Homer Odyssey 12.73

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.) — 12.1 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.) — 12.73 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.) — 12.37 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.73 focus
Of these two rocks the one reaches the sky and its peak is lost in a dark cloud. [75] This never leaves it, so that the top is never clear not even in summer and early autumn. No man though he had twenty hands and twenty feet could get a foothold on it and climb it, for it runs sheer up, as smooth as though it had been polished. [80] In the middle of it there is a large cavern, looking West and turned towards Erebos; you must take your ship this way, but the cave is so high up that not even the stoutest archer could send an arrow into it. [85] Inside it Scylla sits and yelps with a voice that you might take to be that of a young hound, but in truth she is a dreadful monster and no one—not even a god—could face her without being terror-struck. She has twelve misshapen feet, and six [90] necks of the most prodigious length; and at the end of each neck she has a frightful head with three rows of teeth in each, all set very close together, so that they would crunch anyone to death in a moment, [95] and she sits deep within her shady cell thrusting out her heads and peering all round the rock, fishing for dolphins or dogfish or any larger monster that she can catch, of the thousands with which Amphitrite teems. No ship ever yet got past her without losing some men, for she shoots out all her heads at once, [100] and carries off a man in each mouth.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 12.73 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 12.73 focus
"High in the air the rock 1 its summit shrouds
"In brooding tempests, and in rolling clouds;
"Loud storms around, and mists eternal rise,
"Beat its bleak brow, and intercept the skies.
90
"When all the broad expansion, bright with day,
"Glows with th' autumnal or the summer ray,
"The summer and the autumn glow in vain,
"The sky for ever lowers, for ever clouds remain.
"Impervious to the step of man it stands,
95
"Though borne by twenty feet, though arm'd with twenty hands;
"Smooth as the polish of the mirror rise
"The slippery sides, and shoot into the skies.
"Full in the centre of this rock display'd,
"A yawning cavern casts a dreadful shade:
100
"Nor the fleet arrow from the twanging bow,
"Sent with full force, could reach the depth below.
"Wide to the west the horrid gulf extends,
"And the dire passage down to hell descends.
"O fly the dreadful sight! expand thy sails,
105
"Ply the strong oar, and catch the nimble gales;
"Here Scylla bellows from her dire abodes,
"Tremendous pest, abhorr'd by man and gods!
"Hideous her voice, and with less terrors roar
"The whelps of lions in the midnight hour.
110
"Twelve feet deform'd and foul the fiend dispreads;
"Six horrid necks she rears, and six terrific heads;
"Her jaws grin deadful with three rows of teeth;
"Jaggy they stand, the gaping den of death;
"Her parts obscene the raging billows hide;
115
"Her bosom terribly o'erlooks the tide.
"When stung with hunger she embroils the flood
"The sea-dog and the dolphin are her food;
"She makes the huge leviathan her prey,
"And all the monsters of the watery way;
120
"The swiftest racer of the azure plain
"Here fills her sails, and spreads her oars in vain;
"Fell Scylla rises, in her fury roars,
"At once six mouths expands, at once six men devours.
"Close by, a rock of less enormous height
125
"Breaks the wild waves, and forms a dangerous strait;
"Full on its crown a fig's green branches rise,
"And shoot a leafy forest to the skies;
"Beneath, Charybdis holds her boisterous reign
"'Midst roaring whirlpools, and absorbs the main;
130
"Thrice in her gulfs the boiling seas subside,
"Thrice in dire thunders she refunds the tide.
"Oh, if thy vessel plough the direful waves
"When seas retreating roar within her caves,
"Ye perish all! though he who rules the main
135
"Lends his strong aid, his aid he lends in vain.
"Ah, shun the horrid gulf! by Scylla fly,
"'Tis better six to lose, than all to die!"
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.73 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 12.73 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 12 focus

Notes on the current edition

Odyssey

1. Δεινὸν λελακυῖα, &c. Graviter vociferans; as all most untruly translate it. As they do in the next verse these words σκύλακος νεογιλῆς catuli leonis, no lion being here dreamed of, nor any vociferation. Δεινὸν λελακυῖα signifying indignam, dissimilem, or horribilem vocem edens: but in what kind horribilem? Not for the gravity or greatness of her voice, but for the unworthy or disproportionable small whuling of it; she being in the vast frame of her body, as the very words πέλωρ κακὸν signify, monstrum ingens; whose disproportion and deformity is too poetically (and therein elegantly) ordered for fat and flat prosers to comprehend. Nor could they make the Poet's words serve their comprehension; and therefore they add of their own, λάσκω, from whence λελακυῖα is derived, signifying crepo, or stridulè clamo. And σκύλακος νεογιλῆς, is to be expounded, catuli nuper or recens nati, not leonis. But thus they botch and abuse the incomparable expressor, because they knew not how otherwise to be monstrous enough themselves to help out the monster. Imagining so huge a great body must needs have a voice as huge; and then would not our Homer have likened it to a lion's whelp's voice, but to the lion's own; and all had been much too little to make a voice answerable to her hugeness. And therefore found our inimitable master a new way to express her monstrous disproportion; performing it so, as there can be nihil supra. And I would fain learn of my learned detractor, that will needs have me only translate out of the Latin, what Latin translation tells me this? Or what Grecian hath ever found this and a hundred other such? Which may be some poor instance, or proof, of my Grecian faculty, as far as old Homer goes in his two simple poems, but not a syllable further will my silly spirit presume.—CHAPMAN.
2. Streaks—stretches. See Bk. ix. 416.

