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So saying, he led the way, and the sceptred kings followed him, while a herald went for the divine minstrel. And chosen youths, two and fifty, went, as he bade, to the shore of the unresting sea. 50 And when they had come down to the ship and to the sea, they drew the black ship down to the deep water, and placed the mast and sail in the black ship, and fitted the oars in the leathern thole-straps, all in due order, and spread the white sail. 55 Well out in the roadstead they moored the ship, and then went their way to the great palace of the wise Alcinous. Filled were the porticoes and courts and rooms with the men that gathered, for many there were, both young and old. For them Alcinous slaughtered twelve sheep, 60 and eight white-tusked boars, and two oxen of shambling gait. These they flayed and dressed, and made ready a goodly feast. Then the herald drew near, leading the good minstrel, whom the Muse loved above all other men, and gave him both good and evil; of his sight she deprived him, but gave him the gift of sweet song. 65 For him Pontonous, the herald, set a silver-studded chair in the midst of the banqueters, leaning it against a tall pillar, and he hung the clear-toned lyre from a peg close above his head, and showed him how to reach it with his hands. And beside him he placed a basket and a beautiful table, 70 and a cup of wine, to drink when his heart should bid him. So they put forth their hands to the good cheer lying ready before them. But when they had put from them the desire of food and drink, the Muse moved the minstrel to sing of the glorious deeds of warriors, from that lay the fame whereof had then reached broad heaven, 75 even the quarrel of Odysseus and Achilles, son of Peleus, how once they strove with furious words at a rich feast of the gods, and Agamemnon, king of men, was glad at heart that the best of the Achaeans were quarrelling; for thus Phoebus Apollo, in giving his response, had told him that it should be, 80 in sacred Pytho , when he passed over the threshold of stone to enquire of the oracle. For then the beginning of woe was rolling upon Trojans and Danaans through the will of great Zeus.

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

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.) — 8.46 focus

ὣς ἄρα φωνήσας ἡγήσατο, τοὶ δʼ ἅμʼ ἕποντο

σκηπτοῦχοι· κῆρυξ δὲ μετῴχετο θεῖον ἀοιδόν.

κούρω δὲ κρινθέντε δύω καὶ πεντήκοντα

βήτην, ὡς ἐκέλευσʼ, ἐπὶ θῖνʼ ἁλὸς ἀτρυγέτοιο.

αὐτὰρ ἐπεί ῥʼ ἐπὶ νῆα κατήλυθον ἠδὲ θάλασσαν,

νῆα μὲν οἵ γε μέλαιναν ἁλὸς βένθοσδε ἔρυσσαν,

ἐν δʼ ἱστόν τʼ ἐτίθεντο καὶ ἱστία νηὶ μελαίνῃ,

ἠρτύναντο δʼ ἐρετμὰ τροποῖς ἐν δερματίνοισι,

πάντα κατὰ μοῖραν, ἀνά θʼ ἱστία λευκὰ πέτασσαν.

ὑψοῦ δʼ ἐν νοτίῳ τήν γʼ ὥρμισαν· αὐτὰρ ἔπειτα

βάν ῥʼ ἴμεν Ἀλκινόοιο δαΐφρονος ἐς μέγα δῶμα.

πλῆντο δʼ ἄρʼ αἴθουσαί τε καὶ ἕρκεα καὶ δόμοι ἀνδρῶν

ἀγρομένων· πολλοὶ δʼ ἄρʼ ἔσαν, νέοι ἠδὲ παλαιοί.

τοῖσιν δʼ Ἀλκίνοος δυοκαίδεκα μῆλʼ ἱέρευσεν,

ὀκτὼ δʼ ἀργιόδοντας ὕας, δύο δʼ εἰλίποδας βοῦς·

τοὺς δέρον ἀμφί θʼ ἕπον, τετύκοντό τε δαῖτʼ ἐρατεινήν.

κῆρυξ δʼ ἐγγύθεν ἦλθεν ἄγων ἐρίηρον ἀοιδόν,

τὸν πέρι μοῦσʼ ἐφίλησε, δίδου δʼ ἀγαθόν τε κακόν τε·

ὀφθαλμῶν μὲν ἄμερσε, δίδου δʼ ἡδεῖαν ἀοιδήν.

τῷ δʼ ἄρα Ποντόνοος θῆκε θρόνον ἀργυρόηλον

μέσσῳ δαιτυμόνων, πρὸς κίονα μακρὸν ἐρείσας·

κὰδ δʼ ἐκ πασσαλόφι κρέμασεν φόρμιγγα λίγειαν

αὐτοῦ ὑπὲρ κεφαλῆς καὶ ἐπέφραδε χερσὶν ἑλέσθαι

κῆρυξ· πὰρ δʼ ἐτίθει κάνεον καλήν τε τράπεζαν,

πὰρ δὲ δέπας οἴνοιο, πιεῖν ὅτε θυμὸς ἀνώγοι.

οἱ δʼ ἐπʼ ὀνείαθʼ ἑτοῖμα προκείμενα χεῖρας ἴαλλον.

αὐτὰρ ἐπεὶ πόσιος καὶ ἐδητύος ἐξ ἔρον ἕντο,

μοῦσʼ ἄρʼ ἀοιδὸν ἀνῆκεν ἀειδέμεναι κλέα ἀνδρῶν,

οἴμης τῆς τότʼ ἄρα κλέος οὐρανὸν εὐρὺν ἵκανε,

νεῖκος Ὀδυσσῆος καὶ Πηλεΐδεω Ἀχιλῆος,

ὥς ποτε δηρίσαντο θεῶν ἐν δαιτὶ θαλείῃ

ἐκπάγλοις ἐπέεσσιν, ἄναξ δʼ ἀνδρῶν Ἀγαμέμνων

χαῖρε νόῳ, ὅ τʼ ἄριστοι Ἀχαιῶν δηριόωντο.

ὣς γάρ οἱ χρείων μυθήσατο Φοῖβος Ἀπόλλων

Πυθοῖ ἐν ἠγαθέῃ, ὅθʼ ὑπέρβη λάινον οὐδὸν

χρησόμενος· τότε γάρ ῥα κυλίνδετο πήματος ἀρχὴ

Τρωσί τε καὶ Δαναοῖσι Διὸς μεγάλου διὰ βουλάς.

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.) — 8.62 focus

62 A servant presently led in the famous bard Demodokos, whom the muse had dearly loved, but to whom she had given both good and evil, for though she had endowed him with a divine gift of song, she had robbed him of his eyesight. Pontonoos set a seat for him among the guests, leaning it up against a bearing-post. He hung the lyre for him on a peg over his head, and showed him where he was to feel for it with his hands. He also set a fair table with a basket of victuals by his side, and a cup of wine from which he might drink whenever he was so disposed.

71 The company then laid their hands upon the good things that were before them, but as soon as they had had enough to eat and drink, the muse inspired Demodokos to sing the feats [ kleos] of heroes, and most especially a matter whose kleos at that time reached wide heaven, to wit, the quarrel [ neikos] between Odysseus and Achilles, and the fierce words that they heaped on one another as they sat together at a banquet. But Agamemnon was glad in his noos when he heard his chieftains quarreling with one another, for Apollo had foretold him this at Pytho when he crossed the stone floor to consult the oracle. Here the beginning of the evil started rolling down, by the will of Zeus, toward both Danaans and Trojans.

83 Thus sang the bard, but Odysseus drew his purple mantle over his head and covered his face, for he was ashamed to let the Phaeacians see that he was weeping. When the bard left off singing he wiped the tears from his eyes, uncovered his face, and, taking his cup, made a drink-offering to the gods; but when the Phaeacians pressed Demodokos to sing further, for they delighted in his lays, then Odysseus again drew his mantle over his head and wept bitterly. No one noticed his distress except Alkinoos, who was sitting near him, and heard the heavy sighs that he was heaving. So he at once said, "Aldermen and town councilors of the Phaeacians, we have had enough now, both of the feast, and of the minstrelsy that is its due accompaniment; let us proceed therefore to the athletic sports [ athlos], so that our guest on his return home may be able to tell his friends how much we surpass all other nations as boxers, wrestlers, jumpers, and runners."

104 With these words he led the way, and the others followed after. A servant hung Demodokos’ lyre on its peg for him, led him out of the room, and set him on the same way as that along which all the chief men of the Phaeacians were going to see the sports; a crowd of several thousand people followed them, and there were many excellent competitors for all the prizes. Akroneos, Okyalos, Elatreus, Nauteus, Prymneus, Anchialos, Eretmeus, Ponteus, Proreus, Thoon, Anabesineos, and Amphialos son of Polyneos son of Tekton. There was also Euryalos son of Naubolos, who was like Ares himself, and was the best looking man among the Phaeacians except Laodamas. Three sons of Alkinoos, Laodamas, Halios, and Clytoneus, competed also.

English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 8.46 focus

The fifty-two picked [ krinein] oarsmen went to the sea shore as they had been told, [50] and when they got there they drew the ship into the water, got her mast and sails inside her, bound the oars to the thole-pins with twisted thongs of leather, all in due course, and spread the white sails aloft. [55] They moored the vessel a little way out from land, and then came on shore and went to the house of high-spirited King Alkinoos. The outhouses, yards, and all the precincts were filled with crowds of men in great multitudes both old and young; and Alkinoos killed them a dozen sheep, eight [60] full grown pigs, and two oxen. These they skinned and dressed so as to provide a magnificent banquet.

