Homer Odyssey 10.302

ed. Robert Southey

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Odyssey. Homer. ed. Robert Southey. London. 1837.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 10.1 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.) — 10.302 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.) — 10.307 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 10.302 focus
As he spoke he pulled the herb out of the ground and showed me what it was like. The root was black, while the flower was as white as milk; [305] the gods call it Moly, and mortal men cannot uproot it, but the gods can do whatever they like.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 10.302 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 10.302 focus
Thus while he spoke, the sovereign plant he drew,
Where on th' all-bearing earth unmark'd it grew,
And show'd its nature and its wondrous power:
Black was the root, but milky white the flower;
Moly! the name, to mortals hard to find, 1
365
But all is easy to th' ethereal kind.
This Hermes gave, then, gliding off the glade,
Shot to Olympus from the woodland shade.
While, full of thought, revolving fates to come,
I speed my passage to th' enchanted dome.
370
Arriv'd, before the lofty gates I stay'd;
The lofty gates the goddess wide display'd:
She leads before, and to the feast invites;
I follow sadly to the magic rites.
Radiant with starry studs, a silver seat
375
Receiv'd my limbs: a footstool eas'd my feet.
She mix'd the potion, fraudulent of soul;
The poison mantled in the golden bowl.
I took, and quaff'd it, confident in heaven:
Then wav'd the wand, and then the word was given.
380
"Hence to thy fellows!" (dreadful she began,)
"Go, be a beast!"—I heard, and yet was man.
Then sudden whirling, like a waving flame,
My beamy faulchion, I assault the dame.
Struck with unusual fear, she trembling cries,
385
She faints, she falls; she lifts her weeping eyes.
"What art thou? say! from whence, from whom you came?
O more than human! tell thy race, thy name.
Amazing strength, these poisons to sustain!
Not mortal thou, nor mortal is thy brain.
390
Or art thou he, the man to come, (foretold
By Hermes, powerful with the wand of gold,)
The man from Troy, who wander'd ocean round;
The man for wisdom's various arts renown'd,
Ulysses? Oh! thy threatening fury cease,
395
Sheathe thy bright sword, and join our hands in peace!
Let mutual joys our mutual trust combine,
And love, and love-born confidence be thine."
"And how, dread Circe!" (furious I rejoin)
"Can love, and love-born confidence, be mine,
400
Beneath thy charms when my companions groan,
Transform'd to beasts, with accents not their own?
O thou of fraudful heart, shall I be led
To share thy feast-rites, or ascend thy bed;
That, all unarm'd, thy vengeance may have vent,
405
And magic bind me, cold and impotent?
Celestial as thou art, yet stand denied;
Or swear that oath by which the gods are tied,
Swear, in thy soul no latent frauds remain,
Swear by the vow which never can be vain."
410
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 10.302 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 10.302 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 10 focus

New Alexandria Commentaries

Douglas Frame

evidence for suggestion that collocations utilizing forms of lanthánomai with nóstos are semantically related to theme of a loss of “mind.” Comparison with intended effect of Circe’s drugs: to make the companion forget their homeland

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analysis of ambiguity about nature of companions who are turned into swine but retain their nóos

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analysis of Hermes’ role in providing Odysseus the knowledge necessary to “return” from the wiles and dangers of Circe. Thus, nóos is the nóstos of the Circe episode

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suggests a comparison between pent up companions of Odysseus and the imprisoned beasts of the Sun

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analysis of Hermes’ role in providing Odysseus the knowledge necessary to “return” from the wiles and dangers of Circe. Thus, nóos is the nóstos of the Circe episode

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evidence for notion that Hermes as psychopomp leads Odysseus to death and back to life

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analysis of Hermes’ role in providing Odysseus the knowledge necessary to “return” from the wiles and dangers of Circe. Thus, nóos is the nóstos of the Circe episode

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analysis of Hermes’ role in providing Odysseus the knowledge necessary to “return” from the wiles and dangers of Circe. Thus, nóos is the nóstos of the Circe episode

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Description of the phármakon Hermes provides Odysseus, a plant with back root and white blossom – an appropriate symbol of for the underlying meaning of the Circe episode

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evidence for Circe episode as a “return from death”

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evidence for Circe episode as a “return from death”

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evidence for Circe episode as a “return from death”

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analysis of Homer’s use of the verb nostḗsein

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Gregory Nagy

This Rhapsody centers on the bewitching goddess Circe, whose mystical powers will lead Odysseus to make direct contact with the dead—and with the world of heroes who have already died.

draft js image error“Circe Invidiosa,” (1892). J. W. Waterhouse (English, 1849–1917). Image via Wikimedia Commons.

Circe, like her mystical island, is at first disorienting for Odysseus, but the goddess will in due course reorient the hero, making it possible for him to learn how he will ultimately make his way back home. Odysseus will find his reorientation in the realm of the unconscious.

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See the anchor comment at O.04.489. Again I note the use of this word adeukḗs in a context referring to an interrupted sequence. The potmos ‘fate’ of Odysseus’ companions is adeukḗs because they have been turned into swine and their journey home has thus been interrupted.

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In Point 2 of the comment on O.01.001–010, it was noted that the god Hermes, as the ultimate shape-shifter, is described as polutropos ‘turning-into-many-different-selves’ in the Homeric Hymn to Hermes (verses 13, 439). Here at O.10.330, Odysseus is likewise described as polutropos ‘turning-into-many-different-selves’, and the description is happening in a context where the hero is explicitly being linked with the god Hermes. So, Odysseus too is a shape-shifter, like his divine model Hermes. The importance of this quality of Odysseus as polutropos ‘turning-into-many-different-selves’ is highlighted by the use of this epithet in the very first verse of the Odyssey. Only there at O.01.001 and here at O.10.330 is Odysseus described as polutropos ‘turning-into-many-different-selves’.

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The use of this verb here in the context of ‘grabbing at’ food is relevant to the wording in Pindar Nemean 8.22, with reference to the language of blame.

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Leonard Muellner

evidence for suggestion that collocations utilizing forms of lanthánomai with nóstos are semantically related to theme of a loss of “mind.” Comparison with intended effect of Circe’s drugs: to make the companion forget their homeland

source