New Alexandria Commentaries

Douglas Frame

reference to Circe’s description of the cattle and sheep of Helios. Comparison with the parallel story of Euenius (Hdt. 9.92.2-95), which suggests traditional link between prophesy, intelligence, sleep, and death that lies behind Od. XII. Similar association between cattle and the return from darkness and death is found in Vedic mythology (RV 2.24.3, 6.65.5, 6.13.3), the story of Hercules and cattle of Geryon, and the Homeric Hymn to Apollo (411 ff.)

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analysis of the name, Néaira, as derivative of néomai, which refers both to the returning light of day and to light in the context of salvation – a name suitable for guardian of the cattle of Helios

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comparison of the formulaic diction of ásmenoi in Od. IX. 62-62 and néomai, which elucidates common meaning. Dates probable composition of lines to second millennium B.C. Traditionally, essential part of a Nekuomanteίa

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comparison of the formulaic diction of ásmenoi in Od. IX.62-62 and néomai, which elucidates common meaning. Dates probable composition of lines to second millennium B.C.

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analysis of the relation between escape and intelligence. Suggests that Homer was “dimly” aware of the relation between “mind” and the “return from 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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This name Krataiḯs is parallel to the epithet krataiḯs at O.11.597, the meaning of which can be explained as ‘having a power that has violence’. See the comment on I.05.083.

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The names for these two daughters of Hēlios the god of sunlight, Phaéthousa and Lampetíē, both refer to the radiance of the sun. These names are parallel to the names Phaéthōn and Lámpos as solar horses that draw the chariot of Ēōs the goddess of the dawn. See also the comment at O.23.246. These four names and the myths linked with them reflect mythological traditions that can be reconstructed by way of Indo-European linguistics. Of special interest is the morphology of Lampetíē.

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Whereas huperíōn ‘the one who travels up above’ can function as an epithet of Hēlios the god of the sun, it can also function as the name of the father of Hēlios.

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The translations ‘of many fables’ or more simply ‘fabled’ reflect the specialized meaning of ainos as ‘fable’. In addressing Odysseus this way, the Sirens are recognizing the hero’s fame as a master of ainos, which is a form of speech that can more generally be described as a coded message (on which see the comment on I.09.524–599). So, Odysseus is recognized as ‘able to speak about many things in code’. Such coded speech is by nature ‘riddling’, as we see from the meaning of ainigma ‘enigma, riddle’, which is a derivative of ainos. In order to survive, Odysseus must master many different forms of discourse, many different kinds of ainos. That is why he is addressed as poluainos ‘having many different kinds of ainos’ by the Sirens here when he sails past their island, O.12.184. (What follows is epitomized from H24H 10§43.) Even the transparent meaning of Polyphemus, Poluphēmos, which is the name of the Cyclops blinded by Odysseus, foretells the hero’s mastery of the ainos. As an adjective, poluphēmos means ‘having many different kinds of things said’, derived from the noun phēmē, ‘thing said’, as at O.20.100 and at O.20.105. See the comment at O.20.098–121, [HR]3§23. This adjective poluphēmos ‘having many different kinds of things said’ is applied as an epithet to the singer Phēmios, O.22.376, portrayed as singing songs that have many different meanings: see the comments at O.01.342 and O.02.035 (see also BA 17). In the case of Polyphemus, the very meaning of his name, which conveys the opposite of the meaning conveyed by the false name of Odysseus, Outis, ‘no one’, foretells the verbal mastery of the hero who blinded the monster.

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|184 δεῦρ’ ἄγ’ ἰών, πολύαιν’ Ὀδυσεῦ, μέγα κῦδος Ἀχαιῶν, |185 νῆα κατάστησον, ἵνα νωϊτέρην ὄπ’ ἀκούσῃς. |186 οὐ γάρ πώ τις τῇδε παρήλασε νηῒ μελαίνῃ, |187 πρίν γ’ ἡμέων μελίγηρυν ἀπὸ στομάτων ὄπ’ ἀκοῦσαι, |188 ἀλλ’ ὅ γε τερψάμενος νεῖται καὶ πλείονα εἰδώς. |189 ἴδμεν γάρ τοι πάνθ’, ὅσ’ ἐνὶ Τροίῃ εὐρείῃ |190 Ἀργεῖοι Τρῶές τε θεῶν ἰότητι μόγησαν, |191 ἴδμεν δ’ ὅσσα γένηται ἐπὶ χθονὶ πουλυβοτείρῃ.

|184 Come here, Odysseus, you of many riddling words [ainoi], you great glory to the Achaean name, |185 stop your ship so that you may hear our two voices. |186 No man has ever yet sailed past us with his dark ship |187 without staying to hear the sweet sound of the voices that come from our mouths, |188 and he who listens will not only experience great pleasure before homecoming [néesthai] but will also be far more knowledgeable than before, |189 for we know everything that happened at Troy, that expansive place, |190 —all the sufferings caused by the gods for the Argives [= Achaeans] and Trojans |191 and we know everything on earth, that nurturer of so many mortals—everything that happens.

