Odyssey 6.251

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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.) — 6.251 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.) — 6.251 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.) — 6.255 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.251 focus
Meanwhile, Nausicaa of the white arms turned her thoughts to another matter. She got the linen folded and placed in the wagon, she then yoked the mules, and, as she took her seat, she called Odysseus:
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 6.251 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 6.251 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 6.251 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.251 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 6 focus

New Alexandria Commentaries

Gregory Nagy

Nausicaa, princess of the Phaeacians, makes her appearance as a potential but unattainable love-interest for Odysseus—and as a delight for all who find themselves irresistibly drawn into the story of her girlish but principled encounter with the enthralled hero.

draft js image error“Nausicaa” (1878), Frederick Leighton (English, 1830–1896). Image via Wikimedia Commons.

This Rhapsody belongs to Nausicaa. I spell her name in its familiar latinized form, with a c, since her fame extends far beyond the ancient Greek world, where she appears as Ναυσικάα. In any case, the name has a certain primacy of place. I have no idea who said it first, but I first heard it from the long-departed Sterling Dow in the early 1960s: if you look up all surviving ancient Greek names in reverse alphabetical order, the first one you see is Nausicaa = Ναυσικάα, while the very last of them all is Calypso = Καλυψώ. Surely we see here a coincidence, not some mysterious signal emanating from some grand cosmic plan, but the coincidence itself seems just as lovely as Nausicaa is lovely. Some critics view her as a youthful love-interest for Odysseus, matching Calypso as the hero’s divine love-interest. But such a view detracts from the loveliness: Nausicaa is meant to be a love-interest for all who hear her story—just as Calypso is a universal love-interest in her own story as told in Rhapsody 5. In the story of Nausicaa as told in Rhapsody 6, she is pictured as the perfect bride for any man fortunate enough to succeed in marrying her—and she knows it. The self-awareness of Nausicaa is shaped by the poetry that idealizes her eligibility by animating her beauty and her charm to the point where she becomes comparable to the goddess Artemis. Odysseus himself initiates the comparison and, by comparing the girl to the goddess, he is signaling to himself that Nausicaa, even if she does not know it yet, is for him enticingly unattainable.

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