\u00a71. In a 1980 article Holly Davidson, in whose honor I offer this piece, made keen observations about epic traditions for Heracles.[1]<\/a> She gave support to the work of Georges Dum\u00e9zil, who in Mythe et \u00e9pop\u00e9e<\/em> volume II compared Heracles with a Scandinavian and an Indic hero.[2]<\/a> She focused her attention on traditions for Heracles in epic, as attested by the Homeric poems on the one hand and by another Ionian epic called the Oikhalias Halosis<\/em> (Sack of Oikhalia<\/em>) on the other hand. Citing a study by Walter Burkert she noted that the Sack of Oikhalia<\/em> does not derive from the Homeric poems in any direct or linear way.[3]<\/a> In what follows I propose to investigate further the relationship between the Sack of Oikhalia<\/em> and the Homeric poems, a subject to which I come on the basis of my own earlier work. I ask that Holly accept these pages as a heartfelt tribute.<\/p>\n \u00a72. In a 2005 article, and more throughly in a 2009 monograph, I investigated the Homeric Hymn to Pythian Apollo<\/em> from the standpoint of geography.[4]<\/a> I argued that the representation of the Peloponnesus in the hymn reflects a Spartan bias following the Second Messenian War. When the Spartans conquered Messenia in the late seventh century BC they expelled the coastal population, descendants of what was once Homer\u2019s \u201csandy Pylos,\u201d the city of king Nestor in the southwest Peloponnesus. The Spartan land grab of all of Messenia was not the norm in Greek inter-state relations, and the expulsion of a people renowned in Homeric epic, Nestor\u2019s Pylians, would have had a particular sting. The Hymn to Pythian Apollo<\/em> uses the Homeric poems to blunt the opprobrium which the Spartan aggression would have stirred by creating a set of \u201calternative facts.\u201d In the hymn Apollo establishes an oracle at Delphi at the end of his journey from mount Olympus to search out a suitable location for his new oracle. He then commandeers a ship of Cretan sailors who are on their way to Pylos, and forces them to go instead to Delphi to become his priests. There is detailed geography in both Apollo\u2019s journey southward and the Cretan sailors\u2019 voyage northward, and while this geography is meticulously coherent, it has a particular thrust. The Cretan sailors duly pass by Pylos, their intended destination, but Pylos has been displaced from southwest to northwest Peloponnesus, and relocated from the territory of Messenia to the territory of Elis. The effect of this displacement is to deny that Nestor\u2019s famous city was ever in Messenia. Apollo, who steers the ship himself, effectively guarantees the new arrangement advanced by the hymn. Messenia receives no mention whatever in the Cretan ship\u2019s voyage, as it passes from cape Taenaron in Lacedaemon to the Alpheios river, in the historical region of Triphylia, and on to Pylos, north of the Alpheios in Elis.[5]<\/a> Messenia is a blank in this voyage, and this reflects what Messenia\u2014the Messenian coast\u2014 had in fact become under the Spartans following the expulsion of the Pylians. To effect the displacement of Pylos the hymn takes passages from both Homeric poems and minimally reworks them. The Pylian entry to the Catalogue of Ships in Iliad<\/em> 2 mentions a number of places in random geographical order; the hymn, with a simple reordering of the relevant lines from the catalogue, puts these places into a tendentious geographical order which locates Pylos north of the Alpheios river.[6]<\/a> In the Odyssey<\/em>, on the other hand, Telemachus sails from Pylos to Ithaca by night, and he passes a cape called Pheai<\/em>, after which he jumps off toward the open water and Ithaca. Cape Pheai<\/em>, just north of the Alpheios river, is a logical jumping off point if Telemachus\u2019s voyage began in Messenia, but not if it began in Elis; from an Elean Pylos he would have had to voyage south instead of north to pass this cape. The hymn takes the relevant lines from Telemachus\u2019s voyage and applies them to the voyage of the Cretan sailors, but replaces Pheai<\/em> with another place farther north along the coast, beyond Elis in Achaea: by the addition of a single letter Pheai<\/em> of the Odyssey<\/em> becomes Pherai<\/em> in the hymn, and this is meant as a correction of Telemachus\u2019s voyage: when Telemachus sailed from Pylos to Ithaca, he did not start in Messenia, but in Elis, and was thus in Achaea when he jumped off toward Ithaca.[7]<\/a> The hymn does not balk at the illogic of this\u2014Telemachus would have been sailing directly away<\/em> from Ithaca for a considerable distance before jumping off at Pherai toward<\/em> Ithaca\u2014 but instead draws attention to the point of it all, namely that the route of the Cretan ship as far as Pherai<\/em> was also Telemachus\u2019s route. It does so by having Ithaca loom in the distance, emphatically, just as the Cretan ship passes Pherai<\/em>. As in the case of the Alpheios river, the hymn borrows a line from Homer, but makes the necessary change in this case by adding the letter rho<\/em>; other minor changes give the line in the hymn an air of independent authority: thus agallomen\u0113<\/em>, \u201creveling,\u201d replaces epeigomen\u0113<\/em>, \u201csped on,\u201d to describe the Cretan ship in contrast to Telemachus\u2019s ship: H. Apollo<\/em> 427, \u03b5\u1f54\u03c4\u03b5 \u03a6\u03b5\u03c1\u1f70\u03c2 \u1f10\u03c0\u03ad\u03b2\u03b1\u03bb\u03bb\u03b5\u03bd \u1f00\u03b3\u03b1\u03bb\u03bb\u03bf\u03bc\u03ad\u03bd\u03b7 \u0394\u03b9\u1f78\u03c2 \u03bf\u1f54\u03c1\u1ff3 (\u201cwhen it made for Pherai, exulting in Zeus\u2019s wind,\u201d) in contrast to Odyssey<\/em> 15.297, \u1f21 \u03b4\u1f72 \u03a6\u03b5\u1f70\u03c2 \u1f10\u03c0\u03ad\u03b2\u03b1\u03bb\u03bb\u03b5\u03bd \u1f10\u03c0\u03b5\u03b9\u03b3\u03bf\u03bc\u03ad\u03bd\u03b7 \u0394\u03b9\u1f78\u03c2 \u03bf\u1f54\u03c1\u1ff3 (\u201cit made for Pheai, sped on by Zeus\u2019s wind\u201d). [8]<\/a> To make absolutely clear what the voyage of the Cretan sailors is meant to show, namely the \u201ctrue\u201d route of Telemachus\u2019s ship in Odyssey<\/em> 15, the hymn quotes a second passage from his voyage, this time virtually verbatim. Once past the crucial point of Pherai, the Cretan ship sails under a Zeus-sent wind into the gulf of Krisa and on to its final destination. Two of the three lines describing the favorable wind and rapid course of the ship are taken from the beginning of Telemachus\u2019s voyage, where Athena sends a favorable wind to him as he sets sail from Pylos.[9]<\/a><\/p>\n \u00a73. My 2005 article was titled \u201cThe Homeric Poems after Ionia: A Case in Point.\u201d Written for a conference on the reception of the Homeric poems, the article made the case that at the end of the Second Messenian War, traditionally dated 601 BC,[10]<\/a> there must have been a fixed text of the Homeric poems, a text that had become known widely enough that the Spartans felt compelled to modify it in order to shift blame away from themselves for what, at their hands, had now become of Nestor\u2019s storied city. At this date, near the end of the seventh century BC, a fixed text of the Homeric poems\u2014of the Iliad<\/em> and the Odyssey<\/em>\u2014would have been the possession of the Homeridai, a guild of rhapsodes on the island of Chios. The Homeridai, who had preserved this text, and would thus have had the authority to guarantee it, originated a century or so earlier as the group of poets who first composed the Homeric poems in the monumental form in which we know them. As argued in detail in Part 4 of my 2009 monograph, Hippota Nestor<\/em>, the likeliest occasion for the creation of the Homeric poems was the festival of the Panionia, celebrated at a location on the coast of Asia Minor beginning in the late eighth century. The twelve cities of the Ionian dodecapolis, which regularly celebrated their newly formed union at the site called Panionion, would all have contributed to the formation of the epics, which went hand in hand with the formation of their new union. The period of Homeric composition ended when Panionion, and the coast that was home to ten of the twelve Ionian cities, was subjugated by the Lydians and harassed by other invaders in the first half of the seventh century BC.