humanist attitude to life comes out in page after page. The gods do emerge from time to time, but for the most part when it is dramatically or rhetorically convenient. When ‘fate’ or ‘what had to be’ is invoked, it is as a comment on human shortcomings and weaknesses rather than a causational explanation. The first introductory passage, ‘Persian customs’, illustrates that side of Herodotus’ Histories in which interest is focused on the people of the Mediterranean. The rest of the selection, ‘Xerxes at Abydos’ and ‘The battle of Thermopylai’, is taken from the narrative of the Persian Wars. In revenge for the defeat suffered under his father, King Dareios, at Marathon in Greece (490), Xerxes has prepared a second, enormous invasion of the country (480). ‘Xerxes at Abydos’ takes place at the outset of the expedition, when the Persian army and fleet are drawn up on the Asian side of the Hellespont, poised to cross over into Greece. ‘The battle of Thermopylai’ recounts the first major battle between Greeks and Persians in this second invasion, an encounter which was to become legendary in Greek history. Herodotus’ discursive style of composition owes much to the techniques of oral epic (Homer): indeed, one ancient literary critic (usually referred to as ‘Longinus’) described Herodotus as ῾Ομηρικώτατος (‘most like Homer’). The dramatic presentation which is seen in ‘Xerxes at Abydos’ and in the conversation between Xerxes and Demaratos in ‘The battle of Thermopylai’ are good examples of this influence. The attempt to give the past a historical perspective is an advance, but made within the limitations of an age still unclear about the modern distinction between myth and historical fact. Nonetheless, Herodotus is not gullible, and his attitude is best summed up by his own words, which reflect a further important facet of his historical method, the recording of different stories concerning the same set of events, without suppression, leaving the reader free to use his own discretion. This method is quite different from that of Thucydides, who does not insert undigested information. As Herodotus says, ‘I must relate what is told me, but I

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am not in the least obliged to believe it; and that should be taken to apply to the whole of my history’ (Histories 7.152). Further reading Carolyn Dewald and John Marincola, eds., The Cambridge Companion to Herodotus (Cambridge University Press, 2006). John Gould, Herodotus (London: Weidenfeld and Nicolson, 1989). Herodotus: The Histories tr. by R. Waterfield, with Introduction and notes by C. Dewald. Oxford World’s Classics (Oxford University Press, 1998).

Introductory passages: Persian customs (Histories 1.131–140 (passim))

1

Differences between the religious conventions of Persia and Greece. (131 abridged)

Πέρσας δὲ οἶδα νόμοισι τοιοισίδε χρεωμένους, ἀγάλματα καὶ νηοὺς καὶ βωμοὺς οὐκ ἐν νόμῳ ποιευμένους ἱδρύεσθαι, ὅτι οὐκ ἀνθρωποφυέας ἐνόμισαν τοὺς θεοὺς εἶναι. οἱ δὲ νομίζουσι Διὶ μὲν ἐπὶ τὰ ὑψηλότατα τῶν ὀρέων ἀναβαίνοντες θυσίας ἔρδειν, τὸν κύκλον πάντα τοῦ οὐρανοῦ Δία καλέοντες. θύουσι δὲ ἡλίῳ τε καὶ σελήνῃ καὶ γῇ καὶ πυρὶ καὶ ὕδατι καὶ ἀνέμοισι. τούτοισι μὲν δὴ θύουσι μούνοισι ἀρχῆθεν, ἐπιμεμαθήκασι δὲ καὶ τῇ Οὐρανίῃ θύειν, παρά τε ᾿Ασσυρίων μαθόντες καὶ ᾿Αραβίων. καλέουσι δὲ ᾿Ασσύριοι τὴν ᾿Αφροδίτην Μύλιττα, ᾿Αράβιοι δὲ ᾿Αλιλάτ, Πέρσαι δὲ Μίτραν. 1 ∗ Πέρσης, ὁ Persian (1d) οἶδα Herodotus frequently stresses his personal knowledge. Although his accuracy has often been impugned, his veracity is now generally accepted ∗ χρεωμένους = χρωμένους; χρέομαι = χράομαι ἄγαλμα, τό statue (3b). Here, as usual, Herodotus contrasts foreign with Greek practice, observing and reporting but not necessarily claiming superiority νηός, ὁ temple (2a) 2 ἐν νόμῳ ποιεῦμαι I think lawful; ∗ ποιέομαι I think, consider ἱδρύομαι I set up, dedicate ἀνθρωποφυής ές of human nature, like a human. Herodotus explains the reason for Persian practice while hinting at a contemporary issue raised by Greek intellectuals like Xenophanes: were gods nothing but men writ

2

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large, as they often seem to be in, e.g., Homer? ἐνόμισαν: a ‘gnomic’ aor., i.e. referring to present time ὑψηλός ή όν high ἔρδω I make, offer ∗ ἀρχῆθεν from long ago; from the beginning ἐπιμανθάνω I learn in addition Οὐρανίη, ἡ Ourania (1a) (‘the heavenly goddess’ – i.e. Aphrodite) ᾿Ασσύριοι, οἱ Assyrians (2a) ᾿Αράβιοι, οἱ Arabians (2a) ᾿Αφροδίτη, ἡ Aphrodite (1a) Μύλιττα, ἡ Mylitta (1c) Μίτρα, ἡ Mitra (1b) – a strange error: Mitra = Mithras, a male deity. It is odd that he nowhere mentions the most famous Persian god of all, Zoroaster!

Persian forms of sacrifice and prayer. (132 abridged)

θυσίη δὲ τοῖσι Πέρσῃσι περὶ τοὺς εἰρημένους θεοὺς ἥδε κατέστηκε. οὔτε βωμοὺς ποιεῦνται οὔτε πῦρ ἀνακαίουσι μέλλοντες θύειν· οὐ σπονδῇ χρέωνται, οὐκὶ αὐλῷ, οὐ στέμμασι, οὐκὶ οὐλῇσι. τῶν δὲ ὡς ἑκάστῳ θύειν θέλῃ, ἐς χῶρον καθαρὸν ἀγαγὼν τὸ κτῆνος καλέει τὸν θεὸν ἐστεφανωμένος τὸν τιάραν μυρσίνῃ μάλιστα. μάγος δὲ ἀνὴρ παρεστεὼς ἐπαείδει θεογονίην, οἵην δὴ ἐκεῖνοι λέγουσι εἶναι τὴν 82

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Sections 1–3, lines 1–26

ἐπαοιδήν· ἄνευ γὰρ δὴ μάγου οὔ σφι νόμος ἐστὶ θυσίας ποιέεσθαι. ἐπισχὼν δὲ ὀλίγον χρόνον ἀποφέρεται ὁ θύσας τὰ κρέα καὶ χρᾶται ὅ τι μιν λόγος αἱρέει. 10 ἀνακαίω I kindle, light up αὐλός, ὁ reed-pipe (2a) 11 στέμμα (στεμματ-), τό garland (3b). More contrast with normal Greek custom οὐλαί, αἱ barley-corns (1a) (sprinkled on the victim᾿s head before sacrifice) τῶν δὲ ὡς ἑκάστῳ tr. ‘and [whenever] to each of these’ ∗ θέλω I wish, want (= ἐθέλω) ∗ χῶρος, ὁ place; piece of ground; land (2a) καθαρός ά όν free from pollution, pure 12 κτῆνος, τό beast (3c) στεφανόω I crown, garland

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τιάρας, ὁ tiara (1d) (headdress, used on solemn occasions) τὸν τιάραν tr. ‘on his tiara’ μυρσίνη, ἡ myrtle-twig (1a) 13 ∗ μάγος, ὁ Magian, priest (2a), the origin of English word ‘magician’ ἐπαείδω I sing in accompaniment θεογονίη, ἡ genealogy of the gods (1a) 14 ἐπαοιδή, ἡ spell, enchantment (1a) 15 κρέα, τά meat, flesh, cf. creatine, the just-about-legal doping choice of modern athletes who want to gain muscle-mass ὅ τι μιν λόγος αἱρέει lit. ‘as reason takes him᾿ i.e. ‘as he pleases’

3 Persian celebration of birthdays. Their habits in eating. The strange way they make decisions in council. (133 abridged)

ἡμέρην δὲ ἁπασέων μάλιστα ἐκείνην τιμᾶν νομίζουσι τῇ ἕκαστος ἐγένετο. ἐν ταύτῃ δὲ πλέω δαῖτα τῶν ἀλλέων δικαιεῦσι προτίθεσθαι· ἐν τῇ οἱ εὐδαίμονες αὐτῶν βοῦν καὶ ἵππον καὶ κάμηλον καὶ ὄνον προτιθέαται ὅλους ὀπτοὺς ἐν καμίνοισι, οἱ δὲ πένητες αὐτῶν τὰ λεπτὰ τῶν προβάτων προτιθέαται. σίτοισι δὲ ὀλίγοισι χρέωνται, ἐπιφορήμασι δὲ πολλοῖσι καὶ οὐκ ἁλέσι· οἴνῳ δὲ κάρτα προσκέαται, καί σφι οὐκ ἐμέσαι ἔξεστι, οὐκὶ οὐρῆσαι ἀντίον ἄλλου. ταῦτα μέν νυν οὕτω φυλάσσεται, μεθυσκόμενοι δὲ ἐώθασι βουλεύεσθαι τὰ σπουδαιέστατα τῶν πρηγμάτων· τὸ δ’ ἂν ἅδῃ σφι βουλευομένοισι, τοῦτο τῇ ὑστεραίῃ νήφουσι προτιθεῖ ὁ στέγαρχος. καὶ ἢν μὲν ἅδῃ καὶ νήφουσι, χρέωνται αὐτῷ, ἢν δὲ μὴ ἅδῃ, μετιεῖσι. τὰ δ’ ἂν νήφοντες προβουλεύσωνται, μεθυσκόμενοι ἐπιδιαγινώσκουσι. 17 δαίς (δαιτ-), ἡ banquet (3a) δικαιόω I think it right (to) προτίθεμαι I set before myself, have set before me 18 βοῦς, ὁ ox (acc. s. βοῦν) κάμηλος, ἡ camel (2a) ὄνος, ὁ ass (2a) προτιθέαται = προτίθενται (-αται can = 3rd pl.) ὀπτός ή όν baked 19 κάμινος, ἡ oven (2a): compare Aristophanes’ parody (Acharnians 85–6) λεπτός ή όν small πρόβατα, τά animals (2b) (sheep or goats) σῖτα, τά main courses (2b) 20 ἐπιφόρημα, τό side-dish (3b) ∗ ἁλής ές all together; thronged; in a mass οἶνος, ὁ wine (2a) 21 ∗ κάρτα very, extremely

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προσκέαται = πρόσκεινται; πρόσκειμαι I am devoted to (+ dat.) ἐμέω I vomit, throw up οὐρέω I urinate, make water ∗ ἀντίον or ἀντία (+ gen.) in the presence of; facing; against. Greek vases suggest Greeks had no such inhibitions φυλάσσομαι I am avoided, taboo μεθύσκομαι I get drunk. Tacitus (Germania 22) reports a similar custom among the Germans. This is the sort of custom Herodotus finds so fascinating and loves to record ἔωθα I am accustomed to σπουδαιέστατος η ον sup. of σπουδαῖος serious ἁνδάνω (ἁδ-) I please (+ dat.) νήφουσι = dat. pl. part. of νήφω I am sober στέγαρχος, ὁ master of the house (2a) ∗ ἤν = ἐάν (ll.25, 37) ἐπιδιαγιγνώσκω I consider afresh

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20. A king at a fire altar

4

Imitation of foreign customs. (135)

ξεινικὰ δὲ νόμαια Πέρσαι προσίενται ἀνδρῶν μάλιστα. καὶ γὰρ δὴ τὴν Μηδικὴν ἐσθῆτα νομίσαντες τῆς ἑωυτῶν εἶναι καλλίω φορέουσι καὶ ἐς τοὺς πολέμους τοὺς Αἰγυπτίους θώρηκας. καὶ εὐπαθείας τε παντοδαπὰς πυνθανόμενοι ἐπιτηδεύουσι καὶ δὴ καὶ ἀπ’ ῾Ελλήνων μαθόντες παισὶ μίσγονται. γαμέουσι δὲ ἕκαστος αὐτῶν πολλὰς μὲν κουριδίας γυναῖκας, πολλῷ δ’ ἔτι πλεῦνας παλλακὰς κτῶνται. 27 ξεινικός ή όν foreign νόμαια, τά customs, usages (2b) προσίεμαι I admit, accept, submit to ∗ Μηδικός ή όν Median 28 φορέω I wear 29 Αἰγύπτιος α ον Egyptian θώρηξ (θωρηκ-), ὁ corslet, cuirass (3a); cf. θώραξ, chest (English ‘thoracic’)

30

εὐπάθεια, ἡ comfort; pl. enjoyments, luxuries (1b). Persian love of luxury is one of the reasons Herodotus will cite to explain their defeat by the Greeks παντοδαπός ή όν of every kind, of all sorts ἐπιτηδεύω I pursue, practise 30 μίσγομαι I have sexual intercourse with (+ dat.)

Sections 4–5, lines 27–37

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21. A Greek sacrifice 31 κουρίδιος α ον lawfully wedded, from κοῦρος, freeborn boy, hence the adjective πλεῦνας (acc. pl.) more; πλευν- = Ionic form of πλείων/πλέων

παλλακή, ἡ concubine (1a). Cf. Solomon, the king of Israel (c. 950 BC), who ‘had seven hundred wives and three hundred concubines’ (1 Kings 11.3)

5 Ideas about the begetting and rearing of children. (136 abridged)

ἀνδραγαθίη δὲ αὕτη ἀποδέδεκται, μετὰ τὸ μάχεσθαι, εἶναι ἀγαθὸν ὃς ἂν πολλοὺς ἀποδέξῃ παῖδας· τῷ δὲ τοὺς πλείστους ἀποδεικνύντι δῶρα ἐκπέμπει βασιλεὺς ἀνὰ πᾶν ἔτος. παιδεύουσι δὲ τοὺς παῖδας τρία μοῦνα, ἱππεύειν καὶ τοξεύειν καὶ ἀληθίζεσθαι. πρὶν δὲ ἢ πενταέτης γένηται, οὐκ ἀπικνέεται ἐς ὄψιν τῷ πατρί, ἀλλὰ παρὰ τῇσι γυναιξὶ δίαιταν ἔχει. τοῦδε δὲ εἵνεκα τοῦτο οὕτω ποιέεται, ἵνα, ἢν ἀποθάνῃ τρεφόμενος, μηδεμίαν ἄσην τῷ πατρὶ προσβάλῃ. 32 ἀνδραγαθίη, ἡ manliness (1a) ἀποδέδεκται perf. pass. of ἀποδείκνυμι tr. ‘is considered as’ μετὰ τὸ μάχεσθαι: Herodotus is full of admiration for Persian fighting spirit εἶναι ἀγαθόν tr. ‘that he is a fine man’ 33 ∗ ἀποδείκνυμι (ἄποδειξ-: Hdt. ἀποδεξ-) I represent as; consider as; produce; display; appoint, make 34 ∗ ἀνὰ (+ acc.) up, up along, up and down, throughout; ἀνὰ πὰν ἔτος year by year ∗ παιδεύω I train, teach, educate

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ἱππεύω I ride, am a horseman τοξεύω I shoot with the bow 35 ἀληθίζομαι I speak the truth πρίν . . . ἤ (+ subj.) until πενταέτης ες five years old 36 δίαιτα, ἡ way of life; abode; δίαιταν ἔχω live 37 ἄση, ἡ distress, vexation (1a); the father did not want to bond with his son till he had survived infancy ∗ προσβάλλω (προσβαλ-) I afflict X (dat.) with Y (acc.); procure for; assign to; make an attack, assault

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22. A sick Greek

6

Persian taboos. (138 abridged)

ἅσσα δέ σφι ποιέειν οὐκ ἔξεστι, ταῦτα οὐδὲ λέγειν ἔξεστι. αἴσχιστον δὲ αὐτοῖσι τὸ ψεύδεσθαι νενόμισται, δεύτερα δὲ τὸ ὀφείλειν χρέος, πολλῶν μὲν καὶ ἄλλων εἵνεκα, μάλιστα δὲ ἀναγκαίην φασὶ εἶναι τὸν ὀφείλοντα καί τι ψεῦδος λέγειν.

40

ὃς ἂν δὲ τῶν ἀστῶν λέπρην ἢ λεύκην ἔχῃ, ἐς πόλιν οὗτος οὐ κατέρχεται οὐδὲ συμμίσγεται τοῖσι ἄλλοισι Πέρσῃσι. φασὶ δέ μιν ἐς τὸν ἥλιον ἁμαρτόντα τι ταῦτα ἔχειν. ἐς ποταμὸν δὲ οὔτε ἐνουρέουσι οὔτε ἐμπτύουσι, οὐ χεῖρας ἐναπονίζονται οὐδὲ ἄλλον οὐδένα περιορῶσι, ἀλλὰ σέβονται ποταμοὺς μάλιστα. 38 ἅσσα = ἅττα ‘what [things]’ 39 ∗ δεύτερα secondly; δεύτερος α ον second χρέος, τό debt (3c) 40 ∗ ἀναγκαίη ἐστί = ἀνάγκη ἐστί it is necessary for X (acc.) to Y (inf.)

45

ψεῦδος, τό lie (3c). Greeks would not come out well from a comparison with Persians in this respect 41 λέπρη, ἡ leprosy (1a)

Sections 6–7, lines 38–50

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23. Heavy-armoured Greek (left) versus Persian in Median/Egyptian gear

λεύκη, ἡ the white disease (1a) (a mild form of leprosy) κατέρχομαι I return 42 ∗ συμμίσγομαι συμμίσγω (συμμειξ-) I associate with, engage with (+ dat.) 44 ἐνουρέω I make water in ἐμπτύω I spit into

ἐναπονίζομαι I wash myself in (= ἐν-απο-νίζομαι) 45 ∗ περιοράω I allow, overlook ∗ σέβομαι I revere, worship; an ironic point, for Xerxes will flog and brand the Hellespont when he finds himself unable to cross it (Hdt. 7.35)

7 Treatment of corpses. The Magi. (140 abridged)

ταῦτα μὲν ἀτρεκέως ἔχω περὶ αὐτῶν εἰδὼς εἰπεῖν. τάδε μέντοι ὡς κρυπτόμενα λέγεται καὶ οὐ σαφηνέως περὶ τοῦ ἀποθανόντος, ὡς οὐ πρότερον θάπτεται ἀνδρὸς Πέρσεω ὁ νέκυς πρὶν ἂν ὑπ᾿ ὄρνιθος ἢ κυνὸς ἑλκυσθῇ. μάγους μὲν γὰρ ἀτρεκέως οἶδα ταῦτα ποιέοντας· ἐμφανέως γὰρ δὴ ποιεῦσι. κατακηρώσαντες δὲ ὦν τὸν νέκυν Πέρσαι γῇ κρύπτουσι. 46 ∗ ἀτρεκέως accurately, truly. Note again the stress on personal knowledge ∗ κρύπτω I keep secret, hide; bury; cover (cf. crypt, cryptogram) 47 σαφηνέως plainly, clearly ∗ θάπτω I bury, honour with funeral rites, carry out to burial 48 νέκυς, ὁ corpse (3e)

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ὄρνις (ὀρνιθ-), ὁ bird (3a), cf. Iliad 1.3–5 ‘sent many mighty souls to Hades, but made their corpses a prey to dogs and a feast for birds’. But maltreatment of corpses was anathema to Greeks, cf. Akhilleus’ mutilation of Hektor (Homer above, section 16) ἕλκω I tear in pieces (aor. pass. stem ἑλκυσθ-) 49 κατακηρόω I cover with wax 50 ὦν = οὖν

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24. Regular Persian guard (right) followed by a Median

μάγοι δὲ κεχωρίδαται πολλὸν τῶν τε ἄλλων ἀνθρώπων καὶ τῶν ἐν Aἰγύπτῳ ἱρέων· οἱ μὲν γὰρ ἁγνεύουσι ἔμψυχον μηδὲν κτείνειν, εἰ μὴ ὅσα θύουσι· οἱ δὲ δὴ μάγοι αὐτοχειρίῃ πάντα πλὴν κυνὸς καὶ ἀνθρώπου κτείνουσι, καὶ ἀγώνισμα μέγα τοῦτο ποιεῦνται, κτείνοντες ὁμοίως μύρμηκάς τε καὶ ὄφις καὶ τἆλλα ἑρπετὰ καὶ πετεινά. 51 ∗ χωρίζομαι I am different from (+ gen.) (3rd pl. perf. κεχωρίδαται) πολλὸν = πολύ; ∗ πολλός όν = πολύς πολλή

πολύ Αἴγυπτος, ἡ Egypt (2a) 52 ἱρεύς, ὁ priest (3g) ἁγνεύω I consider it as part of purity [to], make it a point of religion [to] ἔμψυχος ον animate, living

εἰ μή except 53 αὐτοχειρίῃ with their own hands ἀγώνισμα, τό an object to strive for (3b) 54 μύρμηξ (μυρμηκ-), ὁ ant (3a) ὄφις, ὁ serpent (3e) (here acc. pl.) ἑρπετόν, τό beast which goes on all fours, reptile (2b) 55 πετεινόν, τό creature able to fly, bird (2b)

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Introductory passages: Xerxes at Abydos (Histories 7.44–53)

Introduction According to Herodotus, Darius, incensed by the Persian defeat at Marathon in 490 BC and still seeking vengeance for the burning of Sardis by the Ionians in 498, had been preparing a second expedition when he died (486). Xerxes, his son, inherited the throne and, as Herodotus tells it, his father’s desire for conquest and revenge. In the earlier part of Book 7, Herodotus gives a picture of the process of decision in the court of Xerxes. Mardonios urges the expedition, while Xerxes’ uncle Artabanos argues against it. The issue is settled by a dream, which threatens Xerxes with dire consequences if he does not go. Artabanos persists in his objections, claiming that dreams are nothing but confused recollections of the day’s events (7.16b; this prompted one nineteenth-century author of a standard History of Greek Literature to assert ‘Nothing can be so frivolous and absurd as the theory of dreams propounded here.’ In the post-Freudian era, which assessment seems more modern?); but later he too sees the same dream and changes his mind. Four years of preparation follow, during which vast engineering projects are set in motion (a canal across the Mt Athos peninsula, a boat bridge over the Hellespont), and the greatest army and navy ever seen is assembled (see Figure 25, p. 90). A massive undertaking indeed: Xerxes assembled his army, of perhaps some 100,000–150,000 men (modern estimates considerably modify Herodotus’ figure of 5 million), and marched them to Athens, a distance of well over 1,000 miles. Throughout this build-up, Herodotus takes care to show us Xerxes᾿ character. He turns savagely on Artabanos when he first argues against the expedition and just as quickly calms down again and changes his mind the next day. He whips the Hellespont and throws chains upon it when his first boat bridge is destroyed by a storm. When asked by Pythios the Lydian (who has shown him great loyalty) to spare the eldest of his five sons from the war, Xerxes replies by having this son cut in two and marching his army between the halves of his body. Now, on the eve of the invasion, Xerxes reflects on the expedition with Artabanos. The speeches quoted are the historian’s words, not a factual historical report. For us, there is a clear-cut distinction between (say, a TV) documentary, in which all spoken words are assumed to be verbatim reports, and a 89

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R.

S C Y T H I A N S Da

nu

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pia nS

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A NI IO

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25. Extent of the Persian Empire under Xerxes

dramatic reconstruction, in which the script writer may employ the sort of words appropriate to the occasion. Ancient writers regularly adopted the latter approach, as Herodotus does here, using his understanding of Persia’s imperial mission, based on his own research, to produce what seemed to him likely conversations. They are, it has to be said, brilliantly done, full of a foreboding – almost tragic – irony, as, e.g., Xerxes reflects on the shortness of human life and the mutability of fortune. Like Homer, Herodotus intercuts narrative and speech to telling effect. Herodotus’ style changes here from the clipped brevity characteristic of passages describing customs to the marvellous expansive, rolling narrative style with its typically propulsive features, e.g. γάρ ‘since’ in 1.57, ἐθηεῖτο . . . θηεύμενος l.59. 8

Xerxes gazes on his army and fleet; first he rejoices, then he weeps. (44–5)

ἐπεὶ δ’ ἐγένοντο ἐν ᾿Αβύδῳ, ἠθέλησε Šέρξης ἰδέσθαι πάντα τὸν στρατόν. καὶ προεπεποίητο γὰρ ἐπὶ κολωνοῦ ἐπίτηδες αὐτῷ ταύτῃ προεξέδρη λίθου λευκοῦ (ἐποίησαν δὲ ᾿Αβυδηνοὶ ἐντειλαμένου πρότερον βασιλέος), ἐνθαῦτα ὡς ἵζετο, κατορῶν ἐπὶ τῆς ἠιόνος ἐθηεῖτο καὶ τὸν πεζὸν καὶ τὰς νέας, θηεύμενος δὲ ἱμέρθη

Sections 8–9, lines 56–68

τῶν νεῶν ἅμιλλαν γινομένην ἰδέσθαι. ἐπεὶ δὲ ἐγένετό τε καὶ ἐνίκων Φοίνικες Σιδώνιοι, ἥσθη τῇ τε ἁμίλλῃ καὶ τῇ στρατιῇ.

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ὡς δὲ ὥρα πάντα μὲν τὸν ῾Ελλήσποντον ὑπὸ τῶν νεῶν ἀποκεκρυμμένον, πάσας δὲ τὰς ἀκτὰς καὶ τὰ ᾿Αβυδηνῶν πεδία ἐπίπλεα ἀνθρώπων, ἐνθαῦτα ὁ Šέρξης ἑωυτὸν ἐμακάρισε, μετὰ δὲ τοῦτο ἐδάκρυσε. 56 ῎Αβυδος, ἡ Abydos (2a) ∗ Šέρξης, ὁ Xerxes (1d) ∗ στρατός, ὁ army (2a) 57 προποιέω I make beforehand, prepare ∗ γάρ: here ‘since’, as often in Herodotus ∗ κολωνός, ὁ hill (2a), probably on modern promontory of Nara ἐπίτηδες purposely ∗ ταύτῃ on this spot, here; at this point; in this way. Cf. his father Dareios at 488. προεξέδρη, ἡ chair of state (1a) λευκός ή όν white, i.e (with λίθου) marble 58 ᾿Αβυδηνοί, οἱ people of Abydos (2a) ∗ ἐντέλλομαι (ἐντειλ-) I command, enjoin (+ dat.) ∗ ἐνθαῦτα = ἐνταῦθα, cf. l.000 ∗ ἵζομαι I sit; settle down; lie in ambush 59 ἠιών (ἠιον-), ἡ shore, beach (3a) ∗ θηέομαι = θεάομαι ∗ πεζός, ὁ land-force, army; infantry (2a) νέας = ναῦς (acc. pl.) ἱμείρομαι (ἱμερθ-) I long for, desire 60 ἅμιλλα, ἡ contest for superiority, race (1c) ἐνίκων impf., ‘were the winners’

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Φοῖνιξ, (Φοινικ-), ὁ Phoenician (3a); roughly modern Lebanon. Since Phoenicians had been a renowned naval power for at least half a millennium, their skills much in demand from early eastern land-based powers like the Assyrians, it is no surprise they won Σιδώνιος α ον from Sidon ἥσθη: tyrants in Herodotus often find delight in events – usually misplaced ὥρα = ἑώρα (3rd s. impf. of ὁράω) ∗ ῾Ελλήσποντος, ὁ Hellespont (2a), modern Dardanelles, the strait between the Sea of Marmara and the Aegean, separating Asian Turkey from the Gallipoli peninsula ∗ ἀποκρύπτω I hide from sight, conceal; hide X (acc.) from Y (acc.); lose from sight (perf. pass. part. ἀποκεκρυμμένος) ἀκτή, ἡ headland, promontory (1a) πεδίον, τό plain (2b) ἐπίπλεος α ον quite full of (+ gen.) μακαρίζω I pronounce happy, congratulate ἐδάκρυσε ‘he burst into tears’

9 Artabanos, Xerxes’ paternal uncle, who had advised against the expedition, but subsequently changed his mind because of a dream, notices that Xerxes has burst into tears for the brevity of human life. (461–2 )

μαθὼν δέ μιν ᾿Αρτάβανος ὁ πάτρως, ὃς τὸ πρῶτον γνώμην ἀπεδέξατο ἐλευθέρως οὐ συμβουλεύων Šέρξῃ στρατεύεσθαι ἐπὶ τὴν ῾Ελλάδα, οὗτος ὡνὴρ φρασθεὶς Šέρξην δακρύσαντα εἴρετο τάδε· ‘ὦ βασιλεῦ, ὡς πολλὸν ἀλλήλων κεχωρισμένα ἐργάσαο νῦν τε καὶ ὀλίγῳ πρότερον· μακαρίσας γὰρ σεωυτὸν δακρύεις.’ ὁ δὲ 65 ∗ ᾿Αρτάβανος, ὁ Artabanos (2a) πάτρως, ὁ uncle, father’s brother 66 ∗ συμβουλεύω I advise X (dat.) to Y (inf.); give advice; οὐ συμβουλεύω = I advise . . . not to ∗ στρατεύομαι I advance with an army, or fleet, wage war ὡνὴρ = ὁ ἀνὴρ φράζομαι (φρασθ-) I perceive, observe

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67 ∗ εἴρομαι I ask, inquire, ask X (acc.) Y (acc.) (= ἔρομαι) ὡς how κεχωρισμένα . . . τε καί ‘different [from ἀλλήλων] . . . compared to’; χωρίζω ‘I separate’, hence χωρίζομαι ‘I am different’ 68 ἐργάσαο = εἰργάσω (2nd s. aor. ind.) ∗ -αο 2nd s. ending for past tenses μακαρίζω I pronounce happy, congratulate

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εἶπε· ‘ἐσῆλθε γάρ με λογισάμενον κατοικτῖραι ὡς βραχὺς εἴη ὁ πᾶς ἀνθρώπινος βίος, εἰ τούτων γε ἐόντων τοσούτων οὐδεὶς ἐς ἑκατοστὸν ἔτος περιέσται.’ 69 ἐσέρχεται (ἐσελθ-) it comes into X’s mind to Y (inf.) ∗ γάρ: ‘yes, for’, as often in conversation κατοικτίρω (κατοικτιρ-) I feel compassion, show compassion (sc. ‘at the thought’)

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ἀνθρώπινος η ον human. Another echo from Homer: on brevity of human life, compare Iliad 6.146, 21.464–6 70 ἑκατοστός ή όν hundredth ∗ περίειμι I survive; remain; surpass (+ gen.). Xerxes speaks as if his homily on the brevity of human life does not apply to himself

Artabanos reflects that life has worse to offer than merely its brevity. (462–4 )

ὁ δὲ ἀμείβετο λέγων· ‘ἕτερα τούτου παρὰ τὴν ζόην πεπόνθαμεν οἰκτρότερα. ἐν γὰρ οὕτω βραχέϊ βίῳ, οὐδεὶς οὕτως ἄνθρωπος ἐὼν εὐδαίμων πέφυκε, οὔτε τούτων οὔτε τῶν ἄλλων, τῷ οὐ παραστήσεται πολλάκις, καὶ οὐκὶ ἅπαξ, τεθνάναι βούλεσθαι μᾶλλον ἤ ζώειν. αἵ τε γὰρ συμφοραὶ προσπίπτουσαι καὶ αἱ νοῦσοι συνταράσσουσαι καὶ βραχὺν ἐόντα μακρὸν δοκέειν εἶναι ποιεῦσι τὸν βίον. οὕτως ὁ μὲν θάνατος, μοχθηρῆς ἐούσης τῆς ζόης, καταφυγὴ αἱρετωτάτη τῷ ἀνθρώπῳ γέγονε, ὁ δὲ θεὸς, γλυκὺν γεύσας τὸν αἰῶνα, φθονερὸς ἐν αὐτῷ εὑρίσκεται ἐών.’ 71 παρά (+ acc.) through ∗ ζόη, ἡ = ζωή, ἡ life, existence; property (1a) οἰκτρός ά όν pitiable, lamentable 73 τῷ: the relative form παρίσταται (παραστα-) it comes into X’s (dat.) head to Y (inf.) ∗ ἅπαξ once only, once 74 ∗ ζώω = ζῶ I live, pass my life ∗ προσπίπτω (προσπεσ-) befall, come suddenly upon one; I fall upon; meet νοῦσοι = νόσοι 75 συνταράσσω I throw into confusion or disorder

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βραχὺν ἐόντα μακρὸν δοκέειν εἶναι ποιεῦσι τὸν βίον: take in order ποιεῦσι τὸν βίον, βραχὺν ἐόντα, δοκέειν εἶναι μακρόν 76 μοχθηρός ά όν wretched, hard καταφυγή, ἡ place of refuge (1a) αἱρετός ή όν to be chosen, desirable 77 γεύω I give a taste of. On divine envy, compare Croesus (Hdt. 1.32), quoted in Reading Greek (Text and Vocabulary), Section 19 pp. 227–9 ∗ αἰών (αἰων-), ὁ life, lifetime; age (3a) φθονερός ά όν jealous. Again, Artabanos does not seem to suggest anything he says applies to Xerxes

Xerxes asks Artabanos his opinion of the expedition’s chances. Artabanos replies that he has grave doubts, since two elements are hostile to it. Xerxes is astonished and asks what criticism he has of the army and navy. (47–8)

Šέρξης δὲ ἀμείβετο λέγων· ‘᾿Αρτάβανε, βιοτῆς μέν νυν ἀνθρωπηίης πέρι, ἐούσης τοιαύτης οἵην περ σὺ διαιρέαι εἶναι, παυσώμεθα, μηδὲ κακῶν μεμνώμεθα, χρηστὰ ἔχοντες πρήγματα ἐν χερσί· φράσον δέ μοι τόδε· εἴ τοι ἡ ὄψις τοῦ ἐνυπνίου μὴ ἐναργὴς οὕτω ἐφάνη, εἶχες ἂν τὴν ἀρχαίην γνώμην, οὐκ ἐῶν με στρατεύεσθαι ἐπὶ τὴν ῾Ελλάδα, ἢ μετέστης ἄν; φέρε τοῦτό μοι ἀτρεκέως εἰπέ.’ ὁ δὲ ἀμείβετο λέγων· ‘ὦ βασιλεῦ, ὄψις μὲν ἡ ἐπιφανεῖσα τοῦ ὀνείρου, ὡς βουλόμεθα ἀμφότεροι, τελευτήσειε· ἐγὼ δ ἔτι καὶ ἐς τόδε δείματός εἰμι ὑπόπλεος,

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οὐδ’ ἐντὸς ἐμεωυτοῦ, ἄλλα τε πολλὰ ἐπιλεγόμενος καὶ δὴ καὶ ὁρῶν τοι δύο τὰ μέγιστα πάντων ἐόντα πολεμιώτατα.’ Šέρξης δὲ πρὸς ταῦτα ἀμείβετο τοισίδε· ‘δαιμόνιε ἀνδρῶν, κοῖα ταῦτα δύο λέγεις εἶναί μοι πολεμιώτατα; κότερά τοι ὁ πεζὸς μεμπτὸς κατὰ πλῆθός ἐστι, καὶ τὸ ῾Ελληνικὸν στράτευμα φαίνεται πολλαπλήσιον ἔσεσθαι τοῦ ἡμετέρου, ἢ τὸ ναυτικὸν τὸ ἡμέτερον λείψεσθαι τοῦ ἐκείνων, ἢ καὶ συναμφότερα ταῦτα; εἰ γάρ τοι ταύτῃ φαίνεται ἐνδεέστερα εἶναι τὰ ἡμέτερα πρήγματα, στρατοῦ ἂν ἄλλου τις τὴν ταχίστην ἄγερσιν ποιοῖτο.’ 78 βιοτή, ἡ life (1a)

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ἀνθρωπήϊος η ον human πέρι governs βιοτῆς . . . ἀνθρωπηίης; note the accent on πέρι (as opposed to the usual περί) because it follows the noun ∗ περ emphatic (tr. οἵην περ ‘just as . . . ’) διαιρέομαι I define expressly ἐνύπνιον, τό dream (2b). On dreams, see note in Introduction, p. 89 ἐναργής ές clear ἀρχαῖος α ον former ∗ μεθίσταμαι (μεταστα-) I change [my mind]; alter; change position; cease from (+ gen.) ἐπιφαίνομαι (ἐπιφαν-) I appear, show myself τελευτήσειε expresses a wish ‘may . . . ’ ἐς τόδε up to this time ∗ δεῖμα (δειματ-), τό object of fear (3b) (take with ὑπόπλεος) ὑπόπλεος ον full (+ gen.) ∗ ἐντός (+ gen.) within, inside ἄλλα τε πολλὰ . . . καὶ δὴ καὶ ‘many other [outcomes], and especially . . . ’ ∗ ἐπιλέγομαι I think upon, think over; expect δαιμόνιε ἀνδρῶν lit. ‘O one of men under the influence of a divinity’. Δαιμόνιε, frequent in

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Homer, seems to imply surprise mingled with incredulity, pity or scorn at what some-one has said. Tr. ‘What an odd thing to say!’ Xerxes is confident that sheer numbers will be enough. He will be wrong. Battle is about more than numbers, as Artabanos will explain – to no effect κότερά ‘Is it that . . . ?’ (lit. ‘whether . . . ?’) μεμπτός ή όν blameworthy ∗ ῾Ελληνικός ή όν Greek ∗ στράτευμα, τό army, expedition, campaign (3b) πολλαπλήσιος α ον many times larger than (+ gen.) ∗ ναυτικόν, τό fleet (2b) ∗ λείπομαι I fall short of, am inferior to (+ gen.), am left behind, remain συναμφότεροι αι α both together ἐνδεής ές deficient, lacking (stress the comparative here) ∗ τάχιστος η ον quickest (sup. of ταχύς) τὴν ταχίστην most quickly ἄγερσις, ἡ gathering, mustering (3e)

12 Artabanos: ‘There are no harbours big enough for your navy, and insufficient food supplies for the expedition generally.᾿ (49)

ὁ δ᾿ ἀμείβετο λέγων· ‘ὦ βασιλεῦ, οὔτε στρατὸν τοῦτον, ὅστις γε σύνεσιν ἔχει, μέμφοιτ᾿ ἄν, οὔτε τῶν νεῶν τὸ πλήθος· ἤν τε πλεῦνας συλλέξῃς, τὰ δύο τοι τὰ λέγω πολλῷ ἔτι πολεμιώτερα γίνεται. τὰ δὲ δύο ταῦτα ἐστὶ γῆ τε καὶ θάλασσα.

