Odyssey. Homer. Boston. 1873.
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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.) — 1.178 focus
τὸν δʼ αὖτε προσέειπε θεά, γλαυκῶπις Ἀθήνη·
τὴν δʼ αὖ Τηλέμαχος πεπνυμένος ἀντίον ηὔδα·
τὸν δʼ αὖτε προσέειπε θεά, γλαυκῶπις Ἀθήνη·
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.) — 1.178 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.) — 1.158 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.178 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 1.178 focus
MINERVA
'To gain by commerce, for the labour'd mass,
235
'A just proportion of refulgent brass.
'Far from your capital my ship resides
'At Reithrus,
2
and secure at anchor rides;
'Where waving groves on airy Neion grow,
'Supremely tall, and shade the deeps below.
240
'Thence to revisit your imperial dome,
'An old hereditary guest I come :
'Your father's friend. Laertes can relate
'Our faith unspotted, and its early date;
'Who, press'd with heart-corroding grief and years,
245
'To the gay court a rural shed prefers,
'Where, sole of all his train, a matron sage
'Supports with homely food his drooping age,
'With feeble steps from marshalling his vines
'Returning sad, when toilsome day declines.
250
'With friendly speed, induced by erring fame,
'To hail Ulysses' safe return, I came ;
'But still the frown of some celestial power
'With envious joy retards the blissful hour.
'Let not your soul be sunk in sad despair;
255
'He lives, he breathes this heavenly vital air,
'Among a savage race, whose shelfy bounds
'With ceaseless roar the foaming deep surrounds.
'The thoughts which roll within my ravish'd breast,
'To me, no seer, the inspiring gods suggest ;
260
'Nor skill'd, nor studious, with prophetic eye
'To judge the winged omens of the sky.
'Yet hear this certain speech, nor deem it vain ;
'Though adamantine bonds the chief restrain,
'The dire restraint his wisdom will defeat,
265
'And soon restore him to his regal seat.
'But, generous youth! sincere and free declare,
'Are you, of manly growth, his royal heir ?
'For sure Ulysses in your look appears,
'The same his features, if the same his years.
270
'Such was that face, on which I dwelt with joy
'Ere Greece assembled stemm'd the tides to Troy;
MINERVA
'But, parting then for that detested shore,
'Our eyes, unhappy! never greeted more.'
TELEMACHUS
'To prove a genuine birth (the prince replies)
275
'On female truth assenting faith relies:
'Thus manifest of right, I build my claim
'Sure-founded on a fair maternal fame,
'Ulysses' son; but happier he, whom fate
'Hath placed beneath the storms which toss the great!
280
'Happier the son, whose hoary sire is bless'd
'With humble affluence, and domestic rest!
'Happier than I, to future empire born,
'But doom'd a father's wretched fate to mourn!'
MINERVA
To whom, with aspect mild, the guest divine:
285
'Oh true descendant of a scepter'd line!
'The gods a glorious fate, from anguish free,
'To chaste Penelope's increase decree.
'But say, yon jovial troop so gaily dress'd,
'Is this a bridal or a friendly feast ?
290
'Or from their deed I rightlier may divine,
'(Unseemly flown with insolence and wine!)
'Unwelcome revellers, whose lawless joy
'Pains the sage ear, and hurts the sober eye.'
TELEMACHUS
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.178 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 1.178 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.178 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 1 focus
ODYSSEY BOOK I
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.
Zeus, Athena, and Hermes (1810). Drawing by John Flaxman.
Image via Wikimedia Commons.
The theme of abduction by gusts of wind is analyzed at length in the comment at O.15.250-251.
The text as transmitted by Aristarchus (see inventory of Words and Ideas) reads:
πρῶτα μὲν ἐς Πύλον ἐλθὲ καὶ εἴρεο Νέστορα δῖον,
κεῖθεν δὲ Σπάρτηνδε παρὰ ξανθὸν Μενέλαον·
ὃς γὰρ δεύτατος ἦλθεν Ἀχαιῶν χαλκοχιτώνων.
‘First you [= Telemachus] go to Pylos and ask radiant Nestor
and then from there to Sparta and to golden-haired Menelaos,
the one who was the last of the Achaeans, wearers of bronze tunics, to come back home.’
But the text as transmitted by Zenodotus (see again the inventory of Words and Ideas) reads:
πρῶτα μὲν ἐς Πύλον ἐλθέ, …
κεῖθεν δ’ ἐς Κρήτην τε παρ’ Ἰδομενῆα ἄνακτα,
ὃς γὰρ δεύτατος ἦλθεν Ἀχαιῶν χαλκοχιτώνων.
‘First go to Pylos …
and then from there to Crete and to king Idomeneus
who was the last of the Achaeans, wearers of bronze tunics, to come back home.’
Here at O.01.284–286, as also already at O.01.093, the variant reading that we see transmitted by Zenodotus (quoted in the scholia for O.03.313) indicates a variant epic tradition to which I have already referred as a Cretan Odyssey in my comment on O.01.093. As I argue in Nagy 2015.09.24§§36–37, what we see in these variant verses is a trace of a Cretan Odyssey as primarily represented in our Odyssey by the “Cretan lies,” which are micro-narratives embedded in the epic macro-narrative of the Homeric Odyssey. In comments forthcoming, there will be more to say about these “Cretan lies.” Here I confine my comments to points that are relevant to what we read at O.01.093 and O.01.284–286. In “our” Odyssey, as Nestor reports at O.03.191–192, Idomeneus after the Trojan War returns to Crete with all his men safe and sound. In the Cretan Odyssey, by contrast, Idomeneus seems to have traveled with Odysseus after the conquest of Troy by the Achaeans, and this king of the Cretans even experienced, together with Odysseus, the horrors of the Cave of the Cyclops: such a story about joint adventures experienced by Idomeneus and Odysseus is attested in a painting on a red-figure stamnos, 480 BCE, featuring the name-tags ΙΔΑΜΕΝΕΥΣ ‘Ida-meneus’ [sic] and ΟΔΥΣΥΣ ‘Odusus’ [sic] appended to images of these two heroes, showing each one of the two clinging to a ram’s underbelly (Levaniouk 2011:105).
