Homer Odyssey 11.225

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Thus while she spoke, in swarms hell's empress brings
Daughters and wives of heroes and of kings;
Thick and more thick they gather round the blood,
275
Ghost throng'd on ghost (a dire assembly) stood!
Dauntless my sword I seize; the airy crew,
Swift as it flash'd along the gloom, withdrew;
Then shade to shade in mutual 1 forms succeeds,
Her 2 race recounts, and their illustrious deeds.
280
Tyro began, whom great Salmoneus 3 bred;
The royal partner of famed Cretheus' bed.
For fair Enipeus, as from fruitful urns
He pours his watery store, the virgin burns;
Smooth flows the gentle stream with wanton pride,
285
And in soft mazes rolls a silver tide. 4
As on his banks the maid enamour'd roves,
The monarch of the deep beholds and loves;
In her Enipeus' form and borrow'd charms
The amorous god descends into her arms:
290
Around, a spacious arch of waves he throws,
And high in air the liquid mountain rose;
Thus in surrounding floods conceal'd he proves
The pleasing transport, and completes his loves.
Then softly sighing, he the fair address'd,
295
And as he spoke her tender hand he press'd:
"Hail, happy nymph! no vulgar births are ow'd
To the prolific raptures of a god:
Lo! when nine times the moon renews her horn,
Two brother heroes shall from thee be born;
300
Thy early care the future worthies claim,
To point them to the arduous paths of fame;
But in thy breast th' important truth conceal,
Nor dare the secret of a god reveal:
For know, thou Neptune view'st! and at my nod
305
Earth trembles, and the waves confess their god."
He added not, but mounting spurn'd the plain,
Then plunged into the chambers of the main.
Now in the time's full process forth she brings
Jove's dread vicegerents in two future kings;
310
O'er proud Iolcos Pelias stretch'd his reign,
And godlike Neleus rul'd the Pylian plain:
Then fruitful, to her Cretheus' royal bed
She gallant Pheres and famed Aeson bred:
From the same fountain Amythaon rose,
315
Pleas'd with the din of war, and noble shout of foes.
There mov'd Antiopè, 5 with haughty charms,
Who bless'd th' almighty Thunderer in her arms:
Hence sprung Amphion, hence brave Zethus came,
Founders of Thebes, and men of mighty name;
320
Though bold in open field, they yet surround
The town with walls, and mound inject on mound;
Here ramparts stood, there towers rose high in air,
And here through seven wide portals rush'd the war.
There with soft step the fair Alcmena trod,
325
Who bore Alcides to the thundering god:
And Megara, who charm'd the son of Jove, 6
And soften'd his stern soul to tender love.

Odyssey. Homer. London. 1858.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) (English) (English (Alexander Pope, 1726, ed. Watson, 1858))

Provisional text from uncorrected OCR; expect errors.

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.) — 11.361 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.) — 11.225 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.) — 11.225 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.225 focus
Thus did we converse, and then proud Persephone sent up the spirits of the wives and daughters of all the most famous men. They gathered in crowds about the blood, and I considered how I might question them severally. [230] In the end I thought that it would be best to draw the keen blade that hung by my sturdy thigh, and keep them from all drinking the blood at once. So they came up one after the other, and each one as I questioned her told me her birth and lineage.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 11.225 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.225 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 11.225 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.225 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 11 focus

Notes on the current edition

Odyssey

1. That is, successive.
2. Each female shade speaks of her ancestry and their deeds.
3. King of Elis.
4. After her amour with Neptune, she was married to her uncle Cretheus. The Enipeus was a river of Thessaly where Salmoneus dwelt before he emigrated to Elis.
5. Daughter of Nycteus, and wife of Lycus, king of Thebes.
6. Hercules.

