...sxetika me to ean o xoros ton nearon Phaiakon (me to stoixeio tou xtypimatos ton podion, tous akrobatismous kai tin mpala) parapempoun se Curetes kai Corybantes. Bebaia, oi akrobates me tin mpala einai xexoristos xoros. Marie-Helene: sxetika me ayto oti mono ta xtypimata ton podion mporoun na parapempsoun stous Curetes giati o xoros tous itan polemikos...
Stin Odysseia oi Faiakes xoreyoun gia xari tou Odyssea (Od. 8. 250-372) kai ola ayta ektylissontai stin "agora", opou o basilias Alkinoos kalei na xorepsoun oi kalyteroi nearoi, oi aristoi. I xoreytiki epeidixi lambanei xora se kulkiko xwro pou orizetai apo ennea krites(?). Sti mesi steketai o Demodokos, exairetikos lyristis, kai tragouda ton erota tou Are kai tis Afrodites. Oi nearoi xoreytes synodeyoun tin afigisi me xtypimata ton podion sti gi... Palamakia apo tous gyro syntonizoun tin kinisi. O Odysseas thamponetai apo to exairetiko tous talento, aytos itan alloste kai o skopos... Sto telos tou tragoudiou o Alkinoos kalei tous dyo kalyterous akrobates na xorepsoun me tin porfyri mpala pou eftiaxe o perifimos Polybos. Akrobates xoreyoun kai sto palati tou Menelaou(Od. 4. 18), se symposio pou akolouthei tin episkepsi tou Telemachou pros anazitisi neon gia ton patera tou. Akrobates anaferontai kai stin perigrafi tis aspidas tou Achillea (Il. 18. 605). Den xero giati exo tin entyposi oti to stoixeio tou akrobatismou parapempei se Krete kai Minoites, prepei na yparxoun antistoixes eikastikes martyries... To paixnidi me tin mpala krybei kai ayto kati to endiaferon. I Naysika paizei episis me tis akolouthes tis kai to paixnidi tous synodeyetai me tragoudi. Ypirxe arage kai kapoios xoros, xoreytikes kiniseis pou yponoountai i pou ennoountai edo, giati einai polla pou o Homeros den anaferei? Marie-Helene : yparxoun antistoixes eikastikes martyries me mpala, mas parapempei sto biblio tis gia tous eirinikous xorous...:)
Fainetai loipon oti stin Odysseia oi xoreytikes skines ektylissontai sta plaisia enos deipnou, symposiou, i mias idiotikes eortis(Od. 23. 145), eno stin Iliada exoume kai theikes parousies. I Polumele (Il. 16. 180) xoreyei pros timi tis theas Artemis sto Argos. Kai o Hermes anamesa stis alles parthenes tin xexorizei kai tin eroteyteai kai koimatai mazi tis... I peripeteia tis Polumeles sto Argos, xari sti xoreytiki tis epidexiotita, mou thymise to mytho tis Artemis Alpheiaias stin Helida(Paus. Heliaka, VI, 22, 8), pou ofeilei to onoma tis sto pathos tou Alpheiou gia aytin. Stin arxi nomisa oti prokeitai gia to idio motivo pou anakuklonetai, giati thymomoun oti o theos xexorise tin Artemi apo tis alles Nymphes eno xoreyan, omos i istoria einai kapos diaforetiki, axizei ostoso isos na tin anafero, kathos i thea Artemis, o xoros, to erotiko pathos gia mia omorfi parthena kai i apagogi einai koina simeia. Etsi, otan o theos syneiditopoiise oti den mporouse na pantreytei ti thea, skeftike na xrisimopoiisei ti bia kai eftase stin poli ton Letrinon opou i Artemis epaize me tis Nymphes se olonyktia giorti. Epeidi omos i thea eixe kapoies ypopsies, apofasise na metamphiestei aleiphontas to prosopo tis, alla kai ton Nymphon, me pilo. Etsi o Alpheios den katafere na ti diakrinei kai telike efyge xoris aytin... I olonyktia giorti kai to paixnidi tis Artemis me tis Nymphes yponoei tin yparxi enos xorou kai o xoros aytos parapempei se enan allo latreytiko asemno xoro pou ektelountan pros timin tis Artemis Kordakas sti Helida kai aytos(Paus. Heliaka, VI, 22, 1). Sxetika me ayton to xoro exoume plirofories oti oi gynaikes kai oi antres pou epairnan meros se ayton to xoro metanfiezontan sto antitheto fylo kai oi gynaikes forontas pseytikous terastious phallous kai prospoiountan oti dieisdyan sta antrika kormia... Piso ston Homero, xoreytikes kiniseis pou ektelountai me xtypimata podion kai xerion exoume episis apo nearous kai neares pou synodeyoun to tragoudi tou Linou koubalontas stafylia(Il. 18. 572). Prokeitai gia tragoudi sygkomides? Se mia alli skene tis perigrafis tis aspidas tou Achillea neoi kai nees xoreyoun piasmenoi stous karpous (epi karpoi)(Il. 18. 590), tora thymithika oti sxetika me ayto sxoliazei kai o Lonsdale. O poiitis fainetai oti eixe sto myalo tou ton Gerano. Sti loutrophoro tou Analatou sto Louvre exoume tin proti anaparastasi gynaikeion kai antrikon morphon pou xoreyoun piasmenoi enallax. Kapoioi tin ermineysan os Gerano, o Beazley (1993) to theorei apithano, afou o xoros synodeyetai apo aylo kai oxi tin perifimi lyra tou Thesea. I epomeni parastasi enallassomenon andron kai gynaikon einai arketa ysteroteri sto aggeio Francois, opou edo prokeitai gia Gerano.
Sxetika me tin teleytaia paragrafo tis perigrafis tis aspidas, amfisbiteitai i aythentikotita tis kathos ypostirizetai oti pithanos prokeitai gia metagenesteri paremboli , etsi i martyria xanei kata polu tin axia tis... Sxetika me ayto to thema o Walter Leaf pisteyei oti ta kretika stoixeia pou diafainontai stis xoreytikes perigrafes tou Homerou einai dikaiologimena, kathos ginetai anafora se palaioterous xorous kai sti syneidisi ton arxaion Ellinon i Krete eixe paixei simantiko rolo stin anaptyxi kai akoma kai stin epinoisi tou xorou {Commentary on the Iliad (1900) Commentary on Homer, Iliad. book 18, line 590)(perseus)}. Sxetika me tin perigrafi, "anagnosi", ermineia ton eikonon yparxei kapoia methodos eidiki? O Psaroudakis mas milise gia ti methodo ton "ieron ageladon". Sxetika me ayto to thema brikame dyo arthra sto biblio"Istoria tis Ellinikis Glossas", pou ekdothike apo to Kentro Ellinikis Glossas (syntoma tha kyklophorisei kai sta agglika). To ena exei ton titlo " Mi lektiki epikoinonia stin Arxaiotita" apo ton J. N. Bremmer, eno to allo mila gia tin "Aisxrologia" (M. Z. Kopidakis). Gia ayta pmos epithymoume na sou milisoume se ena allo gramma...
...skini me ton Creta Merioni stin Iliada opou i ikanotita tou stin maxi apodidetai sto xoreytiko tou talento kai i perigrafi tis maxis os "o xoros tou Are" ( "the dance of Ares") ginetai ena paradosiako motivo. Stin Iliada o Homeros episis anaferei mainades pou xoreyoun pros timin tis Artemis.
Mou fanike endiaferousa I skini stin agora ton Faiakon opou orizetai kuklikos xoros gia na xorepsoun oi kalyteroi ton neon (oi aristoi) xekinontas me xtypimata ton podion kai synodeyomenoi apo ti formigga tou Dimodokou kai ta palamakia ton ypoloipon neon. Ta akrobatika episis itan meros ton xoron pou anaferontai apo ton Homero. Genika fainetai oti stin Odysseia xoreytikes skines kyrios exoume se periptoseis opou yparxei kapoio deipno, fagopoti kai krasi...
West, Webster, kategrapsa tis parapompes tous ston Homero, opou aytos anaferetai se kapoion xoro. Ta kyria simeia einai o xoros ton Faiakon (Homer, Od. 8. 250-369), opou neoi xoreyoun mimoumenoi ton erota tou Are kai tis Afrodites, stin idia skini o Alkinoos (Homer, Odysseia, 8.370-381) bazei dyo neous na xorepsoun monoi tous, kai aytoi xoreyoun me tin porfyri mpala pou eftiaxe o perifimos (äáéöńůí, daifron) Polybos. O xoros ton dyo neon synodeyetai kai apo xtypimata ton xerion. Me tin mpala paizei tragoudontas kai i Naysika me ta neara koritsia, kapoioi sxoliastes eikazoun oti prepei na ypirxe kai xoros. O Homeros episis anaferei kai xoro Mouson.