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‘οὔτε γὰρ τῆς θαλάσσης ἔστι λιμὴν τοσοῦτος οὐδαμόθι, ὡς ἐγὼ εἰκάζω, ὅστις, ἐγειρομένου χειμῶνος, δεξάμενός σευ τοῦτο τὸ ναυτικὸν φερέγγυος ἔσται 93 σύνεσις, ἡ understanding (3e) 96 οὔτε do not expect an answering οὔτε ∗ οὐδαμόθι nowhere, in no place

εἰκάζω I guess, conjecture 97 ἐγείρω I rouse, stir up φερέγγυος ον capable of, sufficient to (+ inf.)

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διασῶσαι τὰς νέας. καίτοι οὐκὶ ἕνα αὐτὸν δεῖ εἶναι, ἀλλὰ παρὰ πᾶσαν τὴν ἤπειρον παρ᾿ ἣν δὴ κομίζεαι. οὐκ ὦν δὴ ἐόντων τοι λιμένων ὑποδεξίων, μαθὲ ὅτι αἱ συμφοραὶ τῶν ἀνθρώπων ἄρχουσι καὶ οὐκὶ ὥνθρωποι τῶν συμφορέων. ‘καὶ δὴ τῶν δύο τοι, τοῦ ἑτέρου εἰρημένου, τὸ ἕτερον ἔρχομαι ἐρέων. γῆ δὴ πολεμίη τῇδέ τοι κατίσταται· εἰ θέλει τοι μηδὲν ἀντίξοον καταστῆναι, τοσούτῳ τοι γίνεται πολεμιωτέρη ὅσῳ ἂν προβαίνῃς ἑκαστέρω, τὸ πρόσω αἰεὶ κλεπτόμενος· εὐπρηξίης δὲ οὐκ ἔστι ἀνθρώποισι οὐδεμία πληθώρη. καὶ δή τοι, ὡς οὐδενὸς ἐναντιευμένου, λέγω τὴν χώρην πλεῦνα ἐν πλέονι χρόνῳ γινομένην λιμὸν τέξεσθαι. ἀνὴρ δὲ οὕτω ἂν εἴη ἄριστος, εἰ βουλευόμενος μὲν ἀρρωδέοι, πᾶν ἐπιλεγόμενος πείσεσθαι χρῆμα, ἐν δὲ τῷ ἔργῳ θρασὺς εἴη.᾿ 98 διασῴζω I preserve through danger αὐτὸν i.e. a harbour 99 ∗ ἤπειρος, ἡ mainland; continent (2a) κομίζομαι I journey, travel ὑποδέξιος α ον able to receive, capacious, ample 100 ὥνθρωποι = οἱ ἄνθρωποι 101 ἔρχομαι ἐρέων ‘I am going to tell [you]’ ∗ ἔρχομαι (+ fut. part.) I am going to 102 ∗ τῇδε thus, in this way; here; on the spot ἀντίξοος ον opposed to (+ dat.) τοσούτῳ . . . ὅσῳ as much . . . as 103 προσβαίνω I go on, go forward ἑκαστέρω further ∗ πρόσω forwards, onwards; far off; (+ gen.) farther into, far from

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τὸ πρόσω αἰεὶ κλεπτόμενος lit: ‘being always cheated as to what is in front of you᾿, i.e. ‘going on in ignorance, deceived᾿, hence the farther you advance, the more difficult it will be to obtain supplies εὐπρηξίη, ἡ success (1a) πληθώρη, ἡ fullness, satiety (1a) ὡς given that ∗ ἐναντιόομαι I oppose, set myself against, withstand (+ dat.) ∗ λιμός, ὁ hunger, famine (2a) τίκτομαι I engender, produce (fut. τέξομαι) ∗ ἀρρωδέω I fear, dread (= ὀρρωδέω) θρασύς εῖα ύ bold, full of confidence

Xerxes: ‘Nothing ventured, nothing gained. No man can know the future. My predecessors without daring would not have made Persia great. I follow in their footsteps and my preparations are quite sufficient.᾿ (50)

ἀμείβεται Šέρξης τοισίδε· ‘᾿Αρτάβανε, οἰκότως μὲν σύ γε τούτων ἕκαστα διαιρέαι, ἀτὰρ μήτε πάντα φοβέο μήτε πᾶν ὁμοίως ἐπιλέγεο. εἰ γὰρ δὴ βούλοιο ἐπὶ τῷ αἰεὶ ἐπεσφερομένῳ πρήγματι τὸ πᾶν ὁμοίως ἐπιλέγεσθαι, ποιήσειας ἂν οὐδαμὰ οὐδέν· κρέσσον δὲ πάντα θαρσέοντα ἥμισυ τῶν δεινῶν πάσχειν μάλλον ἤ, πᾶν χρῆμα προδειμαίνοντα, μηδαμὰ μηδὲν παθεῖν. εἰ δὲ ἐρίζων πρὸς πᾶν τὸ λεγόμενον μὴ τὸ βέβαιον ἀποδέξεις, σφάλλεσθαι ὀφείλεις ἐν αὐτοῖσι ὁμοίως καὶ ὁ ὑπεναντία τούτοισι λέξας. ‘τοῦτο μέν νυν ἐπ᾿ ἴσης ἔχει· εἰδέναι δὲ ἄνθρωπον ἐόντα κῶς χρὴ τὸ βέβαιον; δοκέω μὲν οὐδαμῶς. τοῖσι τοίνυν βουλομένοισι ποιέειν ὡς τὸ ἐπίπαν φιλέει γίνεσθαι τὰ κέρδεα, τοῖσι δὲ ἐπιλεγομένοισί τε πάντα καὶ ὀκνέουσι οὐ μάλα ἐθέλει. ὁρᾷς τὰ Περσέων πρήγματα ἐς ὃ δυνάμιος προκεχώρηκε. εἰ τοίνυν ἐκεῖνοι οἱ πρὸ ἐμεῦ γενόμενοι βασιλέες γνώμῃσι ἐχρέωντο ὁμοίῃσι καὶ σύ, ἢ μὴ χρεώμενοι

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Sections 12–13, lines 98–128

γνώμῃσι τοιαύτῃσι ἄλλους συμβούλους εἶχον τοιούτους, οὐκ ἄν κοτε εἶδες αὐτὰ ἐς τοῦτο προελθόντα· ‘νῦν δὲ κινδύνους ἀναρριπτέοντες ἐς τοῦτό σφεα προηγάγοντο. μεγάλα γὰρ πρήγματα μεγάλοισι κινδύνοισι ἐθέλει καταιρέεσθαι. ἡμεῖς τοίνυν ὁμοιεύμενοι ἐκείνοισι ὥρην τε τοῦ ἔτεος καλλίστην πορευόμεθα, καὶ καταστρεψάμενοι πᾶσαν τὴν Εὐρώπην νοστήσομεν ὀπίσω, οὔτε λιμῷ ἐντυχόντες οὐδαμόθι οὔτε ἄλλο ἄχαρι οὐδὲν παθόντες. τοῦτο μὲν γὰρ αὐτοὶ πολλὴν φορβὴν φερόμενοι πορευόμεθα, τοῦτο δέ, τῶν ἄν κου ἐπιβέωμεν γῆν καὶ ἔθνος, τούτων τὸν σῖτον ἕξομεν· ἐπ ἀροτῆρας δὲ καὶ οὐ νομάδας στρατευόμεθα ἄνδρας.᾿ 108 διαιρέομαι I define expressly 109 τὸ πᾶν ὁμοίως ἐπιλέγεσθαι ‘to assess everything equally’, i.e. to give equal importance to every possibility in your calculations 110 ἐπεσφέρομαι I occur; ἐπὶ τῷ αἰεὶ ἐπεσφερομένῳ πρήγματι lit. ‘at the always occurring matter’, i.e. at each and every matter occurring / which may occur᾿ οὐδαμά never, not at all 111 κρέσσον δέ sc. ‘it is better that a man . . . ᾿ θαρσέω I feel confidence against, have no fear of. Xerxes, as Persian king, can overrule any advice he receives. That is the way of tyrants. When Greeks have to reach a decision, they debate widely amongst themselves (even if they then rat on the final agreement). That is the way of the free, democratic man – a lesson Herodotus is keen to impress on readers. This does not mean Xerxes is stupid; there is much here that is perfectly sensible ἥμισυς εῖα ύ half 112 προδειμαίνω I fear beforehand μηδαμά never, not at all ἐρίζω (πρός + acc) I quarrel (with) 113 τὸ βέβαιον tr. ‘the secure course᾿ ∗ σφάλλομαι I am mistaken [in] (+ gen.); am tripped up; fall; am baulked ∗ ὀφείλω I am bound, ought ὁμοίως καί in the same way as, equally with 114 ὑπεναντίος α ον contrary to (+ dat.) 115 ἴσος η ον equal ἐπ᾿ ἴσης ἔχει ‘is on an equal footing, is all square᾿ ἄνθρωπον ἐόντα ‘one who is mortal’

95 120

125

116 τοῖσι τοίνυν . . . τοῖσι δὲ: Xerxes contrasts the man of action and the man who thinks too much ὡς τὸ ἐπίπαν in most cases, in general 117 ∗ κέρδος, τό gain, profit; desire of gain (3c) ὀκνέω I hesitate, am afraid to act 118 ἐθέλει is/are used to ἐς ὃ to what degree of (+ gen.) δυνάμιος = δυνάμεως προχωρέω I proceed 119 ὅμοιος καί the same as 120 σύμβουλος, ὁ adviser, counsellor (2a) 121 ἐς τοῦτο to this point προσέρχομαι (προσελθ-) I go forward, advance 122 ἀναρριπτέω κινδύνους I run risks σφεα them (i.e. their fortunes) 123 καταιρέομαι I am achieved, attained ὁμοιόομαι I become like (+ dat.) 124 ∗ ὥρα, ἡ season (1b); ὥρην ‘at the . . . ’ ∗ καταστρέφομαι I subdue, subject to myself 125 ∗ Εὐρώπη, ἡ Europe (1a) νοστέω I come home, return ∗ ὀπίσω back again, backwards; hereafter 126 ∗ ἄχαρις ἄχαρι unpleasant, disagreeable τοῦτο μέν . . . τοῦτο δέ firstly . . . secondly φορβή, ἡ fodder (1a) 127 τῶν ἄν . . . τούτων ‘whoever’s [construe with γῆν καὶ ἔθνος] . . . their [construe with τὸν σῖτον]’ ἐπιβαίνω (ἐπιβα-) I enter (1st pl. aor. subj. ἐπιβέωμεν) ∗ ἔθνος, τό nation; tribe (3c) 128 ἀροτήρ (ἀροτηρ-), ὁ plougher, cultivator of the soil (3a) νομάς (νομαδ-), ὁ nomad (3a), like the Scythians against whom Darius campaigned

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14

Artabanos: ‘All right. But take my advice and do not lead the Ionians against their own kin. They will do no good, and may do positive harm.᾿ (51)

λέγει ᾿Αρτάβανος μετὰ ταῦτα· ‘ὦ βασιλεῦ, ἐπείτε ἀρρωδέειν οὐδὲν ἐᾷς πρῆγμα, σὺ δέ μευ συμβουλίην ἔνδεξαι· ἀναγκαίως γὰρ ἔχει περὶ πολλῶν πρηγμάτων πλεῦνα λόγον ἐκτεῖναι. Κῦρος ὁ Καμβύσεω ’Ιωνίην πᾶσαν πλὴν ᾿Αθηνέων κατεστρέψατο δασμοφόρον εἶναι Πέρσῃσι. τούτους ὦν τοὺς ἄνδρας συμβουλεύω τοι μηδεμιῇ μηχανῇ ἄγειν ἐπὶ τοὺς πατέρας· καὶ γὰρ ἄνευ τούτων οἷοί τέ εἰμεν τῶν ἐχθρῶν κατυπέρτεροι γίνεσθαι. ‘ἢ γάρ σφεας, ἢν ἕπωνται, δεῖ ἀδικωτάτους γίνεσθαι, καταδουλουμένους τὴν μητρόπολιν, ἢ δικαιοτάτους, συνελευθεροῦντας. ἀδικώτατοι μέν νυν γινόμενοι οὐδὲν κέρδος μέγα ἡμῖν προσβάλλουσι, δικαιότατοι δὲ γινόμενοι οἷοί τε δηλήσασθαι μεγάλως τὴν σὴν στρατιὴν γίνονται. ἐς θυμὸν ὦν βαλεῦ καὶ τὸ παλαιὸν ἔπος ὡς εὖ εἴρηται, τὸ “μὴ ἅμα ἀρχῇ πᾶν τέλος καταφαίνεσθαι.”’ 130 συμβουλίη, ἡ advice (1a) ἐνδέχομαι I accept X (acc.) from Y (gen.) ἀναγκαίως ἔχει it is necessary 131 ἐκτείνω (ἐκτειν-) I spin out, prolong Κῦρος, ὁ Kyros (2a) (Cyrus, the Great King of Persia 559–529 BC) Καμβύσης, ὁ Kambyses (1d) ’Ιωνίην i.e. the Ionian cities of the Aegean coast of the Persian Empire ᾿Αθηνέων = ᾿Αθηνῶν 132 δασμοφόρος ον tributary [to] (+ dat.) (describes ’Ιωνίην πᾶσαν) εἶναι infinitive expressing result 133 μηδεμιῇ μηχανῇ by no means 134 καθυπέρτερος α ον superior [to] (+ gen.) 135 ἢ γάρ σφεας . . . : Artabanos here speculates on the possible outcomes if the Ionians

15

136 137 138

139

130

135

(σφεας) accompany (ἕπωνται) the Persians: they might become criminals or heroes. Artabanos fears the second alternative καταδουλόομαι I enslave μητρόπολις, ἡ mother-city (3e) συνελευθερόω I join in freeing οἱοί τε sc. εἰσιν δηλέομαι I damage, do harm to βάλλομαι (βαλ-) I take X (acc.) to Y (ἐς + acc.) ∗ ἅμα (+ dat.) at, at the same time as τέλος, τό outcome (3c) καταφαίνομαι I become visible, appear. This ‘look to the outcome/end’ sentiment is very Herodotean (and Greek); cf. on l.77)

Xerxes: ‘We have had proof of Ionian loyalty before now (when the Ionians kept open an escape route from the Scythians for the Persians over the river Ister, although they could have secured their freedom if they had left the Persians at the mercy of the Scythians). Besides, they have now left wives and children behind in Persian territory. You go and keep safe my home and power.᾿ (52)

ἀμείβεται πρὸς ταῦτα Šέρξης· ‘᾿Αρτάβανε, τῶν ἀπεφήναο γνωμέων σφάλλεαι κατὰ ταύτην δὴ μάλιστα, ὃς ῎Ιωνας φοβέαι μὴ μεταβάλωσι, τῶν ἔχομεν γνῶμα μέγιστον – τῶν σύ τε μάρτυς γίνεαι καὶ οἱ συστρατευσάμενοι Δαρείῳ ἄλλοι ἐπὶ

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Sections 14–15, lines 129–48

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26. Procession of Cappadocian tribute-bearers to the Persian king

Σκύθας – ὅτι ἐπὶ τούτοισι ἡ πᾶσα Περσικὴ στρατιὴ ἐγένετο διαφθεῖραι καὶ περιποιῆσαι· οἱ δὲ δικαιοσύνην καὶ πιστότητα ἐνέδωκαν, ἄχαρι δὲ οὐδέν. ‘πάρεξ δὲ τούτου, ἐν τῇ ἡμετέρῃ καταλιπόντας τέκνα καὶ γυναῖκας καὶ χρήματα οὐδ’ ἐπιλέγεσθαι χρὴ νεώτερόν τι ποιήσειν. οὕτω μηδὲ τοῦτο φοβέο, ἀλλὰ θυμὸν ἔχων ἀγαθόν, σῷζε οἶκόν τε τὸν ἐμὸν καὶ τυραννίδα τὴν ἐμήν· σοὶ γὰρ ἐγὼ μούνῳ ἐκ πάντων σκῆπτρα τὰ ἐμὰ ἐπιτρέπω.᾿ 140 τῶν . . . γνωμέων ‘in the views which . . . ᾿ 141 ταύτην i.e. this particular opinion ῎Ιωνες, οἱ the Ionians (3a) μεταβάλλω (μεταβαλ-) I change sides γνῶμα, τό mark, token (3b); note – not γνωμή! It refers to the proof of loyalty Xerxes has in the Ionians (τῶν = ‘them’), explained by the ὅτι clause 142 ∗ συστρατεύομαι I share in an expedition with (+ dat.) Δαρεῖος, ὁ Dareios (2a) (King of Persia, 521–486 BC) 143 Σκύθης, ὁ Scythian (1d) ἐπί (+ dat.) in the power of τούτοισι, i.e. the Ionians, to . . . Περσικός ή όν Persian

145

144 περιποιέω I keep safe δικαιοσύνη, ἡ justice (1a) πιστότης (πιστοτητ-), ἡ good faith, honesty (3a) ἐνδίδωμι (ἐνδο-) I show, exhibit 145 πάρεξ (+ gen.) besides τῇ ἡμετέρῃ sc. χώρῃ καταλίποντας . . . χρή ‘since they have . . . we shouldn᾿t . . . them to . . . ’ 146 νεώτερόν τι anything revolutionary; ∗ νέος α ον unexpected, strange, untoward 147 τυραννίς (τυρρανιδ-), ἡ tyranny (3a) 148 σκῆπτρον, τό sceptre, symbol of monarchy (2b) ἐπιτρέπω I entrust X (acc.) to Y (dat.). Artabanos is Xerxes’ uncle

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27. Persian archers

16

First sending Artabanos to Sousa, Xerxes addresses his chief men: ‘Be brave and worthy of Persia᾿s past. If we conquer the Greeks, no one will ever beat us.᾿ (53)

ταῦτα εἴπας καὶ ᾿Αρτάβανον ἀποστείλας ἐς Σοῦσα, δεύτερα μετεπέμψατο Šέρξης Περσέων τοὺς δοκιμωτάτους· ἐπεὶ δέ οἱ παρῆσαν, ἔλεγέ σφι τάδε· ‘ὦ Πέρσαι, τῶνδ᾿ ἐγὼ ὑμέων χρηίζων συνέλεξα, ἄνδρας τε γίνεσθαι ἀγαθοὺς καὶ μὴ καταισχύνειν τὰ πρόσθε ἐργασμένα Πέρσῃσι, ἐόντα μεγάλα τε καὶ πολλοῦ ἄξια, ἀλλ᾿ εἷς τε ἕκαστος καὶ οἱ σύμπαντες προθυμίην ἔχωμεν· ξυνὸν γὰρ πᾶσι τοῦτο ἀγαθὸν σπεύδεται.

150

‘τῶνδε δὲ εἵνεκα προαγορεύω ἀντέχεσθαι τοῦ πολέμου ἐντεταμένως· ὡς γὰρ ἐγὼ 155 πυνθάνομαι, ἐπ᾿ ἄνδρας στρατευόμεθα ἀγαθούς, τῶν ἢν κρατήσωμεν, οὐ μή τις ἡμῖν ἄλλος στρατὸς ἀντιστῇ κοτε ἀνθρώπων. νῦν δὲ διαβαίνωμεν, ἐπευξάμενοι τοῖσι θεοῖσι οἳ Περσίδα γῆν λελόγχασι.᾿ 149 ∗ ἀποστέλλω (ἀποστειλ-) I dispatch; banish ∗ μεταπέμπομαι I summon, send for 150 δόκιμος ον esteemed ∗ πάρειμι I am by X (dat.), near X (dat.) 151 τῶνδ᾿: ‘these things . . . that you ἄνδρας τε γίνεσθαι . . . ’ χρηίζω I desire X (gen.) of Y (gen.) συνέλεξα: understand ‘you all’ as object

ἄνδρας τε γίνεσθαι tr. ‘namely that you become . . . ’ 152 καταισχύνω I dishonour, put to shame Πέρσῃσι by the Persians; ∗ n.b.: as often after perf. pass. verbs, agent here expressed by dative 153 σύμπας πασα παν (συμπαντ-) all together προθυμίη, ἡ eagerness (1a); προθυμίην ἔχω be eager, zealous

Section 16, lines 149–58

ξυνός ή όν common 154 ∗ σπεύδω I strive after, promote zealously, set going, hasten 155 προαγορεύω order (sc. ‘you’) ἀντέχομαι I cling to (+ gen.) (i.e. set about) ἐντεταμένως vehemently, vigorously 156 οὐ μή (+ subj.) there is no fear that 157 ∗ ἀνθίσταμαι (ἀντιστα-)I withstand (+ dat.)

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ἀνθρώπων: construe with στρατός. As emerges in 7.54, Xerxes has ambitions to push on and conquer the whole of Europe; cf. section 24 ἐπεύχομαι I pray to, make a vow to (+ dat.) 158 λέλογχα I am the tutelary deity (of a place), protect. Greeks believed that every place had its own tutelary deity: whether the Persians shared that belief is uncertain

Target passage: The battle of Thermopylai (Histories 7.56–238 (passim))

Sections 8–16, with their Introduction, act as the introduction to this target passage.

Crossing into Europe 17

Xerxes (who has already crossed the bridge of boats) watches his army crossing into Europe. One man’s superstitious view of the event. (56)

Šέρξης δὲ ἐπεὶ διέβη ἐς τὴν Εὐρώπην, ἐθηεῖτο τὸν στρατὸν ὑπὸ μαστίγων διαβαίνοντα. διέβη δὲ ὁ στρατὸς αὐτοῦ ἐν ἑπτὰ ἡμέρῃσι καὶ ἑπτὰ εὐφρόνῃσι, ἐλινύσας οὐδένα χρόνον. ἐνθαῦτα λέγεται, Šέρξεω ἤδη διαβεβηκότος τὸν ῾Ελλήσποντον, ἄνδρα εἰπεῖν ῾Ελλησπόντιον· ‘ὦ Ζεῦ, τί δή, ἀνδρὶ εἰδόμενος Πέρσῃ, καὶ οὔνομα ἀντὶ Διὸς Šέρξην θέμενος, ἀνάστατον τὴν ῾Ελλάδα θέλεις ποιῆσαι, ἄγων πάντας ἀνθρώπους; καὶ γὰρ ἄνευ τούτων ἐξῆν τοι ποιέειν ταῦτα.’ 159 ∗ μάστιξ (μαστιγ-), ἡ whip, scourge (3a). It is slaves who are subject to the whip; it is used to cut and mark their bodies. Herodotus frequently contrasts the Persians, forced to fight as if slaves by a despotic tyrant, with the Greeks, freely fighting according to their democratic will. See section 32, l.349 160 ἑπτά seven εὐφρόνη, ἡ night (1a)

18

161 ἐλινύω I take rest 162 ῾Ελλησπόντιος α ον of the Hellespont εἴδομαι I am like, am in the guise of (+ dat.) (referring, like θέμενος, to Zeus): perhaps intended as a sycophantic compliment, but equally suggesting that Xerxes runs the risk of going too far 163 ἀνάστατος ον ruined, laid waste

Portents signifying disaster for the expedition are ignored by Xerxes. (57–81)

ὡς δὲ διέβησαν πάντες, ἐς ὁδὸν ὁρμημένοισι τέρας σφι ἐφάνη μέγα, τὸ Šέρξης ἐν οὐδενὶ λόγῳ ἐποιήσατο, καίπερ εὐσύμβλητον ἐόν. ἵππος γὰρ ἔτεκε λαγόν. εὐσύμβλητον ὦν τῇδε ἐγένετο, ὅτι ἔμελλε μὲν ἐλᾶν στρατιὴν ἐπὶ τὴν ῾Ελλάδα Šέρξης ἀγαυρότατα καὶ μεγαλοπρεπέστατα, ὀπίσω δέ, περὶ ἑωυτοῦ τρέχων, ἥξειν ἐς τὸν αὐτὸν χῶρον. ἐγένετο δὲ καὶ ἕτερον αὐτῷ τέρας ἐόντι ἐν Σάρδισι· ἡμίονος γὰρ ἔτεκε ἡμίονον διξὰ ἔχουσαν αἰδοῖα, τὰ μὲν ἔρσενος, τὰ δὲ θηλέης· κατύπερθε δὲ ἦν τὰ τοῦ ἔρσενος. τῶν ἀμφοτέρων λόγον οὐδένα ποιησάμενος, τὸ πρόσω ἐπορεύετο, σὺν δέ οἱ ὁ πεζὸς στρατός. 100

160

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Sections 17–18, lines 159–72

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ter) R. Danube (Is

THRACE Adriatic Sea

Doriskos Therme Tempe

Kerkyra

Hellespont Abydos

Canal

Kyme

LYDIA

Sardis

E EMPIR

R. Sperkheios Aphetai MALIS Artemision Trakhis AKHARNANIA THERMOPYLAI Delphi LOKRIS Aegean Sea PHOKIS Thebes Plataia Marathon Karystos PELOPONNESE Athens Corinth Salamis Thespiai Sparta

SIAN PER

THESSALY

Halikarnassos

Kythera

Crete Pass of Thermopylai Route of fleet both somewhat disputed Route of army

28. Route of the Persian expedition

165 ὡς when ∗ τέρας, τό (τερατ-) portent, sign, wonder, marvel; monster (3b); subject, with μέγα. Portents were believed to be signs from the gods, hence their importance in augury ἐν λόγῳ ποιέομαι I consider of importance 166 εὐσύμβλητος ον easy to divine, easy to understand λαγός, ὁ hare (2a) 167 ἔμελλε: subject is Xerxes ἐλάω I drive 168 ἀγαυρός ά όν proud, stately μεγαλοπρεπής ές magnificent; but is ‘magnificence, haughtiness’ a crime? It may be foolish, but it is not necessarily

sacrilegious, i.e. a directly punishable offence against the gods. Yet it is still a risky way to behave. Herodotus is aware of the difference between the two περὶ ἑαυτοῦ τρέχων running for his life 169 αὐτῷ: with ἐόντι Σάρδιες, αἱ Sardis (capital of Lydia) 170 διξός ή όν double, two sets of αἰδοῖα, τά genitals (2b) ἔρσην (ἐρσεν-), ὁ male (3a) θῆλυς θήλεα θήλυ female 171 κατύπερθε above, on top λόγον ποιέομαι I make account of X (gen.), set value on X (gen.)

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Xerxes and Demaratos at Doriskos (The crossing complete, the fleet sails round the coast and the army marches overland to Doriskos in Thrace. Here the army is counted and then marshalled by nation. Herodotus gives an account of the various contingents present, their modes of dress and fighting.)

19

Xerxes reviews the land army from a chariot and the fleet from a ship. The answers given to his questions are noted down. (100)

Šέρξης δέ, ἐπεὶ ἠριθμήθη τε καὶ διετάχθη ὁ στρατός, ἐπεθύμησε αὐτός σφεας διεξελάσας θεήσασθαι. μετὰ δὲ ἐποίεε ταῦτα καί, διεξελαύνων ἐπὶ ἅρματος παρὰ ἔθνος ἓν ἕκαστον, ἐπυνθάνετο, καὶ ἀπέγραφον οἱ γραμματισταί, ἕως ἐξ ἐσχάτων ἐς ἔσχατα ἀπίκετο καὶ τῆς ἵππου καὶ τοῦ πεζοῦ. ὡς δὲ ταῦτά οἱ ἐπεποίητο, τῶν νεῶν κατελκυσθεισέων ἐς θάλασσαν, ἐνθαῦτα ὁ Šέρξης, μετεκβὰς ἐκ τοῦ ἅρματος ἐς νέα Σιδωνίην, ἵζετο ὑπὸ σκηνῇ χρυσέῃ καὶ παρέπλεε παρὰ τὰς πρῴρας τῶν νεῶν, ἐπειρωτῶν τε ἑκάστας ὁμοίως καὶ τὸν πεζὸν καὶ ἀπογραφόμενος. τὰς δὲ νέας οἱ ναύαρχοι, ἀναγαγόντες ὅσον τε τέσσερα πλέθρα ἀπὸ τοῦ αἰγιαλοῦ, ἀνεκώχευον, τὰς πρῴρας ἐς γῆν τρέψαντες πάντες μετωπηδὸν καὶ ἐξοπλίσαντες τοὺς ἐπιβάτας ὡς ἐς πόλεμον. ὁ δ’ ἐντὸς τῶν πρῳρέων πλέων ἐθηεῖτο καὶ τοῦ αἰγιαλοῦ. 173 ἀριθμέω I number, count διατάσσω I draw up 174 διεξελαύνω (διεξελασ-) I ride through μετά afterwards (adv.) ἅρμα, τό chariot (3b) 175 ἄπογράφω I enter in a list, register; -ομαι have written down (sc. ‘the information᾿) γραμματιστής, ὁ clerk, registrar (1d); note the comment at the Battle of Salamis (8.90) where Xerxes’ secretaries were recording exploits of naval officers ἐξ ἐσχάτων ἐς ἔσχατα from one end to the other 176 ἵππος, ἡ cavalry (2a) 177 κατέλκω I launch (aor. pass. stem κατελκυσθ-) 178 μετεκβαίνω (μετεκβα-) I go from X (ἐκ + gen.) into Y (ἐς + acc.) νέα = ναῦν Σιδώνιος α ον from Sidon. Sidonian ships and sailors were the finest in Xerxes’ fleet σκηνή, ἡ awning (1a); note the golden touch

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179 πρῷρα, ἡ prow (1b) ∗ ἐπειρωτάω I ask a question about X (acc); consult, inquire of (= ἐπερωτάω) ὁμοίως καί ‘in the same way as’ (sc. ‘he had asked about’) 180 ναύαρχος, ὁ commander of the fleet, admiral (2a) ἀνάγω (ἀναγαγ-) I put X (acc.) to sea ὅσον τε as far as 181 ∗ τέσσερες α four πλέθρον, τό plethron (2b) (a measure of c. 100 ft) αἰγιαλός, ὁ sea-shore, beach (2a) ἀνακωχεύω I hold back, keep (sc. ‘riding at anchor᾿) 182 μετωπηδόν in line ἐξοπλίζω I arm completely ἐπιβάτης, ὁ marine, fighting man (1d); those who go on [board] other than the sailors (from ἐπί + βαίνω)

Xerxes calls Demaratos, the exiled king of Sparta (originally given a home in Persia by Dareios and now joining Xerxes’ expedition), and asks: ‘Will the Greeks fight?᾿ (1011–3)

ὡς δὲ καὶ ταύτας διεξέπλωσε καὶ ἐξέβη ἐκ τῆς νεός, μετεπέμψατο Δημάρητον τὸν ᾿Αρίστωνος συστρατεύομενον αὐτῷ ἐπὶ τὴν ῾Ελλάδα, καλέσας δ αὐτὸν εἴρετο

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Sections 19–20, lines 173–93

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29. A royal chariot

τάδε· ‘Δημάρητε, νῦν μοι σὲ ἡδύ τι ἐστὶ εἰρέσθαι τὰ θέλω. σὺ εἷς ῞Ελλην τε, καὶ ὡς ἐγὼ πυνθάνομαι σεῦ τε καὶ τῶν ἄλλων ῾Ελλήνων τῶν ἐμοὶ ἐς λόγους ἀπικνεομένων, πόλιος οὔτ᾿ ἐλαχίστης οὔτ’ ἀσθενεστάτης. ‘νῦν ὦν μοι τόδε φράσον, εἰ ῞Ελληνες ὑπομενέουσι χεῖρας ἐμοὶ ἀνταειρόμενοι. οὐ γάρ, ὡς ἐγὼ δοκέω, οὐδ᾿ εἰ πάντες ῞Ελληνες καὶ οἱ λοιποὶ οἱ πρὸς ἑσπέρης οἰκέοντες ἄνθρωποι συλλεχθείησαν, οὐκ ἀξιόμαχοί εἰσι ἐμὲ ἐπιόντα ὑπομεῖναι, μὴ ἐόντες ἄρθμιοι. ἐθέλω μέντοι καὶ τὸ ἀπὸ σεῦ, ὁκοῖόν τι λέγεις περὶ αὐτῶν, πυθέσθαι.’ 184 διεκπλώω I sail out through νεός = νεώς ∗ Δημάρητος, ὁ Demaratos (2a) (ex-king of Sparta, ousted as being illegitimate (Hdt. 6.61–6) who later fled to the Persian court) 185 ᾿Αρίστων (᾿Αριστων-), ὁ Ariston (3a) 188 πόλιος = πόλεως ∗ ἐλάχιστος η ον smallest, least; shortest; fewest 189 ∗ ὑπομένω I dare to X (nom. part.); await (X’s attack); submit to; stand firm (fut. ὑπομενέω) χεῖρας ἀνταείρομαι I raise hands against X (dat.) 190 πρός (+ gen.) in ἑσπέρη, ἡ the West (1a)

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191 ∗ ἀξιόμαχος ον sufficient in strength to (+ inf.); a match for X (dat. or πρός + acc.) in war μὴ ἐόντες ‘if they were not . . . ’: the μὴ indicates a conditional participle, otherwise οὐ would have been used 192 ἄρθμιος α ον united, leagued together τὸ ἀπὸ σεῦ sc. ‘opinion’. It is natural that Xerxes, having personally inspected his forces, should wonder whether anyone would dare stand against them. This gives Herodotus the chance to highlight, in the mouth of Demaratos, the special, contrasting qualities that make the Spartans, and perhaps by implication other Greeks (but see section 21, ll.200ff.), so different

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30. Dareios in his royal chariot

21

Demaratos: ‘They will not endure slavery, and will fight you however small their numbers.’ (1013 –102)

ὁ μὲν ταῦτα εἰρώτα, ὁ δὲ ὑπολαβὼν ἔφη· ‘βασιλεῦ, κότερα ἀληθείῃ χρήσωμαι πρὸς σὲ ἢ ἡδονῇ;’ ὁ δέ μιν ἀληθείῃ χρήσασθαι ἐκέλευε, φὰς οὐδέν οἱ ἀηδέστερον ἔσεσθαι ἢ πρότερον ἦν. ὡς δὲ ταῦτα ἤκουσε Δημάρητος, ἔλεγε τάδε· ‘βασιλεῦ, ἐπειδὴ ἀληθείῃ διαχρήσασθαι πάντως κελεύεις – ταῦτα λέγοντα τὰ μὴ ψευδόμενός τις ὕστερον ὑπὸ σεῦ ἁλώσεται – τῇ ῾Ελλάδι πενίη μὲν αἰεί κοτε σύντροφός ἐστι, ἀρετὴ δὲ ἔπακτός ἐστι, ἀπό τε σοφίης κατεργασμένη καὶ νόμου ἰσχυροῦ· τῇ διαχρεωμένη ἡ ῾Ελλὰς τήν τε πενίην ἀπαμύνεται καὶ τὴν δεσποσύνην.