[11]<\/a> It was then that Homeric poetry ceased to be part of the community formation that had taken place at Panionion and was removed, fully formed, offshore to the safety of the island of Chios.[12]<\/a><\/p>\n \u00a74. Within the twelve-city union there were different relationships between particular cities. Miletus, which in my scheme was the prime mover in the formation of the dodecapolis,[13]<\/a> had a close relationship with the island of Chios,[14]<\/a> but a less easy relationship with the island of Samos: in the Lelantine war, fought during an early period between two Euboean cities, Miletus supported one of the cities, Eretria, whereas Samos supported the other, Chalkis.[15]<\/a> The two island members of the dodecapolis, Chios and Samos, would both have contributed equally to the creation of the Homeric poems at Panionion, but when the period of creation ended, it was Chios, not Samos, that received and preserved the poems in a direct succession from \u201cHomer.\u201d While the legacy of Miletus\u2014I do not hesitate to call the Homeric poems that\u2014was preserved on the island of Chios, the island of Samos became home to a different guild of rhapsodes, the Kreophyleioi. The Kreophyleioi were known particularly for a Heracles epic, the Oikhalias Halosis<\/em>, or \u201cSack of Oikhalia,\u201d to which I will turn below. But there was also a tradition that Sparta, in the person of its legendary lawgiver Lycurgus, received the Homeric poems soon after their creation from the Kreophyleioi on Samos.[16]<\/a> Sparta had a special relationship with the island of Samos at an early period\u2014as early as the Second Messenian War in any case, when the Homeric Hymn to Pythian Apollo<\/em> was composed.[17]<\/a> This hymn, as discussed above, sets out to cleanse the Homeric poems of the notion of a Messenian Pylos\u2014if Pheas<\/em> is replaced by Pheras<\/em> in Odyssey<\/em> 15.297 Messenia disappears.[18]<\/a> But if the Homeridai on Chios had the older Pheas<\/em> in their Homeric text, as surely they did, who would have been able to dispute their authority? According to Spartan tradition the Kreophyleioi on Samos were in possession of the Homeric poems at as early a time as the Homeridai on Chios: the Homeridai claimed Homer himself for their origin, but the Kreophyleioi were seen as going back to a contemporary of Homer.[19]<\/a> While Chios was the main preserver of what had been created at Panionion, what had been created there was the collective effort of all twelve Panionic cities, and Samos, as one of the twelve cities, would have had a basis for claiming its own authority even against the Homeridai of Chios. It was the Kreophyleioi, I think, who would have been claimed as the authority for the new version of Odyssey<\/em> 15.297.[20]<\/a><\/p>\n \u00a75. I now turn to the particular patrimony of the Kreophyleioi, the Oikhalias Halosis<\/em>. Using the model developed to deal with the origins of the Hymn to Pythian Apollo<\/em>, namely rival guilds of rhapsodes on Samos and Chios who supported minimally divergent versions of the Homeric text, I propose to investigate the Oikhalias Halosis<\/em>, as far as the content of this lost epic can be ascertained, in relation to the Homeric poems. The Samian epic was most likely created in the seventh century, not long after the Homeric period ended.[21]<\/a> Heracles, the hero of the Oikhalias Halosis<\/em>, makes occasional appearances in the Homeric poems, and these can be compared with what we know of the later Samian epic. A central part of Heracles\u2019 epic tradition concerned his labors, imposed on him by Eurystheus, king of Argos. His aethloi<\/em> are referred to in Iliad<\/em> 19, in Agamemnon\u2019s speech of reconciliation to Achilles, on which I again cite the work of Holly Davidson.[22]<\/a> One labor in particular, fetching the hound of Hades from the underworld, is referred to in both the Iliad<\/em> and the Odyssey<\/em>.[23]<\/a> The two Homeric poems, which in my view were created together as a single unit at the festival of the Panionia, draw on the same epic tradition for Heracles\u2019 aethloi<\/em>. An important conduit for this tradition must have been the island of Samos. Heracles\u2019 heroic identity, including his name, is closely connected with the goddess Hera;[24]<\/a> Argos, where Heracles is forced to undergo his labors by king Eurystheus, was the site of Hera\u2019s pre-eminent cult in mainland Greece. Her equally important cult in Samos seems to have been derived from the cult in Argos, and there is thus a clear path for Heracles\u2019 epic tradition to have established itself in Samos.[25]<\/a><\/p>\n \u00a76. It is reasonable to assume that Samos was home to epic traditions for Heracles\u2019 labors, and that the Homeric poems would have drawn on those traditions in the context of the poems\u2019 Panionic creation. But no actual epic on the theme of the aethloi<\/em> is associated with Samos.[26]<\/a> What we have instead is the Oikhalias Halosis<\/em>, a poem closer in spirit to the two Homeric poems. Unlike the labors of Heracles, which feature an outsize hero ridding the earth of wild beasts and monsters, the Oikhalias Halosis<\/em> has a more human theme, comparable to that of the Iliad.[27]<\/a> The Oikhalias Halosis<\/em> was about the destruction of a city, Oikhalia, whose ruler was the hero Eurytos. The Homeric poems know nothing of this sack, much less that it was Heracles who did the deed. Eurytos himself, on the other hand, is known to both the Iliad<\/em> and the Odyssey<\/em>, where his epithet Oikhalieus<\/em>, \u201cof Oikhalia,\u201d regularly associates him with his city.[28]<\/a> The Odyssey<\/em> twice refers to Eurytos, the king of Oikhalia, as a famous archer. In both contexts, moreover, Heracles, another famous archer, is also there. In Odyssey<\/em> 8, when Odysseus asserts his athletic prowess among the Phaeacians, he includes his skill with the bow. He says that no one but Philoctetes among living mortals surpassed him with the bow, but he would not wish to rival the great bowmen of an earlier generation, Heracles or Oikhalian Eurytos. Both these heroes rivaled the gods with the bow, and Eurytos was killed by Apollo when he challenged Apollo to a contest.[29]<\/a> In Odyssey<\/em> 21 Eurytos and Heracles are associated again when Odysseus\u2019s bow is taken from the palace storeroom in preparation for the poem\u2019s climactic contest. This bow, which Odysseus did not take with him to Troy, was given to him by Iphitos, the son of Eurytos, when they once met in Messenia, each on a different mission: Odysseus had been sent to retrieve cattle stolen by Messenian men, and Iphitos came in search of lost horses. After an exchange of gifts, Iphitos\u2019s bow for a spear and sword of Odysseus, the two parted in the expectation that they would meet again sometime in their own palaces, but that did not happen: Iphitos was first killed by Heracles for the sake of the very horses he sought when he and Odysseus met. The bow given to Odysseus was that of Iphitos\u2019s father, Eurytos, who left it to his son when he died (Odyssey<\/em> 21.13\u00ad\u201341). Heracles is censured in this passage, for he not only took Iphitos\u2019s horses, but killed him for the horses while he was a guest in his house; the crime is described in a ring composition that begins with Iphitos\u2019s search for his horses in Messenia and ends with his gift of the bow to Odysseus (21.22\u00ad\u201333):<\/p>\n \u1f3c\u03c6\u03b9\u03c4\u03bf\u03c2 \u03b1\u1f56\u03b8’ \u1f35\u03c0\u03c0\u03bf\u03c5\u03c2 \u03b4\u03b9\u03b6\u03ae\u03bc\u03b5\u03bd\u03bf\u03c2, \u03b1\u1f35 \u03bf\u1f31 \u1f44\u03bb\u03bf\u03bd\u03c4\u03bf Iphitos was there in search of his horses, twelve mares (Lattimore translation)<\/p>\n \u00a77. Both accounts in the Odyssey<\/em> seem hard to square with what we know of the Oikhalias Halosis<\/em>.