Den mporeis na diakrineis to skotadi ean den xereis ti mera... An o Homeros anaferei kapoion xoro os sobaro, iero, simainei oti tha eprepe na yparxei kai to antibaro tou. Tis leptomereies tis apantisis os pros ayto den tis thymamai tora aytousies, alla symfonousan me ayta pou mou eixes idi pei. Gia tos pos prepei na gnorizeis basika pragmata gia ton Homero, tin poiisi tou, tin epoxi tou (geometriki, pou synepagetai kai antistoixi eikonografia), tous xorous pou anaferei (den einai kai toses polles oi anafores tou). Mou milise kai pali gia tos pos tha prepei na psaxo, gia ti methodo, mia kai den eimai homeristria, diabazo aytous pou exoun asxolithei bathia me ton Homero. Xekino apo kapoia basika, OCD, Growe, West, kai blepo ti lene aytoi gia ton Homero kai xoro, mazeuo stis katreles tis sxetikes parapompes me ta xoria kai tis bibliografikes anafores, ystera brisko ta sxetika keimena, ta fototypo kai ftiaxno ena proto arxeio. Siga siga emploutizo to arxeio mou, exetazontas parallila tin eikonografia tis epoxis, kai otan kapoia stigmi exo oloklirosei tin ereyna kai sygkentrosei to yliko xekinao ti synthesi enos protou dokimiou, to grapsimo boitha kai sti skepsi, prepei na tolmiseis na ekfraseis ti gnomi sou. An ston Homero de breis polla, tha mporouses na proxoriseis kai ston Hesiodo, i kai ligo argotera se Terpandro, Archilocho, kathos malista teleytaia ypostirizetai oti mporei na itan kai progenesteroi tou Homerou. Kapoioi homerikoi ymnoi mporoun episis na mas boithisoun. Syzitisame diafora pragmata, pio polu diladi aytos milise, alla itan kala. Gia paradeigma mou eipe gia ti lyra pou den anaferetai me ayti tin onomasia ston Homero, alla argotera (apo poion ?). Pos par’ola ayta yparxei mia pinakida Grammikis B apo Thiba pou xronologeitai gyro sto 1200 p.X. kai anaferei ti lexi lyra... Ayta me aformi ton problimatismo sxetika me ta stoixeia pou yparxoun ston Homero kai ti syndesi tous me tin mykenaiki periodo, tous skoteinous xrounous pou epontai i kai tin idia tin epoxi tou... Sxetika me to homeriko zitima o Poelman dexetai oti I Odysseia den einai tou Homerou alla kapoiou pou thelise na ton mimithei. Episimane episis tin prosoxi pou xreiazetai stin "anagnosi” tis eikonografias, gia to romantismo tis Lawler kai tin epirroi tis stous epomenous meletites... Eidika gia tin geometriki periodo oi arxaiologoi ypostirizoun oti oi parastaseis den einai antiprosopeytikes tis pragmatikotitas alla stoxos tou kallitexni itan perissotero i kosmisi, to gemisma tou aggeiou, opote i ermineia tous apaitei mati kritiko... Polla ta exo akousei kai apo sena, san na epikoinoneite. Prin koitaxa ton Webster « The Greek Chorus », exei sxedon ena kefalaio afieromeno ston Homero, exei kai ermineia gia tous padded dancers! Diaforetiki apo to gnosto arthro ton “akleiton”. Tous sysxetizei me giortes gonimotitas, me theo Dionyso kai Artemi...
11 ta apotelesmata apo ton Homero me lexi-kleidi "oń÷çó", 4 apo Iliada kai 3 apo Odysseia. Den einai kai tosa polla, alla sigoura tha yparxoun kai alla, an psaxoume kai allios.
Oi akletoi itan oi akalestoi enos deipnou, enos symposiou. Idi apo ta homerika xronia o kalos oikodespotis kalei ena mousiko gia na psixagogisei tous kalesmenous tou. Gia ton idio logo o Kallias sto symposio tou Xenofonta exei proslabei enan Syrakousio, tou opoiou oi sklaboi, ena agori kai dyo koritsia, diaskedazoun tous symposiastes paizontas aylo, tragoudontas, xoreyontas, kanontas akrobatika kai pantomima. Para ti xamili tous koinoniki bathmida tetoioi kallitexnes kalountai sto symposio xari stin ypsilis ektimisis texni tous (technai). Kapoioi omos, pou symballoun episis stin psyxagogeia tou symposiou, ftanoun akalestoi. Den exoun periousia kai gia kapoious logous den kerdizoun to psomi tous apo kapoia xrisimi techne. Kateythynomenoi apo ta peinasmena stomaxia tous emfanizontai opou moirizontai fagito. Aytoi oi akletoi den epaixan enan asimanto rolo stin arxaiki politistiki kai koinoniki istoria tou symposiou. Skopos tou Burkhard na anasynthesei tin epidrasi tous.
O protos "akletos" stin elliniki logotexnia o Odysseas, pou paramerizei ton « synadelfo » tou kai antipalo tou Iro kai zita apo tous mnistires fagito kai poto sto symposio tous. Stin methomeriki poiisi tis archaikis periodou oi akletoi einai episis gnostoi os koinoniki omada (Archilochus fr. 78 D= 124 W ?). Metagenesteres parallages tou akletou stin ysteri logotechnia einai o "kolax" kai o "parasitos".
I antidrasi ton kalesmenon stin emfanisi ton akleton perigrafetai idi stin Odysseia : Oi akletoi synithos pairnoun ayto pou theloun apo fobo mipos i katara tous prokalesei ti dysmeneia tou theou, i kai apo oikto, omos yparxoun antidraseis gia tis koilies tous, ti methi tous, tin tempelia tous, tin adiantropia tous kai alla... Etsi o akletos paizei me tin kakomoiria tou kai tin adynamia tou thelontas na kolakepsei tous kalesmenous, kai stin ousia « paristanei » ton eayto tou tonizontas tin fysiki kai ithiki tou katoterotita. O akletos paizei ton anithiko rolo tou methystaka oste na diaskedasei kai etsi na kerdisei kapoio yliko agatho. I methodos na dimiourgithei kali diathesi kai ilarotita proballontas kaneis ta elattomata tou xrisimopoieitai episis kai apo ton Hephaisto stin Iliada. Tin idia methodo akolouthei kai o Philippos, emfanizomenos sto symposion tou Kallia kai dilonontas oti einai akletos kai peinasmenos (...). Ayti i « parastasi » den einai mia techne pou kathorizetai apo sygkekrimenous kanones. Gi’ayto kai o Burkhard theorei adiko to na apokalountai aplos zitianoi, kati pou ypobibazei ena periploko koinoniko-politistiko kai tin idia ora aisthetiko fainomeno stin oikonomiki tou mono pleyra.
An dextoume oti i koinoniki domi tou symposiou allaxe sto perasma tou xronou kata diaforous tropous, den mproroume na apokleisoume ti dynatotita tou na epaixan kapoio rolo s’aytes tis allages kai oi akletoi, oxi aplos pathetika alla san enas energos erethistikos paragontas...
Proi piga me to Fran sti angliki sholi, mou edose sistatika, etsi bopoume na diavasoume eki. Tora psahno ligaki ti ipothike peri zitianon, meta se metafrazo oti zitises...
Klino to propto kiklo gia entopismo, kai pali ap tin arhi, pjo prosektika. Auta einai ta kerea simia, tora isos einai ora na vroume ta krimmena, to upovatro, to plesio gia to horo. Symazevo kai tis paljes paratirisis.
"Endiaferon to arthtro gia tous "akletous" , ap'o,ti katalaba dinei mia kapos "parakindyneymeni" ermineia sxetika me aytous tous padded dancers, gia tous opoious exoun diatypothei diafores ermineies kata kairous. Tous exoun perigrapsei os satyrous i paromoia onta i os antres pou mimountai aytes tis morfes sto xoro. Kapoioi exoun ermineysei aytous tous xorous os latreytikes teletes pros timi tou Dionysou i theotiton tis gonimotitas, eno alloi tous exoun xaraktirisei os kanonikous komous (na kai i anafora ston komo, yparxei telika mesa sto arthro). Malista ayto mou thymizei ton "titlo" "arxaikoi komastes" pou exei kathierothei gia aytes tis xoreytikes andrikes morfes orismenon ergastirion apo kapoious meletites.."
Ma poios "xoros ton zitianon"? Mou xefyge kati tetoio? "Tromokratithika".
...A, nai, ayto. To eixa sxedon xexasei, gia skepsou apo ekei "arxisan ola".
