Homer Odyssey 15.1

ed. A. T. Murray

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Odyssey. Homer. ed. A. T. Murray. London. 1919.

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Ὀδύσσεια (Greek) (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), editor. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.)

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.) — 15.1 focus
Odyssey Perseus (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.) — 15.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 15.1 focus
But Athena went to the fair city of Lacedaemon to tell the shining son of great-hearted Odysseus that he was to achieve his homecoming [ nostos] any moment. She found him and glorious Peisistratos [5] sleeping in the forecourt of worshipful Menelaos’ house; Peisistratos was fast asleep, but Telemachus could get no rest all night for thinking of his unhappy father, so owl-vision Athena went close up to him and said:
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 15.1 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 15.1 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 15.1 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 15.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 15.1 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 15 focus

New Alexandria Commentaries

Douglas Frame

evidence for reading nései instead of anései in Od. XVIII.256-266

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evidence for contention that Odysseus’ voyage home is a passage through darkness to light, made in the company of one whose presence reflects the original role of nóos

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Gregory Nagy

At O.13.439–440 it was said that the goddess Athena, after parting with Odysseus on the island of Ithaca, ‘next’ went off to Sparta in order to connect with Telemachus there. The moment of that connection, which was going to happen ‘next’, was expressed by way of the adverb epeita, O.13.439. Now at O.15.001–003 this moment that had been destined to happen ‘next’ is finally at hand, and we see the goddess arriving at Sparta, where she will make it possible for Telemachus to connect mentally with his own nostos ‘homecoming’ to Ithaca, O.15.003. Essential here at O.15.03 is the use of the verb hupo-mnē-, meaning ‘mentally connect’. The same verb is used in a comparable context at O.01.322. See the comment on O.01.320–322. Here at O.15.001–003, Telemachus will mentally connect not only with the idea of his own homecoming but also with the song of that homecoming, which will merge with the song of his father’s homecoming. Telemachus needs to be mentally connected to his own nostos not only in the sense of ‘homecoming’ and ‘song of homecoming’ but also, more mystically, ‘return to light and life’. On this mystical meaning, see the comment on O.01.005, where this noun nostos is explained as meaning etymologically a ‘return’ or a ‘coming-back’, derived from the verb-root nes- ‘return, come back’, which has a deeper meaning as well: ‘come to’, in the sense of ‘come back to consciousness’. The noun nostos itself, meaning ‘homecoming’, likewise has a deeper meaning: ‘coming back to light and life’. Etymologically related to this noun nostos in the sense of ‘coming back to light and life’ is the noun nóos ‘mind’, which has the deeper meaning of ‘coming to’ in the sense of ‘coming back to consciousness’. As I argued in the comment on O.13.078–095, the idea of ‘coming to’ as embedded in the noun nostos is activated at the moment when Odysseus comes home to Ithaca: there he wakes up from a death-like sleep at the precise moment when the sun rises. To experience such a nostos as a ‘homecoming’, as I also argued in the same comment, is to experience a symbolic ‘return to light and life’, and the Odyssey as a ‘song of homecoming’ is such a nostos. Here at O.15.001–003, we see that the son of Odysseus must likewise experience a nostos, expressed here at O.15.003 not only by the noun nostos but also by the verb néesthai*, derived from the root nes-. This line, O.15.003, shows that the song of this nostos*, of this homecoming, is meant to merge with the song of the father’s homecoming. See also the comment on O.01.088–089.

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(What follows is epitomized from Nagy 2017.04.11 5§§29–31.) In the Homeric Odyssey, the Minoan-Mycenaean world is linked more directly to Sparta than to Crete. To make this point, I start with the beginning of Odyssey 15, where the goddess Athena appears in an epiphany to Telemachus at Sparta. As Athena tells Telemachus at O.15.001–009, it is time for the young hero to conclude his visit at Sparta and to go back home to Ithaca. I highlight the fact that Sparta is described here at O.15.001 as eurukhoros (εἰς εὐρύχορον Λακεδαίμονα), meaning ‘having a wide dancing-place’. I see here a Minoan-Mycenaean signature. Relevant is the word Kallikhoron, which is explained this way in the dictionary of Hesychius: Καλλίχορον· ἐν Κνωσσῷ ἐπὶ τῷ τῆς Ἀριάδνης τόπῳ ‘Kallikhoron was the name of the place of Ariadne in Knossos’. And the meaning of this ‘place of Ariadne’, Kallikhoron, is ‘the dancing-place that is beautiful’. It is most relevant to highlight here the fact that the word khoros can designate either the ‘place’ where singing and dancing takes place or the group of singers and dancers who perform at that place. Such a beautiful place, as we already saw in the comment on I.18.590–606, is made visible by the divine smith Hephaistos when he creates the ultimate masterpiece of visual art, the Shield of Achilles. At I.18.593–606, we see in action the singing-and-dancing that happens in the picturing of the divine place, the word for which is khoros, I.18.590. And the prima donna for such singing and dancing can be visualized as the girl Ariadne, for whom Daedalus had made the ultimate place for song and dance, I.18.592.

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Now that Odysseus is back home in Ithaca, it is time for his son Telemachus to return home as well. The goddess Athena now travels to Sparta, where she will initiate the return of Telemachus back home to Ithaca.

draft js image errorDetail from a fresco found at Hagia Triadha in Crete. Reconstruction by Mark Cameron, p. 96 of the catalogue Fresco: A Passport into the Past. Minoan Crete through the eyes of Mark Cameron. 1999. Catalogue curated by Doniert Evely. Athens: British School at Athens; and N. P. Goulandris Foundation, Museum of Cycladic Art. Reproduced with the permission of the British School at Athens. BSA Archive: Mark Cameron Personal Papers: CAM 1.

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