[30]<\/a> Eurytos\u2019s death at the hands of Apollo would hardly follow naturally from the destruction of his city at the hands of Heracles; and Eurytos\u2019s bow cannot have passed at his death to his son Iphitos if Iphitos was killed in connection with Heracles\u2019 sack.[31]<\/a> But before addressing these two problems there is a more basic divergence between Homer and what we know of the Oikhalias Halosis<\/em>, and that is the location of Oikhalia. Already in Homer there is ambiguity about the location of Oikhalia, whether it lay in Thessaly or Messenia. Within the catalogue of ships itself, in the two passages cited above, there is divergence: the kingdom of the two Asclepiadai, Podaleirios and Machaon, is in Thessaly, but when Thamyris was blinded on his way to Pylos he had to be coming, not from Thessaly, but from somewhere in Messenia. A location of Oikhalia in Messenia is also presupposed by the Odyssey<\/em>, where Odysseus meets Iphitos in \u201cLacedaemon,\u201d i.e. in Messenia, searching for his horses (21.13).[32]<\/a> What is remarkable is that the Oikhalias Halosis<\/em> followed neither tradition in Homer for the location of Oikhalia, Thessaly or Messenia, but instead located Oikhalia in Euboea, in the territory of the city of Eretria. Pausanias 4.2.3 attests that this was the poem\u2019s location for Oikhalia, and this location is thus one of the few solid pieces of information to survive about the poem.[33]<\/a> My working assumption is that it was important to the poets of the Oikhalias Halosis<\/em> to innovate within a Homeric framework, and that a door for a new location of Oikhalia was left open by the very ambiguity of the Homeric location of the city. But the reason for this innovation, as opposed to a justification for it, is the real question. If we seek the reason for the relocation of Oikhalia to the territory of Eretria, it is hard to ignore the Lelantine war, in which Samos supported the city of Chalkis against the city of Eretria. When Heracles lays waste a site that would be closely equated with Eretria, was this not meant to evoke an actual war in which Eretria was engaged, and Samos as well, when the Oikhalias Halosis<\/em> was composed?<\/p>\n \u00a78. The Lelantine war cannot be precisely dated. The struggle between the two cities located on either side of the fertile Lelantine plain\u2014Chalkis at the plain\u2019s western end and Eretria several kilometers to the east of the plain\u2019s eastern end\u2014is likely to have been a continuing one. The war is usually dated to the eighth or seventh century, or to both. It is perhaps best to think in terms of a history of conflict that began even before the eighth century, but only erupted into a war involving other Greek states in the seventh century.[34]<\/a> This would make the actual war contemporary with the composition of the Oikhalias Halosis<\/em>.[35]<\/a><\/p>\n \u00a79. The time has come to propose a reconstruction of the genesis and main features of the Oikhalias Halosis<\/em> on the basis of my model for the Kreophyleioi. This model entails a minimal adjustment of Homeric geography, as is the case in the relocation of Oikhalia to Euboea, but also assumes an avoidance of outright conflict with the accounts of the Homeric poems.[36]<\/a> I propose that the sack of Oikhalia by Heracles is an innovation of the Kreophyleioi, and that Homer knows of no such tradition because no such tradition existed when the Iliad<\/em> and the Odyssey<\/em> were composed; the Lelantine war created the occasion for something new. If the Kreophyleioi were the acknowledged experts on Heracles\u2019 epic traditions, they would, by that token, be in a position, if they wished, to create something new. The task would be merely to make Heracles\u2019 new deed fit into his life story, and since that story was a series of individual episodes, a new episode could always be made to fit. The main feature of the new episode, as indicated by the poem\u2019s title, was the destruction of Oikhalia, pure and simple; that was what had resonance in contemporary Samos. The inspiration to make Heracles the agent of this destruction can be seen in Odyssey<\/em> 8, where Heracles and Eurytos are paired as two famous bowmen of the past. This pairing suggested an archery contest, with a daughter of Eurytos, Iole, as the prize.[37]<\/a> Sophocles omits such a contest when he tells the story through the character Likhas, but the scholia to Sophocles report what the tradition was apart from Sophocles: when Heracles won Iole in a bow contest Eurytos refused to hand her over. While the scholiast does not name sources, it can be assumed that the Oikhalias Halosis <\/em>was one.[38]<\/a><\/p>\n \u00a710. How much of the Sophocles play comes from the Oikhalias Halosis<\/em> is a key question. The play has little to say about Heracles\u2019 actual sack of Oikhalia, but is concerned instead with the aftermath of his sack: the jealousy stirred in his wife Deianeira by the appearance of his war prize Iole; the torment and death of Heracles as a result of Deianeira\u2019s attempt to win him back, her love philter proving to be a cruel poison. If the Oikhalias Halosis<\/em> was as focused on the destruction of the Euboean city as I propose, what is of central concern in the play of Sophocles, namely the death of Heracles, can hardly have played a part at all in the Samian epic. A crucial piece of evidence bears this out. Callimachus, in one of his epigrams, speaks as though in the voice of the Oikhalias Halosis<\/em>; in this voice he summarizes the poem\u2019s contents as a way of identifying it, and goes on to make a gently ironic judgment about the poem\u2019s authorship: it is not by Homer, as some thought, but by the Samian Kreophylos, who once received Homer as a guest in his house.[39]<\/a> The description of the poem\u2019s contents\u2014 \u03ba\u03bb\u03b5\u03af\u03c9 \u03b4\u2019 \u0395\u1f54\u03c1\u03c5\u03c4\u03bf\u03bd \u1f45\u03c3\u03c3\u2019 \u1f14\u03c0\u03b1\u03b8\u03b5\u03bd,\/ \u03ba\u03b1\u1f76 \u03be\u03b1\u03bd\u03b8\u1f74\u03bd \u1f38\u03cc\u03bb\u03b5\u03b9\u03b1\u03bd, \u201cI celebrate Eurytos, what he suffered,\/ and fair-haired Iole\u201d\u2014 would be wholly inadequate if the poem in any way concerned Heracles\u2019 death: Heracles\u2019 death, if it occurred, would make the poem about Heracles, a far more important figure than Eurytos, and Callimachus\u2019s epigram, without any mention of Heracles, seems to me to rule that out.[40]<\/a><\/p>\n \u00a711. If the Oikhalias Halosis<\/em> wished to avoid inconsistency with the Homeric poems, what can it have done about the two traditions found in the Odyssey<\/em>, the death of Iphitos at Heracles\u2019 hands, and the death of Eurytos at Apollo\u2019s hands? I start with the easier case, Heracles\u2019 murder of Iphitos. If Iphitos inherited his father\u2019s bow, his death must have followed his father\u2019s death by some period of time, and that would put his death later than the dramatic time of the Oikhalias Halosis<\/em>. I propose that Iphitos\u2019s death, which was greatly to the discredit of Heracles, was simply ignored in the Oikhalias Halosis<\/em>. Sophocles, who includes Iphitos\u2019s murder as part of his version of the story, must go against Homer and put Heracles\u2019 crime in the past rather than the future with respect to the sack of Oikhalia: Zeus is said to have punished Heracles for the murder of Iphitos by subjugating him to the Lydian queen Omphale for a year, at the end of which Heracles returned and sacked Oikhalia (269\u2013280). The Sophocles scholia which report the bow contest won by Heracles go on to provide information about the sons of Eurytos. The Hesiodic Catalogue of Women<\/em>, a passage of which the scholia quote, names four sons of Eurytos, one of whom is Iphitos. In the Oikhalias Halosis<\/em>, according to the scholia, Eurytos had only two sons; while these two sons are not named it is an attractive assumption that Iphitos was not one of them.