62 The herald came near, bringing with him a singer, very trusted, 63 whom the Muse loved exceedingly. She gave him both a good thing and a bad thing. 64 For she took away from him his eyes but gave him the sweetness of song [ aoidē]. [65] For him did Pontonoos place a chair, silver studded, 66 right in the midst of the people who were feasting, propping the chair against a tall column, 67 and the herald took from a peg the clear-sounding phorminx that was hanging there 68 above his head, and he presented it to him so he could take it in his hands. 69 The herald did this. And next to him he [= the herald] put a beautiful basket and a table. [70] He put next to him also a cup of wine to drink from whenever he [= Demodokos] felt in his heart the need to do so. 71 And, with hands reaching out swiftly, they made for the good things that were prepared and waiting.

72 When they had satisfied their desire for drinking and eating, 73 the Muse impelled the singer to sing the glories [ kleos plural] of men, 74 starting from a thread [ oimē] [of a song] that had at that time a glory [ kleos] reaching all the way up to the vast sky. [75] It was the quarrel [ neikos] of Odysseus and Achilles son of Peleus, 76 how they once upon a time [ pote] fought at a sumptuous feast of the gods, 77 with terrible words, and the king of men, Agamemnon, 78 was happy in his mind [ noos] that the best of the Achaeans [ aristoi Akhaiōn] were fighting. 79 For [ gar] thus had oracular Phoebus Apollo prophesied to him, [80] at holy Delphi, when he [Agamemnon] had crossed the stone threshold 81 to consult the oracle. For [ gar] then [ tote] it was that the beginning of pain [ pēma] started rolling down [ kulindesthai] 82 upon both Trojans and Danaans [= Achaeans], all on account of the plans [ boulai] of great Zeus. 83

English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 8.46 focus

He spake, and led the way; the sceptred train

Of princes followed him. The herald sought

Meantime the sacred bard. The chosen youths

Fifty-and-two betook them to the marge

Of the unfruitful sea; and when they reached

The ship and beach they drew the dark hull down

To the deep water, put the mast on board

And the ship's sails, and fitted well the oars

Into the leathern rings, and, having moored

Their bark in the deep water, went with speed

To their wise monarch in his spacious halls.

There portico and court and hall were thronged

With people, young and old in multitude;

And there Alcinoüs sacrificed twelve sheep,

Eight white-toothed swine, and two splay-footed beeves.

And these they flayed, and duly dressed, and made

A noble banquet ready. Then appeareď

The herald, leading the sweet singer in,

Him whom the Muse with an exceeding love

Had cherished, and had visited with good

And evil, quenched his eyesight and bestowed

Sweetness of song. Pontonoüs mid the guests

Placed for the bard a silver-studded throne,

Against a lofty column hung his harp

Above his head, and taught him how to find

And take it down. Near him the herald set

A basket and fair table, and a cup

Of wine, that he might drink when he desired;

Then all put forth their hands and shared the feast.

And when their thirst and hunger were allayed,

The Muse inspired the bard to sing the praise

Of heroes; 't was a song whose fame had reached

To the high heaven, a story of the strife

Between Ulysses and Achilles, son

Of Peleus, wrangling at a solemn feast

Made for the gods. They strove with angry words,

And Agamemnon, king of men, rejoiced

To hear the noblest of the Achaian host

Contending; for all this had been foretold

To him in sacred Pythia by the voice

Of Phœbus, when the monarch to inquire

At the oracle had crossed the rock which formed

Its threshold. Then began the train of woes

Which at the will of sovereign Jupiter

100

Befell the sons of Ilium and of Greece.

English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 8.46 focus

Thus spoke the prince: th' attending peers obey:

In state they move; Alcinoüs leads the way.

Swift to Demodocus the herald flies:

At once the sailors to their charge arise:

They launch the vessel, and unfurl the sails,

And stretch the swelling canvas to the gales;

Then to the palace move: a gathering throng,

Youth, and white age, tumultuous pour along.

Now all accesses to the dome are fill'd;

Eight boars, the choicest of the herd, are kill'd:

Two beeves, twelve fatlings, from the flock they bring

To crown the feast; so wills the bounteous king.

The herald now arrives, and guides along

The sacred master of celestial song;

Dear to the Muse! who gave his days to flow

With mighty blessings, mix'd with mighty woe;

With clouds of darkness quench'd his visual ray,

But gave him skill to raise the lofty lay.¹

High on a radiant throne, sublime in state,

Encircled by huge multitudes, he sate:

With silver shone the throne: his lyre, well strung

To rapturous sounds, at hand Pontonoüs hung:

Before his seat a polish'd table shines,

And a full goblet foams with generous wines:

His food a herald bore: and now they fed;

And now the rage of craving hunger fled.

Then, fir'd by all the Muse, aloud he sings

The mighty deeds of demi-gods and kings:

From that fierce wrath the noble song arose,

That made Ulysses and Achilles foes:

How o'er the feast they doom the fall of Troy;

The stern debate Atrides hears with joy:²

For heaven foretold the contest, when he trod

The marble threshold of the Delphic god,

Curious to learn the counsels of the sky,

Ere yet he loos'd the rage of war on Troy.

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 8.46 focus

This said, the princes to his house he led.

The squire unto the house the singer sent.

The fifty-two, as they were ordered,

Down to the haven where the ship lay went.

The ship they launch, and up they set the mast;

And then the yards and sails they hoisted high ;

Their oars, where they be placed should, they plac'd.

This done they let her in the water lie.

Then also to the house these men went up.

The porches, court, and rooms with men were fill'd,

Some old, some young. The king to make them sup,

Two kine, eight swine, and twice six fat sheep kill'd.

These flay'd and dress'd, and to the tables brought,

Came in the singer, whom the muses kind

Had taught to sing divinely; but, could not

Or would not him preserve from being blind.

Pontonous the squire then led him in,

And set him by a pillar in the hall,

And hung his fiddle o'er him on a pin,

And how to reach it showed him withal:

Sets him a table and a basket by,

And a great bowl of wine before him plac'd,

To drink as often as he should be dry.

And when their thirst and hunger was displac'd,

The singer sung the song in most request,

How once Ulysses and Achilles great

In high and bitter language did contest,

When at a sacred feast they sate at meat;

And how king Agamemnon pleased was,

To see the two best of the Greeks fall out.

For Phœbus told him so 'twould come to pass,

When he at Pythos asked him about

The issue of the fleet design'd for Troy.

This song Demodocus sung to them then;

Which to Ulysses was of little joy;

But he his tears to hide before those men,

Before his eyes his cloak of purple drew,

And when the singer ceas'd, his eyes he dried,

And from before his face his cloak withdrew,

And of the wine perform'd the sacrifice.

And when the lords call'd for the song anew,

(For they to hear him took no small delight),

English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 8.46 focus

This said, he led. The sceptre-bearers lent

Their free attendance; and with all speed went

The herald for the sacred man in song.

Youths two and fifty, chosen from the throng,

Went, as was will'd, to the untam'd sea's shore ;

Where come, they launch'd the ship, the mast it bore

Advanc'd, sails hoised, every seat his oar

Gave with a leather thong. The deep moist then

They further reach'd. The dry streets flow'd with men,

That troop'd up to the king's capacious court,

Whose porticos were chok'd with the resort,

Whose walls were hung with men, young, old, thrust there

In mighty concourse; for whose promis'd cheer

Alcinous slew twelve sheep, eight white-tooth'd swine,

Two crook-haunch'd beeves; which flay'd and dress'd, divine

The show was of so many a jocund guest,

All set together at so set a feast.

To whose accomplish'd state the herald then

The lovely singer led; who past all mean

The Muse affected, gave him good, and ill,

His eyes put out, but put in soul at will.

His place was given him in a chair all grac'd

With silver studs, and 'gainst a pillar placed;

Where, as the centre to the state, he rests,

And round about the circle of the guests.

The herald on a pin above his head

His soundful harp hung, to whose height he led

His hand for taking of it down at will,

A board set by with food, and forth did fill

A bowl of wine, to drink at his desire.

The rest then fell to feast, and, when the fire

Of appetite was quench'd, the Muse inflam'd

The sacred singer. Of men highliest fam'd

He sung the glories, and a poem penn'd,

That in applause did ample heaven ascend.

Whose subject was, the stern Contention

Betwixt Ulysses and great Thetis' son,

As, at a banquet sacred to the Gods,

In dreadful language they express'd their odds.

When Agamemnon sat rejoic'd in soul

To hear the Greek peers jar in terms so foul;

100

For augur Phœbus in presage had told

The king of men (desirous to unfold

The war's perplex'd end, and being therefore gone

In heavenly Pythia to the porch of stone,)

That then the end of all griefs should begin

105

'Twixt Greece, and Troy, when Greece (with strife to win

That wish'd conclusion) in her kings should jar,

And plead, if force or wit must end the war.

English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 8.46 focus

He ceased, and led the way, whom follow'd all

The sceptred senators, while to the house

An herald hasted of the bard divine.

Then, fifty mariners and two, from all

The rest selected, to the coast repair'd,

And, from her station on the sea-bank, launched

The galley down into the sacred Deep.

They placed the canvass and the mast on board,

Arranged the oars, unfurl'd the shining sail,

And leaving her in depth of water moor'd,

All sought the palace of Alcinoüs.

There soon the portico, the court, the hall

Were fill'd with multitudes of young and old,

For whose regale the mighty monarch slew

Two beeves, twelve sheep, and twice four fatted brawns.

They flay'd them first, then busily their task

Administering, prepared the joyous feast.

And now the herald came, leading with care

The tuneful bard; dear to the muse was he,

Who yet appointed him both good and ill,

Took from him sight, but gave him strains divine.

