Homer Odyssey 24.280

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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.) — 24.280 focus
Translations (7)
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.) — 24.280 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.) — 24.280 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.280 focus
His father shed tears and answered, “Sir, you have indeed come to the country that you have named, but it is fallen into the hands of wicked people. All this wealth of presents has been given to no purpose. If you could have found your friend here alive in the district [ dēmos] of Ithaca, [285] he would have entertained you hospitably and would have requited your presents amply when you left him—as would have been only right considering what you have already given him. But tell me, and tell me true, how many years is it since you entertained this guest—my unhappy son, as ever was? Alas! [290] He has perished far from his own country; 291 or perhaps the fish devoured him in the sea [ pontos], or he has fallen a prey to the birds and wild beasts of some continent. Neither his mother, nor I his father, who were his parents, could throw our arms about him and wrap him in his shroud, nor could his excellent and richly dowered wife, circumspect Penelope, [295] bewail her husband as was natural upon his death bed, and close his eyes according to the offices due to the departed. But now, tell me truly for I want to know. Who and whence are you—tell me of your town and parents? Where is the ship lying that has brought you [300] and your men to Ithaca? Or were you a passenger on some other man’s ship, and those who brought you here have gone on their way and left you?”
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 24.280 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.280 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 24.280 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.280 focus

New Alexandria Commentaries

Gregory Nagy

Before the Odyssey comes to an end, the Singer of Tales reaches back to what seems to be the beginning of the Iliad. It is as if the second epic, the Odyssey, could now restart before it ends by reaching back into the first epic, the Iliad. Still, there will be no restart here. The plot of that first epic had started with a grand feud between Achilles and Agamemnon, but the plot of the second epic will now come to an end with a resolution of that feud. The feuding is over, so that the two main characters of the Iliad can now take time to review not only what happened in the Iliad but also, beyond the Iliad, how the two of them died, each his own way. Since they are now dead, they have to speak ghost to ghost, but that is not enough for Agamemnon. He must also speak with the new ghosts, the suitors, who will now give him a retrospective on the Odyssey. This way, Agamemnon can compare the story of his own life with the stories of both Odysseus and Achilles. And the comparison must be most depressing for him. But the Odyssey does not end with the sad thoughts of Agamemnon. Odysseus still has to reconnect with his own ancestors, and so there needs to be a final recognition scene between the son and his father Laertes. But even after this reconnection of the generations is finally achieved, the story is still not done. The feuding that has been triggered by the killing of the suitors must end; otherwise, the story cannot end.

draft js image error“Mercury Conducting the Souls of the Suitors to the Infernal Regions” (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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Odysseus shows to Laertes his tell-tale scar, O.24.331, after the father asks his son for a sēma ‘sign, signal’ as proof of identity. Odysseus then also proves that he knows every detail about the Garden of Laertes, O.24.336–346. These sēmata ‘signs, signals’, O.24.346, are now recognized by Laertes, and the verb that signals such recognition is once again gignōskein ‘recognize’.

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As noted in the anchor comment at O.01.320, I normally translate both thūmos and phrēn (plural phrenes) as ‘heart’. But here at O.24.349 we see an old context where the idea of breathing is still conveyed by both words.

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These two negative terms hubris ‘outrage’ and atasthalo- ‘reckless’ are closely linked with each other in Homeric diction. See also the comments at O.03.207 and at O.16.086.

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Taking a ritual bath, Laertes emerges looking like the gods, O.24.371. Again we see a transformation in the context of a ritual bath in an asaminthos ‘bathtub’, O.24.370.

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Leonard Muellner

interpretation of kathaptein as “get hold of, grab” and so “restrain”

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