Homer Odyssey 11.321

ed. George Chapman

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Odyssey. Homer. ed. George Chapman. London. 1857.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1667, ed. Hooper 1857))

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.) — 11.361 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.) — 11.321 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.) — 11.336 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.321 focus
Then I saw Phaedra, and Procris, and fair Ariadne, daughter of the malignant magician Minos, whom Theseus was carrying off from Crete to Athens, but he did not enjoy her, for before he could do so Artemis killed her [325] in the island of Dia on account of what Dionysus had said against her.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 11.321 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 11.321 focus
There mournful Phaedra 1 with sad Procris 2 moves,
395
Both beauteous shades, both hapless in their loves;
And near them walk'd, with solemn pace and slow,
Sad Ariadne, partner of their woe:
The royal Minos Ariadne bred,
She Theseus lov'd, from Crete with Theseus fled:
400
Swift to the Dian isle the hero flies,
And tow'rds his Athens bears the lovely prize;
There Bacchus with fierce rage Diana fires,
The goddess aims her shaft, the nymph expires.
There Clymenè 3 and Maera 4 I behold,
405
There Eriphylè 5 weeps, who loosely sold
Her lord, her honour, for the lust of gold.
But should I all recount, the night would fail,
Unequal to the melancholy tale:
And all-composing rest my nature craves,
410
Here in the court, or yonder on the waves;
In you I trust, and in the heavenly powers,
To land Ulysses on his native shores."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.321 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.321 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 11 focus

Notes on the current edition

Odyssey

1. Amphiaraus was her husband, whom she betrayed to his ruin at Thebes, for gold taken of Adrastus her brother.—CHAPMAN.

New Alexandria Commentaries

David Elmer

Odysseus characterizes the suffering attendant on the Trojan expedition—including the many deaths depicted in the Iliad—as a consequence of Zeus’ displeasure and the “will (βουλαί) of women.” This description substantially modifies the causal framework put forward by the Iliad, which presents the events it describes as the result of “the will of Zeus” (Διὸς βουλή, as in Iliad 1.5) alone. Odysseus’ reconfiguration of Iliadic causality reflects the distinctive vision of the Odyssey, which portrays female figures as exercising considerable control over events: Athena, with the support of Zeus, is the divine sponsor of the plot (see Murnaghan 2005), and the success of Odysseus’ homecoming is repeatedly represented as depending on the goodwill of various women, above all Penelope. (See also Odyssey 2.382, 11.226).\r\n\r\n \r\n\r\nReferences\r\n\r\nMurnaghan, S. 1995. “The Plan of Athena.” In The Distaff Side: Representing the Female in Homer’s Odyssey (ed. B. Cohen) 61-80. New York and Oxford.

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Douglas Frame

analysis of language used to describe the imprisonment of Melampus

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analysis of survival of the role of nóos in the story of Melampus, which suggests a the context of prophesy similar to Teiresias’ relationship to the theme of “returning from death”

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brief analysis of the Dioscuri, who as a combination of immortal and mortal elements, experience an alternation between life and death

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This passage featuring three Athenian heroines belongs to the Panathenaic version of the catalogue of heroines. It is the final such Athenian expansion of the catalogue, and functions as an "Athenian signature." In the last line of the passage the god Dionysus is mentioned in connection with the third Athenian heroine, Ariadne. The form of his name in Greek is the Athenian form versus the usual Homeric form (Διόνυσος, with a short -o- vs. the usual Epic form Διώνυσος, with -ō-), and this is part of the "signature." If the whole signature is deliberate - if it is asserting its Athenian origin- the phrase containing the name Dionysus may have a double meaning. On the surface of the narrative Ariadne is killed Dionusou marturiēisi "on the evidence of Dionysus." In terms of an "Athenian signature" the "evidence of Dionysus" could suggest a slightly different translation, "the evidence of the word Dionysus."

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Gregory Nagy

The encounter of Odysseus with the seer Teiresias in Hādēs is a mystical experience that defines the hero of the Odyssey in a new way: Odysseus now learns that he will have a homecoming that leads to a most startling discovery of his own self as a cult hero in the making.

draft js image error“Teiresias appears to Ulysses during the sacrifice,” (1780–1785). Henry Fuseli (German, 1741–1825). Image via Wikimedia Commons.

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I defer here to the definitive analysis of Frame 2009:227-329.

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As we saw at I.02.658, the name of Hēraklēs is linked with the epic theme of biē in the sense of martial ‘force, violence, strength’; even the name of Hēraklēs can be formulated periphrastically as ‘the force of Hēraklēs’. And now we see the same pattern of naming applied to a hero named Iphiklēs. The application is all the more apt here, since the element īs ‘force, violence, strength’ in the name of Iphiklēs is a synonym of biē ‘force, violence, strength’.

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See the comment on O.11.290.

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Kastōr and Poludeukēs, the Divine Twins, are also mentioned at I.03.237. See the comment there.

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At O.11.330, Odysseus breaks off his performance, and the break continues till O.11.385, when the performance recommences. In between, there is a series of polite exchanges between Odysseus as performer and Alkinoos as the primary representative of the audience. The question is, has the duration of the performance become overlong? The answer is: no. On behalf of the audience, Alkinoos insists that Odysseus continue, and the master performer obliges.

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It is claimed that the deeds of Clytemnestra have disgraced not only herself but all women, and that women will be blamed for her deeds by way of blame poetry. On the poetics of blame, which is antithetical to praise, see the comments on I.02.216 and on I.03.242.

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The scene of this encounter in Hādēs between Odysseus and the psūkhē ‘spirit’ of Achilles exemplifies the general tendency in Homeric poetry to shade over any indications of immortalization after death.

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Leonard Muellner

analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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place where neither phanai nor eukhesthai are used in the genealogies of the catalogue of heroes in O.11, in the context of the analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai [MRBTP: 'ff']

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place where neither phanai nor eukhesthai are used in the genealogies of the catalogue of heroes in O.11, in the context of the analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai [MRBTP: 'ff']

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analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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analysis of the meaning and uses of piphauskesthai, here in the sense of ‘reveal through speech’ (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai)

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