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THE PHAEACIANS OF HOMER
THE PIHAEA CIAN EPISODE
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THE ODYSSEY
AS COMPRISED IN THE
SIXTH, SEVENTH, EIGHTH, ELEVENTH, AND
THIRTEENTH BOOKS
WITII
INTRODUCTION, WOTES AND APPENDIX
By AUGUSTUS C. MERRIAM, PH.D.
ADJUNCT PROFESSOR OF GREEK IN COLUMBIA COLLEGE, NEW YORK
|LLUSTRATED
NEW YORK
HAR PER & B R OTHERS, FRAN KLIN SQUARE
I 88 2
Entered according to Act of Congress, in the year 1880, by
HARPER & BROTHERS,
In the Office of the Librarian of Congress, at Washington.
PR. E. F. A. C. E.
SINCE the usual curriculum of the American college requires
that some portion of the Iliad shall be read by candidates for
admission, the Odyssey comes, in natural sequence, within the
first year's course after entrance. The present edition of the
Phaeacian Episode is the outgrowth of several years' experi-
ence in teaching classes in such a course, and the aim through-
out has been to meet the wants which this experience has de-
monstrated. To lay a foundation of grammatical knowledge
upon which the student could tread firmly and securely in his
subsequent course has been deemed the first essential. For
this purpose, constant reference to the grammars has been
made, and occasional questions introduced to direct attention
to particular points. Road-building is as indispensable as it
is laborious; but it must not be forgotten that the adjacent
regions may be full of interest, profit, delight—nay, that the
former is only a means to an end; the latter offer the real
fruit to be plucked day by day as the work goes on. This is
signally true of the Homeric field, where we wander beside
the fountains from which such copious floods stream down the
centuries along all the highways of civilization to our own
day. After all the diversity of opinion touching the date of
the Homeric poems, most scholars have regarded them as sub-
stantially the product of a single age, and “contemporary
evidence for the phenomena of primitive Greek civilization;”
as such they are treated in the accompanying notes. Like
the poet's own Calypso's isle, they present a region so fair
vi PREFACE.
that even a god might stay his steps to gaze in delight upon
it, as it lifts itself on high, the omphalos of a sea of time that
stretches on through many a generation, with scarce a resting-
place for the foot of the adventurous traveller, till the shores
of historic Hellas emerge into view. These many genera-
tions, now so dark to us, teemed with the ferment of change
that was fraught with momentous consequence to later days.
Looking upon the poems as standing thus remote and apart,
at the very gate of our dawn, how manifold are the questions
with which the student may turn his inquiring gaze towards
the resplendent Eos, coming to announce its light unto men
Iłightly to understand historic Greece, the inquirer must
know all the nooks and corners of this Dawnland ; and
rightly to search these out, he must take the poems as his
main authority, and not confuse the later with the earlier,
but recognize once and always the wide expanse that lies
between dawn and midday, the rosy-fingered and the bright
serene. To train the student in these methods of investiga-
tion, to set before him the means of becoming familiar with
the ways of thinking, feeling, acting, in that wondrous Dawn
Age, and of making his work a real literary study—these are
some of the aims embodied in the notes. That the student
in college has both time and inclination for work of this kind
is fact, not theory.
In preparing the notes, I have had constantly before me the
commentaries of the Scholiasts and Eustathius, of Nitzsch,
Ameis, Faesi, and Düntzer, of Hayman, and of Merry in his
school edition of the first twelve books of the Odyssey. Mer-
ry's large edition did not appear until the notes on the Sixth,
Seventh, and the larger part of the Eighth Book were com-
pleted, so that little use was made of it. To these authorities
are to be added especially Gladstone's Studies on Homer and
the Homeric Age, and his Juventus Mundi, the first two vol-
umes of Mure's Critical History of Greek Literature, the
PREFACE. vii
Realien of Friedreich and of Buchholz, Seiler's Homerisches
Wörterbuch, and the Index Seberi, that marvel of patient toil.
From these sources and many others information has been
freely drawn whenever it came within the scope of my plan.
To work upon the materials gathered by our predecessors is
the privilege and the duty of a later day. It is not easy to
say anything new on the subject of Homer. The field has
been dug to the lowest subsoil. Yet there is something still
left to a close study of the text and the purpose of the poet.
To any who may differ with me on questions of mere opinion,
I can only say with the ancient poet,
oroi pew rauta Sokouvt’ oro, poi 8é ré8e.
As to matters of fact, I have labored hard to eliminate errors;
doubtless many will be discovered still by keener eyes. We
all strive after accuracy; it is a hard thing to attain.
The text followed is that of Dindorf, with a few changes
mentioned in the notes.
I take pleasure in acknowledging the courteous permission
extended me by General di Cesnola to use the plates from
his “Cyprus,” and my thanks are also due to Messrs. Charles
Scribner's Sons for a similar favor in the case of the “Troy’”
and “Mycenae” of Dr. Schliemann. The cuts from these re-
cent and valuable sources for Homeric illustration will, I think,
add largely to the value of this work.
AUGUSTUS C. MERRIAM.
CoLUMBIA Co.LEGE, }
May, 1880.
A3%
INTRODUCTION.
I.
AN OUTLINE OF THE HOMERIC QUESTION.
y
3 */ 2
ëv 6’ 3pts, év 3’ &\ki, Šv 3& Kovágaroa iwkij.
Bomerum Colophoni; civém esse dicunt suum, Chii swum vindi-
cant, Salaminii repetunt, Smyrnaei vero Suum esse confirmant; ita-
que etiam delubrum ejus in oppido dedicaverunt: permulti alii pray-
tered pugnant inter se atque contendumt.—Cic. Arch. 8.
This familiar passage well represents the uncertainty that
prevailed in antiquity relative to the birthplace of Homer; in
the dates, likewise assigned to him, we find a diversity of some
450 years, from before B.C. 1104 to B.C. 684. Lycurgus is said
to have brought the poems from Asia Minor or Samos to Sparta,
and we hear of their recitation by rhapsodists at Sicyon about
B.C. 600, and Solon, soon after, introduced improved regulations
with regard to their recitation at Athens. Peisistratus is accred-
ited with a recension of the poems, under the editorship of Ono-
macritus, Conchylus, Zopyrus, and Orpheus of Croton; and their
contemporaries Xenophanes of Colophon and Theagenes of Rhe-
gium wrote commentaries on the text. Subsequently many edi-
tions were made, among them one by Aristotle for Alexander the
Great, and numerous changes were wrought in the text, until it
came into the hands of the Alexandrian grammarians, who fixed
it in the form we now possess, making it their aim to return as
far as possible to the Peisistratidean recension.
In early days, several poems of the Epic Cycle went under the
name of Homeric, until the critics rejected all as ungenuine ex-
cept the Iliad and Odyssey. These were attributed to Homer by
IX INTRODUCTION.
the consentient voice of antiquity, save of a few who were called
Chorizontes, or Separatists, of whom two only are named, Xenon
and Hellanicus. They thought that the two poems were by sep-
arate authors; but in this.they were controverted by the Alex-
andrian School, notably by Aristarchus, with such arguments that
the subject appears to have been laid at Test, and Homer sat like
a god unshaken on his throne till modern days. Vico, Casau-
bon, Bentley, Hedelin, first cast doubts on the authorship of the
poems, but theirs were conjectures thrown out at random, with-
out any sound arguments to support them. But, soon after the
Venetian Scholia on the Iliad were discovered and published, F.
A. Wolf, of Halle, put forth his famous Prolegomena, or Introduc-
tion to Homer, in 1795. In this he undertook to show that the
Iliad and Odyssey were not two complete poems, but small, sep-
arate, and independent epic songs, celebrating single exploits
of heroes, and written down and united as the Iliad and Odys-
sey for the first time by Peisistratus. This position, supported
as it was by arguments both plausible and acute, startled the
whole literary world by its boldness and apparent novelty, and
it not only won for itself many converts, but excited strong op-
position. War was soon declared between the two camps, and
the struggle has raged with varied tide of success up to the pres-
ent day.
The arguments of Wolf may be classed under four heads:
1. Without the art of writing, these poems are too extensive
and complicated to be either composed or transmitted; and
throughout their whole extent everything is calculated to be
heard, and nothing to be read. No epitaphs nor any other in-
Scriptions are mentioned, and coins are unknown. When the
Greek heroes are casting lots for a champion to engage in the
single combat with Hector (H 181–89), that of Ajax, which leaps
forth first, has to be handed round by the herald till it comes to
Ajax himself before it is recognized. Wolf says that if this had
been anything like writing, the herald would have read it aloud
at once. So the “folded tablet ’’ of Z 169 contained notas Sew
signa guadam, non veram Scripturam, literarºlm. Hence writing
was entirely unknown at the time of the Trojan War, and could
AN OUTLINE OF THE HOMERIC QUESTION. xi
not have been common when the poems were composed ; in-
deed, it only came into vogue with the introduction of prose
composition. (Prolegom. xix, XX.)
To this it has been answered :
Writing is not indispensable to the composition of the Iliad
and the Odyssey. Long poems have been known to be com-
posed and kept in mind for some time without being commit-
ted to writing, and the lays of the Icelandic skalds were pre-
served for more than two hundred years by Oral transmission.
One of the songs of the Kalmuk Tartars sometimes lasts a whole
day. Again, this could be done much more easily in times when
the artificial aid of writing was absent and the memory was more
carefully trained and exercised. Indeed, there were Greeks of
the historic period who knew the poems by heart, as Niceratus
in Xenophon's Symposium. But it is at least open to doubt
whether Wolf's view of the late introduction of writing into
Greece is not overstated.
2. The bard would have no inducement to compose works so
extensive, since they could not be read, and the only opportunity
for their being heard would be at banquets and festivals, at
which it would be possible to recite but a small portion. (Prol-
egom. xxvi.)
To this it has been answered :
Musical contests were wont to be held, connected with great
national festivals, at which thousands assembled, anxious to hear
and patient to listen. The Athenians could hear at one festival
in succession nine tragedies, three Satyric dramas, and as many
comedies. Nay, such masterpieces would be sufficient of them-
selves to gather such an audience.
3. Before the time of Peisistratus the poems did not exist as a
whole. (Prolegom. xxxiii.)
To this it has been answered :
An Iliad certainly did exist before the First Olympiad. The
regulations of Solon presuppose a certain definite form for both
poems. The task of Peisistratus was restoration, not creation.
IIe did not produce a combination that had not existed previ-
xii INTRODUCTION.
ously, but he settled it anew after it had been disturbed by the
uncertainties of oral transmission. His act was more political
than literary.
4. Both Iliad and Odyssey exhibit a lack of unity, traces of
later interpolations and of the piecing-together of different parts,
as well as many contradictions and inconsistencies. (Prolegom.
xxvii-xxxi.)
To this it has been answered:
Many of the greatest critics have extolled the structure of
both Iliad and Odyssey, as exhibiting that unity which is born
of the highest art. Contradictions and discrepancies may tell as
much for the poet as against him. We accept them in Virgil,
Dante, and Shakespeare, although the works of these poets were
all committed to writing at the very first. The poet is carried
away by his own thought; he cannot descend to all the minutiae
of detail. But while it is impossible to regard the Homeric
poems as a mosaic work, however perfect the joints, it is likely
enough that in course of transmission many lines or whole scenes
may have crept into the text, or have been designedly interpo-
lated. Those who are influenced by the list of discrepancies
forget to assign due importance to the remarkable uniformity
and consistency that run through the various characters, not
only of each poem separately, but in both alike, where the same
personages appear in the two. It is not denied that Homer is
indebted to tradition and to existing songs for many of the ad-
ventures of his heroes, and for a few broad outlines of their char-
acters; but to weave this material into a harmonious epic, with
all the nice discrimination of character and the balancing of one
against the other, is the work of the highest genius. One great
epic poet is the pride and boast of a nation; if many authors
combined to produce the Iliad and Odyssey, the combination
were marvellous, unexampled, and incredible.
Tachmann, starting from the position assumed by Wolf, has
carried out to its legitimate conclusion the work which Wolf
left unperformed, though he lived a comparatively long life after
the publication of his Prolegomena. Lachmann professed to de-
AN OUTLINE OF THE HOMERIC QUESTION. xiii
tect in the Iliad eighteen separate and independent lays, by dif.
ferent authors and without any mutual connection. Each lay,
originally complete in itself, was afterwards expanded, till, after
many years of Oral transmission (greatly facilitated by the work
of the Homeridae and other guilds of poets and reciters), the
whole was thrown into its present shape by the recension of
Peisistratus.
Though the Odyssey has been treated somewhat similarly, the
patches have been deemed larger, and therefore less numerous.
Hennings finds in it two distinct epic poems, pieced more or less
closely together, i.e. a Telemacheia and an Odysseia. Kirchhoff
discerns an original and early nucleus of considerable extent, de-
scribing the return of Odysseus. This was added to by a later
poet of less power who preceded the first Olympiad. A third
poet, about the thirtieth Olympiad, added the parts relating to
Telemachus, and considerable other matter.
Grote was of opinion that the two poems were by different
authors, but were to be assigned to the same age. While he has
no doubt about the unity of the Odyssey, he advances the theory
that the Iliad is composed of an original Achilleid, which con-
sisted of Books I., VIII., XI.-XXII. About this were built Books
II.-VII., X., XXIII., and XXIV., like additions to a house, form-
ing the Iliad proper; but the entire edifice was constructed
within the same generation, whether by the same or different
hands. The Ninth Book, however, was an unsuitable and later
addition.
Since then, Paley has attempted to show that our Iliad and
Odyssey are later than Peisistratus, and, in fact, must have been
put into their present shape in or about the time of Pericles.
Still more recently, Geddes, in his “Problem of the Homeric
Poems,” taking the theory of Grote as his ground-work, seeks to
prove that the Achilleid is an older poem, composed by a Thes-
Salian bard, while the remaining books of the Iliad and all the
Odyssey are the work of an Ionian, “none other than the Homer
whom all ages have conspired to reverence.”
Among other names that may be classed with the followers
of the Wolfian theory, with its various modifications, may be
mentioned F. Schlegel, Heyne, W. Müller, Thiersch, Hermann,
xiv INTRODUCTION.
Ritschl, Köchly, Düntzer, G. Curtius. In the opposing camp are
found Goethe, Schiller, Kreuser, Voss, K. O. Müller, Welcker,
Nitzsch, Ameis, Coleridge, Clinton, Thirlwall, Mure, Blackie,
Hayman, Gladstone. In our own country, Dr. Charles Anthon,
towards the close of his life, was a cautious Wolfian; President
Felton a pronounced believer “that the Wolfian theory has not
an inch of ground to rest upon.”
II.
SUMMARY OF THE ODYSSEY.
Cis
The poet invokes the Muse to tell of the hero who, after ten
years spent far from home in the siege of Troy, and ten years of
wanderings in distant seas, winning knowledge of cities and
men, is still an exile in the island of Calypso, where he has been
detained for the last seven years, and where he is weeping his
life away in longing for the dear native land he cannot reach.