Tha baleis kai ti metafrasi apo ton Ouggro? Me boithaei. An mporeis tha ithela kai ti metafrasi apo ti skini me to tragoudi tou Linou (Iliada-aspida, to exeis idi balei sto index apo Ouggro, ligo pio prin, xtes nomizo). E, nai, tora ego koitazo Iliada kai esy Odysseia:) Entaxei, fantazomai oti sto telos tha sygxronistoume:) Apla tora koitousa kati pou leei o Lonsdale gia to xoro kai to gamo kai to erotiko stoixeio kai etsi metapidisa sto kommati ayto, alla kapou exo dyskoleytei me ti metafrasi tou arxaiou kai den exo kai tin antistoixi tou Papyrou (leipei).
Burkard Fehr, "Entertainers at the Symposion: The Akletoi in the Archaic Period," offers a brilliant and provocative reading of the "padded dancers" as the "uninvited" (akletoi) participants at a symposium, whose role "as men who lack every basis for an accepted achievement and a respectable social existence" allows them to perform improvisational buffoonery that "makes the invited guests laugh and assures them of their superiority." [An important refinement of Svenbro's "belly madness" and also perhaps a description of the ubiquitous satyrs.] Examples such as Odysseus and Iros in the Odyssey and (perhaps) Hephaistos in the Iliad are confirmed by Philippos in Xenophon's Symposium, whose ostentatious hunger and awkward dance mimicking the beautiful young slave also provide a suitable model for the Corinthian padded dancers, with their prominent bellies and deformed feet. These dancers are contrasted on the vases with dancers of normal proportions, and one can identify one of their dances as "the scuffle" -- grabbing an opponent's leg and dragging him away, as Odysseus does to Iros. Although these dancers appear "almost everywhere in the Greek cultural world regardless of its [sic] social and political regional differences," F attempts to pin down a fundamental development in the Kleisthenic symposium of the early sixth century. Here he is less convincing: "the agrarian crises of the Archaic period must have forced many impoverished peasants to become akletoi at the banquets... Competition between the akletoi and the improvised character of their performances must have encouraged variety and innovation. In such a situation the younger members of the aristocracy especially must have been tempted to begin to go beyond what was allowed by the ancient norms...
Homer, The Odyssey (ed. Samuel Butler)
Scroll 18
Editions and translations: Greek | English | English (ed. Samuel Butler)
[66] Every one assented, and Odysseus girded his old rags about his loins, thus baring his stalwart thighs, his broad chest and shoulders, and his mighty arms; but Athena came up to him and made his limbs even stronger still. The suitors were beyond measure astonished, and one would turn towards his neighbor saying, "The stranger has brought such a thigh out of his old rags that there will soon be nothing left of Iros."
[75] Iros began to be very uneasy as he heard them, but the servants girded him by force, and brought him into the open part of the court in such a fright that his limbs were all of a tremble. Antinoos scolded him and said, "You swaggering bully, you ought never to have been born at all if you are afraid of such an old broken-down creature as this tramp is. I say, therefore - and it shall surely be - if he beats you and proves himself the better man, I shall pack you off on board ship to the mainland and send you to king Echetos, who kills every one that comes near him. He will cut off your nose and ears, and draw out your entrails for the dogs to eat."
[88] This frightened Iros still more, but they brought him into the middle of the court, and the two men raised their hands to fight. Then Odysseus considered whether he should let drive so hard at Iros as to make his psukhę leave him there and then as he fell, or whether he should give him a lighter blow that should only knock him down; in the end he deemed it best to give the lighter blow for fear the Achaeans should begin to suspect who he was. Then they began to fight, and Iros hit Odysseus on the right shoulder; but Odysseus gave Iros a blow on the neck under the ear that broke in the bones of his skull, and the blood came gushing out of his mouth; he fell groaning in the dust, gnashing his teeth and kicking on the ground, but the suitors threw up their hands and nearly died of laughter, as Odysseus caught hold of him by the foot and dragged him into the outer court as far as the gate-house. There he propped him up against the wall and put his staff in his hands. "Sit here," said he, "and keep the dogs and pigs off; you are a pitiful creature, and if you try to make yourself king of the beggars any more you shall fare still worse."
[108] Then he threw his dirty old wallet, all tattered and torn, over his shoulder with the cord by which it hung, and went back to sit down upon the threshold; but the suitors went within the cloisters, laughing and saluting him, "May Zeus, and all the other gods," said they, ‘grant you whatever you want for having put an end to the importunity of this insatiable tramp. We will take him over to the mainland presently, to king Echetos, who kills every one that comes near him."
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There are a total of 3 comments on and cross references to this page.
Further comments from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
book 18 (general note)
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
406 [Apposition.]
423 [Der eigentliche Dativ.]
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Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Od.+18.66
This text is based on the following book(s):
ISBN: 076071679X
A koldusik civakodasa felbukkan mint illetlen tanc tema, melynek 'oskepe' ez a jelenet.
TIZENNYOLCADIK ÉNEK
ODÜSSZEUSZ ÉS ÍROSZ ÖKÖLHARCA
Koldus jött közibük, ki a nép közt járt Ithakában
koldulgatva a városon át, és kapzsi hasával
tűnt ki: csak enni meg inni akart örökös-szakadatlan;
nem volt izmos-erős, de a termete szemre magas volt.
Arnaiosz - legalább így hívta az anyja, az úrnő,
már születésétől: de az ifjak mind csak eképen:
Írosz, mert hordozta a hírt, ha ki küldte közűlük.
Jött s el akarta saját házából űzni Odüsszeuszt,
és vele csúfolkodva, ilyen szárnyas szavakat szólt:
"Menj ki, öreg, mert még lábadnál fogva kihúzunk.
Nem veszed észre: az ifjak mind hunyorítanak énrám,
hogy vonszoljalak innét el. Csak fékez a szégyen.
Hát takarodj, mielőtt a kezünk is kezd civakodni."
Görbén fölfele nézve felelt leleményes Odüsszeusz:
"Rettentő ember, nem bánt tettem se, szavam se,
s még ha sokat kapsz is mástól, bizony én nem irígylem.
Mert e küszöb megbír kettőnket is; így irigyelned
tőlem a másét kár; hisz kóbor kéregető vagy,
látom, mint magam is; jót tán a nagy istenek adnak.
S bírkózásra ne buzdíts ennyire, föl ne dühítsél,
mert noha vén vagyok én, véredbe megáztatom ajkad
és kebeled; s azután legalább majd több nyugalom vár
holnap rám: mert úgy hiszem én, te se lépsz ezután már
terme ölébe megint Láertiadész Odüszeusznak."
Fölfortyanva, eképen szólt most Írosz, a koldus:
"Jaj, ez a morzsaleső szónok hogy pergeti nyelvét,
mint egy anyó a kemence előtt; két kézzel ütöm meg,
s akkor rosszuljár: valamennyi fogát kiverem még,
mint egy disznónak, ha a földön dúl a vetésben.
Gyürkőzz hát, hadd lássák itt ezek is viadalmát
kettőnknek; de az ifjabbal hogy is állsz ki csatára?"
Ők a simára csiszolt küszöbön, magas ajtószárnyak
alján ketten egész mérgükkel ekép fenekedtek.
Antinoosz meg uszítva is őket szent erejével,
fölnevetett édes hangon s a legények közt szólt:
"Kedveseim, soha meg nem esett a teremben ilyesmi,
mint amilyen gyönyörű látványt most rendez az isten.
Mert ez a hím-Írisz meg a vendég kézitusára
hívja ki egymást; hát ugrassuk is össze azonnal."
Mondta; föl is pattant nevetéssel mind a helyéről,
és ama két toprongyos koldust mind körülállták.
Eupeithész fia, Antinoosz szólt köztük eképen:
"Hős kérők, mondok valamit, hallgassatok énrám.
Ott a tüzön kecskék bendője rotyog, vacsoránkhoz
tettük föl, vérrel, hájjal duzzasztva dagadtra.
Hát amelyik most győz s derekabb leszen ebben a harcban,
lépjen a bendőkhöz, s vigye azt, amelyik neki tetszik;
és ezután köztünk lakomázzék mindig: e házba
kívüle kéregető koldus közibénk ne kerüljön."
Így szólt Antinoosz, s mindnek tetszett a beszéde.
Cselt szövögetve felelte nekik leleményes Odüsszeusz:
"Kedveseim, sose jó, ha az ifjabbal viadalra
száll az öreg, kit az ínség megtört. Mégis, a gyomrom
késztet rá, a gonosz, hogy tűrjem az ütlegelést is.
Rajta azonban, erős esküt tegyetek nekem itt mind:
senki se kedvez majd Írosznak, rám a kezével
egyiktek sem sujt, hogy ilyennek alája igázzon."
Szólt, s azok esküdtek mind úgy, ahogy ő követelte.