New Alexandria Commentaries

David Elmer

The so-called “Catalogue of Heroines” is bracketed by references to Persephone’s role in summoning and then dispersing the heroines whose appearances occasion the various entries in the Catalogue. Here, Odysseus stresses that Persephone “bid” the psukhai of the heroines to approach the animals he had slaughtered; at Odyssey 11.385-86, resuming his narration after an “intermezzo” in which he converses with Arete and Alkinoos, Odysseus transitions to the “Catalogue of Heroes” by explaining that Agamemnon appeared “when reverend Persephone scattered in various directions the psukhai of the women.” Odysseus thus presents Persephone as the ‘director’ of this portion of his narrative, a position that corresponds to that of Athena as ‘director’ of the plot of the Odyssey (on Athena as ‘director,’ see Murnaghan 2005, de Jong 2001:66). The emphasis on Persephone, then, is one of several reminders of the fact that the story of Odysseus’ homecoming unfolds as a result of Athena’s active intervention (see note on Odyssey 2.382). It also points to the importance of another female sponsor, Arete, at this particular moment in Odysseus’ story. Odysseus has been advised by Athena that his hopes for a homecoming depend especially on Arete's good will (Odyssey 7.75-9; the importance of Arete in this regard seems to figure the importance of Penelope as the woman on whose good will Odysseus’ homecoming ultimately depends). The “Catalogue of Heroines” has been described as “Odysseus’ gift to Arete” (Pache 1999:28), an effort to appeal to her interests just as the “Catalogue of Heroes” explicitly answers Alkinoos’ request to hear about the psukhai of those who fell at Troy. The appeal is a success: Arete responds by urging the Phaeacians to present Odysseus with additional gifts. By underscoring the importance of Persephone as the one who directs the Catalogue, Odysseus may subtly suggest to his patroness that she has the power to direct the subsequent course of his own story.\r\n\r\n \r\n\r\nReferences\r\n\r\nde Jong, I. J. F. 2001. A Narratological Commentary on the Odyssey. Cambridge and New York.\r\n\r\nMurnaghan, S. 1995. “The Plan of Athena.” In The Distaff Side: Representing the Female in Homer’s Odyssey (ed. B. Cohen) 61-80. New York and Oxford.\r\n\r\nPache, Corinne. 1999. “Odysseus and the Phaeacians.” In Nine Essays on Homer (eds. M. Carlisle and O. Levaniouk) 21-33. Lanham, MD.

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Douglas Frame

analysis of language used to describe the imprisonment of Melampus

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analysis of survival of the role of nóos in the story of Melampus, which suggests a the context of prophesy similar to Teiresias’ relationship to the theme of “returning from death”

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brief analysis of the Dioscuri, who as a combination of immortal and mortal elements, experience an alternation between life and death

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This passage featuring three Athenian heroines belongs to the Panathenaic version of the catalogue of heroines. It is the final such Athenian expansion of the catalogue, and functions as an "Athenian signature." In the last line of the passage the god Dionysus is mentioned in connection with the third Athenian heroine, Ariadne. The form of his name in Greek is the Athenian form versus the usual Homeric form (Διόνυσος, with a short -o- vs. the usual Epic form Διώνυσος, with -ō-), and this is part of the "signature." If the whole signature is deliberate - if it is asserting its Athenian origin- the phrase containing the name Dionysus may have a double meaning. On the surface of the narrative Ariadne is killed Dionusou marturiēisi "on the evidence of Dionysus." In terms of an "Athenian signature" the "evidence of Dionysus" could suggest a slightly different translation, "the evidence of the word Dionysus."

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Gregory Nagy

The encounter of Odysseus with the seer Teiresias in Hādēs is a mystical experience that defines the hero of the Odyssey in a new way: Odysseus now learns that he will have a homecoming that leads to a most startling discovery of his own self as a cult hero in the making.

draft js image error“Teiresias appears to Ulysses during the sacrifice,” (1780–1785). Henry Fuseli (German, 1741–1825). Image via Wikimedia Commons.

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Not only the psūkhē ‘spirit’ of Teiresias but other psūkhai as well can now make mental contact with Odysseus—so long as their consciousness is activated by drinking sacrificial blood: such is the case with Antikleia, mother of Odysseus, O.11.146–153.

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The application of this word in such moments of emotional intensity is not just a metaphor: it is also a metonym, connecting with the dynamics of the cosmos. See the comment at O.19.204–212.

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On this epithet, see the anchor comment at I.03.374.

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The comparison of a psūkhē ‘spirit’ to a dream is relevant to questions about the connotations of this word with reference to unconsciousness.

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I defer here to the definitive analysis of Frame 2009:227-329.

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As we saw at I.02.658, the name of Hēraklēs is linked with the epic theme of biē in the sense of martial ‘force, violence, strength’; even the name of Hēraklēs can be formulated periphrastically as ‘the force of Hēraklēs’. And now we see the same pattern of naming applied to a hero named Iphiklēs. The application is all the more apt here, since the element īs ‘force, violence, strength’ in the name of Iphiklēs is a synonym of biē ‘force, violence, strength’.

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See the comment on O.11.290.

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Kastōr and Poludeukēs, the Divine Twins, are also mentioned at I.03.237. See the comment there.

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Leonard Muellner

in a list of examples of the functional relationship between eukhesthai and phanai (in the context of analyzing genos eukhesthai einai formulas)

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comparison of eukhesthai einai + social relationship with eukhesthai einai + place/father’s name and arguing that the function of eukhesthai in these is ‘say (proudly, accurately, contentiously)’

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analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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in a list of secular eukhesthai reporting speech (absolute usage)

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one of Corlu’s examples of eukhesthai referring to past actions

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analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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place where neither phanai nor eukhesthai are used in the genealogies of the catalogue of heroes in O.11, in the context of the analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai [MRBTP: 'ff']

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place where neither phanai nor eukhesthai are used in the genealogies of the catalogue of heroes in O.11, in the context of the analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai [MRBTP: 'ff']

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analysis of secular eukhesthai (genos-formula) in catalogue poetry in which phanai can substitute for eukhesthai

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