For him Pontonoüs in the midst disposed

An argent-studded throne, thrusting it close

To a tall column, where he hung his lyre

Above his head, and taught him where it hung.

He set before him, next, a polish'd board

And basket, and a goblet fill'd with wine

For his own use, and at his own command.

Then, all assail'd at once the ready feast,

And when nor hunger more nor thirst they felt,

Then came the muse, and roused the bard to sing Exploits of men renown'd; it was a song,

In that day to the highest heaven extoll'd.

He sang of a dispute kindled between

The son of Peleus, and Laertes' son,

Both seated at a feast held to the Gods.

That contest Agamemnon, King of men,

Between the noblest of Achaia's host

Hearing, rejoiced; for when in Pytho erst

He pass'd the marble threshold to consult

The oracle of Apollo, such dispute

The voice divine had to his ear announced;

For then it was that, first, the storm of war

Come rolling on, ordain'd long time to afflict

Troy and the Greecians, by the will of Jove.

English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 8 focus

ODYSSEY BOOK VIII

NOW when the morning was newly arisen, the roseate-fingered,

Rose from his couch King Alcinous the revered and the mighty,

Rose too heaven-descended Odysseus, the sacker of cities.

Then did the monarch revered lead forth to the place of the galleys

Where Phaeacian elders had built their court of assembly.

Here they arrived and on seats well-polished of marble they set them

Closely together. But thoro' the town went Pallas Athene,

Like to the herald himself of the wise Phaeacian monarch,

Planning to bring to his home once more great-hearted Odysseus.

So to them all and to each she addressed her and made proclamation:

"Hither assemble, ye leaders and high Phaeacian chieftains!

Come to the place of the council, and there ye shall learn of the stranger

Newly arrived at the palace of Alcinous wise-hearted,

One that hath voyaged the seas and in favour is like the immortals."

Thus as she spake, in the minds of them all she excited a longing:

Speedily filled were all of the places of council, and benches

Throng by the gathering crowds, and soon full many in wonder

Gazed at the wise-souled son of Laertes; and Pallas Athene

Wonderful beauty and grace poured forth on his head and his shoulders,

Making him larger in person to look at and greater in stature,

So as to gain him the favour of all Phaeacian people,

Ay and their awe and respect and so as to win him the contests

Many and great wherewith Phaeacians tested Odysseus.

Now when they all had collected together and formed an assembly

Rose King Alcinous in the midst and thus he addressed them :

"Hearken, I pray, to my words, Phaeacian leaders and chieftains,

So that I utter the things that the heart in my bosom commands me.

Lo, this stranger—I know not his name—is arrived at my palace,

Wandering come from the land of a nation of dawn or of sunset.

Escort he urgently begs us to give and to promise for certain.

So, as was ever the wont in the past, let us grant him an escort,

Since no other of mortals that ever arrived at my palace

Here lamenting remained long time for the want of a convoy.

Come, let us drag to the vast salt ocean a black-hulled vessel

New from the stocks, and of youths let two and fifty as oarsmen

Out of the people be chosen, who best have proved them aforetime.

Then, so soon as the men have fastened the oars to the thole-pins,

Leave ye the vessel, and come to my palace, and make preparation

There for a hasty repast; and provision for all will I offer.

Such the commands that I give to the youths; but the others, whoever

Beareth the sceptre as chief, in the halls of my beautiful mansion

Gather together and there entertain at a banquet the stranger.

Neither let any refuse. And summon the singer, the godlike

Demodocus; for to him as to none God granted by singing

All to enrapture, whenever his spirit to singing incites him."

These words uttered he led from the council; him followed the chieftains

Bearing their rods, and a herald departed to summon the singer.

Then were chosen the youths, and two and fifty in number

Went, as he bade, to the beach of the barren expanse of the ocean.

Now when at last they had gotten them down to the sea and the vessel,

Firstly the black-hulled vessel they drew to the deep salt water,

Then, embarking the mast and the sails on the black-hulled vessel,

All of the oars to the tholes they attached with the lashings of leather,

Each in its place, and the white sails hoisting aloft on the yardarm

Anchored her far from the shore in the midst of the haven, and forthwith

Went on their way to the mansion of Alcinous wise-hearted.

Filled were all of the porches and garths and the buildings, as countless

Gathered together the guests, both many a youth and an elder.

These to regale had the king of his fat sheep slaughtered a dozen,

Eight of his white-tusked swine, and a yoke of his slow-paced cattle;

These they had flayed and prepared and had furnished a beautiful banquet.

Now did the herald approach conducting the sweet-voiced minstrel.

Loved by the Muse was the bard; but she gave him of good and of evil:

Reft was the light of his eyes, but with sweetest song he was dowered.

Forthwith Pontonous set a chair bright-studded with silver

Midst of the feasters, and close to a high roof-pillar he placed it.

Then from a peg down-hanging the clear-toned lute he suspended

Over his head, and he showed him to reach with the hand and to grasp it.

Thus did the henchman, and bringing a basket and beautiful table

Gave him of wine in a goblet to drink when his spirit enjoined him.

Then did they stretch forth hands to the food that was lying before them,

Till, when at last they had lost all longing for meat and the wine-cup,

Stirred by the Muse was the singer to sing of the glories of heroes,

Sing of the theme whose fame to the infinite heaven was reaching,

Even the strife of Odysseus and great Pelean Achilles, —

How at a beautiful feast of the gods contending in anger

Words outrageous they spake ; and the warrior-king Agamemnon

Joyed in his spirit, beholding the best of the Greeks in contention.

This had the answer of Phoebus Apollo in beautiful Pytho

Tell him, when passing the threshold of stone he had entered the temple

Seeking the rede of the god; for beginning to roll was disaster

Over the Trojans and Greeks by the counsels of Zeus the Almighty.

Such was the lay that he sang, that singer renowned; but Odysseus,

Grasping with stalwart hand at the folds of his mantle of purple,

Over his head down drew it, till all of his face he had covered,

Loth that the men might mark tears falling from under his eyebrows.

Yea and as oft as the godlike singer had ceased from his singing,

Drying the tears and back from his head withdrawing the mantle,

Taking a two-cupped goblet he poured to the gods a libation.

Yet, when again a beginning he made for to sing they impelled him,

All Phaeacia's nobles, so much in his lays they delighted—

Then did Odysseus, enwrapping his head once more, make moaning.

Thus did he sit there weeping, unnoted by all of the others,

All save Alcinous, who alone was aware and observed it,

Sitting anigh to his side; and hearing him heavily groaning,

Quickly he turned to the lovers of oars, Phaeacia's princes :

"Hearken, I pray, to my words, Phaeacian leaders and chieftains.

Now in us all is the spirit content with abundance of feasting,

Ay and content with the lute, loved consort of bountiful banquets.

So let us forth from the palace and prove our prowess at contests,

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Every kind, for the stranger to tell, when he reaches his homeland,

Unto his friends, how skilful we are, all others excelling,

Either to box or to wrestle or leap, or to run in the foot-race."

These words uttered, he led from the hall, and they followed the monarch.

Then, when the clear-toned lute on the peg he had hung, did the herald,

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Grasping the hand of the singer and guiding him forth from the palace,

Lead him away by the road on the which were wending the others,

All Phaeacia's nobles, who, eager to witness the contest,

Pressed to the place of the games; and a crowd came thronging behind them,

Thousands and thousands; and youths stood forth right many and noble :

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Acroneos upstood, and Ocyalus and Elatreus,

Nauteus and Prymneus and Anchialus and Eretmeus;

Then Anabésineos and Thoön, and Ponteus and Proreus;

Amphialus, whose father was Tekton's son Polynéus;

Euryalus too, equal of Ares the Slayer of mortals,

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Naubolus' son, uprose, surpassing in form and in favour

All Phaeacia's fairest but Laodamas the unrivalled.

Last rose three of the children of Alcinous the heroic,

Laodamas, Halius, and the godlike youth Clytonéus.

These then firstly of all made trial of speed in the foot-race.

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Straight from the start all straining their utmost they raced and together

Over the plain went flying and raising behind them a dust-cloud.

Fleetest of all in the race was by far Clytonéus the peerless;

Far as the length of a furrow that mules might draw in a fallow

Darting ahead he arrived at the crowd, outstripping the others.

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Then did they test their strength in the wrestler's toilsome contest.

Here it was Euryalus that of all of the strong was the strongest.

Far to the fore of the others was Amphialus in the leaping,

While with cast of the quoit far best of them all was Elatreus.

Best at the boxing was Laodamas, brave son of the monarch.

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Now when the hearts of them all were fully content with the contests

Thus spake Laodamas and addressed them, the son of the monarch:

"Hither, my friends! Let us ask if in feats athletic the stranger

Knowledge possesseth and skill. Not feeble in frame he appeareth.

Look at the thigh and the leg and the arm from the hand to the shoulder!

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Stalwart the neck and enormous its might; nor at all doth his manhood

Lack of its prime; but his vigour is broken by many a hardship;

Neither, believe me, is aught to be found which worse than the ocean

Ruins the strength of a man, how hardy soever his body."

Forthwith Euryalus made answer and thus he addressed him:

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"Laodamas, full wise is thy word and is spoken in season.

Nay but approach him thyself and accost him and give him a challenge."

Straight, as he heard these words, did the gallant son of the monarch

Step to the fore, and standing in front of Odysseus address him:

"Come, Sir stranger, and make thou a trial thyself in a contest,

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Beest thou practised in any—and surely thou knowest of contests,

Seeing that nought for a man is a glory, as long as he liveth,

Greater than suchlike deeds with his hands or his feet to accomplish.

