Homer Odyssey 4.100

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'Still in short intervals of pleasing woe,
'Regardful of the friendly dues I owe,
'I to the glorious dead, for ever dear!
130
'Indulge the tribute of a grateful tear.
'But oh! Ulysses-deeper than the rest
'That sad idea wounds my anxious breast!
'My heart bleeds fresh with agonising pain;
'The bowl and tasteful viands tempt in vain;
135
'Nor sleep's soft power can close my streaming eyes,
'When imaged to my soul his sorrows rise.
'No peril in my cause he ceas'd to prove,
'His labours equall'd only by my love:
'And both alike to bitter fortune born,
140
'For him to suffer, and for me to mourn!

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.) — 4.147 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.) — 4.100 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.) — 4.76 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 4.100 focus
I often grieve, as I sit here in my house, for one and all of them. At times I cry aloud for sorrow, but presently I leave off again, for crying is cold comfort and one soon tires of it. Yet grieve for these as I may, I do so [105] for one man more than for them all. I cannot even think of him without loathing both food and sleep, so miserable does he make me, 106 since none of the Achaeans struggled so much 107 as Odysseus struggled and achieved. For him there would be 108 cares in the future, whereas I would have an unforgettable grief [ akhos alaston] always, for he has been gone a long time, and we know not [110] whether he is alive or dead. His old father, his long-suffering wife Penelope, and his son Telemachus, whom he left behind him an infant in arms, are plunged in grief on his account.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 4.100 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 4.100 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 4.100 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 4.100 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 4 focus

Notes on the current edition

Odyssey

1. It may seem strange that Helen should at first view recollect the features of Ulysses in Telemachus; and that Menelaus, who was better acquainted with him, and his constant friend, should not make the same observation. But Athenaeus, to reconcile this to probability, says, that women are curious and skilful observers of the likeness of children to parents. Pope.

New Alexandria Commentaries

Gregory Nagy

With the continued aid of the goddess Athena, young Telemachus now becomes an ideal guest for his new hosts, Menelaos together with Helen. The identity of Helen as a goddess becomes more evident now that she is back in Sparta. This divine identity will point to the future immortalization of the hero Menelaos by virtue of his winning back Helen as his consort.

draft js image error“The Fair Helen.” Willy Pogany (Hungarian, 1882–1955). Image via.

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Epitome from Nagy 2016.02.18§§1–4

[§1] The wording about to be quoted describes the very first impression experienced by the young hero Telemachus when he sees the splendor of the palace of Menelaos and Helen. We join the action as Telemachus and his traveling companion, the young hero Peisistratos, son of Nestor, are both being escorted into the palace of Menelaos and Helen:

|43 αὐτοὺς δ’ εἰσῆγον θεῖον δόμον. οἱ δὲ ἰδόντες |44 θαύμαζον κατὰ δῶμα διοτρεφέος βασιλῆος· |45 ὥς τε γὰρ ἠελίου αἴγλη πέλεν ἠὲ σελήνης |46 δῶμα καθ’ ὑψερεφὲς Μενελάου κυδαλίμοιο. |47 αὐτὰρ ἐπεὶ τάρπησαν ὁρώμενοι ὀφθαλμοῖσιν …

|43 They were escorted inside the heavenly [theion] palace. Seeing what they were seeing, |44 they were filled with awe [thauma] as they proceeded through the palace of the king, that man whose origins are celestial. |45 There was a gleam [aiglē] there, which was like the gleam of the sun or the moon, |46 spreading throughout that palace famed for its high ceilings, that home of radiant Menelaos. |47 But then, after they had feasted their eyes on what they saw …

O.04.043–047

[§2] At this point, the story proceeds to take the visitors through a series of welcoming rituals, followed by a grand dinner arranged by Menelaos as the gracious host, O.04.047–070. And now the dinner conversation gets underway, starting with words of appreciation spoken by Telemachus and intended for Menelaos. Telemachus speaks here as a grateful guest, addressing his fellow guest Peisistratos, son of Nestor, but his words are really intended for Menelaos as the generous host. I will now quote these words of Telemachus as spoken to the son of Nestor—words that not only compliment Menelaos but also express most sincerely the young guest’s awestruck reaction to the splendor of the king’s palace:

|71 “φράζεο, Νεστορίδη, τῷ ἐμῷ κεχαρισμένε θυμῷ, |72 χαλκοῦ τε στεροπὴν κατὰ δώματα ἠχήεντα |73 χρυσοῦ τ’ ἠλέκτρου τε καὶ ἀργύρου ἠδ’ ἐλέφαντος. |74 Ζηνός που τοιήδε γ’ Ὀλυμπίου ἔνδοθεν αὐλή, |75 ὅσσα τάδ’ ἄσπετα πολλά· σέβας μ’ ἔχει εἰσορόωντα.”

