Homer Odyssey 1.345

Samuel Butler (Translator)

Odyssey. Homer. Samuel Butler (Translator). London. 1900 (?).

Current edition Perseus

Odyssey (English) (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.)

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.) — 1.325 focus
Translations (8)
Odyssey Perseus (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.) — 1.325 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 1.325 focus
The famed singer was singing for them [= the suitors], and they in silence 326 sat and listened. He [= Phemios the singer] was singing the homecoming [ nostos] of the Achaeans, 327 a disastrous [ lugros] homecoming from Troy, and Pallas Athena was the one who brought it all to fulfillment [ epi-tellesthai]. 328 From her room upstairs, this divinely inspired song of his was understood in her mind by 329 the daughter of Ikarios, the exceptionally intelligent Penelope, [330] and she came down the lofty staircase of her palace. 331 She came not alone, but attended by two of her handmaidens. 332 When she reached the suitors, this most radiant of women, 333 she stood by one of the posts that supported the roof of the halls, 334 holding in front of her cheeks a luxuriant veil, [335] and a trusted handmaiden stood on either side of her. 336 Then, shedding tears, she addressed the godlike singer:
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 1.325 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 1.325 focus
Hush'd in attention to the warbled song.
420
His tender theme the charming lyrist chose
Minerva's anger, and the dreadful woes
Which, voyaging from Troy, the victors bore,
While storms vindictive intercept the shore.
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 1.325 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 1.325 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 1.325 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 1 focus

New Alexandria Commentaries

Gregory Nagy

The comments I offer on Odyssey Rhapsody 1 through Rhapsody 24, starting here with Rhapsody 1, were based mostly on details that derive from seven books that I indicate in the Bibliography by way of these abbreviations: BA, GMP, H24H, HC, HPC, HQ, HR, MoM, PasP, PH. Each one of these books has its own index locorum. My colleague Anita Nikkanen, an Associate Editor for this online project, tracked the sequences of Homeric verses as listed in the indices for six of these books and then summarized my comments on those verses. Following up on her meticulous work, I am in the process of converting her summaries into a form of commentary. My comments on the Odyssey as I presented them in Classical Inquiries are merely samplings of the content that I hope to contribute to the overall commentary, to which a number of other colleagues are also contributing their own comments. That said, I now proceed to offer a sampling of comments on Rhapsody 1. At this point, my comments about the beginning of the Odyssey need no further introduction of their own.

draft js image errorZeus, Athena, and Hermes (1810). Drawing by John Flaxman. Image via Wikimedia Commons.

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Telemachus argues with his mother, defending the song that is sung by the singer Phemios about misfortunes experienced by heroes in the course of seeking a successful homecoming. There is a pleasure in the hearing of such a song, Telemachus says at O.01.346–347. Evidently, he does not yet understand the personal involvement of Penelope in the story of such homecoming—or of course his own involvement—because he does not yet understand that the ultimate character in the ultimate story of homecoming will be Odysseus himself. Telemachus speaks positively about the reception of the song of homecoming as sung by the singer Phemios. He says that the audience gives glory to the song, and the verb that is used in his wording is epi-kleiein at O.01.351, which I translate as ‘turn [deeds] into glory [kleos] and pass it on’. I render the epi- of epi-kleiein here as ‘and pass it on’, in the sense that epi- conveys the idea of ‘in addition to, on top of’, supplementing -kleiein in the sense of ‘turn [deeds] into glory [kleos]’. The wording of Telemachus is justifiable to the extent that the glory of heroes and gods as produced by the singer produces also glory for the song itself as received by the audience. That is to say, this verb epi-kleiein ‘turn [deeds] into glory [kleos] and pass it on’ is reciprocal: there is not only the giving of glory by the audience to the song sung by the singer but there is also the giving of glory by the singer to the song that he sings. Thus it is justifiable for Telemachus to say that the greatest glory goes to the aoidē ‘song‘, O.01.351, that is neōtatē ‘newest’, O.01.352, since the glory to be transmitted must be the latest glory to be received. The reception by the most recent audience must be decisively successful. What Telemachus does not yet understand, however, is that the most recent audience for an ongoing song of homecoming will be not the suitors but the ultimate audience of the Odyssey. The audience of the Odyssey will be the definitive audience for the reception of this ongoing song of homecoming. And, for that ultimate audience of the Odyssey, the ultimate hero of the song of homecoming will be Odysseus himself.

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Leonard Muellner

analysis of the meaning of epidōsometh’ in I.10.463 and its variant reading epibōsometh’

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