Homer Odyssey 11.601

View: By Book

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.) — 11.601 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.) — 11.601 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 11.601 focus
After him I saw mighty Hēraklēs, but it was his phantom [ eidōlon] only, for he [ autos] is feasting ever with the immortal gods, and has lovely Hebe to wife, who is daughter of Zeus and Hera of the golden sandals. [605] The spirits were screaming round him like scared birds flying in all directions. He looked black as night with his bare bow in his hands and his arrow on the string, glaring around as though ever on the point of taking aim. About his breast there was a wondrous golden [610] belt adorned in the most marvelous fashion with bears, wild boars, and lions with gleaming eyes; there was also war, battle, and death. The man who made that belt, do what he might, would never be able to make another like it. [615] Hēraklēs knew me at once when he saw me, and spoke piteously, saying, ‘My poor resourceful Odysseus, noble son of Laertes and seed of Zeus, are you too leading the same sorry kind of life that I did when I was above ground? [620] I was son of Kronian Zeus, but I went through an infinity of suffering, for I became bondsman to one who was far beneath me—a lowly man who set me all manner of labors [ āthloi]. He once sent me here to fetch the hound of Hādēs—for he did not think he could find any āthlos harder for me than this, [625] but I got the hound out of Hādēs and brought him to him, for Hermes and Athena helped me.’
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 11.601 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 11.601 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 11.601 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 11.601 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 11 focus

Notes on the current edition

Odyssey

1. "This passage," says Pope, "affords full evidence that the ancients believed in a partition of the human composition into three parts: the body is buried in the earth; the image descends into the regions of the departed; and the soul, or the divine part of man, is received into heaven, or returns to the deity whence it emanated. Thus the body of Hercules was consumed in the flames, his image is in hell, and his soul in heaven."
2. Mercury.

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.

source

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.

source
Douglas Frame

analysis of language used to describe the imprisonment of Melampus

source

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”

source

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

source

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."

source

analysis of antithetical fates of Achilles and Odysseus as contrasted by the by the “wits” of Odysseus and Achilles’ fate amongst the “mindless” dead

source

reference to Odysseus’s remarks that Achilles is even a king in the underworld

source

reference to Achilles’ response that he would rather be a serf in life that a king amongst the dead – a reference to Achilles’ juxtaposition with Odysseus (the one who has nóos will return, the one who does not will not)

source

citation of Odysseus’s appraisal of himself and Nestor as the foremost Greek counselors. Suggests that whereas Nestor symbolizes nóos, Odysseus makes nóos effective

source

analysis of Nestor’s battle with the Epeians as latent conveyor of traditional conception of Nestor as leader of his people from the dark night of danger to the daylight of victory

source

analysis of the traditional story in which Nestor alone survived the attack of Heracles on Pylos

source

description of the near extinction of the people of Pylos before Nestor’s cattle raid and battle rout. Evidence for contention that Nestor brings his people back to life

source

quoted and translated: reference to the fact that Nestor, as the only son of Neleus associated with life, is the only one to survive Hercules’ attack on Pylos

source

description of the near extinction of the people of Pylos before Nestor’s cattle raid and battle rout. Evidence for contention that Nestor brings his people back to life

source

description of the near extinction of the people of Pylos before Nestor’s cattle raid and battle rout. Evidence for contention that Nestor brings his people back to life

source
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.

source

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.

source

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.

source

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

source

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

source

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

source

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’.

source

See the comment on O.11.290.

source

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

source

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.

source

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.

source

The scene of this encounter in Hādēs between Odysseus and the psūkhē ‘spirit’ of Achilles exemplifies the general tendency in Homeric poetry to shade over any indications of immortalization after death.

source

The nekroi ‘dead’ who are in Hādēs, O.11.475, have no consciousness: they are aphradees ‘non-conscious’—precisely because they are in Hādēs.

source

Odysseus pays Achilles the compliment of addressing him here as phertatos 'the best'.

source

Achilles says that he would give up the status of a king among the dead if he could only be alive again—even if he became an abject underling in life. It is as if Achilles were now ready to trade places with Odysseus.

source

It is implied here that Ajax, not Odysseus, is really the second-best of the Achaeans.

source

Odysseus blames the misfortunes of Ajax on the Will of Zeus, saying that the god is aitios ‘responsible’. See the comments on I.01.153, I.11.078–079, I.19.086–088, O.01.032–034.

source

Minos presides here as judge in Hādēs, and this positioning of Minos was imitated by Hippias of Elis, as we read in Plato’s Hippias Minor.

source

This form may be compared with krataiḗ as analyzed in the comment on I.05.083. Its meaning can be explained as ‘having a power that has violence’. See also the comment on O.12.124.

source

On the use of bíē Hēraklēeíē ‘force of Hēraklēs’ to name Hēraklēs, see the comment on I.02.658.

source

At O.11.602–604, it is said that Hēraklēs, described here as autos ‘himself’, O.11.602, is in Olympus, together with the immortal gods and married to Hēbē, so that the vision of Hēraklēs that is seen in Hādēs is just that, an eidōlon ‘vision’, at O.11.602. At I.01.004, we have seen that autoi ‘selves’ refers to dead bodies of heroes, to be contrasted with the word psūkhē ‘spirit’, which refers to either (A) the life-force of heroes when they are alive or (B) the disembodied conveyor of identity when they are dead—as in the case of the psūkhai ‘spirits at I.01.003. See the comment on I.01.003–005. At O.11.602–604, by contrast, the autos ‘self’ that is Hēraklēs is no longer dead but regenerated and thus immortalized. We may infer, then, that the psūkhē ‘spirit’ of Hēraklēs as his life-force has been reunited with his body, with his self, and that is why his psūkhē in Hādēs must be seen as a disembodied conveyor of his identity—as a mere eidōlon ‘vision’.

source

The word that is used here for what we translate as the Labors of Hēraklēs is aethlos (āthlos) ‘ordeal’, O.11.622 and O.11.624. See the comment on I.03.125–128.

source

Hereas of Megara (FGH 487 F 4, via Plutarch Theseus 20.1-2) argued that Peisistratos interpolated this verse about Theseus. As I argue, such narratives about textually added verses reflect the mechanism of expansion (vs. compression) in oral poetics.

source

After departing from Hādēs, Odysseus and his companions get back into their ship and navigate toward the sea by way of the Ōkeanos, O.11.639.

source
Leonard Muellner

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

source

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)’

source

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

source

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

source

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

source

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

source

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

source

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']

source

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']

source

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

source

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)

source

analysis of the connections of mēnis, status/social hierarchy, and death [MRBTP: 'ff']

source

comment on the only other three figures besides Hector for whom descent from Zeus is given, in the context of analyzing the only place in the Homeric corpus where a dative noun after eukhesthai is not a god/gods (but Hektor, and references to his ‘godhead’)

source