Nay, come, make but a trial and scatter the gloom of thy spirit.

Not much longer deferred is thy homeward return, for already

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Launched is the ship and already equipped are waiting thy shipmates."

Him then in answer addressed these words deep-plotting Odysseus:

"Laodamas, why thus do ye challenge me, only to mock me?

Mourning and grief are filling my mind much more than a contest,

Since right many a woe did I suffer and many a hardship;

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Yea and amidst these throngs with a craving at heart for my homeland

Now I am sitting, a suppliant still of the king and his people."

PATTEN WILSON
ODYSSEUS TAKES PART IN THE CONTESTS

Then spake Euryalus, to his face thus taunting Odysseus:

"Nay, O stranger, and truly I liken thee not to a mortal

Practised in any of all of the contests known to the nations;

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Rather to one who frequents with his well-benched vessel the harbours,

Skipper, methinks, of a folk of the sea who traffic as chapmen,

Mindful of nought but the bales and careful of nought but the cargo,

Ay and the grab and the gain. Sooth, thou wert never an athlete!"

Glaring askance at the man thus answered the wileful Odysseus:

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"Stranger, thy speech is indecent. Thou seemest an insolent mortal.

So was it ever! The gods vouchsafe not gifts that be gracious

All to the one—both beauty and wit and the skill of a speaker.

One is by nature a man of contemptible presence, but heaven

Crowneth his words with enchantment of grace; and the people that hear him

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Gaze in delight as he speaks with an easy and modest assurance

Eloquent words; him only they see midst all the assembly;

Him, as he walks in the city, they view, as it were an immortal.

Then will another in beauty resemble a god of Olympus,

Yet, for his words—no garland of gracefulness resteth upon them.

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Such is thy lot: for in beauty preeminent (comelier scarcely

Heaven itself might make thee) in mind thou art utterly futile.

See! thou stirrest my spirit to wrath in the bosom within me,

Prating indecently. No! not a churl unpractised in contests,

Such as thou sayest, am I—but, I trow, in the rank of the foremost

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Ever I stood in the days when I trusted my hands and my manhood.

Now am I holden of pain and affliction; for sorely I suffered,

Tossed on the billows of war and the grievous waves of the ocean.

Yet, e'en so, though many my woes, I will enter the contest,

Since I am stung to the heart, and my wrath is aroused by thy prating."

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Spake and arose; nor doffed he his mantle, but seized on a discus

Greater than others and thicker and weightier not by a little

Than Phaeacians use competing the one with the other.

Swinging it strongly around, from his sinewy hand he released it.

Booming it flew, while down to the ground crouched low in amazement

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All those masters of oars, those famed Phaeacian seamen,

Under the rush of the stone; and it flew far over the limits,

Speeding so swift from his hand. And the casts were marked by Athene,

Likened in outward form to a man, and she spake and addressed him:

"E'en might one that is blind such mark, O stranger, discover,

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Groping around. Not lost in the throng of the others it lieth,

Nay but afar to the fore. Canst hope this time to be victor.

Never a man of them all will be able to pass it, or reach it."

Thus did she speak, and he joyed, long-suffering godlike Odysseus,

Glad to behold in the crowd some favouring friend to applaud him.

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Then with a lightened heart to the youths Phaeacian turning :

"There now! Beat it, my lads! Soon cometh another to follow!

Even as far as the first will I hurl it, or farther, believe me,

Ay and if any will come, if his heart and his spirit incite him

Trial to make, let him come—so mightily stirred is my anger—

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Whether to box or to wrestle or race—what he will! —for I care not—

Any of all of the others!—but Laodamas be excepted!

He is my host. Is it seemly to fight with the man that befriends one?

Verily only a fool or a fellow worthless by nature

Thus would offer a challenge of strife to the friend that received him

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Here in an alien land. 'Twould sever him clean from his fortune.

All of the others can come! I will neither refuse nor disdain them.

Nay, I am fain to acquaint me with all and to prove them in public.

Nor am I utterly wanting in every manly achievement.

Well do I know as an archer a bow well-polished to handle.

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First was I ever to smite with the arrow my man in the combat,

Warring with hostile hosts—ay, even if many companions

Stood there close to my side, all aiming with shafts at the foemen.

Only Philoctetes as an archer excelled me whenever

There in the country of Troy we Achaeans contended as bowmen.

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Yea of the archers on earth I avow me as easily foremost,

All now living amidst bread-nourished races of mortals.

Only with heroes of old am I nowise willing to match me,

Neither with Heracles nor the famed Oechalian monarch.

These with the gods everlasting themselves contended as bowmen;

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Wherefore suddenly perished the prince, great Eurytus, neither

Age crept slowly upon him at home, for in anger Apollo

Killed him because he had ventured to challenge the god as an archer.

Further I hurl with a lance than another can shoot with an arrow.

Only on foot do I fear lest some Phaeacian runner

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Leave me behind, for indeed I am shamefully broken and weakened

Tossing so long on the waves; nor with food in sufficing abundance

Found was my ship; so loosened is every joint of my body."

Thus did he speak, and they all stood utterly silent and speechless,

Till King Alcinous found words to reply and addressed him :

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"Stranger, assure thee! for nothing unpleasing thou speakest amongst us,

Wishing to give fair proof of the prowess that ever attends thee,

Wroth with the fellow who here in the lists and in public before thee

Tauntingly spake, in a manner in which would speak of thy prowess

None, if he e'er was accustomed to utter a word that is seemly.

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Now come, mark what I say. It will give thee a tale to another

Warrior friend to relate, when at home in the hall of thy palace,

Sitting at supper by side of thy well-loved wife and thy children,

This our prowess thou callest to mind and the feats that on us too

Zeus hath bestowed, as he did in the days of the fathers before us.

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Neither as boxers we boast us unrivalled nor perfect as wrestlers,

Only in fleetness of foot we excel and in sailing a vessel ;

Ever is feasting a thing that delights us, and music and dancing;

Changes of raiment we love, warm baths and luxurious slumber.

Come now, all of the deftest to tread Phaeacian measures,

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Dance for us, dance! that the stranger may see and relate, when he cometh

Unto his friends, what skill we possess, all others excelling,

Both in the sailing of ships and in running and dancing and singing.

Also for Demodocus let the clear-toned lute by the herald

Quickly be fetched; it is lying, I ween, in the hall of the palace."

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Thus spake Alcinous the heroic. The herald uprising

Started to bring for the singer the hollow harp from the palace.

Then upstanding, the stewards of games—nine judges, elected

Out of the people, by whom in the lists all duly was ordered—

Levelled a space for the dance, and a fair broad ring they encircled.

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Now did the herald approach and the clear-toned lute that he carried

Give to the blind old singer, who stepp'd to the midst and around him

Boys in the bloom of their youth took stand right skilful in dancing;

So with a wonderful measure they smote on the ground, and Odysseus

Gazed at the flash and the twinkle of feet, and he marvelled in spirit.

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Then to his harp uplifting his beautiful voice did the singer

Sing of the passion of Ares for fair-crowned Queen Aphrodite,

How they as lovers at first held tryst at the house of Hephaestus

Secretly meeting; and how by his gifts he prevailed and dishonour

Brought on the bed of her lord; but as messenger hasted to tell him

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Eëlios, who had noted them meeting in tender embracement.

Then did Hephaestus, as soon as the grievous tidings had reached him,

Go to his forge, devising revenge in the depths of his bosom.

Here on the stithy he set the enormous anvil and forged him

Fetters not to be broken or loosed, to entrap and to hold them.

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Now when at last he had fashioned the toils, in his anger at Ares,

Into the chamber he entered wherein, as of old, was his bedstead.

Here to the posts of the bed, all round it, he fastened the netting;

Much of it also he fastened above it, attached to a rafter,

Fine as the web of a spider, that none could ever perceive it

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E'en of the blesséd immortals: so cunningly fine was it fashioned.

So, when at last he had fastened the toils all over the bedstead,

Then he pretended to go to the well-built city of Lemnos,

Land that was dear to his heart—far dearer than every other.

Neither was blind as a watcher the god, gold-glistering Ares.

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Seeing Hephaestus, the worker renowned, set forth on a journey,

Speedily unto the house of the far-famed god he betook him

Filled with the longing of love for the fair-crowned queen Cytherea.

Newly arrived from the home of her father, the mighty Cronion,

Resting she quietly sat; and he entering into the mansion

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Tenderly clung to her hand; then he opened his lips and addressed her :

"Come, let us go, my belovéd, and lie on the bed and enjoy us !

Nowhere nigh is Hephaestus, but started already for Lemnos,

Gone to the Sintian folk, that people of barbarous language."

Thus did he speak, and a thing right pleasant it seemed to the goddess.

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So they ascended the bed and reclined them to sleep; but the netting,

Cunningly wrought by the crafty Hephaestus, descended upon them:

Suddenly gone was the power of lifting a limb, or of moving.

Then at the last they perceived it when all too late to escape it;

Ay and already at hand was the famed deft-handed Hephaestus,

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Back from his journey returned ere reaching the island of Lemnos.

Eëlios on the watch had remained and had brought him the tidings.

Homeward straight he returned with a heart sore troubled within him;

Up to the portal he strode, and he stood; fierce anger possessed him;

Then with a terrible cry to the gods of Olympus he shouted :

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"Father Zeus and ye other immortals eternally blesséd,

Come and behold! 'Tis a matter to laugh at, but not to be suffer'd.