Poseidon is his enemy, for the blinding of Polyphemus, and it is
in his absence among the AEthiopians that Athene declares, in the
council of the gods, that the fated time has come for the return
of Odysseus, and urges Zeus to send Hermes to Calypso with an
order for his release. She goes herself to Ithaca, where nothing
has been heard from the absent king since his departure from
Troy, and where all but the constant-hearted Penelope and her
son Telemachus, whom Odysseus had left but a babe at his de-
parture, have abandoned every hope of his return. For three
years one hundred and eight young nobles of Ithaca and the Sur-
rounding islands have been daily frequenting the palace as suit-
ors for the hand of Penelope, growing more insolent for every re-
fusal of the queen to decide among them. Hither Athene comes
in the guise of Mentes, an old-time guest-friend of Odysseus, and,
after entertainment by Telemachus, tells him to call a public as-
sembly and enter a protest against the oppression of the suitors,
and then undertake a journey to Pylos and Sparta, to seek ti-
dings of his father. She then disappears, Penelope descends for
SUMMARY OF THE ODYSSEY. XV
a moment from her upper chamber to entreat the bard Phemius
to stay his mournful song of the Woe of the Achaeans, and Te-
lemachus surprises the suitors by his bold words among them.
The day comes to a close; the suitors depart into town for the
night; and Telemachus retires to rest, pondering the great event
of his projected voyage.
6.
On the following morning, Telemachus calls an assembly, in
which he makes his maiden speech, denouncing the suitors and
requesting a ship for his voyage. Antinous and Eurymachus,
the leaders of the suitors, justify their own conduct by throwing
the blame on Penelope, who, after authorizing the wooing by a
promise to select a husband on completion of her pretended
web, had treacherously failed of performance. They carry every-
thing before them in the assembly, and refuse the request of Te-
lemachus for a ship. Athene, however, in the guise of Mentor,
borrows one for him from Noemon, and gathers a crew at evening.
Telemachus visits the store-room, where he discloses to the old
nurse Eurycleia his intended departure, but enjoins secrecy upon
her, procures provision for the journey, and sets sail in the even-
ing with Athene-Mentor as his guide.
Y.
He arrives in the morning at Pylos, and finds Nestor and his
people on the sea-shore offering a hecatomb to Poseidon. Nestor
recounts the fate of the heroes of Troy, all of whom had either
perished or resettled in their native seats, except Odysseus, of
whom he has heard nothing since they came as far as Tenedos to-
gether, on his way home, but there parted. Athene, disappearing,
is recognized by Nestor, and he offers to her a rich sacrifice on
the following day. He advises Telemachus to visit Menclaus at
Sparta, supplies him with horses and chariot for the journey, and
sends his youngest son, Peisistratus, as his companion. They rest
the first night at Pherae.
8.
Late the next day they reach Sparta, where they find Menelaus
celebrating the marriage of his daughter Hermione with Neop-
tolemus. Menelaus had returned home after eight years' wander-
xvi INTRODUCTION.
ing about Cyprus, Phoenicia, Egypt, and Libya, gathering such
wealth of presents that his palace was marvellously adorned.
While he is entertaining the guests, Helen enters the hall in great
state, and immediately recognizes Telemachus by his likeness to
his father. Next day, Menelaus relates his travels, and acquaints
Telemachus with what he had heard from Proteus, the prophetic
sea-god, of Odysseus' detention in the island of Calypso, and he
urges his remaining at Sparta for a time, promising gifts. Here
the scene shifts to Ithaca ; and the suitors learn, for the first
time, of the voyage of Telemachus from Noemon, who asks them
when Telemachus will be back. They thought him out in the
country visiting his farm. Antinous proposes to waylay him on
his return, and they all assent. He accordingly fits out a vessel
for that purpose, and takes his station at the island Asteris in the
channel. Penelope, informed by the herald Medon of the plot
against her son, is wild with grief, till comforted by a dream
sent by Athene.
€e
Athene again, in the council of the gods, reminds Zeus of the
detention of Odysseus, and he now despatches Hermes to Ogygia,
where he commands Calypso to send the hero on his way home-
ward. She reluctantly furnishes Odysseus with implements to
build a vessel, which he constructs within the space of four days,
and then sets sail. For eighteen days he voyages the vast deep
with a favorable breeze, till he sights the land of Scheria in the
distance, when he is espied by Poseidon, who is just returning
from the AEthiopians. The deity, in his wrath, raises a storm
that scatters the timbers of the vessel like chaff upon the thresh-
ing-floor. Odysseus, stripping off his garments, swims on for
two days, aided by the magic scarf of the sea-goddess Ino, till at
last he makes land at the river-mouth, at some distance from the
city of the Phaeacians. Here he falls fainting from utter exhaus-
tion. When he revives, he seeks a neighboring covert, and falls
asleep ensconced in a heap of leaves.
£-
Nausicaa, daughter of Alcinous, king of the Phaeacians, warned
by Athene in a dream, descends in the morning, with her damsels,
SUMMARY OF THE ODYSSEY. xvii
to the river-mouth, to wash the family vestments. Odysseus,
roused by their voices, awakes and implores her protection. She
Supplies him with food and raiment, and instructs him to follow
her to a grove near the city, where he is to remain till he thinks
she must have arrived at the palace.
th.
The princess, reaching home, proceeds to her chamber, and
Odysseus, entering the town, is met by Athene in the guise of a
girl, and conducted to the palace, where he is hospitably received
by Alcinous, and promised convoy home. The queen, Arete, rec-
ognizes the garments given him by Nausicaa, and questions him
about them. He relates his voyage from Ogygia, his shipwreck,
and the succor given him by Nausicaa.
0.
On the morrow he is handsomely entertained with song and
games, is presented with rich gifts, which Arete packs in a chest,
and is told by Alcinous that he must disclose his name and na-
tive land, that the marvellous ship, already prepared for convoy-
ing him, may take him to his destination.
U.
The hero complies with the request, and relates his departure
from Troy, his attack on the Ciconians of Thrace, his seizure by
storm-winds when rounding Malea, whence he is swept out of
his course to the land of the Lotophagi, and his adventures in
the cave of Polyphemus, from which he escapes after blinding
the monster.
Ke
Odysseus next describes his arrival at the island of Æolia, and
his hospitable reception by the Steward of the Winds, who at
parting gives him the adverse gales secured in a bag. The good
intentions of Æolus are frustrated by the folly of the crew, who
open the bag, and the fleet is driven back to the island. They
then sail on to the port of the Læstrygonians, by whom the
whole fleet is destroyed, with the exception of the hero's own
xviii INTRODUCTION.
vessel and crew. He next arrives at the island of the enchant-
ress Circe, where, after baffling her magic arts by the aid of Her-
mes, he is entertained a whole year.
A.
By the advice of Circe, Odysseus proceeds to the realm of
Aides, to consult the seer Teiresias regarding his future desti-
nies. After sailing for a day from Circe's isle, he arrives at the
mouth of Oceanus, near which he finds the entrance to the un-
derworld, whence the spirits of the dead are sent up to be seen
and questioned. First comes Teiresias, then the ghosts of hero-
ines of the past; among them his mother, who tells him of her
death through heart-sick longing for him. After he has told how
these passed before him, the hero pauses; but, being urged to pro-
ceed, he relates his dialogue with Agamemnon and Achilles, and
how he saw Ajax, Heracles, and other heroes, till, terrified lest he
might see the Gorgon, he retreats to his ship and returns to Cir-
ce's abode. -
Ho
Leaving there with directions from Circe as to his homeward
route, he sails past the Sirens and the Cyanean Rocks, between
Scylla and Charybdis, which lie escapes with the loss of six men
devoured by Scylla, and reaches at last the island. Thrinakia,
where fºre Sun-god pastured his cattle. Odysseus had been
warned by Circe not to slaughter any of these, and so he in-
formed his companions; but they, long wind-bound and hun-
gered, one day, in his absence, commit the sacrilegious act. The
flayed skins crept about of their own accord, and the flesh lowed
upon the spits. On again setting sail, the vessel is destroyed by
Zeus, and Odysseus alone escapes and is carried to the island
of Calypso. Here his story ceases.
We
Next morning more presents are given him, and he is feasted
through the day. At nightfall he embarks on the galley, whose
speed is that of thought, and at early dawn is set ashore fast
asleep in a harbor of Ithaca, together with his valuables. As
the Phacacian galley is entering the harbor on its return home,
SUMIMARY OF THE ODYSSEY. xix
Poseidon Smites it into a rock. Odysseus, awaking, is accosted
by Athene, who informs him of his son's absence in Sparta, and
of the ambush of the suitors. She promises her assistance in his
schemes of vengeance, and, transforming him into an aged beg-
gar, she bids him proceed to the steading of his swineherd,
Eumaeus, while she goes to Sparta to send Telemachus home.
§.
Odysseus, on approaching the steading of Eumaeus, is attacked
by the dogs, but is protected and hospitably entertained by the
swineherd, who still faithfully and lovingly remembers his lord,
but despairs of ever Seeing his face again. The beggar assures
him with an oath that Odysseus will return shortly, and relates
a series of fictitious adventures, in the course of which he pro-
fesses to have just heard of Odysseus in Thesprotia.
Ge
Athene warns Telemachus to return home, avoiding in his voy-
age the ambush of the suitors; and, on reaching Ithaca, to visit
the swineherd first. Accordingly, after receiving presents from
his host and hostess, he retraces his former route with Peisistra-
tus, and arrives at Pylos. When about to embark, he is accosted
by the seer Theoclymenus, a fugitive from Argos on account of
homicide, to whom he affords a passage to Ithaca. The vessel
escapes the ambush by a circuitous course. The same evening
Eumaeus relates how he was kidnapped in early boyhood from
his father's palace in Surie, sold to Laertes, and brought up in
the family. At dawn Telemachus lands, sends on his galley to
the city, and proceeds direct to the swineherd's dwelling. The-
oclymenus, before parting, prophesies the speedy restoration of
the affairs of Odysseus.
º's
Telemachus finds Odysseus at breakfast with Eumaeus, whom
he sends to apprise Penelope of his return. Odysseus, restored
by Pallas to his natural form, reveals himself to his son, and
they concert measures for the destruction of the suitors. In the
meantime, the vessel of Telemachus enters the port of Ithaca,
and soon after the suitors' galley, disappointed of its object, re-
XX INTRODUCTION.
turns. Antinous proposes a fresh attempt on the life of Telema-
chus, but is dissuaded by the less depraved Amphinomus. Pe-
nelope, informed by Eumaeus of the arrival of Telemachus, re-
proaches the suitors with their designs against her son’s life.
Dumaeus, in the course of the evening, rejoins Telemachus and
Odysseus, now retransformed by Athene into a mendicant.
P-
Telemachus walks into town next morning, takes Theoclyme-
nus to the palace, and repeats to his mother what he had heard
from Menelaus. Theoclymenus renews his prophecy of the hero's
speedy return. Eumaeus and Odysseus set out later in the day
for the town; and at the fountain the hero is insulted by Melan-
thius, one of his own goatherds. Arriving before the palace,
Odysseus is recognized by the old hound Argus, who dies for
joy at the sight. Within, as he begs among the suitors, he
is insulted and struck by Antinous. Penelope hears the blow,
inquires about the stranger from Eumaeus, learns that he pro-
fesses to bring tidings of her husband, and appoints an inter-
view with him for that evening.
Oſs
The public beggar Krus appears and seeks to drive Odysseus
away. He is egged on by Antinous to fight Odysseus, and re-
ceives a frightful punishment at the hero's hands. Penelope,
counselled by Athene, makes her appearance to chide the suitors
for wooing without presents. Her words and her beauty win
rich gifts, which are presented on the spot. Eurymachus, scoffing
at Odysseus, is met with words so bold that he becomes enraged,
and hurls a stool at him, but it strikes the cup-bearer. Telem-
achus calms the tumult, and gets rid of the suitors for the
night. -
ºre
Odysseus and Telemachus, when left alone, remove the weap-
Ons from the palace hall. Penelope appears, and her maid Melan-
tho treats Odysseus with derision, but is sternly rebuked by her
mistress. The queen explains to him her stratagem of the web,
and he wins her confidence by professing to have entertained
SUMMARY OF THE ODYSSEY. xxi
her husband in Crete on his way to Troy, and by describing the
garments he wore. She orders a foot-bath for him, and this is
given him by his old nurse Eurycleia, who recognizes him by
a scar received in his youth from the tusk of a boar when hunt-
ing on Parnassus; but, warned by Odysseus, she conceals the dis-
covery. Penelope resolves to entertain the suitors on the mor-
row with a contest of archery, in shooting with the bow of
Odysseus between the horns of twelve double-bladed axes, the
winner to have a prior claim to her hand.
*Je
Odysseus, reposing in the corridor, is enraged to see some of
the serving-women going forth to join their paramours among
the suitors; but he still abides his time. Next morning being
the feast of Apollo and the New Moon, the revels of the suitors
are renewed at an early hour. Melanthius, the goatherd, and
Philoetius, a loyal neatherd, arrive with cattle for the daily ban-
quet. The murder of Telemachus is again proposed in the
council of the suitors, and the project again dropped at the
instance of Amphinomus. Ctesippus throws an ox-hoof at the
head of the disguised king. Theoclymenus warns them of their
approaching fate in the sublime language of prophetic vision,
but is ridiculed by Eurymachus, and retires to the house of
Peiraeus in the town.
4.
Penelope brings forth the bow of Odysseus from the store-
room, and challenges the suitors to the test in the hall. Not one
of them is able even to string it. The hero reveals himself to
Eumaeus and Philoetius outside the palace by means of the scar
observed by Eurycleia. Returning to the hall, he asks leave to
try the bow. The suitors object, but, on the retirement of Penel-
ope, Eumaeus, at the bidding of Telemachus, brings the bow and
arrows to his master, and commands Eurycleia to keep all the
women in their rooms. Philoetius secures the doors of the hall,
and Odysseus, stringing the bow with the hand of a master,
easily shoots his arrow through the line of axe-heads. Zeus
thunders from on high, and Telemachus steps to the side of his
father with arms in his hands.
xxii INTRODUCTION.
Xe
Thus supported by Telemachus, and by Eumaeus, Philoetius,
and Athene, Odysseus assaults the suitors. His first arrow
strikes down Antinous as he is raising the wine-cup to his lips,
and the next lays Eurymachus low. Telemachus slays Am-
phinomus, and supplies his party with fresh weapons from the
armory. Melanthius, detected in a similar attempt, is caught
by Eumaeus and Philoetius, and bound fast. In the end, the
whole suitor crew are destroyed, except Phemius the bard and
Medon the herald, both having been secretly faithful to the
interests of the family, amidst an apparent adherence to the
suitors. Melanthius and twelve of the women are hanged in the
court-yard.
t!. -
Eurycleia informs Penelope of the return of Odysseus, of the
death of the suitors, and of her recognition of the hero by the
scar on his leg. Penelope descends to the hall, and, though
at first incredulous, is finally convinced of the identity of her
husband by his describing the construction of his bed, which
was known only to herself, Odysseus, and one trusty servant.
The hero, anticipating a tumult among the relatives of the suit-
ors, resolves to withdraw at daybreak to the farm of his father,
Laertes, and take further measures for the re-establishment of
his authority. On retiring to rest, he recapitulates his past ad-
ventures to Penelope, with the mysterious prophecy of Teiresias
relative to his future destiny.