És hogy az esküt már megtették és befejezték,
ismét Télemakhosz szólt köztük szent erejével:
"Jó idegen, ha szived s hős lelked is ösztönöz arra,
hogy vele megmérkőzz, sose félj te a többi akhájtól,
mert többekkel kell majd annak vívni, ki rádcsap.
Én vagyok itt vendéglátó, s velem értsenek egyet
Antinoosz s vele Eurümakhosz, két bölcseszü bajnok."
Így szólt; és a szavát helyeselték mind. De Odüsszeusz
rossz rongyát lágyékig gyűrte, mutatta a combját;
szép, nagy volt, és széles válla is ekkor előtűnt,
s melle meg izmos jó két karja; s eközben Athéné
jó közel állt mellé s nagy erőt öntött a királyba.
Ekkor a kérők mind bámultak erősen a dolgon.
S volt, aki így szólt köztük a szomszédjára tekintve:
"Lám, maga hívta baját, sose lesz hím-Írisz az Írosz:
rongyai közt nézzétek csak combját az öregnek."
Így szóltak; s remegett Írosznak rútul a lelke.
Csakhogy a szolgák őt felövezték mégis, erővel,
bárhogy félt: minden tagján remegett is az izma.
Antinoosz korholta, nevén szólítva kimondta:
"Jobb lett volna neked, szájhős, sose jönni világra,
hogyha remegsz s ha ilyen rettentőn félsz az öregtől,
kit pedig inség is megtört már vénkora mellett.
Én mondom neked, és így megy majd teljesedésbe:
hogyha ez itt most győz s derekabb leszen ebben a harcban,
barna hajóba dobatlak, a szárazföldre vitetlek
majd, Ekhetoszhoz, az emberkínzó szörnyü királyhoz;
ő füled és orrod gonosz érccel vágja le tüstént,
s tépi szemérmedet is ki, ebeknek nyersen ebédül."
Szólt; mire mégjobban remegett az minden izében.
Vitték végre középre; kezét kivetette a kettő.
Ekkor töprengett a sokattűrt bajnok Odüsszeusz:
sujtson-e rá, hogy amint elesik, kiszaladjon a lelke,
vagy szelidebben csak, hogy végignyúljon a földön.
Töprengett s azután ezt látta a leghelyesebbnek:
csak szeliden csap rá, nehogy egy is sejtse: ki harcol.
Karjuk emelték, s őt Írosz jobbvállon ütötte,
ő meg a fül mellett sujtott a nyakára: bezúzta
csontjait: és Írosz száján kiszökött a vörös vér;
hullt le a porba, fölordított, s a fogát csikorítva,
lábaival rugdalt: de a kérők kart fölemelve
majd meghaltak a nagy nevetéstől. Közben Odüsszeusz
lábainál vonszolta ki őt a kapun, ki a tornác
hosszában, s odaültetvén udvar keritése
mellé, jól odatámasztotta, kezébe botot tett,
és őt megszólítva, ilyen szárnyas szavakat szólt:
"Itt ülj, disznókat s ebeket tarts messze magadtól,
és sose vágyj ura lenni a koldusnak s idegennek,
íly nyomorult létedre; nehogy több bajba harapj még."
Mondta, s azonnal vállravetette a csúnya tarisznyát,
foltos-foszladozót, madzag volt rajta a kantár;
s visszakerült a küszöbre, leült. Odabenn meg a kérők
édes nagy nevetéssel, eképen szólva, fogadták:
"Jó idegen, Zeusz adja neked, meg a többi nagy isten
azt, mire legjobban vágyol, mi betölti a lelked;
megszűntetted a szemtelen ember kéregetését
községünkben; a szárazföldre vitetjük azonnal
őt, Ekhetoszhoz, az emberkínzó szörnyü királyhoz."
Így szóltak; megörült az igének a bajnok Odüsszeusz.
Antinoosz maga nyujtott át neki jó teli bendőt,
mely vértől, hájtól duzzadt volt: Amphinomosz meg
két kenyeret kiemelt a kosárból, tette elébe,
és aranyos serleggel rájaköszöntve, ekép szólt:
"Üdvözlégy, vendég atyus, és legalább a jövőben
légy boldog, mert most, látom, sok bajba merültél."
Another triad follows, this time with the connecting theme of the phlyax-vase. C.W. Dearden ("Pots, Tumblers, and Phlyax Vases", 81-6 + 2 plates) begins with the entertainment in Xen. Symp. with emphasis on the girl dancing and juggling on the potter's wheel (7.2-3). He cites evidence from Plato (Euthyd. 294e) and two vases from the 4th c. which D. argues show a female acrobat (without a mask) performing in a theatrical setting in front of a phlyax-actor. D. develops Sandbach's thesis that Old Comedy did at times use genuine female dancers, rather than men dressed as women, that the dancing-girl at the end of Thesm. provides such an instance, and that these vases reflect such performers, unmasked but with "an identifiable role within the play" (85). It was not readily clear to me whether "the play" of the concluding paragraph was Thesm. or some 4th-c. phlyax-comedy; there is nothing in the Greek of Aristophanes' play to support a dance on the potter's wheel. The possibility of nude female figures in Aristophanes has been studied by Zweig and Taaffe.2
At banquets likewise the kubisthth=rej or tumblers were frequently introduced. These tumblers, in the course of their dance, flung themselves on their heads and alighted again on their feet (w#sper oi( kubistw=ntej kai\ ei0j o)rqro\n ta\ ske/lh perifero/menoi kubistw=si ku/klw|, Plat, Symp. c16, p190). We read of kubisthth=rej as early as the time of Homer (Il. xviii.605, Od. iv.18). They were also accustomed to make their somerset over knives or swords, which was called kubista=n ei0j maxai/raj (Plato, Euthyd. c55 p294; Xen. Mem. i.3 §9, Symp. ii.14; Athen. iv. p129d; Pollux, iii.134). The way in which this feat was performed is described by Xenophon, who says (Symp. ii.11) that a circle was made quite full of upright swords, and that the dancer ei0j tau=ta e)kubi/sta te kai\ e)cekubi/sta u(pe\r au)tw=n; and it is well illustrated by the following cut taken from the Museo Borbonico, vol. vii. tav. 58 (Becker, Charikles, vol. i. p499, vol. ii p287). We learn from Tacitus (Germ. 24) that the German youths also used to dance among swords and spears pointed at them.
So they were feasting in the great high-roofed hall, the neighbors and kinsfolk of glorious Menelaus, and making merry; and among them a divine minstrel was singing to the lyre, and two tumblers whirled up and down through the midst of them, as he began his song.
15
hôs hoi men dainunto kath' hupserephes mega dôma*
geitones ęde etai Menelaou kudalimoio,
terpomenoi: meta de sphin emelpeto theios aoidos
phormizôn, doiô de kubistętęre* kat' autous,
molpęs exarchontos*, edineuon kata messous*.
Ott lakomáztak ezek meredektetejű palotában,
nagynevü hős Meneláosz sok szomszédja, barátja,
ott mulatoztak, míg közepettük az isteni dalnok
lantszava szólt; és két bukfences táncos a körben
lejtett örvénylő forgással a lant ütemére.
Now the wooers turned to the dance and to gladsome song, and made them merry, and waited till evening should come; and as they made merry dark evening came upon them. Then they went, each man to his house, to take their rest. [425]
hoi d' eis orchęstun te kai himeroessan aoidęn
trepsamenoi terponto, menon d' epi hesperon elthein*.
toisi de terpomenoisi melas epi hesperos ęlthe:
dę tote kakkeiontes* eban oikonde hekastos.
Ők pedig ekkor a tánchoz, a vágykeltő daloláshoz
fordulván vigadoztak, ekép várták be az estét.
És a sötét est őket még mulatozva találta;
ekkor mind hazaindult már lepihenni lakába.
Homer, The Odyssey (ed. Samuel Butler)
Scroll 1
Editions and translations: Greek | English | English (ed. Samuel Butler)
[113] Telemakhos saw her long before any one else did. He was sitting moodily among the suitors thinking about his brave father, and how he would send them fleeing out of the house, if he were to come to his own again and be honored as in days gone by. Thus brooding as he sat among them, he caught sight of Athena and went straight to the gate, for he was vexed that a stranger should be kept waiting for admittance. He took her right hand in his own, and bade her give him her spear. "Welcome," said he, "to our house, and when you have partaken of food you shall tell us what you have come for."
