Homer Odyssey 4.1

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.) — 4.1 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.) — 4.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 4.1 focus
They reached the low-lying city of Lacedaemon, where they drove straight to the halls of glorious Menelaos. They found him in his own house, feasting with his many clansmen in honor of the wedding of his son, and also of his daughter, whom [5] he was marrying to the son of that valiant warrior Achilles. He had given his consent and promised her to him while he was still at Troy, and now the gods were bringing the marriage about; so he was sending her with chariots and horses to the city of the Myrmidons over whom Achilles’ son [10] was reigning. For his only son he had found a bride from Sparta, daughter of Alektor. This son, Megapenthes, was born to him of a bondwoman, for the gods granted Helen no more children after she had borne Hermione, who was fair as golden Aphrodite herself.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 4.1 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 4.1 focus
AND now proud Sparta with their wheels resounds,
1
Sparta whose walls a range of hills surrounds:
At the fair dome the rapid labour ends;
Where sate Atrides 'midst his bridal friends,
With double vows invoking Hymen's power,
5
To bless his son's and daughter's nuptial hour.
That day, to great Achilles' son 1 resign'd,
Hermione, the fairest of her kind,
Was sent to crown the long-protracted joy,
Espous'd before the final doom of Troy:
10
With steeds and gilded cars, a gorgeous train
Attend the nymph to Phthia's distant reign.
Meanwhile at home, to Megapenthes' bed
The virgin-choir Alector's daughter led.
Brave Megapenthes from a stolen amour
15
To great Atrides' age his handmaid bore:
To Helen's bed the gods alone assign
Hermione, t' extend the regal line; 2
On whom a radiant pomp of Graces wait,
Resembling Venus in attractive state.
20
While this gay friendly troop the king surround,
With festival and mirth the roofs resound:
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 4.1 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 4.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 4.1 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 4 focus

New Alexandria Commentaries

Gregory Nagy

As Telemachus, accompanied by Peisistratos, arrives at Sparta, he finds that a wedding feast is in progress, in celebration of not one but two weddings. Menelaos, king of Sparta, is giving away his daughter in marriage to Neoptolemos, son of Achilles. She will be sent off to Neoptolemos. Meanwhile, Menelaos is also marrying off his bastard son Megapenthes.

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With the continued aid of the goddess Athena, young Telemachus now becomes an ideal guest for his new hosts, Menelaos together with Helen. The identity of Helen as a goddess becomes more evident now that she is back in Sparta. This divine identity will point to the future immortalization of the hero Menelaos by virtue of his winning back Helen as his consort.

draft js image error“The Fair Helen.” Willy Pogany (Hungarian, 1882–1955). Image via.

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We see at work here the mythological convention of naming a son after a primary heroic trait of the father, as in the case of the son of Ajax, whose name Eurusakēs means ‘the one with the wide shield [sakos]’; the meaning of this “speaking name” (nomen loquens) is made explicit in the wording of Sophocles Ajax 574–578. See also the comment on I.22.506–507 with reference to the the first of two names given to the son of Hector, Astyanax [Astuanax], I.06.403, which means ‘king [anax] of the city [astu]’. This meaning is relevant to the heroic role of the father as protecting a citadel from sieges. Such a role is expressed by the very name of Hector, Héktōr, which is an agent noun meaning ‘one who holds [ekhein]’ in the sense of ‘one who protects’. In the case of Megapenthēs, the meaning of his name as ‘the one with the great sorrow [penthos]’ is made explicit by references to the great penthos ‘sorrow’ experienced by the Achaeans in reaction to a most painful wounding of Menelaos in the context of the Trojan War, I.04.197, I.04.207. Also viewed in general are the sorrows of the Trojan War itself, which Menelaos expresses in detail at O.04.093–112. See the comment on O.04.093–116. As we will see at O.04.220–226, Helen attempts to neutralize such sorrows by drugging the wine to be poured for the feast hosted by Menelaos in honor of Telemachus: the word for this drug is nēpenthes, Ο.04.221, which can be interpreted as ‘negating sorrow [penthos]’.

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|15 ὣς οἱ μὲν δαίνυντο καθ’ ὑψερεφὲς μέγα δῶμα |16 γείτονες ἠδὲ ἔται Μενελάου κυδαλίμοιο, |17 τερπόμενοι· μετὰ δέ σφιν ἐμέλπετο θεῖος ἀοιδὸς |18 φορμίζων· δοιὼ δὲ κυβιστητῆρε κατ’ αὐτοὺς |19 μολπῆς ἐξάρχοντος ἐδίνευον κατὰ μέσσους.

|15 So they feasted throughout the big palace with its high ceilings, |16 both the neighbors and the kinsmen of glorious Menelaos, |17 and they were feeling delight [terpesthai]; in their midst sang-and-danced [melpesthai] a divine singer [aoidos], |18 playing on the special lyre [phorminx]; two special dancers [kubistētēre] among them |19 were swirling as he led [ex-arkhein] the singing-and-dancing [molpē] in their midst.

This passage provides comparative evidence for interpreting both the shorter and the longer versions of another passage, analyzed in the comment on I.18.603–604–(605–)606. As argued in that comment, a formulaic analysis of both the longer and the shorter versions of I.18.603–604–(605–)606 indicates that both versions are compatible with Homeric diction, suiting different phases in the evolution of this diction as a formulaic system.

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Aristarchus accepting the wording in these verses while rejecting the same at I.18.604-605, in the context of the analysis of the medieval manuscript tradition’s not attesting I.18.604-605, their restoration based on Athenaeus, and authentication on the basis of O.13.027-028

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