Iliad 17: 1-69

主題: 不要逞一時的口頭之快

Iliad 17: 1-69

《伊利亞特》第十七卷是部插曲，在Patroclus身亡，到讓Achilles得知此噩耗中間的過程，穿插的是兩軍爭Patroclus屍體的激烈場面，這一主題的發展，會一直在第十八卷238行才結束，一方面展現Patroclus的重要，另一方面也預告之後會凌虐Hector的屍體，當然也和之後Priam懇求Achilles還兒子的屍體有很多平行的細節。

先出場的是Menelaus，因為基本上，希臘的主將都已受重傷，本卷特別著墨Menelaus的另一原因是他和Patroclus性格比較接近，都有細心、善解人意和敏感的特質。Menelaus第一個站出來要帶回Patroclus的屍體，就像母牛情深深地看著死去的幼犢。第17行提到一詞「甜蜜的生命」(μελιηδέα θυμὸν: μελιηδής，honey-sweet; θυμός soul, spirit)，但，戰場卻不斷奪走這些甜蜜的生命。

特洛伊的Euphorbus出來嗆聲，也因為他的兄弟死於Menelaus之手 (Iliad 14.514-519)，此刻他要報復。

第18-32行，是Menelaus回Euphorbus的一段話，要他不要高傲自大，最後還說出一句希臘名言: 蠢人從災難中學習。只是，這些淺顯易懂的道理，勸別人去做的多，真正要求自己做到的少。

當Euphorbus口頭上佔上風時，應該沒想到沒過多久就被對方擊死。

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0133%3Abook%3D17%3Acard%3D1 τὸν δὲ μέγ᾽ ὀχθήσας προσέφη ξανθὸς Μενέλαος: ‘Ζεῦ πάτερ οὐ μὲν καλὸν ὑπέρβιον εὐχετάασθαι. οὔτ᾽ οὖν παρδάλιος τόσσον μένος οὔτε λέοντος οὔτε συὸς κάπρου ὀλοόφρονος, οὗ τε μέγιστος θυμὸς ἐνὶ στήθεσσι περὶ σθένεϊ βλεμεαίνει, ὅσσον Πάνθου υἷες ἐϋμμελίαι φρονέουσιν. οὐδὲ μὲν οὐδὲ βίη Ὑπερήνορος ἱπποδάμοιο ἧς ἥβης ἀπόνηθ᾽, ὅτε μ᾽ ὤνατο καί μ᾽ ὑπέμεινε καί μ᾽ ἔφατ᾽ ἐν Δαναοῖσιν ἐλέγχιστον πολεμιστὴν ἔμμεναι: οὐδέ ἕ φημι πόδεσσί γε οἷσι κιόντα εὐφρῆναι ἄλοχόν τε φίλην κεδνούς τε τοκῆας. ὥς θην καὶ σὸν ἐγὼ λύσω μένος εἴ κέ μευ ἄντα στήῃς: ἀλλά σ᾽ ἔγωγ᾽ ἀναχωρήσαντα κελεύω ἐς πληθὺν ἰέναι, μηδ᾽ ἀντίος ἵστασ᾽ ἐμεῖο πρίν τι κακὸν παθέειν: ῥεχθὲν δέ τε νήπιος ἔγνω. (Iliad 17. 18-32) http://records.viu.ca/~johnstoi/homer/iliad17.htm With a great scowl, fair-haired Menelaus then replied: “By Father Zeus, such arrogant boasting has no great merit. The spirit in a leopard,   lion, or ferocious boar, whose chest contains the fiercest and the strongest fury— none of these, it seems, can match the arrogance in sons of Panthous with their long ash spears. But not even horse-taming Hyperenor,  strong as he was, got much enjoyment from his youthful vigour, once he’d mocked me, as he waited when I came against him, calling me the most unworthy warrior among Danaans. I don’t think he went home to cheer up his dear wife and worthy parents on his own two feet. So if you stand here against me, I’ll drain your strength as well, just as I did his. In fact, I’d advise you  to retreat, get back to your companions.  Don’t oppose me, in case you run into something unwelcome. From experience there are lessons even fools can learn.” 字彙: νήπιος infant, child

以下圖片與資料出處: http://en.wikipedia.org/wiki/Euphorbus

Menelaus and Hector fighting over the body of Euphorbus, Rhodian plate in the Middle Wild Goat style, c. 600 BC, British Museum.

