Homer Odyssey 5.228

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.) — 5.228 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.
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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
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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 (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.228 focus
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

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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analysis of the role of Hermes’ staff in suggesting that that the return of Odysseus is a return to consciousness and life

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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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The accusative of ommata ‘eyes’ here, as the direct object of thelgein, indicates that the idea of looking is built into this verb. Accordingly, it can be argued that the Lithuanian verb žvelgiù ‘look’ is a cognate of thelgein, which I translate as ‘put a trance on, enchant’. I interpret the enchantment here as an effect of visual attraction.

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The verb heleto ‘took’ referring here at O.05.121 to the seduction of Orion by Ēōs the goddess of the dawn is neutral in comparison to other verbs indicating an abduction by force, as when Ēōs hērpasen ‘seized’ Tīthōnos in Homeric Hymn to Aphrodite 218. For more on the links of heroes like Orion and Tithōnos with Ēōs, see the comment on O.15.250–251.

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The myth about the liaison between the mortal man Orion and the immortal goddess Ēōs is retold by Calypso herself as an example of the double standard shown by the divine powers in not tolerating a relationship where the immortal lover of a mortal is female, not male. It is to be noted that Ēōs, at the moment when she takes the initiative in seducing Orion at O.05.121, is described with the epithet rhododaktulos ‘rosy-fingered’ instead of the epithet thugatēr Dios ‘daughter of Zeus’, which would have been appropriate if the seducer had been a goddess like Aphrodite. See the anchor comment at O.12.001–010.

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The goddess Artemis shoots Orion with her arrows.

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At O.05.136, Calypso says that she was intending to make Odysseus athanatos ‘immortal’ and agērōs ‘ageless’. Similarly in Homeric Hymn to Aphrodite 214, Zeus when he abducts Ganymedes makes him athanatos ‘immortal’ and agērōs ‘ageless’. By contrast, in Homeric Hymn to Aphrodite 221, Ēōs forgets to ask for agelessness after she abducts Tīthōnos and asks only that her mortal lover be athanatos ‘immortal’. So, she forgot to ask that he should have lasting hēbē ‘youth’, Homeric Hymn to Aphrodite 224.

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At O.05.160, aiōn ‘life-force, lifetime’ is a potential recycling of time: see the comment on I.01.052. But such a recycling is threatened at O.05.161 by a linear prolongation of life, which would result in what is indicated here by the verb phthinesthai ‘wilt, perish’.

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For a god to swear by the Styx is to reaffirm the absolute permanence of its waters, as indicated by the epithet aphthito- ‘imperishable’ in Hesiod Theogony 389, 397, 805. See the comment on I.02.046; also the comment on Homeric Hymn to Demeter 259, where Demeter swears by the Styx that she would have made the child Demophon athanatos ‘immortal’ and agērōs, 260, if the mother of this child had not spoiled what the goddess intended.

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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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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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analysis of divine mēnis at sexual transgressions (regarding the triangle of a goddess, a mortal, and Zeus, representing the gods as a group – notion of social solidarity in connection with mēnis)

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analysis of divine mēnis at sexual transgressions (regarding amphadiēn as “with the knowledge of Zeus”)

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analysis of divine mēnis at sexual transgressions (regarding the triangle of a goddess, a mortal, and Zeus, representing the gods as a group – notion of social solidarity in connection with mēnis)

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analysis of divine mēnis at sexual transgressions (regarding amphadiēn)

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analysis of divine mēnis at sexual transgressions

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analysis of divine mēnis at sexual transgressions

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analysis of divine mēnis at sexual transgressions (regarding amphadiēn as “with the knowledge of Zeus”)

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analysis of divine mēnis at sexual transgressions

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analysis of divine mēnis at sexual transgressions

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analysis of divine mēnis at sexual transgressions

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in the list of offenses that (threaten to) incur mēnis

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

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