Homer Odyssey 9.526

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.) — 9.536 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 9.536 focus
Thus did he pray, and Poseidon heard his prayer. Then he picked up a rock much larger than the first, swung it aloft and hurled it with prodigious force. It fell just short of the ship, [540] but was within a little of hitting the end of the rudder. The sea quaked as the rock fell into it, and the wash of the wave it raised drove us onwards on our way towards the shore of the island.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 9.536 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 9.536 focus
With imprecations thus he fill'd the air,
And angry Neptune heard th' unrighteous prayer.
630
A larger rock then heaving from the plain,
He whirl'd it round; it sung across the main;
It fell, and brush'd the stern: the billows roar,
Shake at the weight, and refluent beat the shore.
With all our force we kept aloof to sea,
635
And gain'd the island where our vessels lay.
Our sight the whole collected navy cheer'd,
Who, waiting long, by turns had hop'd and fear'd.
There, disembarking on the green sea side,
We land our cattle, and the spoil divide:
640
Of these due shares to every sailor fall;
The master ram was voted mine by all:
And him (the guardian of Ulysses' fate)
With pious mind to Heaven I consecrate.
But the great god, whose thunder rends the skies,
645
Averse, beholds the smoking sacrifice;
And sees me wandering still from coast to coast:
And all my vessels, all my people, lost!
While thoughtless we indulge the genial rite,
As plenteous cates and flowing bowls invite;
650
Till evening Phœbus roll'd away the light:
Stretch'd on the shores in careless ease we rest,
Till ruddy morning purpled o'er the east;
Then from their anchors all our ships unbind,
And mount the decks, and call the willing wind.
655
Now rang'd in order on our banks, we sweep
With hasty strokes the hoarse resounding deep;
Blind to the future, pensive with our fears,
Glad for the living, for the dead in tears."
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 9.536 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 9.536 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 9.536 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 9 focus

New Alexandria Commentaries

Douglas Frame

analysis of formulaic variation of Od. XI.114, Od. XII.141. The context is changed from prophesy to curse, élthoi substituted for traditional neȋai. Dependence of élthoi on previous mention of “home” and “fatherland” shows the secondary nature of this passage

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citation of the offshore island as a threshold to the encounter with the Cyclops [MRBTP: 'ff']

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analysis of the collocation ásmenoi ek thanátoio. Proposes ásmenos is derivative of *nes- and suggests collocation originally meant “having returned from death”

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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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Odysseus and his companions have escaped from the cave of the Cyclops, where some of them died, and now the survivors are sailing on, described as ásmenoi, which I translate as ‘returning to light and life’. As argued by Frame 1978:6–33 (also 2009:39–41), the etymology of this participle ásmenos can be explained by deriving it from n̥s-menos*, where the element n̥s- is the zero grade of the Indo-European root nes-, meaning ‘return to light and life’. This etymology has been confirmed by de Lamberterie 2014. Here at O.09.566, the etymological explanation ‘returning to light and life’ corresponds to what has just happened to Odysseus and his companions: they have escaped from the darkness of the cave and from the threat of death there, emerging into the light and thus winning back their lives. So, they have literally returnd to light and life. For more on the semantics of ‘return to light and life’ as conveyed by the words nóos ‘mind’ and nostos ‘homecoming’, see the comment on O.01.003.

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Leonard Muellner

in a list of attestations of genos eukhesthai einai and its transformations

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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on the grammatical constraints, here regarding the use of the second person and fathers eukhomenoi about their sons, in the context of analyzing genos eukhesthai einai formulas

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this verse, where secular eukhesthai is used in a prayer to specify the grounds on which a response is expected, as evidence that there is a secondary dictional and thematic association between secular and sacral eukhesthai (contra Perpillou)

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