Homer Odyssey 9.409

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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.) — 9.1 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.) — 9.409 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.) — 9.409 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.409 focus
But Polyphemus shouted to them from inside the cave, ‘Noman [ ou tis] is killing me by fraud! Noman [ ou tis] is killing me by force [ biē]!’
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.409 focus
"If no man hurt thee, but the hand divine
Inflict disease, it fits thee to resign:
To Jove or to thy father Neptune pray:"
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.409 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.409 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.409 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

New Alexandria Commentaries

Douglas Frame

analysis of Odysseus’ loss of the anonymity as death, the regaining of his name as a rebirth. Compare to words of Alcinous (Od. VIII.552-553)

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analysis of formulaic variation of Od. XI.114, Od. XII.141. The context is changed from prophesy to curse, élthoi substituted for traditional neȋai. Dependence of élthoi on previous mention of “home” and “fatherland” shows the secondary nature of this passage

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Gregory Nagy

The time has come for Odysseus himself to sing his own epic odyssey, and the hero chooses to start with the most celebrated story of the Homeric Odyssey, about the blinding of the Cyclops.

draft js image error“Ulysses Giving Wine to Polyphemus” (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.

The transition from Rhapsody 8 to Rhapsody 9 marks a change in the form of singing for the singer of tales. The poetic bravura of Demodokos, blind singer of the Phaeacians, will now be superseded by a masterpiece of epic narration performed by Odysseus himself, who is starting to sing his own epic odyssey. The hero’s song will extend from the beginning of Rhapsody 9 here all the way through the end of Rhapsody 12, and the size of this song, consisting of four rhapsodies, will correspond to one-twelfth of the Homeric Iliad and Odyssey combined. Odysseus will perform his song in the style of the Homēridai, notional descendants of Homer who performed the Iliad and Odyssey in relay. The relay performance, which was competitive as well as collaborative, consisted of twelve units, each unit consisting of four rhapsodies, and it took place at the seasonally recurring festival of the Panionia at a place called the Panionion in Asia Minor. As already noted before, this festival was the political and cultural self-expression of the Ionian Dodecapolis, a confederation of twelve states that reached its apogee in the eastern Greek world during the late eighth and early seventh century BCE. (On the Ionian Dodecapolis, see the anchor comment on I.01.463; also the comment on O.07.321; also on I.02.867–869 and on I.20.403–405; see also under Ionian Dodecapolis in the inventory of Words and Ideas.) The division of the Iliad and Odyssey into twelve units, six for the Iliad and six for the Odyssey, with each unit containing four rhapsodies, corresponds to the division of the Ionian confederation into twelve states. It may be argued, then, that each one of the twelve states of the Ionian Dodecapolis fielded a rhapsode for performing competitively one of the twelve epic units. Which rhapsode was assigned which one of the twelve epic units could have been determined by lottery or perhaps by way of seasonal rotation. It may also be argued that the rhapsodic unit extending from the start of Rhapsody 9 here all the way through the end of Rhapsody 12 represents an idealized rhapsodic performance in the style of the Homēridai. And Rhapsody 9 begins with a kind of Homeric signature at O.09.03–011—the mark of Homer, as it were.

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Leonard Muellner

analysis of ēkousen as a lexical renewal of the petrified ekluen, in the context of analyzing kluō + eukhesthai formulas

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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in a list of attestations of genos eukhesthai einai and its transformations

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in a list of attestations of genos eukhesthai einai and its transformations

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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this verse, where secular eukhesthai is used in a prayer to specify the grounds on which a response is expected, as evidence that there is a secondary dictional and thematic association between secular and sacral eukhesthai (contra Perpillou)

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