Homer Odyssey 14.401

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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.) — 14.401 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.) — 14.401 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.) — 14.390 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.401 focus
“And excellence [ aretē] famed among men would be mine,” replied Eumaios, “both now and hereafter, if I were [405] to kill you after receiving you into my hut and showing you hospitality. I should have to say my prayers in good earnest if I did; but it is just time [ hōrā] for supper, and I hope my men will come in directly, that we may cook something savory for supper.”
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 14.401 focus
'Doubtless, O guest! great laud and praise were mine,'
'(Replied the swain,) 'for spotless faith divine,
'If, after social rites and gifts bestow'd,
445
'I stain'd my hospitable hearth with blood.
'How would the gods my righteous toils succeed,
'And bless the hand that made a stranger bleed?
'No more-th' approaching hours of silent night
'First claim refection, then to rest invite;
450
'Beneath our humble cottage let us haste,
'And here, unenvied, rural dainties taste.'
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.401 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 14.401 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.401 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 14 focus

New Alexandria Commentaries

Gregory Nagy

Now that he has finally returned to his homeland of Ithaca, Odysseus must accomplish another kind of return: he must be restored to kingship. Such a restoration, however, must start from the bottom up. The goddess Athena, his ultimate benefactor but occasional antagonist, has made Odysseus seem to be ‘base’ on the outside, hiding his inner moral nobility. Only those who are likewise morally ‘noble’ will be able to read, as it were, the hero’s true nature. Meanwhile, the coded tales told by Odysseus point toward the truth of his kingship—without revealing it outright. A telling example here in Rhapsody 14 is the second Cretan tale told by Odysseus: it is about a Cretan princeling, not unlike the dapper figure we see in the romanticized restoration of a Minoan fresco as featured in the cover-illustration for Rhapsody 14.

draft js image errorMinoan—probably Neopalatial—fresco commonly known as the “Lily Prince.” Whatever the exact type of this personage (perhaps a crowned acrobat, according to the interpretation of Maria Shaw), the Lily Prince is certainly a Minoan of elite standing. Public domain image based on a famous watercolor by Émile Gilliéron of a reconstruction by Arthur Evans. Image via Wikimedia Commons.

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The discourse of the disguised Odysseus, shown here in the act of speaking to Eumaios, matches the discourse of a poet/singer who is performing at a festive occasion.

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Eumaios compliments the discourse of Odysseus, calling it a fine example of an ainos. Here the meaning of ainos can be interpreted in a general poetic sense, as ‘coded words’—a ‘coded message’. But there is also a specific poetic sense that is conveyed by the same word: an ainos can be festive, highlighting the merriment of song and dance. The same kind of festivity is formalized also in the victory odes of Pindar, where the medium of the odes can refer to itself by way of the same word, ainos, as we see for example in the case of Olympian 11.7. See also the general comment on O.09.003–011 and the specific comment there on the word euphrosunē ‘festivity, merriment’ at O.09.006. On the programmatic implications of this word as an indicator of the festive atmosphere, as it were, of the poetic occasion, I refer again here to a definitive formulation by Bundy 1986:2 with reference to the poetics of Pindar (see BA 91, 235; also PH 198).

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Leonard Muellner

analysis of the non-formulaic eukhesthai introducing this speech, which is nevertheless analogous to formula (X) (death eukhesthai), though it is not followed by a death announcement but an adventure tale (traditional function aborted by genre-suppression)

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analysis of the non-formulaic eukhesthai introducing this speech, which is nevertheless analogous to formula (X) (death eukhesthai), though it is not followed by a death announcement but an adventure tale (traditional function aborted by genre-suppression) [MRBTP: 'ff']

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