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‘αἰνέω μέν νυν πάντας τοὺς ῞Ελληνας τοὺς περὶ ἐκείνους τοὺς Δωρικοὺς χώρους οἰκημένους, ἔρχομαι δὲ λέξων οὐ περὶ πάντων τούσδε τοὺς λόγους, ἀλλὰ περὶ Λακεδαιμονίων μούνων, πρῶτα μὲν ὅτι οὐκ ἔστι ὅκως κοτὲ σοὺς δέξονται λόγους δουλοσύνην φέροντας τῇ ῾Ελλάδι, αὖτις δὲ ὡς ἀντιώσονταί τοι ἐς μάχην, καὶ ἢν οἱ ἄλλοι ῞Ελληνες πάντες τὰ σὰ φρονέωσι. ἀριθμοῦ δὲ πέρι μὴ πύθῃ ὅσοι τινὲς ἐόντες 205 ταῦτα ποιέειν οἷοί τέ εἰσι· ἤν τε γὰρ τύχωσι ἐξεστρατευμένοι χίλιοι, οὗτοι μαχήσονταί τοι, ἤν τε ἐλάσσονες τούτων, ἤν τε καὶ πλεῦνες.’ 194 ∗ ὑπολαμβάνω (ὑπολαβ-) I take up, answer; seize; assume, suppose 195 ἀηδής ές unpleasant 197 ∗ διαχράομαι use X (dat.) constantly, I use X (dat.) habitually λέγοντα sc. ἐμὲ after κελεύεις, agreeing with the participle

τὰ . . . τις . . . ἁλώσεται ‘in relation to which a man will be found to be’ 198 πενίη, ἡ poverty (1a) 199 σύντροφος ον habitual to X (dat.), familiar to X (dat.), lit. brought up with. Here Demaratos cites both environmental and cultural factors (poverty, endemic in ancient Greece, on the one hand, and

Sections 21–2, lines 194–220

ἀρετή and νόμος on the other) to explain Sparta’s strengths ἔπακτος ον acquired. Demaratos develops the point about νόμος at section 23, l.241 ∗ κατεργάζομαι I acquire, achieve; conquer; till, cultivate 200 ἀπαμύνομαι I drive back, keep away from myself δεσποσύνη, ἡ despotism (1a) 201 ∗ αἰνέω I approve, praise; recommend, advise Δωρικός ή όν Doric 202 οἴκημαι I have been settled, I dwell (Ionic perf. pass. of οἰκέω)

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203 ∗ οὐκ ἔστιν ὅπως (ὅκως) there is no way that 204 δουλοσύνη, ἡ slavery (1a) αὖτις δέ and secondly ἀντιόομαι I oppose X (dat.) in Y (ἐs + acc.) 205 τὰ σὰ φρονέω I am on your side ∗ ἀριθμός, ὁ number, amount; quantity (2a); construed with πέρι, here following the noun; note its accent, as against the usual περί before a noun 206 ἐκστρατεύομαι I take the field 207 ἤν τε καὶ πλεῦνες: an example of Greek ‘polar expression’, in which you say what you mean, and then the opposite!

22 Xerxes: ‘Numbers are of the essence. Will you fight ten men? If the Greeks were ruled by one man they might, under compulsion, fight against great odds. But free men will never act thus.’ (103)

ταῦτα ἀκούσας Šέρξης γελάσας ἔφη· ‘Δημάρητε, οἷον ἐφθέγξαο ἔπος, ἄνδρας χιλίους στρατιῇ τοσῇδε μαχήσεσθαι. ἄγε, εἰπέ μοι, σὺ φὴς τούτων τῶν ἀνδρῶν βασιλεὺς αὐτὸς γενέσθαι· σὺ ὦν ἐθελήσεις αὐτίκα μάλα πρὸς ἄνδρας δέκα μάχεσθαι; καίτοι εἰ τὸ πολιτικὸν ὑμῖν πᾶν ἐστι τοιοῦτον οἷον σὺ διαιρέεις, σέ γε τὸν κείνων βασιλέα πρέπει πρὸς τὸ διπλήσιον ἀντιτάσσεσθαι κατὰ νόμους τοὺς ὑμετέρους. εἰ γὰρ κείνων ἕκαστος δέκα ἀνδρῶν τῆς στρατιῆς τῆς ἐμῆς ἀντάξιός ἐστί, σὲ δέ γε δίζημαι εἴκοσι εἶναι ἀντάξιον· καὶ οὕτω μὲν ὀρθοῖτ’ ἂν ὁ λόγος ὁ παρὰ σεῦ εἰρημένος.

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‘εἰ δὲ τοιοῦτοί τε ἐόντες καὶ μεγάθεα τοσοῦτοι, ὅσοι σύ τε καὶ οἳ παρ’ ἐμὲ φοιτῶσι ῾Ελλήνων ἐς λόγους, αὐχέετε τοσοῦτον, ὅρα μὴ μάτην κόμπος ὁ λόγος οὗτος εἰρημένος ᾖ. ἐπεὶ φέρε ἴδω παντὶ τῷ οἰκότι· κῶς ἄν δυναίατο χίλιοι ἢ καὶ μύριοι ἢ καὶ πεντακισμύριοι, ἐόντες γε ἐλεύθεροι πάντες ὁμοίως καὶ μὴ ὑπ᾿ ἑνὸς ἀρχόμενοι, στρατῷ τοσῷδε ἀντιστῆναι; ἐπεί τοι πλεῦνες περὶ ἕνα ἕκαστον γινόμεθα ἢ χίλιοι, 220 208 γελάσας: when a tyrant laughs, he often turns out to be wrong, cf. section 23, l.241 φθέγγομαι I utter; οἷον . . . ἔπος another common Homeric phrase 209 ∗ τοσόσδε τοσήδε τοσόνδε so great, so many 211 τὸ πολιτικόν community (2b) διαιρέω I define expressly 212 πρέπει it is fitting for X (acc.) to Y (inf.) διπλήσιος η ον double ἀντιτάσσομαι I am drawn up against (πρός + acc.) κατὰ νόμους τοὺς ὑμετέρους (Spartan kings were given a double portion at feasts) 213 ἀντάξιος α ον worth as much as X (gen.) 214 δίζημαι I demand, require ὀρθόομαι I am right, am true

216 μεγάθεα ‘in size’ φοιτέω I come to X (παρά + acc.) for X purpose (ἐς + acc.) 217 αὐχέω I boast, pride myself ὅρα μή beware that (+ subj.) μάτην in vain, idly κόμπος, ὁ boast, vaunt (2a) 218 παντὶ τῷ οἰκότι ‘with reference to all that is likely’ ∗ μύριοι αι α ten thousand 219 πεντακισμύριοι αι α fifty thousand ἐλεύθεροι . . . καὶ μὴ ὑπ᾿ ἑνὸς ἀρχόμενοι – note again the freedom (democracy?) / autocracy contrast 220 ἐπεί for

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ἐόντων ἐκείνων πέντε χιλιάδων. ὑπὸ μὲν γὰρ ἑνὸς ἀρχόμενοι κατὰ τρόπον τὸν ἡμέτερον, γενοίατ’ ἄν, δειμαίνοντες τοῦτον, καὶ παρὰ τὴν ἑωυτῶν φύσιν ἀμείνονες, καὶ ἴοιεν ἀναγκαζόμενοι μάστιγι ἐς πλεῦνας, ἐλάσσονες ἐόντες· ἀνειμένοι δὲ ἐς τὸ ἐλεύθερον οὐκ ἂν ποιέοιεν τούτων οὐδέτερα. δοκέω δὲ ἔγωγε καὶ ἀνισωθέντας πλήθεϊ χαλεπῶς ἂν ῞Ελληνας Πέρσῃσι μούνοισι μάχεσθαι. ἀλλὰ παρ’ ἡμῖν τοῦτό ἐστι τὸ σὺ λέγεις, ἔστι γε μέντοι οὐ πολλὸν ἀλλὰ σπάνιον· εἰσὶ γὰρ Περσέων τῶν ἐμῶν αἰχμοφόρων οἳ ἐθελήσουσι ῾Ελλήνων ἀνδράσι τρισὶ ὁμοῦ μάχεσθαι· τῶν σὺ ἐὼν ἄπειρος πολλὰ φλυηρέεις.’ 221 ∗ χιλιάς (χιλιαδ-), ἡ thousand (3a) 222 γενοίατο = γένοιντο; ∗ -οιατο = -οιντο 3rd pl. opt. δειμαίνω I fear τοῦτον i.e. their monarch παρὰ τὴν ἑωυτῶν φύσιν: Herodotus here develops the νόμος-φύσις contrast, i.e. that Xerxes thinks he can force his men to act against their nature, cf. 241 below 224 ἀνίεμαι I give myself up [to] (ἐς + acc.) (perf. pass. ἀνειμένος) οὐκ ἂν ποιέοιεν τούτων οὐδέτερα: Xerxes’ reasoning is just, even though he turns out

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225 226 227 228

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to be wrong and humiliated. Herodotus does not paint him as an out-and-out, irrational monster, but makes the point that, in his own view, Greek freedom was a big factor in their ultimate victory ∗ οὐδέτερος α ον neither of two, not either ἀνισόω I balance, equalize in X (dat.) σπάνιος α ον scarce, rare αἰχμοφόρος ον spearman ὁμοῦ together, at once ∗ φλυηρέω (πολλά) I talk [a lot of] nοnsense (= φλυαρέω)

Demaratos: ‘Necessity will make them fight. And their law besides forbids them to give in.’ Xerxes scorns these opinions. (104–5)

πρὸς ταῦτα Δημάρητος λέγει· ‘ὦ βασιλεῦ, ἀρχῆθεν ἠπιστάμην ὅτι ἀληθείῃ χρεώμενος οὐ φίλα τοι ἐρέω. σὺ δὲ ἐπεὶ ἠνάγκασας λέγειν τῶν λόγων τοὺς ἀληθεστάτους, ἔλεγον τὰ κατήκοντα Σπαρτιήτῃσι. καίτοι ὡς ἐγὼ τυγχάνω τὰ νῦν τάδε ἐστοργὼς ἐκείνους, αὐτὸς μάλιστα ἐξεπίστεαι, οἵ με τιμήν τε καὶ γέρεα ἀπελόμενοι πατρώια ἄπολίν τε καὶ φυγάδα πεποιήκασι, πατὴρ δὲ ὁ σὸς ὑποδεξάμενος βίον τέ μοι καὶ οἶκον ἔδωκε. οὐκ ὦν οἰκός ἐστι ἄνδρα τὸν σώφρονα εὐνοίην φαινομένην διωθέεσθαι, ἀλλὰ στέργειν μάλιστα.

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‘ἐγὼ δὲ οὔτε δέκα ἀνδράσι ὑπίσχομαι οἷός τε εἶναι μάχεσθαι οὔτε δυοῖσι, ἑκών τε εἶναι οὐδ ἂν μουνομαχέοιμι. εἰ δὲ ἀναγκαίη εἴη ἢ μέγας τις ὁ ἐποτρύνων ἀγών,

μαχοίμην ἂν πάντων ἥδιστα ἑνὶ τούτων τῶν ἀνδρῶν οἳ ῾Ελλήνων ἕκαστός φησι τριῶν ἄξιος εἶναι. ὣς δὲ καὶ Λακεδαιμόνιοι κατὰ μὲν ἕνα μαχόμενοι οὐδαμῶν εἰσι κακίονες ἀνδρῶν, ἁλέες δὲ ἄριστοι ἀνδρῶν ἁπάντων. ἐλεύθεροι γὰρ ἐόντες οὐ πάντα ἐλεύθεροί εἰσι· ἔπεστι γάρ σφι δεσπότης νόμος, τὸν ὑποδειμαίνουσι πολλῷ ἔτι μᾶλλον ἢ οἱ σοὶ σέ. ποιεῦσι γῶν τὰ ἂν ἐκεῖνος ἀνώγῃ· ἀνώγει δὲ τὠυτὸ αἰεί, οὐκ ἐῶν φεύγειν οὐδὲν πλῆθος ἀνθρώπων ἐκ μάχης, ἀλλὰ μένοντας ἐν τῇ τάξι ἐπικρατέειν ἢ ἀπόλλυσθαι. σοὶ δὲ εἰ φαίνομαι ταῦτα λέγων φλυηρέειν, ἀλλὰ σιγᾶν θέλω τὸ λοιπόν· νῦν δὲ ἀναγκασθεὶς ἔλεξα. γένοιτο μέντοι κατὰ νόον τοι, βασιλεῦ.’

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Sections 22–4, lines 221–52

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ὁ μὲν δὴ ταῦτα ἀμείψατο, Šέρξης δὲ ἐς γέλωτά τε ἔτρεψε καὶ οὐκ ἐποιήσατο ὀργὴν οὐδεμίαν, ἀλλ’ ἠπίως αὐτὸν ἀπεπέμψατο. 229 ἀρχῆθεν from the outset 231 κατήκων ουσα ον befitting, proper; τὰ κατήκοντα the duties of X (dat.) ∗ Σπαρτιήτης, ὁ Spartan, Spartiate (1d) (full citizen of Sparta). Remember that Demaratos is talking mainly about Spartans τὰ νῦν τάδε in present circumstances 232 ἐστοργώς loving (perf. part. of στέργω I love) ∗ ἐξεπίσταμαι I know thoroughly, know well; ∗ -εαι = ῃ (2nd s.) γέρας, τό prerogative (pl. γέρεα, τά) 233 ∗ φυγάς (φυγάδ-), ὁ exile; runaway, fugitive (3a), though after his deposition he chose to flee to Persia 235 διωθέομαι I reject στέργω I love 236 ὑπίσχομαι I undertake, promise ἑκών τε εἶναι ‘and of my own free will᾿ 237 μουνομαχέω I fight in single combat ἐποτρύνω I urge on, stir up 238 οἳ . . . ἕκαστος i.e. ‘each of whom . . . ’ 239 ∗ οὐδαμοί αί ά no one 241 πάντα ‘in everything᾿ ἔπεστι is set over (+ dat.) δεσπότης νόμος: in contrast with Xerxes’ assumption that he can make his men act

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243 244 245 247

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παρὰ τὴν ἑωυτῶν φύσιν (l.222). But νόμος is not a ‘despot’ (used here ironically) like Xerxes: it is what men agree to be the right way to do things. The νόμος−φύσις contrast was a staple of sophistic thought in Herodotus’ time, and Herodotus’ own researches suggest he thought νόμος the more influential. This turns out to be the case in the Persian Wars as elsewhere, Herodotus argues. The 301 Spartans at Thermopylai (300 + Leonidas) will indeed stand their ground and die, as free men ὑποδειμαίνω stand in secret awe of οἱ σοὶ: σοὶ from σός γῶν = γοῦν ἀνώγω I command, order (usually ἄνωγα) τὠυτὸ = τὸ αὐτὸ οὐδέν πλῆθος obj. of φεύγειν τάξις, ἡ place in the battle-line (3e) ∗ ἐπικρατέω I am victorious, conquer; prevail over, am superior to νόον = νοῦν ∗ γέλως (γελωτ-), ὁ laughter (3a); see l.208 above and cf. section 29, 1.299 ∗ τρέπω I turn ἠπίως gently, kindly

Athens, saviour of Greece (Xerxes marches from Doriskos towards Greece, forcing the peoples in between to join him. The army drinks rivers dry as it goes. Many nations give earth and water as signs of submission. But Xerxes sends no heralds to Athens and Sparta, since they killed those whom Dareios had sent.)

24 Xerxes aims to conquer all Greece. Apprehension of those nations who have refused to submit to him. (138)

ἡ δὲ στρατηλασίη ἡ βασιλέος οὔνομα μὲν εἶχε ὡς ἐπ’ ᾿Αθήνας ἐλαύνει, κατίετο δὲ ἐς πᾶσαν τὴν ῾Ελλάδα. πυνθανόμενοι δὲ ταῦτα πρὸ πολλοῦ οἱ ῞Ελληνες, οὐκ ἐν ὁμοίῳ πάντες ἐποιεῦντο. οἱ μὲν γὰρ αὐτῶν δόντες γῆν καὶ ὕδωρ τῷ Πέρσῃ εἶχον θάρσος ὡς οὐδὲν πεισόμενοι ἄχαρι πρὸς τοῦ βαρβάρου· οἱ δὲ οὐ δόντες ἐν δείματι 249 στρατηλασίη, ἡ expedition, campaign (1a) οὔνομα ἔχω I have the pretext ∗ ἐλαύνω (ἐλασ-) I drive, go; drive away, expel; strike, force κατίημι I send down, I go down – an unusual expression, here meaning ‘aimed at, intended against’. Whether this is true or

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not, Herodotus consistently portrays the Persians as ambitiously expansive 250 πρὸ πολλοῦ a long time before ἐν ὁμοίῳ sc. ‘manner᾿ 252 ∗ θάρσος, τό courage, confidence (3c) ∗ πρός (+ gen.) at the hands of, from

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31. Hoplite formation – all together, in rank

μεγάλῳ κατέστασαν, ἅτε οὔτε νεῶν ἐουσέων ἐν τῇ ῾Ελλάδι ἀριθμὸν ἀξιομάχων δέκεσθαι τὸν ἐπιόντα, οὔτε βουλομένων τῶν πολλῶν ἀντάπτεσθαι τοῦ πολέμου, μηδιζόντων δὲ προθύμως. 253 ἀξιομάχων: with νεῶν ἐουσέων; ἀριθμόν acc. of respect 254 τὸν ἐπιόντα: i.e. the Persian fleet βουλομένων: understand ‘Greeks’ as subject

25

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∗

ἀντάπτομαι = ἀνθάπτομαι I engage in X (gen.), grapple with X (gen.), seize, attack (+ gen.) 255 ∗ μηδίζω I side with Persians, ‘medise’ (Μῆδοι, Πέρσαι are used synonymously)

Herodotus offers the opinion that Athens’ decision to fight by sea was the Greeks’ salvation. Even the Spartans could not have won by land alone. (1391–4)

ἐνθαῦτα ἀναγκαίῃ ἐξέργομαι γνώμην ἀποδέξασθαι ἐπίφθονον μὲν πρὸς τῶν πλεόνων ἀνθρώπων, ὅμως δέ, τῇ γέ μοι φαίνεται εἶναι ἀληθές, οὐκ ἐπισχήσω. εἰ ᾿Αθηναῖοι καταρρωδήσαντες τὸν ἐπιόντα κίνδυνον ἐξέλιπον τὴν σφετέρην, ἢ καὶ μὴ ἐκλιπόντες ἀλλὰ μείναντες ἔδοσαν σφέας αὐτοὺς Šέρξῃ, κατὰ τὴν θάλασσαν οὐδαμοὶ ἂν ἐπειρῶντο ἀντιεύμενοι βασιλέϊ.

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εἰ τοίνυν κατὰ τὴν θάλασσαν μηδεὶς ἠντιοῦτο Šέρξῃ, κατά γε ἂν τὴν ἤπειρον τοιάδε ἐγίνετο. εἰ καὶ πολλοὶ τειχέων κιθῶνες ἦσαν ἐληλαμένοι διὰ τοῦ ’Ισθμοῦ Πελοποννησίοισι, προδοθέντες ἂν Λακεδαιμόνιοι ὑπὸ τῶν συμμάχων οὐκ ἑκόντων ἀλλ’ ὑπ’ ἀναγκαίης – κατὰ πόλις ἁλισκομένων ὑπὸ τοῦ ναυτικοῦ στρατοῦ τοῦ βαρβάρου – ἐμουνώθησαν, μουνωθέντες δὲ ἂν καὶ ἀποδεξάμενοι ἔργα μεγάλα ἀπέθανον γενναίως.

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Sections 24–6, lines 253–78

ἢ ταῦτα ἂν ἔπαθον, ἢ πρὸ τοῦ ὁρῶντες ἂν καὶ τοὺς ἄλλους ῞Ελληνας μηδίζοντας, ὁμολογίῃ ἂν ἐχρήσαντο πρὸς Šέρξην. καὶ οὕτω ἂν ἐπ’ ἀμφότερα ἡ ῾Ελλὰς ἐγίνετο ὑπὸ Πέρσῃσι. τὴν γὰρ ὠφελίην τὴν τῶν τειχέων τῶν διὰ τοῦ ᾿Ισθμοῦ ἐληλαμένων οὐ δύναμαι πυθέσθαι ἥτις ἂν ἦν, βασιλέος ἐπικρατέοντος τῆς θαλάσσης. 256 ἐξέργομαι I am constrained, compelled (suggesting his opinion might be unwelcome in the rest of Greece) ἐπίφθονος ον odious, invidious 257 ∗ τῇ in so far as, since ἐπισχήσω = fut. of ἐπέχω 258 εἰ ᾿Αθηναῖοι: there now follows a series of ‘contrary to fact’ conditions, taking the shape ‘If X had happened, Y would have followed.’ It begins with the hypothesis that if the Athenians had not taken to the sea, no one would, and continues on from there, each hypothesis assuming the truth of the earlier ones. Herodotus the historian is determined to justify this clearly controversial opinion – it must have been being widely debated at the time – and sing up Athens’ dedication to freedom, quite the match of the Spartans’ (cf. section 23 and the conclusion in section 26) καταρρωδέω I fear, dread; but not in this case (cf. section 26)! It was not only the Spartans who showed no fear (cf. section 21)

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ἐκλείπω (ἐκλιπ-) I desert, abandon; pass over; cease ∗ σφέτερος η ον = σφέτερος α ον their own, their; with τὴν σφετέρην sc. χώραν ἀντιόομαι I resist, oppose (+ dat.) κιθών (κιθων-), ὁ covering, protection (3a), hence defences ἐληλαμένοι = perf. pass. part. of ἐλαύνω ∗ ᾿Ισθμός, ὁ Isthmus (2a), the narrow stretch of land connecting the north and south of mainland Greece, now bisected by the Corinth Canal, so making the Peloponnese a true νῆσος ∗ Πελοποννήσιοι, οἱ the Peloponnesians (2a) πόλις = πόλεις (acc. pl.) μουνόομαι I am left alone, be forsaken; treat μουνωθέντες ἄν as a condition, ‘if . . . ’ γενναίως nobly. That’s the Spartans for you: heroically single-minded, if necessary ἔπαθον: the Spartans are still the subject πρὸ τοῦ long before ὁμολογίη, ἡ terms of peace, surrender (1a) ἐπ’ ἀμφότερα on both counts ὠφελίη, ἡ advantage, utility (1a); picked up by ἥτις

26 Athens was the saviour of Greece. And she was not diverted from her policy by the submission of others, nor by threatening oracles from Delphi. (1395–6)

νῦν δὲ ᾿Αθηναίους ἄν τις λέγων σωτῆρας γενέσθαι τῆς ῾Ελλάδος, οὐκ ἂν ἁμαρτάνοι τἀληθέος· οὗτοι γὰρ ἐπὶ ὁκότερα τῶν πρηγμάτων ἐτράποντο, ταῦτα ῥέψειν ἔμελλε· ἑλόμενοι δὲ τὴν ῾Ελλάδα περιεῖναι ἐλευθέρην, τὸ ῾Ελληνικὸν πᾶν τὸ λοιπόν, ὅσον μὴ ἐμήδισε, αὐτοὶ οὗτοι ἦσαν οἱ ἐπεγείραντες καὶ βασιλέα μετά γε θεοὺς ἀνωσάμενοι. οὐδέ σφεας χρηστήρια φοβερὰ ἐλθόντα ἐκ Δελφῶν καὶ ἐς δεῖμα βαλόντα ἔπεισε ἐκλιπεῖν τὴν ῾Ελλάδα, ἀλλὰ καταμείναντες ἀνέσχοντο τὸν ἐπιόντα ἐπὶ τὴν χώρην δέξασθαι. 272 ἄν τις λέγων ‘if someone said . . . ’ σωτῆρας: perhaps hindsight, as the battle of Salamis was the decisive battle in the Persian War, and it was an Athenian victory; that said, it was not till the Spartans at Plataea defeated the Persian land army (479) that the Persians finally left 273 ταῦτα i.e. the side the Athenians took ῥέπω I prevail 274 ἔμελλε ‘was sure to’

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τὸ ῾Ελληνικὸν πᾶν τὸ λοιπόν: obj. of οἱ ἐπεγείραντες 275 ἐπεγείρω I rouse up μετά γε θεούς i.e. the gods were a factor, but it is human, in this case Athenian, agency that Herodotus stresses 276 ἀνωθέομαι I repel, repulse χρηστήριον, τό oracular response (2b) Δελφοί Delphi (2a) 277 καταμένω (καταμειν-) I stay ∗ ἀνέχομαι I dare [to] (+ inf.)

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The battle begins (According to Herodotus, the Greeks resolve to settle their differences and gather their strength. They fail to gain aid from Sicily, Crete and Kerkyra. The Thessalians ask the other Greeks to make their defence at Tempe, in their territory, but when the decision is made not to do so, they submit to the Persians. The decision is made to defend at the narrow pass of Thermopylai (by land), and at Artemision opposite (by sea). The armament of the Persians arrives at Thermopylai. By Herodotus’ account it is more than 2½ million strong, only counting fighting men. But as the fleet approaches, 400 of the 1,200 or so Persian ships are lost in a bad storm. After the disaster they anchor at Aphetai. The Greek army numbers around 7,000. Leonidas, king of Sparta, is their commander. They have been sent merely as an advance party, as various festivals are due to be celebrated about this time and they do not consider the war will come to issue so quickly at Thermopylai.)

27

Discussion as to whether to withdraw to the Isthmus or not. Leonidas votes to stay put. (207)

οὗτοι μὲν δὴ οὕτω διενένωντο ποιήσειν· οἱ δὲ ἐν Θερμοπύλῃσι ῞Ελληνες, ἐπειδὴ πέλας ἐγένετο τῆς ἐσβολῆς ὁ Πέρσης, καταρρωδέοντες ἐβουλεύοντο περὶ ἀπαλλαγῆς. τοῖσι μέν νυν ἄλλοισι Πελοποννησίοισι ἐδόκεε, ἐλθοῦσι ἐς Πελοπόννησον, τὸν ᾿Ισθμὸν ἔχειν ἐν φυλακῇ· Λεωνίδης δέ, Φωκέων καὶ Λοκρῶν περισπερχθέντων τῇ γνώμῃ ταύτῃ, αὐτοῦ τε μένειν ἐψηφίζετο πέμπειν τε ἀγγέλους ἐς τὰς πόλιας κελεύοντάς σφι ἐπιβοηθέειν, ὡς ἐόντων αὐτῶν ὀλίγων στρατὸν τὸν Μήδων ἀλέξασθαι. 279 οὗτοι the Persians διενένωντο they had planned (3rd pl. plup. of διανοέομαι), i.e. to attack the pass Θερμοπύλαι, αἱ Thermopylai (1a) (‘Gate of hot springs’). The modern six-lane motorway, now about 4 miles from the present coast line, probably follows the line of the ancient pass. Needless to say, there is nothing to be seen today apart from the statue of Leonidas, erected in 1955 280 πέλας (+ gen.) near ἐσβολή, ἡ entrance, pass (1a) 281 ἀπαλλαγή, ἡ means of escape (1a) Πελοπόννησος, ἡ the Peloponnese (2a) 282 ∗ Λεωνίδης, ὁ Leonidas (1d) (king of Sparta, c.-in-c. of combined Greek forces)

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Φωκέες, οἱ Phokians (3a) Λοκροί, οἱ Locrians (2a) 283 περισπέρχομαι I am angered, agitated αὐτοῦ in his place, here μένειν: Greek triremes needed places where the crew could come safely ashore to feed and rest. The presence of the fleet off nearby Artemision must have influenced Leonidas’ decision to stay 284 πόλιας = πόλεις (acc. pl.) ἐπιβοηθέω I come to aid X (dat.) ὀλίγων: i.e. ‘too few to’ + explanatory (epexegetic) inf. 285 ∗ Μῆδος, ὁ Persian; Mede (2a) ἀλέξομαι I keep off from myself

Xerxes sends a scout to the Greek camp. He reports seeing the Spartans stationed in front of the wall engaged in exercising or in combing their hair. (208)

ταῦτα βουλευομένων σφέων, ἔπεμπε Šέρξης κατάσκοπον ἱππέα ἰδέσθαι ὁκόσοι εἰσὶ καὶ ὅ τι ποιέοιεν. ἀκηκόεε δέ, ἔτι ἐὼν ἐν Θεσσαλίῃ, ὡς ἁλισμένη εἴη ταύτῃ στρατιὴ ὀλίγη, καὶ τοὺς ἡγεμόνας ὡς εἴησαν Λακεδαιμόνιοί τε καὶ Λεωνίδης, ἐών γένος ῾Ηρακλείδης. ὡς δὲ προσήλασε ὁ ἱππεὺς πρὸς τὸ στρατόπεδον, ἐθηεῖτό τε

Sections 27–9, lines 279–305

καὶ κατώρα πᾶν μὲν οὒ τὸ στρατόπεδον· τοὺς γὰρ ἔσω τεταγμένους τοῦ τείχεος, τὸ ἀνορθώσαντες εἶχον ἐν φυλακῇ, οὐκ οἷά τε ἦν κατιδέσθαι· ὁ δὲ τοὺς ἔξω ἐμάνθανε, τοῖσι πρὸ τοῦ τείχεος τὰ ὅπλα ἔκειτο. ἔτυχον δὲ τοῦτον τὸν χρόνον Λακεδαιμόνιοι ἔξω τεταγμένοι. τοὺς μὲν δὴ ὥρα γυμναζομένους τῶν ἀνδρῶν, τοὺς δὲ τὰς κόμας κτενιζομένους. ταῦτα δὴ θεώμενος, ἐθώμαζε καὶ τὸ πλῆθος ἐμάνθανε. μαθὼν δὲ πάντα ἀτρεκέως, ἀπήλαυνε ὀπίσω κατ᾿ ἡσυχίην. οὔτε γάρ τις ἐδίωκε, ἀλογίης τε ἐκύρησε πολλῆς. ἀπελθών τε ἔλεγε πρὸς Šέρξην τά περ ὀπώπεε πάντα. 286 κατάσκοπος, ὁ scout, spy (2a) ∗ ἱππεύς, ὁ horseman, cavalryman, rider (3g) 287 Θεσσαλίη, ἡ Thessaly (1a) ἁλισμένη εἴη = 3rd s. perf. pass. opt. of ἁλίζω, I gather together 288 τοὺς ἡγεμόνας: after ἀκηκόεε, i.e. ‘in relation to their leaders’; ὡς ‘that . . . ’ 289 ῾Ηρακλείδης, ὁ descendant of Herakles, a Herakl(e)id (1d). Herakles was the legendary ancestor of the Spartan kings (Hdt. 6.51–2) προσελαύνω (προσελασ-) I ride towards, ride up ∗ στρατόπεδον, τό camp; army (2b) 290 κατώρα = καθεώρα ἔσω (+ gen.) inside, within

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τάσσω = τάττω I draw up, station; appoint, order; place in order (perf. pass. part. τεταγμένος) ἀνορθόω I rebuild, restore οἷά τε ἦν ‘it was . . . possible’ τοῖσι = ‘whose’ γυμνάζομαι I train, exercise κόμη, ἡ hair (1a); Xenophon (Constitution of the Spartans) reports that Spartan soldiers groomed themselves before battle κτενίζομαι I comb [my hair] θωμάζω = θαυμάζω ∗ ἀπελαύνω (ἀπελασ-) I ride away, depart; drive away, expel, exclude ἀλογίη, ἡ disregard (1a) ∗ κυρέω I meet with, find, hit, light upon (+ gen. or dat.); happen, turn out ὀπώπεε 3rd s. pluperfect οf ὁράω

29 Xerxes asks Demaratos to explain the Spartan behaviour. Demaratos: ‘It is their custom to prepare for battle like this. These are the best of the Greeks: defeat them and no others will face you.’ (2091–4)

ἀκούων δὲ Šέρξης οὐκ εἶχε συμβαλέσθαι τὸ ἐόν, ὅτι παρεσκευάζοντο ὡς ἀπολεόμενοί τε καὶ ἀπολέοντες κατὰ δύναμιν· ἀλλ’ – αὐτῷ γελοῖα γὰρ ἐφαίνοντο ποιέειν – μετεπέμψατο Δημάρητον τὸν ᾿Αρίστωνος, ἐόντα ἐν τῷ στρατοπέδῳ. ἀπικόμενον δέ μιν εἰρώτα Šέρξης ἕκαστα τούτων, ἐθέλων μαθεῖν τὸ ποιεύμενον πρὸς τῶν Λακεδαιμονίων. ὁ δὲ εἶπε· ‘ἤκουσας μὲν καὶ πρότερόν μευ, εὖτε ὁρμῶμεν ἐπὶ τὴν ῾Ελλάδα, περὶ τῶν ἀνδρῶν τούτων· ἀκούσας δὲ γέλωτά με ἔθευ λέγοντα τῇ περ ὥρων ἐκβησόμενα πρήγματα ταῦτα. ἐμοὶ γὰρ τὴν ἀληθείην ἀσκέειν ἀντία σεῦ, ὦ βασιλεῦ, ἀγὼν 298 συμβάλλομαι (συμβαλ-) I make out, understand 299 γελοῖος α ον ludicrous, absurd ᾿Αρίστων (᾿Αριστων-), ὁ Ariston (3a) 303 εὖτε when ὁρμάω I start, set out

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304 γέλωτα τίθεμαι I make X (acc.) a laughing stock; ἔθευ 2s. impf. mid. τῇ the way in which, in which ∗ ἐκβαίνω (ἐκβα-) I turn out; disembark; depart from 305 ἀσκέω I practise ἀντία = ἀντίον

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112

μέγιστός ἐστι. ἄκουσον δὲ καὶ νῦν. οἱ ἄνδρες οὗτοι ἀπίκαται μαχησόμενοι ἡμῖν περὶ τῆς ἐσόδου καὶ ταῦτα παρασκευάζονται. νόμος γάρ σφι οὕτω ἔχων ἐστί· ἐπεὰν μέλλωσι κινδυνεύειν τῇ ψυχῇ, τότε τὰς κεφαλὰς κοσμέονται. ἐπίστασο δέ· εἰ τούτους τε καὶ τὸ ὑπομένον ἐν Σπάρτῃ καταστρέψεαι, ἔστι οὐδὲν ἄλλο ἔθνος ἀνθρώπων τὸ σέ, βασιλεῦ, ὑπομενέει χεῖρας ἀνταειρόμενον· νῦν γὰρ πρὸς βασιληίην τε καλλίστην τῶν ἐν ῞Ελλησι προσφέρεαι καὶ ἄνδρας ἀρίστους.’ 306 ἀπίκαται = ἀφιγμένοι εἰσί 307 ∗ ἔσοδος, ἡ entry, pass; entrance; right of entry (2a) 308 κοσμέομαι I adorn 309 Σπάρτη, ἡ Sparta (1a)

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310 χεῖρας ἀνταείρομαι I resist; ἀνταειρόμενον agrees with σέ 311 βασιληίη, ἡ kingdom (1a) ∗ προσφέρομαι (pass.) I attack, assault (πρός + acc.); go towards; deal with

Demaratos fails to convince Xerxes, who waits four days expecting the Greeks to flee. When they do not, he attacks, with no success. (2095 –210)

κάρτα τε δὴ Šέρξῃ ἄπιστα ἐφαίνετο τὰ λεγόμενα, καὶ δεύτερα ἐπειρώτα ὅντινα τρόπον, τοσοῦτοι ἐόντες, τῇ ἑωυτοῦ στρατιῇ μαχήσονται. ὁ δὲ εἶπε· ‘ὦ βασιλεῦ, ἐμοὶ χρᾶσθαι ὡς ἀνδρὶ ψεύστῃ, ἢν μὴ ταῦτά τοι ταύτῃ ἐκβῇ τῇ ἐγὼ λέγω.’ ταῦτα λέγων οὐκ ἔπειθε τὸν Šέρξην. τέσσερας μὲν δὴ παρῆκε ἡμέρας, ἐλπίζων αἰεί σφεας ἀποδρήσεσθαι· πέμπτῃ δέ, ὡς οὐκ ἀπαλλάσσοντο, ἀλλά οἱ ἐφαίνοντο ἀναιδείῃ τε καὶ ἀβουλίῃ διαχρεώμενοι μένειν, πέμπει ἐπ’ αὐτοὺς Μήδους τε καὶ Κισσίους θυμωθείς, ἐντειλάμενός σφεας ζωγρήσαντας ἄγειν ἐς ὄψιν τὴν ἑωυτοῦ. ὡς δ’ ἐσέπεσον φερόμενοι ἐς τοὺς ῞Ελληνας οἱ Μῆδοι, ἔπιπτον πολλοί, ἄλλοι δ’ ἐπεσήισαν, καὶ οὐκ ἀπήλαυνον καίπερ μεγάλως προσπταίοντες. δῆλον δ’ ἐποίευν παντί τεῳ καὶ οὐκ ἥκιστα αὐτῷ βασιλέϊ ὅτι πολλοὶ μὲν ἄνθρωποι εἶεν, ὀλίγοι δὲ ἄνδρες. ἐγίνετο δὲ ἡ συμβολὴ δι’ ἡμέρης. 312 ἄπιστος ον incredible 314 χρᾶσθαι ‘treat’ (inf. for imper.) ψεύστης, ὁ liar (1d) 316 ∗ παρίημι (παρε-) I let pass; pass by; relax; yield; allow; admit ἀποδιδράσκω I run away, flee (fut. ἀποδρήσομαι) πέμπτος η ον fifth (sc. ‘day’) 317 ∗ ἀπαλλάσσομαι = ἀπαλλάττομαι I depart, go away; be set free from (+ gen.) ἀναιδείη, ἡ shamelessness (1a) ἀβουλίη, ἡ ill-advisedness, thoughtlessness (1a) 318 Κίσσιοι, οἱ Kissians (2a), chieftains of Susiana (Biblical Elam), a province N. of the Persian Gulf

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θυμόω I make angry, provoke; (pass.) become angry with (+ dat.) ζωγρέω I take captive, take alive φερόμενοι at a rush πολλοί: i.e. Spartans ἐπέσειμι I come in besides ἀπήλαυνον: treat as intrans., ‘they did not retreat’ προσπταίω I suffer defeat δῆλον δ’ ἐποίευν: i.e. ‘but the Persians made it clear [by their failure to dislodge the Spartans] . . . ’ τεῳ = τινι ∗ συμβολή, ἡ encounter, engagement; meeting, joining (1a)

Sections 29–31, lines 306–39

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31 Wave upon wave of Persian troops attack the Greeks, but even the finest of them cannot break through the narrow pass because of the superiority of Spartan tactics. (211–121)

ἐπείτε δὲ οἱ Μῆδοι τρηχέως περιείποντο, ἐνθαῦτα οὗτοι μὲν ὑπεξήισαν, οἱ δὲ Πέρσαι ἐκδεξάμενοι ἐπήισαν, τοὺς ἀθανάτους ἐκάλεε βασιλεύς, τῶν ἦρχε ῾Υδάρνης, ὡς δὴ οὗτοί γε εὐπετέως κατεργασόμενοι. ὡς δὲ καὶ οὗτοι συνέμισγον τοῖσι ῞Ελλησι, οὐδὲν πλέον ἐφέροντο τῆς στρατιῆς τῆς Μηδικῆς ἀλλὰ τὰ αὐτά, ἅτε ἐν στεινοπόρῳ τε μαχόμενοι καὶ δόρασι βραχυτέροισι χρεώμενοι ἤ περ οἱ ῞Ελληνες, καὶ οὐκ ἔχοντες πλήθεϊ χρήσασθαι.

