Homer Odyssey 2.1

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Now, reddening from the dawn, the morning ray
1
Glow'd in the front of heaven, and gave the day.
The youthful hero, with returning light,
Rose anxious from th' inquietudes of night.

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.) — 2.1 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.) — 2.1 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.) — 2.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 2.1 focus
Now when the child of morning, rosy-fingered Dawn, appeared, dear Telemachus rose and dressed himself. He bound his sandals on to his comely feet, girded his sword about his shoulder, [5] and left his room looking like an immortal god. He at once sent the criers round to call the people in assembly, so they called them and the people gathered there; then, when they were got together, [10] he went to the place of assembly spear in hand—not alone, for his two hounds went with him. Athena endowed him with a presence of such divine gracefulness [ kharis] that all marveled at him as he went by, and when he took his place in his father’s seat even the oldest councilors made way for him.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 2.1 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 2.1 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 2.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 2.1 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 2 focus

Notes on the current edition

Odyssey

1. Antiphus. See ver. 31.

New Alexandria Commentaries

Gregory Nagy

This epithet of Ēōs, goddess of the dawn, has a prefix ēri-, meaning ‘early’. See the comment at O.19.320.

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The mentoring of Telemachus by Athena continues. First the goddess was Méntēs. Now she will become Méntōr to the young hero. Through the mentorship of the goddess, Telemachus modulates into mental connectivity: he will no longer be disconnected from the epic legacy of his father. As he boards the ship that will take him to Pylos, he is ready to connect with the Odyssey in progress.

draft js image errorTelemachus with Athena as Mentor (1810). Drawing by John Flaxman. Image via Wikimedia Commons.

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Thanks to mentoring by the goddess Athena, Telemachus takes the initiative of assembling an assembly.

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As we see from the context here, the agorē ‘assembly’ that is about to take place now in Ithaca is the first assembly to be assembled since Odysseus had left for Troy twenty years earlier.

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The verb piphauskesthai ‘say formally’, referring here to what is being spoken in the agorē ‘assembly’, can be compared with the active form of the verb, piphauskein ‘say formally’, as it is used at I.18.500 in the context of describing what is happening at an agorē ‘assembly’, I.18.497, which is the context for the litigation scene as depicted on the Shield of Achilles. Whatever is spoken at an assembly like the one that is now in progress, O.02.032, can qualify as dēmion ‘of the community [dēmos]’ if it is public business, not private business. If whatever is spoken at the assembly qualifies as public business, then it is the business of the dēmos. See also the comment on O.02.080. On dēmos as ‘community, district’, see O.01.103; see also I.05.077–078.

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The speech of the old man Aiguptios, O.02.025–034, is described by the Master Narrator as a phēmē ‘something said’, O.02.035. This translation ‘something said’ does not fully capture, however, the deeper meaning of the word, which is something like this: something said that means more than what is meant by the one who says it. Such a deeper meaning is made explicit at O.20.100 and O.20.105. See the comment at O.20.098–121, [HR]3§23. This interpretation of the meaning of phēmē is relevant to the meaning of the “speaking name” (nomen loquens) of Phemios the singer: the adjectival Phēmios is a derivative of the noun phēmē. Accordingly, Phemios is a singer whose songs mean more than what is meant by that singer. See the comment on O.01.342.

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The context here shows that a speaker in an assembly holds the skēptron ‘scepter’ when it is his turn to speak. See I.01.015 and the cross-references there.

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See the comment on O.02.032.

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Leonard Muellner

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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