Homer Odyssey 14.109

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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.) — 14.109 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.) — 14.109 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.) — 14.72 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.109 focus
This was his story, but Odysseus went on eating and drinking [110] ravenously without a word, brooding his revenge. When he had eaten enough and was satisfied, the swineherd took the bowl from which he usually drank, filled it with wine, and gave it to Odysseus, who was pleased, and said as he took it in his hands, [115] “My friend, who was this master of yours that bought you and paid for you, so rich and so powerful as you tell me? You say he perished in the cause of King Agamemnon; tell me who he was, in case I may have met with such a person. Zeus and the other gods know, [120] but I may be able to give you news of him, for I have traveled much.” Eumaios answered, “Old man, no traveler who comes here with news will get Odysseus’ wife and son to believe his story. 124 It’s no use! Wanderers in need of food [125] are liars [ pseudontai], and they are unwilling to tell true things [ alēthea mūthēsasthai]; every one who finds his way to the district [ dēmos] of Ithaca goes to my mistress and tells her falsehoods, whereon she takes them in, makes much of them, and asks them all manner of questions, crying all the time [130] as women will when they have lost their husbands. And you too, old man, for a khiton and a cloak would doubtless make up a very pretty story. But the wolves and birds of prey have long since torn Odysseus to pieces, and his psūkhē left him behind; [135] or the fish devoured him in the sea [ pontos], and his bones are lying buried deep in sand upon some foreign shore; he is dead and gone, and a bad business it is for all his friends—for me especially; go where I may I shall never find so good a master, [140] not even if I were to go home to my mother and father where I was bred and born. I do not so much care, however, about my parents now, though I should dearly like to see them again in my own country; it is the loss of Odysseus that grieves me most; [145] I cannot speak of him without reverence though he is here no longer, for he was very fond of me, and took such care of me that wherever he may be I shall always honor his memory.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 14.109 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.109 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 14.109 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.109 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 14 focus

New Alexandria Commentaries

Douglas Frame

example of a line which displays the ambiguity of halṓō, meaning either “to be captured” or “to be killed.” Only external evidence makes the meaning clear. However, the opposition between pheúgein and halonai is clear

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Gregory Nagy

Now that he has finally returned to his homeland of Ithaca, Odysseus must accomplish another kind of return: he must be restored to kingship. Such a restoration, however, must start from the bottom up. The goddess Athena, his ultimate benefactor but occasional antagonist, has made Odysseus seem to be ‘base’ on the outside, hiding his inner moral nobility. Only those who are likewise morally ‘noble’ will be able to read, as it were, the hero’s true nature. Meanwhile, the coded tales told by Odysseus point toward the truth of his kingship—without revealing it outright. A telling example here in Rhapsody 14 is the second Cretan tale told by Odysseus: it is about a Cretan princeling, not unlike the dapper figure we see in the romanticized restoration of a Minoan fresco as featured in the cover-illustration for Rhapsody 14.

draft js image errorMinoan—probably Neopalatial—fresco commonly known as the “Lily Prince.” Whatever the exact type of this personage (perhaps a crowned acrobat, according to the interpretation of Maria Shaw), the Lily Prince is certainly a Minoan of elite standing. Public domain image based on a famous watercolor by Émile Gilliéron of a reconstruction by Arthur Evans. Image via Wikimedia Commons.

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This scenario, where a man falls overboard into the sea and dies, so that his body is devoured by fish, is a “favorite fear” that motivates the epithet ikhthuoeis ‘fish-swarming’ as an adjective describing pontos ‘crossing [of the sea]’. See the comment on I.09.004.

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Here at O.14.192–359 we see the second example of “Cretan lies” told by Odysseus in the context of his re-entry into the kingdom of Ithaca. The first example is at O.13.256–286. The concept of “Cretan lies” was introduced in the anchor comment at O.01.284–286 on Cretan Odyssey.