Iliad 16.777-867

主題: Patroclus之死

Iliad 16. 777-867

《伊利亞特》第十六卷終結在帕特羅克洛斯之死。而且，就在一瞬間，情勢丕變。

第777行起，原本希臘人還佔上風，搶Cebriones的屍體。時間點，太陽西下耕牛下軛時(Iliad 16.779)，是一天三分之二的時間，通常指傍晚，Patroclus大展身手，每一次出手都殺九人，連續三次，但第四次出手時，Apollo出現，奪走Patroclus的戰袍，鋼盔落入Hector手中，長矛粉碎；瞬間Patroclus頭昏腦脹，往後退，Hector當機立斷，拿起大刀砍Patroclus的腹部。史詩用的比喻是: 兇猛的獅子總算戰勝不知疲憊的野豬，這兩頭兇猛的野獸搶甚麼? 水。獅子和野豬的高下早已分曉，水是有限的，非全力以赴，難以奪得。

臨死之前， Patroclus還是嗆聲，預告Hector會死在Achilles的手下。Hector最後還用腳踹Patroclus 的屍體，此刻Automedon 騎快馬運走屍體。這些神馬大有來頭，是眾神送給Peleus，作為他和Thetis結婚的賀禮。

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0133%3Abook%3D16%3Acard%3D818   Ἕκτωρ δ᾽ ὡς εἶδεν Πατροκλῆα μεγάθυμον ἂψ ἀναχαζόμενον βεβλημένον ὀξέϊ χαλκῷ, ἀγχίμολόν ῥά οἱ ἦλθε κατὰ στίχας, οὖτα δὲ δουρὶ νείατον ἐς κενεῶνα, διὰ πρὸ δὲ χαλκὸν ἔλασσε: δούπησεν δὲ πεσών, μέγα δ᾽ ἤκαχε λαὸν Ἀχαιῶν: ὡς δ᾽ ὅτε σῦν ἀκάμαντα λέων ἐβιήσατο χάρμῃ, ὥ τ᾽ ὄρεος κορυφῇσι μέγα φρονέοντε μάχεσθον πίδακος ἀμφ᾽ ὀλίγης: ἐθέλουσι δὲ πιέμεν ἄμφω: πολλὰ δέ τ᾽ ἀσθμαίνοντα λέων ἐδάμασσε βίηφιν: ὣς πολέας πεφνόντα Μενοιτίου ἄλκιμον υἱὸν Ἕκτωρ Πριαμίδης σχεδὸν ἔγχεϊ θυμὸν ἀπηύρα, καί οἱ ἐπευχόμενος ἔπεα πτερόεντα προσηύδα: Πάτροκλ᾽ ἦ που ἔφησθα πόλιν κεραϊξέμεν ἁμήν, Τρωϊάδας δὲ γυναῖκας ἐλεύθερον ἦμαρ ἀπούρας ἄξειν ἐν νήεσσι φίλην ἐς πατρίδα γαῖαν νήπιε: τάων δὲ πρόσθ᾽ Ἕκτορος ὠκέες ἵπποι ποσσὶν ὀρωρέχαται πολεμίζειν: ἔγχεϊ δ᾽ αὐτὸς Τρωσὶ φιλοπτολέμοισι μεταπρέπω, ὅ σφιν ἀμύνω ἦμαρ ἀναγκαῖον: σὲ δέ τ᾽ ἐνθάδε γῦπες ἔδονται. ἆ δείλ᾽, οὐδέ τοι ἐσθλὸς ἐὼν χραίσμησεν Ἀχιλλεύς, ὅς πού τοι μάλα πολλὰ μένων ἐπετέλλετ᾽ ἰόντι: μή μοι πρὶν ἰέναι Πατρόκλεες ἱπποκέλευθε νῆας ἔπι γλαφυρὰς πρὶν Ἕκτορος ἀνδροφόνοιο αἱματόεντα χιτῶνα περὶ στήθεσσι δαΐξαι. ὥς πού σε προσέφη, σοὶ δὲ φρένας ἄφρονι πεῖθε. (Iliad 16. 818-842) http://records.viu.ca/~johnstoi/homer/iliad16.htm But when Hector noticed brave Patroclus going back, wounded by sharp bronze, he moved up through the ranks, stood close to Patroclus and struck him with his spear,  low in the stomach, driving the bronze straight through. Patroclus fell with a crash, and Achaea’s army was filled with anguish. Just as a lion overcomes a tireless wild boar in combat, when both beasts fight bravely in the mountains over a small spring where they both want to drink, and the lion’s strength brings down the panting boar—that’s how Hector, moving close in with his spear, destroyed the life   of Menoetius’ noble son, who’d killed so many men. Then Hector spoke winged words of triumph over him: “Patroclus, you thought you’d raze our city,   robbing our women of their life of freedom, taking them in ships to your dear native land. You fool! In front of them, Hector’s horses, swift of foot, came out to fight. With the spear I’m the very best war-loving Trojan, and I’ve saved them from their fatal day. Now vultures will eat you here. You poor wretch,  even Achilles, for all his courage, was no use to you. Though he stayed behind, he must have given you strict orders as you left, ‘Don’t return to me, horseman Patroclus, at the hollow ships, until you’ve slashed blood  all over man-killing Hector’s tunic from his own chest.’