Part 1. The two Sirens—there are only two of them in the Odyssey—declare here that they know everything in general—but they also declare that they know everything about the Trojan War in particular. By knowing everything, they are like the Muses. The repeated word idmen ‘we know’ at O.10.189/191 is comparable to what the Muses say to the Narrator in Hesiod Theogony 27/28, idmen ‘we know’. Also comparable is what the Narrator says to the Muses at I.02.485: iste te panta ‘you know everything’. By knowing everything about the Trojan War, the Sirens are like the Muses of the Iliad, as at I.02.485. It may be said that the Sirens are the false Muses of the Iliad.

Part 2. The Song of the Sirens is relevant to I.09.413, where Achilles says he will have to choose between a nostos, which is a safe ‘homecoming’, and the kleos or ‘glory’ of the poetry that will be his if he dies young at Troy. See the comment on I.09.410–416. Achilles will have to forfeit nostos in order to achieve his kleos or ‘glory’ as the central hero of the Iliad. By contrast, Odysseus must have both kleos ‘glory’ and nostos ‘homecoming’ in order to merit his own heroic status in the Odyssey (BA 36-40). For him, the nostos is not only a ‘homecoming’ but also a ‘song about a homecoming’, and that song is the Odyssey. It is the kleos or ‘glory’ of that song that will be his—if his quest for a homecoming is to succeed.

Part 3. (What follows is epitomized from H24H 9§14.) The narrative of the kleos or ‘glory’ of song that Odysseus earns in the Odyssey cannot be the Iliad, which means ‘tale of Troy’ (Ilion is the other name for Troy). The Iliad establishes Achilles as the central hero of the story of Troy, even though he failed to destroy the city—while Odysseus succeeded, by devising the stratagem of the Wooden Horse. Because of the Iliad tradition, “the kleos of Odysseus at Troy was preempted by the kleos of Achilles” (BA 41). Thus the kleos that Odysseus should get for his success in destroying Troy is elusive, by contrast with the kleos that Achilles gets in the Iliad, which is permanent. So, Odysseus cannot afford to dwell on his success at Troy, because the kleos he may get for that success will become permanent only if it extends into the kleos that he gets for achieving a successful homecoming. Odysseus, then, must get over the Iliad.

Part 4. As we see from the wording of the Sirens’ Song here in the Odyssey, O.12.184–191, the sheer pleasure of listening to a song about the destruction of Troy will be in vain if there is no nostos, no safe return home from the faraway world of epic heroes; and, by extension, the Iliad itself will become a Song of the Sirens without a successful narration of the Odyssey (BA [1999] xii).

Part 5. (What follows in Parts 5 and 6 is epitomized from H24H 10§§19–20.) So, to repeat, Odysseus must get over the Iliad. But, to get over the Iliad, he must sail past it. His ongoing story, which is the Odyssey, must be about the seafarer who is making his way back home, not about the warrior who once fought at Troy. The kleos of Odysseus at Troy cannot be the master myth of the Odyssey, since the kleos of Achilles at Troy has already become the master myth of the Iliad. As I already noted, the kleos or poetic ‘glory’ of Achilles in the Iliad has preempted a kleos for Odysseus that centers on this rival hero’s glorious exploits at Troy. For the hero of the Odyssey, the ongoing kleos of his adventures in the course of his nostos is actually threatened by any past kleos of his adventures back at Troy. Such a kleos of the past in the Odyssey could not rival the kleos of the more distant past in the Iliad. It would be a false Iliad. That is why Odysseus must sail past the Island of the Sirens. The Sirens, as false Muses, tempt the hero by offering to sing for him an endless variety of songs about Troy in particular and about everything else in general.

Part 6. The sheer pleasure of listening to the songs of the Sirens threatens not only the nostos, ‘homecoming’, of Odysseus, who is tempted to linger and never stop listening to the endless stories about Troy, but also the soundness of his ‘thinking’, his nóos. And it even threatens the ongoing song about the hero’s homecoming, that is, the Odyssey itself (BA [1999] xii). Accordingly, the use of the verb néesthai ‘return, have a homecoming’ at O.12.188 signals what is at stake for both the nostos ‘homecoming’ and the nóos ‘mind’ of Odysseus, and it is no accident that these two nouns are actually both derived from that verb.

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Leonard Muellner

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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hand as regular metonym for a warrior’s biē

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