|71 “I want you to notice something, son of Nestor, you who are so dear to my heart: |72 notice the flash [steropē] of bronze [khalkos] as its light pervades the echoing hall |73 and also the flash of gold and of electrum and of silver and of ivory. |74 I’m guessing that Zeus, who lives on Olympus, has such a hall inside his palace, |75 and he would have as many indescribable things as are here. A sense of holy awe [sebas] takes hold of me as I look at these things.”

O.04.071–075

[§3] What first catches the young man’s eye here is all the shining bronze he sees. And then it’s the gold, then the electrum, then the silver, and finally the ivory. But the first impression is the bronze, all that bronze. The light that he sees streaming from the bronze envelops everything with its radiance, and it’s just like heaven for the young man.

[§4] “Thought I’d died and gone to heaven.” The colloquial saying that I just quoted, which has become the title of a popular song recorded in 1991 by Bryan Adams, captures the young man’s awareness that he has just experienced something celestial. The reduced theology of this kind of imagined heaven resembles the celestial realm of the ancient Greek gods. Their ‘sky’ or ouranos, as we read at I.17.425, is traditionally visualized as ‘made of bronze’, khalkeos (χάλκεον οὐρανόν). This expression shows its own special kind of reduced theology: from out of the sky, when it’s bright, the gleam of a mighty bronze dome envelops everything on earth. Presiding over this bronze dome is the god Zeus, whose heavenly residence is called the khalkobates dō, ‘the palace with floor made of bronze’ (χαλκοβατὲς δῶ), I.01.426; I.14.173, I.21.438, I.21.505, O.08.321—a residence situated high above Mount Olympus, I.01.426, I.21.438, I.21.505. As we will see at O.07.084–090, the heavenly residence of Menelaos is comparable to the palace of Alkinoos (latinized as Alcinous), king of the Phaeacians.

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Menelaos laments here the sorrows of Trojan War, O.04.093–112, and Telemachus responds by weeping, O.04.113–116. These sorrows are accentuated by the personal involvement of heroes like Menelaos and Odysseus as main participants in the war. The very idea of lament, as signaled elsewhere by words like penthos and akhos, is seen here as an aspect of genuine narrative about the heroic world. As we are about to see, such a genuine narrative is to be contrasted with the false narrative induced by the drug nēpenthes, O.04.221, which prevents contact with the emotional world of lament. For the interpretation of nēpenthes as ‘negating sorrow [penthos]’, I refer ahead to the comment on O.04.220–226.

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On aethlos (āthlos) ‘ordeal’ in the specific sense of ‘ordeal of war’, see the comment on I.03.125–128.

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At O.04.113–116, we saw that Telemachus weeps in response to the laments of Menelaos over the sorrows of the Trojan War. And now we see at O.04.182–185 that Telemachus weeps again in response to further laments of Menelaos, whose sad words are at this point referring directly to the disappearance of Odysseus; also weeping are Helen and Menelaos himself, O.04.184–185, and Peisistratos too, O.04.186–189, who laments the death of his brother Antilokhos in the Trojan War. As we are about to see, the emotions conjured by such events as transmitted in genuine narratives about the Trojan War are to be contrasted with the absence of emotions in a false narrative induced by the drug nēpenthes, O.04.221, which prevents contact with the emotional world of lament. For the interpretation of nēpenthes as ‘negating sorrow [penthos]’, I again refer ahead to the comment on O.04.220–226.

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On the traditions surrounding the death of Antilokhos, son of Nestor and brother of Peisistratos, see the anchor comment at Ι.08.078–117 on: Nestor’s entanglement and the poetics of evocation. See also the comment on I.09.057–058.

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Leonard Muellner

analysis of the development of Greek posis compared with Vedic pati-

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