Homer Odyssey 2.361

A. T. Murray (Translator)

Odyssey. Homer. A. T. Murray (Translator). London. 1919.

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Current edition Perseus

Odyssey (English) (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.)

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.) — 2.361 focus
Translations (8)
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.) — 2.377 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.361 focus
When dear Eurykleia heard this she began to cry, and spoke fondly to him, saying, “My dear child, what ever can have put such notion as that into your head? Where in the world do you want to go to— [365] you, who are the one hope of the house? Your poor illustrious father is dead and gone in some foreign locale [ dēmos] nobody knows where, and as soon as your back is turned these wicked ones here will be scheming to get you put out of the way, and will share all your possessions among themselves; stay where you are among your own people, [370] and do not go wandering and worrying your life out on the barren ocean.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 2.361 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 2.361 focus
While yet he spoke, she fill'd the walls with cries,
And tears ran trickling from her aged eyes.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.361 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 2.361 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.361 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 2 focus

New Alexandria Commentaries

David Elmer

This line marks the first occurrence in the Odyssey of a formulaic expression"then he/she thought of other things"(ἔνθ᾽ αὖτ᾽ ἀλλ᾽ ἐνόησε) that occurs, with minor variations, eleven times in the Odyssey and twice in the Iliad. The formula shows interesting patterns of restriction in both poems. In the Odyssey, it is always used with a female subject (Athena [2.382, 2.393, 4.795, 5.382, 6.112, 18.187, 23.242, 23.344], Helen [4.219], Nausikaa [6.251], or Penelope [16.409]). In the Iliad, it is used exclusively of Achilles (23.140, 23.193). See Iliad 23.140 for discussion of the two Iliadic instances; here I concentrate on the formula’s occurrences in the Odyssey.

\r\nFrom a narratological point of view, the expression has an important function: as noted by de Jong 2001:66, it “highlights a new, often sudden or unexpected turn in the story,” in this case “the—abrupt—change of scene from Telemachus to Athena.” In other words, the formula marks the development of the plot in a new direction that is not a mere continuation of what has preceded. (Odyssey 23.242 is a significant exception.) Furthermore, it links this new development with the intervention of some specific agent, who is thus momentarily represented as controlling the plot. De Jong 2001:66 notes that the frequency with which the expression is used of Athena corresponds to the goddess’s “role of ‘director’ of the story of the Odyssey.” Occurrences of the formula with Helen, Nausikaa, and Penelope as subjects extend this plot-making power to other prominent women. In this way, a convenient narrative device serves also to underscore one of the poem’s major thematic concerns, namely, the way in which the story of Odysseus’ homecoming—the plot of the Odyssey—depends upon the favorable disposition of certain women, above all Penelope. The poem has numerous ways of signaling that its plot hinges on female agents (see Odyssey 11.226, Odyssey 11.436-39). This should not, however, be interpreted as a subversive gesture: as stressed by Murnaghan 2005, Athena as “source and sponsor” of the Odyssey’s plot works to uphold the authority of the patriarchal oikos.

\r\n\r\nReferences

\r\nde Jong, Irene J. F. 2001. A Narratological Commentary on the Odyssey. Cambridge and New York.

\r\nMurnaghan, Sheila. 1995. “The Plan of Athena.” In The Distaff Side: Representing the Female in Homer’s Odyssey (ed. B. Cohen) 61-80. New York and Oxford.

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Gregory Nagy

The mentoring of Telemachus by Athena continues. First the goddess was Méntēs. Now she will become Méntōr to the young hero. Through the mentorship of the goddess, Telemachus modulates into mental connectivity: he will no longer be disconnected from the epic legacy of his father. As he boards the ship that will take him to Pylos, he is ready to connect with the Odyssey in progress.

draft js image errorTelemachus with Athena as Mentor (1810). Drawing by John Flaxman. Image via Wikimedia Commons.

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