Qe
Hermes conducts the souls of the suitors to Hades. Odysseus,
on arrival at the farm of Laertes, finds him working in his gar-
den, and reveals himself to him. The friends of the suitors, in-
stigated by the father of Antinous, march to avenge the death of
their patrons. Odysseus and Laertes, together with his trusty
slave Dolius and his sons, attack and defeat the rebels; and,
through the interposition of Athene, peace and royal authority
are restored.
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f 3. f ~ 93
ëpšov čTwc Ś0&gic kaf rot p(\ov #TAero Guuſj.
2 * * *
Tºp 8' hueiſber’ Tetta Tſoostědov čvogíx0a v
& & ºf z 2 3 * >! & X & e 3. /* *
aipá k’ &ydov špāaluv, keVauvé'pěc, dog áyopsistg
3. 3
âAAá obv aiei 0wuðv ÖTíčouat #8 &Assíva).
vöv at Patíkov č0éAaj Tepuka)\\éa vija,
º * 3. gº e &
ik TouTúc à vuoioav, v iispostěči Tóvrºp
C -, ºf 3 #8 * 2 XXí QN a *ē
gaſoat, iv' ièm oxºvrat, àToMAñéool & TouTſic
• / 32
av006Tov, uéya èé a piv Špoc T6As, duptka)\fflat.
* 2 3 A. /*
Töv 8 aſſausſºusvoc Tpoo pm vspºnyspéra Zé
•; A. •y * ** sº r: 3/
“ & Tétrov, dog utv fuq) {}vuº Šokci cival &ptoſta,
g"
• 2 & A. •) Af ./.
ôTTórs kev 8) Távrec ŚAavvouávny Tpotēovrat
* 3. *A A sº Af 5 Af /*
Xaoi äTô TT6Atoc, beiva, Aíðov yºyá0 yafm.c
A. - ºf eſ /* e?
1mi 0off ike) ov, iva 0avuáčwouv Štravrég
P 5
ăv000Tot, uéya 8é optv čgoc TóAst àuptka), Ölai.”
Aüråp Tai Tôy’ &kovo's Hoostôāov čvooty:009,
gº & 5 3/ • f er A A.
{3ſ 6 laev čc >xspiny, 60, Paínkeç yeyáaoty.
f f
#v6 usv’
iſ 88 uáXa axs&ov iiNv0s Tovtotrópoc imúc
135
140
I 55
T GO
44 OATY'XXEIAX N.
e º gº º
6tupa Sutokouévn' Tiſc 88 oxečov \0' voo (Yôtov,
ey Xà #6) * > / •P {}
Ög utv \aav č0mke kai éppíčoo’ev čvepôsv
Xsupi karatronvét éAáoac' à è véa pt [bsºiret.
* e 3.
Oí Šē Tpog áXXñAovg Tea Trepčevſ' dyöpsvov 165
Ap p
‘Painksc 8oNixflperuot, vavaíkAvrot &vöpec.
* y *
68s 8é Tug eitreakev ièöv Éc TAmatov &\\ov
“”Q uol, tíc 8) via {}ońv čTréðma' vi tróvrºp
• gº 25
ołka8 Xavvopévnv; kai Öh Toowºpatveto Tāoa.
y © psy
*Qc àpa tug attreaks rà è owk to av Óg £rérvkto. 170
sº 2 2 Ap > A. * a e
toiatv 8’’AAkivoog áyopia aro kai ustéettsv
• Af
“’O Tóirot, fi uáXa Śā us traXafqata 0%a patº irávº
Tarpoc àuoiſ, 6c ēpagks IIogetöäov' &yágaoffat
iniv, oùveka TouToi äTăuovág siaev atrávrov.
wº 3. gº *&
‘pi, Torè Patákav avépěj v Tepuka)\\éa vija, 175
ëk TouTſic &vtovo av, Év iispostěči Tóvrº
ir, ºré, , , Éva è ſuiv čooc T6Ast duduka)iſtleu,
patospas vat, putya o mutu Opog Toast apt !17.
X gº gº
ôc àyópsv’ 6 yépov Tà è? 3) viv távra TeXEirat.
âXX’ 5/ 6” e 2\ y \ 3/ {} /* {} Ae – e.
a/VA a yew , wc av eyov ettro, Tetuousua TravTEg
TouTúc uév Taüoraaffs [3potöv, Örs kév tic ixmrat I 80
y
juárspov Tooti úatv IIoastèawwu 88 raûpove
868ska kekptuévove ispsûgouev, at k \sſion,
gº? 5
plmö juïv Tspíunkeg öpoc tróAst apºptka)\{\lºn.”
V
*Qc ēpaff', oi & #88sto av, Šroupéogavro Šē raûpouc.
t\ e A. « » 3/ Sá >P *
ðg oi Auáv Ó' Eixovro IIoostěčovi ävakti 185
3% 4. 6 A. hè? £8
ńuov patijkov i yüTopsø mºč ačöovtsc,
ãaraóreg Tspi (30p16v.
NOTE. S.
ABBREVIATIONS.
H.—Hadley's Greck Grammar.
G.—Goodwin's Greek Grammar (ed. 1879).
G. M.–Goodwin’s Greek Moods and Tenses.
C.—Curtius’ Greek Grammar.
Am.—Ameis, Odyssey.
F.—Faesi, Odyssey.
Aut.—Autenrieth, Homeric Dictionary.
Eust.—Eustathius.
L. and S.–Liddell and Scott's Greek Lexicon.
Düntz.--Düntzer, Odyssey.
Short, Essay.—An Essay on the Order of Words in Attic-Greek Prose,
by Charles Short, LL.D., in Yonge's English - Greek Lexicon, ed-
ited by Henry Drisler, LL.D.
NOTE. S.
JBOOK WI.
'O8vororetos Z, “the Zeta of the Odyssey.” This is more fully
expressed by Tô Tijg 'Oövaa’etag Z Toàppa, or ‘H Tijg 'Oóvoastaç Z
"Pal/ſpöta.
The Iliad and the Odyssey were first divided into their twenty-
four books by the greatest of the ancient editors of Homer,
Aristarchus, who flourished B.C. 222. He assigned as titles to
the several books of each poem the letters of the alphabet in
succession from A to Q. Hence a book was named Ypáppa; but
Often the term jail, pöta was chiployed, which in earlier days had
represented so much of the poem as a rhapsode or reciter as-
Sumed to himself or was allotted at the great festivals. Before
the division by Aristarchus, there was no method of citing par-
ticular parts of the poems cxcept by titles indicative of their
contents, as 'AAkivov &TóXoyog (Aristotle, Plato) for Od. BRs. 9–12,
and this method was not infrequent later. Such titles, 3rtypa-
pai, are still prefixed to each book, but are seldom used in cita-
tion. The system followed in the notes below is that of naming
the books of the Iliad by the capital letters of the Greek alpha-
bet, and those of the Odyssey by the small letters.-'Oövororéos
each rhapsody had two titles, one prosaic, the other in metre.
The metrical title of this rhapsody is,
Zijra öé Navoukáa Kópavo' év XXEpty 'O' voija.
1. *Qs with accent must be carefully distinguished from Öc
y 8.5 Q
without accent: the former is the demonstrative adverb, “in this
way,” “thus;” the latter is the relative conjunction, “in which
48 NOTES.
way,” “how,” “as,” etc. &c is very frequent in Hm.; but when
its pronoun ö, lapsing into the article, passed out of use as a
demonstrative in prose except in a few set phrases, as 6 pºv, & 6é,
kai Tów, and oijrog took its place, &c also disappeared, Save in the
formulae cai &c, oùó’ &c, pºmó’ &c, and otºrwg became its substitute.—
6, demonstrative, “he,” to which 'O&vaasic stands as appositive;
II. 500 d ; G. 140, Note 2. This construction lays the foundation
for the declension of 6 to its use as article, by the gradual ap-
proach of subject and appositive till they stand in juxtaposition.
For the process, compare m 230, 21, & 117, 141, 6 TAjuov 'Oóvasúg,
K 231 ; on m 55. — #vča, “there,” beneath the sheltering thicket
of the olive-trees, described at the close of the Fifth Book; see
Summary of Odyssey, and on & 127, 138. — mo)\{T}\as is an exclu-
sive epithet of Odysseus, used 5 times in the II. and 35 times in
the Od. This preponderance in the Od. is due to the difference
of subject and the greater prominence of the hero and his suffer-
ings. It here conveys an especial emphasis, following as it does
directly upon the point where the poct has reduced his protago-
nist to the lowest degree of exhaustion and suffering to which
he is subjected. From this time on, his fortunes mend. Akin
to TroXüTAag are TAjuov and Taxaq (ºpov. Patient endurance with
Hm. is a prime virtue, and Odysseus is its fullest exponent.—
8tos; see on 3, 117.
2. čarvº . . . &pmblévos, “by sleep and weariness mastered.” For
the figure in §Typ, see on m 289.-àpm;1évos, a solitary form of un-
known lineage. Perhaps its nearest of kin is the Ionic &patomuá-
voc, from aipé0. It is a close synonym of Ösépumpiévoc, as shown
by the parallel passage à 318, where Odysseus, arrived in Ithaca,
relates, in his beggar-guise at the hut of Eumaeus, a feigned story
of his wanderings—how he had been cast ashore on the Thes-
protian coast, as here on the Scherian, and how the Son of the
king, as here the daughter, having found him ał904) kai kapuárq,
Ösépumpuévov, led him to the palace. Cf. ) 318, v 119. – attap was
Originally & Präp, in which the F is sometimes vocalized to v,
Sometimes dropped, even in Hm., as & 69. aštáp is epic Only:
&Táp occurs among the Attic poets, and rarely in Plato and Xeno-
phon, who affected many poetic words. *
3. Bā; what is the usage of IIm. with respect to the omission
BOOK WI. 49
of the augment, and how does it compare with that of the later
poets? H. 307 D.—és and eis Hm. uses at will, and the tragic
poets imitate him. Hólt. has ic regularly, and even Thuc. writes
the same for the most part. Otherwise, Attic prose has sic.—
d’avikov stands in attributive apposition to &vöpöv, and assumes
thereby the character of an adjective; H. 500 a ; C. 361, 11.
This use of a national appellative is found in all ages of the
Greek language. The order of the two words in the text is by
far the more common one in Hm., and is frequent enough later.
The phrase dathic. &vöp. is found 8 times in Hm. to about 70 in-
stances of qauāk. without àvöp., showing that the latter is rather
an ornamental than a necessary adjunct, as in 6 ávöpeg orparn-
yot, etc. For similar expressions, see 9456, & 52, in 103, 347, 20.
–8716v may be either people or country; 9 157, v 186, 322, &
195, 202. - -
4. Trpiv trot', “in elder days.”— eipuxápºp is used in Hm. of the
cities Sicyon, Ithaca, Iolcos, Mycalessus, and of the countries Hel-
las, Elis, Lacedæmon, Hypereia. If the second element is xopóg,
it refers to the wide dancing-grounds so much in use in the an-
cient cities; 0.260; or if it be xàpoc, it is wide-spaced, containing
wide plains.—‘Yºrepetim, “the Highland,” explained by some as
meaning high to the north, by others as containing mountains.
Perhaps we may imagine the Phaeacians inhabiting a spacious
valley opening towards the Sea, like that of Lacedæmon. In the
surrounding mountains dwelt the Cyclopes, and in the same land
was the home of the Giants, m 58, 206. Hm. Supplies us with no
data for fixing the locality, but it was anciently identified with
Sicily.
5. KukAótrov. The Cyclopes of Hm. are a gigantic race of
shepherds of cannibalistic tendencies, dwelling upon the sum-
mits of lofty mountains in hollow caves. They possess no cities,
nor ships, and, as the height of barbarism, they have neither
public assemblies, nor counsellors, nor laws. The little form of
government they do possess is patriarchal. They respect neither
gods nor men, t 275. The rights of the stranger, so sacred in the
eyes of the Greek and the Phaeacian, are unknown. In fact, they
are conceived as the exact opposites of the Phaeacians in char-
acter and habits, as if the poet had created them for the express
4-y
*D
50 NOTES.
purpose of making the one the foil of the other. The later leg-
end, found as early as Hesiod, that they were but three in num-
ber, and that they were the assistants of Hephaistos, is totally at
variance with Hm. The phrase &vöpów irrepnvoped vrov (itspºtá-
\ov, a 106), “men of monstrous pride,” paints their character as
a class.
6. ordeas, how Scanned ? H. 37; G. 10; C. 39. — oruvéorkovro,
“kept harrying,” the iterative imperfect representing the con-
tinued past action as repeated. What other tense and voice use
this iterative form 2 How is it made 3 H. 410 D.; C. 334; G.
119, 10. It is not confined to Hm., but is found among the epic
writers, the Dorians, in Hólt., and occasionally in the Attic poets.
—Bímdhu . . . morav, “for in strength mightier were they.”— Bümqi ;
H. 206 D., 609. The Phaeacians are an ease-loving people and
care not for the bow and the quiver; 9 248, & 270. Polyphe-
mus stolidly answers Odysseus' appeal to the rights of guestship
by declaring that he must be a simpleton or come from afar, if
he thinks the Cyclopes regard either Zeus or any of the gods,
#Trety) troXè ſpéptspot sipuev, t 276. This étrét) exemplifies the 83 of
the passage before us, where, as often, it expresses the reason and
stands for #Tret or yap, not only in Hm., but also in later Greek,
though less frequently: on & 169.
7. &vaorrígas, “having made them to rise up.” What dis-
tinction between the transitive and intransitive tenses of tormut 7
H. 416: C. 329. Migration under pressure from more powerful
neighbors must have been a strong clement among the causes
that peopled Europe out of Asia. An historical parallel to the
case of the Phaeacians is that of the Phocaeans of Ionia, who, be-
ing hard pressed by the Persians under Harpagus, launched their
penteconters, embarked their wives and children, household ef-
fects and all, and sailed away to Corsica.
8. eforev 6: Xxeptºm, “and seated them in Scheria.” The Omission
of the preposition is poetic; H. 612. Even in Hm., where this is
most common, it is a comparatively rare construction, and still
more so in the lyric and tragic writers. Some read Ö' év here.