Lo now, me that am lame this daughter of Zeus, Aphrodite,

Ever dishonours and loveth instead man-murdering Ares,

Since he is fair to the sight and in limb he is straight; but a body

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Weakly was mine from my birth—Nor verily blame I another,

Only my parents. I would they had never begotten and borne me!

Come! ye shall see these twain now lying in loving embracement;

Here on my bed they are mounted—behold! At the sight I am maddened!

Scarce for a moment more, do I think, they are longing to lie here,

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E'en though hotly in love—nor quickly again will be longing

Thus to be bedded together. But here they are trapped and imprisoned

Till that her father repay, to the last one, every bride-gift,

All that I left in his hands as the price of the impudent baggage—

Ay, for his daughter is fair, but she knows not to bridle her passions.”

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Thus did he speak, and the gods to his brass-floor'd mansion collected:

Hither Poseidaon, Earth-girdler, hastened and Hermes,

Bringer of fortune, and hither the prince far-working Apollo,

While that behind with a womanly shame stay'd every goddess.

Soon at the porch were standing the deities, bringers of blessings.

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Then an unquenchable laughter arose mid the blesséd immortals

While they beheld the device that was wrought by the cunning Hephaestus,

Looking whereon thus whispered the one to the other beside him:

"Ill deed prospereth never; the slow oft catcheth the nimble :

Even as now by the tardy Hephaestus o'ertaken is Ares,

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Ares, the swiftest of all of the gods that inhabit Olympus,

Caught in the toils of the Limper—and compensation he oweth."

Thus conversing together they whispered, the one to the other;

Then spake lordly Apollo, the son of Cronion, to Hermes:

"Zeus-born Hermes, the herald of heaven and bringer of blessings,

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Say now, feelst thou a longing in such strong fetters imprisoned

Lying beside her in bed to embrace Aphrodite the golden?"

Him thus answered the herald of heaven, the Slayer of Argus :

"Had I but only the luck, O lord, far-darting Apollo!

E'en though triple in number the toils—yea endless—that held me;

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E'en though all of you gods stood gazing, and every goddess,

Give me to lie by her side and embrace Aphrodite the golden!"

Thus did he speak, and anew fell laughter upon the immortals,

All but Poseidaon; unsmiling he stood and entreaty

Made to Hephaestus the cunning to loosen the fetters of Ares.

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Thus then raising his voice these swift-winged words he addressed him :

"Loose him, I pray ! and I promise that whatsoever thou biddest,

All he shall pay that is held to be fair with the gods everlasting."

Him then addressing in turn gave answer the famous Craftsman :

"Nay but, Poseidaon, Earth-girdler, thou shouldst not demand it!

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Worthless is ever a pledge that is offered by one that is worthless.

How can I hold thee bound in the eyes of the blesséd immortals

Should our Ares depart and escape both fetters and forfeit?"

Him then again gave answer the King Earth-shaking Poseidon:

"Nay but, Hephaestus, if ever it hap that avoiding the forfeit

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Ares elude thee, I promise myself all dues to repay thee."

Him then addressing again gave answer the famous Craftsman :

"Truly 'tis neither becoming nor possible this to refuse thee."

These words uttered, the mighty Hephaestus unfastened the fetters.

Then did the twain, set free from the grievous constraint of the netting,

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Spring straight upward and vanish—To Thracia Ares departed,

She to the Cyprian isle, Aphrodite, the lover of laughter,

Even to Paphos for here is her shrine and her altar of incense.

Here did the Graces receive her and bathe and anoint her with unguent

Not of the earth; but it lieth as bloom on the limbs of immortals.

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Then did they clothe her in beautiful raiment, a wonder to gaze at.

Such was the story he sang, this singer renown'd, and Odysseus

Listened rejoicing in spirit, as also the rest of the hearers,

All those lovers of oars, those famed Phaeacian seamen.

Bidden was now Halius, and Laodamas, by the monarch

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Single to dance; for in dancing was no one able to match them.

These then, into the hand when a beautiful ball they had taken,

Purple in hue, by the skilful artificer Polybus fashioned,

One of them hurled it aloft to the shadowy clouds of the heaven,

Bending him back for the throw. From the ground upleaping, the other

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Easily caught it before with his feet on the earth he alighted.

Now when the trial was ended of casting the ball straight upward,

Then did they set them to dance on the earth's all-nourishing bosom,

Rapidly flinging in turn, while comrades clapping in measure

Stood in the lists, and around them arose a tumultuous uproar.

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Turning to Alcinous, then addressed him the godlike Odysseus :

"Ο King Alcinous, illustrious prince of the people,

Truly thou claimst for thy people a skill unrivalled in dancing,

Yea, for the fact is approved: as I look I am filled with amazement."

Thus as he spake, the revered and powerful monarch exulted.

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Quickly he turned to the lovers of oars, Phaeacia's nobles :

"Hearken, I pray, to my words, Phaeacian leaders and chieftains!

Truly the stranger appeareth endowed right richly with wisdom.

Come, let us find him a gift, as is meet and is due to a stranger!

Seeing that over the land are twelve illustrious princes

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Ruling as chiefs, and myself as a thirteenth wielding the sceptre,

Each might give to the stranger a robe well-washed and a doublet,

Also of precious gold be the weight of a talent collected.

Quickly together let all of the presents be brought, that the stranger

Having them safe in his hands may joyfully go to his supper.

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Thou too, Euryalus, shouldst find soft words to appease him,

Ay and a gift, for in truth was the speech that thou madest unseemly."

So did he speak, and the others assented thereto and approved it,

Each of the nobles despatching a herald to fetch him the presents;

Neither did Euryalus keep silence, but thus he addressed him :

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"O King Alcinous, illustrious prince of the people,

Lo, I perform thy behest and will make to the stranger atonement.

This is the present I offer a hanger of bronze with a handle

Silver-embossed, and around it, of new-sawn ivory fashioned,

Waveth a sheath. He will find it methinks no worthless possession."

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These words spoken, he handed the broadsword studded with silver

Unto Odysseus, and loudly with swift-winged words he addressed him :

"Hail, Sir stranger! If any at all of the words that I uttered

Pained thee, I would that the winds might carry it hence in a storm-blast,

Yea and I wish thee a speedy return to thy wife and thy homeland.

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Grant it the gods! for indeed too long thou hast suffered in exile."

Him then in answer addressed these words deep-plotting Odysseus:

"Hail thou also, my friend, and the gods all happiness grant thee !

Never, I hope, will it pain thee in future when missing thy hanger,

E'en this blade that thou gav'st while offering words of atonement."

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Speaking he hung to his shoulder the broadsword studded with silver.

Now was a-setting the sun, and arrived had the glorious presents;

These to the house of the king were borne by magnificent heralds;

Then by the hands of the children of Alcinous the unrivalled

Laid at the side of their mother revered was the beautiful treasure.

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Following now in the steps of the mighty and reverend monarch

All to the palace returned, and on high-raised seats they reclined them.

Then did the powerful king call Arete and address her :

"Hither, my queen—bring hither a chest right goodly—thy best one—

Placing therein for the stranger a well-washed robe and a doublet.

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Then on the hearth set boiling a cauldron for heating of water.

After a bath he shall look at the gifts all lying in order,

All of the presents bestowed by the high Phaeacian nobles;

So will he joy in the feast and in hearing the lay of the singer.

Also a thing of my own will I give—this beautiful goblet

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Solid of gold—that of me it remind him whene'er he shall use it

Pouring at home a libation to Zeus and the other immortals."

Thus did he speak, and the queen Arete ordered her maidens

Station a three-legged pot on the fire, as quickly as might be.

They on the glow of the hearth put a tripod, and water for bathing

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Poured in the kettle and brought fresh faggots and set them a-blazing.

Licked was the cauldron's belly by flames, and warmed was the water.

Meantime Arete brought forth a magnificent coffer

Out of her room for the stranger, and laid fair presents within it,

Even the raiment and gold that the chiefs Phaeacian gave him,

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Adding thereto of her treasures a beautiful mantle and doublet.

Then did she open her lips and with swift-winged words she addressed him :

"Lo now, look to the lid and a cord cast quickly around it,

Lest on the voyage perchance some robber despoil thee, if haply

Slumbering sweetly aboard of the black-hulled vessel thou liest."

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Hearing the words that she spake long-suffering godlike Odysseus

Forthwith fastened the lid and a cord cast quickly around it

Cleverly tied with a knot he had learnt of the beautiful Circe.

Scarce was it done when the house-dame entered to fetch him for bathing,

Bidding him come to the tub; and he joyed in his spirit beholding

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Warm bath-water—to such an attention all unaccustomed

Since he had come from the home of the fair-haired goddess Calypso.

(While he was there he had comfort continual, like an immortal.)

Now when Odysseus was bathed and anointed with oil of the olive,

Round him the maids cast raiment—a beautiful mantle and tunic.

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So from the bath he returned, and he came to the chiefs at their wine-cups

Even as Nausicaa in her beauty, the dower of heaven,

Stood by the post of the door of the massively builded apartment.

There as he passed her she looked at Odysseus with wondering glances ;

Then did she open her lips and with swift-winged words she addressed him :

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"Stranger, farewell—and at times, while happy and safe in thy homeland,

Think upon me—since mostly to me thou owest thy safety."

Her then in answer addressed these words deep-plotting Odysseus:

"Nausicaa, fair daughter of Alcinous great-hearted,

So may omnipotent Zeus, loud-thundering husband of Hera,

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Grant me the day of return and to come back safe to my country,

Then e'en there in my home will I offer thee prayers as a goddess

All of the days of my life—for my life thou gavest me, maiden."