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Λακεδαιμόνιοι δὲ ἐμάχοντο ἀξίως λόγου, ἄλλα τε ἀποδεικνύμενοι ἐν οὐκ ἐπισταμένοισι μάχεσθαι ἐξεπιστάμενοι, καὶ ὅκως ἐντρέψειαν τὰ νῶτα, ἁλέες φεύγεσκον δῆθεν, οἱ δὲ βάρβαροι, ὁρῶντες φεύγοντας, βοῇ τε καὶ πατάγῳ ἐπήισαν, οἱ δ᾿ ἂν καταλαμβανόμενοι ὑπέστρεφον ἀντίοι εἶναι τοῖσι βαρβάροισι, μεταστρεφόμενοι δὲ κατέβαλλον πλήθεϊ ἀναριθμήτους τῶν Περσέων·

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ἔπιπτον δὲ καὶ αὐτῶν τῶν Σπαρτιητέων ἐνθαῦτα ὀλίγοι. ἐπεὶ δὲ οὐδὲν ἐδυνέατο παραλαβεῖν οἱ Πέρσαι τῆς ἐσόδου πειρώμενοι, καὶ κατὰ τέλεα καὶ παντοίως προσβάλλοντες, ἀπήλαυνον ὀπίσω. ἐν ταύτῃσι τῇσι προσόδοισι τῆς μάχης λέγεται βασιλέα θηεύμενον τρὶς ἀναδραμεῖν ἐκ τοῦ θρόνου, δείσαντα περὶ τῇ στρατιῇ.

335

324 τρηχέως roughly περιέπω I treat, handle οὗτοι: the present fighters ∗ ὑπέξειμι I withdraw gradually, disappear 325 ἐκδεξάμενοι i.e. taking over, replacing the previous soldiers ἀθανάτους ‘The Immortals’, a ‘crack’ force of 10,000 troops, so called because if one died or was sick, he was immediately replaced to ensure the number was always retained (Hdt. 7.83) 326 ῾Υδάρνης, ὁ Hydarnes (1d) εὐπετέως easily 327 φέρομαι I gain the advantage τῆς στρατιῆς τῆς Μηδικῆς: gen. of comparison 328 στεινόπορον, τό strait (2b) ∗ δόρυ (δορατ-), τό spear; tree (3b). Observe that the Persians were not short on courage, but their equipment was not suited to this sort of fighting against heavy-armed hoplites 329 ∗ ἔχω I have the capacity to, am able [to] (+ inf.) 330 ἀξίως λόγου lit. ‘in a manner worthy of note’ ἀποδεικνύμενοι: ‘proving that they . . . ’ + nom. and part. ἐξεπιστάμενοι 331 ἐντρέπω I turn about

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νῶτον, τό back (2b) ἁλέες sc. ‘and . . . ᾿ φεύγεσκον: -εσκον implies habitual and repeated action δῆθεν as they pretended (strengthened, ironical form of δή) πάταγος, ὁ clashing (of army) (2a) καταλαμβανόμενοι: i.e. just as they were caught up ὑποστρέφω I turn about ἀντίος α ον face to face with; ἀντίοι εἶναι to face X (+ dat.) μεταστρέφομαι I turn about, turn round καταβάλλω I kill ἀναρίθμητος ον countless ἐδυνέατο = ἐδύναντο; ∗ -εατο can = 3rd pl. past παραλαμβάνω (παραλαβ-) I take by force, seize τέλεα, τά squadrons (3c) παντοίως variously, in every way ∗ πρόσοδος, ἡ onset (2a) ∗ τρίς three times ἀνατρέχω (ἀναδραμ-) I jump up, start up θρόνος, ὁ throne (2a) ∗ δείδω I am alarmed, anxious

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1 The site of Leonidas’ last stand (Section 34) 2 The Phokian wall (Section 34) 3-4 The pass of Thermopylai c.4270 feet (1300 metres) long and 50–100 feet (15–30 metres) wide 5 Mt Kallidromon 6 Malian Gulf

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32. The pass of Thermopylai

heios

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Antikyra

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Main pass of Thermopylai, held by Greeks for 2 days Fighting on the last day on wider ground Site of the Greeks’ last stand Site of the wall

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Melampygos stone

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ck A n o p a i a t ra Mts of Oita

Phokians gathered here

33. General area of Thermopylai

Ephialtes helps Xerxes out of his dilemma (212–18) Next day the battle was renewed, but the barbarians had no better success than before. The Greeks were so few that the barbarians hoped to find them too badly wounded to be able to offer further resistance, and so they attacked them again. But the Greeks were drawn up in detachments by cities, and bore the brunt of the fighting in turns – all except the Phokians, who had been stationed on the mountain to guard the pathway. So, when the Persians

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found no difference between that day and the previous one, they again retreated to their quarters. Now as the king had no idea how to deal with the emergency and was in a terrible dilemma, Ephialtes, the son of Eurydemos, a man of Malis, came to him and was admitted into his presence. Excited by the hope of receiving a handsome reward from the king, he told him about the pathway which led across the mountain to Thermopylai – a disclosure which resulted in the destruction of the band of Greeks who were awaiting the barbarian onslaught. This Ephialtes afterwards fled to Thessaly from fear of the Lakedaimonians; and during his exile, in an assembly of the Amphiktyons held at Pylai, he had a price set on his head by the Pylagorai. After some time he returned from exile and went to Antikyra, where he was murdered by Athenades, a native of Trakhis. Athenades did not kill him for his treachery, but for another reason which I shall explain in a later part of my history; yet the Lakedaimonians still honoured him for all that. So Ephialtes died, a long time afterwards. Besides this, there is another story told, which I do not believe for one moment – that one Onetas, the son of Phanagoras, a native of Karystos, and Korydallos, a man of Antikyra, were the persons who spoke on this matter to the king, and took the Persians across the mountain. One may guess which story is true, from the fact that the deputies of the Greeks, the Pylagorai, who must have had the best means of ascertaining the truth, did not offer the reward against the lives of Onetas and Korydallos, but against that of Ephialtes of Trakhis; and again, from the escape of Ephialtes, which we know to have been on this account. Onetas, I agree, might have known the path, if he had lived much in that part of the country (though he was not a Malian); but as Ephialtes was the person who actually led the Persians round the mountain by the pathway, I leave his name on record as that of the guilty party. Xerxes was overjoyed at this information; and as he was in complete agreement with the enterprise which Ephialtes intended to accomplish, he immediately dispatched Hydarnes and the Persians under him to do the job. The troops left the camp at about the time of the lighting of the lamps. The path they took was first discovered by the Malians of these parts, who later led the Thessalians along it to attack the Phokians after the Phokians had protected themselves with a wall against an attack through the pass. So long, then, has the path been put to treacherous use by the Malians. The course which the path takes is as follows: beginning at the Asopos, where the river runs through the gorge in the hills, it runs along the ridge of the mountain (called, like the path, Anopaia), and ends at the city of Alpenos – the first Lokrian town as you come from Malis – near the stone named Melampygos and the seats of the Kerkopians. This is its narrowest point. The Persians took this path and, crossing the Asopos, marched throughout the night, keeping the mountains of Oita on their right, and those of Trakhis on their left. At dawn, they found themselves close to the summit. Now this point on the mountain was guarded, as I have already said, by a thousand Phokian soldiers, who were placed there to defend the pathway and guard their own country. They had been given this position, while the other Greeks defended the pass below, because they had volunteered for service here to Leonidas. The Phokians learned of the ascent of the Persians as follows: on their way up the mountain, through the heavily wooded oak-forest, the Persians remained quite unnoticed. But the air was very still, and the leaves which the Persians stirred with their feet made, as one would expect, a loud rustling. At this the Phokians jumped up and ran to put on their battle-gear. The barbarians were on them at once, but were extremely surprised to see men in

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the act of arming themselves, since they had expected to meet no opposition. Hydarnes, afraid that they might be Lakedaimonians, asked Ephialtes the nationality of the troops. When he heard the truth, he drew the Persians up for battle. The Phokians, exposed to heavy archery fire and imagining they were the special object of the Persian attack, fled to the highest point of the mountain and prepared to die. While that was their expectation, the Persians under Hydarnes and Ephialtes ignored them completely and moved on down the mountain with all speed.

The seer Megistias foresees what will happen. Leonidas sends away most of the army. (219–22) The Greeks at Thermopylai received the first warning of the destruction which the dawn would bring them from the seer Megistias, who read their fate in the sacrificial victims. After this, deserters came in and brought the news of the Persians’ march round the mountain (it was still night when these men arrived). Last of all the scouts came running down from the heights, at about daybreak, with exactly the same news. The Greeks at once went into consultation, but opinions were divided: some were strongly against leaving their position, but others opposed this view. When the council broke up, part of the troops left and went their various ways home, but part prepared to stay there with Leonidas. It is said that Leonidas himself dismissed the troops who departed, to save them from being killed, but did not consider it honourable for either himself or his Spartan troops to leave the position they had been specially sent to defend. For my own part, I incline to the view that Leonidas gave the order because he realized the allies lacked the will to go through with it with him, and so told them to depart: but he himself could not go back with honour. By staying on, he left a great reputation behind him, and Sparta did not lose her prosperity. For when the Spartans, at the very start of the war, sent to consult the oracle about it, the answer which they received from the Pythian priestess was ‘that either Sparta must be overthrown by the barbarians, or one of her kings must perish’. The prophecy, in hexameters, ran as follows: O ye men who dwell in the streets of broad Lakedaimon! Either your glorious town shall be sacked by the children of Perseus, Or, in exchange, must all, through the whole Lakonian country, Mourn for the loss of a king, descendant of great Herakles. He cannot be withstood by the courage of bulls nor of lions, Strive as they may; he is mighty as Zeus; there is nought that shall stay him, Till he have got for his prey your king, or your glorious city. The consideration of this answer, I think, and the wish to secure the whole glory for the Spartans, caused Leonidas to send the allies away. This is more likely than that they quarrelled with him and left in disorder. To me it seems no small argument in favour of this view that the seer who accompanied the army, Megistias, the Akarnanian – said to have been of the blood of Melampos, and the man who originally warned the Greeks of their impending danger through his sacrifices – received orders to leave (as he certainly did) from Leonidas, so that he might not die with him. Megistias, however, though instructed to leave, refused, and stayed with the army. But he did send away his only son, who was serving in the army at that

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time. So the allies retreated on Leonidas’ command and left. Only the Thespians and Thebans remained with the Spartans; and of these the Thebans were kept back by Leonidas as hostages, very much against their will. The Thespians, on the contrary, stayed entirely of their own free will, refusing to retreat and declaring that they would not abandon Leonidas and those with him. So they stayed, and died with them. Their leader was Demophilos, the son of Diadromes.

The Greeks are defeated 32 Xerxes attacks. The Spartans fight with reckless courage in the wider part of the pass. Many Persians die. (223)

Šέρξης δὲ ἐπεί, ἡλίου ἀνατείλαντος, σπονδὰς ἐποιήσατο, ἐπισχὼν χρόνον ἐς ἀγορῆς κου μάλιστα πληθώρην, πρόσοδον ἐποιέετο· καὶ γὰρ ἐπέσταλτο ἐξ ᾿Επιάλτεω οὕτω· ἀπὸ γὰρ τοῦ ὄρεος ἡ κατάβασις συντομωτέρη τέ ἐστι καὶ βραχύτερος ὁ χῶρος πολλὸν ἤ περ ἡ περίοδός τε καὶ ἀνάβασις. οἵ τε δὴ βάρβαροι οἱ ἀμφὶ Šέρξην προσήισαν, καὶ οἱ ἀμφὶ Λεωνίδην ῞Ελληνες, ὡς τὴν ἐπὶ θανάτῳ ἔξοδον ποιεύμενοι, ἤδη πολλῷ μᾶλλον ἢ κατ’ ἀρχὰς ἐπεξήισαν ἐς τὸ εὐρύτερον τοῦ αὐχένος. τὸ μὲν γὰρ ἔρυμα τοῦ τείχεος ἐφυλάσσετο, οἱ δὲ ἀνὰ τὰς προτέρας ἡμέρας ὑπεξιόντες ἐς τὰ στεινόπορα ἐμάχοντο. τότε δέ, συμμίσγοντες ἔξω τῶν στεινῶν, ἔπιπτον πλήθεϊ πολλοὶ τῶν βαρβάρων· ὄπισθε γὰρ οἱ ἡγεμόνες τῶν τελέων, ἔχοντες μάστιγας, ἐρράπιζον πάντα ἄνδρα, αἰεὶ ἐς τὸ πρόσω ἐποτρύνοντες. πολλοὶ μὲν δὴ ἐσέπιπτον αὐτῶν ἐς τὴν θάλασσαν καὶ διεφθείροντο, πολλῷ δ᾿ ἔτι πλεῦνες κατεπατέοντο ζωοὶ ὑπ᾿ ἀλλήλων· ἦν δὲ λόγος οὐδεὶς τοῦ ἀπολλυμένου. ἅτε γὰρ ἐπιστάμενοι τὸν μέλλοντα σφίσι ἔσεσθαι 340 ἀνατέλλω (ἀνατειλ-) I rise σπονδαί, αἱ libations (la) χρόνον ‘for a time᾿ 341 κου μάλιστα about πληθώρη, ἡ fullness (la); ἐς ἀγορῆς . . . πληθώρην i.e. when the agora fills ἐπιστέλλω I command (3rd s. plup. pass. = ἐπέσταλτο ‘orders had been received . . . ᾿) 342 ∗ ᾿Επιάλτης, ὁ Ephialtes (1d) (Malian traitor who showed Anopaia track to Xerxes). The name meant ‘nightmare’ (the meaning of modern Greek ἐφιάλτης) κατάβασις, ἡ way down, descent (3e) σύντομος ον short 343 περίοδος, ἡ way round (2a) ἀνάβασις, ἡ ascent (3e) 344 ∗ ἀμφί (+ acc.) about, around 345 ἔξοδος, ἡ marching out (2a) ἐπέξειμι I march out

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εὐρύς εῖα ύ wide, broad τό εὐρύτερον the broader part αὐχήν (αὐχεν-), ὁ mountain pass, defile (lit. ‘neck’) (3a) ∗ ἔρυμα, τό defence, wall, guard; safeguard (3b) στεινόπορα, τά narrows (2b) ∗ στεινός ή όν = στενός ή όν narrow, confined; ∗ τὰ στεινά the narrows, straits (of a pass) (2b) ὄπισθε behind. Cf. English opisthognathous, meaning having a receding chin τέλεα, τά squadrons (3c) ῥαπίζω I strike, thrash, flog ἐποτρύνω I urge on καταπατέω I trample underfoot ζωός ή όν living, alive ∗ λόγος account, reckoning (up), computation (2a)

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θάνατον ἐκ τῶν περιιόντων τὸ ὄρος, ἀπεδείκνυντο ῥώμης ὅσον εἶχον μέγιστον ἐς τοὺς βαρβάρους, παραχρεώμενοί τε καὶ ἀτέοντες. 352 ∗ περιέρχομαι (περιελθ-) I go round ∗ ῥώμη, ἡ strength, force (1a) ὅσον εἶχον μέγιστον ‘the utmost they had of . . . ᾿

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354 παραχράομαι I disregard, treat with contempt; παραχρεώμενοι ‘fighting without thought of life᾿. Heroic Spartan independence has cost them dear ἀτέω I am demented, reckless

Death of Leonidas. The best of the Persians. Struggle over Leonidas᾿ body. (224–51)

δόρατα μέν νυν τοῖσι πλέοσι αὐτῶν τηνικαῦτα ἤδη ἐτύγχανε κατεηγότα, οἱ δὲ τοῖσι ξίφεσι διεργάζοντο τοὺς Πέρσας, καὶ Λεωνίδης τε ἐν τούτῳ τῷ πόνῳ πίπτει, ἀνὴρ γενόμενος ἄριστος, καὶ ἕτεροι μετ᾿ αὐτοῦ ὀνομαστοὶ Σπαρτιητέων, τῶν ἐγὼ ὡς ἀνδρῶν ἀξίων γενομένων ἐπυθόμην τὰ οὐνόματα, ἐπυθόμην δὲ καὶ ἁπάντων τῶν τριηκοσίων.

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καὶ δὴ Περσέων πίπτουσι ἐνθαῦτα ἄλλοι τε πολλοὶ καὶ ὀνομαστοί, ἐν δὲ δὴ καὶ Δαρείου δύο παῖδες, ᾿Αβροκόμης τε καὶ ῾Υπεράνθης, ἐκ τῆς ᾿Αρτάνεω θυγατρὸς Φραταγούνης γεγονότες Δαρείῳ. ὁ δὲ ᾿Αρτάνης Δαρείου μὲν τοῦ βασιλέος ἦν ἀδελφεός, ῾Υστάσπεος δὲ τοῦ ᾿Αρσάμεος παῖς· ὃς καί, ἐκδιδοὺς τὴν θυγατέρα Δαρείῳ, τὸν οἶκον πάντα τὸν ἑωυτοῦ ἐπέδωκε, ὡς μούνου οἱ ἐούσης ταύτης τέκνου. Šέρξεώ τε δὴ δύο ἀδελφεοὶ ἐνθαῦτα πίπτουσι μαχόμενοι, καὶ ὑπὲρ τοῦ νεκροῦ τοῦ Λεωνίδεω Περσέων τε καὶ Λακεδαιμονίων ὠθισμὸς ἐγίνετο πολλός, ἐς ὃ τοῦτόν τε ἀρετῇ οἱ ῞Ελληνες ὑπεξείρυσαν καὶ ἐτρέψαντο τοὺς ἐναντίους τετράκις.

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355 τηνικαῦτα at that time, then κατάγνυμαι I am broken (perf. part. κατεηγώς (κατεηγοτ-)) 356 ∗ ξίφος, τό sword (3c) διεργάζομαι I kill ∗ πόνος, ὁ struggle; toil, labour; stress, distress, suffering (2a) 357 ὀνομαστός ή όν famous, of note 359 τριηκόσιοι αι α three hundred. Note here too how Herodotus stresses his personal investigation: he probably read the list on a monument to Leonidas in Sparta, set up in 440 BC 361 Δαρεῖος, ὁ Dareios (2a) (king of Persia, 521–486 BC) ᾿Αβροκόμης, ὁ Abrokomes (1d)

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῾Υπεράνθης, ὁ Hyperanthes (1d) ᾿Αρτάνης, ὁ Artanes (1d) Φραταγούνη, ἡ Phratagoune (1a) ῾Υστάσπης, ὁ Hystaspes (3d) ᾿Αρσάμης, ὁ Arsames (3d) ἐπιδίδωμι (ἐπιδο-) I give in dowry, give in addition ὠθισμός, ὁ jostling, struggling (2a). Another Homeric echo: note the struggle over the body of Patroklos in Iliad 17.274ff. ἐς ὅ until ὑπεξειρύω I drag out and away τρέπομαι I rout ∗ ἐναντίος α ον opposite, facing; ∗ ἐναντίοι, οἱ enemy, adversaries (2a) τετράκις four times

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34 The arrival of Ephialtes behind the Greek forces. The Spartans withdraw to a hillock in the narrow part of the pass and die fighting tooth and nail. (2251–3)

τοῦτο δὲ συνεστήκεε μέχρι οὗ οἱ σὺν ᾿Επιάλτῃ παρεγένοντο. ὡς δὲ τούτους ἥκειν ἐπύθοντο οἱ ῞Ελληνες, ἐνθεῦτεν ἤδη ἑτεροιοῦτο τὸ νεῖκος· ἔς τε γὰρ τὸ στεινὸν τῆς ὁδοῦ ἀνεχώρεον ὀπίσω καί, παραμειψάμενοι τὸ τεῖχος, ἐλθόντες ἵζοντο ἐπὶ τὸν κολωνὸν πάντες ἁλέες οἱ ἄλλοι πλὴν Θηβαίων; ὁ δὲ κολωνός ἐστι ἐν τῇ ἐσόδῳ, ὅκου νῦν ὁ λίθινος λέων ἕστηκε ἐπὶ Λεωνίδῃ. ἐν τούτῳ σφέας τῷ χώρῳ ἀλεξομένους μαχαίρῃσι, τοῖσι αὐτῶν ἐτύγχανον ἔτι περιεοῦσαι, καὶ χερσὶ καὶ στόμασι κατέχωσαν οἱ βάρβαροι βάλλοντες, οἱ μὲν ἐξ ἐναντίης ἐπισπόμενοι καὶ τὸ ἔρυμα τοῦ τείχεος συγχώσαντες, οἱ δὲ περιελθόντες πάντοθεν περισταδόν. 369 τοῦτο συνεστήκεε ‘this battle continued’; συνίσταμαι I am joined (of battle) ∗ μέχρι (+ gen.) until, up to, as far as; ∗ μέχρι οὗ until 370 ἐνθεῦτεν = ἐντεῦθεν ἑτεροιόω I alter νεῖκος, τό strife, battle (3c) 371 παραμείβομαι I pass by, leave on one side 372 Θηβαῖοι, οἱ Thebans (2a) 373 λίθινος η ον made of stone λέων (λεοντ-), ὁ lion (3a), symbol of a king, and a play on the name Leonidas

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ἐπί (+ dat.) in honour of 374 ἀλέξομαι I defend myself μάχαιρα, ἡ knife, dagger (1b) τοῖσι αὐτῶν . . . περιεοῦσαι lit. ‘to whom of them they [sc. ‘daggers’] still chanced to be left’ 375 καταχώννυμι (καταχωσ-) I overwhelm ἐξ ἐναντίης from the opposite side ἐφέπομαι (ἐπισπο-) I follow, pursue 376 συγχώννυμι (συγχωσ-) I demolish περισταδόν standing round about

35 Dienekes, the bravest of the Greeks, jokes on the eve of battle. Others outstanding in valour. (226–7)

Λακεδαιμονίων δὲ καὶ Θεσπιέων τοιούτων γενομένων, ὅμως λέγεται ἀνὴρ ἄριστος γενέσθαι Σπαρτιήτης Διηνέκης· τὸν τόδε φασὶ εἰπεῖν τὸ ἔπος πρὶν ἢ συμμεῖξαί σφεας τοῖσι Μήδοισι, πυθόμενον πρός τευ τῶν Τρηχινίων ὡς, ἐπεὰν οἱ βάρβαροι ἀπίωσι τὰ τοξεύματα, τὸν ἥλιον ὑπὸ τοῦ πλήθεος τῶν ὀϊστῶν ἀποκρύπτουσι· τοσοῦτο πλῆθος αὐτῶν εἶναι· τὸν δέ, οὐκ ἐκπλαγέντα τούτοισι, εἰπεῖν, ἐν ἀλογίῃ ποιεύμενον τὸ τῶν Μήδων πλῆθος, ὡς πάντα σφι ἀγαθὰ ὁ Τρηχίνιος ξεῖνος ἀγγέλλοι εἰ, ἀποκρυπτόντων τῶν Μήδων τὸν ἥλιον, ὑπὸ σκιῇ ἔσοιτο πρὸς αὐτοὺς ἡ μάχη καὶ οὐκ ἐν ἡλίῳ. ταῦτα μὲν καὶ ἄλλα τοιουτότροπα ἔπεά φασι 377 Θεσπιέες, oἱ Thespians 378 Διηνέκης, ὁ Dienekes (3d) τὸν: agrees with πυθόμενον πρὶν ἤ before (+ inf.) 379 τευ = τινος Τρηχίνιος, ὁ Trachinian (2a) ἐπεὰν = ἐπεὶ ἄν 380 ἀπίωσι = ἀφίωσι (ἀφίημι subj.) τόξευμα, τό arrow (3b) ὀϊστός, ὁ arrow (2a)

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381 εἶναι ‘there was’ τὸν δὲ . . . εἰπεῖν ‘and that he . . . said’ ἐκπλήγνυμαι (ἐκπλαγ-) I am astonished ἀλογίη, ἡ disregard (1a) 383 σκιή, ἡ shade (1a). This famous joke is typical of the deeds, great and small, that Herodotus wanted to ensure would never be forgottten (see the opening of his Histories, p. 79) τοιουτότροπος ον such-like, of such kind

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Διηνέκεα τὸν Λακεδαιμόνιον λιπέσθαι μνημόσυνα. μετὰ δὲ τοῦτον, ἀριστεῦσαι λέγονται Λακεδαιμόνιοι δύο ἀδελφεοί, ᾿Αλφεός τε καὶ Μάρων ᾿Ορσιφάντου παῖδες. Θεσπιέων δὲ εὐδοκίμεε μάλιστα τῷ οὔνομα ἦν Διθύραμβος ῾Αρματίδεω. 385 λείπομαι (λιπ-) I leave behind me μνημόσυνον, τό memorial (2b) ἀριστεύω I am best, gain distinction 386 ᾿Αλφεός, ὁ Alpheos (2a) Μάρων (Μαροντ-), ὁ Maron (3a) ᾿Ορσίφαντος, ὁ Orsiphantos (2a)

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387 εὐδοκιμέω I am of good repute, am distinguished τῷ ‘the man whose . . . ’ Διθύραμβος, ὁ Dithyrambos (2a) ῾Αρματίδης, ὁ Harmatides (1d)

Epitaphs on the Greeks, the three hundred Spartans and the seer Megistias. (228)

θαφθεῖσι δέ σφι αὐτοῦ ταύτῃ τῇ περ ἔπεσον καὶ τοῖσι πρότερον τελευτήσασι ἢ τοὺς ὑπὸ Λεωνίδεω ἀποπεμφθέντας οἴχεσθαι, ἐπιγέγραπται γράμματα λέγοντα τάδε·

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μυριάσιν ποτὲ τῇδε τριηκοσίαις ἐμάχοντο ἐκ Πελοποννάσου χιλιάδες τέτορες.

ταῦτα μὲν δὴ τοῖσι πᾶσι ἐπιγέγραπται, τοῖσι δὲ Σπαρτιήτῃσι ἰδίῃ· ὦ ξεῖν’, ἀγγέλλειν Λακεδαιμονίοις ὅτι τῇδε κείμεθα τοῖς κείνων ῥήμασι πειθόμενοι.

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Λακεδαιμονίοισι μὲν δὴ τοῦτο, τῷ δὲ μάντι τόδε· μνῆμα τόδε κλεινοῖο Μεγιστία, ὅν ποτε Μῆδοι Σπερχειὸν ποταμὸν κτεῖναν ἀμειψάμενοι, μάντιος, ὃς τότε, Κῆρας ἐπερχομένας σάφα εἰδώς, οὐκ ἔτλη Σπάρτης ἡγεμόνας προλιπεῖν.

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ἐπιγράμμασι μέν νυν καὶ στήλῃσι, ἔξω ἢ τὸ τοῦ μάντιος ἐπίγραμμα, ᾿Αμφικτύονές εἰσί σφεας οἱ ἐπικοσμήσαντες· τὸ δὲ τοῦ μάντιος Μεγιστίεω Σιμωνίδης ὁ Λεωπρέπεός ἐστι κατὰ ξεινίην ὁ ἐπιγράψας. 388 θαφθεῖσι . . . σφι tr. ‘over them . . . ’ αὐτοῦ just there τῇ where, on which πρότερον: take with ἤ = ‘before’ (+ inf.) 389 ἐπιγράφομαι I am inscribed over X (dat.) γράμματα, τά inscription, epitaph (3b) 391 μυριάς (μυριαδ-), ἡ ten thousand (3a) τριηκόσιοι αι α three hundred, i.e. 300 × 10,000 = 3 million 392 Πελοποννάσου = Πελοποννήσου τέτορες (Doric) = τέσσαρες (Ionic) four 393 ἰδίῃ on their own account 394 ἀγγέλλειν ‘tell’ (inf. for imper)

395 ῥῆμα, τό word (3b) 396 μάντι = μάντει ∗ μάντις, ὁ diviner, seer, prophet (3e) 397 μνῆμα, τό memorial tomb (3b) κλεινός ή όν famous, renowned Μεγιστίας, ὁ Megistias (1d); Μεγιστία (Doric) = Μεγιστιέω (Ionic) = gen. s. 398 Σπερχειός, ὁ Sperkheios (2a); Σπερχειὸν ποταμὸν is obj. of ἀμειψάμενοι. Sperkheios is a river in Thessaly κτεῖναν = ἔκτειναν ἀμείβομαι I pass over 399 μάντιος = μάντεως, agreeing with Megistias

Sections 35–6, lines 385–403

Κῆρες, αἱ demons of death (3a) 400 τλάω (τλη-) I bring myself to; dare; endure Σπάρτη, ἡ Sparta (1a) προλείπω (προλιπ-) I forsake 401 ἐπίγραμμα, τό epitaph (3b); ἐπιγράμμασι tr. ‘with . . . ’, dependent on ἐπικοσμήσαντες στήλη, ἡ monument (1a) ἔξω ἤ with the exception of ᾿Αμφικτύονες, οἱ Amphiktyons (3a) 402 ἐπικοσμέω I honour X (acc.) with Y (dat.) Μεγιστιέω gen. s. Σιμωνίδης, ὁ Simonides (1d), the poet from Keos, 556–468 BC; probably composer of

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all these epitaphs. Herodotus names a large number of poets and was deeply influenced by, e.g., Homer. Prose at this time was a relatively new medium, which makes his easy mastery of it all the more astonishing 403 Λεωπρέπης, ὁ Leoprepes (3d) ξεινίη, ἡ friendly relations, guest friendship (1a), hence his personal tribute: the other two were commissioned, for which Simonides would have been paid ἐπιγράφω I inscribe

Anecdotes about the three hundred Spartans (229–33) Two of the three hundred, it is said, Aristodemos and Eurytos, both with severe eye-disease, had been ordered by Leonidas to quit the camp, and both lay at Alpenoi, in very poor condition. Had they been so minded, both men might have agreed to return to Sparta alive; or, if they did not like to return, they might both have gone to battle and fallen with their friends. But when either course was possible, they could not agree together and took different courses of action. Eurytos no sooner heard that the Persians had come round the mountain than he at once called for his armour, buckled it on and ordered his helot to guide him to the fight. The helot did so, then promptly turned and ran for it; but Eurytos plunged into the thick of the battle and was killed. Aristodemos, however, was a coward and stayed at Alpenoi. It is my belief that if Aristodemos alone had been sick and had returned, or if both had come back together, the Spartans would not have become angry; as it was, when there were two men with the very same excuse, one of whom saved his life while the other gave it, it was inevitable that the Spartans would become outraged with Aristodemos. This is the account which some give of Aristodemos’ excuse for his safe return to Sparta. Others say that he, with another, had been sent with a message from the army and, although he could have returned in time to fight, purposely hung around on the road and so survived his comrades; while his fellow-messenger came back in time and was killed. When Aristodemos returned to Lakedaimon, reproach and disgrace awaited him: disgrace, in that no Spartan would give him a light to light his fire, or so much as address a word to him; and reproach, since all called him ‘the chicken’. However, he wiped away all his shame afterwards at the battle of Plataia. Another of the three hundred is similarly said to have survived the battle, a man called Pantites, whom Leonidas had sent on an embassy to Thessaly. He, they say, on his return to Sparta, found himself in such dishonour that he hanged himself. The Thebans, under the command of Leontiades, remained with the Greeks and fought only as long as they were forced to. As soon as they saw the Persians getting the upper hand, and the Greeks under Leonidas making towards the hillock, they broke away from the main force and, raising their hands, advanced towards the barbarians, exclaiming (as indeed was the case) that they for their part wished well to the Medes, and had been among the first to give earth and water to the king; force alone had brought them to Thermopylai; and so they must not be blamed for the slaughter of the king’s army. These words, the truth of which was attested by the Thessalians, were enough to win the Thebans their lives. However, their good fortune was not without some drawback; for several of them were killed by the barbarians on

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their first approach, and the rest, who were the majority, had the royal mark branded upon their bodies by the command of Xerxes – Leontiades, their captain, being the first to suffer. (This man’s son, Eurymakhos, was afterwards killed by the Plataians, when he came with a troop of four hundred Thebans and seized their city.)

Xerxes discusses future strategy with Demaratos (234–7) Thus the Greeks fought at Thermopylai. After the fight was over, Xerxes called for Demaratos and questioned him as follows: ‘Demaratos, you are a good man: your true speaking proves it. Everything has happened as you predicted it would. Now tell me, how many Lakedaimonians are there left, and of those how many are as brave as these? Or are they all the same?’ ‘O king’, replied Demaratos, ‘the sum total of Lakedaimonians and of their cities is very great indeed, but I will tell you what you want to know. There is a town of Lakedaimon called Sparta, with a population of about eight thousand men. They are, to a man, the equal of those who fought here. The other Lakedaimonians are not such good fighters, though still courageous.’ ‘Tell me now, Demaratos’, replied Xerxes, ‘what is the easiest way we can defeat these men? You must know all the ins and outs of their decision-making, since you were once their king.’ Then Demaratos answered: ‘Since your request for my advice is serious, it is right that I should give you the very best I can. Detach three hundred ships from your fleet and send them to attack the shores of Lakonia. There is an island called Kythera in those parts, not far from the coast, about which Khilon, one of our wisest men, remarked that Sparta would gain if it were sunk to the bottom of the sea – so constantly did he envisage that it would give occasion to some project like that which I now recommend to you. I do not mean to say that he had foreknowledge of your attack upon Greece, but he feared all invasions. Send your ships then to this island, and from there attack the Spartans. As soon as they find a war on their very own doorstep, you need not fear that they will give help to the rest of the Greeks while your army is engaged in destroying them. If in this way the rest of Greece is overcome, Sparta, stranded, will be ripe for picking. But if you reject this advice, I will tell you what you may expect to happen. When you come to the Peloponnese, you will find a narrow neck of land, where all the Peloponnesians who are in alliance against you will be gathered together; and there you must expect to fight bloodier battles than any you have yet experienced. If, however, you follow my plan, the Isthmus and the cities of the Peloponnese will come over to you without resistance.’ Akhaimenes, who was present, now spoke. He was Xerxes’ brother and, having command of the fleet, was afraid that Xerxes might be persuaded to do as Demaratos advised: ‘I see, O king, that you are listening to the words of a man who is envious of your good fortune and seeks to betray your cause. This is indeed the way Greeks usually behave: they envy good fortune and hate power greater than their own. Four hundred of our fleet have already been shipwrecked. If three hundred more are now sent away to sail around the Peloponnese, our enemies will become a match for us. But if we keep our fleet together, it will be dangerous for them to risk an attack, as they will not even begin to be a match for us then. Besides, while our sea and land forces advance together, the fleet and army can help each other; but if they are split, such mutual help is impossible. Lay your own plans well − then you will not need to

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inquire about the enemy, and where they will fight or what they will do or how many there are. Surely they can manage their own affairs without us, as we can ours without them. If the Lakedaimonians come out to fight the Persians, they will not heal the wound they have already had inflicted.’ Xerxes replied: ‘Akhaimenes, your advice to me seems sound and I will do as you say. But Demaratos too gave what he considered the best advice – only his judgement was not as good as yours. I will never believe that he does not wish well to our cause; for that is disproved by his former advice and by the circumstances of the case. A citizen does indeed envy any fellow-citizen who is more lucky than himself and often hates him secretly. If a man like that is called on for advice, he will not give his best thoughts, unless indeed he is a man of very exceptional quality – and men like that are hard to find. But a xenos is full of sympathy for the good fortune of another xenos, and will give him, when asked, the best advice in his power. I therefore order everyone, from now on, to stop slandering Demaratos, who is my xenos.’

