Homer Odyssey 14.401

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'Doubtless, O guest! great laud and praise were mine,'
'(Replied the swain,) 'for spotless faith divine,
'If, after social rites and gifts bestow'd,
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'I stain'd my hospitable hearth with blood.
'How would the gods my righteous toils succeed,
'And bless the hand that made a stranger bleed?
'No more-th' approaching hours of silent night
'First claim refection, then to rest invite;
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'Beneath our humble cottage let us haste,
'And here, unenvied, rural dainties taste.'

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.) — 14.401 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.) — 14.401 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.) — 14.390 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 14.401 focus
“And excellence [ aretē] famed among men would be mine,” replied Eumaios, “both now and hereafter, if I were [405] to kill you after receiving you into my hut and showing you hospitality. I should have to say my prayers in good earnest if I did; but it is just time [ hōrā] for supper, and I hope my men will come in directly, that we may cook something savory for supper.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 14.401 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 14.401 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 14.401 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 14.401 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 14 focus

Notes on the current edition

Odyssey

1. Every meal among the ancients was a kind of sacrifice of thanksgiving to the gods; and the table, as it were, an altar. Pope,
2. Mercury, son of Maia. He was regarded as the protector of those engaged in rustic occupations, and in the pursuit of gain. In this rural sacrifice, says Pope, Eumaeus joins Mercury with the nymphs, probably because he was the god of commerce, which was chiefly carried on in the early ages by the barter of sheep and oxen for the commodities of the merchant. And the representation of Mercury in ancient images carrying a ram on his shoulders, observes Madame Dacier, we may sufficiently explain by saying, that when the rustic required any of the adventitious comforts of life, he had only to carry a sheep to the city.

New Alexandria Commentaries

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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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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See the comment on O.14.063.

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The theme of abduction by gusts of winds is analyzed at length in the comment at O.15.250–251.

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This expression ep’ anthrōpous ‘throughout humankind’ is conventionally associated with words referring to remembrance by way of song. See the anchor comment on I.10.213.

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We see here a rare Homeric glimpse of a sacrificial practice where sacrificers deposit choice cuts of meat in honor of the gods.

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Syntactically, the premise here reinforces the probability of the wish.

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|462 κέκλυθι νῦν, Εὔμαιε καὶ ἄλλοι πάντες ἑταῖροι, |463 εὐξάμενός τι ἔπος ἐρέω· οἶνος γὰρ ἀνώγει, |464 ἠλεός, ὅς τ’ ἐφέηκε πολύφρονά περ μάλ' ἀεῖσαι |465 καί θ’ ἁπαλὸν γελάσαι καί τ' ὀρχήσασθαι ἀνῆκε, |466 καί τι ἔπος προέηκεν, ὅ πέρ τ' ἄρρητον ἄμεινον. |467 ἀλλ' ἐπεὶ οὖν τὸ πρῶτον ἀνέκραγον, οὐκ ἐπικεύσω.

|462 Listen to me now, Eumaios and all you other companions! |463 Speaking proudly [eukhesthai], I will tell you an utterance. The wine is telling me to do so. |464 Wine, distracting as it is, impels even the thinking man to sing |465 and to laugh softly. And it urges him on to dance. |466 It even prompts an utterance that may be better left unsaid. |467 But now that I have shouted out loud [anakrazein], I will not suppress it.

The wording here, as delivered by the disguised Odysseus to Eumaios, is cognate with the poeticized replication of a festive occasion in the words of Pindar, Nemean 7.75–76:

ἔα με· νικῶντί γε χάριν, εἴ τι πέραν ἀερθείς | ἀνέκραγον, οὐ τραχύς εἰμι καταθέμεν.

Your indulgence, please! If I—to reciprocate the victor—shouted something out loud [anakrazein] as I soared too far up, I am not unversed in bringing it back down.

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The discourse of the disguised Odysseus, shown here in the act of speaking to Eumaios, matches the discourse of a poet/singer who is performing at a festive occasion.

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Leonard Muellner

association of (a verbal derivative of) opis and mēnis

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in the list of offenses that (threaten to) incur mēnis

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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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analysis of the formula (A), in which there is a series of variations in the verse as a totality, rather than its segments occurring as independent formulas, contrasted with a whole-line formula (winged words) where segments are substituted

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in a list of secular eukhesthai indicating direct speech (introducing speech)

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analysis of the non-formulaic eukhesthai introducing speech in this verse, which is nevertheless analogous to formula (X) (death eukhesthai), though it is not followed by a death announcement but an adventure tale (traditional function aborted by genre-suppression)

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analysis of the non-formulaic eukhesthai introducing speech in these verses, which is nevertheless analogous to formula (X) (death eukhesthai), though it is not followed by a death announcement but an adventure tale (traditional function aborted by genre-suppression)

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analysis of the non-formulaic eukhesthai introducing this speech, which is nevertheless analogous to formula (X) (death eukhesthai), though it is not followed by a death announcement but an adventure tale (traditional function aborted by genre-suppression)

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comment on Odysseus’ lack of a cloak in the Doloneia in I.10 in contrast to the other heroes’ elaborately described cloaks, in the context of analyzing O.14.463-466, where the disguised Odysseus tells Eumaios a story of when he tricked Thoas out of his cloak during an ambush

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