Homer Odyssey 8.295

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.) — 8.295 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.) — 8.295 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.) — 8.295 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.295 focus
She was not unwilling, so they went to the couch to take their rest, whereon they were caught in the toils which cunning Hephaistos had spread for them, and could neither get up nor stir hand or foot, but found too late that they were in a trap. [300] Then glorious Hephaistos of the strong arms came up to them, for he had turned back before reaching Lemnos, when his scout the sun told him what was going on. He was in a furious passion, [305] and stood in the vestibule making a dreadful noise as he shouted to all the gods.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 8.295 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 8.295 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.295 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.295 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 8 focus

Notes on the current edition

Odyssey

1. Both-foot-cook'd.—Perhaps we ought to read both-foot- crook'd.

New Alexandria Commentaries

Douglas Frame

citation of Athena’s creation and then removal of the mist upon Odysseus’ arrival. Argues this reinforces the thematic connections between the arrival of Odysseus and the Sun

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analysis of the use of nóos and nóēma as the proper reappearance of Odysseus’ nóos when he awakens in his homeland

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example of the appearance of nóos linked to Odysseus’ return

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example of the appearance of nóos linked to Odysseus’ return. Analysis of Athena as representation of the intelligence of Odysseus

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citation of Athena’s creation and then removal of the mist upon Odysseus’ arrival. Argues this reinforces the thematic connections between the arrival of Odysseus and the Sun

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analysis of the verb stugéō and its Stygian (Stúx) connotations

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analysis of the Phaeacians’ preparation for Odysseus’ sleep. Argues that details show that sleep is a basic part of the “return” motif

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Gregory Nagy

Odysseus encounters the blind singer Demodokos, who performs three songs that reveal hidden truths about the hero of the Odyssey.

draft js image errorBlind Demodokos sings of the siege of Troy (1810), by John Flaxman (English, 1755–1826). Image via Wikimedia Commons.

Alkinoos prepares a feast for Odysseus, who has not yet identified himself. This feast becomes a mythologized replica of a festival that puts on display a dazzling variety of old poetic traditions, soon to be replaced by the new poetry of the Odyssey.

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Here at O.08.200 the word agōn ‘competition’ is used with reference to a continuum of competitive athletic events. In this context, it becomes clear that the entire series of athletic events in this festive continuum can be viewed as an agōn ‘competition’. See also O.08.238.

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In the Second Song, Ο.08.329–332, Hephaistos as the god who is slow on his feet will catch up with the fleet-footed god Ares the adulterer. Similarly, Odysseus says here at O.08.230–233 that he is slow on his feet. But, when the time comes, we know that he too will catch up with those fleet-footed would-be adulterers, the suitors of his wife.

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|250 “ἀλλ’ ἄγε, Φαιήκων βητάρμονες ὅσσοι ἄριστοι, |251 παίσατε, ὥς χ’ ὁ ξεῖνος ἐνίσπῃ οἷσι φίλοισιν, |252 οἴκαδε νοστήσας, ὅσσον περιγινόμεθ’ ἄλλων |253 ναυτιλίῃ καὶ ποσσὶ καὶ ὀρχηστυῖ καὶ ἀοιδῇ. |254 Δημοδόκῳ δέ τις αἶψα κιὼν φόρμιγγα λίγειαν |255 οἰσέτω, ἥ που κεῖται ἐν ἡμετέροισι δόμοισιν.” |256 ὣς ἔφατ’ Ἀλκίνοος θεοείκελος, ὦρτο δὲ κῆρυξ |257 οἴσων φόρμιγγα γλαφυρὴν δόμου ἐκ βασιλῆος. |258 αἰσυμνῆται δὲ κριτοὶ ἐννέα πάντες ἀνέσταν, |259 δήμιοι, οἳ κατ’ ἀγῶνα ἐῢ πρήσσεσκον ἕκαστα, |260 λείηναν δὲ χορόν, καλὸν δ’ εὔρυναν ἀγῶνα. |261 κῆρυξ δ’ ἐγγύθεν ἦλθε φέρων φόρμιγγα λίγειαν |262 Δημοδόκῳ· ὁ δ’ ἔπειτα κί’ ἐς μέσον· ἀμφὶ δὲ κοῦροι |263 πρωθῆβαι ἵσταντο, δαήμονες ὀρχηθμοῖο, |264 πέπληγον δὲ χορὸν θεῖον ποσίν. αὐτὰρ ᾿Οδυσσεὺς |265 μαρμαρυγὰς θηεῖτο ποδῶν, θαύμαζε δὲ θυμῷ. |266 αὐτὰρ ὁ φορμίζων ἀνεβάλλετο καλὸν ἀείδειν |267 ἀμφ’ Ἄρεος φιλότητος ἐϋστεφάνου τ’ Ἀφροδίτης, |268 ὡς τὰ πρῶτ’ ἐμίγησαν ἐν Ἡφαίστοιο δόμοισι |269 λάθρῃ. [The story that has just started at line 266 now continues, ending at line 366.] |367 ταῦτ’ ἄρ’ ἀοιδὸς ἄειδε περικλυτός· αὐτὰρ Ὀδυσσεὺς |368 τέρπετ’ ἐνὶ φρεσὶν ᾗσιν ἀκούων ἠδὲ καὶ ἄλλοι |369 Φαίηκες δολιχήρετμοι, ναυσικλυτοὶ ἄνδρες. (At line 267, there is a variant reading attested: φιλότητα in the accusative, instead of φιλότητος in the genitive.)

