Hesiod – Works and Days

Original: μοῦσαι Πιερίηθεν ἀοιδῇσιν κλείουσαι δεῦτε , Δί’ ἐννέπετε , σφέτερον πατέρ’ ὑμνείουσαι ·

Translation: Sing , Muses from Pieria , with your famous songs , tell me , Zeus , singing of your own father .

Note

This sentence is a classic example of an invocation (paraklesis) common in Hesiodic poetry, where the poet calls upon the Muses to inspire his song. The phrase 'from Pieria' (Πιεριήθεν) refers to the region at the foot of Mount Olympus, the traditional birthplace of the Muses. The verb forms δεύτε and ἐννεπετε are both second person plural imperatives, creating a rhythmic call to action. The participle κλειούσαι (singing fame) and ὑμνεούσαι (singing hymns/praises) are present active participles that describe the manner in which the Muses are to sing. The syntax is somewhat complex, with the Muses being addressed directly as the subject of the imperatives, while Zeus is addressed as an interjection or object of the imperative ἐννεπετε, possibly indicating that the Muses are to sing of Zeus's father (Cronus) or perhaps addressing Zeus directly as the one who should speak through them. The repetition of the imperative structure and the participles creates a parallelism that emphasizes the dual nature of the request: to sing and to tell. The use of 'your own father' (σφετέρον πατέρα) is a striking phrase, as it implies a close familial connection between the Muses and Zeus, reinforcing the divine lineage and the authority of the song being requested.

Original: ὅντε διὰ βροτοὶ ἄνδρες ὁμῶς ἄφατοί τε φατοί τε , ῥητοί τ’ ἄρρητοί τε Διὸς μεγάλοιο ἕκητι .

Translation: For as long as men are alike , both those who are unspeakable and those who are speakable , and those who are speakable and those who are unspeakable , by the will of great Zeus .

Note

This sentence is notable for its complex use of asyndeton (the omission of conjunctions between clauses or phrases) and the repetitive use of the enclitic particle 'τε' (te), which functions here to create a sense of balance and enumeration. The phrase 'ὅντε διὰ βροτοὶ ἄνδρες ὁμῶς' introduces a temporal or conditional clause meaning 'while/as long as men are alike.' The core of the sentence presents a chiastic structure (ABBA) with the adjectives 'ἄφατοι' (unspeakable) and 'φατοι' (speakable) paired with 'ρητοι' (speakable) and 'ἄρρητοι' (unspeakable). This rhetorical device emphasizes the universality and inescapability of the condition, suggesting that regardless of one's speech or silence, all men are subject to the same fate under Zeus's will. The genitive 'Διοὺς μεγάλου' (of great Zeus) reinforces the divine authority overseeing human existence, a common theme in Hesiodic poetry. The use of 'ὁμῶς' (alike, equally) underscores the equality of all men before divine judgment.

Original: ῥέα μὲν γὰρ βριάει , ῥέα δὲ βριάοντα χαλέπτει , ῥεῖα δ’ ἀρίζηλον μινύθει καὶ ἄδηλον ἀέξει , ῥεῖα δέ τ’ ἰθύνει σκολιὸν καὶ ἀγήνορα κάρφει Ζεὺς ὑψιβρεμέτης , ὃς ὑπέρτατα δώματα ναίει .

Translation: For he makes the small grow great , and he makes the great grow small ; he makes the glorious one diminish and the unknown one grow ; and Zeus , the high-thunderer , who dwells in the highest halls , straightens the crooked and breaks the arrogant .

Note

This passage exemplifies Hesiod's characteristic use of antithesis (contrast) to illustrate the arbitrary and sovereign power of Zeus over human fortune. The sentence structure relies heavily on chiasmus and parallelism: the first clause contrasts 'small' (ῥέα) with 'great' (βριαόντα), while the second contrasts 'glorious' (ἀριζήλον) with 'unknown' (ἀδήλον). The repetition of the adverb 'ῥέα' (easily) at the beginning of each major clause creates a rhythmic anaphora that emphasizes the effortless nature of divine intervention. The verb 'καρφεῖ' (to break, crush, or shatter) is a potent agricultural metaphor, suggesting that Zeus breaks the proud like dry stalks of grain. The epithet 'υψιβρεμέτης' (high-thunderer) reinforces the cosmic authority of the subject, linking his physical residence in the 'highest halls' with his ability to elevate or humble mortals from above.

