Homer Odyssey 7.77

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.) — 7.77 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.) — 7.77 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.) — 7.78 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 7.77 focus
Speaking thus, Athena [ Athēnē], with the looks of an owl, went off 79 over the barren sea, leaving behind lovely Skheria. [80] She came to Marathon and to Athens [ Athēnē], with its wide causeways, 81 and she entered the well-built house of Erekhtheus. But Odysseus 82 went toward the renowned house of Alkinoos, and he pondered much as he paused a while before reaching the threshold of bronze. 84 There was a gleam [ aiglē] there, which was like the gleam of the sun or the moon, [85] spreading throughout that palace famed for its high ceilings, that home of great-hearted Alkinoos. 86 There were walls made of bronze [ khalkeoi], along either side 87 stretching all the way from the threshold to the inner chamber, and all around the walls was a frieze of blue. 88 Doors made of gold closed off the sturdy building on the inside, 89 and posts made of silver were set in place into the threshold made of bronze [ khalkeos oudos]. [90] Silver was the lintel, and golden was the handle of the door.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 7.77 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 7.77 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 7.77 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 7.77 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 7 focus

New Alexandria Commentaries

Gregory Nagy

Odysseus arrives at the palace and garden of Alkinoos (Alcinous), king of the Phaeacians, whose island was equated in ancient times with Kerkyra/Corcyra, the modern Corfù.

draft js image errorView of Garitsa, region right outside the northern walls of the city of Corfu, and according to the legend the site of Alcinous’s gardens (1867). Étienne Rey (French, 1789–1867). Image via the Aikaterini Laskaridis Foundation.

Following the instructions of Nausicaa, Odysseus approaches the palace of her father Alkinoos (latinized as Alcinous), king of the Phaeacians. This palace and the adjacent garden of Alkinoos are not only enchanting but even enchanted, as will be argued in the comments for Rhapsody 7 here. And, as we will see later in the comments for Rhapsody 13, the garden of Alkinoos was thought to have survived on the island of Kerkyra, known in Roman sources as Corcyra and in modern times as Corfù. In ancient times, the people of Kerkyra claimed that their island was in fact the fabled realm of the Phaeacians.

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The palace of Alkinoos, described at O.07.081–111, is comparable to the heavenly residence of Menelaos. See the comment at O.04.043–075. I now argue here that the garden of Alkinoos, described at O.07.112–132, is likewise presented as a heavenly place. At O.07.103–130, where we see verses that overlap the descriptions of the palace and the garden, we find that the describing verbs avoid the past tense. The descriptions are restricted to the present tense. It has been argued that a textual interpolation has happened here (West 2000:480), on the grounds that Homeric diction does not use the present tense to indicate the past, and that only those aspects of the past that are viewed as permanent can be described in the present tense: examples include the chariot of Hērā, I.05.724–728; the abode of Poseidon under the sea at Aigai, I.13.021–022; the springs of the river Scamander, I.22.147–154; the harbor and cave of the Nymphs at Ithaca, O.13.096–112; and, most important for my argumentation here, the dwelling-place of the gods on Mount Olympus, O.06.043–046. Arguing against the theory of interpolation, I propose that not only the palace of Alkinoos but also his garden are modeled on an idealized and thus heavenly prototype. Both the palace and the garden are models of permanence. In the case of the palace, its permanence is actually made explicit in a reference at O.07.091–094 to golden and silver watchdogs that guard the palace and that are made to last forever by the divine smith Hephaistos. The aura of this beautiful place is not only enchanting but even enchanted. In terms of my argument, then, there is no need to posit (as does West 2000:483–486) a textual interpolation from an unattested passage that would have followed what is spoken by Nausicaa at O.06.255–303 with reference to the palace of Alkinoos and its environs. The present tenses that are used in descriptions of the palace and the garden at O.07.081–111 and 112–132 respectively are appropriate to the heavenly aura of the whole place.

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Leonard Muellner

comment on the nature of the return expected when making a libation that can be either implicit and ordained by custom or made explicit verbally, with this verse as the only place where the addressee (Hermes) is explained

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