Leonard Muellner
comment on birth and death in epic diction in term of being let forth into the light and absence from it, respectively, here, with reference to Odysseus in Kalypso’s cave
comment on birth and death in epic diction in term of being let forth into the light and absence from it, respectively, here, with reference to Odysseus in Kalypso’s cave
Olga Levaniouk
This is the first occurrence of Penelope's name in the Odyssey. Πηνελόπεια is a nom parlant and signals Penelope's belonging to a thematically related group of women in myth. The name was perceived as significant in antiquity and a linguistically unobjectionable derivation from the name of a bird, πηνέλοψ, was known to Didymus (as attested by Eustathius' Commentarii ad Homeri Odysseam 1.65.36). The etymology of the word πηνέλοψ itself is obscure beyond the second part of the compound, derived from the h3ekṷ root and meaning "looking (like)" (Chantraine 2009, s.v. ὄπωπα, πηνέλοψ). Nevertheless, the relevance of the penelops to Penelope can be ascertained. The penelops appears to be a bird similar to a halcyon. According to Aristotle Historia Animalium (593b23) the penelops is a small waterbird and lives at sea. Penelopes are mentioned together with halcyons in Aristophanes Birds 298 and Ibycus fr. 317a PMG. In the latter fragment, penelopes are described as ποικίλαι (2), αἰολόδειροι (2), and possibly also ἁλιπορφυρίδες (3), if Schneidewin's reconstruction is correct (Schneidewin 1833.128-131). Penelopes are said to be ποικιλόδειροι and τανυσίπτεροι in Alcaeus 345 L-P.2. Of these epithets the penelops shares with the halcyon ποικίλος ‘of varied color’ and τανυσίπτερος ‘long-winged’. If ἁλιπορφυρίδες is correctly restored, then this too allies the penelops to the halcyon, which is described by the rare epithet ἁλιπόρφυρος in Alcman 26 PMG.4. The penelops in Alcaeus 345 L-P. and the halcyon in Alcman 26 PMG are represented as (respectively) flying over the waves and coming from Okeanos. In poetry and myth, the (female) halcyon characteristically faithful to her mate, laments when the mate is lost, and is tied to the solar symbolism of death and rebirth (e.g. Alcman 26 PMG, Simonides 508 PMG, Aristotle, Historia Animalium 8.542b4, Dionysius, De Avibus 2.7, Plutarch On the Intelligence of Animals * 983a). These features are shared by a mythological character whose name derives from the name of the bird, Alkyone, the wife of Keyx (Hesiod, fr. 10a.94-96 M, fr. 10d MW, Ovid, Metamorphoses 11.410-748, Ps.-Apollodorus 1.7.4). Alkyone is a woman dominated by faithfulness to her husband, for whom she laments and finally dies when he departs on a long sea voyage and does not return. Just as Penelope's story is morphologically similar to that of Alkyone, so are the two birds that give them their names. Being similar to the halcyon, the penelops is a fitting match for Penelope, among whose dominant features are faithfulness to her husband and lament for him while he is absent. An argument has also been made that Penelope takes part in the operation of the overarching solar metaphor in the Odyssey (Levaniouk 2011:298-312). The similarities between the two myths parallel those between the two bird-named women and also those between the two birds. The connections appear to be systemic rather than accidental. Penelope and Alkyone have further points of contact with yet another woman with a bird's name, Aedon the nightingale, to whom Penelope compares herself in Odyssey 19.518. Penelope and Alkyone are closer to each other than to Aedon, though all three share key features, the most important being their laments. In the same way, penelops and halcyon are more similar to each other than to the nightingale, but both have associations with the latter. Both ποικιλόδειρος and αἰολόδειρος (the epithets of the penelops in Alcaeus and Ibycus respectively) are epithets of the nightingale (Hesiod Works and Days 203; Nonnus Dionysiaca 26.211). In Ibycus’ fragment penelopes and halcyons are represented as sitting πετάλοισιν ἐπ' ἀκροτάτοις ‘on the topmost leaves’, literally ‘petals’, a topos about the nightingale (Odyssey xix 520, Homeric Hymn to Pan 17-18, Anthologia Palatina 12.2.3, 12.136.3). Since the halcyon's voice is described in the same terms as that of the nightingale and since, like the nightingale, the halcyon is imagined as a woman transformed into a bird and forever lamenting, it is likely that the penelops too is a bird of lament similar to the nightingale and the halcyon and that, as with the nightingale (Nagy 196:59n.1), the compounds with -δειρος applied to it (ποικιλόδειρος and αἰολόδειρος) signify the quality of its voice rather than the color of its neck. For a fuller discussion of the name's significance see Levaniouk 2011:287-318.\r\n\r\n \r\n\r\nReferences\r\n\r\nChantraine, P. 2009. Dictionaire etymologique de la langue grecque. Histoire des mots. Paris.\r\n\r\nLevaniouk, O. 2011. The Eve of the Festival. Cambridge, MA.\r\n\r\nNagy, G. 1996. Poetry as Performance: Homer and beyond. Cambridge.\r\n\r\nSchneidewin, F. 1833. Ibyci Rhegini Carminum Reliquiae, Göttingen.\r\n\r\n \r\n\r\n \r\n\r\n