以下圖片與資料出處: http://www.mfa.org/collections/object/automedon-with-the-horses-of-achilles-31014

Automedon with the Horses of Achilles

Regnault’s painting illustrates a story from Homer’s Iliad. Automedon, chariot driver for the Greek warrior Achilles, restrains the horses Xanthos (behind) and Balios, two beasts who could predict the future. As Regnault wrote, “the horses, aware that their master link is taking them into combat, and that this combat will be the last and will cost him his life, struggle and wrest with the groom who has come to take them from their pasture. One of them, chestnut brown, rises like a great dark phantom, outlining himself against the sky. I wanted to give the picture a foretaste of disaster.”

Inscription

Lower left: H. Regnault / Rome. / 1868

Provenance

By 1872, acquired in France by Levi Parsons Morton (b. 1824 - d. 1920), New York [see note 1]; March 1, 1882, Morton sale, George A. Leavitt and Co., New York, lot 157, to Samuel A. Coale, St. Louis, MO [see note 2]; 1890, sold by Coale to the MFA for $1000. (Accession Date: June 17, 1890) NOTES: [1] The painting was executed in Rome in 1867/1868 and sent by the artist to Paris. Notes in the curatorial file indicate that Morton acquired it in France, where he served as U.S. Minister, though how and when is not known. It was first published as being in his possession by Henri Cazalès, "Henri Regnault: sa vie et son oeuvre" (Paris, 1872), p. 141. [2] In 1883, Coale exhibited the painting at William and Everett Gallery, Boston. It was on loan to the MFA from 1884 until 1890, during which time funds were raised for its purchase. See Walter Muir Whitehill, "Museum of Fine Arts Boston: A Centennial History" (Cambridge, MA, 1970), vol. 1, pp. 78–81.

Iliad 16. 684-776

主題: 勇敢是甚麼?

Iliad 16. 684-776

我們似乎看著帕特羅克洛斯（Patroclus) 一步步登上高峰，憂慮著、等著他的殞落。第684-687行說道，倘若Patroclus記取Achilles 的諄諄教誨，就可以避免黑色的死亡。只是，此刻衝鋒陷陣，過關斬將的大英雄Patroclus，腦海想的是力更大的功，根本不會想到他有極限! 這就是天神宙斯的用意 (Iliad 16. 688-691)? 我想，這就是人類的盲點。

   Apollo進場，幫助特洛伊人，也慎重警告Patroclus，不論是他或Achilles都無法攻打下特洛伊城(Iliad 16. 707-709)，勸他知難而退，但，Patroclus怎麼願意在大贏的時候放手? 他還是勇往直前，拉開弓箭要攻擊Hector，沒有打中，反而打倒駕馭戰車的Cebriones，是Hector同父異母兄弟。Cebriones眼珠掉在地上，滾進灰塵，屍體掉下馬車。