========
ton d' ęmeibet' epeita thea, glaukôpis Athęnę:
“ô pater hęmetere Kronidę, hupate kreiontôn,
ei men dę nun touto philon makaressi theoisin,
nostęsai Odusęa poluphrona honde domonde,
Hermeian men epeita diaktoron argeďphontęn
85
nęson es Ôgugięn* otrunomen*, ophra* tachista
numphęi euplokamôi eipęi nęmertea* boulęn,
noston* Odussęos talasiphronos, hôs ke neętai:
autar* egôn Ithakęnd' eseleusomai*, ophra hoi huion
mallon epotrunô kai hoi menos en phresi theiô,
90
eis agoręn kalesanta* karę komoôntas Achaious
pasi mnęstęressin apeipemen*, hoi te hoi aiei
męl' hadina sphazousi kai eilipodas* helikas* bous.
pempsô d' es Spartęn te kai es Pulon ęmathoenta*
noston peusomenon patros philou, ęn pou akousęi,
ęd' hina* min kleos* esthlon en anthrôpoisin echęisin.”
95
hôs eipous' hupo possin edęsato kala pedila,
ambrosia chruseia, ta min pheron ęmen eph' hugręn
ęd' ep' apeirona gaian hama pnoięis anemoio:
heileto d' alkimon enchos, akachmenon oxei chalkôi,
100
brithu mega stibaron, tôi damnęsi stichas andrôn
hęrôôn, toisin te kotessetai* obrimopatrę*.
bę de kat' Oulumpoio karęnôn aixasa,
stę d' Ithakęs eni dęmôi epi* prothurois* Odusęos,
oudou* ep' auleiou*: palamęi d' eche chalkeon enchos,
105
eidomenę xeinôi, Taphiôn* hęgętori Mentęi.
heure d' ara* mnęstęras agęnoras. hoi men epeita
pessoisi* proparoithe thuraôn thumon eterpon
hęmenoi en rhinoisi boôn, hous ektanon autoi:
kęrukes* d' autoisi kai otręroi therapontes
110
hoi men oinon emisgon eni krętęrsi kai hudôr,
hoi d' aute spongoisi polutrętoisi trapezas
nizon kai protithen*, toi de krea polla dateunto*.
tęn de polu prôtos ide Tęlemachos theoeidęs,
hęsto gar en mnęstęrsi philon tetięmenos ętor,
115
ossomenos* pater esthlon eni phresin, ei pothen+ elthôn
mnęstęrôn* tôn men skedasin+ kata+ dômata+ theię+,
timęn+ d' autos+ echoi+ kai dômasin hoisin anassoi.
ta phroneôn, mnęstęrsi methęmenos, eisid' Athęnęn.
bę d' ithus prothuroio, nemessęthę* d' eni thumôi
120
xeinon dętha thuręisin ephestamen: enguthi de stas
cheir' hele dexiteręn kai edexato chalkeon enchos,
kai min phônęsas** epea pteroenta prosęuda*:
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There are a total of 89 comments on and cross references to this page.
Further comments from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
book 1 (general note)
book 1, line 109: perapontes
book 1, line 110: hoi men
book 1, line 117: timęn
book 1, line 82: ei men dę
book 1, line 84: diaktoros
book 1, line 86: euplokamos
book 1, line 90: Achaious
book 1, line 92: hadina
book 1, line 92: helikes
book 1, line 97: hugręn
Cross references from Perseus Encyclopedia:
krater [Krater]
Cross references from Raphael Kühner, Friedrich Blass, Ausführliche Grammatik der Griechischen Sprache (ed. Ildar Ibraguimov):
27 [Kurze Vokale und lange Vokale oder Diphthonge.]
47 [Von dem Hiatus in der epischen Poesie.]
17 [W in den Homerischen Gedichten.]
88 [VII. Encliticae.]
53 [D. Elision.]
17 [W in den Homerischen Gedichten.]
176 [Deklination von tis, tis, hostis.]
155 [Anomalische Komparationsformen.]
90 [Encliticae betont (orthotonoumenai).]
17 [W in den Homerischen Gedichten.]
118 [Bemerkungen über die Kasusendungen.]
27 [Kurze Vokale und lange Vokale oder Diphthonge.]
75 [Bemerkungen über die Quantität in der Dichtersprache.]
18 [Alphabetisches Verzeichnis der digammierten Wörter bei Homer.]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
389 [Konjunktiv, Optativ, Imperativ, Infinitiv und Partizip der Zeitformen.]
423 [Der eigentliche Dativ.]
417 [Fortsetzung.]
469 [Bemerkungen über einige Eigentümlichkeiten im Gebrauche der Personal- und der Demonstrativpronomen.]
425 [Der Dativ als Vertreter des Instrumentalis.]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
472 [a) Infinitiv ohne Artikel als Subjekt und Prädikat.]
503 [Konfirmatives men. — men dę. — mentoi. — men oun).]
553 [Adverbialsätze der Absicht, durch hina, oft auch hôs, hopôs, ophra (ep. u. lyr.), damit, [heôs ep.] (negativ hina mę, hôs mę u. s. w., auch bloss mę [lat. ne], damit nicht), eingeleitet).]
601 [VI. Pleonasmus).]
540 [Komparatives ę, als.]
Cross references from W. W. How, J. Wells, A Commentary on Herodotus:
5, 92B [BOOK V]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
7, 108 [Book 7 (Ę)]
2, 87 [Book 2 (B)]
9, 466 [Book 9 (I)]
2, 367 [Book 2 (B)]
14, 308 [Book 14 (X)]
24, 338 [Book 24 (Ô)]
Cross references from William Watson Goodwin, Syntax of the Moods and Tenses of the Greek Verb:
488 [Apodosis contained in the Protasis.]
488 [Apodosis contained in the Protasis.]
615 [Temporal Particles signifying Until and Before.: heôs, ophra, eis ho or eisoke, este, achri, mechri, until.]
615 [Temporal Particles signifying Until and Before.: heôs, ophra, eis ho or eisoke, este, achri, mechri, until.]
709 [hopôs, ho, houneka, and hothouneka, in Indirect Quotations.]
488 [Apodosis contained in the Protasis.]
487 [Apodosis contained in the Protasis.]
488 [Apodosis contained in the Protasis.]
Cross references from Basil Lanneau Gildersleeve, Syntax of Classical Greek:
3, 2, 23 [Vocative prepositive:]
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Od.+1.80
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1919.
OCLC: 22584673
ISBN: 0674995619, 0674995627
[125] He led the way as he spoke, and Athena followed him. When they were within he took her spear and set it in the spear - stand against a strong bearing-post along with the many other spears of his unhappy father, and he conducted her to a richly decorated seat under which he threw a cloth of damask. There was a footstool also for her feet, and he set another seat near her for himself, away from the suitors, that she might not be annoyed while eating by their noise and insolence, and that he might ask her more freely about his father.
[136] A maid servant then brought them water in a beautiful golden ewer and poured it into a silver basin for them to wash their hands, and she drew a clean table beside them. An upper servant brought them bread, and offered them many good things of what there was in the house, the carver fetched them plates of all manner of meats and set cups of gold by their side, and a man-servant brought them wine and poured it out for them.
[144] Then the suitors came in and took their places on the benches and seats. Forthwith men servants poured water over their hands, maids went round with the bread-baskets, pages filled the mixing-bowls with wine and water, and they laid their hands upon the good things that were before them. As soon as they had had enough to eat and drink they wanted music and dancing, which are the crowning embellishments of a banquet, so a servant brought a lyre to Phemios, whom they compelled perforce to sing to them. As soon as he touched his lyre and began to sing Telemakhos spoke low to Athena, with his head close to hers that no man might hear.
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There are a total of 16 comments on and cross references to this page.
Further comments from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
book 1 (general note)
book 1, line 136: prochoôi pherousa
book 1, line 136: cherniba epecheue
book 1, line 136: chersin
Cross references from Raphael Kühner, Friedrich Blass, Ausführliche Grammatik der Griechischen Sprache (ed. Ildar Ibraguimov):
47 [Von dem Hiatus in der epischen Poesie.]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
469 [Bemerkungen über einige Eigentümlichkeiten im Gebrauche der Personal- und der Demonstrativpronomen.]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
7, 205 [Book 7 (ę)]
7, 314 [Book 7 (ę)]
9, 1 [Book 9 (i)]
3, 118 [Book 3 (g)]
9, 206 [Book 9 (i)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
24, 303 [Book 24 (Ô)]
Cross references from William Watson Goodwin, Syntax of the Moods and Tenses of the Greek Verb:
488 [Apodosis contained in the Protasis.]
488 [Apodosis contained in the Protasis.]
615 [Temporal Particles signifying Until and Before.: heôs, ophra, eis ho or eisoke, este, achri, mechri, until.]
615 [Temporal Particles signifying Until and Before.: heôs, ophra, eis ho or eisoke, este, achri, mechri, until.]
709 [hopôs, ho, houneka, and hothouneka, in Indirect Quotations.]
770 [Infinitive of Purpose.]
Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Od.+1.113
This text is based on the following book(s):
ISBN: 076071679X
ELSŐ ÉNEK
AZ ISTENEK GYŰLÉSE
ATHÉNÉ INTELME TÉLEMAKHOSZHOZ
Majd miután elverték végül az éhet, a szomjat,
akkor a kérőknek más gond kélt már a szivükben,
énekszó és tánc, mely a víg lakomák koronája;
hát gyönyörű kitharát helyezett a kezébe a hírnök
Phémíosznak, a kérők kényszerü énekesének.
Ő meg a húrba kapott s kezdett is zengeni szépen,
s Télemakhosz megszólította bagolyszemü Pallaszt,
hozzá hajtva fejét, hogy a többi ne értse, amit mond:
"Jó idegen, mondd, megharagudsz-é, hogyha kimondom?
Látod, ezeknek egyéb gondjuk sincs, lant szava s ének;
könnyü nekik, hisz a más vagyonát boszulatlan emésztik,
s néki fehér csontját valahol rothasztja a zápor,
míg a mezőn fekszik, vagy a vízben hányja a hullám.
Hisz csak látnák őt, hogy még hazatér Ithakába,
mindegyikük jobban sóvárgana fürge inakra,
mint bőségre, aranyra s a nagyszerü öltözetekre.
Kai eftiaxe dyo omorfes poleis thniton anthropon. Sti mia gamoi ginontan kai giortes kai nyfes apo ta spitia tous mesa stin poli odigousan me dades foteines, gamilia tragoudia elegan polla. Kai nearoi xoreytes strobylizan kai anamesa tous ayloi kai lyres ixousan dynata. Kai oi gynaikes stekontan kathemia mprosta stin porta tous kai thaymazan.
O Lonsdale milaei gia aytes tis skines sto biblio tou, exo ta apospasmata, tha proxoriso kai allo ligo sti metafrasi kai meta tha ta meletiso. Episis i Calame exei stoixeia sxetika me ton oro "molpi".
Duo omorfo poli mastoreve pano stin aspida o theos, i thniti minane mesa: sti mia egine gamo, kai tis numfes ap ta spitja tous me dades odigousan mesa oli stin poli, polla gamilia tragoudja eipane. Strovilo horo girisane oi nei. Forminges kai aoules akustikan dinata. Alla oi ginekes stekondan bros sta spitja tous sti veranda kai taumazane tin pombi.
Homer, Iliad
Editions and translations: Greek | English | English (ed. Samuel Butler)
Then the famous god of the two strong arms answered her: “Be of good cheer, neither let these things distress thy heart. Would that I might so surely avail to hide him afar from dolorous death, [465] when dread fate cometh upon him, as verily goodly armour shall be his, such that in aftertime many a one among the multitude of men shall marvel, whosoever shall behold it.”
So saying he left her there and went unto his bellows, and he turned these toward the fire and bade them work. [470] And the bellows, twenty in all, blew upon the melting-vats, sending forth a ready blast of every force, now to further him as he laboured hard, and again in whatsoever way Hephaestus might wish and his work go on. And on the fire he put stubborn bronze and tin [475] and precious gold and silver; and thereafter he set on the anvil-block a great anvil, and took in one hand a massive hammer, and in the other took he the tongs.
First fashioned he a shield, great and sturdy, adorning it cunningly in every part, and round about it set a bright rim, [480] threefold and glittering, and therefrom made fast a silver baldric. Five were the layers of the shield itself; and on it he wrought many curious devices with cunning skill.
Therein he wrought the earth, therein the heavens therein the sea, and the unwearied sun, and the moon at the full, [485] and therein all the constellations wherewith heaven is crowned--the Pleiades, and the Hyades and the mighty Orion, and the Bear, that men call also the Wain, that circleth ever in her place, and watcheth Orion, and alone hath no part in the baths of Ocean.
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There are a total of 15 comments on and cross references to this page.
Further comments from Walter Leaf, Commentary on the Iliad (1900):
book 18 (general note)
book 18, line 470: choanoisin
book 18, line 475: timęnta
book 18, line 480: antux
book 18, line 480: argureos telamôn
book 18, line 485: teirea
book 18, line 485: estephanôtai
Cross references from Perseus Encyclopedia:
hesiod [Hesiod]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
443 [a. Die Präpositionen als Ortsadverbien.]
411 [Doppelter Akkusativ.]
Cross references from Sir Richard Jebb, Commentary on Sophocles: Antigone:
* [162-331]
Cross references from Sir Richard Jebb, Commentary on Sophocles: Philoctetes:
* [865-1080]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
7, 91 [Book 7 (ę)]
9, 507 [Book 9 (i)]
7, 110 [Book 7 (ę)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
9, 605 [Book 9 (I)]
5, 739 [Book 5 (E)]
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Il.+18.462
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. A. T. Murray, Ph.D. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
OCLC: 38101377
ISBN: 0674991885, 0674991893
[490] Therein fashioned he also two cities of mortal men exceeding fair. In the one there were marriages and feastings, and by the light of the blazing torches they were leading the brides from their bowers through the city, and loud rose the bridal song. And young men were whirling in the dance, and in their midst [495] flutes and lyres sounded continually; and there the women stood each before her door and marvelled. But the folk were gathered in the place of assembly; for there a strife had arisen, and two men were striving about the blood-price of a man slain; the one avowed that he had paid all, [500] declaring his cause to the people, but the other refused to accept aught; and each was fain to win the issue on the word of a daysman. Moreover, the folk were cheering both, shewing favour to this side and to that. And heralds held back the folk, and the elders were sitting upon polished stones in the sacred circle, [505] holding in their hands the staves of the loud-voiced heralds. Therewith then would they spring up and give judgment, each in turn. And in the midst lay two talents of gold, to be given to him whoso among them should utter the most righteous judgment.
But around the other city lay in leaguer two hosts of warriors [510] gleaming in armour. And twofold plans found favour with them, either to lay waste the town or to divide in portions twain all the substance that the lovely city contained within. Howbeit the besieged would nowise hearken thereto, but were arming to meet the foe in an ambush. The wall were their dear wives and little children guarding, [515] as they stood thereon, and therewithal the men that were holden of old age; but the rest were faring forth, led of Ares and Pallas Athene, both fashioned in gold, and of gold was the raiment wherewith they were clad. Goodly were they and tall in their harness, as beseemeth gods, clear to view amid the rest, and the folk at their feet were smaller. [520] But when they were come to the place where it seemed good unto them to set their ambush, in a river-bed where was a watering-place for all herds alike, there they sate them down, clothed about with flaming bronze. Thereafter were two scouts set by them apart from the host, waiting till they should have sight of the sheep and sleek cattle. [525] And these came presently, and two herdsmen followed with them playing upon pipes; and of the guile wist they not at all.
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There are a total of 26 comments on and cross references to this page.
Further comments from Walter Leaf, Commentary on the Iliad (1900):
book 18 (general note)
book 18, line 495: an.boęn echon
book 18, line 500: Piphauxkôn
book 18, line 500: męden
book 18, line 505: skęptra
book 18, line 505: Ęerophônôn
book 18, line 510: sphisin
book 18, line 510: dicha
book 18, line 510: dicha . . boulę
book 18, line 515: ephestaotes
book 18, line 520: eike
book 18, line 525: hoi de
Cross references from Perseus Encyclopedia:
hesiod [Hesiod]
Cross references from Sir Richard C. Jebb, Commentary on Sophocles: Oedipus Tyrannus:
1351: rhuato
Cross references from Sir Richard Jebb, Commentary on Sophocles: Philoctetes:
* [135-218]
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [HYMN TO APOLLO]
* [BIBLIOGRAPHY]
* [HYMN TO DIONYSUS]
* [HYMN TO PAN]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
7, 91 [Book 7 (ę)]
11, 90 [Book 11 (l)]
5, 466 [Book 5 (e)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
10, 13 [Book 10 (K)]
16, 105 [Book 16 (P)]
1, 234 [Book 1 (A)]
16, 435 [Book 16 (P)]
7, 217 [Book 7 (Ę)]
21, 242 [Book 21 (Ph)]
Cross references from Charles Simmons, The Metamorphoses of Ovid, Books XIII and XIV:
13, 294
13, 692
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Il.+18.490
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. A. T. Murray, Ph.D. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
OCLC: 38101377
ISBN: 0674991885, 0674991893
But the liers-in-wait, when they saw these coming on, rushed forth against them and speedily cut off the herds of cattle and fair flocks of white-fleeced sheep, and slew the herdsmen withal. [530] But the besiegers, as they sat before the places of gathering and heard much tumult among the kine, mounted forthwith behind their high-stepping horses, and set out thitherward, and speedily came upon them. Then set they their battle in array and fought beside the river banks, and were ever smiting one another with bronze-tipped spears. [535] And amid them Strife and Tumult joined in the fray, and deadly Fate, grasping one man alive, fresh-wounded, another without a wound, and another she dragged dead through the mellay by the feet; and the raiment that she had about her shoulders was red with the blood of men. Even as living mortals joined they in the fray and fought; [540] and they were haling away each the bodies of the others' slain.
