Homer Odyssey 9.193

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.) — 9.1 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.) — 9.216 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.193 focus
I told my men to draw the ship ashore, and stay where they were, [195] all but the twelve best [ krinein] among them, who were to go along with myself. I also took a goatskin of sweet black wine which had been given me by Maron, son of Euanthes, who was priest of Apollo, the patron god of Ismaros, and lived within the wooded precincts of the temple. When we were ransacking the city we respected him, and spared his life, as also his wife and child; [200] so he made me some presents of great value—seven talents of fine gold, and a bowl of silver, with twelve jars of sweet wine, unblended, [205] and of the most exquisite flavor. Not a man nor maid in the house knew about it, but only himself, his wife, and one housekeeper: when he drank it he mixed twenty parts of water to one of wine, [210] and yet the fragrance from the mixing-bowl was so exquisite that it was impossible to refrain from drinking. I filled a large skin with this wine, and took a wallet full of provisions with me, for my mind misgave me that I might have to deal with some savage who would be of great strength, [215] and would respect neither right [ dikē] nor law.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 9.193 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.193 focus
I call'd my fellows, and these words address'd:
"My dear associates here indulge your rest:
200
While, with my single ship, adventurous I
Go forth, the manners of yon men to try;
Whether a race unjust, of barbarous might,
Rude, and unconscious of a stranger's right;
Or such who harbour pity in their breast,
205
Revere the gods, and succour the distress'd."
This said, I climb'd my vessel's lofty side;
My train obey'd me, and the ship untied.
In order seated on their banks, they sweep
Neptune's smooth face, and cleave the yielding deep.
210
When to the nearest verge of land we drew,
Fast by the sea a lonely cave we view,
High, and with darkening laurels covered o'er;
Where sheep and goats lay slumbering round the shore.
Near this, a fence of marble from the rock,
215
Brown with o'erarching pine and spreading oak:
A giant shepherd here his flock maintains
Far from the rest, and solitary reigns,
In shelter thick of horrid shade reclin'd;
And gloomy mischiefs labour in his mind.
220
A form enormous! far unlike the race
Of human birth, in stature, or in face;
As some lone mountain's monstrous growth he stood,
Crown'd with rough thickets, and a nodding wood.
I left my vessel at the point of land,
225
And close to guard it gave our crew command:
With only twelve, the boldest and the best,
I seek th' adventure, and forsake the rest.
Then took a goatskin, fill'd with precious wine,
The gift of Maron of Evantheus' line;
230
(The priest of Phœbus at th' Ismarian shrine. 1 )
In sacred shade his honour'd mansion stood
Amidst Apollo's consecrated wood;
Him, and his house, heaven moved my mind to save,
And costly presents in return he gave;
235
Seven golden talents to perfection wrought,
A silver bowl that held a copious draught,
And twelve large vessels of unmingled wine,
Mellifluous, undecaying, and divine!
Which now, some ages from his race conceal'd,
240
The hoary sire in gratitude reveal'd.
Such was the wine: to quench whose fervent steam
Scarce twenty measures from the living stream
To cool one cup sufficed: the goblet crown'd
Breathed aromatic fragrances around.
245
Of this an ample vase we heav'd aboard,
And brought another with provisions stor'd.
My soul foreboded I should find the bower
Of some fell monster, fierce with barbarous power;
Some rustic wretch, who liv'd in heaven's despite,
250
Contemning laws, and trampling on the right.
The cave we found, but vacant all within;
(His flock the giant tended on the green:)
But round the grot we gaze; and all we view,
In order ranged, our admiration drew:
255
The bending shelves with loads of cheeses press'd,
The folded flocks each separate from the rest;
(The larger here, and there the lesser lambs,
The new-fall'n young here bleating for their dams;
The kid distinguish'd from the lambkin lies:)
260
The cavern echoes with responsive cries.
Capacious chargers all around were laid,
Full pails, and vessels of the milking trade.
With fresh provisions hence our fleet to store
My friends advise me, and to quit the shore;
265
Or drive a flock of sheep and goats away,
Consult our safety, and put off to sea.
The wholesome counsel rashly I declin'd,
Curious to view the man of monstrous kind,
And try what social rites a savage lends:
270
Dire rites, alas! and fatal to my friends!
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.193 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.193 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.193 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

Notes on the current edition

Odyssey

1. 1

New Alexandria Commentaries

Gregory Nagy

The time has come for Odysseus himself to sing his own epic odyssey, and the hero chooses to start with the most celebrated story of the Homeric Odyssey, about the blinding of the Cyclops.

draft js image error“Ulysses Giving Wine to Polyphemus” (1805). John Flaxman (1755–1826). Purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund, 1996. Image via the Tate.

The transition from Rhapsody 8 to Rhapsody 9 marks a change in the form of singing for the singer of tales. The poetic bravura of Demodokos, blind singer of the Phaeacians, will now be superseded by a masterpiece of epic narration performed by Odysseus himself, who is starting to sing his own epic odyssey. The hero’s song will extend from the beginning of Rhapsody 9 here all the way through the end of Rhapsody 12, and the size of this song, consisting of four rhapsodies, will correspond to one-twelfth of the Homeric Iliad and Odyssey combined. Odysseus will perform his song in the style of the Homēridai, notional descendants of Homer who performed the Iliad and Odyssey in relay. The relay performance, which was competitive as well as collaborative, consisted of twelve units, each unit consisting of four rhapsodies, and it took place at the seasonally recurring festival of the Panionia at a place called the Panionion in Asia Minor. As already noted before, this festival was the political and cultural self-expression of the Ionian Dodecapolis, a confederation of twelve states that reached its apogee in the eastern Greek world during the late eighth and early seventh century BCE. (On the Ionian Dodecapolis, see the anchor comment on I.01.463; also the comment on O.07.321; also on I.02.867–869 and on I.20.403–405; see also under Ionian Dodecapolis in the inventory of Words and Ideas.) The division of the Iliad and Odyssey into twelve units, six for the Iliad and six for the Odyssey, with each unit containing four rhapsodies, corresponds to the division of the Ionian confederation into twelve states. It may be argued, then, that each one of the twelve states of the Ionian Dodecapolis fielded a rhapsode for performing competitively one of the twelve epic units. Which rhapsode was assigned which one of the twelve epic units could have been determined by lottery or perhaps by way of seasonal rotation. It may also be argued that the rhapsodic unit extending from the start of Rhapsody 9 here all the way through the end of Rhapsody 12 represents an idealized rhapsodic performance in the style of the Homēridai. And Rhapsody 9 begins with a kind of Homeric signature at O.09.03–011—the mark of Homer, as it were.

source
Leonard Muellner

comparison of the diction here with that in I.24.039-048 regarding persons incurring mēnis

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