Homer Odyssey 9.47

A. T. Murray (Translator)

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.) — 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.) — 9.82 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.47 focus
Meanwhile the Kikones cried out for help to other Kikones who lived inland. These were more in number, and stronger, and they were more skilled in the art of war, for they could fight, [50] either from chariots or on foot as the occasion served; in the morning, therefore, they came as thick as leaves and bloom in summertime [ hōrā], and the hand of the gods was against us, so that we were hard pressed. They set the battle in array near the [55] ships, and the armies aimed their bronze-shod spears at one another. So long as the day waxed and it was still morning, we held our own against them, though they were more in number than we; but as the sun went down, towards the time when men let loose their oxen, the Kikones got the better of us, [60] and we lost half a dozen men from every ship we had; so we got away with those that were left.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 9.47 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.47 focus
Meantime the Cicons, to their holds retir'd,
Call on the Cicons, with new fury fir'd;
With early morn the gather'd country swarms,
And all the continent is bright with arms;
Thick as the budding leaves or rising flowers
55
O'erspread the land, when spring descends in showers:
All expert soldiers, skill'd on foot to dare,
Or from the bounding courser urge the war.
Now fortune changes (so the Fates ordain);
Our hour was come to taste our share of pain.
60
Close at the ships the bloody fight began,
Wounded they wound, and man expires on man.
Long as the morning sun increasing bright
O'er heaven's pure azure spread the growing light,
Promiscuous death the form of war confounds,
65
Each adverse battle gored with equal wounds;
But when his evening wheels o'erhung the main,
Then conquest crown'd the fierce Ciconian train.
Six brave companions from each ship we lost, 1
The rest escape in haste, and quit the coast.
70
With sails outspread we fly th' unequal strife,
Sad for their loss, but joyful of our life.
Yet as we fled, our fellows' rites we paid, 2
And thrice we call'd on each unhappy shade.
Meanwhile the god, whose hand the thunder forms,
75
Drives clouds on clouds, and blackens heaven with storms,
Wide o'er the waste the rage of Boreas sweeps,
And night rush'd headlong on the shaded deeps.
Now here, now there, the giddy ships are borne,
And all the rattling shrouds in fragments torn.
80
We furl'd the sail, we plied the labouring oar,
Took down our masts, and row'd our ships to shore.
Two tedious days, and two long nights we lay,
O'erwatch'd and batter'd in the naked bay.
But the third morning when Aurora brings,
85
We rear the masts, we spread the canvas wings;
Refresh'd and careless on the deck reclin'd,
We sit, and trust the pilot and the wind.
Then to my native country had I sail'd:
But, the cape doubled, adverse winds prevail'd.
90
Strong was the tide, which, by the northern blast
Impell'd, our vessels on Cythera cast.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.47 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.47 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.47 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

New Alexandria Commentaries

Douglas Frame

reference to the conventional nature of the Ciconian warriors who stand closest the world of the Iliad

source

suggestion that the poet who constructed this episode might have still understood the ancient thematic role of the sun. This could explain the peculiar usage of “dawn,” since much has already happened before the battle begins. Compare to Od. XVI.777ff

source

example of similarities between the Laestrygonians and the Cyclopes. Compare to Od. X.112-113, Od. X.120, Od. X.121-122, Od. X.82-183, Od. X.98, Od. X.116, Od. X.124, Od. IX.190-192, Od. IX.482, Od. IX.537, Od. IX.108, Od. IX.167, Od. IX.187-188, Od. IX.291

source

example of similarities between the Laestrygonians and the Cyclopes

source

analysis of Homer’s reinterpretation of the traditional collocation ásmenoi ek thanátoio, as phúgomen thánaton

source

analysis of the collocation ásmenoi ek thanátoio. Proposes ásmenos is derivative of *nes- and suggests collocation originally meant “having returned from death”

source
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

Odysseus and most of his companions have escaped from the land of the Kikones, where some of them died, and now the survivors are sailing on, described as ásmenoi, which I translate as ‘returning to light and life’. See the anchor comment on O.09.566.

source