[41]<\/a><\/p>\n \u00a712. The death of Iphitos at the hands of Heracles could be ignored without denying the Homeric evidence, and ignore it the Oikhalias Halosis<\/em> most likely did. If Iphitos was mentioned at all, it would only have been to keep him out of harm\u2019s way during Heracles\u2019 sack, and thus make him available for Heracles to kill later. This would be like the Hesiodic account of Nestor\u2019s sojourn among the Gerenians, where Nestor\u2019s timely absence saved him from Heracles\u2019 sack of Pylos.[42]<\/a> In the case of Eurytos himself, on the other hand, could his death by the arrows of Apollo also be ignored? This seems a harder case, but I think the case can be made. Both Homeric episodes, the death of Iphitos and the death of Eurytos, are in the future with respect to the sack of Oikhalia, and if one was ignored, the other could be too. But Homer, with the account of Eurytos\u2019s death at the hands of Apollo, would be left uncontradicted only if Eurytos was not killed in Heracles\u2019 sack of Oikhalia. Was that the case? Certain things indicate that it was. There is the parallel case of Heracles\u2019 sack of Pylos, in which all of Neleus\u2019s sons except Nestor were killed, but Neleus himself was not killed.[43]<\/a> Did something like this happen in the Oikhalias Halosis<\/em> \u2014were Eurytos\u2019s two sons killed by Heracles, but not Eurytos himself? I return to Callimachus\u2019s summary of the Oikhalias Halosis<\/em>: \u03ba\u03bb\u03b5\u03af\u03c9 \u03b4\u2019 \u0395\u1f54\u03c1\u03c5\u03c4\u03bf\u03bd \u1f45\u03c3\u03c3\u2019 \u1f14\u03c0\u03b1\u03b8\u03b5\u03bd,\/ \u03ba\u03b1\u1f76 \u03be\u03b1\u03bd\u03b8\u1f74\u03bd \u1f38\u03cc\u03bb\u03b5\u03b9\u03b1\u03bd, \u201cI celebrate Eurytos, what he suffered,\/ and fair-haired Iole.\u201d What Eurytos \u201csuffered\u201d may have included his death, but not necessarily,[44]<\/a> and death is not the worst that an epic hero might suffer. Worse, for one, was a wound to his honor. Eurytos began the quarrel by wounding Heracles\u2019 honor, and Heracles sought to avenge this wound. The role of honor in Heracles\u2019 motivation is revealed in the speech of Likhas, who suppresses the role of Eros as a motivation.[45]<\/a> Likhas weaves together a complex story, most of which cannot go back to the Oikhalias Halosis<\/em>, but the role of wounded honor stands out as what motivated Heracles. As Likhas tells the story, Eurytos first insulted Heracles when he was his guest, calling him inferior to his sons as a bowman and belittling him as the slave of Eurystheus, and then throwing him out at dinner when he was heavy with wine.[46]<\/a> This treatment is made Heracles\u2019 motivation for killing Iphitos when Iphitos comes to Tiryns in search of his horses. Heracles is then enslaved by Zeus to the Lydian queen Omphale to punish him for Iphitos\u2019s unholy murder. Heracles finally returns and takes revenge on Eurytos, whom he holds responsible for his enslavement to Omphale. This is not meant to add up to a convincing story, since Eros turns out to be the much simpler explanation of Heracles\u2019 behavior. In terms of Heracles\u2019 traditions the series of events is in fact a hodge-podge: the drunken Heracles who gets himself thrown out of the city is a figure of Sicilian and Attic comedy; the murderer of Iphitos is Homeric, but the Homeric sequence of events with respect to Eurytos\u2019s death is distorted. The slave to Omphale may be a figure of Ionian epic, but if Heracles\u2019 enslavement was tied to the murder of Iphitos it did not occur in the Oikhalias Halosis<\/em>; the murder of Iphitos, as discussed, was most likely ignored in the Oikhalias Halosis<\/em>.[47]<\/a><\/p>\n \u00a713. The key insult at the start of the quarrel, I propose, was that Heracles was called the slave of a free man, Eurystheus. I will return to the scene in which this insult figures because it bears on what, according to the scholiast, Sophocles left out, namely the bow contest. The insult about enslavement to Eurystheus is only briefly expressed in a now corrupt line. The main wound to Heracles\u2019 honor is shifted to his enslavement to Omphale.[48]<\/a> In response to his own enslavement, and the reproach that this brought on, Heracles swore vengeance\u2014to enslave Eurytos, his daughter, and his wife in return (Women of Trachis<\/em> 254\u2014261):<\/p>\n \u03c7\u03bf\u1f54\u03c4\u03c9\u03c2 \u1f10\u03b4\u03ae\u03c7\u03b8\u03b7 \u03c4\u03bf\u1fe6\u03c4\u03bf \u03c4\u03bf\u1f54\u03bd\u03b5\u03b9\u03b4\u03bf\u03c2 \u03bb\u03b1\u03b2\u1f7c\u03bd \u201cAnd he was so much stung at having this shame set upon him that he put himself on oath and swore that in all truth he would yet enslave the man who had brought about this affliction together with his child and wife. And he did not fail to keep his word, but once he had been purified he raised a mercenary army and went against the city of Eurytos; for he it was whom he held responsible, alone among mortals, for what he had suffered.\u201d (Lloyd-Jones translation, Loeb edition)<\/p>\n \u00a714. \u03ba\u03bf\u1f50\u03c7 \u1f21\u03bb\u03af\u03c9\u03c3\u03b5 \u03c4\u03bf\u1f54\u03c0\u03bf\u03c2, \u201cand he did not fail to keep his word\u201d: this seems a clear reference to Eurytos\u2019s enslavement at Heracles\u2019 hands\u2014enslavement rather than death. It is true that the speech belongs to Likhas, who conceals the truth about Iole from Deianeira, but falsifying the fate of Eurytos would not serve Likhas\u2019s purpose of deception. I propose that in the Oikhalias Halosis<\/em> Heracles\u2019 enslavement to Eurystheus was the insult cast by Eurytos that made Heracles swear to make a slave of Eurytos in return. Eurytos\u2019s two sons were killed when Oikhalia was sacked, but Eurytos, his daughter, and his wife, were enslaved. The Homeric tradition that Eurytos challenged Apollo to a bow contest implies his arrogance. In the Oikhalia Halosis<\/em> Heracles experienced that arrogance and humbled it, but left to Apollo, and Apollo\u2019s arrows, Eurytos\u2019s final humbling.<\/p>\n \u00a715. There are two passages in the Sophocles play where Eurytos\u2019s death in Heracles\u2019 sack, as opposed to his enslavement, seems to be envisaged. While it is not necessary that Sophocles be consistent on this point\u2014the Oikhalia Halosis<\/em>, not Sophocles, is at issue\u2014, his inconsistency turns out to be minor.<\/p>\n \u00a716. In the first of the passages in question a messenger arrives who reports that Likhas told a different story in the market place of Trachis from what he later told Deianeira, that it was \u201cfor the sake of this girl\u201d\u2014the still unnamed Iole\u2014 that Heracles \u201cbrought down Eurytos and the high towers of Oikhalia\u201d (Women of Trachis<\/em> 351\u2013355):<\/p>\n \u03c4\u03bf\u03cd\u03c4\u03bf\u03c5 \u03bb\u03ad\u03b3\u03bf\u03bd\u03c4\u03bf\u03c2 \u03c4\u1f00\u03bd\u03b4\u03c1\u1f78\u03c2 \u03b5\u1f30\u03c3\u03ae\u03ba\u03bf\u03c5\u03c3’ \u1f10\u03b3\u03ce, \u201cI heard this man saying, before many witnesses, that it was on account of this girl that Heracles brought down Eurytos and the high towers of Oikhalia, and that it was Eros alone among the gods that bewitched him into this deed of arms.\u201d (Lloyd-Jones translation)<\/p>\n \u00a717. The verb translated as \u201cbrought down,\u201d heloi<\/em>, is from hairein<\/em>, \u201cto take,\u201d which in Homeric poetry developed the meaning \u201cto kill\u201d in certain contexts;[49]<\/a> the verb can also have this meaning in later Greek, including Sophocles.[50]<\/a> In the passage above the verb occurs in a grammatical trope in which its basic meaning, \u201ctake,\u201d applies to Oikhalia and its poetic meaning, \u201ckill\u201d applies to Eurytos.