Homer Odyssey 5.451

ed. George Chapman

View: By Book

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.) — 5.451 focus
Translations (9)
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.) — 5.451 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.) — 5.436 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.451 focus
Then the god stayed his stream and stilled the waves, making all calm before him, and bringing him safely into the mouth of the river. Here at last Odysseus’ knees and strong hands failed him, for the sea had completely broken him. [455] His body was all swollen, and his mouth and nostrils ran down like a river with sea-water, so that he could neither breathe nor speak, and lay swooning from sheer exhaustion; presently, when he had got his breath and came to himself again, he took off the scarf that Ino had given him [460] and threw it back into the salt stream of the river, whereon Ino received it into her hands from the wave that bore it towards her. Then he left the river, laid himself down among the rushes, and kissed the bounteous earth.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 5.451 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 5.451 focus
He pray'd, and straight the gentle stream subsides,
Detains the rushing current of his tides,
Before the wanderer smooths the watery way,
And soft receives him from the rolling sea.
580
That moment, fainting as he touch'd the shore,
He dropp'd his sinewy arms; his knees no more
Perform'd their office, or his weight upheld;
His swoln heart heav'd; his bloated body swell'd;
From mouth and nose the briny torrent ran;
585
And lost in lassitude lay all the man,
Depriv'd of voice, of motion, and of breath;
The soul scarce waking in the arms of death.
Soon as warm life its wonted office found,
The mindful chief Leucothea's scarf unbound;
590
Observant of her word, he turn'd aside
His head, and cast it on the rolling tide.
Behind him far, upon the purple waves
The waters waft it, and the nymph receives.
Now parting from the stream, Ulysses found
595
A mossy bank with pliant rushes crown'd;
The bank he press'd, and gently kiss'd the ground;
Where on the flowery herb as soft he lay,
Thus to his soul the sage began to say:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.451 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.451 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 5 focus
English Bridge (Amelia Parrish and Gregory Crane, 2023) (OCR draft) Experimental (English Bridge (Amelia Parrish and Gregory Crane, 2023)) — 5.451 focus

Notes on the current edition

Odyssey

1. Callicoe's flood.—The original is simply ποταμοῖο κατὰ στόμα καλλιρόοιο, at the mouth of a fair-flowing river. I presume Chapman meant the epithet for the name of the river, calling it Callirrhoe, not Callicoe, as it is printed in the folio.
2. Ωδεε οἱ ὠδίνω, à partu doleo.—CHAPMAN. It is hardly necessary to observe that Chapman's fanciful derivation is wrong, ᾠδεε being the imperfect of οἰδέω, tumeo.
3. A metaphorical hyperbole, expressing the winter's extremity of sharpness.—CHAPMAN.

New Alexandria Commentaries

Douglas Frame

reference to Homeric passage where nóos is connected to traditional sense of return.

source

citation of Phaeacian epithet, ankhítheoi, “close to the gods”

source

analysis of the role of Hermes’ staff in suggesting that that the return of Odysseus is a return to consciousness and life

source

analysis of original notion of verb halṓō, “to be seized by death”

source

analysis of Pylos’ (púlai of Hades) possible connection to lost story of Nestor’s cave, which Homer might here allude to: en Pulōi en nekúessin, “in Pylos amongst the dead”

source
Gregory Nagy

Only here in the Odyssey is the hero Tīthōnos ever mentioned, O.05.001. In the Iliad, there is a parallel mention of Tīthōnos at I.11.001. The wording of O.05.001–002 here matches the wording of I.11.001–002. The story of the abduction of Tīthōnos by Ēōs, goddess of dawn, is told in the Homeric Hymn to Aphrodite 218–238. The liaison between the mortal man Tīthōnos and the immortal goddess Ēōs is parallel to the liaison between the mortal man Anchises and the immortal goddess Aphrodite. And, as a result of both these affairs, the mortal man is permanently damaged. In the case of Tīthōnos, he loses his youth though he holds on to life, but old age renders him immobile, as we read in the Homeric Hymn to Aphrodite, verse 234. In the case of Anchises, he too is afflicted with immobility—which is why his son Aeneas has to carry him on his shoulders in ancient depictions of that hero’s escape from Troy together with his family (for a splendid example, I refer to a vase painting dated to the early fifth century BCE, British Museum inventory number 1836.0224.138). Such stories of permanent damage are relevant to the story of the affair between Odysseus and the goddess Calypso. In sum, the fact that Rhapsody 5 begins with a reference to an affair between a mortal man and an immortal goddess indicates the dangers that now threaten Odysseus.

