Odyssey 5.228

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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.) — 5.228 focus
Translations (9)
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.) — 5.228 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.) — 5.203 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.228 focus
When the child of morning, rosy-fingered Dawn, appeared, Odysseus put on his khiton and cloak, [230] while the goddess wore a dress of a light gossamer fabric, very fine and graceful, with a beautiful golden waistband about her waist and a veil to cover her head. She at once set herself to think how she could speed great-hearted Odysseus on his way. So she gave him a great bronze axe that suited his hands; [235] it was sharpened on both sides, and had a beautiful olive-wood handle fitted firmly on to it. She also gave him a sharp adze, and then led the way to the far end of the island where the largest trees grew—alder, poplar and pine, that reached the sky— [240] very dry and well seasoned, so as to sail light for him in the water. Then, when she had shown him where the best trees grew, Kalypsō, shining among divinities, went home, leaving him to cut them, which he soon finished doing. He cut down twenty trees in all and adzed them smooth, [245] squaring them by rule in good workmanlike fashion. Meanwhile Kalypsō, the shining goddess, came back with some augers, so he bored holes with them and fitted the timbers together with bolts and rivets. He made the raft as broad as a skilled shipwright [250] makes the beam of a large vessel, and he filed a deck on top of the ribs, and ran a gunwale all round it. He also made a mast with a yard arm, [255] and a rudder to steer with. He fenced the raft all round with wicker hurdles as a protection against the waves, and then he threw on a quantity of wood. By and by Kalypsō, the shining goddess, brought him some linen to make the sails, and he made these too, excellently, [260] making them fast with braces and sheets. Last of all, with the help of levers, he drew the raft down into the water.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 5.228 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 5.228 focus
When rosy morning call'd them from their rest,
Ulysses robed him in the cloak and vest.
295
The nymph's fair head a veil transparent grac'd,
Her swelling loins a radiant zone embrac'd
With flowers of gold: an under robe, unbound,
In snowy waves flow'd glittering on the ground.
Forth issuing thus, she gave him first to wield
300
A weighty axe, with truest temper steel'd,
And double-edg'd; the handle smooth and plain,
Wrought of the clouded olive's easy grain;
And next, a wedge to drive with sweepy sway:
Then to the neighbouring forest led the way.
305
On the lone island's utmost verge there stood
Of poplars, pines, and firs, a lofty wood,
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 5.228 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.228 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 5 focus
English Bridge (Amelia Parrish and Gregory Crane, 2023) (OCR draft) Experimental (English Bridge (Amelia Parrish and Gregory Crane, 2023)) — 5.228 focus

New Alexandria Commentaries

Douglas Frame

analysis of original notion of verb halṓō, “to be seized by death”

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Gregory Nagy

The rhapsody starts with the releasing of Odysseus by one goddess and ends with the mystical saving of his life by a second goddess, who is Leukotheā, the White Goddess. The beautiful Leukotheā saves Odysseus by undoing her hair and giving him as a life-saver the veil that had held her curls in place. As for the first goddess, who is Calypso, her action in releasing Odysseus from their mutual love affair becomes another life-saver for him. That is because the chances of success for such an affair between a mortal man and an immortal goddess would have been minimal, as we will see by observing other myths that tell about other such affairs. If the liaison of Odysseus with Calypso had continued, it is a certainty that he would have been killed off, just as Orion had died because of his liaison with Ēōs the goddess of the dawn.

draft js image error“Leucothea, the White Goddess, Preserving Ulysses” (1805). John Flaxman (1755–1826). Purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund, 1996. Image via the Tate.

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We see here a specialized sense of this noun harmoniā ‘joint’, derived from the root ar- as in arariskein ‘join’.

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If Odysseus could read the stars correctly, he would see that the constellation of Orion shows him what would have happened if his liaison with Calypso had been prolonged: Odysseus too would have been killed off, like Orion. The astral configuration of Orion the Hunter and Arktos the Bear here at O.05.273–275 is pictured also at I.18.487–489. The stars in this configuration are re-enacting the myth of Orion: how Ēōs the goddess of dawn made Orion her lover and how the goddess Artemis the huntress then shot Orion with her arrows and killed him. The myth, as we have already seen, is narrated at O.05.121–124. A special point of interest in the description of Arktos the Bear at O.05.274—also at I.18.488—is the expression dokeuei: it appears that this she-bear is ‘taking aim’ at Orion. It can be argued that this pose of Arktos the she-bear reveals her to be a stand-in for the goddess Artemis herself at the moment when the goddess takes aim at Orion in order to shoot him dead with her arrows. It can also be argued that the dangerous liaison of Ēōs with Orion at O.05.121–124 is viewed as a relevant parallel to the liaison of Calypso with Odysseus.

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The formulation of this wish shows that Odysseus is longing to be defined by an epic that is limited to the happenings in the Trojan War, excluding the happenings that he experiences in the Odyssey. But this is not to be. For Odysseus to be hero in his own epic, he must have a safe homecoming from Troy.

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Odysseus is saved from drowning by Ino, O.05.333, who was once a mortal woman but who has become immortalized after death by becoming the Leukotheā or ‘White Goddess’, O.05.334. The White Goddess gives to Odysseus her krēdemnon, that is, her headdress or ‘veil’, which becomes his life-saver: O.05.346, O.05.351, O.05.373, O.05.459. In order to give the hero her headdress, she would first have to undo her hair, as we can see by comparing the scene where Andromache lets fall from her head her own headdress, the word for which is, here again, krēdemnon, I.22.470. See the commentary on I.22.460–474, where I noted that the undoing of a woman’s hair, caused by the undoing of her krēdemnon, produces what I called an Aphrodisiac effect. So long as a woman’s krēdemnon is in place, her sexuality is under control just as her hair is under control. When the krēdemnon is out of place, however, her sexuality threatens to get out of control. Also, while saving the hero, the goddess assumes the form of a diving bird called aithuia, O.05.337 and O.05.353. These actions of Ino in saving Odysseus from the mortal dangers of the sea are parallel to the actions of the goddess Athena herself. [What follows is epitomized from Nagy 1985:80–81 (= §78).] Ino as aithuia has a parallel agent in ensuring the salvation of Odysseus from the sea: Athena herself redirects the storm sent against the hero by Poseidon, O.05.382–387, and then she saves him from immediate drowning by giving him a timely idea for swimming to safety, O.05.435–439. The hero submerges but then emerges from a wave that would surely have drowned him had it not been for Athena, O.05.435 and O.05.438, and this detail corresponds closely to the preceding emergence and submergence of Ino herself, O.05.337 and O.05.352–353. Such a correspondence suggests that Ino, the former mortal who is now a goddess, O.05.334 and O.05.335, is a model for a transition from death to life anew.

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Leonard Muellner

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige)

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