Homer's Iliad

Stender_podcast_Gk112_2013

Nick Stender examines the scene in the Odyssey where Odysseus, dressed as a beggar, shows up at the hut of the swineherd Eumaeus, and is received with gallant swineherd hospitality–quite a contrast to the supposedly noble suitors who are occupying Odysseus’ palace. What does this scene reveal about the custom of xenia or guest-friendship in dark age Greece? Odyssey 14.48-61, discussed, translated, and read aloud by Nick Stender.

Odysseus and Eumaeus

ὣς εἰπὼν κλισίηνδ’ ἡγήσατο δῖος ὑφορβός,
εἷσεν δ’ εἰσαγαγών, ῥῶπας δ’ ὑπέχευε δασείας,
ἐστόρεσεν δ’ ἐπὶ δέρμα ἰονθάδος ἀγρίου αἰγός,
αὐτοῦ ἐνεύναιον, μέγα καὶ δασύ. χαῖρε δ’ Ὀδυσσεύς,
ὅττι μιν ὣς ὑπέδεκτο, ἔπος τ’ ἔφατ’ ἔκ τ’ ὀνόμαζε·
“Ζεύς τοι δοίη, ξεῖνε, καὶ ἀθάνατοι θεοὶ ἄλλοι,
ὅττι μάλιστ’ ἐθέλεις, ὅτι με πρόφρων ὑπέδεξο.”
τὸν δ’ ἀπαμειβόμενος προσέφης, Εὔμαιε συβῶτα·
“ξεῖν’, οὔ μοι θέμις ἔστ’, οὐδ’ εἰ κακίων σέθεν ἔλθοι,
ξεῖνον ἀτιμῆσαι· πρὸς γὰρ Διός εἰσιν ἅπαντες
ξεῖνοί τε πτωχοί τε. δόσις δ’ ὀλίγη τε φίλη τε
γίνεται ἡμετέρη· ἡ γὰρ δμώων δίκη ἐστίν,
αἰεὶ δειδιότων, ὅτ’ ἐπικρατέωσιν ἄνακτες
οἱ νέοι.

Sanchez_podcast_Gk112_2013

Solai Sanchez explores the Greek idea of poetry as divinely inspired, and poets as bestowers of immortality. In Book 8 of the Odyssey Odysseus praises the poet Demodocus by saying that he must have learned his craft from the Muse, or from Apollo. What does this mean, exactly? Odyssey 8.487-498 discussed, translated, and read aloud by Solai Sanchez.

Orazio Genticleschi, Casino delle Muse (detail)

“Δημόδοκ’, ἔξοχα δή σε βροτῶν αἰνίζομ’ ἁπάντων·
ἢ σέ γε Μοῦσ’ ἐδίδαξε, Διὸς πάϊς, ἢ σέ γ’ Ἀπόλλων·
λίην γὰρ κατὰ κόσμον Ἀχαιῶν οἶτον ἀείδεις,
ὅσσ’ ἕρξαν τ’ ἔπαθόν τε καὶ ὅσσ’ ἐμόγησαν Ἀχαιοί,
ὥς τέ που ἢ αὐτὸς παρεὼν ἢ ἄλλου ἀκούσας.
ἀλλ’ ἄγε δὴ μετάβηθι καὶ ἵππου κόσμον ἄεισον
δουρατέου, τὸν Ἐπειὸς ἐποίησεν σὺν Ἀθήνῃ,
ὅν ποτ’ ἐς ἀκρόπολιν δόλον ἤγαγε δῖος Ὀδυσσεὺς
ἀνδρῶν ἐμπλήσας, οἳ Ἴλιον ἐξαλάπαξαν.
αἴ κεν δή μοι ταῦτα κατὰ μοῖραν καταλέξῃς,
αὐτίκα καὶ πᾶσιν μυθήσομαι ἀνθρώποισιν,
ὡς ἄρα τοι πρόφρων θεὸς ὤπασε θέσπιν ἀοιδήν.”

Morisseau_podcast_Greek112_2013

Will Morriseau argues that uses the gods to impose his own will on the poem.  His freedom with the facts is “divine license,” and Homer himself is the only real deity in the work. Will discusses this idea in the context of a puzzling simile in Iliad 21, where Hephaestus is scorching the battlefield. Iliad 21.342-355, discussed, translated, and read aloud by Will Morriseau.

Illustration of Iliad 23.263, based on a drawing by John Flaxman, 1793. (Wikimedia Commons)

Ὣς ἔφαθ’, Ἥφαιστος δὲ τιτύσκετο θεσπιδαὲς πῦρ.
πρῶτα μὲν ἐν πεδίῳ πῦρ δαίετο, καῖε δὲ νεκροὺς
πολλούς, οἵ ῥα κατ’ αὐτὸν ἅλις ἔσαν, οὓς κτάν’ Ἀχιλλεύς·
πᾶν δ’ ἐξηράνθη πεδίον, σχέτο δ’ ἀγλαὸν ὕδωρ.
ὡς δ’ ὅτ’ ὀπωρινὸς Βορέης νεοαρδέ’ ἀλωὴν
αἶψ’ ἀγξηράνῃ· χαίρει δέ μιν ὅς τις ἐθείρῃ·
ὣς ἐξηράνθη πεδίον πᾶν, κὰδ δ’ ἄρα νεκροὺς
κῆεν· ὃ δ’ ἐς ποταμὸν τρέψε φλόγα παμφανόωσαν.
καίοντο πτελέαι τε καὶ ἰτέαι ἠδὲ μυρῖκαι,
καίετο δὲ λωτός τε ἰδὲ θρύον ἠδὲ κύπειρον,
τὰ περὶ καλὰ ῥέεθρα ἅλις ποταμοῖο πεφύκει·
τείροντ’ ἐγχέλυές τε καὶ ἰχθύες οἳ κατὰ δίνας,
οἳ κατὰ καλὰ ῥέεθρα κυβίστων ἔνθα καὶ ἔνθα
πνοιῇ τειρόμενοι πολυμήτιος Ἡφαίστοιο.