Original: κλῦθι ἰδὼν ἀίων τε , δίκῃ δ’ ἴθυνε θέμιστας τύνη ·

Translation: Hear and see , and with justice straighten your laws .

Note

The sentence employs a direct imperative address to the addressee (likely a king or judge), utilizing a tripartite structure of commands. The first two verbs, 'hear' (κλύθι) and 'see' (ἰδών), are coordinated with the enclitic particle 'τε' (and), creating a rhythmic pairing of auditory and visual perception that emphasizes the need for comprehensive awareness. The second clause begins with the adversative/connective 'δέ' and the adverbial accusative 'δίκη' (with justice/in justice), which functions here as a means or manner ('by means of justice'). The verb 'ἵθυνε' (straighten/direct) takes the accusative plural 'θέμιδας' (laws/customs/decisions) as its object. The phrase 'straighten your laws' is a powerful metaphorical image common in ancient Greek political thought, suggesting that justice is the standard by which human laws must be aligned; injustice is depicted as a crookedness or bending, while justice restores the proper, straight line. The syntax features a clear chiasmus-like balance between the sensory intake (hear/see) and the corrective action (straighten), mediated by the abstract concept of justice. The use of the second person singular pronoun 'σύ' (tyne) is explicit in the form 'τύν' (an archaic or dialectal form of σύ in the accusative, though here functioning as the subject of the imperative context, often interpreted as the agentive 'you' or simply the implied subject reinforced by the form). The sentence encapsulates the Hesiodic ideal that the ruler's primary duty is to ensure the straightness of judgment through the application of divine justice.

Original: ἐγὼ δέ κε , Πέρση , ἐτήτυμα μυθησαίμην .

Translation: But I , indeed , would speak true things to you , Perses .

Note

The sentence features the optative mood of the verb μυθεῖσθαι (to speak) combined with the particle ἄν (here rendered as κε), forming a potential optative construction. This construction expresses a hypothetical or potential action, often translated as 'would speak' or 'might speak,' indicating the speaker's intention or willingness under certain conditions. The use of the vocative 'Perses' directly addresses the listener, emphasizing a personal and direct appeal. The adjective 'true things' (ἐτήτυμα) underscores the theme of truth and reliability, which is central to Hesiod's didactic purpose in Works and Days. The sentence structure is straightforward, with the subject 'I' (ἐγώ) and the indirect object 'to you' (implied by the context of the vocative) clearly delineating the speaker and the listener.

Original: οὐκ ἄρα μοῦνον ἔην Ἐρίδων γένος , ἀλλ’ ἐπὶ γαῖαν εἰσὶ δύω ·

Translation: It was not then only the race of Strife that existed , but two came upon the earth .

Note

The sentence employs the correlative construction 'οὐκ ... ἀλλὰ' (not ... but) to establish a sharp contrast between the singular and the dual. The particle 'ἄρα' indicates a logical inference or a conclusion drawn from previous context, often translated as 'then' or 'so' to signal that the following statement is a necessary deduction. The verb 'ἦν' is imperfect indicative, while 'εἰσί' (from εἰμί) is present indicative; this shift in tense suggests a transition from a general past state to a specific, ongoing reality or a narrative present where the two entities are now active on earth. The noun 'γένος' (race/kind) with the genitive 'Ἐριδῶν' (of Strifes) refers to the personified entity of Strife (Eris), a central figure in Hesiod's cosmology. The use of the dual number in 'δύο' (two) is significant here, referring specifically to the two types of Strife: the destructive Strife and the healthy, competitive Strife, a key distinction in Hesiod's moral philosophy regarding human endeavor. The phrase 'ἐπὶ γαῖαν' (upon the earth) utilizes the accusative case to indicate motion towards a place, emphasizing the arrival or manifestation of these forces in the human realm.

Original: τὴν μέν κεν ἐπαινέσσειε νοήσας , ἣ δ’ ἐπιμωμητή ·

Translation: One might praise her after reflecting , but the other is worthy of blame .

