Homer Odyssey 17.380

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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.) — 17.380 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.) — 17.380 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.) — 17.380 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 17.380 focus
And Eumaios answered, 381 “Antinoos! Though you are noble, you do not speak properly. 382What man who is from somewhere else himself 383 will invite yet another guest-stranger [ xenos], unless he [the xenos] is one of those who are workers of the district [ dēmos], 384such as a seer [ mantis], or a healer of illnesses, or a carpenter who works on wood, [385] or even an inspired singer who can give delight with his singing? 386 For such men are apt to be invited anywhere in the world. 387 But one would not invite a beggar; such a man would feed on his host. You are always harder on Odysseus’ servants than any of the other suitors are, and above all on me, but I [390] do not care so long as godlike Telemachus and circumspect Penelope are alive and here.”
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 17.380 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.380 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 17.380 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.380 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 17 focus

New Alexandria Commentaries

Gregory Nagy

Back in Rhapsody 16, Eumaios the swineherd had left behind in his shelter an unrecognized Odysseus and had gone off to the palace in order to contact Penelope; in the swineherd’s absence, Telemachus, left alone with Odysseus, could now get to see his father transformed into an idealized godlike hero, made visible through a luminous epiphany produced by the sacred wand of the goddess Athena. This way, Telemachus could recognize the true Odysseus. But this true hero must not yet be recognized by the returning Eumaios. So, before the swineherd had ever made his return from the palace to the shelter, Athena had already produced a reverse transformation of Odysseus, and the hero could thus revert to his disguise as a lowly beggar. Now, at the beginning of Rhapsody 17, Odysseus can ready himself to go off to the palace in order to engage the suitors as a beggar, thus testing them. The testing will clearly reveal that all the suitors, down to the last man, are morally debased on the inside while seeming to be noble on the outside. Odysseus, in his degraded state as an elderly beggar, is matched by the degradation of his beloved hunting dog Argos, who at least lives long enough to recognize the hero.

draft js image error“Ulysses and his Dog” (1805). John Flaxman (English, 1755–1826). Purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund 1996. Image via the Tate.

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Here at O.17.494 the premise is indicated simply by way of houtōs ‘thus’.

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Here at O.17.496–497 the wish is predicated on the wish that has just been uttered at O.17.494. That previous wish, since it is a curse, can be treated as a premise in its own right.

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Speaking to Penelope, Eumaios describes the stranger whom he has been hosting in his shelter: for Eumaios, the disguised Odysseus is comparable to an aoidos ‘singer’, O.17.518. Thus the reciprocity that this would-be beggar is offering in the role of a would-be guest needs to be reassessed from minimum to maximum. The reciprocation that Eumaios as a good host will ultimately receive from Odysseus—and from the poets for whom Odysseus as poet will be a model—is destined to be most positive. Most negative, on the other hand, is the reciprocation that is destined for Antinoos and for the other suitors.

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