These words spoken, he sank in a seat by the side of the monarch,

While that the men were serving the portions and mixing the wine-bowls.

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Then drew nearer the herald conducting the sweet-voiced singer

Demodocus, the revered, the belov'd of the people, and brought him

Midst of the feasters, and close to a high roof-pillar he set him.

Then to the herald addressed him aloud deep-plotting Odysseus,

Showing a slice he had cut from a chine (still more was remaining),

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Flesh of a white-tusked boar, with the rich fat hanging around it :

"Take, O herald, and offer this meat as a mess to the minstrel,

Demodocus. I will give him a greeting in spite of my sorrow;

Yea, for amongst all mortals that dwell on the earth is the singer

Granted a guerdon of honour and reverence, since that he learneth

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All of his song from the Muse; for she loveth the race of the poets."

Thus did he speak to the herald, who bore the repast to the hero

Demodocus. In his hands he received it rejoicing in spirit.

Now did they stretch forth hands to the food that was lying before them,

Till, when at last they had lost all longing for meat and the wine-cup,

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Calling to Demodocus thus spake deep-plotting Odysseus:

"Demodocus, far more than thy fellow-mortals I praise thee;

Surely the heavenly Muse was thy teacher, or even Apollo,

Such is thy skill to relate all duly the fates of the Grecians,

All of the feats they performed and all of the travail they suffered,

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Even as one who was present himself or had learnt from another.

Come, pray, changing thy strain now sing of the horse that was builded,

Fashioned of wood and devised by Epéus with help of Athene—

How to the citadel's height it was brought by the godlike Odysseus

Craftily, filled with the fighters who plundered the town of the Trojans.

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Shouldst thou relate it aright and tell all duly the story,

Then shall I never be weary proclaiming to every mortal

How by the favour of heaven divine is the skill of thy singing."

Moved by the words, and impelled by the god to exhibit his singing,

Thence he began how some on the well-benched vessels embarking

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Put from the shore, where flame they had hurled in the huts of encampment—

Some of the Greeks—but the others already with noble Odysseus

Sat concealed in the horse in the market-square of the Trojans;

Yea, it was Trojans themselves who aloft to the citadel hauled it.

There did it stand mid a babel of people confusedly talking,

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Sitting around; and in three was the vote of the council divided,

Either to smite and to shatter the bulk with the pitiless broad-axe,

Or to a height to uphaul it and over the precipice hurl it,

Or to permit it to stand as a gift to the gods and atonement.

Thus too ended the matter at last, as to end it was fated,

510

Seeing that doomed was the city to perish as soon as her ramparts

Closed on the horse, that monster of wood, where lurked of the Argives

All of the bravest, to bring on the Trojans bloodshed and ruin.

Then did he sing of the sack of the town by the sons of Achaea,

How from the horse outpouring and leaving the lair of the ambush

515

Hither and thither they scattered, the steep-built city to ravage;

Sang of Odysseus too, how unto the house of the hero

Deïphobus like Ares he went with divine Menelaus.

Here did Odysseus (so sang he) adventure a terrible conflict,

Ay and prevailed in the end by the grace of Athena the dauntless.

520

Such was the story he sang, this singer renowned; and Odysseus

Melted in tears and the great drops fell on his cheeks from his eyelids.

E'en as a woman with wailings her well-loved husband embraceth

Fallen in front of the city, in front of the host of the fighters,

Warding the pitiless day from his native town and his children;

525

E'en as beholding him lying before her gasping and dying

Piercingly shrieking she claspeth his body—but foemen behind her

Smiting her oft with the shafts of their spears on the back and the shoulders

Drive her away as a slave and to slavery's toils and afflictions,

Where with her withering cheeks she in pitiful misery pineth—

530

So did the pitiful tears fall fast from the eyes of Odysseus.

Thus then weeping he sat and unnoted of all of the others,

All save Alcinous, who alone was aware and observed it,

Sitting anigh to his side; and hearing him heavily groaning

Quickly he turned to the lovers of oars, Phaeacia's princes :

535

"Hearken, I pray, to my words, Phaeacian leaders and chieftains!

Time is for Demodocus from his clear-toned lute to refrain him,

Seeing that not to us all seems pleasing the song that he singeth.

Since our supper began and the godlike singer aroused him

Never as yet hath the stranger with pitiful grieving and groaning

540

Ceased to lament. Sore sorrow, I ween, investeth his spirit.

Bid him refrain from his song. Let us all make merry together,

Whether as guest or as host—for certainly thus it is better.

Yea, it is even because we revere him as guest that we granted

Escort safe to his home and the gifts that we gave him in friendship.

545

Ever indeed is a guest and a suppliant held as a brother

E'en by the mortal that only a few with his sympathy reacheth.

Therefore attempt not, stranger, to hide with a crafty invention

What I shall ask thee to tell; more seemly it were to relate it.

Tell me the name that thou bearest at home with thy mother and father,

550

Ay and with others who dwell in thy town and the neighbouring country.

Never is any on earth to be found that is utterly nameless,

Whether for evil or good he is come to the land of the living;

Every child at his birth hath a name bestowed by his parents.

Tell to me also the name of thy land and thy people and city,

555

Then will the vessels, prepared in their minds, know where to convey thee,

Since Phaeacian ships need never a pilot to steer them,

Neither a rudder at all, as is wont with the vessels of others.

Straightway known to the ship is her master's thought and intention;

Known to her too are the cities and fertile lands of the nations,

560

All of them—thus right swiftly they traverse the gulf of the ocean

Shrouded from sight in a cloud and a darkness, and never upon them

Resteth a dread to be harmed by the storm or to perish in shipwreck.

Once howbeit it happed that I heard what my father related,

Nausithous, who was wont to assert that Poseidon was angered,

565

Jealous because we afforded infallible escort to all men.

'Some day' (so did he speak) as a fine Phaeacian vessel

Over the mist-bound deep from a convoy returns shall the sea-god

Smite her to pieces and whelm with the mass of a mountain the city.'

Such was the rede of my sire ; and the god peradventure will do so,

570

Or he will never perform it, as seemeth the best to his spirit.

Come now, tell me a thing that I ask thee, and clearly explain it :

Where did thy wanderings lead thee? to what strange races and regions?

Tell us to what far peoples and fair-built cities thou camest,

Whether to savages wanton and wild and despisers of justice,

575

Or to the lovers of strangers with hearts that revere the immortals.

Say too, why dost thou weep and lament in thy spirit within thee,

Hearing of Trojans and Greeks and the fate of the Ilian city?

This was the work of the gods; such doom did they spin, and destruction

Bring on the men, that it aye shall remain as a song for the singer.

580

Perished perchance some kinsman of thine 'neath Ilian ramparts,

Good-man true of a daughter, or father or brother by marriage,

Such as a man holds, next to his blood, as the nearest and dearest?

Was't peradventure a friend well skilled in the things that delight thee,

Comrade trusty and brave? Since nowise less than a brother

585

Proveth the man who as friend is endowed with a soul of discretion."

New Alexandria Commentaries

Douglas Frame

analysis of the equation of sleep with death. Argues that details show that sleep is a basic part of the “return” motif

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Gregory Nagy

Odysseus encounters the blind singer Demodokos, who performs three songs that reveal hidden truths about the hero of the Odyssey.

draft js image error Blind Demodokos sings of the siege of Troy (1810), by John Flaxman (English, 1755–1826). Image via Wikimedia Commons.

Alkinoos prepares a feast for Odysseus, who has not yet identified himself. This feast becomes a mythologized replica of a festival that puts on display a dazzling variety of old poetic traditions, soon to be replaced by the new poetry of the Odyssey.

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The king Alkinoos ‘sacrifices’, as indicated by the verb hiereuein at O.08.059, a number of sacrificial animals. They are twelve sheep, eight pigs and two head of cattle, as indicated at O.08.059–060, and the meat of these sacrificial animals will now be prepared for a dais ‘feast, division of portions (of meat); sacrifice’, as indicated at O.08.061—and as already indicated earlier at O.08.038. Following up on my comment at O.08.038 as also on the comment here at O.08.059–061, I will have more to say in the comment at O.08.061, coming up, about the dais ‘feast’ that is planned by king Alkinoos for his guest.

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With reference to the dais of the Phaeacians as a stylized festival:

We see in this context that the dais, as a feast, involves an animal sacrifice that leads to feasting on the meat of the sacrificial animal.

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An animal sacrifice marks the ritual start of the festival. The festival is understood to be the context of an agōn – between Demodokos and Odysseus.

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The starting of the dais 'feast' is signaled at O.8.61. The dais is ongoing until late at night, all the way to the end of O.12, and then it gets restarted on the next day, in O.13. Note the ring composition that articulates the restarting.

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[Epitomized from MoM 4§73:] The noun dais ‘feast’, as we see it used here at O.08.061, is derived from the verb daiesthai in the basic sense of ‘distribute’, which is used in contexts of animal sacrifice in referring to the ‘distribution’ of cooked meat among the members of a community, as at O.15.140 and O.17.332. Then, by way of synecdoche, the specific idea of distribution extends metonymically to the general idea of feasting and further to the even more general idea of a festival. Following the logic of this sequence of meanings, we see that the animal sacrifice at O.08.059 had led to the cooking and the distribution of the meat, O.08.061, which will lead to communal dining, O.08.071–072, which will lead to the First Song of Demodokos, O.08.073–083, and so on. On metonymy and * synecdoche, see the inventory of Words and Ideas. In terms of this logic, the metonymic use of the word dais in the sense of ‘feast’ here at O.08.061 marks a whole complex of events that are typical of festivals: animal sacrifice, communal feasting, singing as well as dancing at the feast. As we will see in comments that follow, this dais ‘feast’ as signaled at O.08.061 will be rethought as a stylized festival, centering on a sacrifice that leads to a division of meat at the feast. Such a festival will continue from here in Odyssey 8 all the way to the beginning of Odyssey* 13.