[51]<\/a> As Jebb points out ad loc<\/em>., the construction occurs in Iliad<\/em> 11.328, where Odysseus and Diomedes, with one verb, helet\u0113n<\/em>, seize<\/em> a chariot and kill<\/em> its two occupants: \u1f14\u03bd\u03b8’ \u1f11\u03bb\u03ad\u03c4\u03b7\u03bd \u03b4\u03af\u03c6\u03c1\u03cc\u03bd \u03c4\u03b5 \u03ba\u03b1\u1f76 \u1f00\u03bd\u03ad\u03c1\u03b5 \u03b4\u03ae\u03bc\u03bf\u03c5 \u1f00\u03c1\u03af\u03c3\u03c4\u03c9. Sophocles may have had the Homeric passage in mind, but whether he did or not, the poetic usage softens any implication of Eurytos\u2019s death: both Eurytos and Oikhalia were \u201cbrought down,\u201d and that meaning may be pressed in the case of Eurytos or not. Sophocles does not press it.<\/p>\n \u00a718. If Eurytos\u2019s death was a feature of the Oikhalias Halosis<\/em> it would be surprising that Sophocles did not make more of it; the passage just examined seems a way to dispose of any question that might naturally arise about Eurytos\u2019s fate rather than to make his fate clear. The second passage to be addressed does make Eurytos\u2019s death clear, but the passage is a well-recognized interpolation. It is in the continuation of the messenger\u2019s speech, after he has revealed that it was for the girl standing in front of Deianeira, and for no other reason, that Heracles sacked Oikhalia (359\u2013368; the interpolation, here marked in italics, is in 362\u2013364,):<\/p>\n \u1f00\u03bb\u03bb’ \u1f21\u03bd\u03af\u03ba’ \u03bf\u1f50\u03ba \u1f14\u03c0\u03b5\u03b9\u03b8\u03b5 \u03c4\u1f78\u03bd \u03c6\u03c5\u03c4\u03bf\u03c3\u03c0\u03cc\u03c1\u03bf\u03bd \u201cNo, when he failed to persuade her father to give him his daughter, to have as his secret love, he trumped up a petty accusation and a pretext, and marched against her country [in which he said this Eurytus was king, killed the king her father,<\/em>] and sacked the city. And now, as you see, he has come back, sending her not without forethought, lady, or as a slave; do not expect that, nor is it likely, if indeed he is inflamed with desire.\u201d (Lloyd-Jones text and translation) .[52]<\/a><\/p>\n In the interpolated lines Deianeira would learn that the girl in front of her is Eurytos\u2019s daughter, but fifteen lines later she asks if the girl is low born, as Likhas led her to believe, and the messenger replies that she is Eurytos\u2019s daughter and her name is Iole (377\u2013382).[53]<\/a> If the interpolated lines were genuine Deianeira would already know that the girl is Eurytos\u2019s high-born daughter.[54]<\/a><\/p>\n \u00a719. Heracles in the Iliad<\/em>, as Holly Davidson has shown, is a paradigm for Achilles, the heroic warrior subjected to an inferior king.[55]<\/a> Achilles remains subject to Agamemnon in the end\u2014Troy was taken by the Greeks under Agamemnon\u2019s command\u2014but he makes Agamemnon pay for an intolerable wound to his honor. Achilles turns the tables on Agamemnon, who cannot do without him, and who must recognize that he cannot do without him. In this sense Agamemnon is made subject to Achilles. In the poem created by the Kreophyleioi of Samos, whose antecedants must have taken part in the creation of the Homeric poems, Achilles, the avenger of his own wounded honor, seems to have become the model for Heracles.[56]<\/a> Walter Burkert has well shown the extent to which the Oikhalias Halosis<\/em> was Homeric in spirit.[57]<\/a> A prime example is the wound to Heracles\u2019 honor as the basis for his action in the Oikhalias Halosis<\/em>.[58]<\/a> Heracles is treated arrogantly by Eurytos (whose arrogance was already well marked in Homer in his challenge to Apollo), and he makes Eurytos suffer, and suffer mightily, for this arrogance, killing his sons, destroying his city, enslaving his wife, and carrying off his daughter.[59]<\/a> The occasion for the wound to Heracles\u2019 honor was a bow contest. This too has a clear Homeric resonance if Iole, like Penelope, was to marry the victor in the contest. I propose that this was the case, and that it was Eurytos\u2019s sons rather than Eurytos himself who had to be defeated in the contest; the Sophoclean echo of this would be the insult cast at Heracles that as a bowman he was inferior to Eurytos\u2019s sons. As the scholia to Sophocles report Heracles was the victor in the contest, but he was denied his prize Iole. I propose that Eurytos arrogantly denied Heracles the hand of his daughter on the grounds that Heracles, as the slave of the freeman Eurystheus, was not good enough; the echo of this in Sophocles, despite the corrupt text, is clear. As an essentially Homeric hero, different from the outsize hero of the aethloi<\/em>, Heracles had to swallow the insult when he was deprived of his prize; to exact his revenge he first had to gather an army. The similarity to the situation in Iliad<\/em> 1, where Achilles is stripped of the prize that he had won, is striking.[60]<\/a> Like Achilles, if my analysis is correct, Heracles did not kill his arrogant oppressor, but instead made him live the consequences of his action.[61]<\/a><\/p>\n \u00a720. Heracles himself was guilty of a great moral outrage according to Odyssey<\/em> 21; little could surpass in heinousness the murder of a guest. Sophocles emphasizes the heinousness of Heracles\u2019 crime when he makes it the reason that Zeus enslaved him to Omphale before his sack of Oikhalia.[62]<\/a> The Oikhalias Halosis<\/em>, if it did not violate the Homeric sequence of events like Sophocles, but instead ignored Iphitos and his fate entirely, would thereby have mitigated the outrage firmly fixed in the Odyssey<\/em>: Heracles was himself made a guest who was outraged by his host, and his later murder of Iphitos could thus be seen as provoked by his own mistreatment as a guest. This would not have been spelled out\u2014the murder of a guest could not be excused so easily\u2014but it did offer, so to speak, another side to the story.<\/p>\n \u00a721. The Homeric Hymn to Pythian Apollo<\/em> was my starting point in this essay. On the basis of this hymn I drew conclusions about the Kreophyleioi on Samos: that they were in possession of the Homeric poems in the seventh century, and that thus at the end of the seventh century, when the Homeric Hymn to Pythian Apollo<\/em> was composed, they were in a position to dispute the text and interpretation of a passage in Odyssey<\/em> 15; this they would have done for the benefit of the Spartans, with whom they had a special relationship. The authority of the Kreophyleioi as rhapsodes, I posit, derived from their earlier participation in the creation of the Homeric poems. After the Homeric poems were created at Panionion at the end of the eighth and beginning of the seventh century, rhapsodic traditions continued in Ionia, but separately rather than collectively, and in the safety of islands rather than at the center on the mainland. In the context of the Lelantine war the Kreophyleioi created a new epic, the hero of which was Heracles, whose traditions were their specialty. The new episode in the life of Heracles, the destruction of Oikhalia, did not have roots in the Homeric poems, but the Homeric poems had other lore about Oikhalia and its king Eurytos, and it was important that this lore not be contradicted. The poem that resulted was very much in the vein of the Homeric poems, especially the Iliad<\/em>. The Iliad<\/em> ends with genuine pathos in the death of the hero Hector and the suffering of his father Priam; the Oikhalias Halosis<\/em> attempted something similar with the sufferings of Eurytos, which included the death of his two sons among all his other losses. Callimachus indicates the pathos of the poem with the phrase hoss\u2019 epathen<\/em>, \u201cthe things that he suffered\u201d; if the pathos did not rise to the level of the Iliad<\/em>, as Callimachus also indicates with his judgment that the poem was not Homer\u2019s, it was in the same vein.<\/p>\n \u00a722. The Homeridai of Chios, who in their name claimed the mantle of Homer, continued their own creative activity in the seventh century. The Hymn to Delian Apollo<\/em>, which was joined to the Hymn to Pythian Apollo<\/em> in the late sixth century,[63]<\/a> was most likely composed in the mid-seventh century, at about the same time as the Oikhalias Halosis<\/em>. The Delian hymn features a festival of Ionians on the island of Delos, where Panionian heritage could still be celebrated after Panionion itself had become inhospitable.