   下面引用的751-776行，描述Patroclus和Hector搶Cebriones屍體的壯觀卻悽慘畫面，像是兩頭飢腸轆轆的大獅子，搶眼前這塊肥鹿肉。Hector抓住屍體的頭，Patroclus抓住腳，誰也不讓誰。希臘與特洛伊兩邊，聲勢壯大，且勢均力敵，史詩用東風與南風發生衝突形容(Iliad 16.765)，砍過的是滿山滿谷的橡樹、梣樹、和山茱萸等。最可憐的是橫屍戰場的Cebriones，已毫無知覺，甚至不知道自己生前最擅場的駕馭戰車技巧。

   Patroclus還不能體會一件事，他的勇敢正一步步毀了他 (Iliad 16: 753)；而早在第六卷，Andromache也對Hector說過，他的英勇，正是他的死亡。勇敢是甚麼?不怕死? 還是讓這些英雄陶醉在自我感覺良好的迷藥?

  

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0133%3Abook%3D16%3Acard%3D750  ὣς εἰπὼν ἐπὶ Κεβριόνῃ ἥρωϊ βεβήκει οἶμα λέοντος ἔχων, ὅς τε σταθμοὺς κεραΐζων ἔβλητο πρὸς στῆθος, ἑή τέ μιν ὤλεσεν ἀλκή: ὣς ἐπὶ Κεβριόνῃ Πατρόκλεες ἆλσο μεμαώς. Ἕκτωρ δ᾽ αὖθ᾽ ἑτέρωθεν ἀφ᾽ ἵππων ἆλτο χαμᾶζε. τὼ περὶ Κεβριόναο λέονθ᾽ ὣς δηρινθήτην, ὥ τ᾽ ὄρεος κορυφῇσι περὶ κταμένης ἐλάφοιο ἄμφω πεινάοντε μέγα φρονέοντε μάχεσθον: ὣς περὶ Κεβριόναο δύω μήστωρες ἀϋτῆς Πάτροκλός τε Μενοιτιάδης καὶ φαίδιμος Ἕκτωρ ἵεντ᾽ ἀλλήλων ταμέειν χρόα νηλέϊ χαλκῷ. Ἕκτωρ μὲν κεφαλῆφιν ἐπεὶ λάβεν οὐχὶ μεθίει: Πάτροκλος δ᾽ ἑτέρωθεν ἔχεν ποδός: οἳ δὲ δὴ ἄλλοι Τρῶες καὶ Δαναοὶ σύναγον κρατερὴν ὑσμίνην. ὡς δ᾽ Εὖρός τε Νότος τ᾽ ἐριδαίνετον ἀλλήλοιιν οὔρεος ἐν βήσσῃς βαθέην πελεμιζέμεν ὕλην φηγόν τε μελίην τε τανύφλοιόν τε κράνειαν, αἵ τε πρὸς ἀλλήλας ἔβαλον τανυήκεας ὄζους ἠχῇ θεσπεσίῃ, πάταγος δέ τε ἀγνυμενάων, ὣς Τρῶες καὶ Ἀχαιοὶ ἐπ᾽ ἀλλήλοισι θορόντες δῄουν, οὐδ᾽ ἕτεροι μνώοντ᾽ ὀλοοῖο φόβοιο. πολλὰ δὲ Κεβριόνην ἀμφ᾽ ὀξέα δοῦρα πεπήγει ἰοί τε πτερόεντες ἀπὸ νευρῆφι θορόντες, πολλὰ δὲ χερμάδια μεγάλ᾽ ἀσπίδας ἐστυφέλιξαν μαρναμένων ἀμφ᾽ αὐτόν: ὃ δ᾽ ἐν στροφάλιγγι κονίης κεῖτο μέγας μεγαλωστί, λελασμένος ἱπποσυνάων. (Iliad 16. 751-776) http://records.viu.ca/~johnstoi/homer/iliad16.htm This said, Patroclus rushed at warrior Cebriones, moving like a lion who, while savaging some farm, is hit in the chest, so his own courage kills him. That’s how you, Patroclus, rushed at Cebriones, in your killing frenzy. Opposing him, Hector leapt from his chariot down to the ground. The two men        then battled over Cebriones, like two lions struggling on a mountain peak over a slaughtered deer, both ravenous, both filled with fighting fury— that’s how those two masters of the war shout fought, Patroclus, Menoetius’ son, and glorious Hector,   over Cebriones, both keen to slash each other’s flesh with pitiless bronze. Hector grabbed the corpse’s head, refusing to let go. At the other end, Patroclus gripped the feet. A desperate struggle then ensued among the Trojans and Danaans fighting there. Just as East and South Winds challenge one another in mountain forests, shaking up deep stands of oak, ash, and tapering cornel trees, hurling slim branches one against the other, with tremendous noise as the branches snap—that’s how Trojans and Achaeans  collided with each other in that conflict. Neither side had any thought of ruinous flight. Around Cebriones many spears were driven home, many winged arrows flew from bowstrings, many boulders  crashed on shields, as men kept fighting round him. But the great man Cebriones, proud of his glory, just lay there in the swirling dust, his horsemanship now quite forgotten. 字彙 Φηγός: Valonia oak, Quercus Aegilops, Quercus macrolepis 橡樹 Μελία:  manna ash, Fraxinus Ornus 梣樹 Τανύφλοιος: with longstretched bark κράνεια : cornelian cherry, Cornus mas山茱萸

