Homer Odyssey 12.397

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.) — 12.327 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.) — 12.397 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.) — 12.389 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 12.397 focus
For six days my men kept driving in the best cows and feasting upon them, but when Zeus, the son of Kronos, had added a seventh [400] day, the fury of the gale abated; we therefore went on board, raised our masts, spread sail, and put out to sea. As soon as we were well away from the island, and could see nothing but sky and sea, [405] the son of Kronos raised a black cloud over our ship, and the sea grew dark beneath it. We did not get on much further, for in another moment we were caught by a terrific squall from the West that snapped the forestays [410] of the mast so that it fell aft, while all the ship’s gear tumbled about at the bottom of the vessel. The mast fell upon the head of the helmsman in the ship’s stern, so that the bones of his head were crushed to pieces, and he fell overboard as though he were diving, with no more life left in him.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 12.397 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 12.397 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 12.397 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 12.397 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 12 focus

New Alexandria Commentaries

Douglas Frame

analysis of the Sun’s apparent endowment with an all-embracing consciousness. Compare to Xenophanes frag.20 (Diehl)

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interpretation of Helios episode as “return from death.” Sleep, or unconsciousness, is analyzed as the death from which nóstos is the “return”

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analysis of possible reminiscence of Helios’ descent into Hades as the means by which the companions, who equated with sunset, were put to death

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Gregory Nagy

The storytelling of Odysseus is about to confront three of its most mystical moments here: the Song of the Sirens, Scylla and Charybdis, the Cattle of the Sun. The myths that shape these moments will become for Odysseus a set of powerful metaphors that drive his own odyssey.

draft js image error“Ulysses and the Sirens” (ca. 1909). Herbert James Draper (English, 1863–1920). Image via Wikimedia Commons.

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(The following is epitomized from H24H 10§28.) At O.07.241–266, Odysseus told the story of his liaison with the goddess Calypso, and that part of the story ended there with the releasing of Odysseus from the cave of the goddess. Here at O.12.447–450, the storytelling comes full circle as Odysseus revisits that story about the liaison, which had led into the story of his arrival in the land of the Phaeacians. The hero’s arrival as revisited at the end of the storytelling in Odyssey 12 is implicitly a return to light and life from the cave of Calypso, comparable to the return of the hero to light and life from the darkness and death that were linked with the cave of the Cyclops Polyphemus at the end of the storytelling in Odyssey 9. Similarly at the end of the storytelling in Odyssey 11, Odysseus was ready to emerge from the darkness and death of Hādēs and return to light and life at the beginning of Odyssey 12.

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Leonard Muellner

analysis of the enjambed attestations of #[eukh– –] with dative

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in a list of examples of eukhesthai + dative (formulas which report prayers)

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in a list of examples of absolute use of eukhesthai to report prayers, and this verse as a case in point about the abundance of finite verbs in the indicative that characterizes the sub-genre of narratives or ritual scenes

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