Homer Odyssey 5.262

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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.) — 5.262 focus
Translations (9)
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.) — 5.262 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.) — 5.262 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.262 focus
In four days he had completed the whole work, and on the fifth shining Kalypsō sent him from the island after washing him and giving him some clean clothes. [265] She gave him a goat skin full of black wine, and another larger one of water; she also gave him a wallet full of provisions, and found him much good meat. Moreover, she made the wind fair and warm for him, and gladly did glorious Odysseus spread his sail before it, [270] while he sat and guided the raft skillfully by means of the rudder. He never closed his eyes, but kept them fixed on the Pleiades, on late-setting Boötes, and on the Bear—which men also call the wagon, and which turns round and round where it is, facing Orion: [275] she alone has no share in the baths of Okeanos —for Kalypsō, bright among goddesses, had told him to keep this to his left. Seventeen days did he sail over the sea, and on the eighteenth the dim outlines of the mountains [280] on the nearest part of the Phaeacian coast appeared, rising like a shield on the horizon.
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 5.262 focus
Four days were past, and now, the work complete,
Shone the fifth morn, when from her sacred seat
335
The nymph dismiss'd him, (odorous garments given,
And bathed in fragrant oils that breath'd of heaven :)
Then fill'd two goat-skins with her hands divine,
With water one, and one with sable wine:
Of every kind provisions heav'd aboard;
340
And the full decks with copious viands stor'd.
The goddess, last, a gentle breeze supplies,
To curl old Ocean, and to warm the skies.
And now, rejoicing in the prosperous gales,
With beating heart Ulysses spreads his sails: 1
345
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.262 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 5.262 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.262 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 5 focus
English Bridge (Amelia Parrish and Gregory Crane, 2023) (OCR draft) Experimental (English Bridge (Amelia Parrish and Gregory Crane, 2023)) — 5.262 focus

New Alexandria Commentaries

Gregory Nagy

The rhapsody starts with the releasing of Odysseus by one goddess and ends with the mystical saving of his life by a second goddess, who is Leukotheā, the White Goddess. The beautiful Leukotheā saves Odysseus by undoing her hair and giving him as a life-saver the veil that had held her curls in place. As for the first goddess, who is Calypso, her action in releasing Odysseus from their mutual love affair becomes another life-saver for him. That is because the chances of success for such an affair between a mortal man and an immortal goddess would have been minimal, as we will see by observing other myths that tell about other such affairs. If the liaison of Odysseus with Calypso had continued, it is a certainty that he would have been killed off, just as Orion had died because of his liaison with Ēōs the goddess of the dawn.

draft js image error“Leucothea, the White Goddess, Preserving Ulysses” (1805). John Flaxman (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 is saved from drowning by Ino, O.05.333, who was once a mortal woman but who has become immortalized after death by becoming the Leukotheā or ‘White Goddess’, O.05.334. The White Goddess gives to Odysseus her krēdemnon, that is, her headdress or ‘veil’, which becomes his life-saver: O.05.346, O.05.351, O.05.373, O.05.459. In order to give the hero her headdress, she would first have to undo her hair, as we can see by comparing the scene where Andromache lets fall from her head her own headdress, the word for which is, here again, krēdemnon, I.22.470. See the commentary on I.22.460–474, where I noted that the undoing of a woman’s hair, caused by the undoing of her krēdemnon, produces what I called an Aphrodisiac effect. So long as a woman’s krēdemnon is in place, her sexuality is under control just as her hair is under control. When the krēdemnon is out of place, however, her sexuality threatens to get out of control. Also, while saving the hero, the goddess assumes the form of a diving bird called aithuia, O.05.337 and O.05.353. These actions of Ino in saving Odysseus from the mortal dangers of the sea are parallel to the actions of the goddess Athena herself. [What follows is epitomized from Nagy 1985:80–81 (= §78).] Ino as aithuia has a parallel agent in ensuring the salvation of Odysseus from the sea: Athena herself redirects the storm sent against the hero by Poseidon, O.05.382–387, and then she saves him from immediate drowning by giving him a timely idea for swimming to safety, O.05.435–439. The hero submerges but then emerges from a wave that would surely have drowned him had it not been for Athena, O.05.435 and O.05.438, and this detail corresponds closely to the preceding emergence and submergence of Ino herself, O.05.337 and O.05.352–353. Such a correspondence suggests that Ino, the former mortal who is now a goddess, O.05.334 and O.05.335, is a model for a transition from death to life anew.

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