|250 [Alkinoos is speaking.] “Let’s get started. I want the best of the Phaeacian acrobatic dancers [bētarmones] |251 to perform their sportive dance [paizein], so that the stranger, our guest, will be able to tell his near-and-dear ones, |252 when he gets home, how much better we (Phaeacians) are than anyone else |253 in sailing and in footwork, in dance [orkhēstus] and song [aoidē]. |254 One of you go and get for Demodokos the clear-sounding special lyre [phorminx], |255 bringing it to him. It is in the palace somewhere.” |256 Thus spoke Alkinoos, the one who looks like the gods, and the herald [kērux] got up, |257 ready to bring the well carved special lyre [phorminx] from the palace of the king. |258 And the organizers [aisumnētai], the nine selectmen, all got up |259 —they belonged to the district [dēmos]—and they started arranging everything according to the rules of the competition [agōn]: |260 they made smooth the place of the singing-and-dancing [khoros], and they made a wide space of competition [agōn]. |261 The herald [kērux] came near, bringing the clear-sounding special lyre [phorminx] |262 for Demodokos. He [= Demodokos] moved to the center [es meson] of the space. At his right and at his left were boys [kouroi] |263 in the first stage of adolescence [prōthēboi], standing there, well versed in dancing [orkhēthmos]. |264 They pounded out with their feet a dance [khoros], a thing of wonder, and Odysseus |265 was observing the sparkling footwork. He was amazed in his heart [thūmos]. |266 And he [= Demodokos], playing on the special lyre [phormizein], started [anaballesthai] singing beautifully |267 about [amphi] the bonding [philotēs] of Ares and of Aphrodite, the one with the beautiful garlands [stephanoi], |268 about how they, at the very beginning, mated with each other in the palace of Hephaistos, |269 in secret. [The story that has just started at line 266 now continues, ending at line 366.] |367 These things, then, the singer [aoidos] was singing [aeidein], that very famous singer. As for Odysseus, |368 he felt delight [terpesthai] in his heart as he was listening—and so too did all the others feel, |369 the Phaeacians, those men with their long oars, men famed for their ships.

As we are about to see, the Second Song of Demodokos is remarkably different from the First and the Third Songs—not only in form but also in content.

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Officials who are experts in setting up a place for holding competitive choral events of singing and dancing are here preparing to set up such a place. Such a choral event is an agōn ‘competition’, just like the athletic events that preceded. So, all these events are seen as a festive continuum.

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So, the competitive choral event is properly arranged, and a place is prepared for the ‘choral singing /dancing’, the word for which is khoros. The stylized festival continues.

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Acrobatic dancers lead off the choral singing and dancing, and the khoros or ‘place for choral singing-and-dancing’ becomes their dancing floor. This pattern of leading off resembles the pattern we see in versions of Ο.04.019 and Ι.18.606 where we see the variant reading ἐξάρχοντες instead of ἐξάρχοντος. In terms of this reading, the acrobatic dancers lead off, starting their performance before the singer starts.

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Now Demodokos the singer ‘begins performing’, as indicated by anaballesthai, and he sings, O.08.266. What the singer now sings is a proemium, the form of which is analogous to what we read in the Homeric Hymns.

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The subject of the song is the philotēs ‘sexual bonding’ of Ares and Aphrodite. The adulterous lovers will be caught in the act by the husband of Aphrodite, Hephaistos. The introduction of the story by way of the preposition amphi ‘about’ is typical of hymns. The story of the sexual encounter of Ares and Aphrodite is typical of a genre known as divine burlesque, on which see the comment on I.21.385–514. The subject of such a philotēs ‘sexual bonding’ is treated seriously by Empedocles DK B 35.