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The composition of song in this first performance of Demodokos is compared metaphorically to the weaving of a web. Note the context of oimē as ‘thread’ at verse 74.

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Demodokos is an aoidos ‘singer,’ O.08.062, and he is is blind, O.08.63–64. The song that he sings about the Trojan War, O.08.073–082, prompts Odysseus to break down in tears and weep, O.08.083–095. Every time the singer ‘leaves off’ singing, as indicated by lēgein, O.08.087, he then restarts his song, as indicated by aps arkhesthai, O.08.090, since his Phaeacian listeners ‘feel delight’, as indicated by the verb terpesthai, as they hear his singing, O.08.091. So, the listeners of Demodokos so enjoy his singing that they don’t let him stop. (See the comments at HC 2§299 and 2§343.) There is a contradiction here between the reactions of Odysseus and the other listeners. Every time the singer restarts his singing, Odysseus restarts his weeping, O.08.092. But Odysseus pretends to be enjoying the performance of Demodokos, O.08.089, and he manages to evade the notice of all the Phaeacians, O.08.093—except for Alkinoos, O.08.094–095. As I will argue with reference to the Third Song of Demodokos, that song can be interpreted as a restarting of the First Song of Demodokos—followed by a parallel restarting of the tears of Odysseus in response to it.

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The singers as represented in Homeric poetry are traditionally pictured as accompanying themselves on a string instrument or ‘lyre’, called a phorminx here.

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Before the singer starts singing, the Phaeacians and their unidentified guest are already feasting: they partake of both food and drink, O.08.072. The eating and drinking had begun at O.08.071, signaled already at O.08.061 by the noun dais ‘feast, feasting’. As we will see later, however, the singing itself is part of the dais ‘feasting’.

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The expression aristoi Akhaiōn (ἄριστοι Ἀχαιῶν) at verse 78, which I translate as ‘the best of the Achaeans’, here is in the plural, and nowhere else in either the Iliad or the Odyssey do we find such a plural (for a different, distributive plural by implication of this same expression 'best of the Achaeans', see my note on Iliad 8.228-235). Rather, we find the singular aristos Akhaiōn (ἄριστος Ἀχαιῶν), which I again translate as ‘the best of the Achaeans’. Although many heroes contend for this title in the macro-epic of the Iliad, only one of them, Achilles, emerges as eligible to be known in that epic as the absolute best of all the Achaeans, by contrast with such rivals as Agamemnon, Diomedes, and Ajax. Similarly in the Odyssey, only Odysseus emerges as the absolute best, by contrast with the suitors of Penelope. So, in terms of both these two macro-epics, the Iliad and the Odyssey, there can only be one hero who is truly ‘the best of the Achaeans’.

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reference to the mixing of the ashes of Achilles and Patroklos in O.24.077 as not a duplication of references to the same mixing in the Iliad (I.23.243-244 and 23.091-092), therefore not violating Munro’s law, in the context of analyzing a traditional suppression of anything overtly Iliadic in the Odyssey (p. 21), and analysis of Demodokos’ first song on the neikos of Odysseus and Achilles, including the theory that it refers to an incident in the middle of the Cypria, comparison with the beginning of the Iliad, and the tradition of the quarrel between Odysseus and Achilles over whether Troy would be captured by might or artifice

\n\n----- Merged Content -----

\n\n reference to the mixing of the ashes of Achilles and Patroklos in O.24.077 as not a duplication of references to the same mixing in the Iliad (I.23.243-244 and 23.091-092), therefore not violating Munro’s law, in the context of analyzing a traditional suppression of anything overtly Iliadic in the Odyssey (p. 21), and analysis of Demodokos’ first song on the neikos of Odysseus and Achilles, including the theory that it refers to an incident in the middle of the Cypria, comparison with the beginning of the Iliad, and the tradition of the quarrel between Odysseus and Achilles over whether Troy would be captured by might or artifice

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analysis of Demodokos as an idealization of an artist by the art form of epic

\r\n----- Merged Content -----

\r\nOdysseus as implicitly the “best of the Achaeans” in the epic compositions of Demodokos, and Odysseus’ earning the title for what he did within the Odyssey rather than at Troy

\r\n----- Merged Content -----

\r\nanalysis of the song of Demodokos on the neikos of Achilles and Odysseus as compared with themes that surface in the Iliad, and in terms of a tradition that contrasted the heroic worth of Odysseus and Achilles in terms of mētis and biē

\r\n----- Merged Content -----

\r\ncomparison of the themes in the quarrel of Odysseus and Achilles in Demodokos’ song with those in the embassy scene in I.09 in an argument for the existence of a common epic heritage on the enmity between Achilles and Odysseus on which they draw

\r\n----- Merged Content -----

\r\nanalysis of the passage against the background of the patterns of traditional diction to do with pēma and Dios boulē, and Demodokos’ alluding to an Iliad that would have featured Odysseus as the prime offender of Achilles and his chief resentment as centering on the slighting of his biē

\r\n----- Merged Content -----

\r\nanalysis of the name of Achilles, as associated with pēma decreed by the Will of Zeus

\r\n----- Merged Content -----

\r\nanalysis of the references to Delphi in the Odyssey, the thematic correlation of the death of Achilles with Delphi/sacrifice/quarrel, and its parallels to a variant myth about the death of Pyrrhos

\r\n----- Merged Content -----

\r\nanalysis of Achilles’ (and the Aeacids) connections with the themes of dais and neikos, and comparison of this passage on the song of Demodokos with the Cypria and Achilles’ and Agamemnon’s quarrel at the beginning of the Iliad

\r\n----- Merged Content -----

\r\nanalysis of Achilles’ connections with the themes of dais and neikos, and comparison of this passage on the song of Demodokos with Odysseus’ words regarding dais to Achilles in I.09.225-228

\r\n----- Merged Content -----

\r\nanalysis of the thematic correlation of the death of Achilles with Delphi/sacrifice/quarrel and its parallels to a variant myth about the death of Pyrrhos, of Achilles’ (and the Aeacids) connections with the themes of dais and neikos, and the song of Demodokos on the quarrel of Achilles and Odysseus as incorporating Delphic lore

\r\n----- Merged Content -----

\r\nOdysseus’ and Achilles’ quarrel as serving as a context to define the themes of mētis of Odysseus and biē of Achilles (comparison with the neikos of Hesiod and Perseus in W&D)

\n\n----- Merged Content -----

\n\n comparison of Demodokos’ first song with the newer Iliad, both featuring Zeus as the implicit hymnic subject of the epic about the Trojan War, inspired by a singular Muse and subsuming the divine agency of Apollo under the Plan of Zeus \n\n----- Merged Content -----

\n\n The genitive of oimē 'thread' here marks the point of departure for the performance of the first song of Demodokos.

\n\n----- Merged Content -----

\n\n Here oimē can be translated as ‘song’ in the context of analyzing the meanings of prooimion, oimos, oimē.

\n\n----- Merged Content -----

\n\n analysis of the parallelism of Odysseus’ restarted outpouring of tears and Demodokos’ restarted epic, and of the plot of the epic about the Trojan War as equated with the prophecy of Apollo and the plan of Zeus \n\n----- Merged Content -----

\n\n argument that oimos/oimē/prooimion and humnos derive from roots referring to fabric making, and the metaphors of fabric making for composition of song \n\n----- Merged Content -----

\n\n analysis of the metaphors from weaving for the composition of song, here especially oimē as ‘thread’ \n\n----- Merged Content -----

\n\n analysis of Demodokos’ first and third song as parts of the same humnos, restarted, provoking the same response of tears in Odysseus, and Zeus as the cause of the pains and as the ultimate hymnic subject \n\n----- Merged Content -----

\n\n analysis of the kind of epic that the first song of Demodokos is, that is, older kind of epic analogous to what would have been introduced by the Homeric Hymns \n\n----- Merged Content -----

\n\n analysis of the kind of epic that the first song of Demodokos is, that is, older kind of epic, in the context of arguing that the poetic form of the epic of Demodokos is cognate with the poetic form of the epic Cycle \n\n----- Merged Content -----

\n\n analysis of the parallels between the prooimion in Herodotus and Homer (here, use of relative clauses as indirect questions) \n\n----- Merged Content -----

\n\n analysis of the dais of the Phaeacians as a stylized festival, here with reference to its epithet thaleiēi \n\n----- Merged Content -----

\n\n argument that a hymnic prooimion is not obligatory if Zeus is the implied hymnic subject authorizing the epic, here exemplified by Demodokos’ first and third song

\r\n----- Merged Content -----

\r\ncomparison of the Cypria and Demodokos’ first and third song in terms of the Plan of Zeus as the frame of narration for the Trojan War

\r\n----- Merged Content -----

\r\nanalysis of the Plan of Zeus as a sign of Homeric poetry

\r\n----- Merged Content -----

\r\nanalysis of the Plan of Zeus, here Hector’s not returning to Andromache (in these verses) as the most special and most Iliadic view of the Plan of Zeus, and its being connected with the Plan of Zeus in the singing of Demodokos

\n\n----- Merged Content -----

\n\n analysis of the dais of the Phaeacians as a stylized festival

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For more on the epic traditions of klea andrōn ‘the glories [klea] of men’, see the comment on I.09.185–191; also on I.09.524–599. On the poetics of kleos ‘glory’ as the glory conferred by poetry, especially by epic, see the comment on O.01.088–095.