Therein he set also soft fallow-land, rich tilth and wide, that was three times ploughed; and ploughers full many therein were wheeling their yokes and driving them this way and that. And whensoever after turning they came to the headland of the field, [545] then would a man come forth to each and give into his hands a cup of honey-sweet wine; and the ploughmen would turn them in the furrows, eager to reach the headland of the deep tilth. And the field grew black behind and seemed verily as it had been ploughed, for all that it was of gold; herein was the great marvel of the work.
[550] Therein he set also a king's demesne-land, wherein labourers were reaping, bearing sharp sickles in their hands. Some handfuls were falling in rows to the ground along the swathe, while others the binders of sheaves were binding with twisted ropes of straw. Three binders stood hard by them, while behind them [555] boys would gather the handfuls, and bearing them in their arms would busily give them to the binders; and among them the king, staff in hand, was standing in silence at the swathe, joying in his heart. And heralds apart beneath an oak were making ready a feast, and were dressing a great ox they had slain for sacrifice; and the women [560] sprinkled the flesh with white barley in abundance, for the workers' mid-day meal.
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There are a total of 20 comments on and cross references to this page.
Further comments from Walter Leaf, Commentary on the Iliad (1900):
book 18 (general note)
book 18, line 527: hoi men
book 18, line 527: ta
book 18, line 530: hoi de
book 18, line 535: homileon
book 18, line 545: oinou
book 18, line 550: basilęďon
book 18, line 550: basileus
book 18, line 550: skęptron
book 18, line 550: erithoi
book 18, line 560: Palunon
book 18, line 560: daita
book 18, line 560: deipNon
Cross references from Perseus Encyclopedia:
hesiod [Hesiod]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
445 [c. Tmesis in den zusammengesetzten Verben.)]
426 [Der Dativ als Vertreter des Lokativs.]
424 [Dativ bei Substantiven.]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
7, 91 [Book 7 (ę)]
11, 402 [Book 11 (l)]
2, 316 [Book 2 (b)]
7, 126 [Book 7 (ę)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
4, 440 [Book 4 (D)]
5, 589 [Book 5 (E)]
12, 268 [Book 12 (M)]
9, 578 [Book 9 (I)]
11, 68 [Book 11 (L)]
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Il.+18.527
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. A. T. Murray, Ph.D. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
OCLC: 38101377
ISBN: 0674991885, 0674991893
Therein he set also a vineyard heavily laden with clusters, a vineyard fair and wrought of gold; black were the grapes, and the vines were set up throughout on silver poles. And around it he drave a trench of cyanus, and about that a fence of tin; [565] and one single path led thereto, whereby the vintagers went and came, whensoever they gathered the vintage. And maidens and youths in childish glee were bearing the honey-sweet fruit in wicker baskets. And in their midst a boy made pleasant music with a clear-toned lyre, [570] and thereto sang sweetly the Linos-song with his delicate voice; and his fellows beating the earth in unison therewith followed on with bounding feet mid dance and shoutings.
And therein he wrought a herd of straight-horned kine: the kine were fashioned of gold and tin, [575] and with lowing hasted they forth from byre to pasture beside the sounding river, beside the waving reed. And golden were the herdsmen that walked beside the kine, four in number, and nine dogs swift of foot followed after them. But two dread lions amid the foremost kine [580] were holding a loud-lowing bull, and he, bellowing mightily, was haled of them, while after him pursued the dogs and young men. The lions twain had rent the hide of the great bull, and were devouring the inward parts and the black blood, while the herdsmen vainly sought to fright them, tarring on the swift hounds. [585] Howbeit these shrank from fastening on the lions, but stood hard by and barked and sprang aside.
Therein also the famed god of the two strong arms wrought a pasture in a fair dell, a great pasture of white-fleeced sheep, and folds, and roofed huts, and pens.
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There are a total of 18 comments on and cross references to this page.
Further comments from Walter Leaf, Commentary on the Iliad (1900):
book 18 (general note)
book 18, line 565: autęn
book 18, line 570: linon
book 18, line 570: huPo
book 18, line 575: koprou
book 18, line 580: erugmęlon
book 18, line 585: dakeein men
book 18, line 585: megan
book 18, line 585: stathmoi
book 18, line 585: klisiai
book 18, line 585: sękoi
book 18, line 585: ide
Cross references from Perseus Encyclopedia:
hesiod [Hesiod]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
414 [Verbindung des Genetivs mit einem Substantive oder substantivierten Adjektive und Adverb.]
Cross references from Raphael Kühner, Bernhard Gerth, Ausführliche Grammatik der griechischen Sprache (ed. Ildar Ibraguimov):
600 [V. Verschränkung und Verschmelzung in der Wort- und Satzfügung.]
Cross references from W. W. How, J. Wells, A Commentary on Herodotus:
2, 79, 2 [BOOK II]
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [HYMN TO HERMES]
* [HYMN TO HERMES]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
7, 91 [Book 7 (ę)]
6, 159 [Book 6 (z)]
9, 219 [Book 9 (i)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
11, 549 [Book 11 (L)]
11, 807 [Book 11 (L)]
15, 666 [Book 15 (O)]
--------------------------------------------------------------------------------
Preferred URL for linking to this page: http://perseus.uchicago.edu/cgi-bin/ptext?lookup=Hom.+Il.+18.561
The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. A. T. Murray, Ph.D. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
OCLC: 38101377
ISBN: 0674991885, 0674991893
[590] Therein furthermore the famed god of the two strong arms cunningly wrought a dancing-floor like unto that which in wide Cnosus Daedalus fashioned of old for fair-tressed Ariadne. There were youths dancing and maidens of the price of many cattle, holding their hands upon the wrists one of the other. [595] Of these the maidens were clad in fine linen, while the youths wore well-woven tunics faintly glistening with oil; and the maidens had fair chaplets, and the youths had daggers of gold hanging from silver baldrics. Now would they run round with cunning feet [600] exceeding lightly, as when a potter sitteth by his wheel that is fitted between his hands and maketh trial of it whether it will run; and now again would they run in rows toward each other. And a great company stood around the lovely dance, taking joy therein; [605] and two tumblers whirled up and down through the midst of them as leaders in the dance.
Therein he set also the great might of the river Oceanus, around the uttermost rim of the strongly-wrought shield.
But when he had wrought the shield, great and sturdy, [610] then wrought he for him a corselet brighter than the blaze of fire, and he wrought for him a heavy helmet, fitted to his temples, a fair helm, richly-dight, and set thereon a crest of gold; and he wrought him greaves of pliant tin.
But when the glorious god of the two strong arms had fashioned all the armour, [615] he took and laid it before the mother of Achilles. And like a falcon she sprang down from snowy Olympus, bearing the flashing armour from Hephaestus.
--------------------------------------------------------------------------------
There are a total of 20 comments on and cross references to this page.
Further comments from Walter Leaf, Commentary on the Iliad (1900):
book 18 (general note)
book 18, line 590 (general note)
book 18, line 595: othonai
book 18, line 595: chitônes
book 18, line 600: armenon eN Palamęisi
book 18, line 610: teuxe de
Cross references from Perseus Encyclopedia:
hesiod [Hesiod]
Cross references from Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works:
2, 1, 1 [Daedalus]: And the renowned smith of the strong arms made elaborate on it A dancing floor like that which once in the wide spaces of Knossos Daidalos built for Ariadne of the lovely tresses
Cross references from Sir Richard Jebb, Commentary on Sophocles: Ajax:
* [693-718]
Cross references from Thomas W. Allen, E. E. Sikes, Commentary on the Homeric Hymns:
* [HYMN TO HERMES]
Cross references from W. Walter Merry, James Riddell, D. B. Monro, Commentary on the Odyssey (1886):
7, 91 [Book 7 (ę)]
8, 267 [Book 8 (th)]
3, 408 [Book 3 (g)]
4, 119 [Book 4 (d)]
5, 234 [Book 5 (e)]
8, 22 [Book 8 (th)]
Cross references from Walter Leaf, Commentary on the Iliad (1900):
3, 141 [Book 3 (G)]
5, 586 [Book 5 (E)]
16, 745 [Book 16 (P)]
Cross references from Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898):
fig.00669.2 [Tiled Roof. (Portico of Octavia, Rome.)]
Cross references from William Watson Goodwin, Syntax of the Moods and Tenses of the Greek Verb:
487 [Apodosis contained in the Protasis.]
--------------------------------------------------------------------------------
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The Annenberg CPB/Project provided support for entering this text.
This text is based on the following book(s):
Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. A. T. Murray, Ph.D. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.