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verses matching these quoted in the Derveni Papyrus and considered by the commentator as Orphic (Obbink 1997:41n4)

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Reacting to the Second Song of Demodokos, both Odysseus and the Phaeacian listeners react by ‘feeling delight’ as expressed by way of terpesthai, O.08.368.

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|250 “ἀλλ’ ἄγε, Φαιήκων βητάρμονες ὅσσοι ἄριστοι, |251 παίσατε, ὥς χ’ ὁ ξεῖνος ἐνίσπῃ οἷσι φίλοισιν, |252 οἴκαδε νοστήσας, ὅσσον περιγινόμεθ’ ἄλλων |253 ναυτιλίῃ καὶ ποσσὶ καὶ ὀρχηστυῖ καὶ ἀοιδῇ. |254 Δημοδόκῳ δέ τις αἶψα κιὼν φόρμιγγα λίγειαν |255 οἰσέτω, ἥ που κεῖται ἐν ἡμετέροισι δόμοισιν.” |256 ὣς ἔφατ’ Ἀλκίνοος θεοείκελος, ὦρτο δὲ κῆρυξ |257 οἴσων φόρμιγγα γλαφυρὴν δόμου ἐκ βασιλῆος. |258 αἰσυμνῆται δὲ κριτοὶ ἐννέα πάντες ἀνέσταν, |259 δήμιοι, οἳ κατ’ ἀγῶνα ἐῢ πρήσσεσκον ἕκαστα, |260 λείηναν δὲ χορόν, καλὸν δ’ εὔρυναν ἀγῶνα. |261 κῆρυξ δ’ ἐγγύθεν ἦλθε φέρων φόρμιγγα λίγειαν |262 Δημοδόκῳ· ὁ δ’ ἔπειτα κί’ ἐς μέσον· ἀμφὶ δὲ κοῦροι |263 πρωθῆβαι ἵσταντο, δαήμονες ὀρχηθμοῖο, |264 πέπληγον δὲ χορὸν θεῖον ποσίν. αὐτὰρ ᾿Οδυσσεὺς |265 μαρμαρυγὰς θηεῖτο ποδῶν, θαύμαζε δὲ θυμῷ. |266 αὐτὰρ ὁ φορμίζων ἀνεβάλλετο καλὸν ἀείδειν |267 ἀμφ’ Ἄρεος φιλότητος ἐϋστεφάνου τ’ Ἀφροδίτης, |268 ὡς τὰ πρῶτ’ ἐμίγησαν ἐν Ἡφαίστοιο δόμοισι |269 λάθρῃ. [The story that has just started at line 266 now continues, ending at line 366.] |367 ταῦτ’ ἄρ’ ἀοιδὸς ἄειδε περικλυτός· αὐτὰρ Ὀδυσσεὺς |368 τέρπετ’ ἐνὶ φρεσὶν ᾗσιν ἀκούων ἠδὲ καὶ ἄλλοι |369 Φαίηκες δολιχήρετμοι, ναυσικλυτοὶ ἄνδρες. (At line 267, there is a variant reading attested: φιλότητα in the accusative, instead of φιλότητος in the genitive.)

|250 [Alkinoos is speaking.] “Let’s get started. I want the best of the Phaeacian acrobatic dancers [bētarmones] |251 to perform their sportive dance [paizein], so that the stranger, our guest, will be able to tell his near-and-dear ones, |252 when he gets home, how much better we (Phaeacians) are than anyone else |253 in sailing and in footwork, in dance [orkhēstus] and song [aoidē]. |254 One of you go and get for Demodokos the clear-sounding special lyre [phorminx], |255 bringing it to him. It is in the palace somewhere.” |256 Thus spoke Alkinoos, the one who looks like the gods, and the herald [kērux] got up, |257 ready to bring the well carved special lyre [phorminx] from the palace of the king. |258 And the organizers [aisumnētai], the nine selectmen, all got up |259 —they belonged to the district [dēmos]—and they started arranging everything according to the rules of the competition [agōn]: |260 they made smooth the place of the singing-and-dancing [khoros], and they made a wide space of competition [agōn]. |261 The herald [kērux] came near, bringing the clear-sounding special lyre [phorminx] |262 for Demodokos. He [= Demodokos] moved to the center [es meson] of the space. At his right and at his left were boys [kouroi] |263 in the first stage of adolescence [prōthēboi], standing there, well versed in dancing [orkhēthmos]. |264 They pounded out with their feet a dance [khoros], a thing of wonder, and Odysseus |265 was observing the sparkling footwork. He was amazed in his heart [thūmos]. |266 And he [= Demodokos], playing on the special lyre [phormizein], started [anaballesthai] singing beautifully |267 about [amphi] the bonding [philotēs] of Ares and of Aphrodite, the one with the beautiful garlands [stephanoi], |268 about how they, at the very beginning, mated with each other in the palace of Hephaistos, |269 in secret. [The story that has just started at line 266 now continues, ending at line 366.] |367 These things, then, the singer [aoidos] was singing [aeidein], that very famous singer. As for Odysseus, |368 he felt delight [terpesthai] in his heart as he was listening—and so too did all the others feel, |369 the Phaeacians, those men with their long oars, men famed for their ships.