[64]<\/a> The hymn claims to be by \u201cthe blind man who lives in rocky Chios,\u201d \u03c4\u03c5\u03c6\u03bb\u1f78\u03c2 \u1f00\u03bd\u03ae\u03c1, \u03bf\u1f30\u03ba\u03b5\u1fd6 \u03b4\u1f72 \u03a7\u03af\u1ff3 \u1f14\u03bd\u03b9 \u03c0\u03b1\u03b9\u03c0\u03b1\u03bb\u03bf\u03ad\u03c3\u03c3\u1fc3 (172). This is the signature of the Homeridai, the Chian rhapsodes, [65]<\/a> whose pride in their heritage is clearly proclaimed: when the Delian maidens are asked what poet they delight in most (169\u2013170), they are to answer, the blind poet who lives in Chios, \u201cwhose poems hereafter are the best,\u201d \u03c4\u03bf\u1fe6 \u03c0\u1fb6\u03c3\u03b1\u03b9 \u03bc\u03b5\u03c4\u03cc\u03c0\u03b9\u03c3\u03b8\u03b5\u03bd \u1f00\u03c1\u03b9\u03c3\u03c4\u03b5\u03cd\u03bf\u03c5\u03c3\u03b9\u03bd \u1f00\u03bf\u03b9\u03b4\u03b1\u03af. In this proud assertion the rivalry of the Homeridai with other rhapsodes comes through clearly.<\/p>\n \u00a723. Rivalry between the Kreophyleioi and the Homeridai was still in play at the end of the seventh century when the Hymn to Pythian Apollo<\/em> was composed and the location of a place on Telemachus\u2019s voyage home was subjected to doubt. The same kind of thing can be seen earlier in the creation of the Oikhalias Halosis<\/em>. The location of Oikhalia was already a matter of doubt in Homer, and the Kreophyleioi seized on this to give Oikhalia a new and highly contentious location, which in effect made Heracles take sides in the Lelantine war on the side favored by Samos, the rhapsodes\u2019 home. We do not have direct evidence for Chios in the Lelantine war, but we know that Miletus was on the other side from Samos in the war, and that Miletus and Chios were closely aligned. None of this implies actual hostility between the two island cities, Samos and Chios, and their guilds of rhapsodes. It was a matter of rivalry, not hostility. Callimachus again had it right when he pictured Homer, the creator of the Iliad<\/em> and the Odyssey<\/em>, as a guest-friend in the house of Kreophylos, the creator of the Oikhalias Halosis<\/em>: \u03c4\u03bf\u1fe6 \u03a3\u03b1\u03bc\u03af\u03bf\u03c5 \u03c0\u03cc\u03bd\u03bf\u03c2 \u03b5\u1f30\u03bc\u1f76 \u03b4\u03cc\u03bc\u1ff3 \u03c0\u03bf\u03c4\u1f72 \u03b8\u03b5\u1fd6\u03bf\u03bd \u1f00\u03bf\u03b9\u03b4\u03cc\u03bd\/\u03b4\u03b5\u03be\u03b1\u03bc\u03ad\u03bd\u03bf\u03c5…<\/p>\n [1]<\/a> O. M. Davidson, \u201cIndo-European Dimensions of Herakles in Iliad<\/em> 19.95\u2013133,\u201d Arethusa<\/em> 13 (1980) 197\u2013202.<\/p>\n [2]<\/a> G. Dum\u00e9zil, Mythe et \u00e9pop\u00e9e<\/em> II (Paris 1971) 25\u2013125.<\/p>\n [3]<\/a> W. Burkert, \u201cDie Leistung eines Kreophylos: Kreophyleer, Homeriden und die archaische Heraklesepik,\u201d Museum Helveticum<\/em> 29 (1972) 74\u201385; on p. 81 Burkert observes that the Oikhalias Halosis<\/em>, whose contents are not known in any detail, cannot have contained elements of the mythic tradition referred to in the Odyssey.<\/p>\n [4]<\/a> \u201cThe Homeric Poems after Ionia: A Case in Point,\u201d Classics @ Issue 3: The Homerizon; Conceptual Interrogations in Homeric Studies<\/em>, eds. C. Due and R. Armstrong (Center for Hellenic Studies 2005) https:\/\/chs.harvard.edu\/CHS\/article\/display\/1315<\/a>. Hippota Nestor<\/em>, Hellenic Studies 37, Cambridge, MA and Washington, DC, 2009 (online version http:\/\/chs.harvard.edu\/CHS\/article\/display\/4101<\/a>), Chs. 12 and 13.<\/p>\n [5]<\/a> Cf. Hipota Nestor<\/em> \u00a75.14.<\/p>\n [6]<\/a> The line with the Alpheios river, H. Apollo<\/em> 423, is taken verbatim from Iliad<\/em> 2. In the Iliad<\/em> the line in question follows mention of Pylos, which naturally begins the Pylian entry to the catalogue of ships (Iliad<\/em> 2.591\u2013592):<\/p>\n \u03bf\u1f33 \u03b4\u1f72 \u03a0\u03cd\u03bb\u03bf\u03bd \u03c4\u2019 \u1f10\u03bd\u03ad\u03bc\u03bf\u03bd\u03c4\u03bf \u03ba\u03b1\u1f76 \u1f08\u03c1\u03ae\u03bd\u03b7\u03bd \u1f10\u03c1\u03b1\u03c4\u03b5\u03b9\u03bd\u1f74\u03bd And those who inhabited Pylos and lovely Arene In the hymn Pylos is put past the Alpheios in the ship\u2019s voyage (H. Apollo<\/em> 421\u2013424):<\/p>\n \u1f21 \u03b4\u1f72 \u03c0\u03c1\u03ae\u03c3\u03c3\u03bf\u03c5\u03c3\u03b1 \u03ba\u03ad\u03bb\u03b5\u03c5\u03b8\u03bf\u03bd Plying its path [7]<\/a> Only Aristarchus (scholia to Iliad<\/em> 7.135) and Strabo (8.3.26) had the true reading Pheas<\/em> in Odyssey 15.297; the medieval manuscript tradition has only Pheras<\/em>, which modern editions correct based on Aristarchus. It thus appears that the hymn largely achieved its goal of remaking Telemachus\u2019s voyage, or at least contesting it.<\/p>\n [8]<\/a> The two passages in their entirety:<\/p>\n Odyssey<\/em> 15.296\u2013300:<\/p>\n \u03b4\u03cd\u03c3\u03b5\u03c4\u03cc \u03c4\u2019 \u1f20\u03ad\u03bb\u03b9\u03bf\u03c2 \u03c3\u03ba\u03b9\u03cc\u03c9\u03bd\u03c4\u03cc \u03c4\u03b5 \u03c0\u1fb6\u03c3\u03b1\u03b9 \u1f00\u03b3\u03c5\u03b9\u03b1\u03af\u00b7 The sun set and all the ways grew dark; Apollo<\/em> 425\u2013429:<\/p>\n \u03b2\u1fc6 \u03b4\u1f72 \u03c0\u03b1\u03c1\u1f70 \u039a\u03c1\u03bf\u03c5\u03bd\u03bf\u1f7a\u03c2 \u03ba\u03b1\u1f76 \u03a7\u03b1\u03bb\u03ba\u03af\u03b4\u03b1 \u03ba\u03b1\u1f76 \u03c0\u03b1\u03c1\u1f70 \u0394\u03cd\u03bc\u03b7\u03bd It went past Krounoi and Khalkis and past Dyme See Hipota Nestor<\/em> \u00a75.12 for signs that the Odyssey<\/em> passage became a significant battleground for the location of Homeric Pylos. The line with mention of \u201cshining Elis,\u201d which occurs in both the Odyssey<\/em> and the hymn, is formulaic in Homer. In the hymn the line is used to place Pherai<\/em> beyond Elis; to counter this arrangement the same line was at some point added to Odyssey<\/em> 15, where it fits less smoothly than in the hymn, but has the effect of placing Elis after Pheai<\/em> in Telemachus\u2019s voyage. Before the controversy over the location of Pylos arose there was no need to mention Elis at all in Telemachus\u2019s voyage; cape Pheai itself would have been his jumping off point to the islands. It was the hymn that made Elis a contested part of Telemachus\u2019s voyage; for more on the hymn\u2019s geographical treatment of Elis see Hipota Nestor<\/em> \u00a75.15\u2013\u00a75.15.<\/p>\nI.<\/h2>\n
II.<\/h2>\n
\n\u03b4\u03ce\u03b4\u03b5\u03ba\u03b1 \u03b8\u03ae\u03bb\u03b5\u03b9\u03b1\u03b9, \u1f51\u03c0\u1f78 \u03b4’ \u1f21\u03bc\u03af\u03bf\u03bd\u03bf\u03b9 \u03c4\u03b1\u03bb\u03b1\u03b5\u03c1\u03b3\u03bf\u03af\u00b7
\n\u03b1\u1f33 \u03b4\u03ae \u03bf\u1f31 \u03ba\u03b1\u1f76 \u1f14\u03c0\u03b5\u03b9\u03c4\u03b1 \u03c6\u03cc\u03bd\u03bf\u03c2 \u03ba\u03b1\u1f76 \u03bc\u03bf\u1fd6\u03c1\u03b1 \u03b3\u03ad\u03bd\u03bf\u03bd\u03c4\u03bf,
\n\u1f10\u03c0\u03b5\u1f76 \u03b4\u1f74 \u0394\u03b9\u1f78\u03c2 \u03c5\u1f31\u1f78\u03bd \u1f00\u03c6\u03af\u03ba\u03b5\u03c4\u03bf \u03ba\u03b1\u03c1\u03c4\u03b5\u03c1\u03cc\u03b8\u03c5\u03bc\u03bf\u03bd,
\n\u03c6\u1ff6\u03b8’ \u1f29\u03c1\u03b1\u03ba\u03bb\u1fc6\u03b1, \u03bc\u03b5\u03b3\u03ac\u03bb\u03c9\u03bd \u1f10\u03c0\u03b9\u03af\u03c3\u03c4\u03bf\u03c1\u03b1 \u1f14\u03c1\u03b3\u03c9\u03bd,
\n\u1f45\u03c2 \u03bc\u03b9\u03bd \u03be\u03b5\u1fd6\u03bd\u03bf\u03bd \u1f10\u03cc\u03bd\u03c4\u03b1 \u03ba\u03b1\u03c4\u03ad\u03ba\u03c4\u03b1\u03bd\u03b5\u03bd \u1fa7 \u1f10\u03bd\u1f76 \u03bf\u1f34\u03ba\u1ff3,
\n\u03c3\u03c7\u03ad\u03c4\u03bb\u03b9\u03bf\u03c2, \u03bf\u1f50\u03b4\u1f72 \u03b8\u03b5\u1ff6\u03bd \u1f44\u03c0\u03b9\u03bd \u03b1\u1f30\u03b4\u03ad\u03c3\u03b1\u03c4’ \u03bf\u1f50\u03b4\u1f72 \u03c4\u03c1\u03ac\u03c0\u03b5\u03b6\u03b1\u03bd,
\n\u03c4\u1f74\u03bd \u1f25\u03bd \u03bf\u1f31 \u03c0\u03b1\u03c1\u03ad\u03b8\u03b7\u03ba\u03b5\u03bd\u00b7 \u1f14\u03c0\u03b5\u03b9\u03c4\u03b1 \u03b4\u1f72 \u03c0\u03ad\u03c6\u03bd\u03b5 \u03ba\u03b1\u1f76 \u03b1\u1f50\u03c4\u03cc\u03bd,
\n\u1f35\u03c0\u03c0\u03bf\u03c5\u03c2 \u03b4’ \u03b1\u1f50\u03c4\u1f78\u03c2 \u1f14\u03c7\u03b5 \u03ba\u03c1\u03b1\u03c4\u03b5\u03c1\u03ce\u03bd\u03c5\u03c7\u03b1\u03c2 \u1f10\u03bd \u03bc\u03b5\u03b3\u03ac\u03c1\u03bf\u03b9\u03c3\u03b9.
