Odyssey. Homer. Boston. 1873.
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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.) — 24.35 focus
ἴσχεσθʼ, Ἀργεῖοι, μὴ φεύγετε, κοῦροι Ἀχαιῶν·
ὣς ἔφαθʼ, οἱ δʼ ἔσχοντο φόβου μεγάθυμοι Ἀχαιοί·
ὣς οἱ μὲν τοιαῦτα πρὸς ἀλλήλους ἀγόρευον,
Ἀμφίμεδον, τί παθόντες ἐρεμνὴν γαῖαν ἔδυτε
κοῦροι ἐμοὶ μνηστῆρες, ἐπεὶ θάνε δῖος Ὀδυσσεύς,
ὣς ἔφαθʼ, ἡμῖν δʼ αὖτʼ ἐπεπείθετο θυμὸς ἀγήνωρ.
εὖθʼ ἡ φᾶρος ἔδειξεν, ὑφήνασα μέγαν ἱστόν,
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.) — 24.85 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.) — 24.106 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 24.85 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 24.85 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 24.85 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 24.85 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 24.85 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.
“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.
There is an irony here in the reference to the dead suitors as aristoi ‘the best’, since they have all been already bested by Odysseus in his role as the best of the Achaeans in the Odyssey.
This retelling accentuates one more time the victory of Odysseus over his inferior rivals.
The collocation here of epea ‘words’ and bolai ‘throwings’ is a contextual confirmation of the meaning of epes-bolos as ‘he who hurls words [epea] of insult’, as at I.02.275. See the comment on that line.
“Ulysses Departing from Lacedaemon for Ithaca, with his Bride Penelope” (1805). John Flaxman (English, 1755–1826). Flaxman made this image the last in his Odyssey series, bringing the story of Penelope and Odysseus full circle. Purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund 1996. Image via the Tate.
Leonard Muellner
in a list of eukhesthai einai + social relationship (xeinos, hiketēs)
analysis of the functional overlap between hiketēs and xeinos, argument that in Homer hiketēs still means ‘he who comes, arrives’ and that the only difference between xeinos and hiketēs de toi eukhomai einai is that the speaker of the second has yet to receive hospitality
example of where xeinos de toi eukhomai einai is used to justify asking a host for a special favor