Homer Odyssey 11.404

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.) — 11.361 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.) — 11.404 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.) — 11.435 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.404 focus
‘Resourceful Odysseus,’ he answered, [405] ‘noble son of Laertes and seed of Zeus, I was not lost at sea in any storm of Poseidon’s raising, nor did my foes dispatch me upon the mainland, but Aegisthus [410] and my wicked wife were the death of me between them. He asked me to his house, feasted me, and then butchered me most miserably as though I were a fat beast in a slaughter house, while all around me my comrades were slain like sheep or pigs [415] for the wedding breakfast, or dinner-party, or gourmet feast of some great nobleman. You must have seen numbers of men killed either in a general engagement, or in single combat, but you never saw anything so truly pitiable as the way in which we fell in that hall, with the mixing-bowl and the loaded [420] tables lying all about, and the ground reeking with our blood. I heard Priam’s daughter Kassandra scream as treacherous Clytemnestra killed her close beside me. I lay dying upon the earth with the sword in my body, and raised my hands to kill the slut of a murderess, [425] but she slipped away from me; she would not even close my lips nor my eyes when I was dying, for there is nothing in this world so cruel and so shameless as a woman when she has fallen into such guilt as hers was. [430] Fancy murdering her own husband! I thought I was going to be welcomed home by my children and my servants, but her abominable crime has brought disgrace on herself and all women who shall come after—even on the good ones.’
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 11.404 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 11.404 focus
The ghost returns: "O chief of humankind
For active courage and a patient mind;
500
Nor while the sea, nor while the tempest raves,
Has Fate oppress'd me on the roaring waves!
Nor nobly seiz'd me in the dire alarms
Of war and slaughter, and the clash of arms.
Stabb'd by a murderous hand Atrides died,
505
A foul adulterer and a faithless bride;
Ev'n in my mirth, and at the friendly feast,
O'er the full bowl, the traitor stabb'd his guest;
Thus by the gory arm of slaughter falls
The stately ox, and bleeds within the stalls.
510
But not with me the direful murder ends,
These, these expir'd! their crime, they were my friends:
Thick as the boars, which some luxurious lord
Kills for the feast, to crown the nuptial board.
When war has thunder'd with its loudest storms,
515
Death thou hast seen in all her ghastly forms;
In duel met her on the listed ground,
When hand to hand they wound return for wound;
But never have thy eyes astonish'd view'd
So vile a deed, so dire a scene of blood.
520
Ev'n in the flow of joy, when now the bowl
Glows in our veins, and opens every soul,
We groan, we faint; with blood the dome is dyed,
And o'er the pavement floats the dreadful tide:
Her breast all gore, with lamentable cries,
525
The bleeding innocent Cassandra dies!
Then, though pale death froze cold in every vein,
My sword I strive to wield, but strive in vain;
Nor did my traitress wife these eyelids close,
Or decently in death my limbs compose.
530
O woman, woman, when to ill thy mind
Is bent, all hell contains no fouler fiend:
And such was mine! who basely plunged her sword
Through the fond bosom where she reign'd ador'd!
Alas! I hop'd, the toils of war o'ercome,
535
To meet soft quiet and repose at home;
Delusive hope! O wife, thy deeds disgrace
The perjur'd sex, and blacken all the race;
And should posterity one virtuous find,
Name Clytemnestra, they will curse the kind.'
540
"O injur'd shade," (I cried), "what mighty woes
To thy imperial race from woman rose! 1
By woman here thou tread'st this mournful strand,
And Greece by woman lies a desert land."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.404 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 11.404 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 11 focus

New Alexandria Commentaries

David Elmer

Odysseus characterizes the suffering attendant on the Trojan expedition—including the many deaths depicted in the Iliad—as a consequence of Zeus’ displeasure and the “will (βουλαί) of women.” This description substantially modifies the causal framework put forward by the Iliad, which presents the events it describes as the result of “the will of Zeus” (Διὸς βουλή, as in Iliad 1.5) alone. Odysseus’ reconfiguration of Iliadic causality reflects the distinctive vision of the Odyssey, which portrays female figures as exercising considerable control over events: Athena, with the support of Zeus, is the divine sponsor of the plot (see Murnaghan 2005), and the success of Odysseus’ homecoming is repeatedly represented as depending on the goodwill of various women, above all Penelope. (See also Odyssey 2.382, 11.226).\r\n\r\n \r\n\r\nReferences\r\n\r\nMurnaghan, S. 1995. “The Plan of Athena.” In The Distaff Side: Representing the Female in Homer’s Odyssey (ed. B. Cohen) 61-80. New York and Oxford.

