Homer Odyssey 5.333

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.) — 5.313 focus
Translations (9)
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.) — 5.313 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.313 focus
As he spoke a sea broke over him with such terrific fury that the raft reeled again, [315] and he was carried overboard a long way off. He let go the helm, and the force of the hurricane was so great that it broke the mast half way up, and both sail and yard went over into the sea. For a long time Odysseus was under water, and it was all he could do [320] to rise to the surface again, for the clothes Kalypsō had given him weighed him down; but at last he got his head above water and spat out the bitter brine that was running down his face in streams. In spite of all this, however, he did not lose sight of his raft, [325] but swam as fast as he could towards it, got hold of it, and climbed on board again so as to escape drowning. The sea took the raft and tossed it about as Autumn winds whirl thistledown round and round upon a road. [330] [It was as though the South, North, East, and West winds were all playing battledore and shuttlecock with it at once.]
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 5.313 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 5.313 focus
A mighty wave rush'd o'er him as he spoke,
The raft it cover'd, and the mast it broke:
405
Swept from the deck, and from the rudder torn,
Far on the swelling surge the chief was borne;
While by the howling tempest rent in twain
Flew sail and sail-yards rattling o'er the main.
Long-press'd, he heav'd beneath the weighty wave,
410
Clogg'd by the cumb'rous vest Calypso gave:
At length emerging, from his nostrils wide
And gushing mouth effus'd the briny tide;
Ev'n then, not mindless of his last retreat,
He seiz'd the raft, and leap'd into his seat,
415
Strong with the fear of death. The rolling flood
Now here, now there, impell'd the floating wood.
As when a heap of gather'd thorns is cast
Now to, now fro, before th' autumnal blast;
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 5.313 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 5.313 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.313 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 5 focus
English Bridge (Amelia Parrish and Gregory Crane, 2023) (OCR draft) Experimental (English Bridge (Amelia Parrish and Gregory Crane, 2023)) — 5.313 focus

New Alexandria Commentaries

Gregory Nagy

The rhapsody starts with the releasing of Odysseus by one goddess and ends with the mystical saving of his life by a second goddess, who is Leukotheā, the White Goddess. The beautiful Leukotheā saves Odysseus by undoing her hair and giving him as a life-saver the veil that had held her curls in place. As for the first goddess, who is Calypso, her action in releasing Odysseus from their mutual love affair becomes another life-saver for him. That is because the chances of success for such an affair between a mortal man and an immortal goddess would have been minimal, as we will see by observing other myths that tell about other such affairs. If the liaison of Odysseus with Calypso had continued, it is a certainty that he would have been killed off, just as Orion had died because of his liaison with Ēōs the goddess of the dawn.

draft js image error“Leucothea, the White Goddess, Preserving Ulysses” (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.

source

Odysseus is saved from drowning by Ino, O.05.333, who was once a mortal woman but who has become immortalized after death by becoming the Leukotheā or ‘White Goddess’, O.05.334. The White Goddess gives to Odysseus her krēdemnon, that is, her headdress or ‘veil’, which becomes his life-saver: O.05.346, O.05.351, O.05.373, O.05.459. In order to give the hero her headdress, she would first have to undo her hair, as we can see by comparing the scene where Andromache lets fall from her head her own headdress, the word for which is, here again, krēdemnon, I.22.470. See the commentary on I.22.460–474, where I noted that the undoing of a woman’s hair, caused by the undoing of her krēdemnon, produces what I called an Aphrodisiac effect. So long as a woman’s krēdemnon is in place, her sexuality is under control just as her hair is under control. When the krēdemnon is out of place, however, her sexuality threatens to get out of control. Also, while saving the hero, the goddess assumes the form of a diving bird called aithuia, O.05.337 and O.05.353. These actions of Ino in saving Odysseus from the mortal dangers of the sea are parallel to the actions of the goddess Athena herself. [What follows is epitomized from Nagy 1985:80–81 (= §78).] Ino as aithuia has a parallel agent in ensuring the salvation of Odysseus from the sea: Athena herself redirects the storm sent against the hero by Poseidon, O.05.382–387, and then she saves him from immediate drowning by giving him a timely idea for swimming to safety, O.05.435–439. The hero submerges but then emerges from a wave that would surely have drowned him had it not been for Athena, O.05.435 and O.05.438, and this detail corresponds closely to the preceding emergence and submergence of Ino herself, O.05.337 and O.05.352–353. Such a correspondence suggests that Ino, the former mortal who is now a goddess, O.05.334 and O.05.335, is a model for a transition from death to life anew.

source