McInerney_podcast_Gk112_2013

The famous scene in which Argus, Odysseus’ faithful dog, recognizes Odysseus on his return and promptly expires, is more than just pathos, argues Lucy McInerney. It is also an opportunity for Homer to show the fortitude of Odysseus himself. In other recognition scenes, she points out, Odysseus is able to share his emotions with whoever it is that recognizes him. In the case of Argus, the only character in the whole epic to recognize Odysseus on sight, he has to turn away and pretend not to know him. Odyssey 17.290-304 discussed, translated, and read aloud by Lucy McInerney.

John Flaxman, Odysseus and Argos (1805) Engraving and etching on paper, Tate Gallery

ὣς οἱ μὲν τοιαῦτα πρὸς ἀλλήλους ἀγόρευον·
ἂν δὲ κύων κεφαλήν τε καὶ οὔατα κείμενος ἔσχεν,
Ἄργος, Ὀδυσσῆος ταλασίφρονος, ὅν ῥά ποτ’ αὐτὸς
θρέψε μέν, οὐδ’ ἀπόνητο, πάρος δ’ εἰς Ἴλιον ἱρὴν
ᾤχετο. τὸν δὲ πάροιθεν ἀγίνεσκον νέοι ἄνδρες
αἶγας ἐπ’ ἀγροτέρας ἠδὲ πρόκας ἠδὲ λαγωούς·
δὴ τότε κεῖτ’ ἀπόθεστος ἀποιχομένοιο ἄνακτος
ἐν πολλῇ κόπρῳ, ἥ οἱ προπάροιθε θυράων @1
ἡμιόνων τε βοῶν τε ἅλις κέχυτ’, ὄφρ’ ἂν ἄγοιεν
δμῶες Ὀδυσσῆος τέμενος μέγα κοπρίσσοντες·
ἔνθα κύων κεῖτ’ Ἄργος ἐνίπλειος κυνοραιστέων.
δὴ τότε γ’, ὡς ἐνόησεν Ὀδυσσέα ἐγγὺς ἐόντα,
οὐρῇ μέν ῥ’ ὅ γ’ ἔσηνε καὶ οὔατα κάββαλεν ἄμφω,
ἄσσον δ’ οὐκέτ’ ἔπειτα δυνήσατο οἷο ἄνακτος
ἐλθέμεν· αὐτὰρ ὁ νόσφιν ἰδὼν ἀπομόρξατο δάκρυ,
ῥεῖα λαθὼν Εὔμαιον, ἄφαρ δ’ ἐρεείνετο μύθῳ·

Hummel_podcast_Gk112_2013

Women are not to be trusted, says the ghost of Agamemnon to Odysseus in the underworld in Book 11 of the Odyssey. Penelope is an exception, even he admits, while advising caution to Odysseus on his return home. Allison Hummel argues that this passage praising Penelope in the middle of the Odyssey is crucial to reminding Odysseus, and us, about the meaning of Odysseus’ great struggle to get home. Homer, Odyssey 11.440-456, discussed, translated, and read aloud by Allison Hummel.

Penelope. Detail of the statue by American sculptor Franklin Simmons

ὣς ἐφάμην, ὁ δέ μ᾽ αὐτίκ᾽ ἀμειβόμενος προσέειπε:
‘τῷ νῦν μή ποτε καὶ σὺ γυναικί περ ἤπιος εἶναι:
μή οἱ μῦθον ἅπαντα πιφαυσκέμεν, ὅν κ᾽ ἐὺ εἰδῇς,
ἀλλὰ τὸ μὲν φάσθαι, τὸ δὲ καὶ κεκρυμμένον εἶναι.
ἀλλ᾽ οὐ σοί γ᾽, Ὀδυσεῦ, φόνος ἔσσεται ἔκ γε γυναικός:
λίην γὰρ πινυτή τε καὶ εὖ φρεσὶ μήδεα οἶδε
κούρη Ἰκαρίοιο, περίφρων Πηνελόπεια.
ἦ μέν μιν νύμφην γε νέην κατελείπομεν ἡμεῖς
ἐρχόμενοι πόλεμόνδε: πάϊς δέ οἱ ἦν ἐπὶ μαζῷ
νήπιος, ὅς που νῦν γε μετ᾽ ἀνδρῶν ἵζει ἀριθμῷ,
ὄλβιος: ἦ γὰρ τόν γε πατὴρ φίλος ὄψεται ἐλθών,
καὶ κεῖνος πατέρα προσπτύξεται, ἣ θέμις ἐστίν.
ἡ δ᾽ ἐμὴ οὐδέ περ υἷος ἐνιπλησθῆναι ἄκοιτις
ὀφθαλμοῖσιν ἔασε: πάρος δέ με πέφνε καὶ αὐτόν.
ἄλλο δέ τοι ἐρέω, σὺ δ᾽ ἐνὶ φρεσὶ βάλλεο σῇσιν:
κρύβδην, μηδ᾽ ἀναφανδά, φίλην ἐς πατρίδα γαῖαν
νῆα κατισχέμεναι: ἐπεὶ οὐκέτι πιστὰ γυναιξίν.