The Phaeacians, with their marvellous ships and devotion to the
Sea, would, like the Phocaeans, think only of removal by Sea in
order to free themselves from such troublesome neighbors. But
BOOK WI. 51
to be rid of all troublesome neighbors, that they might lead
in security their life of unruffled ease, they would be likely to
choose an island home. See on 3, 204, m 9, 239. Was Scheria a
mere figment of the poet's imagination without a local habita-
tion, or was it the geographical Corcyra, as was popularly be-
lieved by the Greeks at least as early as the days of Thucydides 2
—āAdmorráov, not found in the Iliad, and but twice elsewhere in
the Od.; if derived from &\pt, #6ety, it is equivalent to girov #601,–
Tsc; cf. 9 222. But the older interpretation from &\psiv, to ac-
quire, is “gain-seeking,” and the phrase (for it is habitually used
with āvāosc) is distinctly applied to merchants in the Hymn
to Apollo, and in AEsch. Thus it lias an added significance
here, for the Phaeacians are not only remote from all other
men, but not even merchants visit them; cf. & 205, 278, m 9,
0 161–64. -
9. &pidi . . . tróAet, “and around, a Wall he ran for a city.”—-
āpdi is adverbial; see on v 119. &pſpi with the dat. has in Hm.,
like most prepositions, a strong tendency to stand at the begin-
ning of the clause, especially with Čá. While its position is thus
fixed, its noun is more or less free to subscrve the poet's con-
venience in the metrical and rhetorical construction of his line;
cf. &ppi 38 xiipa (\m, 66AEw £yxei, p 433; dupi & Xsipac Čelpff 3&MA'
'Oövoji, l, 207; &pupi 68 Trauði pi\p 3&Ms Tſixes, p 38: also m 142,
0.426,434. The compound &ppeXačva) never came into use.—éAao-
ore : in the figure employed the wall is regarded as a creature to
be driven: 482, n 86, 113, 109; on m 29. — méAel; H. 597, v 73.—
#8eſpairo; why is the final vowel not elided ? H. 67 D. a ; G. 1, 2;
C. 63 D. We may not suppose by the arrangement of this line
that the people were left shelterless till the wall was built. It is
an example of the common Homeric figure ào repov Troörepov, or
Tpa)0ögrepov. In a series of objects closely connected, our poet
is fond of naming that first which strikes the cye first or most
prominently, in viewing them as a whole: 0455.
10. vnois. It has been concluded by Some from this passage
that no Homeric city was without its temples; few, however, are
actually mentioned. We have that of Athene at Athens, m 81,
and Troy, Z 88; that of Apollo at Pytho, 980, Troy, and Chryse.
One of Poseidon is implied & 266, in Scheria, and another at
52 */
|NOTES.
Helice, e 203; cf. t. 185, p. 347, y 274. Otherwise, the Greeks
worshipped at altars and in groves; cf. & 162,291.
11. #6m, “already,” before the period of our story.— kmph. Of
the various words used by Hm. to signify doom or fate, kho is
nearest to a distinct personation, and is of the darkest color,
always implying death. It is, too, the fate of the individual,
not of humanity. Compare m 197. —” Atôóo Se, “Hadesward.”
In the brevity of a familiar phrase the local 6s has been ap-
pended to the gen., where it belongs to an acc. understood.
The fuller form of expression, as found elsewhere in the poems,
is "Aióog slow, 66ptov "Aióoc stow, Sic 'Atôao 66povg. The Aïdes of
Hm. is always a person, the youngest brother of Zeus, and
obtained in the allotment of sovereignty the rule of the world
of the dead. The entrance to his “House ’’ is beside the Ocean-
Stream, where it empties into the central sea. Hard by the
Cimmerians dwell, and the whole region is wrapped forever
in cloud and darkness. Odysseus sails thither from Circe's
isle, and the shades are sent up for his inspection. The condi-
tion of the dead, though without punishment, except for great
offenders, like Tantalus, is pitiable. “Seek not to comfort me in
death,” exclaims the shade of Achilles; “rather had I the lot of
the wretchedest laborer upon earth than be king o'er all the
dead;” X 488.
12. Tót’, at the time of the story, as opposed to that of Nau-
Sithous and of the poet; cf. viv, m 68.-6eów ... ei66s, “with wis-
dom from the gods endowed; ” on 9 584. This god-given wis-
dom is not a favor shown to Alcinous alone; all conspicuous ex-
ternal and internal characteristics, in general, are received direct-
ly from on high; 9 167, 488, 457, & 18, 229. The Homeric man
had ever before him the immediate interposition and guiding
hand of Providence; on 4 172. –átro; H. 102 D. Anastrophe of
this preposition occurs also & 18, m. 152, 6 88,411, 457; on 3, 15.
13. 0eč. YNaukātris A0ivm, “the goddess, luminous-eyed Athene.”
—YXavkótrus belongs to 'A0%un, not to 0s&, as evinced by its fre-
quent occurrence with 'A6ſ, win alone, but never with 686 alone. Our
poetic translators insually treat this as an epithet of color; but it
is more than probable that the idea of color does not enter into
it at all. y\avkóc occurs once of the flashing sea, and y\awkwºov
BOOK WI. 53
describes the eye of a lion, when, reaching the height of his
wrath, he makes his rush at the hunters. This is the key to its
force in y\avkóTug, representing the brightening flash of the eye
under the influence of fecling. Athene is the goddess of war
and the goddess of wisdom. In the one capacity the eye is
kindled by martial fury; in the other by the power of mighty
conceptions. The poet has developed a phase of it, A 200: Östvé,
Šá oi Ögo's paav0sy. Schliemann’s “owl-faced” is unproved.
14. 'Oövorgāt: what in Attic? H. 189 D. The ultima is length-
oned by the probable doubling of the initial liquid of the follow-
ing word in pronunciation; H. 87 D. This in thesis is rare;
E 358. Häyag and its derivatives quite constantly lengthen a
preceding short vowel; & 62, 304, n 150, 180, 9 9, 42, 227, 434,
520, v 2, 8, 13, 51, 121 ; cf. n 145. — pºntváoara, how formed ? H.
370 D.; G. 120; C. 243; on 9 574.
15. Hey, & 50.—0áNapov is best placed in the Second story of
the palace; B 514, II 184. — troAvågåa)\ov, “richly wrought; ”
compare the description of the palace, m 88–97.-èvv, 0220, \ 367;
on & 12, 262.
16. koupiat', “was sleeping.” – $vāv; H. 549; on 4 152.
17. Nausicaa is here introduced for the first time, and the
poet has emphasized the fact by placing the name as the first
word in the line. — peya Múropos is Virgil's magnanimºus, and is
used by Hm. not only of Æneas several times, but of a number
of other warriors, both Greeks and Trojans, most constantly of
Odysseus. It is also applied to the Trojans as a people, the
Paphlagonians, the Phlegyans, Myrmidons, and Eteocretans. It
commonly has a good sense, “great-souled.” Here it pictures
that large-heartedness which Alcinous displays in his hospital-
ity towards Odysseus.
18. trāp, “near by ; ” Sc. coupévro.—The āp.4 ſtroAos is always
feminine, as the 9spárov is masculine; and the former is a slave,
while the latter is a freeman. Noble ladies are regularly attend-
ed by two dºppíTroNow, and are always accompanied by them when
appearing in public. Here they sleep in the maiden's chamber,
one on cach side of the door, to guard the entrance.—The Graces
of HIm., like his Hours, Fates, and Cyclopes, have no definite
number, but are more than three. He conceives them mainly as
54 NOTES.
the attendants and handmaids of Aphrodite, and as such they
doubtless came with her worship from Babylonia through Cy-
prus. Hence their earlier number would be two, as we see them
in the Babylonian Isdubar Epic, and some of the Cypriote groups,
and as they were worshipped in Lacedæmon and at Athens (Paus.
IX. 35). Elsewhere in Hm. it is the gods that bestow beauty,
Athene, Here, and Aphrodite being especially mentioned as pos-
sessing that power. Here the beauty conferred by the hand-
maids of Aphrodite upon the handmaids of Nausicaa is remark-
able, but it is inferior to that of the princess (< 108–9), which is
the gift of the gods; 0457.
19. arraðploitv, & 82, 9 458.-Observe that Škóc and derivatives
usually have F : & 8 ; not so m 91, 321.-èrékeuvro, “rested there-
on,” that is, upon the door-posts, which would occur only when
closed; for the doors consisted of two valves turning, not upon
hinges, like ours, but each upon a pivot running into the lintel
above and the threshold below. — quelvaí ; see m 84.
20. “But she like a breath of wind sped to the couch of the
maiden.”—8 is fully adversative, “but,” though the doors were
closed. The goddess passes in through the key-hole, trapd ºft-
30g padºvra, like the phantom which she sends to comfort Penel-
ope in her dreams, 6 802, when suffering a mother's agony at the
intelligence that the suitors are plotting the death of Telemachus
on his return from Sparta.-èréororuto: what other verb doubles
a after augment 3 H. 308 D.
21. orrā . . . keda\fis, the regular formula for assuming a position
when addressing a person so reclined; most commonly of dreams,
as that of Agam., B 20 ; but not exclusively. Athene so appears
to Odysseus, as he is rolling and tossing on his bed of skins,
v 32; and Eurycleia takes this position when she hastens to
awake Penelope and announce the presence of Odysseus after the
destruction of the suitors, p 4. Hence it does not mean “how-
ering in air,” as Hayman explains, but standing near the head
and bending over it. Virgil applies the expression to Iris as she
descends to release the soul of Dido: Devolat, et Supra caput astī-
tit, Æn. IV. 702. – Trpos must be taken by thesis with stºrey, and
the construction of the two accusatives is after the analogy of
Toogavčáo), and even abóáo). Yet the real compound Tpoositrov is
BOOK WI. 55
construed with the acc. of the person only, and the thing, if
expressed, becomes the dative. Still, Aristophanes has Toogstro
o' grog, Pax 520; cf. 522.
23. oi, Nausicaa. – 5pm Mukim, “a parity of years;” the abstract
for the concrete, 6pm \tkin for Öpij\té. This usage gives vigor and
beauty to the sentence. It is naturally a poetic mode of ex-
pression, and therefore is more common in Greek than other lan-
guages, as this language grew up under the auspices of poetry
(Jelf, G. G.).-keyáplorro, “was dear,” as imperfect; H. 712 a ; G.
200, 6. A passive sense for deponent verbs, though rare in the
pres. and impf, is more common in the other tenses.
24. pluv, in this formula, is governed by Tpoorépm, not by storapt.,
as is proved by X 241, where puy disappears along with Trpooſépm.
25. Navorukác. : why not Navoukán º H. 125 D.—tt vé, “why,
pray?” H. 552 a ; G. 160, 2. —ööe peóñpova, “so remiss.”—yetvaro;
H. 416, 8. This mode of expression is more forcible than the
simple “Why art thou?” since it represents the remissness in
the light of an inborn characteristic, and thereby incites the
maiden to greater zeal; so N 777, A 400, E 800, a 223. Am.
26. rou, “to thy discredit,” the ethical dat., repeated in plot, 59.
—ākmöéa is predicate; oriya Máevra attributive to eipara. Oriya X. is
an example of the standing or fixed epithet, the application of
which becomes at times incongruous, because the speaker has in
mind the normal and proper state of the object, rather than its
condition at the time; cf. 74, 941, 378, X. 327, p 218. For the
expression, as applied to garments, we may compare &or; p 3’ &c
&TéAapºrev, o 108, of the peplus presented by Helen to Telema-
chus as a memorial of her handiwork. “The king gave his six
Sons the finest clothes you ever set eyes on, so fine that the light
gleamed from them a long way off.” Dasent’s Tales from the
Norse.
27. Yápos, the marriage ceremonies, which appear to have con-
sisted of a wedding feast, celebrated with profuse bounty (A414)
for the relatives and friends by the father of the bride (a 277,
§ 3). The song and the dance accompany the feast (p. 135). No
vow appears to have been taken, and the validity of the mar-
riage consisted in the public avowal in these ceremonies; & 288.
As evening drew on, the bride was conducted by the groom and
56 NOTES.
his relatives to the house of his father, where young sons cus-
tomarily lived, and the procession is thus described as wrought
by Hephaistos upon the shield of Achilles, two weddings having
occurred on the same day:
'lºv čá 6600 Toímore TróAEus piapóTrov &v0p67twv
ica)\dºs. āv Tú wév Óa yápot 'T' ào av sixatival TE,
vögq as 6' éic GaA&Mov Óatówu iſ to Naptopsvácov
jºyivsov &vd. &c"Tv, ToMös 6' Up &valos épôpel
koúpot 6' 6pxmotijoss éðive ov, Šv 6’ &pa Toia ty
aúAoi q àppu'yyás 7-8 (3ojv #xov ai 68 yuvaikas
ia Tápieval 0&6plašov štri Tpoööpolo tu ákágºta). X 490–96.
“And two fair populous towns were sculptured there;
In one were marriage pomp and revelry,
And brides in gay procession through the Streets
'Neath blazing torches from their chambers borne,
While frequent rose the hymeneal song.
Youths whirled around in joyous dance, with sound
Of flute and harp ; and, standing at their doors,
Admiring women on the pageant gazed.” DERBY.
iva, “at which,” the yápºog. — kaAğ, Sc. studta. — airtºv, for o:
abrºv, as subject of Évyvoróat, which verb retains only the acc.
of the thing in the middle, the person being implied in the
voice.
28. Tà. 88, “and others,” as if rà uºv had preceded. A scholi-
ast tells us that it was customary for brides to furnish garments to
the friends of the groom. If so, it appears nowhere else alluded
to. The reference here might be to the dowry, more minutely
specified below, 38; for it seems idle to deny that some dower
went with the bride, in the light of a 277, 8 132, 6 736, I 148,
m 314, Hymn Aphrod. 140; but see on 3, 159. Yet, provision for
men's garments to clothe Odysseus seems necessary here, for the
expedient at 60–5 is simply intended to develop the character
of the princess; and, further, to suppose the bridal procession ar-
rayed in vestments of the bride's providing gives greater point
to the Inext two lines. – &yovrat ; H. 757; G. 232, 3 ; G. M. 61, 3;
C. 554; cf. & 159, 262, 297, 303, 9 445, 511, 549, v 155.
29. Šk rotºrov, “from these things,” her own fair adornment
and ample provision for the groom's friends. – tou, äat. ethical,
“look you,” “you must know.” As here, it not unfrequently
BOOK WI. 57
directs the attention of the listener earnestly to some proverbial
or general statement; cf. 9 329, 351, v 130. It corresponds often
to our colloquial “you know.”—ávagaível, “mounts high among
men.”— $4tus is only less lightly personified than "Ooga, B 93,
o 413, and is conceived as rising higher and higher as it ad-
vances; cf. pew k\éoç otpavov ticet, t 20, T. 833–34, the description
of Eris, A 442, and Virgil's Fama, AEm. IV. 176. The construc-
tion of the agc. is unusual, but see # 286, Eur. Hec. 928, 119.
30. śor0X) receives a double emphasis by its position at the chd
of the clause and the beginning of the line. This is a favorite
artifice with our poet; see & 132, 182, 233, 274, 283, 284, 301, etc.
31. top ev, subjunctive of exhortation, showing the original con-
necting vowel instead of the later mode sign; H. 347 D. For
the mode, see & 126, m 190, 9 31, 34; for the vowel, & 33, 126, 219,
232, 259, 262, etc. — m)\uvéovgrat; H. 373. This fut. has the true
stem. TXjv.; the present is lengthened by the insertion of t ; H.
328 d. — &p’ - daiv., a frequent Homeric formula, which was
handed down in its essence to later Greek, as, Hdt. III. 86, Xen.
Anab. II. 3, 1; I. 7, 2. The dat. is not used absolutely, as Jelf
would have it, but is governed by épſ'. Hm. regularly employs
the pres. partc. when speaking of the Sun rising, but the aor. of
its setting, as A 592; because we can follow the further course of
the sun after it has risen, but no mortal eye sees it after it has
set. (Classen, Beob. p. 59.) ..
