Odyssey 14.360

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Odyssey. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

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.) — 14.360 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.) — 14.360 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.) — 14.390 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.360 focus
To this you answered, O swineherd Eumaios, “Poor unhappy stranger, I have found the story of your misfortunes extremely interesting, but that part about Odysseus is not in order [ kosmos]; and you will never get me to believe it. Why should a man like you [365] go about telling lies in this way? I know all about the return [ nostos] of my master. The gods one and all of them detest him, or they would have taken him at Troy, or let him die with friends around him when the days of his fighting were done; for then the Achaeans would have built a mound over his ashes [370] and his son would have been heir to his glory [ kleos], but now the storm winds have spirited him away we know not where.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 14.360 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 14.360 focus
'Unhappy guest! whose sorrows touch my mind!'
395
'(Thus good Eumaeus with a sigh rejoin'd,)
'For real sufferings since I grieve sincere,
'Check not with fallacies the springing tear:
'Nor turn the passion into groundless joy
'For him, whom heaven has destin'd to destroy.
400
'Oh! had he perish'd on some well-fought day,
'Or in his friend's embraces died away!
'That grateful Greece with streaming eyes might raise
'Historic marbles to record his praise;
'His praise, eternal on the faithful stone,
405
'Had with transmissive honours graced his son.
'Now, snatch'd by harpies to the dreary coast,
'Sunk is the hero, and his glory lost!
'While pensive in this solitary den,
'Far from gay cities and the ways of men,
410
'I linger life; nor to the court repair,
'But when my constant queen commands my care;
'Or when, to taste her hospitable board,
'Some guest arrives, with rumours of her lord;
'And these indulge their want, and those their woe,
415
'And here the tears, and there the goblets flow.
'By many such have I been warn'd; but chief
'By one Aetolian robb'd of all belief,
'Whose hap it was to this our roof to roam,
'For murder banish'd from his native home.
420
'He swore, Ulysses on the coast of Crete
'Stay'd but a season to refit his fleet;
'A few revolving months should waft him o'er,
'Fraught with bold warriors, and a boundless store
'O thou! whom age has taught to understand,
425
'And heaven has guided with a favouring hand!
'On god or mortal to obtrude a lie
'Forbear, and dread to flatter, as to die.
'Not for such ends my house and heart are free,
'But dear respect to Jove, and charity.'
430
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 14.360 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.360 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 14 focus

New Alexandria Commentaries

Gregory Nagy

Now that he has finally returned to his homeland of Ithaca, Odysseus must accomplish another kind of return: he must be restored to kingship. Such a restoration, however, must start from the bottom up. The goddess Athena, his ultimate benefactor but occasional antagonist, has made Odysseus seem to be ‘base’ on the outside, hiding his inner moral nobility. Only those who are likewise morally ‘noble’ will be able to read, as it were, the hero’s true nature. Meanwhile, the coded tales told by Odysseus point toward the truth of his kingship—without revealing it outright. A telling example here in Rhapsody 14 is the second Cretan tale told by Odysseus: it is about a Cretan princeling, not unlike the dapper figure we see in the romanticized restoration of a Minoan fresco as featured in the cover-illustration for Rhapsody 14.

draft js image errorMinoan—probably Neopalatial—fresco commonly known as the “Lily Prince.” Whatever the exact type of this personage (perhaps a crowned acrobat, according to the interpretation of Maria Shaw), the Lily Prince is certainly a Minoan of elite standing. Public domain image based on a famous watercolor by Émile Gilliéron of a reconstruction by Arthur Evans. Image via Wikimedia Commons.

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Here at O.14.192–359 we see the second example of “Cretan lies” told by Odysseus in the context of his re-entry into the kingdom of Ithaca. The first example is at O.13.256–286. The concept of “Cretan lies” was introduced in the anchor comment at O.01.284–286 on Cretan Odyssey.

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The theme of abduction by gusts of winds is analyzed at length in the comment at O.15.250–251.

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This expression ep’ anthrōpous ‘throughout humankind’ is conventionally associated with words referring to remembrance by way of song. See the anchor comment on I.10.213.

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We see here a rare Homeric glimpse of a sacrificial practice where sacrificers deposit choice cuts of meat in honor of the gods.

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Syntactically, the premise here reinforces the probability of the wish.

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Leonard Muellner

analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas, contrasted with a whole-line formula (winged words) where segments are substituted

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