Homer Odyssey 1.125

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Odyssey. Homer. Boston. 1873.

Current edition Experimental

English (William Cullen Bryant, 1873) (OCR draft) (English) (English (William Cullen Bryant, 1873))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ὀδύσσεια Perseus (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), editor. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.) — 1.125 focus
Translations (8)
Odyssey Perseus (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.) — 1.125 focus
Odyssey Perseus (Homer. The Odyssey: rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. Revised by Timothy Power and Gregory Nagy. London: A.C. Fifield, 1900.) — 1.113 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.125 focus
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, patient-hearted Odysseus [130] 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, [135] and that he might ask her more freely about his father.
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 1.125 focus
Thus affable and mild, the prince precedes,
And to the dome th' unknown celestial leads.
The spear receiving from her hand, he placed
Against a column, fair with sculpture graced;
Where seemly ranged in peaceful order stood
170
Ulysses' arms, now long disus'd to blood.
He led the goddess to the sovereign seat,
Her feet supported with a stool of state;
(A purple carpet spread the pavement wide ;)
Then drew his seat, familiar, to her side;
175
Far from the suitor-train, a brutal crowd,
With insolence, and wine, elate and loud;
Where the free guest, unnoted, might relate,
If haply conscious, of his father's fate.
The golden ewer a maid obsequious brings,
180
Replenish'd from the cool translucent springs;
With copious water the bright vase supplies
A silver laver of capacious size :
They wash. The tables in fair order spread,
They heap the glittering canisters with bread :
185
Viands of various kinds allure the taste,
Of choicest sort and savour, rich repast!
Delicious wines th' attending herald brought;
The gold gave lustre to the purple draught.
Lur'd with the vapour of the fragrant feast,
190
In rush'd the suitors with voracious haste:
Marshall'd in order due, to each a sewer
Presents, to bathe his hands, a radiant ewer.
Luxurious then they feast. Observant round
Gay stripling youths the brimming goblets crown'd.
195
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.125 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 1.125 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.125 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 1 focus

New Alexandria Commentaries

Gregory Nagy

The comments I offer on Odyssey Rhapsody 1 through Rhapsody 24, starting here with Rhapsody 1, were based mostly on details that derive from seven books that I indicate in the Bibliography by way of these abbreviations: BA, GMP, H24H, HC, HPC, HQ, HR, MoM, PasP, PH. Each one of these books has its own index locorum. My colleague Anita Nikkanen, an Associate Editor for this online project, tracked the sequences of Homeric verses as listed in the indices for six of these books and then summarized my comments on those verses. Following up on her meticulous work, I am in the process of converting her summaries into a form of commentary. My comments on the Odyssey as I presented them in Classical Inquiries are merely samplings of the content that I hope to contribute to the overall commentary, to which a number of other colleagues are also contributing their own comments. That said, I now proceed to offer a sampling of comments on Rhapsody 1. At this point, my comments about the beginning of the Odyssey need no further introduction of their own.

draft js image errorZeus, Athena, and Hermes (1810). Drawing by John Flaxman. Image via Wikimedia Commons.

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The singer of tales here, named Phemios, O.01.154, is ‘singing’ for the suitors as his audience, and the word translated as ‘sing’ here is aeidein at O.01.154 and at O.01.155. Such a singer is not exactly the equivalent of a “court poet,” since Phemios is singing for the suitors against his will, that is, he is singing anankēi ‘by way of constraint’, O.01.154. And what kind of a singer is this Phemios? He sings while accompanying himself on a kind of lyre, designated by the noun kitharis at O.01.153; also, his playing on the lyre is designated by the verb phormizein at O.01.055. In Plato Ion 533b-c, Phemios is described as a rhapsōidos ‘rhapsode’. The description is accurate in the sense that rhapsodes were professional performers of Homeric poetry in the classical period, as we see clearly in the overall context of Plato’s Ion. But this same description is inaccurate in the sense that rhapsodes in the classical period performed Homeric poetry without accompanying themselves on the kitharā ‘lyre’: as we see overall in Plato’s Ion and elsewhere, the rhapsodic form of ‘singing’ Homeric poetry was basically recitative, with reduced melody. By contrast, as we read in Plato Ion 533b-c, performers in the classical period who sang with full-blown melody while accompanying themselves on the kitharā ‘lyre’ were called kitharōidoi ‘citharodes’, that is, ‘kitharā-singers’. In other words, these ‘lyre-singers’ were performers of what we call lyric. At the festival of the Panathenaia in Athens during the classical period, these lyre-singers or citharodes competed with each other in singing lyric, while rhapsodes competed with each other in singing epic. As we can learn from Plato Ion 533b-c, the prototypical citharode was considered to be Orpheus, while the prototypical rhapsode was Phemios. But Phemios, even though he sings epic and not lyric, is not exactly a rhapsode in the classical sense of the term: as I have already pointed out, Phemios sings while accompanying himself on a kind of lyre, designated by the noun kitharis at O.01.153; also, his playing on the lyre is designated by the verb phormizein at O.01.055. Nevertheless, Plato has a point in considering Phemios a prototypical rhapsode, since what he sings is epic, which is what rhapsodes recite in the classical period—and which is not what citharodes any longer sing. On Phemios as a singer of epic, see the comment on O.01.325–327.

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Leonard Muellner

comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, as well as genos eukhesthai einai formulas

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analysis of xeinos (etc.) eukhesthai einai formulas as having the same function as genos eukhesthai einai formulas

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, and here specifically the answers to such questions (genos eukhesthai einai formulas), and their demonstrating that such usages can be inherited phenomena

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analysis of the development of the formula | eukhomai einai # huios, perhaps from a lyric formula *huios eukhomai einai #

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in a list of attestations of genos eukhesthai einai and its transformations

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comparison of Greek formulas for asking a person’s identity with Avestan and Indic parallels, and here specifically the answers to such questions (genos eukhesthai einai formulas), and their demonstrating that such usages can be inherited phenomena

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one of the three places where the convention of naming-statements to omit one’s own name is broken

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analysis of xeinos (etc.) eukhesthai einai formulas as having the same function as genos eukhesthai einai formulas

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analysis of xeinos (etc.) eukhesthai einai formulas as having the same function as genos eukhesthai einai formulas

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in a list of eukhesthai einai + social relationship (xeinos, hiketēs)

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Athena/Mentes’ misrepresentation of Odysseus’ situation that puts Telemachus in the same position with his father

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analysis of the contrast between unmarked phanai and marked eukhesthai in contexts where the latter is associated with asserting superiority, here Telemachus’ modesty about his genos as he uses phanai [MRBTP: 'ff']

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comment on Athena’s naming herself (as Mentes, in disguise) as offering a counter-example to Telemachus’ doubt about who his father is (in these verses), one of the three places where the convention of naming-statements to omit one’s own name is broken

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