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Douglas Frame

analysis of language used to describe the imprisonment of Melampus

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analysis of survival of the role of nóos in the story of Melampus, which suggests a the context of prophesy similar to Teiresias’ relationship to the theme of “returning from death”

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brief analysis of the Dioscuri, who as a combination of immortal and mortal elements, experience an alternation between life and death

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This passage featuring three Athenian heroines belongs to the Panathenaic version of the catalogue of heroines. It is the final such Athenian expansion of the catalogue, and functions as an "Athenian signature." In the last line of the passage the god Dionysus is mentioned in connection with the third Athenian heroine, Ariadne. The form of his name in Greek is the Athenian form versus the usual Homeric form (Διόνυσος, with a short -o- vs. the usual Epic form Διώνυσος, with -ō-), and this is part of the "signature." If the whole signature is deliberate - if it is asserting its Athenian origin- the phrase containing the name Dionysus may have a double meaning. On the surface of the narrative Ariadne is killed Dionusou marturiēisi "on the evidence of Dionysus." In terms of an "Athenian signature" the "evidence of Dionysus" could suggest a slightly different translation, "the evidence of the word Dionysus."

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analysis of antithetical fates of Achilles and Odysseus as contrasted by the by the “wits” of Odysseus and Achilles’ fate amongst the “mindless” dead

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reference to Odysseus’s remarks that Achilles is even a king in the underworld

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reference to Achilles’ response that he would rather be a serf in life that a king amongst the dead – a reference to Achilles’ juxtaposition with Odysseus (the one who has nóos will return, the one who does not will not)

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citation of Odysseus’s appraisal of himself and Nestor as the foremost Greek counselors. Suggests that whereas Nestor symbolizes nóos, Odysseus makes nóos effective

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Gregory Nagy

The encounter of Odysseus with the seer Teiresias in Hādēs is a mystical experience that defines the hero of the Odyssey in a new way: Odysseus now learns that he will have a homecoming that leads to a most startling discovery of his own self as a cult hero in the making.

draft js image error“Teiresias appears to Ulysses during the sacrifice,” (1780–1785). Henry Fuseli (German, 1741–1825). Image via Wikimedia Commons.

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I defer here to the definitive analysis of Frame 2009:227-329.

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As we saw at I.02.658, the name of Hēraklēs is linked with the epic theme of biē in the sense of martial ‘force, violence, strength’; even the name of Hēraklēs can be formulated periphrastically as ‘the force of Hēraklēs’. And now we see the same pattern of naming applied to a hero named Iphiklēs. The application is all the more apt here, since the element īs ‘force, violence, strength’ in the name of Iphiklēs is a synonym of biē ‘force, violence, strength’.

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See the comment on O.11.290.

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Kastōr and Poludeukēs, the Divine Twins, are also mentioned at I.03.237. See the comment there.

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At O.11.330, Odysseus breaks off his performance, and the break continues till O.11.385, when the performance recommences. In between, there is a series of polite exchanges between Odysseus as performer and Alkinoos as the primary representative of the audience. The question is, has the duration of the performance become overlong? The answer is: no. On behalf of the audience, Alkinoos insists that Odysseus continue, and the master performer obliges.

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It is claimed that the deeds of Clytemnestra have disgraced not only herself but all women, and that women will be blamed for her deeds by way of blame poetry. On the poetics of blame, which is antithetical to praise, see the comments on I.02.216 and on I.03.242.

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The scene of this encounter in Hādēs between Odysseus and the psūkhē ‘spirit’ of Achilles exemplifies the general tendency in Homeric poetry to shade over any indications of immortalization after death.

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The nekroi ‘dead’ who are in Hādēs, O.11.475, have no consciousness: they are aphradees ‘non-conscious’—precisely because they are in Hādēs.

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Odysseus pays Achilles the compliment of addressing him here as phertatos 'the best'.

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Achilles says that he would give up the status of a king among the dead if he could only be alive again—even if he became an abject underling in life. It is as if Achilles were now ready to trade places with Odysseus.

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Leonard Muellner

place where neither phanai nor eukhesthai are used in the genealogies of the catalogue of heroes in O.11, in the context of the analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai [MRBTP: 'ff']

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place where neither phanai nor eukhesthai are used in the genealogies of the catalogue of heroes in O.11, in the context of the analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai [MRBTP: 'ff']

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analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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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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analysis of the connections of mēnis, status/social hierarchy, and death [MRBTP: 'ff']

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