Homer Odyssey 6.1

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.) — 6.1 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.) — 6.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 6.1 focus
So here long-suffering great Odysseus slept, overcome by sleep and toil; but Athena went off to the dēmos and city of the Phaeacians—a people who used to live in the fair town of Hypereia, [5] near the lawless Cyclopes. Now the Cyclopes were stronger in force [ biē] than they and plundered them, so their king, godlike Nausithoös, moved them thence and settled them in Skheria, far from all other people. He surrounded the city with a wall, built houses [10] and temples, and divided the lands among his people; but he was dead and gone to the house of Hādēs, and King Alkinoos, whose counsels were inspired by the gods, was now reigning. To his house, then, did owl-vision goddess Athena go in furtherance of the return [ nostos] of great-hearted Odysseus. [15] She came into the private chamber, with its many adornments, where the girl [= Nausicaa] 16 was sleeping. Like the immortal goddesses, in shape and in looks [ eidos], she [= Nausicaa] was looking like [ homoiē] them. Nausicaa, daughter to great-hearted King Alkinoos. Two maid servants were sleeping near her, both very pretty, one on either side of the doorway, which was closed with well-made folding doors. [20] Athena took the form of the famous sea captain Dymas’ daughter, who was a bosom friend of Nausicaa and just her own age; then, coming up to the girl’s bedside like a breath of wind, she hovered over her head and said: [25] “Nausicaa, what can your mother have been about, to have such a lazy daughter? Here are your clothes all lying in disorder, yet you are going to be married almost immediately, and should not only be well dressed yourself, but should find good clothes for those who attend you. This is the way to get yourself a good name, [30] and to make your father and mother proud of you. Suppose, then, that we make tomorrow a washing day, and start at daybreak. I will come and help you so that you may have everything ready as soon as possible, for all the best young men [35] throughout your own dēmos are courting you, and you are not going to remain a young girl much longer. Ask your father, therefore, to have a wagon and mules ready for us at daybreak, to take the rugs, robes, and belts; and you can ride, too, which will be much pleasanter for you [40] than walking, for the washing-cisterns are some way from the town.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 6.1 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 6.1 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 6.1 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 6.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 6.1 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 6 focus

New Alexandria Commentaries

Gregory Nagy

The wording that starts Rhapsody 6 here at O.06.001–112 picks up where the wording of Rhapsody 5 left off, at O.05.491–493, where Odysseus had fallen asleep after his ordeals at sea.

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Nausicaa, princess of the Phaeacians, makes her appearance as a potential but unattainable love-interest for Odysseus—and as a delight for all who find themselves irresistibly drawn into the story of her girlish but principled encounter with the enthralled hero.

draft js image error“Nausicaa” (1878), Frederick Leighton (English, 1830–1896). Image via Wikimedia Commons.

This Rhapsody belongs to Nausicaa. I spell her name in its familiar latinized form, with a c, since her fame extends far beyond the ancient Greek world, where she appears as Ναυσικάα. In any case, the name has a certain primacy of place. I have no idea who said it first, but I first heard it from the long-departed Sterling Dow in the early 1960s: if you look up all surviving ancient Greek names in reverse alphabetical order, the first one you see is Nausicaa = Ναυσικάα, while the very last of them all is Calypso = Καλυψώ. Surely we see here a coincidence, not some mysterious signal emanating from some grand cosmic plan, but the coincidence itself seems just as lovely as Nausicaa is lovely. Some critics view her as a youthful love-interest for Odysseus, matching Calypso as the hero’s divine love-interest. But such a view detracts from the loveliness: Nausicaa is meant to be a love-interest for all who hear her story—just as Calypso is a universal love-interest in her own story as told in Rhapsody 5. In the story of Nausicaa as told in Rhapsody 6, she is pictured as the perfect bride for any man fortunate enough to succeed in marrying her—and she knows it. The self-awareness of Nausicaa is shaped by the poetry that idealizes her eligibility by animating her beauty and her charm to the point where she becomes comparable to the goddess Artemis. Odysseus himself initiates the comparison and, by comparing the girl to the goddess, he is signaling to himself that Nausicaa, even if she does not know it yet, is for him enticingly unattainable.

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The Cyclopes, when they were neighboring enemies of the Phaeacians, O.06.005, are said to have been superior because of their biē ‘force, violence, strength’, O.06.006.

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Nausicaa, daughter of Alkinoos (latinized as Alcinous), is named here for the first time, O.06.017. She is a kourē ‘girl’, O.06.015, and she is said to be homoiē ‘similar to’ or ‘same as’ the immortal goddesses. This comparison is a prelude to the wording of the narrative at O.06.102–109, where Nausicaa is compared directly to the goddess Artemis; also to the wording of Odysseus himself at O.06.150–152, where the hero himself compares Nausicaa directly to Artemis.

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