32. č, ćiliopal. The simple dat. of accompaniment with Éropat
is often more clearly defined in Hm. by äua, göv, perá. In like
manner other verbs of following. ôTmöéw has āua in Hm., puerá
in Hes. ; Śpapréa), áua in Hm., a jv in Soph. The Attic &ko)\ov6éa)
takes gºv, and pºstó with gen. This tendency is further seen in
compounds, as ovyčTopal, ovyeſpáTopiat, ovputapčTopiat, ovvetrakoxov-
0šw, ovpatrapakoxov6é0.
33. The first word of this line and the last are scanned with
synizesis. –évráveal is aor. Subj. Why may it not contain a dac-
tyl? H. 345, 2. —#rt has long ultima; why? H. 87 D.; C.77 D.
35. Connect arávrov fat. with āpuorties; cf. & 283, 6 36, 390. —
30, ... airfi, “where for thine ownself, too, is thy parentage; ”
39, refers to Öijuov. — airfi is to be connected with rot, and the
phrase is strengthened by cai ; see 39. 30, has been referred to
3 *
58 NOTES.
&ptotijeg as well as Óñuov. But, whichever is preferred, it has ap-
peared weak and pointless to tell Nausicaa that she is a Phaea-
cian, or that she is noble. This has led Bekker and some others
to omit the line. But they have not seen that the purpose of
the poet here is to hint the fact that the princess is wooed by
native suitors, and those only, and thus to intimate at this early
stage how distasteful they are to her, and the effect which the
coming of Odysseus may produce. For, as Mr. Gladstone has
shown (Hom. Studies, III. p. 69), the distinction in Greece between
the aristocracy and the royal family was so broad a one that the
latter were accustomed to contract a marriage only with royalty
beyond their own borders, as is the custom among the reigning
families of Europe at the present day. Since Phaeacian life and
manners are essentially Greek, simply a trifle more god-favored
and effeminate, the same custom may be supposed to obtain in
Scheria; and though all communication with the Outer world is
severed by their remoteness, yet there remains a lingering hope
in the family that for the only daughter, the darling of them all,
some Nausithous (m 56–62) may be thrown in their way by Prov-
idence, and she may thus be rescued from the nobles she despises
(; 283), and sustain the dignity of her station. This will explain
her secret wish that Odysseus will remain among them (§ 245),
the immediate supposition on the part of the gossiping populace
(spoken, however, by Nausicaa herself, and so colored by her
thought) that a stranger seen with her will become her husband
(; 277), and the startling offer of his daughter's hand which Al-
cinous makes to a total stranger (n 313). Hence the line is not
only not weak and pointless, but shows that the poet had in
mind when it was composed the passages just cited, which have
been the objects of strong suspicion. See further on those pas-
Sages, and Proceedings of American Philological Association for
1879, p. 8.
36. #60 ºrpo, “in the morning early.”—arpo, temporal adv. like
Trpaſt. This construction accords with the sequel, 48, as also
A 50, where the same phrase is used of a period later than the
actual coming of 'Hôg, A 1. jöðt is then a temporal dat. If Trpè
be made the post-positive preposition, “before ” dawn, a double
difficulty is assumed—the circumstances of the case, and the
BOOK WI. 59
fact that 0 is mainly a dat. termination in its use, though 60 =
où, and airóði = airoij.
37. Špačay; H. 65 D.—# key àymoruv, a relative clause of pur-
pose; cf. & 58, 114. How would this be expressed in prose, and
how is it a sign of archaism? G. M. 65, 1, and Note 2, Rem. ; G.
236. — &ymoruv. In Attic, what active endings are dropped, and
when? H. 361; G. 112, 2, Note.
38. Köarpá, only here, but equivalent to 401/ac, an important
part of the female attire, which here and in general must have
been of some woven or knit material, to admit of washing. The
only girdles for females the material of which is specified by
Hm. are those of Circe and Calypso. They are of gold, but it
is intimated that they are of unusual splendor. That of Here is
adorned with a hundred tassels.-The arém Nos is the large uncut
garment of the women, corresponding to the x\aiva or påpog of
the men, and worn like those over the more tightly fitting un-
dergarment, Xtróv. They also served for other purposes, as offer-
ings to the gods, coverings for thrones, m 96, etc. — fiftyea, from
root 68 y, to dye, are colored rugs or thick woollen blankets, used
commonly for the covering of the bedstead, n 336, v 73, 118,
though they are spread upon the thrones in Circe's palace.
They would necessarily form a part of the dowry of a bride for
the outfit of a new household, and all material fresh from the
loom would need washing.
39. The conveyance is necessary for the vestments, “and in
this wise, too, for thyself (as the king's daughter) is it far more
seemly than on foot to fare.”—kai. Sé, an epic collocation; in At-
tic the words are habitually separated by the emphasized ex-
pression; & 60, 286, m 213; cf. m 327.-oroi airá. Hm. never com-
pounds these pronouns, even if reflexive, but commonly places
their components in juxtaposition, as & 60, 0 396. They are
sometimes separated by light enclitics or conjunctions and the
like, X 369, 371, 9 211; or by one or more emphatic words, & 35,
39, 277.-káA\lov differs how from the Attic? H. 222 D.—tró8eo-
orty; note various forms: 6 230, 253, 103.
40. &mb in the sense of “far from " is common in Hm., and
regularly stands directly before its case, as & 220, X 344; cf. , 294.
Here best taken, perhaps, with the verb by timesis, as Öy of cért
60 NOTES.
pmut pixwy &Trégosa 6at, a 145. The subject is not uncommonly
placed between the preposition and its verb; n 283, 9 380, 475;
on & 100.-ar)\vvoſ, “laundry-pits;” on 86.-tróAmos; H. 186 D.;
C. 157 D.
42. “Where they say the seat of the gods fast forever stand-
eth.” Many objections have been urged against the genuineness
of the lines 42–7. The description of Olympus has been declared
inconsistent with that of the Iliad, so that the Chorizontes have
found in it confirmation of their belief in the different author-
ship of the two poems. Mure reconciles in this way: “Olympus
is here figured as a mountain, the sides and visible summit of
which are for the most part onveloped in snow and clouds;
while its extreme peak where the palace of Jove was situated,
free from all such atmospheric contamination, enjoyed a per-
petual brilliancy and Serenity. The confusion between heaven
as a mountain and heaven as a sphere equally pervades both
poems.” Cf. 6 19 seq., T 126 seq., O 18 seq., v 103–4, 113–14. So,
too, there are numerous inconsistencies in the Homeric picture
of Hades and elsewhere, where the marvellous enters largely,
seen also in Virgil, and often in tales of wonder ; on & 329.
Again, ºpaqi is said to be strange, applied as it is to a fact else-
where so fully accepted by the poet; but cf. N 631, E 635, Z 100,
Y 105, 206, B 783, Q 615, p. 389–90; Virg. Æn. I. 781, III. 416, Con.
on IV. 577; Hor. C. III. 5, 41. It is the real world now and then
peeping through the wonder-working element so constantly in
sight. The passage has also been called irrelevant, because there
is no reason why at this point we should be carried off to divine
abodes. Episodes, however, are a striking feature of the Homeric
style; and, as a detailed description of the dwelling-place of the
gods is to be found nowhere else in the poems, it may be main-
tained that this splendid picture of the divine seat and the easy
life there is but a fitting introduction to that of an earthly com-
munity which, in its local surroundings and luxurious living, ap-
proaches near to the gods. Set aside this passage altogether,
and it might truly be said that the poet has painted a fairer
Elysium for the god-connected man in the after-life (6 563–69),
and a fairer JElysium for the Phaeacian upon earth, than he has
anywhere given to his deities in heaven.
BOOK WI. 61
43. trot' belongs to the preceding and following clauses as
well; so a 479, § 566. Observe that the subject of the verbs is
686, #60c, not Olympus as a whole. These lines are translated by
Lucretius (De Rerum Nat. III. 18–22), when he is describing the
rapt vision of the student of nature, as he gazes out upon the
universe unfolding to his view: (See Tennyson’s “Lucretius.”)
Apparet Divum numen sedesque quietae :
Quas neque concutiunt venti, neque nubila nimbis
Aspergunt, neque mix acri concreta pruina
Cana cadens violat, semperque innubilus aether
Integit, et large diffuso lumine ridet.
44. p &A qualifies āvépéXoc. Adverbs, even in prose, may be
separated from the words they modify; those of place, time, and
manner frequently, those of degree at times. Short, Essay, p. lxv.
— aftöpm, a fem. form of aiéâp.
45. Trémºratat, “is outspread,” as a garment, & 94. The clouds
are all below the divine abode, and form the rampart that shuts
heaven from earth. Through their self-moving gateway, guarded
by the Hours, Athene and Here pass on their way to Troy, e 396,
and then Zeus espies them.–Neukº ... afty\m, “and bright athwart
it runs the sunlight.”—Aevkº, in its original sense, as Nº. 268, of a
burnished caldron, k 94, of the calm. — aſyMºm, n 84; cf. aty)\ffetc
of Olympus, A 532, N 243, v 103; Soph. Antig. 610.
46–7. §v, ; on 15.-réparovral ; cf. 080i Ösia &@ovreg, Z 138, § 805,
e 122. – #v0', like our “there,” for “thither.”—étré, Stetréºpa Se,
“after she had told all;” H. 384 D., 706; m 49, 9 68.
48–9. Hòs is not only £50povog, which refers to the seat of her
chariot, but also xpv66povog, kpokóTeſtNog, ğüT\ókapoc; On 9 1.—
puv has Navoukáay in definitive apposition; H. 500 d.—ātrebačplaq’,
“much she marvelled;” &r. intensive.
50. igeval, & 15, 255, m 14; SO 3; &# 9ásty, Xóav. This inf, ex-
pressing purpose after a verb of motion, is poetic, the fut, partc.
being more common; on 134; G. M. 97, Note 1.- &YYeſAete: why
opt. 2 H. 739; G. 216; v 74.
51. $39; an adjective belonging to two or more nouns regu-
larly agrees with the first, and is usually placed before it, though
sometimes after, even in prose. Short, Essay, p. xvi.-èvöov, with-
in the great hall, piéyapov, which served as the common living-
62 *
NOTES.
room of the family, audience-hall, and dining-room. In shape it
was oblong, the shorter side contiguous to the court-yard, and
lofty columns supported its ceiling. Its size must have been
considerable. In that of Odysseus, 108 suitors daily feasted, each
at a separate table, and room was left for their numerous attend-
ants and the slaves, while a large space by the door appears then
to have been unoccupied. To the pāyapov of Alcinous scarcely
inferior proportions can be assigned. The floor is of native earth,
stamped hard, and that of Odysseus is cleaned with scrapers
when sodden with the blood of the suitors. Windows are un-
known. The wide entrance doors leading from the open court-
yard are thrown back during the day, and serve to light the hall
in part. In the roof near the farther end is the Smoke-vent, no
chimney being in use, and this contributed to the lighting of
the apartment, as well as the fire itself. But at best the hall
is shadowy, v 2. The fireplace, šoxápm, was below the smoke-
vent, and nearly level with the floor. Upon it a fire was kept
blazing continually, during the day and evening, often perhaps
rather for light than heat. About it were the seats of honor.
Near-by, in the fire-light, was the position of the housewife's
chair, resting against a pillar; see & 305–7, m. 153, 169–71.-èávras,
supplementary partc., as m 50, 137; II. 799; G. 279; C. 591.
52–3. A pèv, “the latter,” her mother.—étrº, “by.” The hearth
is not large, so that the fire alone is “upon '' it, as e 59, v 123.−
j ñAáka'ra are the threads in the process of twist-
ing between the fingers of the right hand, from
the flock of wool around the end of the dis-
taff, j\alcárm, held in the left. The operation
was doubtless assisted by the spindle-whorl,
no mention of which, however, is made in
the poems: numbers of them in terra-cotta
were found at all depths in the excavations at
Troy, and they may be seen among the very
m Alambra in the Cesnola Collection. In his
later excavations at Troy, Dr. Schliemann found, “in the Royal
Mansion, twenty-eight feet deep, a distaff eleven inches long,
round which is lengthwise wound a large quantity of woollen
thread, black like coal.” London Athenaeum, Dec. 14, 1878.-

BOOK WI. 63
âAttrópdupa ; & 306, v 108, 85, 0 84, 373, m 337. Doubtless the
Phoenician purple from the sea-shell murea is intended, for this
was introduced at a very early period into Greece. Yet Mr.
Gladstone has shown that the color-sense in the Homeric poems,
as in the Vedas, is narrow, weak, indistinct, and confused, though
the perceptions of light not decomposed, as varying between
light and dark, white and black, are most vivid and effective;
accordingly, the descriptions of color generally tend a good deal
to range themselves in a scale of degrees, rather than kinds, of
light. Troppūpsog is employed of blood, dark cloud, wave of a
river when disturbed, wave of sea, garments, rainbow, death ;
and the verb Troppūpa, of the sea darkening, and of the mind “in
a brown study.”
54–5. §§13Amto. Coming from the women's apartments in the
rear of the puśyapov, she hastens after and overtakes her father be-
fore he reaches the door leading into the court.—perú, “unto ;”
3, 133. —BagiNjas: there are twelve in the single city of Scheria,
9 390; hence, as in Ithaca, they are the aristocracy rather than the
great kings of the Iliad.—The BovXi was the council of elders,
m 189, and formed a preliminary mecting to consider the meas-
ures to be taken in managing the general assembly of the people,
or &yopff. -tva, “where,” for “whither;” 47, 27. —káAeov, “were
wont to summon him.” The chief king, Agamemnon, Summons
the 3ovXà in the Iliad. During all the twenty years' absence of
Odysseus from Ithaca, no BovXī had been convened. But the
Iliad shows us government in the unsettled condition of war,
and the council is called together under extraordinary circum-
stances. In Scheria is depicted a normal state of peace, where
the 3ovXà appears to be a regular Senate convened at stated pe-
riods, at which it was the duty of the king to be present, a fact
intimated by the imperfect; cf. o 468. — Paímkes àYavoi, proba-
bly the kings; cf. v. 120, 12, 9 428, 389–93.
56. HäA’ &yx, a strong expression, found but four times else-
where in the poems, though áyyu is common enough of one sta-
tioning himself near another. Hence it shows the affectionate
freedom of the daughter preferring her request, not to the king,
but to the father. It accords well with the loving tone of both
petition and answer.—£ixov ; on 0 178.
64 NOTES.
57. IIátrºra + (X’, “papa dear.”—trátrºra is the child’s word, as
in many languages, and is formed by reduplicating one of the
earliest articulations of the infant's lips. From it is formed the
verb Traºrtrážo, “to lisp the name of papa;” on 0 226. — oilk
ây . . ., an interrogative formula of gentle request, or slight ex-
hortation, where compliance is expected, as m 22. For the mode,
see : 285, 300, n 22, 212, 213, 293, 332, 333, 9 177, 195, 208, 216.
How prone Pope's famous translation is to falsify the tone of
the original may be seen from his rendering of this line:
“Will my dread sire his ear regardful deign,
And may his child the royal car obtain.”