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At O.08.073–082, we see the plot of the First Song—at least, the plot of the start of the First Song. We cannot be sure about the whole plot because the singer more than once ‘leaves off’ his song, as signaled by lēgein at O.08.087, and then ‘restarts’ it, as signaled by aps arkhesthai at O.08.090. The multiple restartings are prompted by the fact that the singer’s Phaeacian listeners ‘feel delight’, as indicated by the verb terpesthai, as they hear his singing, O.08.091, and they want to hear more. As I noted in my comment for O.08.062–095, even Odysseus pretends to be enjoying the performance of Demodokos, O.08.089. On points of comparison between the Iliad and the First Song of Demodokos as a micro-Iliad, see HPC 115–116, especially with reference to (1) the idea of being inspired by a single Muse and (2) the subsuming of the agency of Apollo under the Plan of Zeus; see also HC 2§309. On the Third Song of Demodokos as a continuation of the First, see HPC 101. On epic poetry about the Trojan War as a hymnic consequent, see MoM 4§73 and 4§99.2; also HC 2§326. (By hymnic consequent here, all I mean is whatever comes after something that is shaped like a hymn.) On the epic of Demodokos as cognate with the poetic form of the epic Cycle, see HC 2§331.

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I translate the genitive of oimē (οἴμης) here as ‘starting (from a story-thread)’. (See also PP 63, HC 2§92n.) The paraphrasing here of the song of Demodokos recapitulates the prooimion ‘proemium, prelude’ of the song. [What follows is epitomized from HC 2§§92–93:] In the case of the compound noun prooimion / προοίμιον, conventionally translated as ‘proemium’, the element -oim- / -οιμ- is derived from a root that we find also attested in two simple nouns, oimos / οἶμος and oimē / οἰμή. The Attic by-form of prooimion / προοίμιον, which is phroimion / φροίμιον, elucidates the prehistory of the root: we must reconstruct it not as oim*- but as hoim-, from soim-. This reconstruction helps elucidate the surviving contexts of both oimos / οἶμος and oimē / οἰμή, which do not always give a clear picture of the basic meaning of either form. In some contexts, the meaning seems to be ‘song’, as here at O.08.074, while in others it seems to be ‘way, pathway’, as in Hesiod Works and Days 290. With the help of comparative evidence, however, the primary meaning of oimos and oimē can be reconstructed as ‘thread, threading’, and the meanings ‘song’ or ‘way, pathway’ can be explained as secondary: that is, ‘song’ and ‘way, pathway’ are metaphorical generalizations derived from the meaning ‘thread, threading’ (PR 72, 81; also PP 63n20). And it is such a primary meaning ‘thread, threading’ that we find in comparable forms attested in other Indo-European languages: for example, the form soimos that we reconstruct from Greek oimos is attested as Old Icelandic seimr, meaning ‘thread’ (for this and other examples, see Durante 1976:176). In terms of such a primary meaning, the etymology of the compound noun prooimion ‘proemium’ can be interpreted as a metaphor referring to the ‘initial threading’ of a song. A close semantic parallel to the etymology of Greek prooimion ‘proemium’ as an ‘initial threading’ of a song is the etymology of Latin exordium, which likewise means ‘proemium’ in poetic and rhetorical contexts: the meaning of this noun as well can be traced back to the basic idea of an ‘initial threading’ (PP 63n20). The poetic and rhetorical concepts of both Greek prooimion and Latin exordium in the sense of ‘proemium’ have a common Indo-European ancestry. As I will argue later, not only oimos / oimē / prooimion but also humnos, ordinarily translated as ‘hymn’, are derived from roots that refer to the making of fabric. Moreover, I note that the word oimos is formulaically interchangeable with the word humnos at verse 451 of the Homeric Hymn (4) to Hermes, where we see the attestation of both οἶμος ἀοιδῆς and ὕμνος ἀοιδῆς in the manuscript tradition; at a later point, we will also consider the cognate expression ἀοιδῆς ὕμνον at verse 429 of Odyssey 8. I interpret the combinations of humnos and oimos with aoidē ‘song’ to mean respectively the ‘weaving’ of song and the ‘threading’ of song. Relevant to this interpretation is the context of oimē at verse 74 of Odyssey 8: we see here a metaphorical reference to the initial part of performing a song, that is, to the ‘initial threading’ of a song. To sum up, the meaning of oimos or oimē as ‘song’ results from a metaphorical extension: the idea of making song is being expressed metaphorically through the idea of making fabric. As for contexts where oimos and oimē seem to mean ‘way, pathway’, I argue that such a meaning is likewise a result of metaphorical extension: here the general idea of moving ahead from one point to another is being expressed metaphorically by applying the specific idea of threading one’s way from one point to another (more on this point at HC 2§311, in the excursus there). On points of comparison with the proemium that introduces the History* of Herodotus, see PH 221.

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The narrative subject of the epic that is being paraphrased here is a neikos ‘quarrel’ between Odysseus and Achilles, O.08.075. And the setting for this quarrel is a dais ‘feast’ that is explicitly correlated with a ‘sacrifice’, O.08.076: θεῶν ἐν δαιτὶ θαλείῃ ‘at a celebratory feast [dais] of the gods’. The same epithet thaleiēi (θαλείῃ) is also used to describe the ongoing dais ‘feast’ at O.08.099. This epithet is of special interest in light of the meaning of the noun thaliai in the plural, ‘celebrations, festivities’, as at O.11.603 (HPC 85n13). We may compare another feast, described at I.08.228–235, where the describer is Agamemnon, recalling a scene from the collective past of the Achaeans: the setting of this other feast was the island of Lemnos, and each one of the Achaean leaders took turns in boasting that he was the best Achaean of them all, I.08.229. In my comment on I.08.228–235, I noted that the noun eukhōlai ‘boastings’ in the plural at I.08.229 indicates a distributive action: the Achaeans were boasting not as a group but individually and competitively. The competitive boasting evidently centered on the question: who would be superior to all others in performing heroic exploits in the upcoming Trojan War? And the setting for this quarrel was a feast where the meat of oxen to be eaten in vast quantities was being apportioned among the Achaean leaders, I.08.231. Since the narrative here makes a point of adding that these leaders were also drinking wine, I.08.232, it is implied that all the boasting could get out of hand and lead to quarrels about the awarding of prime cuts of meat. It would have been expected that the best portion of meat should go to the best hero. On the idea of a champion’s portion of meat, see the comment on I.07.319–322. Having reconstructed for I.08.228–235 a scene of quarreling in the context of apportioning cuts of meat, I return to the scene at O.08.075–078, where we see once again a scene of quarreling in the context of apportioning cuts of meat. And here the ‘quarreling’ is explicitly called a neikos, O.08.075, while the ‘apportioning of meat’ is explicitly called a dais, O.08.076. As we saw in the comment for I.01.423–425, a dais is a feast where meat is distributed, and this meat comes from the sacrifice of sacrificial animals. Thus the act of sacrifice converts the feast of humans into a notional feast of the gods. This notion, ‘feast of the gods’, is made explicit at O.08.076, where the setting is described explicitly this way, as we have already seen: θεῶν ἐν δαιτὶ θαλείῃ ‘at a celebratory feast [dais] of the gods’. In this festive setting, as I already highlighted in the comment on I.08.228–235, the neikos ‘quarrel’ at O.08.075 is between Odysseus and Achilles, who are described at O.08.078 as ‘the best of the Achaeans’. In terms of such a dispute in the context of a feast, each one of the two heroes would be claiming to be the ‘best of the Achaeans’. Achilles would have claimed to be ‘best’ because of his superior biē ‘force, violence, strength’, while Odysseus would have counter-claimed to be ‘best’ because of his superior mētis ‘mind, intelligence’. See the comments on O.01.002; see also, further back, the comments on I.01.001–012, where I argue that the quarrel between Odysseus and Achilles came from an epic tradition that was independent from the epic tradition that featured the quarrel between Agamemnon and Achilles. Further, see the comment on I.09.346–352, where I note that this Iliadic passage was thought by Aristarchus (scholia A for I.09.347) to be an allusion to the quarrel at O.08.075–078 between Achilles and Odysseus over one overriding question: will Troy be conquered by relying on the physical power of Achilles or on the mental power of Odysseus?

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In the Iliad and Odyssey, Apollo at Delphi is mentioned only at Ι.09.404–405 and here at O.08.079–081. Agamemnon consults the oracle at Delphi, and he misunderstands what the oracle prophesies to him. See the next note, on O.08.081–082.

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Homer Odyssey 8.46

A. T. Murray (Translator)

Search the Perseus Catalog for:

Current edition Perseus

ODYSSEY BOOK VIII

PATTEN WILSON
ODYSSEUS TAKES PART IN THE CONTESTS

New Alexandria Commentaries

Stable identifiers

Search the Perseus Catalog for:

Search the Perseus Catalog for:

Current edition Perseus

ODYSSEY BOOK VIII

PATTEN WILSON ODYSSEUS TAKES PART IN THE CONTESTS

New Alexandria Commentaries

Stable identifiers

PATTEN WILSON
ODYSSEUS TAKES PART IN THE CONTESTS