\n\u03c4\u1f70\u03c2 \u1f10\u03c1\u03ad\u03c9\u03bd \u1f48\u03b4\u03c5\u03c3\u1fc6\u03ca \u03c3\u03c5\u03bd\u03ae\u03bd\u03c4\u03b5\u03c4\u03bf, \u03b4\u1ff6\u03ba\u03b5 \u03b4\u1f72 \u03c4\u03cc\u03be\u03bf\u03bd,
\n\u03c4\u1f78 \u03c0\u03c1\u1f76\u03bd \u03bc\u1f72\u03bd \u1f10\u03c6\u03cc\u03c1\u03b5\u03b9 \u03bc\u03ad\u03b3\u03b1\u03c2 \u0395\u1f54\u03c1\u03c5\u03c4\u03bf\u03c2, \u03b1\u1f50\u03c4\u1f70\u03c1 \u1f41 \u03c0\u03b1\u03b9\u03b4\u1f76
\n\u03ba\u03ac\u03bb\u03bb\u03b9\u03c0’ \u1f00\u03c0\u03bf\u03b8\u03bd\u1fc4\u03c3\u03ba\u03c9\u03bd \u1f10\u03bd \u03b4\u03ce\u03bc\u03b1\u03c3\u03b9\u03bd \u1f51\u03c8\u03b7\u03bb\u03bf\u1fd6\u03c3\u03b9.<\/p>\n
\nhe had lost; hard-working mule colts were with them, nursing.
\nThese mares presently were to mean his doom and murder
\nat the time when he came to the son of Zeus, strong-hearted,
\nthe man called Herakles, guilty of monstrous actions,
\nwho killed Iphitos while he was a guest in his household;
\nhard man, without shame for the watchful gods, nor the table
\nhe had set for Iphitos, his guest; and when he killed him
\nhe kept the strong-footed horses for himself in his palace.
\nIn search of his mares, Iphitos met Odysseus, and gave him
\nthe bow, which once the great Eurytos had carried, and left it
\nafterward to his son when he had died in his high house.<\/p>\nIII.<\/h2>\n
\n\u1f65\u03c3\u03b8’ \u1f45\u03c1\u03ba\u03bf\u03bd \u03b1\u1f51\u03c4\u1ff7 \u03c0\u03c1\u03bf\u03c3\u03b2\u03b1\u03bb\u1f7c\u03bd \u03b4\u03b9\u03ce\u03bc\u03bf\u03c3\u03b5\u03bd
\n\u1f26 \u03bc\u1f74\u03bd \u03c4\u1f78\u03bd \u1f00\u03b3\u03c7\u03b9\u03c3\u03c4\u1fc6\u03c1\u03b1 \u03c4\u03bf\u1fe6\u03b4\u03b5 \u03c4\u03bf\u1fe6 \u03c0\u03ac\u03b8\u03bf\u03c5\u03c2
\n\u03be\u1f7a\u03bd \u03c0\u03b1\u03b9\u03b4\u1f76 \u03ba\u03b1\u1f76 \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u1f76 \u03b4\u03bf\u03c5\u03bb\u03ce\u03c3\u03b5\u03b9\u03bd \u1f14\u03c4\u03b9.
\n\u03ba\u03bf\u1f50\u03c7 \u1f21\u03bb\u03af\u03c9\u03c3\u03b5 \u03c4\u03bf\u1f54\u03c0\u03bf\u03c2, \u1f00\u03bb\u03bb’ \u1f45\u03b8’ \u1f01\u03b3\u03bd\u1f78\u03c2 \u1f26\u03bd,
\n\u03c3\u03c4\u03c1\u03b1\u03c4\u1f78\u03bd \u03bb\u03b1\u03b2\u1f7c\u03bd \u1f10\u03c0\u03b1\u03ba\u03c4\u1f78\u03bd \u1f14\u03c1\u03c7\u03b5\u03c4\u03b1\u03b9 \u03c0\u03cc\u03bb\u03b9\u03bd
\n\u03c4\u1f74\u03bd \u0395\u1f50\u03c1\u03c5\u03c4\u03b5\u03af\u03b1\u03bd\u00b7 \u03c4\u03cc\u03bd\u03b4\u03b5 \u03b3\u1f70\u03c1 \u03bc\u03b5\u03c4\u03b1\u03af\u03c4\u03b9\u03bf\u03bd
\n\u03bc\u03cc\u03bd\u03bf\u03bd \u03b2\u03c1\u03bf\u03c4\u1ff6\u03bd \u1f14\u03c6\u03b1\u03c3\u03ba\u03b5 \u03c4\u03bf\u1fe6\u03b4’ \u03b5\u1f36\u03bd\u03b1\u03b9 \u03c0\u03ac\u03b8\u03bf\u03c5\u03c2.<\/p>\n
\n\u03c0\u03bf\u03bb\u03bb\u1ff6\u03bd \u03c0\u03b1\u03c1\u03cc\u03bd\u03c4\u03c9\u03bd \u03bc\u03b1\u03c1\u03c4\u03cd\u03c1\u03c9\u03bd, \u1f61\u03c2 \u03c4\u1fc6\u03c2 \u03ba\u03cc\u03c1\u03b7\u03c2
\n\u03c4\u03b1\u03cd\u03c4\u03b7\u03c2 \u1f15\u03ba\u03b1\u03c4\u03b9 \u03ba\u03b5\u1fd6\u03bd\u03bf\u03c2 \u0395\u1f54\u03c1\u03c5\u03c4\u03cc\u03bd \u03b8’ \u1f15\u03bb\u03bf\u03b9
\n\u03c4\u03ae\u03bd \u03b8’ \u1f51\u03c8\u03af\u03c0\u03c5\u03c1\u03b3\u03bf\u03bd \u039f\u1f30\u03c7\u03b1\u03bb\u03af\u03b1\u03bd, \u1f1c\u03c1\u03c9\u03c2 \u03b4\u03ad \u03bd\u03b9\u03bd
\n\u03bc\u03cc\u03bd\u03bf\u03c2 \u03b8\u03b5\u1ff6\u03bd \u03b8\u03ad\u03bb\u03be\u03b5\u03b9\u03b5\u03bd \u03b1\u1f30\u03c7\u03bc\u03ac\u03c3\u03b1\u03b9 \u03c4\u03ac\u03b4\u03b5.<\/p>\n
\n\u03c4\u1f74\u03bd \u03c0\u03b1\u1fd6\u03b4\u03b1 \u03b4\u03bf\u1fe6\u03bd\u03b1\u03b9, \u03ba\u03c1\u03cd\u03c6\u03b9\u03bf\u03bd \u1f61\u03c2 \u1f14\u03c7\u03bf\u03b9 \u03bb\u03ad\u03c7\u03bf\u03c2,
\n\u1f14\u03b3\u03ba\u03bb\u03b7\u03bc\u03b1 \u03bc\u03b9\u03ba\u03c1\u1f78\u03bd \u03b1\u1f30\u03c4\u03af\u03b1\u03bd \u03b8’ \u1f11\u03c4\u03bf\u03b9\u03bc\u03ac\u03c3\u03b1\u03c2
\n\u1f10\u03c0\u03b9\u03c3\u03c4\u03c1\u03b1\u03c4\u03b5\u03cd\u03b5\u03b9 \u03c0\u03b1\u03c4\u03c1\u03af\u03b4\u03b1 [\u03c4\u1f74\u03bd \u03c4\u03b1\u03cd\u03c4\u03b7\u03c2, \u1f10\u03bd \u1f97<\/em>
\n\u03c4\u1f78\u03bd \u0395\u1f54\u03c1\u03c5\u03c4\u03bf\u03bd \u03c4\u03cc\u03bd\u03b4’ \u03b5\u1f36\u03c0\u03b5 \u03b4\u03b5\u03c3\u03c0\u03cc\u03b6\u03b5\u03b9\u03bd \u03b8\u03c1\u03cc\u03bd\u03c9\u03bd,<\/em>