58. İva, of purpose; on 37. Observe the appropriate difference
of voice in the two lines.—k\ură, “famous,” because much talked
of. The literal sense of this epithet is often departed from in
translation, when applied to things; but the simplicity of the
age is best caught by retaining it. The rich armor of the war-
rior and dress of the lady are both provocative of much com-
ment. How noted was that of Achilles, to which he applies the
same epithet himself! II 64. For Nausicaa's dress, see 49, 27,
and compare the expression used by the disguised Odysseus to
Penelope while describing the cloak worn, as he says, by Odys-
Seus when they met in Crete. It was splendid as the sun : ) pāy
Trox\at y' airów #0mſ, gavro Yvvaikac, T 235.
59–60. TrAuvéovora, 31. — T4, article as relative ; II. 243 D. —
plot ..., 26.—Éeputrop.éva : what peculiarity in this form 3 H. 319 D.
It is stronger than &cmééa.—kai 8& oroi. . . ., 39.-pietà with dat. in
Hm. becomes pierd with gen. in Attic, rarely found in Hm.—éávra.
agrees with the suppressed subject acc. of 3ov\éâsty, instead of
ooi, a construction occurring several times in Hm., and quite com-
mon in Attic; 9 508.
61. Bouxās BovXeiſelv, “plans of state to plan,” “measures of state
to frame;” m 50. –xpot, “on thy person,” locative, commonly with
Trept added.—éóvra, Éxovira; cf. ÖTvíovreg, 6a)\é001/Tec, Éxovrec, 63–4;
201–2, 290, n 212–13, 339–40, 9 147–48. Such rhyming verses and
casuras are very numerous in both poems. By a comparison of
these with such lines as end consecutively with the same word,
as & 211–12, 9 498–99, so distasteful to our ears, Mure has arrived
at the conclusion that “these rhyming forms were in no case
T}OOK WI. 65
either intentionally introduced or perhaps observed by Hm. at
all, unless in so far as they may have served, in Occasional in-
stances, to enhance the expressive power of his language. That
such, apart from musical cadence, is their tendency in many
cases, there can be no doubt.” The same remark applies to
Greek and Roman literature throughout.—This speech of the
princess departs perhaps more widely from that of Athene
than any other in Hm. which follows upon directions given.
His usual habit is seen in the opening of B, where the Dream
receives its orders from Zeus, and imparts them to Agamemnon
in several lines of exact repetition; Agamemnon in turn calls
the 3ovXà together, and repeats the words of the dream still more
precisely from beginning to end. Throughout the poems there
is no compunction about the repetition, not merely of single
lines, but of whole passages. Departure from the general cus-
tom is due in this case to the admirable conception and depic-
tion of the character of Nausicaa, whose maiden modesty puts
carefully aside all reference to marriage, and veils the subject by
the natural interest which the only daughter of the house should
take in the concerns of the whole family. On 28.
62. Heyāpous, often in the plural of the palace as a whole; m 150,
0 227; cf. n 65, v 160.
63. oi Sö’, partitive apposition; H. 500 b.-oi is the article used
as in prose with cardinal numbers when a part is to be distin-
guished from a whole; H. 528; C. 374; omitted with rpsic; full
form, E 271. – Štrutovtes, “married;” on 9 254 — rpets, named
6 119. F.—#6eol. 9a)\éðovres, like #0sog 6a)\epóg, A 474, vičeg #36-
ovreg, Q 604, young men “unmarried, in the flower of youth.”
#0sog corresponds to trap64 voc of the other sex.
64. oi 8', the last three, who are more closely connected with
the duties of Nausicaa than the others, who have wives to care
for their raiment. The dance is represented as nearly confined to
the unmarried, 9263, X, 593, and the Phaeacians are surpassingly
skilful in it, especially Halius and Laodamas, 9 370. — veór)\ura
... Kovres, as Paris, T 392–94; cf. 6 249, 392, S. 596.
65. rā, demonst., “these matters.”— Hépm Nev, perf with present
sense, as 45, 106, 168, 187, 190,244, 294, 301, etc. How does the Ho-
meric construction of this verb differ from that of prose? H.422, 11.
66 NOTES.
66. atäero, “felt abashed,” “blushed.” Prose form 2–6a Ae-
pöv . . ., “youth's spring-time marriage openly to name.” 6a)\spéc
from 9áAXo, “to bloom,” indicates that marriage took place in
the flower of youth. It was regarded as necessarily accompany-
ing arrival at suitable age. Even the gods assist in bringing
it about, as for Neoptolemus and Hermione, 6 7; cf. & 180–81.
An elderly bachelor or spinster among the freeborn is unheard
of in the poems. The Sanctity of the marriage tie is held in-
violate among the Greeks; polygamy is unknown, and divorce
unthought of Helen resumes her original position in the halls
of Menelaus upon her return, as if nothing had happened to dis-
turb the harmony of the household. The Homeric life stands
nowhere more vividly and emphatically in contrast with that of
the boasted age of Athenian civilization than in the position and
estimation of woman. The respect, tenderness, and honor with
which she is treated are scarcely less than in our own day, and
nowhere in the poems is this more beautifully depicted than in
this Phaeacian episode.
67. 5 8: ..., “but he understood it all ;” cf. A 333, of Achilles
when the heralds, come to demand Briscis, were standing abashed
before him. Though there existed in the family a strong predi-
lection for a foreign marriage, yet the chances of it appeared so
remote that native suitors, drawn by her beauty and loveliness
of character, as well as by her station, were already pressing their
claims for the hand of the princess with approbation, since she
was of marriageable age, and it seemed probable that the same
fate awaited her as had befallen her two brothers who had been
forced to marry in Scheria. — &letºero pºº, “made return in
speech.” The construction &psi;3800at Tóv, Túv, put,049, p150ouc, #7tésoot,
is common; cf. the inverted Latin usage with mutare, as Lucreti-
lem mutat Lycao, Hor. C. I. 17, 2.
68. rot; H. 595 b : G. 184, 2. —#116vov; H. 577 a ; G. 173.
69. £pxev, like rew, Ionic contraction for what ? H. 32 D. f.-
&ráp ; On 2. — &nºvny is the same as āpačav, 37, a four-wheeled
wagon drawn by mules or oxen, and used in transporting any-
thing of weight or bulk, as stone, wood from the forest, bodies
of the dead, garments. Its epithets are the synonymous cirpo-
xog, cèicvk\og, “with handsome wheels,” reſpákvk\og, jilmAh, eúče-
BOOK WI. 67
aroc, ka)\ft, jutovein. The two axles were probably connected
by a platform stretched across them, and forming the wagon-
bottom proper. Upon this, heavy articles could be conveyed
without additional support, but for lighter ones a wagon-box
would be required, consisting of side-boards and end - pieces;
or a hamper or box could be strapped on, o 131, Q 267. In the
present instance intrepreptm is probably the wagon-box, for it is
universally explained by the ancients as a rectangle of wood to
hold the articles deposited in it for transport. There is nothing
to support the hypothesis of some that it formed a framework-
covering for the head, to shield the rider from the beating rays
of the Sun, as in the later &ppépaša. If imagined as the open
wagon-box, the need of the wrappings mentioned below, 179, for
protection from the dust, can be readily seen.
70. &papvtav, “furnished.” What Homeric peculiarity in this
form 3 H. 338 D.; see n 45, & 293.
71. Čkék\eto has both reduplication and syncopation ; II. 384
D. Is there such an instance in the Attic? What reduplicated
2d aor. is common there 2 — roi and Tat occur in Hm. as demon-
stratives, and relatives as well. In what dialect were they after-
Wards used ? H. 239 D.
72. čkrös, “without” the palace, but within the open court-
yard, això ; m 4, Q 281, 323.
73. Štrkeov, only here, 67TWićw being the common form ; “made
ready,” by putting on the wagon-box and the coffer, which
served not only as lunch-box, but also for the seat, as the Treiptyc,
o 131, does to Telemachus on his journey from Pylos to Sparta
and back in Nestor's road-chariot, and as the one strapped to
the mule-wagon which Priam takes with him to convey to Achil-
les the ransom for Hector's body, Q 267. See how minutely the
preparation of the wain is there described. —#11évous ... àtrávn,
“and the mules under the yoke they led, and yoked them be-
neath the wain.” The yoke, often a simple cross-bar, was first
tied fast to the end of the pole, then the animals brought to their
places under the yoke (öTô &vyöv #yayev, E 731), to the ends of
which were already attached broad straps of leather; these col-
lar-straps were next put round under the neck of the animal
and fastened. The yoke attached to the pole was considered a
68 NOTES.
constituent part of the vehicle; whence, “to fasten under the
yoke ’’ was superseded by the phrase “to fasten under the ve-
Thicle.” - t
74. qaeuviv, a synonym of guya)\ósvra, 26, and to be explained
similarly.
75. &m’ with dat. after a verb of motion, because the state of
rest following the action of the verb is the prominent thought;
H. 618 a ; cf. v. 122.
76. The personal and active participation of the queen and
her daughter in those homely labors is a charming sketch of
simplicity of manners in the midst of great splendor of position
and surroundings. Nor does this belong to the Phaeacian isle
alone; it is a truthful delineation of Greck life in the Heroic
Age. All the noble females in the poems are cunning at the dis-
taff and the loom, Helen and Penelope notably so. The king is
pre-eminent not only in all manly and graceful sports, in the use
of arms and in the dangers of the chase, but he gains a knowl-
edge of medicine, and Achilles is skilful with the lyre. Odys-
seus builds with his own hands a curious bed-chamber and bed
in his palace, constructs the vessel with which he sails from Ogy-
gia, and claims that he can reap more grain and run a better fur-
row down a four-acre field than the best suitor of the band, old
as he appears. Indeed, respect for labor, and participation in
it as a matter of course, find no exception even among the gods.
Zeus and Here harness, drive, and tend their own horses; Posei-
don does the same, or takes and cares for those of Zeus. Athene
and the Graces spin, and weave garments ambrosial; while He-
phaistos hammers and pounds, perspires and grows as begrimed
as any blacksmith on earth. See & 305–6, m 5, 98,424–38, v 20.-
&rtóel, a form made with a connecting vowel, but really more
common than the regular rí0m ; H. 401 h. The imperfect de-
picts finely the mother's careful preparation and packing of the
lunch for the darling of her house, and the Supply is so abundant
that it suffices in the sequel to satisfy also the ravenous appetite
of Odysseus who had been without taste of food for three days,
3, 250. Another fair picture of a mother's fond anxiety for the
little comforts of a child leaving home is that of Thetis in the
Iliad, who had stored for Achilles to take with him a coffer full
IBOOK WI. 69
of soft doublets and wind-defending mantles and thick woollen
blankets, II 221–24. — peyoeuké, “heart-contenting.”
77. &y, “therein,” adverbial, as referring to kiary. — &la, “rel-
ishes,” anything eaten with bread, especially tidbits of meat.
On the table of Nestor in the camp stands a patera containing .
an onion, trorº 3!!ov, A 630. When Peisistratus and Telemachus
are setting out from Pylos for Sparta, the housekeeper prepares
for their lunch girov kai oivov Šipa ts, oia £60 vot Öuorpspéeg Baot\ijeg,
y 480. Bread is the “marrow of men,” piveXóc &vöpóv, the main-
stay and principal article of food: all else is a relish to the bread.
Hm. never mentions any other food On the table by name except
bread and meat; but that vegetables were in use is quite certain ;
m 127. Travroſmv doubtless includes fruit from the orchard and
vineyard, m 115–22, if not vegetables from the garden, m 127.
—ev before 6' oivoy goes with éxevey by timesis; v 260, y 40. To
repeat, after a verb compounded with a preposition, the same
or a kindred preposition with a noun is common in many lan-
guages, but the construction has just begun in Hm.; 0 106.—
The use of wine by women is spoken of here as if common in
the Homeric day; see also on v 53–8. It was even given to young
children, as when Phoenix holds it to the lips of the little Achil-
les, who spirts it out over his vesture in his childish wayward-
ncSs, I 491; T 444. A temperate use of the beverage, however, is
a characteristic of the age, and its mixture with water served
to maintain this. At Rome in early days it was unlawful for
women, and even for young men below the age of thirty, to drink
wine except at Sacrifices. In Egypt the monuments sometimes
exhibit the women as indulging in it to excess.
78. &orká čv : this preposition follows its case in the epic and
lyric writers, but is not accented; H. 104. The proclitics of,
&c, čá, follow Hadley's rule, and sometimes éc, m 318. The oc-
currence of the prep. between the noun and its attribute, as here,
is common in the Greek poets, and imitated by the Latin. See
& 89, n 77, 79, 85, 193, 254, 279, 9 53, 80, 211, 220, 232, 257, 420,
456, X 346. This is the lightest form of the postponement of the
preposition. The Order aiysiq, #y &okū would not be uncommon in
prose. — aiye(q). The goat-skin bag was the regular receptacle for
wine when transportcſl over the country, but when stored it was
7() NOTES.
kept in large earthen jars, Trí0ot, ranged round the wall of the
store-room, as in that of Odysseus, 3 340. — treſ3florer', mixed
aoristic form, or of 1st, s of 2d.; H. 349 D.; C. 268 D. So & 127,
255, 6 255. — &mívms; m 196, 223.
79. Sökev returns to piñrmo for its subject.—xpvorém, two syl-
lables by synizesis. This adj. has v always long in Hm., but in
the lyric poets, and in the lyric parts of tragedy, it is sometimes
short. — Amkö09, a small, narrow-mouthed
vessel, principally for holding oil for the
bath. Later it was generally of earthen-
ware, and many have been discovered in
tombs, where they were a
favorite vessel for deposit
in the coffin beside the
dead, especially at Athens.
The cut on the right ex-
hibits the shape of the
Athenian style, and speci-
mens may be scen in the
Metropolitan Museum of
Art. Here the employment
of 66key, and its emphatic position, seem to imply that the
flask was not placed in the coffer, but carried slung over the
shoulder or arm, and hence it was pointed at the bottom, like
so many in use at an early period. See the vase figured above
on the arm of the Kefa or Phoenician who is represented in
an Egyptian tomb as bearing tribute to Thothmes III. — in pov,
“liquid,” “lissom,” as opposed to solid fat. The epithet at
E 903 is applied to milk, where it is contrasted with the curd
formed from it.
80. eios, in prose £wg, usually “until ;” but here and 3 800,
t 376, T 367, it becomes final, “in order that.” These two mean-
ings meet prominently in Öſppa, and are liable to be confounded
in other languages; compare the Irish “Come here till I whack
yez.” Aristoph. Nub. 58.
81. oriya)\óevra, from the polish given to the leather. In the
Iliad mention is made of reins “white with ivory,” Agük’ \#payrt;
cf. & 316.
sº
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§ºi2.
§i
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º
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BOOK WI. 71
82. p &gtváev 8 Aéav, “and she plied the whip to start them,”
a frequent formula; cf. , 319–20. — Aáav, pres. infinitive of the
poetic A&w, stem \a, whence {\a-vu-0 = {\aiva, ; H. 829 d. The
infinitive expresses purpose. — kavax) . . . figuóvouv, “and a rat-
tling was made by the mules.”— kavax) is the clatter of darts
showered upon the helmet of Ajax, II 105, the clank of the vis-
ored helm of Achilles as Apollo smites it to the ground from
the head of Patroclus, II 794, and the gnashing of Achilles' teeth
when mad to revenge the slaughter of his friend, T 365. In
the present passage it is either the clatter of hoofs or the rat-
tling of the yoke upon the pole. The genitive is one of cause;
1, 99.
