Homer Odyssey 11.271

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Sullen and sour, with discontented mien
Jocasta frown'd, th' incestuous Theban queen;
330
With her own son 1 she join'd in nuptial bands,
Though father's blood imbrued his murderous hands:
The gods and men the dire offence detest,
The gods with all their furies rend his breast;
In lofty Thebes he wore th' imperial crown,
335
A pompous wretch! accurs'd upon a throne.
The wife self-murder'd from a beam depends,
And her foul soul to blackest hell descends;
Thence to her son the choicest plagues she brings,
And the fiends haunt him with a thousand stings.
340
And now the beauteous Chloris I descry,
A lovely shade, Amphion's youngest joy!
With gifts unnumber'd Neleus sought her arms,
Nor paid too dearly for unequall'd charms;
Great in Orchomenos, in Pylos great,
345
He sway'd the sceptre with imperial state.
Three gallant sons the joyful monarch told,
Sage Nestor, Periclymenus the bold,
And Chromius last; but of the softer race,
One nymph alone, a miracle of grace.
350
Kings on their thrones for lovely Pero burn;
The sire denies, and kings rejected mourn.
To him alone the beauteous prize he yields,
Whose arm should ravish from Phylacian fields
The herds of Iphiclus, detain'd in wrong;
355
Wild, furious herds, unconquerably strong!
This dares a seer, 2 but nought the seer prevails,
In beauty's cause illustriously he fails;
Twelve moons the foe the captive youth detains
In painful dungeons, and coercive chains;
360
The foe at last, from durance where he lay,
His heart revering, gave him back to day;
Won by prophetic knowledge, to fulfil
The steadfast purpose of th' Almighty will.
With graceful port advancing now I spied
365
Leda the fair, the godlike Tyndar's bride:
Hence Pollux sprung, who wields with furious sway
The deathful gauntlet, matchless in the fray;
And Castor, glorious on th' embattled plain,
Curbs the proud steeds, reluctant to the rein:
370
By turns they visit this ethereal sky,
And live alternate, and alternate die:
In hell beneath, on earth, in heaven above,
Reign the twin-gods, the favourite sons of Jove.
There Iphimedia trod the gloomy plain,
375
Who charm'd the monarch of the boundless main;
Hence Ephialtes, hence stern Otus sprung,
More fierce than giants, more than giants strong;
The earth o'erburden'd groan'd beneath their weight,
None but Orion e'er surpass'd their height:
380
The wondrous youths had scarce nine winters told,
When high in air, tremendous to behold,
Nine ells aloft they rear'd their towering head,
And full nine cubits broad their shoulders spread.
Proud of their strength, and more than mortal size,
385
The gods they challenge, and affect the skies:
Heav'd on Olympus tottering Ossa stood;
On Ossa, Pelion nods with all his wood.
Such were they youths! had they to manhood grown,
Almighty Jove had trembled on his throne:
390
But, ere the harvest of the beard began
To bristle on the chin, and promise man,
His shafts Apollo aim'd; at once they sound,
And stretch the giant monsters o'er the ground.

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.) — 11.271 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.) — 11.266 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.271 focus
I also saw fair Epikaste, mother of King Oedipus, whose terrible lot it was to marry her own son without suspecting it in her mind [ noos]. He married her after having killed his father, but the gods proclaimed the whole story to the world; [275] whereon he remained king of beloved Thebes, in great grief for the spite the gods had borne him; but Epikaste went to the house of the mighty jailer Hādēs, having hanged herself for grief, [280] and the avenging spirits haunted him as for an outraged mother—to his ruing bitterly thereafter.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 11.271 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.271 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 11.271 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.271 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 11 focus

Notes on the current edition

Odyssey

1. Œdipus.
2. Melampus, the son of Amythaon. See note on B. xv. ver. 351.

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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At O.11.330, Odysseus breaks off his performance, and the break continues till O.11.385, when the performance recommences. In between, there is a series of polite exchanges between Odysseus as performer and Alkinoos as the primary representative of the audience. The question is, has the duration of the performance become overlong? The answer is: no. On behalf of the audience, Alkinoos insists that Odysseus continue, and the master performer obliges.

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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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