Xerxes’ anger against Leonidas 37 After the battle, Xerxes outrages Leonidas’ body. (238)

ταῦτα εἴπας, Šέρξης διεξήιε διὰ τῶν νεκρῶν καὶ Λεωνίδεω, ἀκηκοὼς ὅτι βασιλεύς τε ἦν καὶ στρατηγὸς Λακεδαιμονίων, ἐκέλευσε ἀποταμόντας τὴν κεφαλὴν ἀνασταυρῶσαι. δῆλά μοι πολλοῖσι μὲν καὶ ἄλλοισι τεκμηρίοισι, ἐν δὲ καὶ τῷδε οὐκ ἥκιστα γέγονε, ὅτι βασιλεὺς Šέρξης πάντων δὴ μάλιστα ἀνδρῶν ἐθυμώθη ζῶντι Λεωνίδῃ· οὐ γὰρ ἄν κοτε ἐς τὸν νεκρὸν ταῦτα παρενόμησε, ἐπεὶ τιμᾶν μάλιστα νομίζουσι – τῶν ἐγὼ οἶδα ἀνθρώπων – Πέρσαι ἄνδρας ἀγαθοὺς τὰ πολέμια. οἱ μὲν δὴ ταῦτα ἐποίευν, τοῖσι ἐπετέτακτο ποιέειν. 405 ἀποτέμνω (ἀποταμ-) I cut off 406 ἀνασταυρόω I impale 408 ∗ ζάω I live παρανομέω I commit an outrage 409 ἄνδρας ἀγαθοὺς: obj. of τιμᾶν 410 τὰ πολέμια: acc. of respect. Herodotus is again balanced in his assessment of Persian

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reactions. It would have been easy to condemn them all at this point ἐπιτάττω I order (+ dat.); τοῖσι ἐπετέτακτο ‘to whom it had been ordered / orders had been given’. Does this hint at the unusual nature of Xerxes’ response to Leonidas?

Part III Sophocles

34. Oedipus and the Sphinx

Introduction

A Chorus in Sophocles’ Antigone sings of the power of Zeus over Olympos and over man: τεάν, Ζεῦ, δύνασιν τίς ἀνδρῶν ὑπερβασία κατάσχοι; τὰν οὔθ’ ὕπνος αἱρεῖ ποθ’ ὁ παντογήρως οὔτ’ ἀκάματοι θεῶν μῆνες, ἀγήρως δὲ χρόνῳ δυνάστας κατέχεις ᾿Ολύμπου μαρμαρόεσσαν αἴγλαν. τό τ’ ἔπειτα καὶ τὸ μέλλον καὶ τὸ πρὶν ἐπαρκέσει νόμος ὅδ’· οὐδὲν ἕρπει θνατῶν βιότῳ πάμπολύ γ’ ἐκτὸς ἄτας.

Your power, Ο Zeus, what man Steps so high as to possess it? Sleep, which ages all, can never subdue it, Nor can heaven’s unwearying months, But, ageless in time, as monarch You possess the gleaming radiance Of Olympos. For what’s to come, both near and far, As for time past, this law holds true: In mortal life there can exist No greatness which remains unscathed.

ἁ γὰρ δὴ πολύπλαγκτος ἐλπὶς πολλοῖς μὲν ὄνασις ἀνδρῶν, πολλοῖς δ’ ἀπάτα κουφονόων ἐρώτων· εἰδότι δ’ οὐδὲν ἕρπει, πρὶν πυρὶ θερμῷ πόδα τις προσαύσῃ. σοφίᾳ γὰρ ἔκ του κλεινὸν ἔπος πέφανται, τὸ κακὸν δοκεῖν ποτ’ ἐσθλὸν τῷδ’ ἔμμεν ὅτῳ φρένας θεὸς ἄγει πρὸς ἄταν· πράσσει δ’ ὀλίγιστον χρόνον ἐκτὸς ἄτας.

Far-reaching Hope is, it is true, A blessing to many men, But in many she deceives their half-considered fancies. A man knows nothing as she comes after him, Till feet get burnt in the blazing fire. Wise from some source Came that famous saying, ‘Wrong at times seems right, To the man whose mind A god drives towards disaster.’ Only for the shortest time can he act And remain unscathed. Antigone, 604–25

This selection Introductory passage: Oedipus the king (Oedipus Tyrannus 300–862 (passim)) page 130 Target passage: The fall of Oedipus (Oedipus Tyrannus 950–end (passim)) page 151

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Sophocles

Sophocles, the tragedian Sophocles (Σοφοκλῆς) was born an Athenian c. 496 BC and died in 406. He played a full part in Athenian political life, being strategos once (probably), Hellenotamias once (member of a board of officials who oversaw the finances of the whole Athenian alliance) and, in 413, a member of the emergency Council which was convened when the Athenian expedition to Sicily had been destroyed and Athens seemed on the brink of defeat in the Peloponnesian War (see the sister volume to World of Heroes, The Intellectual Revolution, pp. 83–108). He was closely involved with the cult of Asklepios, as well as being a priest in another healing cult. He is said to have written some 123 plays, of which 7 survive in full. In a possible chronological order, with Greek titles followed by the most common ones used in English, they are: Αἴας (Ajax), ᾿Αντιγόνη (Antigone), Τραχίνιαι (Trachiniae, or Women of Trachis), Οἰδίπους τύραννος (Oedipus Tyrannus, or Oedipus Rex), ᾿Ηλέκτρα (Electra), Φιλοκτήτης (Philoctetes), Οἰδίπους ἐπὶ Κολωνῷ (Oedipus Coloneus, or Oedipus at Colonus). It was Sophocles who increased the scope of dramatic possibilities by increasing the number of actors allowed in a production from two to three. He was greatly admired by the Athenians, and Aristotle, in his Poetics (a discussion of literary form), saw his Oedipus Tyrannus as a paradigm of the perfect Greek tragedy.

Background to the Oedipus Tyrannus Laios, king of Thebes, and his wife, Iokaste (Jocasta), receive an oracle that any male born to them will kill his father, Laios, and marry his mother, Iokaste. They therefore give their first-born son to a shepherd in their service to expose (i.e. leave to die) on Mount Cithaeron (the border-land between Corinth and Thebes), first pinning the child’s ankles together (whence his name − Oedipus (‘swollen-foot’)). But the shepherd gives the child to a Corinthian shepherd herding flocks in the same region. He wants it for his master, King Polybos of Corinth, whose marriage to Queen Merope has proved barren. So Oedipus is brought up by Polybos and Merope in Corinth, unaware of his true parentage, until he finds his birth challenged by a drunkard at a party. Deeply troubled, Oedipus inquires of the oracle at Delphi who his parents are. The oracle does not answer that question, but tells Oedipus, to his horror, that he is destined to marry his mother and kill his father. Resolved never to return to Corinth, he is making his way to Thebes when he quarrels with a group of travelling Thebans, including King Laios. Oedipus kills them all but one. When he arrives in Thebes, he finds the city mourning the death of Laios and persecuted by the monstrous Sphinx, a part-human creature which tore to pieces anyone who failed to answer a riddle it posed. Oedipus answers the riddle (at which the Sphinx kills itself) and is welcomed by a grateful populace as a new husband for Iokaste. The single survivor of

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the incident on the road has returned to Thebes, but finds work far from the palace. The play When the play opens, all this is long in the past. Oedipus and his queen Iokaste have been the much-loved rulers of Thebes for many years. The action of the play is based not upon a sequence of events but upon the process by which Oedipus slowly discovers the story of his birth and adoption. The facts, however, do not emerge in the order in which they have been given above: to follow the order in which Sophocles does reveal them is to go some way towards understanding his skill as a dramatist. There is much in this play to remind you of Herodotus’ story of Adrastos (Reading Greek, section 19, Hdt. 1.34–45): both stories focus on the struggles of a character to avoid an outcome which the listener knows is inevitable. Of the Oedipus Tyrannus, E. R. Dodds writes: Certainly the Oedipus Rex is a play about the blindness of man and the desperate insecurity of the human condition: in a sense every man must grope in the dark as Oedipus gropes, not knowing who he is or what he has to suffer; we all live in a world of appearance which hides from us who-knows-what dreadful reality. But surely the Oedipus Rex is also a play about human greatness. Oedipus is great, not in virtue of a great worldly position – for his worldly position is an illusion which will vanish like a dream – but in virtue of his inner strength: strength to pursue the truth at whatever personal cost, and strength to accept and endure it when found. (E. R. Dodds, ‘On misunderstanding the Oedipus Rex’, Greece and Rome 13 (1966); also in Segal (below))

Further reading E. Csapo and W. J. Slater, The Context of Ancient Drama (Ann Arbor: University of Michigan Press, 1995). R. D. Dawe, ed., Sophocles Oedipus Rex (Cambridge University Press, 1982, revised edn 2006). James Morwood, The Tragedies of Sophocles (Bristol: Phoenix Press, 2008). Erich Segal, Oxford Readings in Greek Tragedy (Oxford University Press, 1983).

Introductory passage: Oedipus the king (Oedipus Tyrannus 300–862 (passim))

Introduction When the play opens, Thebes is in the grip of a disastrous plague. Oedipus has sent Iokaste’s brother Kreon to the oracle at Delphi to inquire what should be done. Kreon reports that the oracle orders that the killer of Laios (king of Thebes before Oedipus) should be expelled. Oedipus utters this solemn warning (219–75; the lines in this passage are presented in the order proposed by R. D. Dawe, Sophocles Oedipus Rex – see ‘Further reading’ above): I shall speak as one who played no part either in the story, or in the deed. Were I working unaided, I would not get far, without some evidence. As it is, since it was after the murder that I became a citizen among you citizens, to all Thebans I make this proclamation: If any of you knows at whose hands Laios, son of Labdakos, was murdered, I order him to tell me everything. If he is afraid, because he might be confessing his own guilt, I say that he will suffer no harsh punishment: he shall leave this country unharmed. And if anyone knows a foreigner to be the killer, he must not keep quiet. I shall settle the reward, with my thanks as well. But if you remain silent, and anyone in fear protects a friend or indeed himself, from this my edict, hear what I shall do: Whoever he may be, I lay this order on the people of this land, whose power and throne I control. Do not take him in, do not greet him, or have him join in your prayers or sacrifices to the gods, or give him the lustral bowl. All are to drive him from their homes, since he is our desecration, as the Pythian god has revealed to me just now. If any fail to do this, I pray the gods to give them neither crops grown from the earth nor children from their wives. Let them perish by a fate like this, or one still worse! 130

Section 1, lines 1–3

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I lay it on you to see all this through – for myself, for the god, and for this our land, so plagued by famine and the god’s ill-will. And even were the matter not sent from the gods, it would not be right for you to let it lie untouched, − the death of a great man, our king − but to investigate it fully! Since I am now in power, with the position which he held before, with his bed and the wife who took his seed, as now she has taken mine (and had his line not miscarried we would have had children in common − but now fate has come down hard upon him). In return I fight in his defence, as if he were my own father, and shall go to any length seeking to catch the man whose hand did the murderous deed – for the honour of Laios, the son of Labdakos, and of Polydoros, and Kadmos before him and Agenor his father. Since I, then, am such a champion of the god, and of the man who died, I pray that he who has done the deed, whether he keeps his guilt to himself or shares it with another, may eke out his existence accursed, in utter misery. And I add the prayer that, if with my knowledge he comes to live in my house as a guest, I too may suffer the full effects of the curse I have called down on others. But as for you other Thebans, all of you who agree with my words, may Justice who fights with us and the rest of the gods be with you and bless you for ever. (The Chorus of men of Thebes now suggests that Oedipus would do well to consult the blind prophet Teiresias. Oedipus reveals that he has already been summoned, and shortly he arrives, guided by a slave. The extracts begin with Oedipus’ address to Teiresias.)

1 Oedipus tells Teiresias what the oracle has said and begs him to help. (300–15)

ΟΙΔΙΠΟϒΣ ὦ πάντα νωμῶν Τειρεσία, διδακτά τε ἄρρητά τ’ οὐράνιά τε καὶ χθονοστιβῆ, πόλιν μέν, εἰ καὶ μὴ βλέπεις, φρονεῖς δ’ ὅμως 1 νωμάω I ponder, grasp ∗ Τειρεσίας, ὁ Teiresias (1d) διδακτός ή όν ‘that may be explained’, the opposite of ἄρρητος 2 ἄρρητος ον not to be divulged, secret οὐράνιος α ον heavenly, in heaven χθονοστιβής ές walking the earth, lowly

3 πόλιν μέν . . . Sophocles has combined (illogically) two constructions: βλέπεις μὲν οὔ, φρονεῖς δέ and εἰ μὴ βλέπεις, ὅμως φρονεῖς. πόλιν is acc. by the Greek idiom of indir. q. ‘I know you who you are’ ∗ φρονέω I am well aware; know well, am sensible

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οἵᾳ νόσῳ σύνεστιν· ἧς σὲ προστάτην σωτῆρά τ’, ὦναξ, μοῦνον ἐξευρίσκομεν. Φοῖβος γάρ, εἰ καὶ μὴ κλύεις τῶν ἀγγέλων, πέμψασιν ἡμῖν ἀντέπεμψεν, ἔκλυσιν μόνην ἂν ἐλθεῖν τοῦδε τοῦ νοσήματος, εἰ τοὺς κτανόντας Λάιον μαθόντες εὖ κτείναιμεν, ἢ γῆς φυγάδας ἐκπεμψαίμεθα. σὺ δ’ οὖν φθονήσας μήτ’ ἀπ’ οἰωνῶν φάτιν μήτ’ εἴ τιν’ ἄλλην μαντικῆς ἔχεις ὁδόν, ῥῦσαι σεαυτὸν καὶ πόλιν, ῥῦσαι δ’ ἐμέ, ῥῦσαι δὲ πᾶν μίασμα τοῦ τεθνηκότος. ἐν σοὶ γὰρ ἐσμέν· ἄνδρα δ’ ὠφελεῖν, ἀφ’ ὧν ἔχοι τε καὶ δύναιτο, κάλλιστος πόνων.

5

10

15

These sixteen lines are a masterly miniature of a speech designed to inform and to persuade. By what methods does Oedipus seek to win Teiresias’ confidence? 4 σύνεστι: πόλις is subject ἧς ‘from which’, i.e. ‘from this plague’ προστάτης, ὁ protector (1d) 5 ὦναξ = ὦ ἄναξ (‘crasis’) μοῦνον = μόνον 6 ∗ Φοῖβος, ὁ Phoibos (Apollo) (2a); god of healing, but also of the plague which he cures 7 ἔκλυσις, ἡ release (3e) 8 . . . ἂν ἐλθεῖν . . . : the inf. is of reported speech (‘sent to say that . . . ’); the ἂν tells us that the speech conveyed the idea ‘would come’ ∗ νόσημα, τό plague, illness, disease (3b) 9 ∗ κτανών = 2nd aor. part. of κτείνω ∗ Λάιος, ὁ Laios (father of Oedipus) (2a) 10 φυγάς (φυγαδ-), ὁ runaway, exile (3a) 11 ∗ φθονέω I begrudge, be envious, resent μήτε . . . μήτε: why does Sophocles use μή and not οὐ here? ∗ οἰωνός, ὁ bird of omen (2a)

2

∗

12 13

14

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16

φάτις, ἡ oracle, saying, rumour (3e) (‘revelations coming from birds’) μαντική (sc. τέχνη), ἡ divination, prophecy (1a) ∗ (ἐ)ρύομαι (εἰρυ-, ἐρυ-, ῥυσ-) I save, keep off, protect. N.b.: the first two instances of ῥῦσαι need to be translated ‘protect’, the third ‘keep off’. (What is this part of the verb?) μίασμα, τό pollution (3b) ∗ τέθνηκα (τεθν(η)-) I am dead (perf. οf θνῄσκω). The genitive τοῦ τεθνηκότος gives the meaning ‘pollution arising from the dead man’ or ‘from the death of the man’ ∗ ὠφελέω I help, assist ἀφ’ ὧν / ἔχοι τε καὶ δύναιτο ‘from whatever resources and natural abilities he has’. The opt. is indef. (Reading Greek, p. 407); the secondary sequence is used perhaps because the idea is universal. κάλλιστος sc. ἐστί ∗ πόνος, ὁ task, business, trouble (2a)

Despite Oedipus’ pleas, Teiresias is unwilling to give guidance. (316–33)

ΤΕΙΡΕΣΙΑΣ φεῦ φεῦ, φρονεῖν ὡς δεινὸν ἔνθα μὴ τέλη λύῃ φρονοῦντι. ταῦτα γὰρ καλῶς ἐγὼ εἰδὼς διώλεσ’· οὐ γὰρ ἂν δεῦρ’ ἱκόμην. ΟΙ. τί δ’ ἔστιν; ὡς ἄθυμος εἰσελήλυθας. ΤΕ. ἄφες μ’ ἐς οἴκους· ῥᾷστα γὰρ τὸ σόν τε σὺ κἀγὼ διοίσω τοὐμόν, ἢν ἐμοὶ πίθῃ. ΟΙ. οὔτ’ ἔννομ’ εἶπας οὔτε προσφιλῆ πόλει τῇδ,’ ἥ σ’ ἔθρεψε, τήνδ’ ἀποστερῶν φάτιν.

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Sections 1–2, lines 4–26

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35. Φοῖβος ᾿Απόλλων (from a cup found at Delphi)

ΤΕ

ὁρῶ γὰρ οὐδὲ σοὶ τὸ σὸν φώνημ’ ἰὸν πρὸς καιρόν· ὡς οὖν μηδ’ ἐγὼ ταὐτὸν πάθω . . .

17 ∗ φεῦ φεῦ alas! ὡς δεινόν what a fearful [thing it is]! τέλη/λύῃ (impersonal) it benefits (+ dat.). The subj. and the neg. μή make it indef. To whom do these words of Teiresias apply? 19 διώλεσ’ ‘I lost’, i.e. ‘I forgot [what I knew]’ ∗ ἱκνέομαι (ἱκ-) I come, arrive ∗ 20 ἄθυμος ον gloomy, discouraging, spiritless 21 ἄφες: from ἀφίημι. What part? ῥᾷστα most easily 22 ∗ κἀγώ = καὶ ἐγώ (‘crasis’ – the word means ‘mixture’; the unusual breathing reveals it. It is on the whole a feature of conversational rather than elevated style) διαφέρω I bear, endure to the end

23

24

25

26

25

τὸ σὸν, τοὔμον (= τὸ ἐμὸν, crasis) sc. ‘burden’ ἔννομος ον lawful ∗ εἶπας: εἶπα is alternative to εἶπον προσφιλής ές kind, agreeable to (+ dat.) ∗ ἔθρεψε = aor. of τρέφω ∗ ἀποστερέω I withold, deprive of, rob. How do Oedipus’ words in ll.23–4 emphasize the point he is making? οὐδὲ σοὶ ‘not even for you’ i.e. ‘you yourself . . . not’ ∗ φώνημα, τό voice, speech (3b) ἰόν = n. part., of εἶμι go πρὸς καιρόν at the right time ταὐτὸν = τὸ αὐτό(ν)

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ΟΙ.

μὴ πρὸς θεῶν φρονῶν γ’ ἀποστραφῇς, ἐπεὶ πάντες σε προσκυνοῦμεν οἵδ’ ἱκτήριοι. πάντες γὰρ οὐ φρονεῖτ’. ἐγὼ δ’ οὐ μή ποτε τἄμ’, ὡς ἂν εἴπω μὴ τὰ σ,’ ἐκφήνω κακά. τί φής; ξυνειδὼς οὐ φράσεις, ἀλλ’ ἐννοεῖς ἡμᾶς προδοῦναι καὶ καταφθεῖραι πόλιν; ἐγὼ οὔτ’ ἐμαυτὸν οὔτε σ’ ἀλγυνῶ. τί ταῦτ’ ἄλλως ἐλέγχεις; οὐ γὰρ ἂν πύθοιό μου.

ΤΕ. ΟΙ. ΤΕ.

27 ἀποστραφῇς suggests that Teiresias turns away here to return home, and that the sentence he begins in 25 can be completed if we understand his action as giving the idea ‘[And I am going home] so that . . . (ὡς)’ ∗ ἀποστρέφομαι (ἀποστραφ-) I turn aside, away 28 προσκυνέω I implore, prostrate myself before ἱκτήριος α ον suppliant. At the very beginning of the play the scene was filled with the people of Thebes presenting themselves as suppliants before Oedipus, begging him to find a cure for the plague. Now Oedipus identifies himself with his people, abasing himself before Teiresias 29–30: if this text is right it can be taken to mean ‘I shall never mention evils [which are] mine so as not to call [them] yours’; Teiresias’ evils presumably being the same as Oedipus’, but as seen from a different perspective

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οὐ μή + aor. subj. (ἐκφήνω) indicates strong denial for the future τἄμ’ = τὰ ἐμά (crasis) ὡς ἂν εἴπω μή not to mention ἐκφαίνω I reveal (ἐκφήνω: aor. subj. after οὐ μή indicates forceful denial) ∗ ξύνοιδα (= σύνοιδα) I am witness to, know; ∗ ξύν appears often in early classical Attic for the standard σύν ∗ ἐννοέω I intend, plan ἡμᾶς: does this refer to all the Thebans (πάντες ll.28, 29, and cf. l.23) or does it mean ‘me’? ∗ καταφθείρω I destroy utterly ∗ ἀλγύνω I grieve, distress (fut. ἀλγυνέω) ἄλλως pointlessly The stichomythia in this play is of unsurpassed brilliance. After Oedipus’ powerful appeal for help to the man who (one should imagine) knows all, do you think Oedipus is ‘hot-headed’ or ‘unreasonable’ in his response to Teiresias’ refusal to help?

Furious at Teiresias’ refusal to reveal his knowledge, Oedipus accuses him of complicity in the murder of Laios. (334–69)

οὐκ, ὦ κακῶν κάκιστε, καὶ γὰρ ἂν πέτρου φύσιν σύ γ’ ὀργάνειας, ἐξερεῖς ποτέ, ἀλλ’ ὡδ’ ἄτεγκτος κἀτελεύτητος φανῇ; ὀργὴν ἐμέμψω τὴν ἐμήν, τὴν σὴν δ’ ὁμοῦ ναίουσαν οὐ κατεῖδες, ἀλλ’ ἐμὲ ψέγεις. τίς γὰρ τοιαῦτ’ ἂν οὐκ ἂν ὀργίζοιτ’ ἔπη κλύων, ἃ νῦν σὺ τήνδ’ ἀτιμάζεις πόλιν; ἥξει γὰρ αὐτά, κἂν ἐγὼ σιγῇ στέγω. οὐκοῦν ἅ γ’ ἥξει καὶ σὲ χρὴ λέγειν ἐμοί; οὐκ ἂν πέρα φράσαιμι. πρὸς τάδ’, εἰ θέλεις, θυμοῦ δι’ ὀργῆς ἥτις ἀγριωτάτη.

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Sections 2–3, lines 27–45

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36. Teiresias and Oedipus (The Olivier Theatre, National Theatre production 2008)

35 πέτρος, ὁ stone (2a) 36 ὀργαίνω (ὀργαν-) I make angry 37 ἄτεγκτος ον hard-hearted, relentless κἀτελεύτητος = καὶ ἀτελεύτητος (crasis) ἀτελεύτητος ον impracticable, useless, ‘not bringable to a [sensible] conclusion’ φανῇ: what part of the verb is this? 38 τὴν σὴν, i.e. ὀργήν: ‘the anger that dwells within you’; but τὴν σὴν could also suggest μητέρα or γυναῖκα, and ὁμοῦ ναίουσαν could be taken literally. (Dramatic irony, or deliberate oracular language by Teiresias?) ∗ ὁμοῦ together [with] 39 ∗ ναίω I abide, dwell, lodge ∗ ψέγω I blame, censure 40: repetition of ἄν: ἄν normally follows the first word in a clause; the first word is normally

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emphatic, so that the repetition of ἄν serves to provide a renewed emphasis ἅ: acc.; the idiom (‘internal’ acc.) is awkward to translate, but is nearly present in the English ‘I call you this.’ Here ‘the offensive things you say against the city’ αὐτά ‘by themselves’; not the words which Teiresias refuses to say, but the horrors to which they would refer κἄν = καὶ ἐάν (crasis) στέγω I conceal, cover up οὐκουν χρή; ‘so shouldn’t you . . . ’ καὶ σέ: [they will come by themselves but] you too have a responsibility . . . οὐκ ἂν + opt. ‘I have absolutely no intention of . . . ’ πέρα further ∗ θυμόομαι I am angry ∗ ἄγριος α ον fierce, wild, savage

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ΟΙ.

καὶ μὴν παρήσω γ’οὐδέν, ὡς ὀργῆς ἔχω, ἅπερ ξυνίημ’. ἴσθι γὰρ δοκῶν ἐμοὶ καὶ ξυμφυτεῦσαι τοὔργον, εἰργάσθαι θ’, ὅσον μὴ χερσὶ καίνων· εἰ δ’ ἐτύγχανες βλέπων, καὶ τοὔργον ἂν σοῦ τοῦτ’ ἔφην εἶναι μόνου. ἄληθες; ἐννέπω σὲ τῷ κηρύγματι ᾧπερ προεῖπας ἐμμένειν, κἀφ’ ἡμέρας τῆς νῦν προσαυδᾶν μήτε τούσδε μήτ’ ἐμέ, ὡς ὄντι γῆς τῆσδ’ ἀνοσίῳ μιάστορι.

ΤΕ.

46 καὶ μὴν . . . γε ‘yes, indeed’ ∗ παρίημι (παρε(ι)-) I let slip, forget; relax; allow ὡς . . . ἔχω ‘[being] as I am in anger’. ἔχω with an adverb regularly = ‘I am’. The gen. ὀργῆς conveys ‘anger-wise’ 47 ξυνίημι (= συν-) I understand 48 ξυμφυτεύω I have a hand in τοὔργον = τὸ ἔργον (crasis) ὅσον / μή ‘even though [you did] not actually’ 49 καίνω I kill 50: Consider your translation of καί in ll.48 and 50 51 ἄληθες: formally the n. of ἀληθής, but with its accent displaced to the first syllable, this word constitutes a furious response ‘Is that so?’ ∗ ἐν(ν)έπω (ἐνισπ-) I order, tell; speak; address

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κήρυγμα, τό proclamation (3b) 52 ᾧπερ dat. where one might expect acc. ‘which you pronounced’. The pronoun has been ‘attracted’ into the case of its antecedent κηρύγματι ἐμμένω I stand by, remain true to (+ dat.) κἀφ’ = καὶ ἀπό (crasis). From now on, crasis will be noted only if it is not obvious 53 ∗ προσαυδάω I address, speak to 54 ὄντι: refers to Oedipus, as if Sophocles had written λέγω σοί in 51; the illogical shift avoids the possibility of an acc. seeming to agree with ἐμέ (53) ∗ ἀνόσιος ον impious, unholy μιάστωρ (μιαστορ-), ὁ defiler, polluter (3a) ∗

As the conversation progresses, trace the stages by which Teiresias is brought in the end to do the exact opposite of what he undertook in l.34. What do you think Sophocles’ dramatic purpose is in presenting Teiresias so?

ΟΕ. ΤΕ. ΟΕ. ΤΕ. ΟΕ. ΤΕ. ΟΕ. ΤΕ. ΟΕ. ΤΕ. ΟΕ.

Are those the words you have really said? Without a qualm? And how do you expect to escape the consequences? I have escaped them. I keep the truth, and that is my strength. Getting it from where? Not from your profession, that is for sure. From you. It was you that drove me to speak. I would have remained silent. Drove you? To say what? Tell me again. I want to learn better. Did you not understand the first time? Or is this a test? Not so as to say so confidently. Tell me again. You, I say, are the murderer of the man, whose murderer you are looking to find. That is twice you have insulted me. You’ll regret it. Should I say more, and make you angrier still? As much as you like: speaking will serve no purpose.

Sections 3–5, lines 46–68

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I say you have been living in unrecognised and dreadful shame with your very own people. You cannot see how bad your state is. You expect to talk like this for ever, quite content? Yes, if there is any strength in truth.

4 Oedipus suspects that Kreon has put Teiresias up to it. (370–9)

ΟΙ. ΤΕ. ΟΙ. ΤΕ. ΟΙ. ΤΕ.

ἀλλ’ ἔστι, πλῆν σοί· σοὶ δὲ τοῦτ’ οὐκ ἔστ’, ἐπεὶ τυφλὸς τά τ’ ὦτα τόν τε νοῦν τά τ’ ὄμματ’ εἶ. σὺ δ’ ἄθλιός γε ταῦτ’ ὀνειδίζων, ἃ σοὶ οὐδεὶς ὃς οὐχὶ τῶνδ’ ὀνειδιεῖ τάχα. μιᾶς τρέφει πρὸς νυκτός, ὥστε μήτ’ ἐμὲ μήτ’ ἄλλον, ὅστις φῶς ὁρᾷ, βλάψαι ποτ’ ἄν. οὐ γάρ σε μοῖρα πρός γ’ ἐμοῦ πεσεῖν, ἐπεὶ ἱκανὸς ᾿Απόλλων, ᾧ τάδ’ ἐκπρᾶξαι μέλει. Κρέοντος, ἢ τοῦ ταῦτα τἀξευρήματα; Κρέων δέ σοι πῆμ’ οὐδέν, ἀλλ’ αὐτὸς σὺ σοί.

56 ∗ τυφλός ή όν blind οὖς (ὠτ-), τό ear (3b) τά τ’ ὦτα . . . : ‘in ears, mind and eyes’: this use of acc. is called ‘acc. of respect’. Note the spitting alliteration of this line ∗ ὄμμα, τό eye (3b). What is the effect of the repeated τ? 57 ∗ ἄθλιος α ον wretched, miserable, pitiful 58 οὐδεὶς is the subject of ἐστίν understood ∗ ὀνειδίζω (fut. ὀνειδιέω) I reproach, bring something (acc.) against someone (dat.) ∗ τάχα quickly

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59 ∗ πρός (+ gen.) by, at the hands of; from 60 ∗ βλάπτω I mislead, hurt; injure; damage; distract ἄν: compare ἄν accompanying (different) inf. in l.8 61 ∗ μοῖρα, ἡ fate, destiny (1b), sc. ‘it is not fate . . . ’ 62 ἱκανός -ή -όν sufficient, capable, sc. ἐστίν ∗ ᾿Απόλλων (᾿Απολλων-), ὁ Apollo (3a) ∗ 63 Κρέων (Κρεοντ-), ὁ Kreon (3a) ∗ τοῦ = τίνος ἐξεύρημα, τό invention (3b) 64 ∗ πῆμα, τό bane, curse, calamity (3b)

5 Oedipus accuses Teiresias of being an accomplice with Kreon in an effort to seize the throne, and demands to know why Teiresias was not able to answer the riddle of the Sphinx. (380–407)

ΟΙ.

ὦ πλοῦτε καὶ τυραννὶ καὶ τέχνη τέχνης ὑπερφέρουσα τῷ πολυζήλῳ βίῳ, ὅσος παρ’ ὑμῖν ὁ φθόνος φυλάσσεται, εἰ τῆσδέ γ’ ἀρχῆς οὕνεχ’, ἣν ἐμοὶ πόλις

65 πλοῦτος, ὁ wealth (2a) τυραννίς (τυραννιδ-), ἡ monarchy, absolute power (3a) τέχνη: i.e. the art of ruling, the master-art

66 ὑπερφέρω I surpass X (gen.) in Y (dat.) πολύζηλος ον full of rivalry, competitive 67 ∗ φθόνος, ὁ envy, jealousy (2a)

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δωρητόν, οὐκ αἰτητόν, εἰσεχείρισεν, ταύτης Κρέων ὁ πιστός, οὑξ ἀρχῆς φίλος, λάθρᾳ μ’ ὑπελθὼν ἐκβαλεῖν ἱμείρεται, ὑφεὶς μάγον τοιόνδε μηχανορράφον, δόλιον ἀγύρτην, ὅστις ἐν τοῖς κέρδεσιν μόνον δέδορκε, τὴν τέχνην δ’ ἔφυ τυφλός. ἐπεὶ φέρ’ εἰπέ, ποῦ σὺ μάντις εἶ σαφής; πῶς οὐχ, ὅθ’ ἡ ῥαψῳδὸς ἐνθάδ’ ἦν κύων, ηὔδας τι τοῖσδ’ ἀστοῖσιν ἐκλυτήριον; καίτοι τό γ’ αἴνιγμ’ οὐχὶ τοὐπιόντος ἦν ἀνδρὸς διειπεῖν, ἀλλὰ μαντείας ἔδει· ἣν οὔτ’ ἀπ’ οἰωνῶν σὺ προυφάνης ἔχων οὔτ’ ἐκ θεῶν του γνωτόν· ἀλλ’ ἐγὼ μολών, ὁ μηδὲν εἰδὼς Οἰδίπους, ἔπαυσά νιν, γνώμῃ κυρήσας οὐδ’ ἀπ’ οἰωνῶν μαθών· ὃν δὴ σὺ πειρᾷς ἐκβαλεῖν, δοκῶν θρόνοις παραστατήσειν τοῖς Κρεοντείοις πέλας. κλαίων δοκεῖς μοι καὶ σὺ χὡ συνθεὶς τάδε ἀγηλατήσειν· εἰ δὲ μὴ ᾿δόκεις γέρων εἶναι, παθὼν ἔγνως ἂν οἷά περ φρονεῖς. ἡμῖν μὲν εἰκάζουσι καὶ τὰ τοῦδ’ ἔπη ὀργῇ λελέχθαι καὶ τὰ σ’, Οἰδίπου, δοκεῖ. δεῖ δ’ οὐ τοιούτων, ἀλλ’ ὅπως τὰ τοῦ θεοῦ μαντεῖ’ ἄριστα λύσομεν, τόδε σκοπεῖν.

69 δωρητός όν given, bequeathed αἰτητός όν asked, sought εἰσχειρίζω I entrust 70 ὁ πιστός, οὑξ ἀρχῆς φίλος (οὑξ = ὁ ἐξ) as Oedipus had seemed to regard him in their conversation in the first scene 71 ∗ λάθρᾳ secretly ὑπέρχομαι (ὑπελθ-) I entrap ἱμείρομαι I desire, long for 72 ὑφίημι (ὑφε(ι)-) I engage secretly, suborn μάγος, ὁ impostor (2a) μηχανορράφος ον crafty, scheming 73 δόλιος α ον deceitful ἀγύρτης, ὁ beggar, down-and-out (1d) ∗ κέρδος, τό gain (3c) 74 ∗ δέδορκα: perf. of δέρκομαι I see, look upon φύω (trans.) produce, bring forth; (intrans. with aor. ἔφυν) grow, be by nature 75 φέρε come now! ∗ μάντις, ὁ prophet, seer (3e) ∗ σαφής ές proven, clear, obvious

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76 ῥαψῳδὸς . . . κύων i.e. the Sphinx. She is a dog because she keeps a careful eye on the Thebans and because of her shameless cruelty to them 77 ∗ αὐδάω I speak, utter, tell ἐκλυτήριος ον saving, bringing release 78 ∗ αἴνιγμα, τό riddle (3b) οὐχὶ τοὐπιόντος (= τοῦ ἐπιόντος) ἦν ‘was not [a matter] for [someone] coming along by chance’ 79 ∗ μαντεία, ἡ prophetic power (1b) ∗ δέω I need; want; lack (+ gen.) 81 ∗ ἔμολον ‘I came, went’ (aor. οf βλώσκω) 82 ὁ μηδὲν εἰδὼς: the use of μή suggests ‘even though . . . ’ ∗ Οἰδίπους (Οἰδιποδ-), ὁ Oedipus (3a) ∗ νιν (acc.) him, her, it 83 γνώμῃ κυρήσας: Oedipus treads a traditionally dangerous path, setting human intelligence (γνώμη) above knowledge coming from the gods. Does he have good reason so to do in the present circumstances? κυρέω I am right, I find the answer

Sections 5–6, lines 69–107 84 ∗ πειράω I try, attempt ∗ δοκέω (here and not infrequently) think, expect θρόνος, ὁ seat of power (2a) 85 παραστατέω I stand by, support (+ dat.) Κρεόντειος α ον of Kreon; the definite article and the clumsy adj. make τοῖς Κρεοντείοις a heavily sarcastic phrase ∗ πέλας nearby, near (+ gen.)