以下圖片與資料出處: https://www.pinterest.com/pin/412360909603881562/

The Winds. Tags: winds, euros, east wind, notos, south wind, boreas, north wind, zephyros, zefyros, west wind

以下圖片與資料出處: http://en.wikipedia.org/wiki/Anemoi 

Iliad 16.569-683

主題: 面目全非的屍體

Iliad 16. 569-683

 戰場上，兩軍廝殺，但也有一些唇槍舌戰的插曲，在戰火綿延裡，這些看似激烈的對話，倒顯得荒謬。穿插幾段一對一的對打，但，顯然進入僵局，此時史詩的敘述焦點轉到Sarpedon面目全非的屍體 (Iliad 16. 632ff)，躺在戰場的屍體已難以分辨，甚至最聰明的人都看不出來 (Iliad 16. 638-40)。出現兩組比喻，第一組是山中的伐木，大聲作響，穿過整片森林，樹倒，正象徵眾英雄一一倒地；第二組，春天農場，一群蒼蠅撲向豐收的奶 (不一定是牛奶，可以是任何動物的奶)，說明Sarpedon腐敗的屍體，和流出的鮮血，引來眾多蟲。這組比喻，對照田園景觀和血流滿地的戰場，鮮明、也反諷。戰亂中Sarpedon的屍體被弄得面目全非，但是，後來Patroclus的屍首會被分解，而Hector的屍體還被凌虐，說明戰爭拖越久，手段越殘忍，卻失去人性。宙斯派阿波羅移走Sarpedon的遺體，擦去污血，抹上油膏，穿上不朽的衣袍，睡神與死神送回故土，立墓碑，享有一位英雄之死應有的尊榮 (Iliad 15.656-675)。

終究，荷馬史詩打破僵局，達到一暫時的緩和: 希臘大軍奪走Sarpedon的盔甲，但眷顧愛子的宙斯，救走Sarpedon的屍體。 宙斯開始思考，他絕對不會饒過殺他愛子的Patroclus，他想的是「何時」對付這兇手。表面上，宙斯助Patroclus旗開得勝，但卻一步步帶他走向死亡；遠離戰場，在船上等待的Achilles不知道戰爭前線發生的事，如果他知道，會勸Patroclus不要一職向前衝? Patroclus會聽他的勸告嗎?

