Homer Odyssey 1.325

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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.) — 1.325 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.) — 1.325 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.) — 1.314 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.325 focus
The famed singer was singing for them [= the suitors], and they in silence 326 sat and listened. He [= Phemios the singer] was singing the homecoming [ nostos] of the Achaeans, 327 a disastrous [ lugros] homecoming from Troy, and Pallas Athena was the one who brought it all to fulfillment [ epi-tellesthai]. 328 From her room upstairs, this divinely inspired song of his was understood in her mind by 329 the daughter of Ikarios, the exceptionally intelligent Penelope, [330] and she came down the lofty staircase of her palace. 331 She came not alone, but attended by two of her handmaidens. 332 When she reached the suitors, this most radiant of women, 333 she stood by one of the posts that supported the roof of the halls, 334 holding in front of her cheeks a luxuriant veil, [335] and a trusted handmaiden stood on either side of her. 336 Then, shedding tears, she addressed the godlike singer:
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 1.325 focus
Hush'd in attention to the warbled song.
420
His tender theme the charming lyrist chose
Minerva's anger, and the dreadful woes
Which, voyaging from Troy, the victors bore,
While storms vindictive intercept the shore.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.325 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 1.325 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.325 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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Leonard Muellner

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

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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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comment on the etiquette of naming conventions, the omission of one’s own name in geneē-speeches vs. mentioning another’s name in such contexts, and stating one’s own name as a sign of special fame (in the context of analyzing genos eukhesthai einai formulas)

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

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