source

The rhapsody starts with the releasing of Odysseus by one goddess and ends with the mystical saving of his life by a second goddess, who is Leukotheā, the White Goddess. The beautiful Leukotheā saves Odysseus by undoing her hair and giving him as a life-saver the veil that had held her curls in place. As for the first goddess, who is Calypso, her action in releasing Odysseus from their mutual love affair becomes another life-saver for him. That is because the chances of success for such an affair between a mortal man and an immortal goddess would have been minimal, as we will see by observing other myths that tell about other such affairs. If the liaison of Odysseus with Calypso had continued, it is a certainty that he would have been killed off, just as Orion had died because of his liaison with Ēōs the goddess of the dawn.

draft js image error“Leucothea, the White Goddess, Preserving Ulysses” (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.

source

The accusative of ommata ‘eyes’ here, as the direct object of thelgein, indicates that the idea of looking is built into this verb. Accordingly, it can be argued that the Lithuanian verb žvelgiù ‘look’ is a cognate of thelgein, which I translate as ‘put a trance on, enchant’. I interpret the enchantment here as an effect of visual attraction.

source

The verb heleto ‘took’ referring here at O.05.121 to the seduction of Orion by Ēōs the goddess of the dawn is neutral in comparison to other verbs indicating an abduction by force, as when Ēōs hērpasen ‘seized’ Tīthōnos in Homeric Hymn to Aphrodite 218. For more on the links of heroes like Orion and Tithōnos with Ēōs, see the comment on O.15.250–251.

source

The myth about the liaison between the mortal man Orion and the immortal goddess Ēōs is retold by Calypso herself as an example of the double standard shown by the divine powers in not tolerating a relationship where the immortal lover of a mortal is female, not male. It is to be noted that Ēōs, at the moment when she takes the initiative in seducing Orion at O.05.121, is described with the epithet rhododaktulos ‘rosy-fingered’ instead of the epithet thugatēr Dios ‘daughter of Zeus’, which would have been appropriate if the seducer had been a goddess like Aphrodite. See the anchor comment at O.12.001–010.

source

The goddess Artemis shoots Orion with her arrows.

source

At O.05.136, Calypso says that she was intending to make Odysseus athanatos ‘immortal’ and agērōs ‘ageless’. Similarly in Homeric Hymn to Aphrodite 214, Zeus when he abducts Ganymedes makes him athanatos ‘immortal’ and agērōs ‘ageless’. By contrast, in Homeric Hymn to Aphrodite 221, Ēōs forgets to ask for agelessness after she abducts Tīthōnos and asks only that her mortal lover be athanatos ‘immortal’. So, she forgot to ask that he should have lasting hēbē ‘youth’, Homeric Hymn to Aphrodite 224.

source

At O.05.160, aiōn ‘life-force, lifetime’ is a potential recycling of time: see the comment on I.01.052. But such a recycling is threatened at O.05.161 by a linear prolongation of life, which would result in what is indicated here by the verb phthinesthai ‘wilt, perish’.

source

For a god to swear by the Styx is to reaffirm the absolute permanence of its waters, as indicated by the epithet aphthito- ‘imperishable’ in Hesiod Theogony 389, 397, 805. See the comment on I.02.046; also the comment on Homeric Hymn to Demeter 259, where Demeter swears by the Styx that she would have made the child Demophon athanatos ‘immortal’ and agērōs, 260, if the mother of this child had not spoiled what the goddess intended.

source

We see here a specialized sense of this noun harmoniā ‘joint’, derived from the root ar- as in arariskein ‘join’.

source

If Odysseus could read the stars correctly, he would see that the constellation of Orion shows him what would have happened if his liaison with Calypso had been prolonged: Odysseus too would have been killed off, like Orion. The astral configuration of Orion the Hunter and Arktos the Bear here at O.05.273–275 is pictured also at I.18.487–489. The stars in this configuration are re-enacting the myth of Orion: how Ēōs the goddess of dawn made Orion her lover and how the goddess Artemis the huntress then shot Orion with her arrows and killed him. The myth, as we have already seen, is narrated at O.05.121–124. A special point of interest in the description of Arktos the Bear at O.05.274—also at I.18.488—is the expression dokeuei: it appears that this she-bear is ‘taking aim’ at Orion. It can be argued that this pose of Arktos the she-bear reveals her to be a stand-in for the goddess Artemis herself at the moment when the goddess takes aim at Orion in order to shoot him dead with her arrows. It can also be argued that the dangerous liaison of Ēōs with Orion at O.05.121–124 is viewed as a relevant parallel to the liaison of Calypso with Odysseus.

source

The formulation of this wish shows that Odysseus is longing to be defined by an epic that is limited to the happenings in the Trojan War, excluding the happenings that he experiences in the Odyssey. But this is not to be. For Odysseus to be hero in his own epic, he must have a safe homecoming from Troy.