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ἐκ μὲν Κρητάων γένος εὔχομαι εὐρειάων

I say-solemnly [eukhesthai] that I was born and raised in Crete, the place that reaches far and wide

(What follows is epitomized from Nagy 2017.04.11 5§§27–28.) Odysseus, disguising himself as a Cretan princeling, begins with a statement about his origins. He says he is from Crete. In the singular, Krētē refers to the island of Crete. But here at O.14.199 we see the plural Krêtai, which cannot mean a multiplicity of islands named Crete. There is no such thing. Rather, we see here an elliptic plural, meaning ‘Crete and everything that belongs to it’. And of course whatever belongs to Crete are all the Aegean islands and lands controlled by the thalassocracy of Crete (HTL 163–164, following Muellner 1976:70). At O.19.178, we will see a pronoun that refers to Crete, and, like the noun Krêtai here at O.14.199, that pronoun too appears not in the singular but in the plural. So, again at O.19.178, we will see an elliptic plural. Also, in the comment on O.07.078–081, I noted a parallel example: it is the elliptic plural Athênai, which means ‘Athēnē and everything that belongs to it’. My translation here shows ‘it’ instead of ‘her’ for a simple reason: the fact is, the singular form Athēnē refers not only to the goddess Athena but also to the place that she personifies. As we see at O.07.080, the noun Athēnē in the singular can refer not only to the goddess Athena but also to the place that she controls, which was primarily the acropolis of Athens. So, to put that singular form into the plural, which is an elliptic plural, is a way of referring to all the places controlled by the acropolis of Athens. Besides Athênai in the sense of ‘Athens’, other such elliptic plurals include Mukênai ‘Mycenae’ and Thêbai ‘Thebes’. See the comment on O.07.078–081 (see also, again, HTL 163-164). On ellipsis in general, see the comment on I.04.196; also on I.06.209, I.07.015–017.

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(What follows is epitomized from HPC 289–290, where I offer supplementary bibliography.) A comparable pairing of Ares and Athena as divinities of war is found at I.18.515–519. See the comments on those lines. As I noted already in those comments, such a pairing of Ares and Athena is so old as to be traceable all the way back to the Bronze Age. Here I offer some details. As we know from the documentary evidence of the Linear B tablets found in the palace of Knossos in Crete, the divinities Athena and Ares (in that order) are paired as symmetrical recipients of offerings: in one tablet, V 52, a-ta-na-po-ti-ni-ja is listed together with e-nu-wa-ri-jo and pa-ja-wo-ne and po-se-da-o-ne. I interpret these syllabic spellings as follows: a-ta-na-po-ti-ni-ja = Athānāi potniāi or perhaps Athānās potniā (see the comment on O.07.078–081), e-nu-wa-ri-jo = Enūaliōi, pa-ja-wo-ne = Paiāwonei, po-se-da-o-ne = Poseidāonei. As we know from the evidence of Homeric diction, the divine name Enūalios became an epithet of Ares, as we see for example at I.18.211. In some Homeric contexts, as at I.20.069, Enūalios is a god in his own right, distinct from Ares, just as Paiāwōn (Homeric Paiēōn) is in some contexts distinct from Apollo, as at I.05.401, I.05.899–900. As for the name of Ares, it too is attested in the Linear B tablets, Knossos Fp 14 and Fp 5816, in the form a-re = Arei. The Cretan connection of Athena and Ares is attested here at O.14.216 as well, where Odysseus in the second of his “Cretan lies” represents himself as a Cretan prince who professes his devotion to these two divinities in moments of crisis in battle. I should add that the pairing of Ares and Athena in the world of images represented on the Shield of Achilles is expressed by way of bronzework that is overlaid with gold, I.18.517–519. Such a technique of metalwork, as narrated on the Shield, is notionally linked to the heroic age or, as archaeologists would say it, to the Bronze Age.

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Leonard Muellner

analysis of the passages in the Odyssey that imply that a basic component of the story of Odysseus’ return, the massacre of the suitors, is a variant of the mēnis theme

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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contrast between Telemachus and Odysseus disguised as a nobleman who has fallen on hard times in their use of phanai and eukhesthai, respectively, in speaking of their genos

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in a list of attestations of genos eukhesthai einai and its transformations and analysis of the archaism in this verse

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contrast between Telemachus and Odysseus disguised as a nobleman who has fallen on hard times in their use of phanai and eukhesthai, respectively, in speaking of their genos

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in a list of attestations of genos eukhesthai einai and its transformations

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example of the pairing of question and answer regarding identity (between man and god) in Ancient Greek that matches the Avestan model

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