Homer Odyssey 9.500

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.) — 9.494 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.500 focus
But I would not listen to them, and shouted out to him in my rage, ‘Cyclops, if anyone asks you who it was that put your eye out and spoiled your beauty, say it was the valiant warrior Odysseus, ransacker of cities, [505] son of Laertes, who lives in Ithaca.’
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 9.500 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.500 focus
But I, of mind elate, and scorning fear,
585
Thus with new taunts insult the monster's ear:
"Cyclop! if any, pitying thy disgrace,
Ask who disfigur'd thus that eyeless face?
Say 'twas Ulysses; 'twas his deed, declare,
Laërtes' son, of Ithaca the fair;
590
Ulysses, far in fighting fields renown'd,
Before whose arm Troy tumbled to the ground."
Th' astonish'd savage with a roar replies:
"Oh heavens! oh faith of ancient prophecies!
This Telemus Eurymedes foretold:
595
(The mighty seer who on these hills grew old;
Skill'd the dark fates of mortals to declare,
And learn'd in all wing'd omens of the air;)
Long since he menaced, such was Fate's command;
And nam'd Ulysses as the destin'd hand.
600
I deem'd some godlike giant to behold,
Or lofty hero, haughty, brave, and bold;
Not this weak pigmy-wretch, of mean design,
Who not by strength subdued me, but by wine.
But come, accept our gifts, and join to pray
605
Great Neptune's blessing on the watery way;
For his I am, and I the lineage own;
Th' immortal father no less boasts the son.
His power can heal me, and re-light my eye;
And only his, of all the gods on high."
610
"Oh! could this arm" (I thus aloud rejoin'd)
"From that vast bulk dislodge thy bloody mind,
And send thee howling to the realms of night,
As sure as Neptune cannot give thee sight!"
Thus I; while raging he repeats his cries,
615
With hands uplifted to the starry skies:
"Hear me, O Neptune; thou whose arms are hurl'd
From shore to shore, and gird the solid world.
If thine I am, nor thou my birth disown,
And if th' unhappy Cyclop be thy son,
620
Let not Ulysses breathe his native air,
Laërtes' son, of Ithaca the fair!
If to review his country be his fate,
Be it through toils and sufferings, long and late;
His lost companions let him first deplore;
625
Some vessel, not his own, transport him o'er;
And when at home from foreign sufferings freed,
More near and deep, domestic woes succeed!"
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.500 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.500 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.500 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

New Alexandria Commentaries

Douglas Frame

analysis of Odysseus’ loss of the anonymity as death, the regaining of his name as a rebirth. Compare to words of Alcinous (Od. VIII.552-553)

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analysis of formulaic variation of Od. XI.114, Od. XII.141. The context is changed from prophesy to curse, élthoi substituted for traditional neȋai. Dependence of élthoi on previous mention of “home” and “fatherland” shows the secondary nature of this passage

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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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Leonard Muellner

on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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in a list of attestations of genos eukhesthai einai and its transformations

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in a list of attestations of genos eukhesthai einai and its transformations

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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this verse, where secular eukhesthai is used in a prayer to specify the grounds on which a response is expected, as evidence that there is a secondary dictional and thematic association between secular and sacral eukhesthai (contra Perpillou)

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