source

Odysseus is saved from drowning by Ino, O.05.333, who was once a mortal woman but who has become immortalized after death by becoming the Leukotheā or ‘White Goddess’, O.05.334. The White Goddess gives to Odysseus her krēdemnon, that is, her headdress or ‘veil’, which becomes his life-saver: O.05.346, O.05.351, O.05.373, O.05.459. In order to give the hero her headdress, she would first have to undo her hair, as we can see by comparing the scene where Andromache lets fall from her head her own headdress, the word for which is, here again, krēdemnon, I.22.470. See the commentary on I.22.460–474, where I noted that the undoing of a woman’s hair, caused by the undoing of her krēdemnon, produces what I called an Aphrodisiac effect. So long as a woman’s krēdemnon is in place, her sexuality is under control just as her hair is under control. When the krēdemnon is out of place, however, her sexuality threatens to get out of control. Also, while saving the hero, the goddess assumes the form of a diving bird called aithuia, O.05.337 and O.05.353. These actions of Ino in saving Odysseus from the mortal dangers of the sea are parallel to the actions of the goddess Athena herself. [What follows is epitomized from Nagy 1985:80–81 (= §78).] Ino as aithuia has a parallel agent in ensuring the salvation of Odysseus from the sea: Athena herself redirects the storm sent against the hero by Poseidon, O.05.382–387, and then she saves him from immediate drowning by giving him a timely idea for swimming to safety, O.05.435–439. The hero submerges but then emerges from a wave that would surely have drowned him had it not been for Athena, O.05.435 and O.05.438, and this detail corresponds closely to the preceding emergence and submergence of Ino herself, O.05.337 and O.05.352–353. Such a correspondence suggests that Ino, the former mortal who is now a goddess, O.05.334 and O.05.335, is a model for a transition from death to life anew.

source

Here the verb tēkesthai ‘melt away’ refers to wasting away in illness. For other metaphorical applications, see especially the comment at O.19.204–212

source

The comparison of Odysseus to an octopus here is a signature, as it were, of his reputation for being polutropos ‘turning-into-many-different-selves’. This epithet is analyzed in the comment on O.01.001–010. On the polytropic nature of the octopus, I cite two relevant passages: Theognis 215–218 and Pindar F 43 SM.

source

For this translation of epiphrosunē, ‘impulse of wisdom’, see HPC 45n33.

source

This verb expresses the idea of revival, ana-pneîn (ἄμπνυτο) in the sense of ‘taking a breath’ or ‘breathing in’. See the comment on I.05.696–698.

source

The elements ponos ‘pain’ and kamatos ‘pain’ in the expression δυσπονέος καμάτοιο at O.05.493 are conventional designations of the life-and-death struggles of a hero.

source
Leonard Muellner

comment on overlap between Hermes and Athena (here, Athena’s wearing Hermes’ sandals), in the context of analyzing her reminding of Hermes in O.13.221ff.

source

analysis of divine mēnis at sexual transgressions (regarding the triangle of a goddess, a mortal, and Zeus, representing the gods as a group – notion of social solidarity in connection with mēnis)

source

analysis of divine mēnis at sexual transgressions (regarding amphadiēn as “with the knowledge of Zeus”)

source

analysis of divine mēnis at sexual transgressions (regarding the triangle of a goddess, a mortal, and Zeus, representing the gods as a group – notion of social solidarity in connection with mēnis)

source

analysis of divine mēnis at sexual transgressions (regarding amphadiēn)

source

analysis of divine mēnis at sexual transgressions

source

analysis of divine mēnis at sexual transgressions

source

analysis of divine mēnis at sexual transgressions (regarding amphadiēn as “with the knowledge of Zeus”)

source

analysis of divine mēnis at sexual transgressions

source

analysis of divine mēnis at sexual transgressions

source

analysis of divine mēnis at sexual transgressions

source

in the list of offenses that (threaten to) incur mēnis

source

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige)

source

analysis of the functional overlap between hiketēs and xeinos, argument that in Homer hiketēs still means ‘he who comes, arrives,’ and Benveniste’s analysis of its etymology on the basis of figurae etymologicae in Homer

source

analysis of the functional overlap between hiketēs and xeinos, argument that in Homer hiketēs still means ‘he who comes, arrives,’ and Benveniste’s analysis of its etymology on the basis of figurae etymologicae in Homer

source

analysis of the functional overlap between hiketēs and xeinos, argument that in Homer hiketēs still means ‘he who comes, arrives,’ and Benveniste’s analysis of its etymology on the basis of figurae etymologicae in Homer

source

in a list of eukhesthai einai + social relationship (xeinos, hiketēs)

source

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)

source