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0133%3Abook%3D16%3Acard%3D619 ὣς εἰπὼν ὃ μὲν ἦρχ᾽, ὃ δ᾽ ἅμ᾽ ἕσπετο ἰσόθεος φώς. τῶν δ᾽ ὥς τε δρυτόμων ἀνδρῶν ὀρυμαγδὸς ὀρώρει οὔρεος ἐν βήσσῃς, ἕκαθεν δέ τε γίγνετ᾽ ἀκουή, ὣς τῶν ὄρνυτο δοῦπος ἀπὸ χθονὸς εὐρυοδείης χαλκοῦ τε ῥινοῦ τε βοῶν τ᾽ εὐποιητάων, νυσσομένων ξίφεσίν τε καὶ ἔγχεσιν ἀμφιγύοισιν. οὐδ᾽ ἂν ἔτι φράδμων περ ἀνὴρ Σαρπηδόνα δῖον ἔγνω, ἐπεὶ βελέεσσι καὶ αἵματι καὶ κονίῃσιν ἐκ κεφαλῆς εἴλυτο διαμπερὲς ἐς πόδας ἄκρους. οἳ δ᾽ αἰεὶ περὶ νεκρὸν ὁμίλεον, ὡς ὅτε μυῖαι σταθμῷ ἔνι βρομέωσι περιγλαγέας κατὰ πέλλας ὥρῃ ἐν εἰαρινῇ, ὅτε τε γλάγος ἄγγεα δεύει: ὣς ἄρα τοὶ περὶ νεκρὸν ὁμίλεον, οὐδέ ποτε Ζεὺς τρέψεν ἀπὸ κρατερῆς ὑσμίνης ὄσσε φαεινώ, ἀλλὰ κατ᾽ αὐτοὺς αἰὲν ὅρα καὶ φράζετο θυμῷ, πολλὰ μάλ᾽ ἀμφὶ φόνῳ Πατρόκλου μερμηρίζων, ἢ ἤδη καὶ κεῖνον ἐνὶ κρατερῇ ὑσμίνῃ αὐτοῦ ἐπ᾽ ἀντιθέῳ Σαρπηδόνι φαίδιμος Ἕκτωρ χαλκῷ δῃώσῃ, ἀπό τ᾽ ὤμων τεύχε᾽ ἕληται, ἦ ἔτι καὶ πλεόνεσσιν ὀφέλλειεν πόνον αἰπύν. (Iliad 16.632-651) http://records.viu.ca/~johnstoi/homer/iliad16.htm Saying this, Patroclus led off, and Meriones, that godlike man, went too. Then the turmoil started— just like the din woodcutters make in mountain forests,  a noise heard far away—that’s how it sounded then, the clamour rising from the widely travelled earth, a clash of bronze and leather, well-made ox-hide shields, as they fought there with two-edged spears and swords. Not even a man who knew Sarpedon very well could recognize him then, covered with blood and dirt and weapons, from the soles of his feet up to his head.   For men were swarming round the corpse like farmyard flies clustering by buckets full of milk in springtime, when milk overflows the pails—that how those warriors buzzed around Sarpedon then.                               Zeus’ bright eyes never once glanced from that brutal combat, gazing down and thinking in his heart of many different things about how lord Patroclus ought to meet his death, wondering whether glorious Hector should cut him down  with his bronze in that bitter fighting there over godlike Sarpedon and then strip the armour from his shoulders, or whether he should multiply grim misery for still more men. 字彙 Δρυτόμος: wood-cutter ἄκρος: at the farthest point μυῖα: fly περιγλαγής: full of milk

以下圖片與資料出處: http://genius.com/2696078

以下圖片與資料出處: http://commons.wikimedia.org/wiki/File:Sleep_and_Death_Carrying_off_the_Slain_Sarpedon_(cista_handle),_400-380_BC,_Etruscan,_bronze_-_Cleveland_Museum_of_Art_-_DSC08260.JPG

Sleep and Death Carrying off the Slain Sarpedon (cista handle), 400-380 BC, Etruscan, bronze - Cleveland Museum of Art

Iliad 16. 419-476

主題:  神之子

Iliad 16. 419-476

   

我沒有特別喜歡希臘神話，但是，希臘神話蘊藏特殊的哲學思維、世界觀與生命觀，值得深思與反省。例如，一個人的生死已定，即使是天神宙斯也不能改變；還有，關於長生不死的問題，希臘神話故事點出問題與缺點，打破世人的迷思。細讀特洛伊戰爭，就會明瞭一件淺顯的道理: 殺人者，終究死在另一人手中，有人說一山還有一山高，但還有細膩的因果觀在當中。