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86 κλαίων weeping (i.e. ‘you will regret that’) χὡ = καὶ ὁ συντίθημι (συνθε-) I plot 87 ἀγηλατέω I drive out a curse, purge (sc. ‘this land’) 88 οἷα . . . φρονεῖς: ‘what sort of thoughts you have’ i.e. ‘how wicked your thoughts are’ 89 εἰκάζω I guess 92 ∗ μαντεῖον, τό oracle (2b)

6 Teiresias denies the accusation and foretells the terrible future in store for Oedipus. (408–28)

ΤΕ.

εἰ καὶ τυραννεῖς, ἐξισωτέον τὸ γοῦν ἴσ’ ἀντιλέξαι· τοῦδε γὰρ κἀγὼ κρατῶ. οὐ γάρ τι σοὶ ζῶ δοῦλος, ἀλλὰ Λοξίᾳ· ὥστ’ οὐ Κρέοντος προστάτου γεγράψομαι. λέγω δ’, ἐπειδὴ καὶ τυφλόν μ’ ὠνείδισας· σὺ καὶ δέδορκας κοὐ βλέπεις ἵν’ εἶ κακοῦ, οὐδ’ ἔνθα ναίεις, οὐδ’ ὅτων οἰκεῖς μέτα. ἆρ οἶσθ’ ἀφ ὧν εἶ; καὶ λέληθας ἐχθρὸς ὢν τοῖς σοῖσιν αὐτοῦ νέρθε κἀπὶ γῆς ἄνω, καί σ’ ἀμφιπλὴξ ╓μητρός τε καὶ τοῦ σοῦ πατρὸς ἐλᾷ ποτ’ ἐκ γῆς τῆσδε╖ δεινόπους ἀρά, βλέποντα νῦν μὲν ὄρθ’, ἔπειτα δὲ σκότον. βοῆς δὲ τῆς σῆς ποῖος οὐκ ἔσται λιμήν, ποῖος Κιθαιρὼν οὐχὶ σύμφωνος τάχα, ὅταν καταίσθῃ τὸν ὑμέναιον, ὃν δόμοις

93 ∗ τυραννέω I am sovereign; there is a note of resentment here, ‘you are the master’ ἐξισόω I offer equally; ἐξισωτέον = δεῖ σε ἐξισοῦν (a gerund) 94 ∗ ἴσος η ον equal ἀντιλέγω I reply κἀγὼ what point does Teiresias make with καὶ here? 95 ∗ ζάω I live, I dwell ∗ Λοξίας, ὁ Apollo (1d) 96 προστάτης, ὁ leader, protector (1d) γράφομαι I am enrolled under (+ gen.) ‘I am not going to be registered as “Kreon’s man”’ 98 ἵνα (+ ind.) where; ∗ ἵνα κακοῦ where in evil (the gen. is like ὀργῆς l.46) 99 ὅτων = ὡντίνων 101 νέρθε below (i.e. Hades)

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102 ἀμφιπλήξ double-edged: tr. with ἀρά l.103 103 ∗ ἐλαύνω (ἐλασ-; fut. ἐλάω) I drive, expel; strike; carry off; (intrans.) hurry δεινόπους with dreadful step ∗ ἀρά, ἡ curse (1b) 104 ∗ ὀρθός ή όν straight, right; true, genuine (the acc. is adverbial) σκότος, ὁ darkness (2a) 105 λιμήν ‘harbour’ is where a ship, or anything, finds its place. ‘What place will there be unfilled by your cries?’ 106 ∗ Κιθαιρών (Κιθαιρων-), ὁ (mount) Kithairon (3a). Kithairon had reechoed to Oedipus’ cries when he was exposed as a baby; now it (and any mountain taking its place – ποῖος;) will do so again σύμφωνος ον in harmony, echoing 107 ὑμέναιος, ὁ marriage (2a) ∗ δόμος, ὁ, οἱ home, house (2a)

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ἄνορμον εἰσέπλευσας, εὐπλοίας τυχών; ἄλλων δὲ πλῆθος οὐκ ἐπαισθάνῃ κακῶν, ἅ σ’ ἐξισώσει σοί τε καὶ τοῖς σοῖς τέκνοις. πρὸς ταῦτα καὶ Κρέοντα καὶ τοὐμὸν στόμα προπηλάκιζε. σοῦ γὰρ οὐκ ἔστιν βροτῶν κάκιον ὅστις ἐκτριβήσεταί ποτε. 108 ἄνορμος ον without a safe harbour, insecure εὔπλοια, ἡ fair voyage (1b) τὸν ὑμέναιον . . . : ‘the marriage into which, in the house, you came sailing, [a marriage which was] no-true-harbour, though you had enjoyed a fair voyage.’ If the text is right, the imagery is seriously compressed (Teiresias’ prophetic-oracular language?). In the back of the reader’s mind is a characteristically Greek expression

7

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110 111 112

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ὅρμος ἄνορμος ‘a harbour which is no harbour’ ἐξισόω I make X (acc.) level with Y (dat.) ∗ στόμα, τό mouth, speech (3b) προπηλακίζω I sling mud, hurl insults at οὐκ ἔστιν . . . /. . . ὅστις ‘there is no-one who . . . ’ ἐκτρίβω I destroy completely, root out (fut. pass. ἐκτριβήσομαι)

Oedipus orders Teiresias to leave, but hesitates when Teiresias mentions his parentage. Teiresias repeats his denunciation and goes. (429–62)

ἦ ταῦτα δῆτ’ ἀνεκτὰ πρὸς τούτου κλύειν; οὐκ εἰς ὄλεθρον; οὐχὶ θᾶσσον; οὐ πάλιν ἄψορρος οἴκων τῶνδ’ ἀποστραφεὶς ἄπει; οὐδ’ ἱκόμην ἔγωγ’ ἄν, εἰ σὺ μὴ ’κάλεις. οὐ γάρ τί σ’ ᾔδη μῶρα φωνήσοντ’, ἐπεὶ σχολῇ σ’ ἂν οἴκους τοὺς ἐμοὺς ἐστειλάμην. ἡμεῖς τοιοίδ’ ἔφυμεν, ὡς μὲν σοὶ δοκεῖ, μῶροι, γονεῦσι δ’, οἵ σ’ ἔφυσαν, ἔμφρονες. ποίοισι; μεῖνον. τίς δέ μ’ ἐκφύει βροτῶν; ἥδ’ ἡμέρα φύσει σε καὶ διαφθερεῖ. ὡς πάντ’ ἄγαν αἰνικτὰ κἀσαφῆ λέγεις. οὔκουν σὺ ταῦτ’ ἄριστος εὑρίσκειν ἔφυς; τοιαῦτ’ ὀνείδιζ’ οἷς ἔμ’ εὑρήσεις μέγαν. αὕτη γε μέντοι σ’ ἡ τύχη διώλεσεν. ἀλλ’ εἰ πόλιν τήνδ’ ἐξέσωσ’, οὔ μοι μέλει. ἄπειμι τοίνυν· καὶ σύ, παῖ, κόμιζέ με. κομιζέτω δῆθ’· ὡς παρὼν σύ γ’ἐμποδὼν ὀχλεῖς, συθείς τ’ ἂν οὐκ ἂν ἀλγύναις πλέον. εἰπὼν ἄπειμ’ ὧν οὕνεκ’ ἦλθον, οὐ τὸ σὸν δείσας πρόσωπον· οὐ γὰρ ἔσθ’ ὅπου μ’ ὀλεῖς. λέγω δέ σοι· τὸν ἄνδρα τοῦτον, ὃν πάλαι ζητεῖς ἀπειλῶν κἀνακηρύσσων φόνον τὸν Λαΐειον, οὗτός ἐστιν ἐνθάδε. ξένος λόγῳ μέτοικος, εἶτα δ’ ἐγγενὴς

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Sections 6–7, lines 108–47

φανήσεται Θηβαῖος, οὐδ’ ἡσθήσεται τῇ ξυμφορᾷ· τυφλὸς γὰρ ἐκ δεδορκότος καὶ πτωχὸς ἀντὶ πλουσίου ξένην ἔπι σκήπτρῳ προδεικνὺς γαῖαν ἐμπορεύσεται. φανήσεται δὲ παισὶ τοῖς αὑτοῦ ξυνὼν ἀδελφὸς αὑτὸς καὶ πατήρ, κἀξ ἧς ἔφυ γυναικὸς υἱὸς καὶ πόσις, καὶ τοῦ πατρὸς ὁμόσπορός τε καὶ φονεύς. καὶ ταῦτ’ ἰὼν εἴσω λογίζου· κἂν λάβῃς ἐψευσμένον, φάσκειν ἔμ’ ἤδη μαντικῇ μηδὲν φρονεῖν. 114 ἀνεκτός όν bearable 115 ∗ εἰς ὄλεθρον to hell! Understand a verb ‘[Won’t] you go . . . ?’ ∗ θᾶσσον at once! (lit. ‘more quickly’, comp. of ταχύς) 116 ἄψορρος ον going back 119 σχολῇ ‘at leisure’, a sarcastic understatement for ‘never’ οἴκους τοὺς ἐμοὺς ‘to my house’ (without preposition, as occasionally) ∗ στέλλω (στειλ-, σταλ-) I send, summon; equip 121 γονεύς, ὁ father (3g) (pl. ‘parents’) ἔμφρων ον sensible, sane 122 ποίοισι ‘what parents?’ (ποῖος regularly used for adjectival τίς) ἐκφύει: picking up Teiresias’ aor. ἔφυσαν with the pres., Oedipus seems to reveal a momentary uncertainty. What makes him ask this question just now? 124 ∗ ἄγαν too, too much αἰνικτός ή όν riddling ∗ ἀσαφής ές obscure, unclear 126 τοιαῦτα (sc. μοι) οἷς ‘bring against me the things in which . . . ’ 130 ∗ κομίζω I take, lead, bring ἐμποδών (adv.) in one’s way 131 ὀχλέω I am a nuisance συθείς departing at speed (aor. pass. of σεύομαι) ἀλγύνω, aor. ἤλγυνα inflict pain on (acc.) 132 ὧν οὕνεκ’ ἦλθον – but Teiresias had come with the intention of saying nothing (ll.17–22)

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133 ∗ δείδω (δεισ-, δεδοικ-, δεδι-) I fear, am alarmed πρόσωπον, τό face (2b) ∗ οὐκ ἐστὶν ὅπου it is not possible that 134 τὸν ἄνδρα: one might expect the nom., as subject of ἐστιν (l.136); it is ‘attracted’ into the case of ὃν πάλαι ‘all this time’ 135 ∗ ἀπειλέω I threaten (+ dat.) ἀνακηρύττω I proclaim publicly (sc. ‘a search into’) 136 ∗ Λαίειος α ον of Laios: the adj. is sarcastic like Κρεοντείοις (l.85) 137 ξένος λόγῳ μέτοικος ‘called [i.e. ‘in words’] an immigrant foreigner’ μέτοικος, ὁ immigrant (2a) ∗ ἐγγενής ές native; inborn 138 φανήσομαι = fut. of φαίνομαι ∗ Θηβαῖος α ον of Thebes, Theban 140 πτωχός, ὁ beggar (2a) ξένην sc. γῆν 141 σκῆπτρον, τό stick, staff (2b) προδείκνυμι I point ahead 142 αὑτοῦ: note the breathing 145 ὁμόσπορος ον sharing the same bed with (+ gen.) ∗ φονεύς, ὁ murderer (3g) 146 ∗ εἴσω inside λάβῃς: sc. ἐμέ 147 φάσκειν inf. for imper. ἤδη only then μηδὲν: for οὐδὲν because of the recent command φάσκειν

(Kreon argues fiercely with Oedipus over the charge that he has plotted with Teiresias to seize power. The argument is interrupted by the arrival of Queen Iokaste (Jocasta), Oedipus’ wife. She persuades the reluctant Oedipus to drop the charges against Kreon, and then enquires what the cause of the quarrel was.)

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8

Oedipus claims that Kreon was using Teiresias to accuse him of the murder of Laios. Iokaste is sceptical of oracles and tells how an oracle had foretold that Laios would be murdered by his child. (698−725)

ΙΟΚΑΣΤΗ ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ.

πρὸς θεῶν δίδαξον κἄμ’, ἄναξ, ὅτου ποτὲ μῆνιν τοσήνδε πράγματος στήσας ἔχεις. ἐρῶ· σὲ γὰρ τῶνδ’ ἐς πλέον, γύναι, σέβω· Κρέοντος, οἷά μοι βεβουλευκὼς ἔχει. λέγ’, εἰ σαφῶς τὸ νεῖκος ἐγκαλῶν ἐρεῖς. φονέα με φησὶ Λαΐου καθεστάναι. αὐτὸς ξυνειδώς, ἢ μαθὼν ἄλλου πάρα; μάντιν μὲν οὖν κακοῦργον ἐσπέμψας, ἐπεὶ τό γ’ εἰς ἑαυτὸν πᾶν ἐλευθεροῖ στόμα. σύ νυν ἀφεὶς σεαυτὸν ὧν λέγεις πέρι ἐμοῦ ᾿πάκουσον καὶ μάθ’ οὕνεκ’ ἐστί σοι βρότειον οὐδὲν μαντικῆς ἔχον τέχνης. φανῶ δέ σοι σημεῖα τῶνδε σύντομα. χρησμὸς γὰρ ἦλθε Λαΐῳ ποτ’, οὐκ ἐρῶ Φοίβου γ’ ἀπ’ αὐτοῦ, τῶν δ’ ὑπηρετῶν ἄπο, ὡς αὐτὸν ἕξοι μοῖρα πρὸς παιδὸς θανεῖν, ὅστις γένοιτ’ ἐμοῦ τε κἀκείνου πάρα. καὶ τὸν μέν, ὥσπερ γ’ ἡ φάτις, ξένοι ποτὲ λῃσταὶ φονεύουσ’ ἐν τριπλαῖς ἁμαξιτοῖς· παιδὸς δὲ βλάστας οὐ διέσχον ἡμέραι τρεῖς, καί νιν ἄρθρα κεῖνος ἐνζεύξας ποδοῖν ἔρριψεν ἄλλων χερσὶν εἰς ἄβατον ὄρος. κἀνταῦθ’ ᾿Απόλλων οὔτ’ ἐκεῖνον ἤνυσεν φονέα γενέσθαι πατρὸς οὔτε Λάϊον τὸ δεινὸν οὑφοβεῖτο πρὸς παιδὸς παθεῖν. τοιαῦτα φῆμαι μαντικαὶ διώρισαν, ὧν ἐντρέπου σὺ μηδέν· ἣν γὰρ ἂν θεὸς χρείαν ἐρευνᾷ ῥᾳδίως αὐτὸς φανεῖ.

148 ὅτου . . . / . . . πράγματος (sc. ἕνεκα) on what account 149 μῆνις, ἡ anger (3a) στήσας ἔχεις you have set up; for the compound tense cf. also l.151. 150 σὲ τῶνδ’ ἐς πλέον σέβω this is a stark affront to the Chorus, who have only just made an impassioned declaration of loyalty, affection and gratitude to Oedipus (689–96 of the full text) ἐς πλέον more (than, + gen.) ∗ σέβω I honour, respect; revere; worship

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151 Κρέοντος ‘on Kreon’s [sc. ‘account’]’. This forms the abrupt one-word answer to Iokaste’s question. The answer is explained by οἷά, an exclamation: ‘Such things . . . !’ ∗ βουλεύω I plot against (+ dat.); resolve, determine 152 νεῖκος, τό quarrel (3c) ἐγκαλέω I mention X (acc.) (as a complaint against Y (dat.)). It is the νεῖκος which Oedipus will mention (as a complaint against Kreon)

Sections 8–9, lines 148–83 153 καθεστάναι to be established as (perf. inf. intrans. of καθίστημι); i.e. ‘to be’ 155 μὲν οὖν ‘no, rather’; as very often, this double particle serves to correct something − here, Iokaste’s inference that Kreon had made the accusation in person. Iokaste’s question surprises us as audience − a natural response might be ‘What nonsense!’ Possible reasons for it: (i) she already knows that it is not nonsense; (ii) it facilitates the shift of our attention to Teiresias and hence to the discussion of oracles which follows. Which, if either, seems likely? κακοῦργος ον evil, mischievous 156 τό γ’ εἰς ἑαυτόν in what concerns himself πᾶν adverbial, ‘wholly’ ἐλευθερόω I keep free (sc. ‘from any scandal’) 157 ἀφεὶς: ἀφίημι I acquit ὧν λέγεις πέρι ‘[as concerning the things] about which you are talking’ 158 ∗ ’πάκουσον = ἐπάκουσον (‘prodelision’) ἐστί . . . / . . . ἔχον has a share in (+ gen.) σοι: this use of the dative establishes a very vague and general idea (‘as may concern you’); it has the name ‘ethic dative’ 159 ∗ βρότειος α ον mortal, human; βρότειον οὐδὲν = ‘no man’. Iokaste now joins Oedipus (l.83) in disparaging claims to divine wisdom. It is a commonplace of Greek thought that prophecies could be misleading

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160 σύντομος ον cut short, abridged (i.e. ‘brief and conclusive’) 161 ∗ χρησμός, ὁ oracle (2a) 162 ὑπηρετῶν: what is Iokaste’s tone in using this word? 164 γένοιτο: what does this use of the opt. tell us about what the oracle originally said? 166 ∗ λῃστής, ὁ robber (1d) φονεύω I murder, slay. φονεύουσι is the only present tense in Iokaste’s narrative ∗ τριπλόος η ον triple (often contr. τριπλοῦς) ∗ ἁμαξιτός, ἡ highway (2a) 167 βλάσται, αἱ birth (1a) διέχω I part, separate (sc. ‘from what followed’) 168 ἄρθρον, τό joint (2b) κεῖνος i.e. Laios ἐνζεύγνυμι (ἐνζευξ-) I bind tightly. L.397 is more explicit. Iokaste still cannot bear the memory ποδοῖν of his feet (dual) 169 ἄβατος ον trackless 170 ἀνύω I accomplish, bring to pass 172 τὸ δεινόν: in apposition to παθεῖν οὑφοβεῖτο = ὃ ἐφοβεῖτο 173 ∗ φήμη, ἡ message; rumour; speech; prophecy (1a) διορίζω I determine 174 ∗ ἐντρέπομαι I pay attention to (+ gen.) 175 χρεία, ἡ need, ‘necessary thing’ (1b) ἐρευνάω I seek

9 The details of Iokaste’s story worry Oedipus. (726–49)

ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ.

οἷόν μ’ ἀκούσαντ’ ἀρτίως ἔχει, γύναι, ψυχῆς πλάνημα κἀνακίνησις φρενῶν. ποίας μερίμνης τοῦθ’ ὑποστραφεὶς λέγεις; ἔδοξ’ ἀκοῦσαι σοῦ τόδ’, ὡς ὁ Λάϊος κατασφαγείη πρὸς τριπλαῖς ἁμαξιτοῖς. ηὐδᾶτο γὰρ ταῦτ’ οὐδέ πω λήξαντ’ ἔχει. καὶ ποῦ ’σθ’ ὁ χῶρος οὗτος οὗ τόδ’ ἦν πάθος; Φωκὶς μὲν ἡ γῆ κλῄζεται, σχιστὴ δ’ ὁδὸς

176 οἷόν with πλάνημα l.177 ∗ ἀρτίως newly, recently 177 πλάνημα, τό wandering, restlessness (3b) ἀνακίνησις, ἡ agitation (3e) 178 μερίμνη, ἡ anxiety, concern (la) ὑποστρέφομαι (ὑποστραφ-) I turn round because of (+ gen.)

180

180 ∗ κατασφάζω (κατασφαξ-, σφαγ-) I murder 181 λήγω I cease, stop; λήξαντ’ ἔχει compound tense as ll.149, 151 182 ∗ χῶρος, ὁ place, spot (2a) 183 Φωκίς, ἡ Phokis ∗ κλῄζω I call; mention; celebrate σχιστός ή όν divided, split

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ἐς ταὐτὸ Δελφῶν κἀπὸ Δαυλίας ἄγει. καὶ τίς χρόνος τοῖσδ’ ἐστὶν οὑξεληλυθώς; σχεδόν τι πρόσθεν ἢ σὺ τῆσδ’ ἔχων χθονὸς ἀρχὴν ἐφαίνου, τοῦτ’ ἐκηρύχθη πόλει. ὦ Ζεῦ, τί μου δρᾶσαι βεβούλευσαι πέρι; τί δ’ ἐστί σοι τοῦτ’, Οἰδίπους, ἐνθύμιον; μήπω μ’ ἐρώτα· τὸν δὲ Λάϊον, φύσιν τίν’ εἶχε, φράζε, τίνα δ’ ἀκμὴν ἥβης ἔχων. μέγας, χνοάζων ἄρτι λευκανθὲς κάρα, μορφῆς δὲ τῆς σῆς οὐκ ἀπεστάτει πολύ. οἴμοι τάλας· ἔοικ’ ἐμαυτὸν εἰς ἀρὰς δεινὰς προβάλλων ἀρτίως οὐκ εἰδέναι. πῶς φής; ὀκνῶ τοι πρὸς σ’ ἀποσκοποῦσ’, ἄναξ. δεινῶς ἀθυμῶ μὴ βλέπων ὁ μάντις ᾖ. δείξεις δὲ μᾶλλον, ἢν ἓν ἐξείπῃς ἔτι. καὶ μὴν ὀκνῶ μέν, ἃν δ’ ἔρῃ μαθοῦσ’ ἐρῶ.

ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ.

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Again, admire the incisive cut-and-thrust of the interchange beween the two in this scene 184 ∗ Δελφοί, αἱ Delphi (2a) Δαυλία, ἡ Daulia (1b) ἄγει: intrans., effectively ‘comes’ 185 τοῖσδ’: the dat. gives the idea ‘since’ οὑξεληλυθώς = ὁ ἐξεληλυθώς 186 σχεδόν τι πρόσθεν ἤ shortly before ∗ χθών (χθον-), ἡ land, earth, country (3a) 189 ἐνθύμιος ον taken to heart, weighing on the mind 190 ∗ μήπω not yet 191 the text is doubtful. Think of ἔχων as reading ἔχων ἔτυχε: ‘he happened to have’ ἀκμή, ἡ prime (1a). As the text is, Oedipus is asking two questions simultaneously: ‘How old?’ and ‘Was he still in the prime of life?’ ἥβη, ἡ age, life (1a)

10

ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ.

192 χνοάζω I sprinkle ∗ ἄρτι just; just now λευκανθής ές whitening ∗ κάρα (καρη, καρητ-, καρηατ-), τό head (3b) 193 μορφή, ἡ form, shape (1a) ἀποστατέω I am different from (+ gen.) 194 ἀράς: the curses as set out by Oedipus in the speech translated as the Introduction to this section (p. 130) 196 ∗ ὀκνέω I hesitate; shrink from; scruple ἀποσκοπέω I look steadily 199 ἃν = ἃ ἄν ἔρῃ you ask (subj.) Are there any other elements of the story of Laios’ death on which Oedipus could have focused his attention?

Oedipus asks for the single witness of the fight to be called. (750–70)

πότερον ἐχώρει βαιός, ἢ πολλοὺς ἔχων ἄνδρας λοχίτας, οἷ’ ἀνὴρ ἀρχηγέτης; πέντ’ ἦσαν οἱ ξύμπαντες, ἐν δ’ αὐτοῖσιν ἦν κῆρυξ· ἀπήνη δ’ ἦγε Λάϊον μία. αἰαῖ, τάδ’ ἤδη διαφανῆ. τίς ἦν ποτὲ ὁ τούσδε λέξας τοὺς λόγους ὑμῖν, γύναι; οἰκεύς τις, ὅσπερ ἵκετ’ ἐκσωθεὶς μόνος. ἦ κἀν δόμοισι τυγχάνει τανῦν παρών; οὐ δῆτ’· ἀφ’ οὗ γὰρ κεῖθεν ἦλθε καὶ κράτη

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Sections 9–11, lines 184–226

ΟΙ. ΙΟ. ΟΙ. ΙΟ.

σέ τ’ εἶδ’ ἔχοντα Λάϊόν τ’ ὀλωλότα, ἐξικέτευσε τῆς ἐμῆς χειρὸς θιγὼν ἀγρούς σφε πέμψαι κἀπὶ ποιμνίων νομάς, ὡς πλεῖστον εἴη τοῦδ’ ἄποπτος ἄστεως. κἄπεμψ’ ἐγώ νιν· ἄξιος γὰρ οἷ’ ἀνὴρ δοῦλος φέρειν ἦν τῆσδε καὶ μείζω χάριν. πῶς ἂν μόλοι δῆθ’ ἡμὶν ἐν τάχει πάλιν; πάρεστιν. ἀλλὰ πρὸς τί τοῦτ’ ἐφίεσαι; δέδοικ’ ἐμαυτόν, ὦ γύναι, μὴ πόλλ’ ἄγαν εἰρημέν’ ᾖ μοι’ δι’ ἅ νιν εἰσιδεῖν θέλω. ἀλλ’ ἵξεται μέν· ἀξία δέ που μαθεῖν κἀγὼ τά γ’ ἐν σοὶ δυσφόρως ἔχοντ’, ἄναξ.

200 βαιός ά όν in a small group 201 λοχίτης, ὁ fellow-soldier (1d) οἷ’ adverbial, = ὡς ἀρχηγέτης, ὁ leader, chief (1d) 202 ∗ ξύμπας –πασα -παν all, in all, every 203 ∗ ἀπήνη, ἡ carriage (1a) 204 ∗ αἰαῖ alas! (cry of astonishment or grief) διαφανής ές transparently clear, manifest 206 ∗ οἰκεύς, ὁ servant, member of household (3g) 207 ∗ ἦ (introduces question) τανῦν now, at the moment 208 ἀφ’ οὗ since (the time when) ∗ κεῖθεν from there ∗ κράτος, τό power, sovereignty, authority, strength (3c) 210 ἐξικετεύω beg, beseech θιγγάνω (θιξ-,θιγ-) I take, touch (+ gen.)

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211 ἀγρούς: take both this word and νομάς after ἐπί (κἀπί = καὶ ἐπί) ∗ σφέ him (acc.) (s. σφέ, σφί(ν); pl. σφεῖς, σφ(ε)ᾶς or σφέη, σφ(ε)ων, σφίσι or σφί(ν)) ποίμνιον, τό flock (2b) νομή, ἡ pasture (1a) 212 ἄποπτος ον out of sight 213 οἷ’ ἀνὴρ / δοῦλος ‘for a slave’, cf. οἷα in 201 214 τῆσδε ‘than that’ (i.e. act of kindness I had already shown) 215 πῶς ἂν + opt. forms a polite request; it is δῆτα which shows the urgency ∗ τάχει, ἐν at once 216 πάρεστιν ‘it is possible’ ∗ ἐφίεμαι I desire; command ἐφίημι (ἐφε(ι)-) incite; allow; let go 220 δυσφόρως ἔχει it is troubling, worrying

11 Oedipus tells how his parentage had once been queried by a drunken reveller, and how he went to Delphi to learn the truth. (771–93)

ΟΙ.

κοὐ μὴ στερηθῇς γ’ ἐς τοσοῦτον ἐλπίδων ἐμοῦ βεβῶτος. τῷ γὰρ ἂν καὶ μείζονι λέξαιμ’ ἂν ἢ σοὶ διὰ τύχης τοιᾶσδ’ ἰών; ἐμοὶ πατὴρ μὲν Πόλυβος ἦν Κορίνθιος, μήτηρ δὲ Μερόπη Δωρίς. ἠγόμην δ’ ἀνὴρ ἀστῶν μέγιστος τῶν ἐκεῖ, πρίν μοι τύχη

221 οὐ μή + subj. = strong denial for the future ἐλπίς: refers to an intimation of the future which is usually good (‘hope’) but by no means always so (‘foreboding’) 222 ∗ βεβώς = βεβηκώς, perf. part. of βαίνω τῷ . . . μείζονι ‘to whom more important’ 223 διὰ τύχης εἶμι I experience (good/bad) fortune

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224 How much of this story can Iokaste really be expected not to know? What does this suggest about Sophocles’ technique? ∗ Πόλυβος, ὁ Polybos (2a) ∗ Κορίνθιος α ον from Corinth 225 ∗ Μερόπη, ἡ Merope (1a) Δωρίς, ἡ Dorian ἠγόμην (ἄγω) I was held

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τοιάδ’ ἐπέστη, θαυμάσαι μὲν ἀξία, σπουδῆς γε μέντοι τῆς ἐμῆς οὐκ ἀξία. ἀνὴρ γὰρ ἐν δείπνοις μ’, ὑπερπλησθεὶς μέθης, καλεῖ παρ’ οἴνῳ πλαστὸς ὡς εἴην πατρί. κἀγὼ βαρυνθεὶς τὴν μὲν οὖσαν ἡμέραν μόλις κατέσχον, θατέρᾳ δ’ ἰὼν πέλας μητρὸς πατρός τ’ ἤλεγχον· οἱ δὲ δυσφόρως τοὔνειδος ἦγον τῷ μεθέντι τὸν λόγον. κἀγὼ τὰ μὲν κείνοιν ἐτερπόμην, ὅμως δ’ ἔκνιζέ μ’ αἰεὶ τοῦθ’· ὑφεῖρπε γὰρ πολύ. λάθρᾳ δὲ μητρὸς καὶ πατρὸς πορεύομαι Πυθώδε, καί μ’ ὁ Φοῖβος ὧν μὲν ἱκόμην ἄτιμον ἐξέπεμψεν, ἄλλα δ’ ἀθλίῳ καὶ δεινὰ καὶ δύστηνα προύφηνεν λέγων, ὡς μητρὶ μὲν χρείη με μειχθῆναι, γένος δ’ ἄτλητον ἀνθρώποισι δηλώσοιμ’ ὁρᾶν, φονεὺς δ’ ἐσοίμην τοῦ φυτεύσαντος πατρός. 227 ∗ ἐφίσταμαι I stand over, befall (+ dat.) ἐφίστημι I set over, cause, stop 229 δεῖπνον, τό dinner (2b) ὑπερπλησθείς overfull with (+ gen.) (πίμπλημι I fill) μέθη, ἡ strong drink (1a) 230 παρ’ οἴνῳ in his cups πλαστός ή όν feigned; πατρί for my father, i.e. ‘Merope bore [or found] the child and pretended to Polybos that it was hers and his’ 231 βαρύνομαι I am distressed 232 μόλις scarcely κατέχω I restrain myself θάτερος α ον next 233 ἐλέγχω I challenge δυσφόρως ἄγω I take badly 234 ∗ τοὔνειδος = τὸ ὄνειδος insult, rebuke (3c) ∗ μεθίημι (μεθε(ι)-) I release, let fly; surrender; (mid.) relax, permit (μεθέντι dat. as if δυσφόρως ὄνειδος ἄγειν = to feel insulted anger against . . . )

12

ΟΙ.

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235 τὰ κεινοῖν: ‘as far as their concern went’ κεινοῖν dual gen. ‘of those two’ (i.e. my parents) τέρπομαι I find pleasure in, ‘I am satisfied’ 236 κνίζω I offend (‘rankle with’) ὑφέρπω I get abroad (sc. ‘the rumour’) 238 ∗ Πυθώ (gen. -οῦς, dat. -οῖ), ἡ Pytho (the oracle at Delphi) -δε (directional suffix) to 239 ἄτιμος ον not graced in i.e. ignorant ‘of the matters about which . . . ’ ἄλλα note the accent! Cf. ἀλλά 240 ∗ δύστηνος η ον disastrous, miserable, unhappy ∗ προφαίνω I prophesy, reveal; display, indicate 241 ∗ μίγνυμαι (μ(ε)ιχθ-) I have intercourse with; mingle with (+ dat.); μίγνυμι (μ(ε)ιξ-) I mix 242 ἄτλητος ον unbearable 243 ∗ φυτεύω I beget

Oedipus tells how he fled far from Corinth but, as he travelled towards Thebes, became embroiled in a fight with an old man in a carriage and his servants. (794–813)

κἀγὼ ’πακούσας ταῦτα τὴν Κορινθίαν ἄστροις τὸ λοιπὸν ἐκμετρούμενος χθόνα ἔφευγον, ἔνθα μήποτ’ ὀψοίμην κακῶν χρησμῶν ὀνείδη τῶν ἐμῶν τελούμενα.

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Sections 11–13, lines 227–66

στείχων δ’ ἱκνοῦμαι τούσδε τοὺς χώρους ἐν οἷς σὺ τὸν τύραννον τοῦτον ὄλλυσθαι λέγεις. καί σοι, γύναι, τἀληθὲς ἐξερῶ. τριπλῆς ὅτ’ ἦ κελεύθου τῆσδ’ ὁδοιπορῶν πέλας, ἐνταῦθά μοι κῆρυξ τε κἀπὶ πωλικῆς ἀνὴρ ἀπήνης ἐμβεβώς, οἷον σὺ φής, ξυνηντίαζον· κἀξ ὁδοῦ μ’ ὅ θ’ ἡγεμὼν αὐτός θ’ ὁ πρέσβυς πρὸς βίαν ἠλαυνέτην. κἀγὼ τὸν ἐκτρέποντα, τὸν τροχηλάτην, παίω δι ὀργῆς· καί μ’ ὁ πρέσβυς ὡς ὁρᾷ ὄχους παραστείχοντα, τηρήσας μέσον κάρα, διπλοῖς κέντροισί μου καθίκετο. οὐ μὴν ἴσην γ’ ἔτεισεν, ἀλλὰ συντόμως σκήπτρῳ τυπεὶς ἐκ τῆσδε χειρὸς ὕπτιος μέσης ἀπήνης εὐθὺς ἐκκυλίνδεται· κτείνω δὲ τοὺς ξύμπαντας. 245 ἄστρον, τό star (2b) τὸ λοιπόν (adv.) from then on ἐκμετρέομαι I measure the distance from X (acc.) by Y (dat.) 246 ∗ μήποτε never ὀψοίμην: the fut. indic. in a rel. clause suggests purpose; the indic. here becomes fut. opt. after the secondary tense ἔφευγον 247 χρησμῶν ὀνείδη ‘disgrace (pl.) consisting in oracles’ (‘defining genitive’), i.e. ‘shocking oracles’ ∗ τελέω (τελεσ-) I fulfil; complete, accomplish 248 στείχω I go, walk χώρους: acc. without preposition giving ‘arrive at’ 249 ∗ τύραννος, ὁ ruler, sovereign (2a) 251 κέλευθος, ἡ path, road (2a) ὁδοιπορέω I travel 252 πωλικός ή όν drawn by foals 254 ξυναντιάζω I encounter (+ dat.) 255 ∗ πρέσβυς, ὁ old man (3e)

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βία, ἡ force, violence (1b); πρὸς βίαν by force ἠλαυνέτην: impf. dual τροχηλάτης, ὁ charioteer (1d) ∗ παίω I hit, punch, strike; Iokaste’s account in ll.202–3 and Oedipus’ account here leave one in some confusion about who was there and who actually did what ὄχοι, οἱ carriage (2a) τηρέω I watch for ∗ μέσος η ον middle (of) ∗ διπλόος η ον double (contr. διπλοῦς) κέντρον, τό goad (2b) καθικνέομαι (καθικ-) I assault, come down on (+ gen.) οὐ μήν . . . γε ‘most definitely not’ τίνω (τ(ε)ισ-) I pay (with ἴσην sc. δίκην ‘an equal price’) συντόμως with short shrift ὕπτιος α ον face upwards ἐκκυλίνδομαι I am rolled out from (+ gen.)

13 Oedipus expresses his horror at the prospect that he might be the killer of Laios and the polluting presence in the land. (813–33)

ΟΙ.

