Homer Odyssey 9.281

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.) — 9.272 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.281 focus
He said this to draw me out, but I was too cunning to be caught in that way, so I answered with a lie: ‘Poseidon, shaker of the Earth,’ said I, ‘sent my ship on to the rocks at the far end of your country, [285] and wrecked it. We were driven on to them from the open sea, but I and those who are with me escaped the jaws of death.’
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 9.281 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.281 focus
Thus he. His meditated fraud I find,
335
(Vers'd in the turns of various human-kind,)
And, cautious, thus: "Against a dreadful rock,
Fast by your shore, the gallant vessel broke.
Scarce with these few I 'scap'd, of all my train:
Whom angry Neptune whelm'd beneath the main:
340
The scatter'd wreck the winds blew back again."
He answer'd with his deed: his bloody hand
Snatch'd two, unhappy! of my martial band;
And dash'd like dogs against the stony floor:
The pavement swims with brains and mingled gore.
345
Torn limb from limb, he spreads his horrid feast,
And fierce devours it like a mountain beast:
He sucks the marrow, and the blood he drains,
Nor entrails, flesh, nor solid bone remains.
We see the death from which we cannot move,
350
And humbled groan beneath the hand of Jove.
His ample maw with human carnage fill'd,
A milky deluge next the giant swill'd;
Then, stretch'd in length o'er half the cavern'd rock,
Lay senseless, and supine, amidst the flock.
355
To seize the time, and with a sudden wound
To fix the slumbering monster to the ground,
My soul impels me! and in act I stand
To draw the sword; but wisdom held my hand.
A deed so rash had finish'd all our fate,
360
No mortal forces from the lofty gate
Could roll the rock. In hopeless grief we lay,
And sigh, expecting the return of day.
Now did the rosy-finger'd morn arise,
And shed her sacred light along the skies.
365
He wakes, he lights the fires, he milks the dams,
And to the mothers' teats submits the lambs.
The task thus finish'd of his morning hours,
Two more he snatches, murders and devours.
Then pleas'd, and whistling, drives his flock before,
370
Removes the rocky mountain from the door,
And shuts again: with equal ease dispos'd
As a light quiver's lid is op'd and clos'd.
His giant voice the echoing region fills:
His flocks, obedient, spread o'er all the hills.
375
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.281 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.281 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.281 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

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.

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