下面的段落出場的是Sarpedon，是宙斯和Laodamia的兒子，在特洛伊中，僅次於Hector的大英雄。但，終究要死在Patroclus手中。宙斯不捨，早已開始憂傷兒子將死; 天后是出於好意，還是因為吃醋，總之，她出面阻擋宙斯救兒子，她的邏輯清晰，主要三點論點: 第一，不可能改變命運; 第二，其他眾神也會反對，因為每個神都有自己的兒子，在戰場上搏鬥，隨時會結束生命，如果宙斯救Sarpedon，眾神都模仿，會引起大亂；第三，真心愛小孩，就該放手，交給命運，能送他的是起睡神和死神送他回故土，給他最好的葬禮與尊榮。

神之子，在世或許比一般人璀璨英勇，但還是化做一堆塵土，連神也沒辦法改變。

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0133%3Abook%3D16%3Acard%3D351 τὸν δ᾽ ἠμείβετ᾽ ἔπειτα βοῶπις πότνια Ἥρη: αἰνότατε Κρονίδη ποῖον τὸν μῦθον ἔειπες. ‘ἄνδρα θνητὸν ἐόντα πάλαι πεπρωμένον αἴσῃ ἂψ ἐθέλεις θανάτοιο δυσηχέος ἐξαναλῦσαι; ἔρδ᾽: ἀτὰρ οὔ τοι πάντες ἐπαινέομεν θεοὶ ἄλλοι. ἄλλο δέ τοι ἐρέω, σὺ δ᾽ ἐνὶ φρεσὶ βάλλεο σῇσιν: αἴ κε ζὼν πέμψῃς Σαρπηδόνα ὃν δὲ δόμον δέ, φράζεο μή τις ἔπειτα θεῶν ἐθέλῃσι καὶ ἄλλος πέμπειν ὃν φίλον υἱὸν ἀπὸ κρατερῆς ὑσμίνης: πολλοὶ γὰρ περὶ ἄστυ μέγα Πριάμοιο μάχονται υἱέες ἀθανάτων, τοῖσιν κότον αἰνὸν ἐνήσεις. ἀλλ᾽ εἴ τοι φίλος ἐστί, τεὸν δ᾽ ὀλοφύρεται ἦτορ, ἤτοι μέν μιν ἔασον ἐνὶ κρατερῇ ὑσμίνῃ χέρσ᾽ ὕπο Πατρόκλοιο Μενοιτιάδαο δαμῆναι: αὐτὰρ ἐπὴν δὴ τόν γε λίπῃ ψυχή τε καὶ αἰών, πέμπειν μιν θάνατόν τε φέρειν καὶ νήδυμον ὕπνον εἰς ὅ κε δὴ Λυκίης εὐρείης δῆμον ἵκωνται, ἔνθά ἑ ταρχύσουσι κασίγνητοί τε ἔται τε τύμβῳ τε στήλῃ τε: τὸ γὰρ γέρας ἐστὶ θανόντων. (Iliad 16.439-457) http://records.viu.ca/~johnstoi/homer/iliad16.htm Ox-eyed queen Hera then replied to Zeus:                                “Dread son of Cronos, how can you say this? The man is mortal, doomed long ago by Fate. Now you desire to rescue him from miserable death. Do as you wish. But we other gods    will not all agree with you. And I’ll tell you something else—make sure you remember it. If you send Sarpedon home alive, take care some other god does not desire to send his dear son from the killing zone. Around Priam’s great city, many men, sons of the immortals, are now fighting. You’ll enrage those gods and make them bitter. But if Sarpedon’s dear to you, if your heart   feels pity for him, then let him be killed   in a fierce combat at Patroclus’ hands, son of Menoetius. Once his living spirit has abandoned him, send Death and sweet Sleep to carry him away, back to the spacious land of Lycia, where his brother and his kinsmen will bury him with a mound and headstone. That’s what appropriate for those who die.”

以下圖片與資料出處:  http://en.wikipedia.org/wiki/Sarpedon

The death of Sarpedon, depicted in Lycian attire, at the hands of Patroclus. Red-figure hydria from Heraclea, c.400 BCE.