Note

This sentence employs a classic contrastive structure marked by the enclitic particle combination μεν...δέ ('on the one hand...on the other'), which divides the two types of Strife (Eris) described in the surrounding context. The first clause features the optative mood of ἐπαινεσσειε ('he/she might praise') accompanied by the potential particle κεν (ἀν), indicating a hypothetical or general possibility rather than a specific past event. This is modified by the aorist active participle νοήσας ('having reflected' or 'after understanding'), which functions adverbially to show the condition or manner of the praise. The second clause is an ellipsis of the verb 'to be' (ἔστιν), a common feature in Greek where the copula is omitted for brevity and rhythmic balance; thus, ἐπιμωμητός functions as a predicative adjective meaning 'blameworthy' or 'subject to blame.' The sentence demonstrates a concise, gnomic style typical of Hesiod, offering moral instruction through parallelism and antithesis without the need for explicit conjunctions beyond the core adversative marker.

Original: διὰ δ’ ἄνδιχα θυμὸν ἔχουσιν .

Translation: But they hold a divided heart .

Note

The sentence employs the adverbial prefix δια- (indicating division or separation) combined with the adjective ἄνδιχα (divided, twofold, or inconsistent) to create a strong semantic emphasis on internal conflict. The particle δέ (δ') serves a connective function, contrasting this state with the previous description of the other group (the 'just' men) in the broader context of Hesiod's allegory of the Two Ages. The phrase θυμοὺς ἔχειν (to have a heart) is a common idiom in Archaic Greek literature, where 'heart' (θυμός) represents the seat of emotions, will, and moral character rather than the physical organ. The syntax features a simple Subject-Verb-Object structure, where the adverbial modifier ἄνδιχα intensifies the nature of the object θυμόν. The rhythm of the line, with the heavy consonant cluster in ἄνδιχα and the open vowel ending in θυμόν, creates a sense of instability that mirrors the meaning of the words themselves.

Original: ἣ μὲν γὰρ πόλεμόν τε κακὸν καὶ δῆριν ὀφέλλει , σχετλίη ·

Translation: For she increases evil war and strife , wretch .

Note

The sentence features the vocative adjective σχετλίη (wretch, reckless one), addressing a person (likely a judge or the addressee, Perses) for their failure to uphold justice. The verb οἰφέλλει (increases, augments) is used transitively with a compound object: πόλεμον κακόν (evil war) and δῆριν (strife). The conjunction τε...καί (both...and) links these two negative concepts, emphasizing the totality of the discord caused by injustice. The particle μέν is used here in a correlative structure with an implied δέ in the following line (which is not provided here), creating a contrast between the destructive effects of injustice and the beneficial effects of justice. The adverb γάρ provides the causal reasoning for the preceding context, explaining why injustice is to be avoided. The use of κακόν (evil) as an attributive adjective to πόλεμον (war) highlights the moral degradation associated with this type of conflict in Hesiodic ethics, distinguishing it from a necessary or righteous war.

Original: οὔτις τήν γε φιλεῖ βροτός , ἀλλ’ ὑπ’ ἀνάγκης ἀθανάτων βουλῇσιν Ἔριν τιμῶσι βαρεῖαν .

Translation: No man truly loves her , but rather they honor burdensome Discord under the will of the immortals .

Note

The sentence employs a strong antithesis between the human inclination ('no man loves her') and the human action ('they honor her'), mediated by the adversative conjunction 'ἀλλά' (but). The enclitic particle 'γε' attached to the article 'τὴν' adds emphasis, reinforcing the exclusivity of the negation regarding human affection. The verb 'τιμῶσι' (they honor) is used ironically here; the Erynes (Discord) is an object of fear and reverence born of necessity ('ὑπ' ἀνάγκης'), not genuine affection. The adjective 'βαρεῖαν' (burdensome, heavy) characterizes Discord as a crushing force. The syntax places the agentive phrase 'ὑπ' ἀνάγκης ἀθανάτων βουλήσιν' (under the necessity of the immortals' will) in a position that highlights the divine compulsion overriding human free will. The sentence structure reflects the Hesiodic theme that human behavior is often dictated by divine forces rather than personal desire.