\n\u03ba\u03c4\u03b5\u03af\u03bd\u03b5\u03b9 \u03c4’ \u1f04\u03bd\u03b1\u03ba\u03c4\u03b1 \u03c0\u03b1\u03c4\u03ad\u03c1\u03b1<\/em>] \u03c4\u1fc6\u03c3\u03b4\u03b5 \u03ba\u03b1\u1f76 \u03c0\u03cc\u03bb\u03b9\u03bd
\n\u1f14\u03c0\u03b5\u03c1\u03c3\u03b5. \u03ba\u03b1\u03af \u03bd\u1fe6\u03bd, \u1f61\u03c2 \u1f41\u03c1\u1fb7\u03c2, \u1f25\u03ba\u03b5\u03b9 \u03b4\u03cc\u03bc\u03bf\u03c5\u03c2
\n\u1f61\u03c2 \u03c4\u03bf\u03cd\u03c3\u03b4\u03b5 \u03c0\u03ad\u03bc\u03c0\u03c9\u03bd \u03bf\u1f50\u03ba \u1f00\u03c6\u03c1\u03bf\u03bd\u03c4\u03af\u03c3\u03c4\u03c9\u03c2, \u03b3\u03cd\u03bd\u03b1\u03b9,
\n\u03bf\u1f50\u03b4’ \u1f65\u03c3\u03c4\u03b5 \u03b4\u03bf\u03cd\u03bb\u03b7\u03bd\u00b7 \u03bc\u03b7\u03b4\u1f72 \u03c0\u03c1\u03bf\u03c3\u03b4\u03cc\u03ba\u03b1 \u03c4\u03cc\u03b4\u03b5\u00b7
\n\u03bf\u1f50\u03b4’ \u03b5\u1f30\u03ba\u03cc\u03c2, \u03b5\u1f34\u03c0\u03b5\u03c1 \u1f10\u03bd\u03c4\u03b5\u03b8\u03ad\u03c1\u03bc\u03b1\u03bd\u03c4\u03b1\u03b9 \u03c0\u03cc\u03b8\u1ff3.<\/p>\nIV.<\/h2>\n
Footnotes<\/h2>\n
\n\u03ba\u03b1\u1f76 \u0398\u03c1\u03cd\u03bf\u03bd \u1f08\u03bb\u03c6\u03b5\u03b9\u03bf\u1fd6\u03bf \u03c0\u03cc\u03c1\u03bf\u03bd \u03ba\u03b1\u1f76 \u1f10\u03b0\u03ba\u03c4\u03b9\u03c4\u03bf\u03bd \u0391\u1f30\u03c0\u1f7a\u2026.<\/p>\n
\nand Thryon, ford of the Alpheios, and well-built Aipy\u2026.<\/p>\n
\n\u1f08\u03c1\u03ae\u03bd\u03b7\u03bd \u1f35\u03ba\u03b1\u03bd\u03b5 \u03ba\u03b1\u1f76 \u1f08\u03c1\u03b3\u03c5\u03c6\u03ad\u03b7\u03bd \u1f10\u03c1\u03b1\u03c4\u03b5\u03b9\u03bd\u1f74\u03bd
\n\u03ba\u03b1\u1f76 \u0398\u03c1\u03cd\u03bf\u03bd \u1f08\u03bb\u03c6\u03b5\u03b9\u03bf\u1fd6\u03bf \u03c0\u03cc\u03c1\u03bf\u03bd \u03ba\u03b1\u1f76 \u1f10\u03b0\u03ba\u03c4\u03b9\u03c4\u03bf\u03bd \u0391\u1f36\u03c0\u03c5
\n\u03ba\u03b1\u1f76 \u03a0\u03cd\u03bb\u03bf\u03bd \u1f20\u03bc\u03b1\u03b8\u03cc\u03b5\u03bd\u03c4\u03b1 \u03a0\u03c5\u03bb\u03bf\u03b9\u03b3\u03b5\u03bd\u03ad\u03b1\u03c2 \u03c4\u2019 \u1f00\u03bd\u03b8\u03c1\u03ce\u03c0\u03bf\u03c5\u03c2.<\/p>\n
\nit came to Arene and lovely Argyphea
\nand Thryon, ford of the Alpheios, and well-built Aipy
\nand sandy Pylos and the Pylos-born men.<\/p>\n
\n\u1f21 \u03b4\u1f72 \u03a6\u03b5\u1f70\u03c2 \u1f10\u03c0\u03ad\u03b2\u03b1\u03bb\u03bb\u03b5\u03bd \u1f10\u03c0\u03b5\u03b9\u03b3\u03bf\u03bc\u03ad\u03bd\u03b7 \u0394\u03b9\u1f78\u03c2 \u03bf\u1f54\u03c1\u1ff3,
\n\u1f20\u03b4\u1f72 \u03c0\u03b1\u03c1\u2019 \u1f2c\u03bb\u03b9\u03b4\u03b1 \u03b4\u1fd6\u03b1\u03bd, \u1f45\u03b8\u03b9 \u03ba\u03c1\u03b1\u03c4\u03ad\u03bf\u03c5\u03c3\u03b9\u03bd \u1f18\u03c0\u03b5\u03b9\u03bf\u03af.
\n\u1f14\u03bd\u03b8\u03b5\u03bd \u03b4\u2019 \u03b1\u1f56 \u03bd\u03ae\u03c3\u03bf\u03b9\u03c3\u03b9\u03bd \u1f10\u03c0\u03b9\u03c0\u03c1\u03bf\u03ad\u03b7\u03ba\u03b5 \u03b8\u03bf\u1fc7\u03c3\u03b9\u03bd,
\n\u1f41\u03c1\u03bc\u03b1\u03af\u03bd\u03c9\u03bd, \u1f24 \u03ba\u03b5\u03bd \u03b8\u03ac\u03bd\u03b1\u03c4\u03bf\u03bd \u03c6\u03cd\u03b3\u03bf\u03b9 \u1f26 \u03ba\u03b5\u03bd \u1f01\u03bb\u03bf\u03af\u03b7.<\/p>\n
\nit [the ship] made for Pheai, driven by Zeus\u2019s wind,
\nand past shining Elis, where the Epeians have power.
\nFrom there he struck out for the fast islands,
\npondering whether he would escape death or die.<\/p>\n
\n\u1f20\u03b4\u1f72 \u03c0\u03b1\u03c1\u2019 \u1f2c\u03bb\u03b9\u03b4\u03b1 \u03b4\u1fd6\u03b1\u03bd \u1f45\u03b8\u03b9 \u03ba\u03c1\u03b1\u03c4\u03ad\u03bf\u03c5\u03c3\u03b9\u03bd \u1f18\u03c0\u03b5\u03b9\u03bf\u03af.
\n\u03b5\u1f54\u03c4\u03b5 \u03a6\u03b5\u03c1\u1f70\u03c2 \u1f10\u03c0\u03ad\u03b2\u03b1\u03bb\u03bb\u03b5\u03bd \u1f00\u03b3\u03b1\u03bb\u03bb\u03bf\u03bc\u03ad\u03bd\u03b7 \u0394\u03b9\u1f78\u03c2 \u03bf\u1f54\u03c1\u1ff3
\n\u03ba\u03b1\u03af \u03c3\u03c6\u03b9\u03bd \u1f51\u03c0\u1f72\u03ba \u03bd\u03b5\u03c6\u03ad\u03c9\u03bd \u1f38\u03b8\u03ac\u03ba\u03b7\u03c2 \u03c4\u2019 \u1f44\u03c1\u03bf\u03c2 \u03b1\u1f30\u03c0\u1f7a \u03c0\u03ad\u03c6\u03b1\u03bd\u03c4\u03bf,
\n\u0394\u03bf\u03c5\u03bb\u03af\u03c7\u03b9\u03cc\u03bd \u03c4\u03b5 \u03a3\u03ac\u03bc\u03b7 \u03c4\u03b5 \u03ba\u03b1\u1f76 \u1f51\u03bb\u03ae\u03b5\u03c3\u03c3\u03b1 \u0396\u03ac\u03ba\u03c5\u03bd\u03b8\u03bf\u03c2.<\/p>\n
\nand past shining Elis, where the Epeians have power.
\nWhen it made for Pherai, exulting in Zeus\u2019s wind,
\nIthaca\u2019s steep mountain also appeared to
\nthem from under the clouds,
\nand Doulichion and Same and wooded Zakynthos.<\/p>\n