OCLC: 38101377
ISBN: 0674991885, 0674991893
És legelőször erős pajzsot kalapált ki az üllőn,
dúsan díszítette, reá hármas karimát tett,
fényeset és ragyogót, s ráfűzte a szíjat ezüstből.
Ötrétű lett végül a pajzs, és jártas eszével
Héphaisztosz sok-sok gyönyörű képet kalapált rá.
Ráremekelte a földet, rá az eget meg a tengert
és a sosempihenő napot is meg a szép teleholdat.
S minden csillagot is, mely az ég peremét koszorúzza,
Óríónt s a Fiastyúkot, meg a Hűaszokat mind,
vélük a Medvét is - más néven híva Szekér ez -
mint forog egy helyben, míg Óríónt lesi egyre,
s egymaga nem fürdik csak meg soha Ókeanoszban.
Két szép várost is remekelt ki a pajzson az isten,
földi halandókét: egyben lakodalmakat ültek,
s házukból a menyasszonyokat fáklyák tüze mellett
végig a városon át, sok nászdalt zengve, vezették.
Örvénylő táncban perdültek az ifjak; a lantok
és fuvolák harsány szava szólt; de az asszonyok álltak,
mind a saját tornáca előtt bámult a menetre.
Míg a piactéren sokaság állt, pörlekedés folyt:
meggyilkolt ember vérdíja fölött civakodtak
ketten: az egyikük esküdözött, az mondta a népnek,
mind kifizette; tagadta a másik: mit se kapott még.
Mindketten kívánták, hogy tanu döntsön a perben.
Mindkettőt bíztatta a nép, két pártra szakadtak:
jártak a hírnökök, és intették csöndre a népet;
ültek a síma, csiszolt köveken szent körben a vének:
botját tartották harsányszavu hírnökeiknek,
föl-fölemelkedtek, s fölváltva itéltek a bottal.
Köztük a kör közepén két tiszta talentum arany volt,
annak díjául, ki a leghelyesebben itél majd.
Míg két hadsereg állt ragyogó fegyverben a másik
város előtt körben: szándékuk kétfele oszlott:
vagy földúlni egészen, vagy két részre szakítva
osztani föl, mit a hőnszeretett város fala őriz.
Várbeli nem hajlik, vértjét veszi, lesre törekszik.
Sok szeretett feleség, kicsi gyermek védte a bástyát,
és az elaggottak velük álltak föl hadi rendbe:
ők pedig indultak: vezetőjük Arész meg Athéné:
fényes aranyból mindkettő, arany öltözetében,
fegyveresen: mindkettő szép magas és ragyogó volt,
mint csak az égilakók; s apróbb volt mind a halandó.
Majd, mikor ott jártak, hol a leshelyüket kiszemelték,
lenn a folyó mellett, hol a nyájnak ivóhelye állott,
ott telepedtek meg, vöröses rézzel betakartan.
Két figyelő kém ült azután messzebb a seregtől,
leste, mikor jön a nyáj vagy a csámpás csorda közelbe.
Jött is a nyáj hamar, és két pásztor járt a nyomában,
sípjaikat fujták vidoran, cselt nem gyanitottak.
Látva a pásztorokat, kirohantak leshelyeikről,
elfogták a baromcsordát meg a hószinű nyájnak
szép juhait, s mellettük a pásztornépet elölték.
Ámde azok, hallván, hogy a csorda körül nagy a lárma,
otthagyták hadigyűlésük, gyorslábu lovakra
pattantak, s nekiindultak; tüstént odaértek.
És a folyóparton hadirendben megverekedtek,
egymást érchegyü lándzsákkal hajigálva csatáztak.
Köztük járt a Viszály meg a Zaj meg a rettenetes Vész,
elragadott egyként sértetlent és sebesültet,
és a halottat a harcból lábnál fogva kihúzta.
Válla fölött embervértől pirosult köpönyeg volt.
Mintha csak éltek volna, aként harcoltak a pajzson,
s úgy húzták el az elhulltak tetemét egymástól.
Szép puha szántót is remekelt, televény laza földet,
széleset és hármas-szántásút: rajta a barmot
hajtották a vetők, jártak velük erre meg arra,
és valahányszor fordulván pereméhez elértek,
mézédes borral teli korsót tett a kezükbe
egy társuk, s megfordultak, ki-ki ment a barázdán,
mind vágyott a hatalmas ugar pereméhez elérni.
Az feketéllt hátul, valamint a valódi puhult föld,
bárha aranyból volt bámulnivalón remekelve.
Rengő búzamezőt is formált: rajta a béres
nép aratott, éles sarlót lendítve kezében:
egyoldalt a csomók hullottak rendben a földre,
ott meg a kévekötők fűzték kévékbe kötéllel.
Három kévekötő kötözött, hátrább meg a markot
kisgyerekek szedték, tele öllel hordva szünetlen
nyujtották a nyalábot; csöndben tartva a pálcát
állt a király a barázda fölött, örvendve szivében.
Távol a tölgyfa alatt hiradók lakomát keritettek:
áldoztak nagy tulkot, s mind körülötte sürögtek;
étket főztek a nők, belehintve a hószinü lisztet.
Majd szőlőskertet remekelt, dús fürttel a tőkén,
tiszta aranyból volt: feketén függöttek a fürtök:
és a karók sorban meredeztek, mind szinezüstből.
Körbe zománcból árkot vont, a sövényt pedig ónból
készítette: csak egy ösvény vezetett a karók közt:
rajta a fürge szedők föl-alá jártak, szüretelve.
Szép szűzek s vélük viruló gyöngédszivü ifjak
mézizü szőlőt hordoztak jólfont kosarakban.
Víg csapatuk közepén fiu állt, csengőszavu lanton
játszott édesen: és a Linosz gyönyörű dala zendült
vékony kis hangján: amazok meg ütemben emelték
lábukat, és ahogyan dala szólt, kurjantva szökelltek.
Majd egyenesszarvú marhák csapatát remekelte:
szép tehenek készültek, mind ónból meg aranyból,
istállójukból a mező fele bőgve siettek
csörgedező víz mellett, nádas part közelében.
Sorban négy pásztor lépdelt a nyomukban aranyból,
és gyorslábu kilenc kutya is jött futva utánuk.
Ám a legelső sorban két iszonyú vad oroszlán
ugrott rá a bikára: az állat bőgve üvöltött,
míg húzták: a fiúk s a kutyák mind arra rohantak.
És az oroszlánok feltépve a nagy bika bőrét,
már beleit falták, szürcsölték éjszinü vérét,
kergették, de hiába, a pásztorok és uszitották
fürge kutyáikat, ám az ebek belemarni azokba
nem mertek, közelükben ugattak csak s kikerülték.
Majd legelőt remekelt Héphaisztosz, a nagynevü Sánta,
szép mély völgy közepén, hószínü juhok seregével,
aklokat és kunyhókat is és zsupfedte karámot.
Táncteret is remekelt Héphaisztosz, a nagynevü Sánta,
éppenolyant, amilyent készített Daidalosz egykor
szépfürtű Ariadnénak nagy Knósszosz ölében.
Szép eladó lányok viruló ifjakkal a téren
táncaikat járták körben, kezük egybefonódott:
könnyüszövésű gyolcsot hordtak a lányok, az ifjak
jólszőtt drága khitónt, csillámlott mind az olajtól;
szép koszorút hordottak a táncban mind a leányok,
míg a legények aranykardot, s kardszíjuk ezüst volt.
Meg-megperdültek, jól értve a táncot, a lábuk
könnyen emelték, mint ha korongját, mely tenyerébe
jól illik, fazekas próbálja ki, perdül-e vajjon;
máskor meg sorokat képeztek, s szembe szökelltek.
Nagy tömeg állta körül vágykeltő táncukat, és mind
ott mulatoztak, míg közepettük az isteni dalnok
lantszava szólt; és két bukfences táncos a körben
lejtett örvénylő forgással a lant ütemére.
Majd a nagy Ókeanosz bő áradatát remekelte
legszélső peremére a szép és nagyszerü pajzsnak.
És miután a hatalmas, erős pajzsot befejezte,
készített tűznél ragyogóbb páncélt is a hősnek;
készített súlyos sisakot, mely jól a fejére
illett, és aranyos szép forgó ékesitette;
készített végül lábvértet is, ezt puha ónból.
Majd, mikor elkészült mindezzel a nagynevü Sánta,
fogta, s a bajnok Akhilleusz anyja elé odatette.
Hóboritotta Olümposzról ölyvként lecsapott az,
s Héphaisztosz ragyogó munkáját vitte magával.
Polydamas stopping a chariot when driven at full speed, over which is inscribed Polydamantes. Signature: Agathemeros Bellerophon on Pegasus. Signature: Allionos.
Tyrrell, no. 1195;