εἰ δὲ τῷ ξένῳ τούτῳ προσήκει Λαΐῳ τι συγγενές, τίς τοῦδέ γ’ ἀνδρὸς νῦν ἔτ’ ἀθλιώτερος, τίς ἐχθροδαίμων μᾶλλον ἂν γένοιτ’ ἀνήρ,

264 προσήκει there belongs Λαΐῳ συγγενές τι ‘any tie with Laios’

∗ συγγενής ές inborn, related to, relative 266 ἐχθροδαίμων ον hated by the gods

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Daulia

P

H

O

K

I S

Delphi

Thebes

Corinthian Gulf

0

10 miles

0

20 km

Mt. Kithairon

Athens Corinth

37. The area of the three roads

ᾧ μὴ ξένων ἔξεστι μηδ’ ἀστῶν τινὰ δόμοις δέχεσθαι, μηδὲ προσφωνεῖν τινά, ὠθεῖν δ’ ἀπ’ οἴκων; καὶ τάδ’ οὔτις ἄλλος ἦν ἢ ’γὼ ’π’ ἐμαυτῷ τάσδ’ ἀρὰς ὁ προστιθείς. λέχη δὲ τοῦ θανόντος ἐν χεροῖν ἐμαῖν χραίνω, δι’ ὧνπερ ὤλετ’. ἆρ’ ἔφυν κακός; ἆρ’ οὐχὶ πᾶς ἄναγνος; εἴ με χρὴ φυγεῖν, καί μοι φυγόντι μἤστι τοὺς ἐμοὺς ἰδεῖν μηδ’ ἐμβατεῦσαι πατρίδος, ἢ γάμοις με δεῖ μητρὸς ζυγῆναι καὶ πατέρα κατακτανεῖν Πόλυβον, ὃς ἐξέθρεψε κἀξέφυσέ με. ἆρ’ οὐκ ἀπ’ ὠμοῦ ταῦτα δαίμονός τις ἂν κρίνων ἐπ’ ἀνδρὶ τῷδ’ ἄν ὀρθοίη λόγον; μὴ δῆτα μὴ δῆτ’, ὦ θεῶν ἁγνὸν σέβας, ἴδοιμι ταύτην ἡμέραν, ἀλλ’ ἐκ βροτῶν βαίην ἄφαντος πρόσθεν ἢ τοιάνδ’ ἰδεῖν κηλῖδ’ ἐμαυτῷ συμφορᾶς ἀφιγμένην. 267 μή is determined by the inf. δέχεσθαι ᾧ ‘for whom it is not permitted that any (τινά) should receive him . . . ’ 270 ἢ ’γὼ ’π’: a striking mixture of elision and prodelision 271 ∗ λέχος, τό bed, marriage (also in pl.) (3c) 272 χραίνω I stain, pollute 273 ἄναγνος ον unclean, defiled 274 μἤστι = μὴ ἔστι it is not possible 275 ἐμβατεύω I set foot on (+ gen.) 276 ∗ ζεύγνυμαι (ζευξ-, ζυγ-) I am joined in marriage; ζεύγνυμι I yoke, bind, join

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279 κρίνων ‘judging that these things [were sent] by a cruel god’ ἐπ’ ἀνδρὶ τῷδ’ ‘in relation to this man (i.e. Oedipus) (take with λόγον) ∗ ὀρθόω I judge rightly; set upright, restore; make right 280 ∗ ἁγνός ή όν pure, holy ∗ σέβας, τό majesty, holiness 282 ἄφαντος ον blotted out 283 κηλίς (κηλιδ-), ἡ stain (3a)

Sections 13–14, lines 267–306

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14 Iokaste encourages Oedipus to realize that there is a way to clear himself. (834–62)

ΧΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ.

ΙΟ.

ἡμῖν μέν, ὦναξ, ταῦτ’ ὀκνήρ’· ἕως δ’ ἂν οὖν πρὸς τοῦ παρόντος ἐκμάθῃς, ἔχ’ ἐλπίδα. καὶ μὴν τοσοῦτόν γ’ ἐστί μοι τῆς ἐλπίδος, τὸν ἄνδρα τὸν βοτῆρα προσμεῖναι μόνον. πεφασμένου δὲ τίς ποθ’ ἡ προθυμία; ἐγὼ διδάξω σ’· ἢν γὰρ εὑρεθῇ λέγων σοὶ ταὔτ’, ἔγωγ’ ἂν ἐκπεφευγοίην πάθος. ποῖον δέ μου περισσὸν ἤκουσας λόγον; λῃστὰς ἔφασκες αὐτὸν ἄνδρας ἐννέπειν ὥς νιν κατακτείνειαν. εἰ μὲν οὖν ἔτι λέξει τὸν αὐτὸν ἀριθμόν, οὐκ ἐγὼ ’κτανον· οὐ γὰρ γένοιτ’ ἂν εἷς γε τοῖς πολλοῖς ἴσος· εἰ δ’ ἄνδρ’ ἕν’ οἰόζωνον αὐδήσει, σαφῶς τοῦτ’ ἐστὶν ἤδη τοὔργον εἰς ἐμὲ ῥέπον. ἀλλ’ ὡς φανέν γε τοὔπος ὧδ᾿ ἐπίστασο, κοὐκ ἔστιν αὐτῷ τοῦτό γ’ ἐκβαλεῖν πάλιν· πόλις γὰρ ἤκουσ’, οὐκ ἐγὼ μόνη, τάδε. εἰ δ᾿ οὖν τι κἀκτρέποιτο τοῦ πρόσθεν λόγου, οὔτοι ποτ’, ὦναξ, τόν γε Λαΐου φόνον φανεῖ δικαίως ὀρθόν, ὅν γε Λοξίας διεῖπε χρῆναι παιδὸς ἐξ ἐμοῦ θανεῖν. καίτοι νιν οὐ κεῖνός γ’ ὁ δύστηνός ποτε κατέκταν’, ἀλλ’ αὐτὸς πάροιθεν ὤλετο.

284 ὦναξ = ὦ ἄναξ ὀκνηρός ά όν troublesome, worrying δὲ . . . οὖν ‘but all the same’ 286 τῆς ἐλπίδος: the def. art. shows Oedipus picking up the Chorus’ word – ‘the hope you mention’ 287 ∗ βοτήρ (βοτηρ-), ὁ herdsman (3a), i.e. the man who had witnessed Oedipus killing Laios, and when he returned to the city to find Oedipus was king, asked to be sent a long way away from the city (ll.210–12) μόνον with προσμεῖναι, or even with τοσοῦτον 288 ∗ πέφασμαι I appear (perf. of φαίνομαι); the part. is a gen. abs. without expressed subject ∗ προθυμία, ἡ desire; eagerness, good will (1b) 290 πάθος (‘anything happening to me’) refers to the horrors of ll.274–9; the word was described by the great Sophoclean scholar Richard Jebb as ‘the euphemism of a shrinking mind’

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291 περισσός ή όν special, remarkable 294 ∗ ἀριθμός, ὁ number (2a) 296 οἰόζωνος ον lonely αὐδάω say 297 ἤδη at that moment ἐμέ: it is normal for the short syllable to be lengthened before the letter ρ, but sufficiently rare to be striking. ῥέπω I tilt, point 298 ὧδε take with φανέν 301 εἰ δ᾿ οὖν τι κἀκτρέποιτο . . . φανεῖ: Iokaste’s concern for her husband comes out in the syntax, the opt. ἐκτρέποιτο making the possibility remote, the fut. indic. φανεῖ intended to convey certainty 303 ὀρθόν ‘correct’: τὸν Λαΐου φόνον refers more to ‘the story about Laios’ death’ 304 ∗ χρῆναι inf. of χρή ‘must’ 306 ∗ πάροιθεν beforehand; in front; before (+ gen.)

150

ΟΙ. ΙΟ.

Sophocles

ὥστ’ οὐχὶ μαντείας γ’ ἂν οὔτε τῇδ’ ἐγὼ βλέψαιμ’ ἂν οὕνεκ’ οὔτε τῇδ’ ἂν ὕστερον. καλῶς νομίζεις. ἀλλ’ ὅμως τὸν ἐργάτην πέμψον τινὰ στελοῦντα μηδὲ τοῦτ’ ἀφῇς. πέμψω ταχύνασ’ · ἀλλ’ ἴωμεν ἐς δόμους. οὐδὲν γὰρ ἂν πράξαιμ’ ἂν ὧν οὔ σοι φίλον.

307 μαντείας take with οὕνεκα: ‘as far as prophecy goes’ οὔτε τῇδε.. /..οὔτε τῇδε ‘neither on this side . . . nor on that’, i.e. not at all 309 ∗ ἐργάτης, ὁ worker, labourer (1d); τὸν ἐργάτην is obj. of στελοῦντα 310 ἀφῇς: from ἀφίημι; part? 311 ταχύνω I make haste

310

312 ὧν οὔ σοι φίλον: the meaning is clear, but it is not entirely easy to unpack the syntax. Try ‘do none [of those things] which [= τούτων ἅ, ἅ compressed by attraction into ὧν] [it is] not loving [for me to do] for you’. Iokaste speaks in ‘the language of a mother to her son’ and also ‘the language of an obedient wife’ (R. D. Dawe, commenting on the irony)

Target passage: The fall of Oedipus (Oedipus Tyrannus 950–end (passim))

Sections 1–14 act as the introduction to this target passage. (The Chorus sings a troubled song. Wickedness will certainly lead to disaster, as the gods dictate. But the gods express themselves through oracles. To distrust oracles (as the prophecy about Laios is being distrusted) is to undermine all religious belief and practice. The Chorus prays that oracular prophecy may be fulfilled. Iokaste comes in with prayers to Apollo to release them from the curse upon the city. A messenger now arrives from Corinth, looking for Oedipus, with the apparently glad news that Oedipus’ (supposed) father, King Polybos of Corinth, is dead and that the Corinthians want Oedipus for their king. Iokaste summons Oedipus to hear the news. Up to this point Oedipus’ investigation has focused on the question with which the play opened: ‘Who killed Laios?’ That question is now close to being answered. But in being answered, it has brought before Oedipus such dreadful possibilities that the horror of being the object of his own curse retreats into the background − the ‘crucial question’ ‘how many killers?’ is never asked − as, with renewed vigour and authority, he seeks to establish the truth of his own origins.)

15 Oedipus and Iokaste reflect on the unreliability of oracles. (950–88)

ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΑΓΓΕΛΟΣ

ὦ φίλτατον γυναικὸς ᾿Ιοκάστης κάρα, τί μ’ ἐξεπέμψω δεῦρο τῶνδε δωμάτων; ἄκουε τἀνδρὸς τοῦδε, καὶ σκόπει κλύων τὰ σέμν’ ἵν’ ἥκει τοῦ θεοῦ μαντεύματα. οὗτος δὲ τίς ποτ’ ἐστὶ καὶ τί μοι λέγει; ἐκ τῆς Κορίνθου, πατέρα τὸν σὸν ἀγγελῶν ὡς οὐκέτ’ ὄντα Πόλυβον, ἀλλ’ ὀλωλότα. τί φής, ξέν’; αὐτός μοι σὺ σημήνας γενοῦ.

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εἰ τοῦτο πρῶτον δεῖ μ’ ἀπαγγεῖλαι σαφῶς, εὖ ἴσθ’ ἐκεῖνον θανάσιμον βεβηκότα. 313 ᾿Ιοκάστη, ἡ Iokaste (1a) ∗ κάρα (κρατ-), τό head (3b); ᾿Ιοκάστης κάρα is a periphrasis for ᾿Ιοκάστη (voc.) of a type used to convey heightened emotion 314 ∗ δῶμα, τό house, home (often pl.) (3b) 316 σεμνός ή όν proud

ἵνα where ∗ μάντευμα, τό oracle, prophecy (3b) 318 ∗ Κόρινθος, ἡ Corinth (2a) 320 σημήνας γενοῦ ‘be one signalling / who signals’ (σημαίνω), ‘tell me’ 322 θανάσιμος ον dead

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ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ.

πότερα δόλοισιν, ἢ νόσου ξυναλλαγῇ; σμικρὰ παλαιὰ σώματ’ εὐνάζει ῥοπή. νόσοις ὁ τλήμων, ὡς ἔοικεν, ἔφθιτο. καὶ τῷ μακρῷ γε συμμετρούμενος χρόνῳ. φεῦ φεῦ, τί δῆτ’ ἄν, ὦ γύναι, σκοποῖτό τις τὴν Πυθόμαντιν ἑστίαν, ἢ τοὺς ἄνω κλάζοντας ὄρνεις, ὧν ὑφηγητῶν ἐγὼ κτενεῖν ἔμελλον πατέρα τὸν ἐμόν; ὃ δὲ θανὼν κεύθει κάτω δὴ γῆς· ἐγὼ δ’ ὅδ’ ἐνθάδε ἄψαυστος ἔγχους, εἴ τι μὴ τὠμῷ πόθῳ κατέφθιθ’· οὕτω δ’ ἂν θανὼν εἴη ’ξ ἐμοῦ. τὰ δ’ οὖν παρόντα συλλαβὼν θεσπίσματα κεῖται παρ’ ῞Αιδῃ Πόλυβος ἄξι’ οὐδενός. οὔκουν ἐγώ σοι ταῦτα προὔλεγον πάλαι; ηὔδας· ἐγὼ δὲ τῷ φόβῳ παρηγόμην. μή νυν ἔτ’ αὐτῶν μηδὲν ἐς θυμὸν βάλῃς. καὶ πῶς τὸ μητρὸς οὐκ ὀκνεῖν λέχος με δεῖ; τί δ’ ἂν φοβοῖτ’ ἄνθρωπος’ ᾧ τὰ τῆς τύχης κρατεῖ, πρόνοια δ’ ἐστὶν οὐδενὸς σαφής; εἰκῇ κράτιστον ζῆν, ὅπως δύναιτό τις. σὺ δ’ ἐς τὰ μητρὸς μὴ φοβοῦ νυμφεύματα· πολλοὶ γὰρ ἤδη κἀν ὀνείρασιν βροτῶν μητρὶ ξυνηυνάσθησαν. ἀλλὰ ταῦθ’ ὅτῳ παρ’ οὐδέν ἐστι, ῥᾷστα τὸν βίον φέρει. καλῶς ἅπαντα ταῦτ’ ἂν ἐξείρητό σοι εἰ μὴ ’κύρει ζῶσ’ ἡ τεκοῦσα· νῦν δ’ ἐπεὶ ζῇ, πάσ’ ἀνάγκη, κεἰ καλῶς λέγεις, ὀκνεῖν. καὶ μὴν μέγας γ’ ὀφθαλμὸς οἱ πατρὸς τάφοι. μέγας, ξυνίημ’· ἀλλὰ τῆς ζώσης φόβος.

ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ.

ΟΙ. ΙΟ. ΟΙ.

323 δόλος, ὁ treachery, deceit (2a) ξυναλλαγή, ἡ visitation (1a) 324 ∗ σμικρός = μικρός εὐνάζω I lull to sleep ῥοπή, ἡ turn of the scale (1a) 325 ∗ τλήμων ον wretched; patient; resolute ∗ φθί(ν)ω I perish; waste away; decay 326 συμμετρούμενος ‘being measured along with’ 328 Πυθόμαντις of the Delphic prophetess ἑστία, ἡ seat, hearth (1b) 329 κλάζω I scream ὄρνις (ὀρνιθ-), ἡ bird (3a) ὑφηγητής, ὁ guide; leader (1d); ὧν ὑφηγητῶν is gen. abs. 331 κεύθω I lie hidden (vb. usually trans. ‘hide’) ἐγὼ δ’ ὅδ’ ἐνθάδε ‘here I am’, ‘look at me here’

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332 ἄψαυστος ον usually ‘untouched’, here ‘not having touched’ + gen. πόθος, ὁ desire, longing (2a), τῷ ἐμῷ πόθῳ ‘longing for me’ 333 καταφθί(ν)ομαι I waste away ’ξ ἐμοῦ = ἐξ ἐμοῦ (prodelision) 334 δ’ οὖν but anyway συλλαμβάνω I carry off with myself θέσπισμα, τό prophecy (3b) 335 ∗ Αἵδης, ὁ Hades (1d: gen. can be ῎Αιδος, dat. ῎Αιδι); it may be thought that Oedipus is too confident of the oracle’s failure. But with the information he has at the moment, what other conclusion is possible? That said, he shows how sensitive he is to the rest of the danger posed by the remaining prophecy (whose subject stands,

Sections 15–16, lines 323–66 all-unknowing, in front of him). He is certainly not dismissing that, whatever Iokaste says (ll.339–51, cf. on 122 above) 337 παράγω I mislead 341 ∗ πρόνοια, ἡ foresight, providence; (pre-)caution (1b) 342 εἰκῇ at random ∗ κράτιστος η ον best, strongest (sup. οf ἀγαθός, κρείττων) δύναιτο for the opt., cf. l.16. How often in our text does Iokaste state her rejection of oracles? What approach to life does she seem here to regard as the alternative to one centred on what the gods will? On the other hand, where does the hard evidence now point, in this instance? After all, Iokaste has just prayed for Apollo to release them from the curse (see

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Introduction to this section). This is further evidence that he has done νυμφεύματα, τά marriage (3b) κἀν = καὶ ἐν: perhaps suggesting ‘as well as in the oracle given to you’ ∗ ὄνειρος ου ὁ (2a) dream (dat. pl. as if from a noun ὄνειραρ (3b)) συνευνάζομαι I sleep with παρ’ οὐδέν meaningless ἐξείρητο: from λέγω; part? ∗ κυρέω I chance, happen ὀφθαλμός, ὁ comfort, blessing (2a). Is the oddity of this generalization part of the unreality of this scene? Or reasonable, given the logic of the situation as Iokaste sees it? τάφος, ὁ funeral rite (2a) συνίημι (συνε(ι)-) I am aware, understand

16 The Messenger says he can calm Oedipus’ fears that he may marry his mother Merope, wife of Polybos. (989–1016)

ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ.

ΑΓ. ΟΙ. ΑΓ.

ποίας δὲ καὶ γυναικὸς ἐκφοβεῖσθ’ ὑπέρ; Μερόπης, γεραιέ, Πόλυβος ἧς ᾤκει μέτα. τί δ’ ἔστ’ ἐκείνης ὑμὶν ἐς φόβον φέρον; θεήλατον μάντευμα δεινόν, ὦ ξένε. ἦ ῥητόν; ἢ οὐχὶ θεμιτὸν ἄλλον εἰδέναι; μάλιστά γ’ · εἶπε γάρ με Λοξίας ποτὲ χρῆναι μιγῆναι μητρὶ τἠμαυτοῦ, τό τε πατρῷον αἷμα χερσὶ ταῖς ἐμαῖς ἑλεῖν. ὧν οὕνεχ’ ἡ Κόρινθος ἐξ ἐμοῦ πάλαι μακρὰν ἀπῳκεῖτ’· εὐτυχῶς μέν, ἀλλ’ ὅμως τὰ τῶν τεκόντων ὄμμαθ’ ἥδιστον βλέπειν. ἦ γὰρ τάδ’ ὀκνῶν κεῖθεν ἦσθ’ ἀπόπτολις; πατρός τε χρῄζων μὴ φονεὺς εἶναι, γέρον. τί δῆτ’ ἐγὼ οὐχὶ τοῦδε τοῦ φόβου σ’, ἄναξ, ἐπείπερ εὔνους ἦλθον, ἐξελυσάμην;

352 καί closely with ποίας: ‘Just what woman is it about whom . . .’ 353 γεραιός ά όν old ἧς with μέτα 354 φέρον ‘tending’ 355 θεήλατος ον divine 356 ῥητός ή όν that may be mentioned ἢ: metre requires that ἢ is pronounced as a single syllable with the first syllable of οὐχὶ – ∗ ‘synizesis’ θεμιτός ή όν sanctioned by god

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359 ∗ αἷμα, τό blood; kin; murder (3b) 361 μακράν (sc. ὁδόν) a long way ἀποικέω I live away from 363 ἀπόπ(τ)ολις banished 364 τε: what does this word suggest Oedipus understands by the Messenger’s τάδε? (Some scholars have wanted to read γε. Why, do you think?) ∗ χρῄζω I desire, want, need (+ gen.) 365: synizesis of ἐγὼ with οὐχί 366 εὔνους ῆ ουν well-disposed, kind

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Sophocles

ΟΙ. ΑΓ.

καὶ μὴν χάριν γ’ ἂν ἀξίαν λάβοις ἐμοῦ. καὶ μὴν μάλιστα τοῦτ’ ἀφικόμην, ὅπως σοῦ πρὸς δόμους ἐλθόντος εὖ πράξαιμί τι. ἀλλ’ οὔποτ’ εἶμι τοῖς φυτεύσασίν γ’ ὁμοῦ. ὦ παῖ, καλῶς εἶ δῆλος οὐκ εἰδὼς τί δρᾷς. πῶς, ὦ γεραιέ; πρὸς θεῶν δίδασκέ με. εἰ τῶνδε φεύγεις οὕνεκ’ εἰς οἴκους μολεῖν. ταρβῶν γε μή μοι Φοῖβος ἐξέλθῃ σαφής. ἦ μὴ μίασμα τῶν φυτευσάντων λάβῃς; τοῦτ’ αὐτό, πρέσβυ, τοῦτό μ’ εἰσαεὶ φοβεῖ. ἆρ’ οἶσθα δῆτα πρὸς δίκης οὐδὲν τρέμων; πῶς δ’ οὐχί, παῖς γ’ εἰ τῶνδε γεννητῶν ἔφυν; ὁθούνεκ’ ἦν σοι Πόλυβος οὐδὲν ἐν γένει.

ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ.

368 τοῦτ’: as if διὰ τοῦτο ‘for this reason’ 371 ὦ παῖ: an interesting way for a mere messenger to address a king! And, as will soon emerge, all too (ironically) appropriate 374 ∗ ταρβέω I fear 375 μίασμα, τό stain, pollution (3b)

17

ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ.

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377 πρὸς δίκης justly ∗ τρέμω I tremble at, fear 379 ὁθούνεκα because How has Oedipus treated the Messenger in this passage? What words and phrases indicate this?

The Messenger explains how he had received the young Oedipus from a shepherd, who was at that time working for Laios and who had instructions to expose the child. (1017–46)

πῶς εἶπας; οὐ γὰρ Πόλυβος ἐξέφυσέ με; οὐ μᾶλλον οὐδὲν τοῦδε τἀνδρός, ἀλλ’ ἴσον. καὶ πῶς ὁ φύσας ἐξ ἴσου τῷ μηδενί; ἀλλ’ οὔ σ’ ἐγείνατ’ οὔτ’ ἐκεῖνος οὔτ’ ἐγώ. ἀλλ’ ἀντὶ τοῦ δὴ παῖδά μ’ ὠνομάζετο; δῶρόν ποτ’, ἴσθι, τῶν ἐμῶν χειρῶν λαβών. κᾆθ’ ὧδ’ ἀπ’ ἄλλης χειρὸς ἔστερξεν μέγα; ἡ γὰρ πρὶν αὐτὸν ἐξέπεισ’ ἀπαιδία. σὺ δ’ ἐμπολήσας, ἢ τυχών μ’ αὐτῷ δίδως; εὑρὼν ναπαίαις ἐν Κιθαιρῶνος πτυχαῖς. ὡδοιπόρεις δὲ πρὸς τί τούσδε τοὺς τόπους; ἐνταῦθ’ ὀρείοις ποιμνίοις ἐπεστάτουν. ποιμὴν γὰρ ἦσθα κἀπὶ θητείᾳ πλάνης; σοῦ δ’, ὦ τέκνον, σωτήρ γε τῷ τότ’ ἐν χρόνῳ. τί δ’ ἄλγος ἴσχοντ’ ἐν χεροῖν με λαμβάνεις; ποδῶν ἂν ἄρθρα μαρτυρήσειεν τὰ σά. οἴμοι, τί τοῦτ’ ἀρχαῖον ἐννέπεις κακόν; λύω σ’ ἔχοντα διατόρους ποδοῖν ἀκμάς. καλόν γ’ ὄνειδος σπαργάνων ἀνειλόμην.

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Sections 16–18, lines 367–418

ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ. ΟΙ. ΑΓ.

ὥστ’ ὠνομάσθης ἐκ τύχης ταύτης ὃς εἶ. ὦ πρὸς θεῶν, πρὸς μητρός, ἢ πατρός; φράσον. οὐκ οἶδ’· ὁ δοὺς δὲ ταῦτ’ ἐμοῦ λῷον φρονεῖ. ἦ γὰρ παρ’ ἄλλου μ’ ἔλαβες οὐδ’ αὐτὸς τυχών; οὔκ, ἀλλὰ ποιμὴν ἄλλος ἐκδίδωσί μοι. τίς οὗτος; ἦ κάτοισθα δηλῶσαι λόγῳ; τῶν Λαΐου δήπου τις ὠνομάζετο. ἦ τοῦ τυράννου τῆσδε γῆς πάλαι ποτέ; μάλιστα· τούτου τἀνδρὸς οὗτος ἦν βοτήρ. ἦ κἄστ’ ἔτι ζῶν οὗτος, ὥστ’ ἰδεῖν ἐμέ; ὑμεῖς γ’ ἄριστ’ εἰδεῖτ’ ἂν οὑπιχώριοι.

381 τοῦδε τἀνδρός ‘than this man here’ (i.e. the Messenger) 382 ἐξ ἴσου (sc. ἐστί) ‘is on an equal footing with’ (+ dat.) 383 γείνομαι I beget 384 ἀντὶ τοῦ; for what reason? ∗ ὀνομάζομαι (mid.) I call, name; ὀνομάζω address, call 386 κᾆθ’= καὶ εἶτα στέργω I love 387 ἀπαιδία, ἡ childlessness (1b) 388 ἐμπολάω I purchase, buy 389 ναπαῖος α ον wooded πτυχή, ἡ glen (1a). One may imagine Iokaste’s increasing horror 390 ὁδοιπορέω I travel, journey ∗ τόπος, ὁ place, region; topic; opportunity (2a) 391 ∗ ὄρειος α ον in the mountains

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ποίμνιον, τό (or ποίμνη, ἡ) flock (2b) ἐπιστατέω I am in charge of (+ dat.) θητεία ἡ job (with low pay and low status) (1b) πλάνης, ὁ itinerant (one who wanders round seeking employment) (3a) ∗ ἄλγος, τό pain; suffering; grief (3c) ἴσχω I have ἄρθρον, τό joint (2b) ∗ ἀρχαῖος α ον ancient; old; former διάτορος ον bored through ἀκμή, ἡ end, tip (1a) σπαργάνων ‘from my cradle’ πρὸς μητρός, ἢ πατρός i.e. ‘mutilated’ by one of them, not ‘named’ ∗ λῷος α ον (adv. λῷον) better (sup. λῷστος) ἐπιχώριος α ον native, local (οὑπιχώριοι = οἱ ἐπιχώριοι)

18 Oedipus demands to see this shepherd, who is in fact the same person as has already been summoned as witness to the fight. Iokaste begs him in terror to desist, but he ignores her. (1047–85)

ΟΙ.

ΧΟ. ΟΙ.

ἔστιν τις ὑμῶν τῶν παρεστώτων πέλας, ὅστις κάτοιδε τὸν βοτῆρ’, ὃν ἐννέπει, εἴτ’ οὖν ἐπ’ ἀγρῶν εἴτε κἀνθάδ’ εἰσιδών; σημήναθ’, ὡς ὁ καιρὸς ηὑρῆσθαι τάδε. οἶμαι μὲν οὐδέν’ ἄλλον ἢ τὸν ἐξ ἀγρών, ὃν κἀμάτευες πρόσθεν εἰσιδεῖν· ἀτὰρ ἥδ’ ἂν τάδ’ οὐχ ἥκιστ’ ἂν ’Ιοκάστη λέγοι. γύναι, νοεῖς ἐκεῖνον, ὅντιν’ ἀρτίως μολεῖν ἐφιέμεσθα; τόνδ’ οὗτος λέγει;

410 παρεστώς ῶσα ός bystander 413 ∗ καιρός, ὁ right time; time; crisis (2a)

415 ματεύω seek 417 νοεῖς ‘do you have a clear idea of?’

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38. σοῦ δ’ ὦ τέκνον, σωτήρ (Can you read the child’s name? What of his feet?)

ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ. ΙΟ. ΟΙ.

τί δ’ ὅντιν’ εἶπε; μηδὲν ἐντραπῇς. τὰ δὲ ῥηθέντα βούλου μηδὲ μεμνῆσθαι μάτην. οὐκ ἂν γένοιτο τοῦθ’, ὅπως ἐγὼ λαβὼν σημεῖα τοιαῦτ’ οὐ φανῶ τοὐμὸν γένος. μὴ πρὸς θεῶν, εἴπερ τι τοῦ σαυτοῦ βίου κήδῃ, ματεύσῃς τοῦθ · ἅλις νοσοῦσ’ ἐγώ. θάρσει· σὺ μὲν γὰρ οὐδ’ ἐὰν τρίτης ἐγὼ μητρὸς φανῶ τρίδουλος, ἐκφανῇ κακή. ὅμως πιθοῦ μοι, λίσσομαι, μὴ δρᾶν τάδε. οὐκ ἂν πιθοίμην μὴ οὐ τάδ’ ἐκμαθεῖν σαφῶς. καὶ μὴν φρονοῦσά γ’ εὖ τὰ λῷστά σοι λέγω. τὰ λῷστα τοίνυν ταῦτά μ’ ἀλγύνει πάλαι. ὦ δύσποτμ’, εἴθε μήποτε γνοίης ὃς εἶ. ἄξει τις ἐλθὼν δεῦρο τὸν βοτῆρά μοι;

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Section 18, lines 419–48

ΙΟ. ΧΟ. ΟΙ.

ταύτην δ’ ἐᾶτε πλουσίῳ χαίρειν γένει. ἰοὺ ἰού, δύστηνε· τοῦτο γάρ σ’ ἔχω μόνον προσειπεῖν, ἄλλο δ’ οὔποθ’ ὕστερον. τί ποτε βέβηκεν, Οἰδίπους, ὑπ’ ἀγρίας ᾄξασα λύπης ἡ γυνή; δέδοιχ’ ὅπως μὴ ’κ τῆς σιωπῆς τῆσδ’ ἀναρρήξει κακά. ὁποῖα χρῄζει ῥηγνύτω· τοὐμὸν δ’ ἐγώ, κεἰ σμικρόν ἐστι, σπέρμ’ ἰδεῖν βουλήσομαι. αὕτη δ’ ἴσως, φρονεῖ γὰρ ὡς γυνὴ μέγα, τὴν δυσγένειαν τὴν ἐμὴν αἰσχύνεται. ἐγὼ δ’ ἐμαυτὸν παῖδα τῆς Τύχης νέμων τῆς εὖ διδούσης οὐκ ἀτιμασθήσομαι. τῆς γὰρ πέφυκα μητρός· οἱ δὲ συγγενεῖς μῆνές με μικρὸν καὶ μέγαν διώρισαν. τοιόσδε δ’ ἐκφὺς οὐκ ἂν ἐξέλθοιμ’ ἔτι ποτ’ ἄλλος, ὥστε μὴ ’κμαθεῖν τοὐμὸν γένος.

419 τί δ’ ὅντιν’ εἶπε; ‘Why [worry about] who he meant’ as if Iokaste had said ἐντρέπῃ τὰ . . . ῥηθέντα ‘what has been spoken’ 420 μάτην in vain, to no purpose. Take with ῥηθέντα or with μεμνῆσθαι 424 κήδομαι care for (+ gen.) ἅλις [it is] enough [that . . . ] 425 ∗ θαρσέω cheer up; be confident τρίτος η ον third (i.e. the third generation of servility) 426 φανῶ: part? τρίδουλος ον ‘a slave thrice over’, here a word of vague hyperbole. Since Greeks were extremely sensitive to status, Oedipus’ guess that Iokaste does not wish to be known as the queen who married someone of slave origin may be wrong, but it is not unreasonable 427 μὴ δρᾶν: either result clause after πιθοῦ or inf. for imper. 428 μὴ οὐ: for simple μὴ, as normal when the main verb (πιθοίμην) is itself negated. The two words are pronounced together in synizesis, turning μὴ οὐ into one syllable 429 εὖ φρονέω = both ‘I am of sound mind’ and (with dat.) ‘I am well disposed towards’

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430 πάλαι: where has Oedipus previously encountered the suggestion ‘It’s best for you not to know’? 431 ∗ δύσποτμος ον unlucky; cursed, ill-starred 434 ∗ ἰοὺ ἰού alas! oh! (a cry of sorrow, joy or surprise) 437 αἴσσω (ᾀξ-) I dash away λύπη, ἡ grief (1a) 438 σιωπῆς: Iokaste has been silent only to the extent of not explaining why she departs. Jebb suggests ‘reticence’ ἀναρρήγνυμι (ἀναρρηξ-) I break out 439 ∗ ῥήγνυμι (ῥησσ-, ῥηξ-, ῥαγ-) I break, shatter, burst 440 σπέρμα, τό race, seed (3b) 441 μέγα φρονέω I am proud 442 δυσγένεια, ἡ low birth (1b) 443 νέμω (here) = I consider 445 τῆς: demonstrative pron., ‘from her, my mother,’ 446 μείς (μην-), ὁ month (3a) διορίζω ‘I define limits’; ‘The months, my kinsmen, have marked out the times of my obscurity and my greatness.’ 447 οὐκ ἂν ἐξέλθοιμ’ ἔτι . . . ‘In no way could I come out / turn out / be different’: a fact which determines the whole course of the play

(There follows a choric passage in which the Chorus wonders who Oedipus’ parents are. Some god, perhaps? At the end of their speculations, the old shepherd comes in.)

Sophocles

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19

The shepherd tries to evade Oedipus’ questions, but the Messenger cheerfully prompts him. (1121–51)

ΟΙ.

οὗτος σύ, πρέσβυ, δεῦρό μοι φώνει βλέπων ὅσ’ ἄν σ’ ἐρωτῶ. Λαΐου ποτ’ ἦσθα σύ; ΘΕΡΑΠΩΝ ἦ, δοῦλος οὐκ ὠνητός, ἀλλ’ οἴκοι τραφείς. ΟΙ. ἔργον μεριμνῶν ποῖον ἢ βίον τίνα; ΘΕ. ποίμναις τὰ πλεῖστα τοῦ βίου συνειπόμην. ΟΙ. χώροις μάλιστα πρὸς τίσι ξύναυλος ὤν; ΘΕ. ἦν μὲν Κιθαιρών, ἦν δὲ πρόσχωρος τόπος. ΟΙ. τὸν ἄνδρα τόνδ’ οὖν οἶσθα τῇδέ που μαθών; ΘΕ. τί χρῆμα δρῶντα; ποῖον ἄνδρα καὶ λέγεις; ΟΙ. τόνδ’ ὅς πάρεστιν· ἢ ξυναλλάξας τί που; ΘΕ. οὐχ ὥστε γ’ εἰπεῖν ἐν τάχει μνήμης ἄπο. ΑΓ. κοὐδέν γε θαῦμα, δέσποτ’. ἀλλ’ ἐγὼ σαφῶς ἀγνῶτ’ ἀναμνήσω νιν. εὖ γὰρ οἶδ’ ὅτι κάτοιδεν ἦμος τὸν Κιθαιρῶνος τόπον ὃ μὲν διπλοῖσι ποιμνίοις, ἐγὼ δ’ ἑνὶ ἐπλησίαζον τῷδε τἀνδρὶ τρεῖς ὅλους ἐξ ἦρος εἰς ἀρκτοῦρον ἑκμήνους χρόνους· χειμῶνα δ’ ἤδη τἀμά τ’ εἰς ἔπαυλ’ ἐγὼ ἤλαυνον οὗτός τ’ ἐς τὰ Λαΐου σταθμά. λέγω τι τούτων, ἢ οὐ λέγω πεπραγμένον; ΘΕ. λέγεις ἀληθῆ, καίπερ ἐκ μακροῦ χρόνου. ΑΓ. φέρ’ εἰπὲ νῦν, τότ’ οἶσθα παῖδά μοί τινα δούς, ὡς ἐμαυτῷ θρέμμα θρεψαίμην ἐγώ; ΘΕ. τί δ’ ἔστι; πρὸς τί τοῦτο τοὔπος ἱστορεῖς; ΑΓ. ὅδ’ ἐστίν, ὦ τᾶν, κεῖνος ὃς τότ’ ἦν νέος. ΘΕ. οὐκ εἰς ὄλεθρον; οὐ σιωπήσας ἔσῃ; ΟΙ. ἆ, μὴ κόλαζε, πρέσβυ, τόνδ’, ἐπεὶ τὰ σὰ δεῖται κολαστοῦ μᾶλλον ἢ τὰ τοῦδ’ ἔπη. ΘΕ. τί δ’, ὦ φέριστε δεσποτῶν, ἁμαρτάνω; ΟΙ. οὐκ ἐννέπων τὸν παῖδ’ ὃν οὗτος ἱστορεῖ. ΘΕ. λέγει γὰρ εἰδὼς οὐδέν, ἀλλ’ ἄλλως πονεῖ. 449–50: δεῦρό μοι φώνει βλέπων indicates that the shepherd is not looking at Oedipus. Why not? Because the shepherd knows that he alone knows that Oedipus killed Laios, and surely assumes that is why he has been summoned. No wonder he does not want to engage! In fact, the conversation goes in an entirely different direction, but one equally uncongenial to him. In this

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scene of unparalleled brilliance, the shepherd does all in his power to evade the questions, knowing exactly where they will lead, while Oedipus is equally determined to compel answers, in ignorance of where they will lead, and when those answers emerge, no less resolved to pursue them to the dreadful end 451 ὠνητός ή όν bought

Sections 19–20, lines 449–88

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τραφείς raised (aor. pass. part. of τρέφω) οἴκοι τραφείς i.e. having some status among slaves μεριμνάω I am occupied with συνέπομαι I follow, tend (+ dat.) ξύναυλος ον living in πρόσχωρος ον neighbouring καί cf. l.352; ποῖον ἄνδρα – he has been standing there all the time, presumably jumping up and down with excitement to see his old chum! But the more the conversation unfolds, the less his old chum wants to know him. Note how patiently Oedipus replies ξυναλλάττω I have dealings with. The participle, carrying on from μαθών, implies something about the tone of Oedipus’ and the shepherd’s words: what? μνήμη, ἡ memory (1a): no wonder he doesn’t remember! It’s not the death of Laios, but his failure to expose the baby all those years ago, that has suddenly become the issue ∗ θαῦμα, τό wonder, astonishment (3b) ἀγνώς (ἀγνωτ-) ignorant ἀναμιμνήσκω (fut. ἀναμνήσω) I remind ἦμος when as the text stands, τὸν Κιθαιρῶνος τόπον has no verb to govern it as object, and ὃ μὲν (l.463) is a subject without a verb. It is perfectly clear what the Messenger means, so perhaps the incoherence is

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part of a deliberate characterization. But a line may have dropped out of the text ∗ διπλόος η ον double (contr. διπλοῦς) πλησιάζω I am a companion with (+ dat.) ἦρ ἦρος τό spring (i.e. March) ἀρκτοῦρος, ὁ the rising of the star Arktouros (i.e. September) ἕκμηνος ον of six months ἔπαυλα, τά fold (2b) σταθμά, τά farm (2b) a combination of two ideas: λέγω τι; ‘Am I saying anything?’ i.e. ‘Am I talking sense?’ (a common expression) and ‘Did it happen as I say?’ θρέμμα, τό (noun from τρέφω) ‘something nursed’ (3b) ∗ ἱστορέω I ask, record; enquire (about); examine the bombshell – it was Oedipus he had failed to expose! The shepherd now knows everything. His constant evasions are subsequently designed to protect Oedipus just as much as himself: for if the king ever uncovers his real identity, the shepherd has a shrewd idea who will pay for it κολαστής, ὁ punisher (1d) φέριστος η ον best ἐννέπων here = ‘talking about’ ∗ πονέω I work, am busy

20 Despite further evasions, the truth finally emerges. (1152–85)

ΟΙ. ΘΕ. ΟΙ. ΘΕ. ΟΙ. ΘΕ. ΟΙ. ΘΕ. ΟΙ.

