Homer Odyssey 6.85

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.) — 6.85 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.) — 6.85 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.) — 6.85 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.85 focus
When they reached the water side they went to the washing-cisterns, through which there ran at all times enough pure water to wash any quantity of linen, no matter how dirty. Here they unharnessed the mules and turned them out [90] to feed on the sweet juicy herbage that grew by the water side. They took the clothes out of the wagon, put them in the water, and vied with one another in treading them in the pits to get the dirt out. After they had washed them and got them quite clean, they laid them out by the sea side, where [95] the waves had raised a high beach of shingle, and set about washing themselves and anointing themselves with olive oil. Then they got their dinner by the side of the stream, and waited for the sun to finish drying the clothes. When they had done dinner [100] they threw off the veils that covered their heads and began to play at ball, while Nausicaa of the white arms sang for them. As the huntress Artemis, who showers arrows, goes forth upon the mountains of Taygetos or Erymanthos to hunt wild boars or deer, [105] and the wood-nymphs, daughters of Aegis-bearing Zeus, take their sport along with her (then is Leto proud at seeing her daughter stand a full head taller than the others, and eclipse the loveliest amid a whole bevy of beauties), even so did the girl outshine her handmaids.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 6.85 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 6.85 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.85 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.85 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 6 focus

Notes on the current edition

Odyssey

1. Bevy—company. Generally applied to quails, as covey to partridges. It is a common word, and abundantly illustrated in Todd's Johnson.
2. Stool-ball—Dr. Johnson tells us is a game where balls are driven from stool to stool. See however Strutt and Brand.
3. Swift-hoved—with swift feet, hooves, or hoofs.
4. The piety and wisdom of the Poet was such, that (agree- ing with the Sacred Letter) not the least of things he makes come to pass sine Numinis providentia. As Spondanus well notes of him.—CHAPMAN.

New Alexandria Commentaries

Anita Nikkanen

Compare Sappho fr. 5.3-7: praying for the wishes of someone to be fulfilled, combined with bringing kharmata to friends and pain to enemies appears to be traditional. Both here and in Sappho, the context is that of achieving a nostos after dangerous seafaring.

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Gregory Nagy

Nausicaa, princess of the Phaeacians, makes her appearance as a potential but unattainable love-interest for Odysseus—and as a delight for all who find themselves irresistibly drawn into the story of her girlish but principled encounter with the enthralled hero.

draft js image error“Nausicaa” (1878), Frederick Leighton (English, 1830–1896). Image via Wikimedia Commons.

This Rhapsody belongs to Nausicaa. I spell her name in its familiar latinized form, with a c, since her fame extends far beyond the ancient Greek world, where she appears as Ναυσικάα. In any case, the name has a certain primacy of place. I have no idea who said it first, but I first heard it from the long-departed Sterling Dow in the early 1960s: if you look up all surviving ancient Greek names in reverse alphabetical order, the first one you see is Nausicaa = Ναυσικάα, while the very last of them all is Calypso = Καλυψώ. Surely we see here a coincidence, not some mysterious signal emanating from some grand cosmic plan, but the coincidence itself seems just as lovely as Nausicaa is lovely. Some critics view her as a youthful love-interest for Odysseus, matching Calypso as the hero’s divine love-interest. But such a view detracts from the loveliness: Nausicaa is meant to be a love-interest for all who hear her story—just as Calypso is a universal love-interest in her own story as told in Rhapsody 5. In the story of Nausicaa as told in Rhapsody 6, she is pictured as the perfect bride for any man fortunate enough to succeed in marrying her—and she knows it. The self-awareness of Nausicaa is shaped by the poetry that idealizes her eligibility by animating her beauty and her charm to the point where she becomes comparable to the goddess Artemis. Odysseus himself initiates the comparison and, by comparing the girl to the goddess, he is signaling to himself that Nausicaa, even if she does not know it yet, is for him enticingly unattainable.

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Odysseus here compares Nausicaa directly to Artemis. He is not only saying that Nausicaa is ‘the same as’ Artemis, as expressed by the adjective homoio- ‘similar to, same as’. Rather, the hero is saying that perhaps Nausicaa is in fact Artemis.

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Odysseus here compares Nausicaa in all her beauty to a sacred phoinix ‘date palm’, O.06.163, which is located next to the altar of the god Apollo at Delos, O.06.162. The phoinix is also mentioned in the Homeric Hymn to Apollo 18 and 117. Odysseus claims to have seen this date palm with his own eyes when he visited Delos, O.06.163–165. This mention of Delos is a rare Homeric reference to locales that are distinctly Ionian in culture (HPC 227). Also, we see epic distancing here (Taplin 1996): back in the age of heroes, the date palm was still young and small, O.06.166–168—much smaller than it is imagined to be in the post-heroic age.

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