Homer Odyssey 5.1

ed. Amelia Parrish, ed. Gregory Crane

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Odyssey. Homer. ed. Amelia Parrish, ed. Gregory Crane. Medford, MA. 2023.

Current edition Experimental

English Bridge (Amelia Parrish and Gregory Crane, 2023) (OCR draft) (English) (English Bridge (Amelia Parrish and Gregory Crane, 2023))

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.) — 5.1 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.) — 5.1 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.) — 5.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.1 focus
And now, as Dawn rose from her couch beside haughty Tithonos—harbinger of light alike to mortals and immortals—the gods met in council and with them, Zeus the lord of thunder, who is their king. [5] Then Athena began to tell them of the many sufferings of Odysseus, for she pitied him away there in the house of the nymph Kalypsō.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 5.1 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 5.1 focus
THE saffron morn, with early blushes spread,
1
Now rose refulgent from Tithonus' bed;
With new-born day to gladden mortal sight,
And gild the courts of heaven with sacred light.
Then met th' eternal synod of the sky,
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Before the god, who thunders from on high,
Supreme in might, sublime in majesty.
Pallas, to these, deplores th' unequal fates
Of wise Ulysses, and his toils relates:
Her hero's danger touch'd the pitying power,
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The nymph's seducements, and the magic bower.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.1 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 5.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.1 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 5 focus

New Alexandria Commentaries

Douglas Frame

reference to Homeric passage where nóos is connected to traditional sense of return.

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citation of Phaeacian epithet, ankhítheoi, “close to the gods”

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Gregory Nagy

Only here in the Odyssey is the hero Tīthōnos ever mentioned, O.05.001. In the Iliad, there is a parallel mention of Tīthōnos at I.11.001. The wording of O.05.001–002 here matches the wording of I.11.001–002. The story of the abduction of Tīthōnos by Ēōs, goddess of dawn, is told in the Homeric Hymn to Aphrodite 218–238. The liaison between the mortal man Tīthōnos and the immortal goddess Ēōs is parallel to the liaison between the mortal man Anchises and the immortal goddess Aphrodite. And, as a result of both these affairs, the mortal man is permanently damaged. In the case of Tīthōnos, he loses his youth though he holds on to life, but old age renders him immobile, as we read in the Homeric Hymn to Aphrodite, verse 234. In the case of Anchises, he too is afflicted with immobility—which is why his son Aeneas has to carry him on his shoulders in ancient depictions of that hero’s escape from Troy together with his family (for a splendid example, I refer to a vase painting dated to the early fifth century BCE, British Museum inventory number 1836.0224.138). Such stories of permanent damage are relevant to the story of the affair between Odysseus and the goddess Calypso. In sum, the fact that Rhapsody 5 begins with a reference to an affair between a mortal man and an immortal goddess indicates the dangers that now threaten Odysseus.

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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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Leonard Muellner

comment on overlap between Hermes and Athena (here, Athena’s wearing Hermes’ sandals), in the context of analyzing her reminding of Hermes in O.13.221ff.

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