As we are about to see, the Second Song of Demodokos is remarkably different from the First and the Third Songs—not only in form but also in content.

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What follows the Second Song of Demodokos, which can be viewed as a hymnic proemium, is further dancing and perhaps singing, which can be viewed together as a hymnic consequent. And the setting is called an agōn ‘competition’, O.08.380.

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Alkinoos says that the kingdom of the Phaeacians, described here as a dēmos ‘community, district’, is ruled by twelve basilēes ‘kings’, O.08.390, and that he counts himself as the thirteenth. (On krainein in the sense of ‘authorize’ and thereby ‘rule’, see GMP 59.) In terms of this description, Alkinoos figures himself as an over-king, and maybe the word basilēes here has the meaning of ‘sub-kings’—which is in fact the meaning of the corresponding word gwasilēwes (qa-si-re-we) in Linear B texts. According to Frame 2009 ch. 7, the twelve kings of the Phaeacians may represent a mythological replica of the confederation known as the Ionian Dodecapolis as it existed around the late eighth and early seventh centuries BCE. On the Ionian Dodecapolis, see the anchor comment on I.01.463; also the comment on I.02.867–869 and on I.20.403–405; see also under Ionian Dodecapolis in the inventory of Words and Ideas.

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Alkinoos wishes that the feasting should continue and that Odysseus should continue to ‘feel delight’, as expressed by terpesthai, while he hears at this feast the ‘weaving’ of the aoidē ‘song’ that started with the First Song of Demodokos and that will now connect with the Third Song. In this context, we see the meaning of the noun dais extended from the specific idea of ‘feast’ to the more general idea of a stylized ‘festival’. And the continued weaving of the song, which corresponds to the continuation of the stylized festival, is expressed here by way of the noun humnos, which is attested only here and nowhere else in either the Iliad or the Odyssey. In this unique context at O.08.429, the meaning of humnos can be reconstructed as ‘web’ or ‘connecting by way of fabric work’. In terms of such a reconstructed meaning, the humnos as a ‘web’ connects the First and the Second and the Third Songs of Demodokos and forms a continuum of song that extends throughout Odyssey 8, as if the ongoing dais of this Rhapsody were not only a continued feast but also a sustained festival. This festival makes room for events of athletics as well as songmaking.

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Leonard Muellner

in a list of instances where phanai substitutes for eukhesthai where it is combined with comparative/superlative

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analysis of philotēs and timē going together with this passage as an example

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Mary Ebbott

This passage describing the coordinated fighting method of the half-brothers Ajax and Teucer may depict a very old style of battle, and connects the identities of the two brothers in an ancient, perhaps even Indo-European, mythic way (Ebbott 2003:41–44). The brief simile comparing Teucer running behind Ajax’s shield in between shots to a child hiding behind his mother (Odyssey 8.271) creates several powerful associations. Teucer’s illegitimacy is highlighted by his comparison to the child, since a “bastard” (nothos) could be imagined as a perpetual child in Greek myth and poetry (Ebbott 2003:31–40). The comparison of Ajax to the mother, moreover, highlights the emotional bonds between warriors: mother similes in the Iliad signify the care, love, and protection that comrades on the battlefield extend to one another (Casey and Ebbott 2012).

\r\n\r\nReferences

\r\nDué, C., and Ebbott, M. 2012. “Mothers-in-Arms: soldiers’ emotional bonds and Homeric similes.” War, Literature, and the Arts. 24.

\r\nEbbott, M. 2003. Imagining Illegitimacy in Ancient Greek Literature. Lanham, MD.

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