Homer Odyssey 12.277

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.) — 12.277 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.) — 12.277 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.) — 12.260 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.277 focus
The men were in despair at this, and Eurylokhos at once gave me an insolent answer. ‘Odysseus,’ said he, ‘you are cruel; [280] you are very strong yourself and never get worn out; you seem to be made of iron, and now, though your men are exhausted with toil and want of sleep, you will not let them land and cook themselves a good supper upon this island, but bid them put out to sea [285] and go faring fruitlessly on through the watches of the fleeing night. It is by night that the winds blow hardest and do so much damage; how can we escape should one of those sudden squalls spring up from South West or West, which so often [290] wreck a vessel when our lords the gods are unpropitious? Now, therefore, let us obey the call of night and prepare our supper here hard by the ship; tomorrow morning we will go on board again and put out to sea.’
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 12.277 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 12.277 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.277 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.277 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 12 focus

Notes on the current edition

Odyssey

1. The Comfort of the world—the Sun. (Τερψιμβρότου ἠελίοιο.)
2. Ablest—the word here seems used in the same sense as Shakespeare, King Lear, iv. 6. See NARES in v.

New Alexandria Commentaries

Douglas Frame

analysis of the Sun’s apparent endowment with an all-embracing consciousness. Compare to Xenophanes frag.20 (Diehl)

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interpretation of Helios episode as “return from death.” Sleep, or unconsciousness, is analyzed as the death from which nóstos is the “return”

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analysis of possible reminiscence of Helios’ descent into Hades as the means by which the companions, who equated with sunset, were put to death

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Gregory Nagy

The storytelling of Odysseus is about to confront three of its most mystical moments here: the Song of the Sirens, Scylla and Charybdis, the Cattle of the Sun. The myths that shape these moments will become for Odysseus a set of powerful metaphors that drive his own odyssey.

draft js image error“Ulysses and the Sirens” (ca. 1909). Herbert James Draper (English, 1863–1920). Image via Wikimedia Commons.

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(The following is epitomized from H24H 10§28.) At O.07.241–266, Odysseus told the story of his liaison with the goddess Calypso, and that part of the story ended there with the releasing of Odysseus from the cave of the goddess. Here at O.12.447–450, the storytelling comes full circle as Odysseus revisits that story about the liaison, which had led into the story of his arrival in the land of the Phaeacians. The hero’s arrival as revisited at the end of the storytelling in Odyssey 12 is implicitly a return to light and life from the cave of Calypso, comparable to the return of the hero to light and life from the darkness and death that were linked with the cave of the Cyclops Polyphemus at the end of the storytelling in Odyssey 9. Similarly at the end of the storytelling in Odyssey 11, Odysseus was ready to emerge from the darkness and death of Hādēs and return to light and life at the beginning of Odyssey 12.

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Leonard Muellner

analysis of the enjambed attestations of #[eukh– –] with dative

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in a list of examples of eukhesthai + dative (formulas which report prayers)

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in a list of examples of absolute use of eukhesthai to report prayers, and this verse as a case in point about the abundance of finite verbs in the indicative that characterizes the sub-genre of narratives or ritual scenes

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