83. ai ... Tavčovro, “and they unflagging kept on the stretch ;”
0 121, & 316–20. — dépov, more commonly jyov, for pāow has prop-
erly a personal subject, and means to carry on the shoulders
or otherwise. F. thinks that the present usage arose from the
fact that in the two-wheeled chariot or wagon a large part of
the burden fell upon the necks of the animals, so that they lit-
erally carried the weight. — airly; this pronoun is much used
in Hm. to emphasize the individual in opposition to anything
external to himself, as the sailor in antithesis to his ship, the
master to the servant, the warrior to his horses or his arms, the
parent to the offspring, the horses to the chariot, the person to
his garments, and even the soul to the body.
84. §10. Sentences or notions that are logically one thought
should also be represented as such by joining them together by
means of conjunctions. When this is not done, an abruptness is
presented which produces certain rhetorical effects, as animation,
crowding of thought in description, surprise. Such asyndeton
is very common in clauses which define or explain what was in-
distinctly or generally stated before, and where yap or āpa would
naturally have stood, as Yap here. The omission imparts weight
and emphasis to the explanatory thought.—kai ... àAAat, “also
her attendants went besides.” This apparently plconastic use
of ČNAog is of common occurrence not only in Hm., but in prose
Greek, and a similar idiom appears in Latin, German, and French.
It springs from a striving after brevity of expression, and may
often be translated by adverbs, “also,” “besides,” “as well.”
72 NOTES.
Grammatically the substantive stands in definitive apposition to
the pronoun; £49; on 158. — kíov, on foot, & 319. On the famous
Chest of Cypselus, assigned to the seventh century B.C., but pre-
served in the temple of Here at Olympia till the time of Pausa-
nias, among many other scenes was carved that of two maidens
upon a mule - car, one holding the reins, the other wearing a
veil on her head. Paus. Says they were supposed to represent
the present scene. The artist may have introduced but one
attendant and mounted her on the car for economy of space.
The poet doubtless meant the attendants to be the two men-
tioned in 18.
85. Trepuka)\Aé’; the same stream is called kax\ipooc, e 441.
86. Év0”, “where.” — trMuvoi. When in the Twenty-second Iliad
Hector at the fated death-hour turns to fly, and is driven in hot
chase by Achilles three times round the city walls, they pass by
the two fountains of the Scamander, one hot and steaming, the
other cold as hail or snow or crystal ice, even in summer. Built
round these springs are the laundry-pits.
#v6a, 6’ #Tr' attátov TXvvoi güpées ày'yū's Écouv
ka)\oi Naivaou, 361 stuata o vºya)\6 evta.
TrAſ weakou Totòov &\oxol ka Nai Ts 66') at pes
Tô Trpiv šT’aipúvils Tpiv čA0épcev vias 'AX atów. X 153–56.
“And there were broad stone basins, fairly wrought,
At which in time of peace, before the Greeks
Had landed on the plain, the Trojan dames
And their fair daughters washed their Sumptuous robes.” BRYANT.
From this description it appears that basins were dug, broad
but not deep, and the bottom and sides were laid with stone.
Such are still to be seen in Southern Europe. Those of Scheria
may have been placed in the edge of the stream, so that water
from the river could run in and out freely, though the idea of a
bubbling spring at the bottom, like those at Troy, would suit
iTektroopéet best. — trneravoi, “unfailing.”—6', “for,” explanatory
of #7 metavot.
87. Strekarpopéet, “flows up from below (#7), Out (ek), and away
(ºrpo);” on m 103.−p.áAa. . . . kaðipat, “SO as garments however
filthy to cleanse.”—Though trep qualifying a participle usually
follows it, yet it attaches itself by preference to a preceding adv.,
BOOK WI. 73
or an adj. with éðv; A 350, & 136; on m 224.—Évºróavra, sc. spara.
Öv7rá0, intransitive, Évºrów, 59, transitive. Is &Gre used in Hm.
with inf. of result 2 G. M. 98, Note 3. -
88–9. §v6', “then,” apodosis of 67s, 85. — oreday, 1st aor. like
#xevey, without the tense o'.
90. TP6Veuv, of purpose; 82. — &Ypoortly has been assigned by
different commentators to three distinct genera of grasses, the
panicum dactylon, the cynodon dactylon, and the triticum répens.
Besides other wide differences, the triticum has five flowers, the
panicum two, the cynodon One. The name agrostis is now given
by botanists to a fourth genus which includes several species.
The triticum repens is our squitch-grass.
91. xeporiv, instrumental; 968, 84; but cf. 9372, m 101; on 9 135.
éoróópeov; 9 529, n. 6; on & 77, 9 106.—HIm. applies the epithet
HéAay to both river and Spring water, but pusXávvópog only to koff-
wn. He also calls water white, as the four fountains of Calypso,
and that in which the body of Patroclus is bathed. Light and
shade have much to do with the apparent color of water, but
some is very dark per se by reason of impregnation with mineral
or vegetable solutions, while some is remarkably clear and trans-
parent.
92. 9oãs in Hm. maintains an invariable position in the line,
always following a feminine cacSura of the third foot, and with
scarcely an exception is construed with a following verb; hence,
“in their speed a rivalry displaying.”
93. Tel gives what translation to the aor. 2 H. 706; C. 493. —
TrAüvo, “to wash garments,” Aoûopat, “to bathe,” vića), “to wash
the hands or feet.”— 50 tra; H. 200.
94–5. 0ty’. What would have been the accent of the dat. ? H.
160, 100. — fix . . . 0áNaorora, “where the Sea, dashing on the
beach, was wont to scour the pebbles cleanest.”—troti xéporov is
a pregnant construction involving the idea of motion; e 402, & 12.
The cleanest spot would naturally be sought for the drying, and
+\{vo is the proper verb for cleansing, not for “washing up on
shore,” as some have construed here.
96. Aoeorgâţieval ; Hm. uses two stems, AoP, vocalized Xov, 210,
216, 219, and Xoſs, with P not written, as here and 221, 227.--
Xtºr', only in this elided form in Epic, but some later writers
4
74 NOTES,
Xtra ; hence probably an adv., “unctuously,” though many prefer
to consider it a mutilated dat. -
97. Settryov, the chief meal of the day, opposed to &ptorov, “early
breakfast,” which the maidens may be supposed to have taken
before the start, and the 360Tov, “evening meal,” which is pre-
pared for Nausicaa on her return, m 13. — meló, in correlation to
£rst implied in the temporal participles preceding; cf. 9 377–78;
H. 795 a. — 3x0 martv. When in prose is v movable found 3 H. 79.
What extension in poetry & H. 78 c : G. 13; C. 68.
98. eſplata, acc. before reporápieval, a rare and poetic construc-
tion after puśva, ; a 422, A 247. –airyā, & 305.
99. ortrov; H. 575; G. 172. —Tápé,9ev, “were comforted.” Hm.
uses both Érépp0my and étápp6my, from TäpTw. The ending v here
forms an exception to what rule 3 H. 356 C ; 355 D. c.; C. 293.−
Spoof ; see on 18. — with, 83.
100. ordaípm. Nouns in pa are declined like y\égga; & 115.—
ératſov, “began to play.” As the imperfect implies that a cer-
tain thing was going on at a specified time, but excludes the as-
sertion that the end of the action was attained, it may often be
rendered by “began to,” “proceeded to.”—&mb, with 3a)\ojoat.
This position for the verbal object, between the prep. and verb,
is a favorite one in Hm.; & 21, 77, 140, 212, 228, m 189, 220, 286,
0 72, 245, 447, v 120. — kpóSepvov, from Kápm, 680, was a head-dress
with ends hanging down towards the shoulders in broad bands,
and served not only as an ornament, but as a veil to draw before
the face upon occasion, as Penelope always does when she ap-
pears before the suitors. Andromache, in the wildness of her
grief at the death of Hector, tears hers off with the other orna-
ments of her hair. Ino, the sea-goddess, presents hers to Odys-
seus to be stretched beneath his breast as a support, when swim-
ming from his wrecked raft to the Phaeacian shore.
101. rāori, “for them.”—XeukóNevos is the standing epithet of
Here in the Iliad, and it is shown, by its application also to Helen,
Andromache, Nausicaa, and her mother, Arete, to be ranked high
as descriptive of beauty. In like manner, Aphrodite and Pe-
nelope have Táxes Xewkó. — #pxero Ho)\tris, “led off the Sport,”
which consisted not only of ball-playing, but of the measured
movements of the dance following the singing of the leader;
BOOK WI. 75
cf. 9 370–80. In all choral dances the rhythm necessitated a
leader, who was called £apxog, and set the example to the others.
Apollo is the Exarchus of the Muses, Achilles of his followers
in the lament over Patroclus, and Thetis of the Nereids in the
Sã, Ille.
102. “And even as Artemis, the arrow-showerer, glides down
from some mountain.”—oºm has for its correlative àg, 109, instead
of Totn; cf. X 317, m 108–9.--etort, not in future sense; SO, often in
Hm.; & 131.— kar’ oipeos; note the Sense of kará with gen. ; II.
618. For concinnity with the following, some have read of psa.
Then the mountain names define appositively the general oiosa.
But Krüger has remarked the fact that the repetition of the
preposition with an appositive is contrary to Homeric usage.—
ioxéaupo, from ióg, xào; cf. x 3, 9 159.—As was remarked by Vale-
rius Probus (Aul. Gell. Noct. Att. IX. 9), this famous simile is par-
aphrased by Virgil with greatly diminished effect, since the sur-
roundings of his scene are strangely different from those of the
huntress queen. Hm. has a maiden amidst her maidens, in a syl-
van retreat, gliding through the evolutions of the dance, com-
pared with a maiden goddess surrounded by her nymphs sport-
ing about her, amid the lone mountains. Virgil, without any
material change of scene for the goddess, compares Dido, the
widowed queen, as she moves in Solemn state through the city,
accompanied by a band of counsellors and warriors; while line
108, which is the brightest flower of the passage in Hm., Virgil is
compelled per force to omit. Virgil introduces the simile, AEm.
I. 498–504, when Dido is approaching the temple where AEneas
had been tracing with reviving hopes the deeds of his country-
men displayed in pictured reality upon the walls:
Qualis in Eurotae ripis aut per juga Cynthi
Exercet Diana choros, quam mille secutae
Hinc atque hinc glomerantur Oreades; illa pharetram
Fert humero, gradiensque deas Supereminet omnes:
Latonae tacitum pertentant gaudia pectus;
Taliserat Dido, talem se lacta ferebat
Per medios.
103. “Or along Taygetus the towering, or Erymanthus.” Tay-
getus was the range of mountains lying between Laconia and
76 NOTES.
MeSSenia, and rose to the height of 7500 feet. It contains the
highest peak in Peloponnesus, and the Cypria declared that all
Peloponnesus could be seen from its summit. Erymanthus, like-
wise one of the loftiest ridges in Greece, formed the boundary
of the north-west angle of Arcadia. Both were favorite haunts
of Artemis, and abounded in animals of the chase. The Fourth
Labor of Heracles was to bring alive to Eurystheus the savage
boar that ravaged Erymanthus. -
105. The epic Sé re is nearly the Attic Čá ys, “yea and,” “and
further,” implying that not all has been said, but something fully
as important is yet to follow. Paley.—The nymphs are daughters
of Zeus in his attribute of rain-god, since they are all properly
deities of the fountain, the child of the rainfall.
106. 4péva ; cf. yń0mge 68 0wpuff, H 189; yněhosty kará 6-pºv, N
416; 6 368.-The Leto of Homer possesses few characteristics
except her motherhood, and of this she is the supreme embodi-
ment. The poet is fond of imagining a spectator of his scenes,
and here it is the mother, whose joy and pride at witnessing the
matchless beauty of her daughter are lovingly portrayed. It is
because no other mother may dare to vie with her, that such ter-
rible punishment is inflicted upon the vain-glorious Niobe. Vir-
gil's rendering of the mother's delight is more ornate, but the ap-
plication is lost, since Dido is motherless, whereas the mother of
Nausicaa not only lives, but among earthly mothers she is hon-
ored as Leto among the celestials; m 67–74.
107. Some take Ötrèp with #xet, as v 93, T 210, others with Tra-
gåøy; the former make kapm acc. of specification, the latter the Ob-
ject of £xst.—The part pérotra, as a prominent feature, is added
to vivify the picture; and is connected back to the whole by jöä,
as by Ts, II 798, 791, cat, M. 255, B 632; cf. ) 279. Hm. elsewhere
uses the sing. pºrozroy. Here it designates the whole forehead,
and where an object may be conceived as made up of parts, he
often includes that idea by employing the plural; see & 20, 138,
225, 296, m 4, 44, 187, 208, 345, 9 54, 57, 85.-Size is one of the
prominent elements of beauty in the view of Hm., for women as
well as men, and his admiration for height in both is of the
strongest. But with the matron, especially, tallness is not suffi-
cient; Athene adorning Penelope to win weighty presents from
BOOK WI. 77
the suitors by her charms,
makes her more portly as
well as taller. The char-
acteristic which clearly
marks an ancient statue
of Artemis, according to
Winckelmann, is its del-
icate grace of proportion
and divine loftiness of
bearing, its lightness and
slenderness combined with
added height. Doubtless
the artist borrowed this,
as so much else, from Ho-
mer: for the stature of Ar-
temis is prominent in this
simile, and her slender
grace is implied & 163;
while among the manifold
gifts bestowed upon the
daughters of Pandareos, it
is Artemis who endows
them with height, v 71. The accompanying woodcut is from a
photograph of the famous antique, the Diana of Versailles, now
in the Louvre. w
108. Betá, & 300. —8é re, “and furthermore,” “although.” The
beauty of Nausicaa's handmaids has been especially commended,
18.
109. Herémpere, 9 172. — trapºévos ū8pºſs, “the maiden unwed-
ded,” the distinctive trait also of Artemis, and for that reason
emphasized in the princess, as a further point in the comparison.
The marriage, too, is again brought to mind; on 35.—ā8pis,
properly of the destined beast of burden, as 3oijv &öpińrmy, jv of tra,
trö &vyöv #yayev &vão, K 293; 6 637. “Whom never husband
tamed.” Chapman,
110–11. “But when at last she was thinking back homeward
to return after yoking the mules, and folding the garments beau-
teous.” The ball-playing had not yet ceased, and 252–53 show

78 NOTES.
~$1.
that the task represented by the participles was still in her
thought : “we will return now as soon as we have yoked,”
etc. The participles are. Subordinate to véso 6at, not pusXXs. –
véeoréau is scarcely an exception to the regular use of the fut. after
puéA\a), since véopat, like 'Eiput, has commonly a fut. Sense.
112. čNA’ &vámore, “of other things took thought,” a common
formula ; & 251.
113. Ös, “that:” & 129, 6 21, m 192. — eiðriða, “beautcous-
eyed,” exclusively of Nausicaa in FIm.
114. ii; On 37.—oi, m 22.
