Homer Odyssey 18.206

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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.) — 18.206 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.) — 18.206 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.) — 18.206 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 18.206 focus
With these words she came down from her upper room, not alone but attended by two of her maidens, and when she, shining among women, reached the suitors she stood by one of the bearing-posts supporting the roof of the hall, [210] holding a veil before her face, and with a staid maid servant on either side of her. As they beheld her the suitors were so overpowered and became so desperately enamored of her, that each one prayed he might win her for his own bedmate.
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 18.206 focus
Thus wailing, slow and sadly she descends;
On either hand a damsel train attends :
Full where the dome its shining valves expands,
Radiant before the gazing peers she stands;
A veil translucent, o'er her brow display'd,
250
Her beauty seems, and only seems, to shade:
Sudden she lightens in their dazzled eyes,
And sudden flames in every bosom rise;
They send their eager souls with every look,
Till silence thus th' imperial matron broke:
255
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 18.206 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 18.206 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 18.206 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 18 focus

New Alexandria Commentaries

Douglas Frame

suggests that transitive force of Nestor’s name could have created new transitive verb néō, which was restricted to hieratic contexts

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analysis of the verb anései, which is argued in the phrase m’anései stands for original *me nései – a future of the hitherto hypothetical verb néō. This would have the lines read “therefore I do not know whether the god will bring me home or whether I will die in Troy.” Argues that proposed verb néō can mean to “bring back from death”

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Gregory Nagy

In Rhapsody 18, Odysseus as a make-believe beggar is challenged by a most questionable character named Iros, who figures as a real beggar. What makes Iros so questionable is his similarity to characters who figure in a poetic form that can best be described as mock epic.

draft js image error“Ulysses Preparing to Fight with Irus” (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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The speaker here is Antinoos himself: whoever succeeds in marrying Penelope, he says, would surely qualify as ‘the best of the Achaeans’. As the narrative will make clear, however, Antinoos is the least worthy of all the suitors in pursuit of this double goal of marrying Penelope and thus qualifying as ‘the best of the Achaeans’. See also the comments at O.11.179, O.15.521–522, and O.16.076.

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Leonard Muellner

among examples of formal divergence between phrases which are functionally parallel but occur in spoken dialogue as against narrative (transformations of (A) paralleled in a secular series, of which this verse is an example)

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