σὺ πρὸς χάριν μὲν οὐκ ἐρεῖς, κλαίων δ’ ἐρεῖς. μὴ δῆτα, πρὸς θεῶν, τὸν γέροντά μ’ αἰκίσῃ. οὐχ ὡς τάχος τις τοῦδ’ ἀποστρέψει χέρας; δύστηνος, ἀντὶ τοῦ; τί προσχρῄζων μαθεῖν; τὸν παῖδ’ ἔδωκας τῷδ’ ὃν οὗτος ἱστορεῖ; ἔδωκ’· ὀλέσθαι δ’ ὤφελον τῇδ’ ἡμέρᾳ. ἀλλ’ ἐς τόδ’ ἥξεις μὴ λέγων γε τοὔνδικον. πολλῷ γε μᾶλλον, ἤν φράσω, διόλλυμαι. ἁνὴρ ὅδ’, ὡς ἔοικεν, ἐς τριβὰς ἐλᾷ.

481 αἰκίζομαι I hurt, maltreat 482 ἀποστρέφω I twist back (for tying up in preparation for interrogation under torture) 483 δύστηνος: the old man may refer to himself – or better, to Oedipus (cf. Iokaste in l.434)?

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ἀντὶ τοῦ; why? 485 ∗ ὤφελον would that I (+ inf.) 486 ἔνδικος ον rightful 488 ἁνήρ: the breathing indicates the crasis ὁ ἀνήρ τριβή, ἡ delay (1a); ἐς τριβὰς ἐλᾷ is a sarcastic oxymoron

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ΘΕ. ΟΙ. ΘΕ. ΟΙ. ΘΕ. ΟΙ. ΘΕ. ΟΙ. ΘΕ. ΟΙ. ΘΕ.

οὐ δῆτ’ ἔγωγ’, ἀλλ’ εἶπον ὡς δοίην πάλαι. πόθεν λαβών; οἰκεῖον, ἢ ’ξ ἄλλου τινός; ἐμὸν μὲν οὐκ ἔγωγ’, ἐδεξάμην δέ του. τίνος πολιτῶν τῶνδε κἀκ ποίας στέγης; μὴ πρὸς θεῶν, μή, δέσποθ’, ἱστόρει πλέον. ὄλωλας, εἴ σε ταῦτ’ ἐρήσομαι πάλιν. τῶν Λαΐου τοίνυν τις ἦν γεννημάτων. ἦ δοῦλος, ἢ κείνου τις ἐγγενὴς γεγώς; οἴμοι, πρὸς αὐτῷ γ’ εἰμὶ τῷ δεινῷ λέγειν. κἄγωγ’ ἀκούειν· ἀλλ’ ὅμως ἀκουστέον. κείνου γέ τοι δὴ παῖς ἐκλῄζεθ’· ἡ δ’ ἔσω κάλλιστ’ ἂν εἴποι σὴ γυνὴ τάδ’ ὡς ἔχει. ἦ γὰρ δίδωσιν ἥδε σοι; ΘΕ. μάλιστ’, ἄναξ. ὡς πρὸς τί χρείας; ΘΕ. ὡς ἀναλώσαιμί νιν. τεκοῦσα τλήμων; ΘΕ. θεσφάτων γ’ ὄκνῳ κακῶν. ποίων; ΘΕ. κτενεῖν νιν τοὺς τεκόντας ἦν λόγος. πῶς δῆτ’ ἀφῆκας τῷ γέροντι τῷδε σύ; κατοικτίσας, ὦ δέσποθ’, ὡς ἄλλην χθόνα δοκῶν ἀποίσειν, αὐτὸς ἔνθεν ἦν· ὃ δὲ κάκ’ ἐς μέγιστ’ ἔσωσεν. εἰ γὰρ οὗτος εἶ ὅν φησιν οὗτος, ἴσθι δύσποτμος γεγώς. ἰοὺ ἰού· τὰ πάντ’ ἂν ἐξήκοι σαφῆ. ὦ φῶς, τελευταῖόν σε προσβλέψαιμι νῦν, ὅστις πέφασμαι φύς τ’ ἀφ’ ὧν οὐ χρῆν, ξὺν οἷς τ’ οὐ χρῆν ὁμιλῶν, οὕς τέ μ’ οὐκ ἔδει κτανών.

ΟΙ. ΟΙ. ΟΙ. ΟΙ. ΟΙ. ΘΕ.

ΟΙ.

490 ∗ οἰκεῖος α ον from the home; of the house; private; fitting 492 στέγη, ἡ roof, house 495 γέννημα, τό child (3b) 496 ∗ γεγώς ῶσα ός born, being (perf. part. of γίγνομαι) 497 πρὸς αὐτῷ . . . τῷ δεινῷ ‘on the brink of dreadful’ 498 ἀλλ’ ὅμως ἀκουστέον: Oedipus knows what the answer will be – as he must have now for some time. It is a mark of his greatness that he does not hold back 502 ὡς πρὸς τί χρείας lit. ‘as for what [of] purpose?’ ἀναλίσκω (ἀναλωσ-) I destroy 503 θέσφατος ον decreed by god

21

ΧΟ.

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ὄκνος, ὁ fear (2a) 506 κατοικτίζω I take pity ἄλλην χθόνα ‘to another land’ cf. l.119 507 δοκῶν ἀποίσειν ‘thinking (that he) would take’ ἔνθεν from where 510 ἂν ἔξηκοι: this use of ἄν + opt. indicates an exclamation 511 τελευταῖον for the last time. What does the audience imagine Oedipus intends to do? 512 ∗ χρῆν (and ἐχρῆν): impf. of χρή 513 ὁμιλέω I consort with. Consider the stages of this interrogation. How is the shepherd given individuality and presented as a contrast to Oedipus?

The Chorus sings that man is nothing – as Oedipus’ fate demonstrates. (1186–1203)

ἰὼ γενεαὶ βροτῶν, ὡς ὑμᾶς ἴσα καὶ τὸ μη-

στροφή 515

Sections 20–1, lines 489–526

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39. ἰοὺ ἰού, δύστηνε: Iokaste (far right) realizes the truth

δὲν ζώσας ἐναριθμῶ. τίς γάρ, τίς ἀνὴρ πλέον τᾶς εὐδαιμονίας φέρει ἢ τοσοῦτον ὅσον δοκεῖν καὶ δόξαντ’ ἀποκλῖναι; τὸν σόν τοι παράδειγμ’ ἔχων, τὸν σὸν δαίμονα, τὸν σόν, ὦ τλᾶμον Οἰδιπόδα, βροτῶν οὐδὲν μακαρίζω· ὅστις καθ’ ὑπερβολὰν τοξεύσας ἐκράτησας τοῦ 514 ∗ ἴω alas! hail! (exclamation invoking aid, or showing grief, pain) ∗ γενεά, ἡ race, family (1b) στροφή and ἀντιστροφή are the ‘stanzas’ of identical metre into which the Chorus’ song is divided 515 ἴσα καὶ equally to (adv.) 516 ἐναριθμέω I account 518 ∗ εὐδαιμονία, ἡ prosperity, happiness (1b) 519 ὅσον δοκεῖν ‘as to seem’ (sc. ‘to be happy’)

520

ἀντιστροφή

525

520 ἀποκλίνω I fall away 521 παράδειγμα, τό pattern (3b) 523 Οἰδιπόδα voc. as if his name were Οἰδιπόδης. For the final α, see note on l.530 524 μακαρίζω I call happy 525 ὅστις you who (i.e. Oedipus) ὑπερβολά, ἡ consummate skill (1c) (but also with a hint of ‘excess’) 526 τοξεύω I shoot κρατέω I get possession of (+ gen.)

Sophocles

162

πάντ’ εὐδαίμονος ὄλβου, ὦ Ζεῦ, κατὰ μὲν φθίσας τὰν γαμψώνυχα παρθένον χρησμῳδόν, θανάτων δ’ ἐμᾷ χώρᾳ πύργος ἀνέστας· ἐξ οὗ καὶ βασιλεὺς καλῇ ἐμὸς καὶ τὰ μέγιστ’ ἐτιμάθης, ταῖς μεγάλαισιν ἐν Θήβαισιν ἀνάσσων.

530

535

The unindented lines are all of the same rhythm — — — ˘˘ — ˘ —; the indented lines are shortened versions of this rhythm. 527 ὄλβος, ὁ fortune (2a) 528 φθίσας trans. form of the aor. part. of φθίνω: ‘having destroyed’ 529 γαμψώνυξ crooked-taloned 530 χρησμῳδός όν oracular (i.e. the Sphinx) ∗ ἐμᾷ = ἐμῇ, ἀνέστας = ἀνέστης, ἐτιμάθης = ἐτιμήθης. The dialogue of Athenian drama is in the Attic dialect, but the lyric/choric

22

ΧΟ

passages are written in a version of the Doric dialect, one of whose features is this α in several (not all) places where Attic has η. The point will not be noted again 531 ∗ πύργος, ὁ tower, defence (2a) 532 καλῇ ‘you are called’ 535 ∗ Θῆβαι, αἱ Thebes (1a) ἀνάσσω I rule

Who is more miserable than Oedipus, found out by time? (1204–22)

τανῦν δ’ ἀκούειν τίς ἀθλιώτερος; τίς ἄταις ἀγρίαις, τίς ἐν πόνοις ξύνοικος ἀλλαγᾷ βίου; ἰὼ κλεινὸν Οἰδίπου κάρα, ᾦ μέγας λιμὴν αὑτὸς ἤρκεσεν παιδὶ καὶ πατρὶ θαλαμηπόλῳ πεσεῖν, πῶς ποτε πῶς ποθ’ αἱ πατρῷαί σ’ ἄλοκες φέρειν, τάλας, σῖγ’ ἐδυνάθησαν ἐς τοσόνδε; ἐφηῦρέ σ’ ἄκονθ’ ὁ πάνθ’ ὁρῶν χρόνος, δικάζει τὸν ἄγαμον γάμον πάλαι τεκνοῦντα καὶ τεκνούμενον. ἰὼ Λαΐειον ὦ τέκνον, εἴθε σ’ εἴθε σε μήποτ’ εἰδόμαν. δύρομαι γὰρ ὥσπερ ἰήλεμον χέων ἐκ στομάτων. τὸ δ’ ὀρθὸν εἰπεῖν, ἀνέπνευσά τ’ ἐκ σέθεν καὶ κατεκοίμησα τοὐμὸν ὄμμα.

στροφή

540

545

ἀντιστροφή

550

555

Sections 21–2, lines 527–57

163

Metrical note: this chorus begins in an iambic metre which speeds up as it uses different but related forms 536 τανῦν now ἀκούω: often means ‘I have a name, a reputation’. Here ‘more wretched in what is said about him’ 537 τίς ἄταις ἀγρίαις: . . . understand ἀθλιώτερος with this sentence too ἄτη, ἡ ruin, doom (1a) 538 ξύνοικος ον tied to ἀλλαγή, ἡ change, reversal (1a) 539 κλεινός ή όν famous 540 λιμήν: see on l.105 541 αὑτός = ὁ αὐτός ἀρκέω I am sufficient for 543 θαλαμηπόλος, ὁ bridegroom (2a) 545 ἄλοξ (ἀλοκ-), ἡ furrow made in ploughing (i.e. wife) (3a)

546 σῖγα in silence 547 compare this line with ll.445–6, where the months were Oedipus’ kindly kinsfolk 548 ἄγαμος ον which is no marriage; see note on l.108 549 ∗ τεκνόω I beget children 553 δύρομαι I wail, lament 554 ἰήλεμος, ὁ dirge (2a) χέω I pour 555 εἰπεῖν: inf. of ‘result’: ‘so as to speak the truth’ 556 ἀναπνείω I revive, draw breath σέθεν = σοῦ 557 κατακοιμάω I put to sleep

Enter a messenger (1223–1305)

MESSENGER. You whom our country always honours above everyone,

CHO. ME. CHO. ME.

great are the deeds you will hear, great are the horrors you will see, great is the grief you will undergo, if you are still true men of Thebes and hold the house of Labdakos in honour. Not the Ister, no, nor the Phasis, I believe, could wash and cleanse this house, so great the evil it hides or presently will bring to light, evil not unsought but purposed. No sorrows are so great as those which are plainly self-inflicted. We knew enough before to make us grieve most bitterly. What can you add to that? The quickest of my words to speak and hear is – our royal queen, Iokaste, is dead. Unhappy woman! But how did it come about? By her own hand. You were not there to see it, so cannot know the worst of the pain it caused. But, to the limit of my memory, you’ll learn the sufferings of the unhappy woman. When in a rage she came through the palace door, she went, in haste, straight to the marriage bed, tearing her hair with both her hands. And when she went inside, slamming the doors behind her, she called upon Laios – dead so long ago – recalling their offspring of old, at whose hands he himself was killed, leaving her, the mother, to produce children from her own child, a ghastly brood. And she mourned for the bed, where in double tragedy she

164

CHO. ME.

Sophocles

bore husband from her husband, children from her child. How after this she died I do not know. For Oedipus burst screaming in, and kept us off from seeing her further suffering – since our eyes were fixed entirely on him, as he paced and strode about, begging us for a sword, asking where he might find the wife – not wife, but mother, the double seed-bed of himself and of his children. And in his madness, guided by some god − most surely not by us, who stood nearby − with a hideous shriek, as if there were someone to lead him, he hurled himself at the double doors, and from their sockets he forced the bolts until they bent, and dashed inside. And there it was we saw the woman hanging, entangled in a plaited, swinging noose. Seeing her, with a dreadful anguished roar, he untied the hanging halter; then, as she lay poor soul, upon the ground, there was a dreadful sight. He ripped from her dress the golden brooches which she had used to fasten it, he raised them up and plunged them into the sockets of his eyes, with words like: ‘Never shall you look on me again, never see the evils done by me and to me! From now, in darkness, look at those whom you should not have seen! Be blind to those you long to see!’ He chanted so, and pounded his own eye-balls with blow upon piercing blow. His bleeding sockets soaked his beard – not sluggish gouts of blood, but a dark rainstorm, a hail of blood came teeming down. This storm has broken not on one man alone but on man and woman alike, disaster for both. Their ancient happiness was happiness indeed till lately. Now, this very day doom, lamentation, death, disgrace – of all the horrors that men can name, there is none wanting here. And now, has he rest at all from pain, poor soul? He shouts ‘Unbar these doors! Come here, and show to all the Thebans the father-killer, the one who took his mother and’ – unholy words! I cannot say them. He’ll cast himself, he cries, from the land, no longer staying at home, cursed with the curse he uttered himself. He lacks the strength; someone to guide him, too. His ruined state is more than he can bear. There now! He’ll show you. The bolts are drawn. The doors are opening now, and soon you’ll see a sight to fill you with disgust, but pity too.

Section 23, lines 558–63

(a)

165

(b)

40a & b. The golden brooches which pinned up her dress

CHO.

(Enter the blind Oedipus) Ο suffering sickening for humanity to see, vision more harrowing than any I have faced! What paroxysm of madness came upon you? What god, leaping a mightier leap than any, has landed on your tragic, god-struck life? Miserable, wretched being! For all that I wish to ask and learn and see, I shrink away. I cannot look at you.

23 The mutilated Oedipus laments his fortune. (1307–20)

ΟΙ.

αἰαῖ αἰαῖ, φεῦ φεῦ, δύστανος ἐγώ, ποῖ γᾶς φέρομαι τλάμων; πᾷ μοι φθογγὰ διαπωτᾶται φοράδην; ἰὼ δαῖμον, ἵν’ ἐξήλου.

560 ∗ δύστανος = δύστηνος 561 ∗ ποῖ γᾶς; to where on earth? ∗ πᾷ; how? which way? 562 φθογγά, ἡ voice (1b)

560

διαπωτάομαι I fly φοράδην carried along 563 ἐξάλλομαι (aor. ἐξηλόμην) I leap, spring

166

Sophocles

ΧΟ.

ἐς δεινόν, οὐδ’ ἀκουστόν, οὐδ’ ἐπόψιμον.

ΟΙ.

ἰὼ σκότου νέφος ἐμὸν ἀπότροπον, ἐπιπλόμενον ἄφατον, ἀδάματόν τε καὶ δυσούριστον ὄν. οἴμοι, οἴμοι, μάλ’ αὖθις· οἷον εἰσέδυ μ’ ἅμα κέντρων τε τῶνδ’ οἴστρημα καὶ μνήμη κακῶν.

ΧΟ.

στροφή

565

570

καὶ θαῦμά γ’οὐδὲν ἐν τοσοῖσδε πήμασιν διπλᾶ σε πενθεῖν καὶ διπλᾶ φέρειν κακά.

A scene of lamentation like these, where a character interacts with the Chorus, is called ‘kommos’. Notably, the Chorus sticks on the whole to the more prosaic iambic metre, while Oedipus’ words are mostly in the walking metre (anapaests: ˘˘—, or — —, or —˘˘) or the dochmiac, the metre of passionate grief, most easily represented as ˘ — | — ˘ —, but allowing many different resolutions. 564 ἐπόψιμος ον that can be looked upon 565 ∗ σκότος, ὁ darkness (2a) 566 νέφος, τό cloud (3c) ἀπότροπος ον from which one turns away, repulsive ἐπιπλόμενος η ον encroaching ἄφατος ον unspeakable 567 ἀδάματος ον unconquered, irresistible

24

ΟΙ.

ΧΟ. ΟΙ.

ΧΟ. ΟΙ.

δυσούριστος ον fatally sped on 569 εἰσδύ(ν)ω (aor. εἰσέδυν) I enter, pierce 570 κέντρον, τό goad (2b), referring here to the pain of the injury to his eyes οἴστρημα, τό pain, stab (3b) μνήμη, ἡ remembrance (1a) 572 πενθέω I mourn aloud, lament

Oedipus pleads to be led away. (1321–48)

ἰὼ φίλος, σὺ μὲν ἐμὸς ἐπίπολος ἔτι μόνιμος· ἔτι γὰρ ὑπομένεις με τὸν τυφλὸν κηδεύων. φεῦ φεῦ· οὐ γάρ με λήθεις, ἀλλὰ γιγνώσκω σαφῶς, καίπερ σκοτεινός, τήν γε σὴν αὐδὴν ὅμως. ὦ δεινὰ δράσας, πῶς ἔτλης τοιαῦτα σὰς ὄψεις μαρᾶναι; τίς σ’ ἐπῆρε δαιμόνων; ᾿Απόλλων τάδ’ ἦν, ’Απόλλων, φίλοι, ὁ κακὰ κακὰ τελῶν ἐμὰ τάδ’ ἐμὰ πάθεα. ἔπαισε δ’ αὐτόχειρ νιν οὐτις, ἀλλ’ ἐγὼ τλάμων. τί γὰρ ἔδει μ’ ὁρᾶν, ὅτῳ γ’ ὁρῶντι μηδὲν ἦν ἰδεῖν γλυκύ; ἦν ταῦθ’ ὅπωσπερ καὶ σὺ φής. τί δῆτ’ ἐμοὶ βλεπτὸν ἦν στερκτόν, ἢ προσήγορον ἔτ’ ἔστ’ ἀκούειν ἁδονᾷ, φίλοι;

ἀντιστροφή 575

580

στροφή

585

590

Sections 23–4, lines 564–96

167

41. αἰαῖ αἰαῖ, φεῦ φεῦ, δύστανος ἐγώ

ΧΟ.

ἀπάγετ’ ἐκτόπιον ὅτι τάχιστά με, ἀπάγετ’, ὦ φίλοι, τὸν μέγ’ ὀλέθριον, τὸν καταρατότατον, ἔτι δὲ καὶ θεοῖς ἐχθρότατον βροτῶν. δείλαιε τοῦ νοῦ τῆς τε συμφορᾶς ἴσον, ὡς σ’ ἠθέλησα μηδαμὰ γνῶναί ποτ’ ἄν.

574 ἐπίπολος, ὁ companion (2a) μόνιμος (η) ον steadfast 575 κηδεύω I tend, take charge of 577 λήθω (+ acc.) I escape the notice (of someone) 578 ∗ σκοτεινός ή όν dark, obscure αὐδή, ἡ voice (1a) 579 ∗ τλάω (τλη-, τλα-) I endure; am patient; dare 580 μαραίνω I quench ἐπαίρω I urge on 583 αὐτόχειρ with the very hand

595

587 ὅπωσπερ as 588 βλεπτός ή όν to be seen 589 στερκτός ή όν to be enjoyed προσήγορος, ον spoken; τί προσήγορον ‘what spoken word?’ 590 ἔστι it is possible 591 ἐκτόπιος α ον out of the way 592 ∗ ὀλέθριος ον destructive, deadly 593 κατάρατος ον accursed 595 δείλαιος α ον poor, miserable 596 μηδαμά not at all

Sophocles

168

25

ΟΙ.

Oedipus curses the man who saved him from death as a child. (1349–66)

ὄλοιθ’ ὅστις ἦν ὃς ἀγρίας πέδας νομάδος ἐπὶ πόας λῦσε μ᾿ ἀπό τε φόνου ἔρυτο κἀνέσωσεν, οὐδὲν ἐς χάριν πράσσων. τότε γὰρ ἂν θανὼν οὐκ ἦ φίλοισιν οὐδ’ ἐμοὶ τοσόνδ’ ἄχος. θέλοντι κἀμοὶ τοῦτ’ ἂν ἦν. οὔκουν πατρός γ’ ἂν φονεὺς ἦλθον, οὐδὲ νυμφίος βροτοῖς ἐκλήθην ὧν ἔφυν ἄπο. νῦν δ’ ἄθεος μέν εἰμ’, ἀνοσίων δὲ παῖς, ὁμολεχὴς δ’ ἀφ’ὧν αὐτὸς ἔφυν τάλας. εἰ δέ τι πρεσβύτερον ἔτι κακοῦ κακόν, τοῦτ’ ἔλαχ’ Οἰδίπους.

ΧΟ. ΟΙ.

597 πέδη, ἡ fetter (1a) 598 νομάς (νομαδ-) in the wilds πόα, ἡ grass (1b) λῦσε: note the absence of augment, not infrequent in epic and lyric language 599 ρύομαι rescue

26

ΧΟ. ΟΙ.

602 605 607 608 609

ἀντιστροφή

600

605

610

ἄχος, τό grief, anguish (3c) νυμφίος, ὁ bridegroom (2a) ἄθεος ον forsaken by the gods ὁμολεχής ες sharing a bed πρεσβύτερος α ον more important, graver

The horror of blindness. (1367–90)

οὐκ οἶδ’ ὅπως σε φῶ βεβουλεῦσθαι καλῶς. κρείσσων γὰρ ἦσθα μηκέτ’ ὢν ἢ ζῶν τυφλός. ὡς μὲν τάδ’ οὐχ ὧδ’ ἔστ’ ἄριστ’ εἰργασμένα, μή μ’ ἐκδίδασκε, μηδὲ συμβούλευ’ ἔτι. ἐγὼ γὰρ οὐκ οἶδ’ ὄμμασιν ποίοις βλέπων πατέρα ποτ’ ἄν προσεῖδον εἰς ῞Αιδου μολών, οὐδ’ αὖ τάλαιναν μητέρ’, οἷν ἐμοὶ δυοῖν ἔργ’ ἐστὶ κρείσσον’ ἀγχόνης εἰργασμένα. ἀλλ’ ἡ τέκνων δῆτ’ ὄψις ἦν ἐφίμερος, βλαστοῦσ’ ὅπως ἔβλαστε, προσλεύσσειν ἐμοί; οὐ δῆτα τοῖς γ’ ἐμοῖσιν ὀφθαλμοῖς ποτε· οὐδ’ ἄστυ γ’, οὐδὲ πύργος, οὐδὲ δαιμόνων ἀγάλμαθ’ ἱερά, τῶν ὁ παντλήμων ἐγὼ κάλλιστ’ ἀνὴρ εἷς ἔν γε ταῖς Θήβαις τραφεὶς ἀπεστέρησ’ ἐμαυτόν, αὐτὸς ἐννέπων ὠθεῖν ἅπαντας τὸν ἀσεβῆ, τὸν ἐκ θεῶν φανέντ’ ἄναγνον – καὶ γένους τοῦ Λαΐου. τοιάνδ’ ἐγὼ κηλῖδα μηνύσας ἐμὴν ὀρθοῖς ἔμελλον ὄμμασιν τούτους ὁρᾶν;

615

620

625

Sections 25–7, lines 597–650

ἥκιστά γ’, ἀλλ’ εἰ τῆς ἀκουούσης ἔτ’ ἦν πηγῆς δι’ ὤτων φραγμός, οὐκ ἂν ἐσχόμην τὸ μὴ ἀποκλῇσαι τοὐμὸν ἄθλιον δέμας, ἵν’ ἦ τυφλός τε καὶ κλύων μηδέν· τὸ γὰρ τὴν φροντίδ’ ἔξω τῶν κακῶν οἰκεῖν γλυκύ. 614 συμβουλεύω I counsel, advise 617 οἷν δυοῖν ‘against both of whom’ 618 κρείσσον’ ‘greater than’, i.e. ‘too bad for’ ἀγχόνη, ἡ strangling (1a) 619 ἀλλά: introduces or answers an imagined objection ἐφίμερος ον delightful 620 βλαστάνω (βλαστ-) I am born προσλεύσσω I see 623 ἄγαλμα, τό statue, image (3b) τῶν = ὧν παντλήμων ον all-wretched 624 τραφείς: here must mean ‘maintained’, ‘enjoying a life-style’

169 630

627 ἄναγνος ον unholy, defiled καὶ γένους τοῦ Λαΐου ‘[and a man who turned out to be] from the family of Laios’ 628 κηλίς (κηλιδ-), ἡ stain, pollution (3a) μηνύω I reveal, make known 631 πηγή, ἡ fount, source (1a) οὖς (ὠτ-), τό ear (3b) φραγμός, ὁ blocking (2a) 632 ἀποκλῄω I lock away δέμας, τό body 633 ἵνα in order that (takes ind. when dependent on an act which is not fulfilled cf. ὡς ἔδειξα l.636) 634 φροντίς (φροντιδ-), ἡ thought (3a)

27 How could it all have been allowed to happen? (1391–415)

ΟΙ.

ἰὼ Κιθαιρών, τί μ’ ἐδέχου; τί μ’ οὐ λαβὼν ἔκτεινας εὐθύς, ὡς ἔδειξα μήποτε ἐμαυτὸν ἀνθρώποισιν ἔνθεν ἦ γεγώς; ὦ Πόλυβε καὶ Κόρινθε καὶ τὰ πάτρια λόγῳ παλαιὰ δώμαθ’, οἷον ἆρά με κάλλος κακῶν ὕπουλον ἐξεθρέψατε. νῦν γὰρ κακός τ’ ὢν κἀκ κακῶν εὑρίσκομαι. ὦ τρεῖς κέλευθοι καὶ κεκρυμμένη νάπη δρυμός τε καὶ στενωπὸς ἐν τριπλαῖς ὁδοῖς, αἳ τοὐμὸν αἷμα τῶν ἐμῶν χειρῶν ἄπο ἐπίετε πατρός, ἆρά μου μέμνησθ’ ἔτι οἷ’ ἔργα δράσας ὑμὶν εἶτα δεῦρ’ ἰὼν ὁποῖ’ ἔπρασσον αὖθις; ὦ γάμοι γάμοι, ἐφύσαθ’ ἡμᾶς, καὶ φυτεύσαντες πάλιν ἀνεῖτε ταὐτὸν σπέρμα, κἀπεδείξατε πατέρας, ἀδελφούς, παῖδας, αἷμ’ ἐμφύλιον,

637 ἔνθεν ἦ γεγώς: indir. q. ‘[showed men] what my origin was’, not rel. 639 λόγῳ: with πάτρια ‘nominally ancestral’ 640 κάλλος, τό beauty (3c) ὕπουλος ον festering underneath with (+ gen.) 642 κέλευθος, ἡ road, path (2a) κεκρυμμένος η ον secret (perf. part. pass., of κρύπτω) νάπη, ἡ glen (1a)

635

640

645

650

643 δρυμός, ὁ thicket, copse (2a) στενωπός, ὁ defile, pass (2a) 644 τοὐμὸν αἷμα . . . πατρός ‘my own blood [i.e. that] of my father’ 646 ὑμίν for you (to see) 649 ἀνίημι (ἀνε(ι)-) I produce, yield ταὐτόν ‘from the same source’ σπέρμα, τό seed, children (3b) 650 ἐμφύλιος ον interrelated

170

Sophocles

νύμφας γυναῖκας μητέρας τε, χὡπόσα αἴσχιστ’ ἐν ἀνθρώποισιν ἔργα γίγνεται. ἀλλ’, οὐ γὰρ αὐδᾶν ἔσθ’ ἃ μηδὲ δρᾶν καλόν, ὅπως τάχιστα πρὸς θεῶν ἔξω μέ που καλύψατ’, ἢ φονεύσατ’, ἢ θαλάσσιον ἐκρίψατ’, ἔνθα μή ποτ’ εἰσόψεσθ’ ἔτι. ἴτ’, ἀξιώσατ’ ἀνδρὸς ἀθλίου θιγεῖν· πίθεσθε, μὴ δείσητε· τἀμὰ γὰρ κακὰ οὐδεὶς οἷός τε πλὴν ἐμοῦ φέρειν βροτῶν. 651 νύμφη, ἡ bride (la) χὡπόσα = καὶ ὁπόσα 655 καλύπτω cover up

θαλάσσιος (α) ον of, in the sea 656 ἐκρίψατ’= ἐκ-ρίπτω 657 θιγγάνω (θιγ-) I touch (+ gen.)

CHO.

But here, at the right time to act and give advice in what you ask, comes Kreon, who remains the sole surviving guardian of the land. OE. What words, what words can I address to him? What bond of trust will he find in me? For I till now have shown myself entirely false. KREON Oedipus, I have not come to laugh at you, nor blaming you for the evil that is past.

OE. KR. OE. KR. OE. KR.

But if you feel now no shame before your fellow-men, show your respect for our great Lord, the Sun and his all-nourishing fire. Do not allow this curse to pass uncovered before him, unacceptable to earth, to sacred rain, to light itself. (To a slave) You now, take him inside, quick as you can. It is not right for any to see or hear a family’s misfortune but the family. My fears were groundless. You have made them so, in coming to me, the finest to the worst of men. In god’s name, do as I say: it is for you, not me. What is this favour you are so anxious for? Throw me, I beg you, out of this land − and very soon − to a place empty of the sound of human speech. I would have done, be sure of that, had I not wished to learn first from the god what I should do. But his response was made most fully clear, that I, the parricide, the cursed one, should die. Yes, those were his words. Still, in this time of need it’s best to find out for sure what we must do.

655

Section 27, lines 651–59

OE. KR. OE.

KR. OE.

And will you question him about a wretch like me? Yes, since now you will put your trust in the god. I shall, and this is my command, my plea, to you: for her, her in the house, arrange a funeral as you desire. She is yours. It is right for you to do it. But this, my father’s city, let it never be required to have me here, a resident, alive, but let me live in the mountains, where (as they say) stands my Kithairon, which, while they lived, my mother and father arranged as my appointed tomb, where I might die by decree of those who ruined me. And yet this much I know, that neither shall disease nor anything else destroy me: I would not have been spared as I was dying but for some grim and evil end. But let my fate pass, going where it will. My children, now. The boys, Kreon, you need not be concerned for them. They are now men, and should not lack a living, wherever they find themselves. But my young girls, two poor unhappy girls: they had a place whenever I sat at table and I was always with them. Of all I touched they had an equal share along with me. Take care of them. And most of all, allow me to lay my hands on them and to mourn our troubles. Come now, my lord. Come, Kreon, noble and nobly born. Let these hands touch them, and I’d believe I still could see them. But what am I saying? In heaven’s name, do I not hear my dear ones weeping? Has Kreon in pity sent me my dearest children? Is it true? It is. It was I who did this. I foresaw the joy you feel now in the children’s presence. Blessings upon you, Kreon, and for bringing them here may god protect you better than he did me. Where are you now, my children? Come to me, come to these my hands, your brother’s, which have made your father’s once bright eyes see now – as they do. I could not see; I did not ask; and thus, my children I fathered you in that field where I was sown. I weep for the pair of you and cannot see you. I think of the bitter life you now will lead, how you’ll be treated at the hands of men. When will you go to a gathering of the people or to a festival, and not come home

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in tears, instead of pleasure, at the show? But when the time comes when you could be married, who will there be, my children, who will take the risk who will discount the insults hurled at my children, to hurt them and those that marry them? What disasters are not in store here? Your father killed his father; he put seed into his mother, in whom he was himself conceived, and from the same womb that bore him, begat you. Such reproaches you will have to bear. Then who will marry you? No one, my children, no one: the certainty is that you will die unmarried, barren. Kreon, son of Menoikeus, since you have been left as only father to these – for I who planted the seed have destroyed the two of them – do not stand by and allow them to wander round like beggars, poor, unmarried. They are relatives of yours! Do not make them my equals in wretchedness, but pity them, seeing them, at their age, deprived of everything, except what you can give them. Give your assent, noble Kreon, by touching my hand. If you two were older and more sensible, there is much I should wish to say. But now make this prayer for me, to live as best you may, and a better life than your father’s who begot you.

KR. OE. KR. OE. KR. OE. KR. OE. KR. OE. KR. OE. KR. OE. KR. CHO.

Enough tears now: come inside the house. I must obey, hard though it is. All comes right, if one acts at the right time. You know the conditions on which I shall go? Speak, then I shall hear and know. Ensure that you send me to live far from Thebes. The gift you ask is for the god to bestow. But I have come to be hated by the gods. So your wish will soon be granted. You agree, then? I do not usually waste words over what I do not mean. Take me away from here now. Come now, let go of your children. Please do not take them from me. Give up your desire to be master over everything. The mastery you once had follows you no more. Dwellers in Thebes, our ancestral city, see! This is Oedipus! He solved the famous riddle: he held absolute mastery: What citizen did not gaze on his good fortune with envy? Now what a wave of awful calamity has swamped him. As mortals wait their final day, call no one happy till he passes life’s boundaries, free from pain.