Homer Odyssey 17.560

Samuel Butler (Translator)

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“I will tell the daughter of Ikarios, circumspect Penelope,” answered much-enduring great Odysseus, “nothing but what is strictly true. I know all about her husband, and have been partner with him in affliction, but I am afraid of passing through this crowd of cruel suitors, [565] for their overweening pride [ hubris] and violent insolence [ biē] reach the sky. Just now, moreover, as I was going about the house without doing any harm, a man gave me a blow that hurt me very much, but neither Telemachus nor any one else defended me. Tell Penelope, therefore, to be patient and wait [570] till sundown. Let her give me a seat close up to the fire, for my clothes are worn very thin—you know they are, for you have seen them ever since I first asked you to help me—she can then ask me about the return of her husband.”

Odyssey. Homer. Samuel Butler (Translator). London. 1898.

Current edition Experimental

English (Butler, rev. Nagy et al., 2020) (OCR draft) (English) (English (Butler, rev. Nagy et al., 2020))

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.) — 17.560 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.) — 17.560 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.) — 17.560 focus
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 17.560 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 17.560 focus
'Fair truth alone' (the patient man replied)
'My words shall dictate, and my lips shall guide.
'To him, to me, one common lot was given,
'In equal woes, alas! involv'd by heaven.
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'Much of his fates I know: but check'd by fear
'I stand; the hand of violence is here:
'Here boundless wrongs the starry skies invade,
'And injur'd suppliants seek in vain for aid.
'Let for a space the pensive queen attend,
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'Nor claim my story till the sun descend;
'Then in such robes as suppliants may require,
'Compos'd and cheerful by the genial fire,
'When loud uproar and lawless riot cease,
'Shall her pleas'd ear receive my words in peace.'
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English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 17.560 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 17.560 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 17.560 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 17 focus

New Alexandria Commentaries

Gregory Nagy

Back in Rhapsody 16, Eumaios the swineherd had left behind in his shelter an unrecognized Odysseus and had gone off to the palace in order to contact Penelope; in the swineherd’s absence, Telemachus, left alone with Odysseus, could now get to see his father transformed into an idealized godlike hero, made visible through a luminous epiphany produced by the sacred wand of the goddess Athena. This way, Telemachus could recognize the true Odysseus. But this true hero must not yet be recognized by the returning Eumaios. So, before the swineherd had ever made his return from the palace to the shelter, Athena had already produced a reverse transformation of Odysseus, and the hero could thus revert to his disguise as a lowly beggar. Now, at the beginning of Rhapsody 17, Odysseus can ready himself to go off to the palace in order to engage the suitors as a beggar, thus testing them. The testing will clearly reveal that all the suitors, down to the last man, are morally debased on the inside while seeming to be noble on the outside. Odysseus, in his degraded state as an elderly beggar, is matched by the degradation of his beloved hunting dog Argos, who at least lives long enough to recognize the hero.

draft js image error“Ulysses and his Dog” (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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