Homer Odyssey 11.321

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There mournful Phaedra 1 with sad Procris 2 moves,
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Both beauteous shades, both hapless in their loves;
And near them walk'd, with solemn pace and slow,
Sad Ariadne, partner of their woe:
The royal Minos Ariadne bred,
She Theseus lov'd, from Crete with Theseus fled:
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Swift to the Dian isle the hero flies,
And tow'rds his Athens bears the lovely prize;
There Bacchus with fierce rage Diana fires,
The goddess aims her shaft, the nymph expires.
There Clymenè 3 and Maera 4 I behold,
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There Eriphylè 5 weeps, who loosely sold
Her lord, her honour, for the lust of gold.
But should I all recount, the night would fail,
Unequal to the melancholy tale:
And all-composing rest my nature craves,
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Here in the court, or yonder on the waves;
In you I trust, and in the heavenly powers,
To land Ulysses on his native shores."

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.) — 11.321 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.) — 11.336 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.321 focus
Then I saw Phaedra, and Procris, and fair Ariadne, daughter of the malignant magician Minos, whom Theseus was carrying off from Crete to Athens, but he did not enjoy her, for before he could do so Artemis killed her [325] in the island of Dia on account of what Dionysus had said against her.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 11.321 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.321 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 11.321 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.321 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 11 focus

Notes on the current edition

Odyssey

1. Wife of Theseus. She falsely accused her step-son Hippolytus of offering violence to her.
2. The wife of Cephalus, king of Phocis, who, with the aid of Aurora, courted her, to try her affection for him, under the form of a stranger, and succeeded in seducing her, an event which led to their separation.
3. Daughter of Minyas, wife of Phylacus, king of some part of Thessaly, and mother of Phaëton by Apollo.
4. An Argive princess, daughter of Prœtus, and mother of Locrus, who assisted Zethus and Amphion in building the walls of Thebes. She was killed prematurely by Diana.
5. Wife of Amphiaraus, the Argive augur, whom she, induced by a bribe, incited to join in the expedition of the seven chiefs against Thebes, though she was aware that he would perish in it.

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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Odysseus characterizes the suffering attendant on the Trojan expedition—including the many deaths depicted in the Iliad—as a consequence of Zeus’ displeasure and the “will (βουλαί) of women.” This description substantially modifies the causal framework put forward by the Iliad, which presents the events it describes as the result of “the will of Zeus” (Διὸς βουλή, as in Iliad 1.5) alone. Odysseus’ reconfiguration of Iliadic causality reflects the distinctive vision of the Odyssey, which portrays female figures as exercising considerable control over events: Athena, with the support of Zeus, is the divine sponsor of the plot (see Murnaghan 2005), and the success of Odysseus’ homecoming is repeatedly represented as depending on the goodwill of various women, above all Penelope. (See also Odyssey 2.382, 11.226).\r\n\r\n \r\n\r\nReferences\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.

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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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It is claimed that the deeds of Clytemnestra have disgraced not only herself but all women, and that women will be blamed for her deeds by way of blame poetry. On the poetics of blame, which is antithetical to praise, see the comments on I.02.216 and on I.03.242.

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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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analysis of the meaning and uses of piphauskesthai, here in the sense of ‘reveal through speech’ (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai)

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