Homer Odyssey 9.447

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.) — 9.1 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.) — 9.461 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.461 focus
As he spoke he drove the ram outside, but when we were a little way out from the cave and yards, I first got from under the ram’s belly, and then freed my comrades; as for the sheep, which were very fat, by constantly heading them in the right direction [465] we managed to drive them down to the ship. The crew rejoiced greatly at seeing those of us who had escaped death, but wept for the others whom the Cyclops had killed. However, I made signs to them by nodding and frowning that they were to hush their crying, and told them to get all [470] the sheep on board at once and put out to sea; so they went aboard, took their places, and smote the gray sea with their oars. Then, when I had got as far out as my voice would reach, I began to jeer at the Cyclops.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 9.461 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.461 focus
The giant spoke, and through the hollow rock
Dismiss'd the ram, the father of the flock.
No sooner freed, and through th' inclosure pass'd,
545
First I release myself, my fellows last:
Fat sheep and goats in throngs we drive before,
And reach our vessel on the winding shore.
With joy the sailors view their friends return'd,
And hail us living, whom as dead they mourn'd.
550
Big tears of transport stand in every eye:
I check their fondness, and command to fly.
Aboard in haste they heave the wealthy 1 sheep,
And snatch their oars, and rush into the deep.
Now off at sea, and from the shallows clear,
555
As far as human voice could reach the ear,
With taunts the distant giant I accost:
"Hear me, O Cyclop! hear, ungracious host!
'Twas on no coward, no ignoble slave,
Thou meditat'dst thy meal in yonder cave;
560
But one the vengeance fated from above
Doom'd to inflict; the instrument of Jove.
Thy barbarous breach of hospitable bands
The god, the god revenges by my hands."
These words the Cyclop's burning rage provoke;
565
From the tall hill he rends a pointed rock;
High o'er the billows flew the massy load,
And near the ship came thundering on the flood.
It almost brush'd the helm, and fell before: 2
The whole sea shook, and refluent beat the shore.
570
The strong concussion on the heaving tide
Roll'd back the vessel to the island's side:
Again I shov'd her off; our fate to fly,
Each nerve we stretch, and every oar we ply.
Just 'scaped impending death, when now again
575
We twice as far had furrow'd back the main,
Once more I raise my voice; my friends, afraid,
With mild entreaties my design dissuade:
"What boots the godless giant to provoke,
Whose arm may sink us at a single stroke?
580
Already, when the dreadful rock he threw,
Old Ocean shook, and back his surges flew.
The sounding voice directs his aim again;
The rock o'erwhelms us, and we 'scaped in vain."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.461 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.461 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.461 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

New Alexandria Commentaries

Douglas Frame

analysis of another Homeric recasting of the traditional collocation ásmenoi ek thanátoio as phúgomen thánaton. Two observations are made: (1) The traditional “return from death” theme is here, as in the minor episodes, latent. (2) This latent feature is closely connected with the Cyclops’ cave. Traces of the cave’s connection with the realm of the dead remain in Odysseus’ calling himself Oûtis while within the cave

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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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