115. Trelt”, “accordingly,” as the result of the determination
of Athene, who turns the ball aside, that it may fall into the
river and occasion the shout which awakens Odysseus. In the
Iliad Athene often turns a spear from its mark, or directs it more
unerringly; 0 8.—Het', 54.—BagríMela, “the princess.” Similarly
Virgil calls Ilia regina Sacerdos. Sophocles wrote a Satyric drama,
now lost, entitled Nausicaä, taking his subject from these scenes.
One of his rare appearances on the stage was in this drama,
where he won warm plaudits from his audience by his grace and
adroitness in ball-playing.
116. &pidºutróAov; H. 580; G. 171. – šiapre: it is Homer's cus-
tom to make the person, and not the missile, the subject of this
verb.-8tvm ; on 75. Its eddies are a characteristic of the river,
89, and a deep eddy would insure the loss of the ball, and cause
the louder exclamation. -
117. §tri Hakpāv, “afar,” “Over a wide space,” so that the cry is
measured, as it were, before the eye. — pakpov, neuter adj. used
substantively. Hm. usually estimates sound by distance rather
than volume ; yet péya, Sometimes; cf. the curious expression,
A 462, #üosy, Ögov icepa)\!) Xà6s poróg, “as much as a man's head can
hold.”—8tos, root 6tſ, original meaning “to shine,” then “sky,”
“sky-god,” “related to Zeus,” “godlike,” “illustrious.” The
adj. is used of about 30 of the heroes, most constantly of the
greatest, Achilles, Hector, and Odysseus; of the last above 100
times. All kings are ëtoysvásg; see I 538, and Nº. 346–47 where
the relative clause is exegetical of Öiov. Eumaeus is of royal
birth, and Philoetius doubtless also, since he holds the title &pxa-
pog āvāpāv, elsewhere given only to those of princely race.
BOOK VI. 79
118. Köpevos, “Seating himself,” i. e., rising to a sitting pos-
ture. The fuller idea appears in B, when Agam. Touses after the
dream-visitation.—éppalve. Iſomer's faculty of dramatizing lis
narrative, of transferring from himself to his heroes the duty of
developing both the action of the poem and their own charac-
ters, is one of the most prominent peculiarities as well as beautics
of his style. But exclusively proper to Hm. is his art of drama-
tizing, not merely action, but thought; not merely the inter-
course between man and men, but between man and himself, be-
tween his passions and his judgment. The mechanism of which
the poet here chiefly avails himself is, to exhibit the person un-
der the influence of excited feelings as communing with his own
mind, so that the breast of the man seems laid open before us,
and, in the literal sense of the term, we read his thoughts as they
flit through his bosom. Mure. This self-dialogue is usually de-
picted by éppaíva), which denotes the rushing of the thought to
and fro in a mind violently agitated.
119. "O Hot &yo, Sc. Öst)\óc situ; & 299; “All me! luckless I.”—pou,
& 59.—Téov . . . ikávo ; “into the land of what mortals again have
I come 3’ a fitting question after his many wanderings and hair-
breadth escapes in unknown places.—réov; H. 244 D.—ikávo
and tico, in Hm., have in the present the sense of the perfect;
similarly, what verbs in Attic? H. 698; G. M. 10, Note 4.
120. Ö3ptorraí, and āYplot, the insolent and the Savage, are op-
posed to pi\óēsivot, the hospital)le; the Cyclopes and Laestrygo-
nians, to the Phaeacians.—oë82 Sixaol, “and unrighteous.” oběš
= kai of ; H. 858. Here the unrighteous is antithetical to the
god-fearing man, 0sovëhç. The stranger is under the special pro-
tection of Zeus Xenios, and the man who reveres the deity is
the righteous man, and will respect the laws of hospitality.
Polyphemus, whose boast is that he fears neither god nor man,
becomes the arch-violator of the claims of the suppliant stranger.
121. 6eov8 is is not 6sostôňc, but is compounded of 0sóc and
6Féog, fear, 9806 Påg, by transposition and vocalization of P becom-
ing 0sovëſig. Cf. Ata éévtov Óstorag, à 389.
122. (I say of mortals) “for a feminine cry as of maidens about
me came.” So when Agam. Wakes from his dream in the Second
Iliad: 0sín 6é puy &pſpéxvt’ &phi;. — $orre in its poetic and Ionic use
80 - INOTES.
as a particle of comparison; on 87, 84. — 0%xus, masculine form
for fem.; H. 212 D.
123. vup d'éov, “Of nymphs,” defining rovo&ov more closely.
While we are content to contemplate the beauty of nature in its
outward forms, and possess a much stronger and more educated
taste for the charms of the landscape, the Greek, passing lightly
over the external aspect, sought to find the reflex of his own
buoyant life within the vestment, and peopled all nature with a
ligher life than he saw in the humanity about him. Not only
do the rivers possess their river-gods, but each fount and grove,
mountain-top and grassy mead contains its indwelling spirit.
Hm., however, stopped short of much that is found later, the
Hamadryad, and the constant nymph-companion of later days,
the Satyr. As the daughters of the Rain-Zeus the nymphs haunt
mountain, meadow, and grove, doubtless for their abounding
springs. They are worshipped like the river deities, especially
in Ithaca, and their cave there is described, v 103.
124. Trío ea trouievra, “ spring-quaffing meadows grassy.”— trol-
*ſeyra makes the line spondaic. In such cases Hm. usually in-
cludes the last two feet of the line within one word; cf. & 8, 114,
125, 157, 160, 188; 259; etc.
125. “Surely then, methinks, I am near men of human voice.”
The punctuation of Ameis, which is favored by Eust., is here
followed. Most editors have made it a question, and several
have bracketed 123–24, as ill according with the remainder of
the speech. For Odysseus begins with the assumption that he
is in a land of mortals, and following this, the declaration that
the cry he has heard is of maidens is natural, of nymphs incon-
sistent. But this view overlooks the fact that nymphs are most
likely to be found in the vicinity of man, since they enjoy the
worship which is accorded them by him. An idea so common
would be sufficient for Odysseus to base a supposition upon, re-
specting which he plainly feels dubious himself. — ačSmévrav
strengthens the argument for the lines; since it is regularly em-
ployed to contrast the voice of man with that of the divine race;
hence here with the supposed cry of the nymphs. The notion
of a distinction between the human voice and that of supernat-
ural beings is current in all ages. The cry of Ares and Poseidon
BOOK WI. 81
was like that of nine or ten thousand men, E860, E 148; cf. “nec
coa, hominen. Somat,” Virg. AEn. I. 328; “vacem clarioram hºtona-
na,” Liv. V. 32. The unnaturally loud, shrill cry of the maidens
would easily suggest some such thing.
126. Trelpíoropat; on 31 ; a possible future; n 190, 934, t 174, p.
383; G. M. 87. Such examples show how closely allied the fut.
and subj. stand, in the early language especially.
127. 6ágvov Útreðūgero, “from beneath the shrubs emerged.”
The shelter beneath which Odysseus had sought protection
from the chill night air and prowling beasts consisted of two
small olive-trees, one wild, the other tame, both growing from
the same root, and so thickly intertwined and interleaved that
neither sun nor rain could pierce their covert; oëc ºr 'Oövarosłc
350er', a 481. These stood in the edge of the wood upon a height
overlooking the shore; on 138.
128–29. “And from the dense copse he wrenched with his
brawny hand a branch rich in leaves, that this about his person
might Screen the unseemliness of man.”—xeupi traxeid, not only
of many warriors, but of Penelope and Here ; on 107. – bºx\ov;
H. 560; G. 167, 4. The young Sapling or branch would have a
thicker foliage than an old One. — figorairo, 113. Exposure of the
person was regarded with feelings of repugnance in the Homeric
day. When Odysseus would threaten Thersites with the last
degree of shameful punishment, he declares that he will strip
him to the skin and then flog him to the ships. It was not until
much later that the practice of throwing off all covering when
entering the arena for gymnastic contest was introduced by the
Lacedæmonians; Thuc. Says but shortly before his day, and then
as a purely gymnastic expedient. “The scene in the Odyssey,”
remarks Mr. Gladstone, “where Ulysses emerges from his covert
on the coast of Scheria, will always be regarded as one of the
most careful, and yet most simple and unaffected examples of
true modesty contained in the whole circle of literature.” Studi-
ies, II. p. 466.
130. This simile has been criticised as unscasonably sublime.
Mure calls it a good specimen of the “mock heroic,” which he
finds pervading the whole Phaeacian episode, and says that “no
figure can be less appropriate, if taken in a literal sense, or hap-
4%
82 NOTES.
pier if considered as a travesty of the more dignified epic style.”
He would characterize it as a parody upon a passage in the
Twelfth Iliad where Sarpedon, starting to storm the Greek in-
trenchments before their ships, glittering in arms and brandish-
ing his weapons, is compared to the lion :
£37; 6’ fuev čo Te Aéov ćpea iTpoq os, Šs T' éartógvijs
Ömpóv ću kpatów, káAetat 6é à 6vuòs &yńvoop
AuſAwy Telpija outa kai és Tukuvöv 66plov čA0aiv. M 299–301.
(He) “Strode onward, as a lion, mountain bred,
Whom, fasting long, his dauntless courage leads
To assail the flock, though in well-guarded fold.” DERBY.
The opposite point of view has been thus presented by Hayman:
“The point of this simile seems to be that the hero moves forth
from his covert with forlorn desperation, heedless whom or what
he may encounter, even as the hungry lion endures wind and
rain, and alike to him comes all prey, wild or tame. Further,
the effect produced on the maidens resembles that by the lion
On the animals. The constancy of Nausicaa alone is not included
in the simile. The simile dignifies a passage which seems to us
perhaps to need such relief, but nothing in the whole context is
more remarkable than the simple and unruffled gravity of its
tone. No later poet could lave attempted such a scene save in
the Satyric vein.” A nice critical discrepancy for the student to
weigh and resolve. In considering this, as all Homeric similes,
the following principles should be kept in view:—No simile can,
strictly speaking, be exact. The very nature of comparison im-
plies a difference. But the intellectual age is more likely to work
up fully the exact features than the imaginative. To the latter
Hm. belongs, and often when his similes are descriptive of the
mode rather than the degree, we find that he has seized some
general feature of resemblance, and has then extended or en-
larged the ornamental element of the comparison beyond the
limits of the comparison itself. By this means a fair field is
gained by the poet for the play of his imagination, and a liveli-
ness and separate picturesqueness are imparted to the description,
which are always pleasurable; cf. & 232–35, 0521–30.-àAki, met-
aplastic form ; H. 199. This attribution has nothing to do with
the comparison: it is descriptive of the lion, simply.
BOOK WI. 83
131. eio', 102. —üégévos kai äſijevos ; this feature, which does
not appear in the simile of the Iliad, is added to picture more
vividly the storm-beaten, bring-defiled appearance of Odysseus.
—év, adverbial, “within,” i.e. beneath his bushy brows; & 292,
m 129, v 105. - oi, a variety of the ethical dat. which our idiom
tends to make the possessive ; 4 139, 225, 307, n 29, 82, 249, 269,
306, 309, 9 150, 154, 175, 178, 208, 233, etc.; cf. n 7, 13, 103, 122,
342, 6 5.
132. Saterat, “blaze;” the Subject bogs as a neut. takes the
same construction as a neut, plur.; M. 466, of Hector, rvoi 3’ &aas
ô86ā8t.
133. The difference of case in Bougi and éX&#ous, after per',
marks vividly the character of the animals; the one as slow of
foot, and affording no trouble to the lion in seizing; the other
swift and wary, giving the pursuer a hard chase before capture;
On 60, 54.—8é; On 6. –Yaarthp, n 216, & 250.
184. “For the purpose of making essay upon the flocks, even
into the stout fold to go.”— treupºorov.ra must be construed with
#A0siv, not kāAsrat. Of the 57 cases of fut. partc. in the Iliad, and
63 in Od., all but E 46, II 343, T 120, Nº. 379, X 608, are connected
with verbs of motion ; see & 31, 59, n. 229, 324, 9 81, 108, v 17.
Classen.
135. HeMXev, “was constrained;” m 270, 217–20.
136, pigeo-0au, “to draw nigh unto.”—rep; on 87. This rep-
etition of the overwhelming necessity which conquers all scru-
ples emphasizes the main point of the comparison.—ikavey, Sc.
pºw; 169. Odysseus' presenting himself to Nausicaa was the
subject of a painting by the famous Polygnotus, which was pre-
served in the Propylaea at Athens, and was seen by Pausanias
(I. 22).
137. “And frightful to them did he appear, grimed with sea-
dregs.” His outward appearance is imitated in the rugged
harshness of the line. Dionysius of Halicarnassus remarks upon
this passage: “When Homer is to introduce a terrible or un-
usual image, he rejects the more flowing and harmonious vowels,
and makes choice of such consonants as load the syllables, and
render the pronunciation difficult.” For the reverse, see 162–63.
138. Tpégoray ... àAAm, “and they fled trembling, the one here
84 NOTES.
the other there.”–&A\vöus, epic for &A\ome; the v is Æolic, as in
Övvua for ºvona. -čic is only a variant of -ºs. – ºiávas, the level
stretch of sandy shore along the sea upon which they had al-
ready spread their garments to dry. The scene so accurately
conceived in the poet's mind, whether otherwise possessing ac-
tual existence or not, is that of a river emptying into the sea,
upon one side of which rise high cliffs stretching up the sea-
coast, but the other bank is a grassy slope running down to
the sandy sea-shore, which is an open beach free from rocks.
On the river-bank are the laundry-pits hard by the beach. A
short distance from the river the land begins to rise into a
wooded height, upon which Odysseus has been sleeping. The
maidens are playing ball near the river, in the space between
the pits and the beach, and as Odysseus descends the acclivity
the attendants fly naturally towards the most open spot away
from the intruder, namely, along the sea-shore, which, stretch-
ing out towards the town, finally swells into a rocky promon-
tory that hides the city from the river-mouth, and helps to
form one of the harbors. This will be made clearer by the
plan below. -
A. Palace in city; B. Agora; CC. Galleys on rests; XX. Harbors; DD. Road to wash-
ing-troughs; E. Crown-lands; I. River; G. Wooded height; H. F. Sand-beach.

BOOK WI. * 85
140–41. Čk; on 100. — oxopévm, opposed to Tpégoav. The at-
tendants followed the first impulse and fled; the princess, by the
aid of Athene and her own frank and fearless heart, overcame
that impulse, and awaited the stranger. Though the poet has
seen fit here to introduce his theurgic machinery, it is evident
from the character of Nausicaa, as sketched throughout, that
Athene's share in the scene was necessary only to destroy the ef.
fect of the fear which Odysseus’ savage appearance might have
produced, not any fear of him as a man, or as a stranger. The
fact that she is the only sister among five brothers would tend
forcibly to infuse an element of strength and self-possession into
her character, and in addition she lives in a court where feminine
influence has more than ordinary sway. Mure well says of her:
“The portrait of Nausicaa is the most excellent of its kind in
either poem. It combines, in the most attractive form, and under
such modifications as became her sex, the more favorable char-
acteristics of the Greek nation, frankness, courtesy, and benevo-
lence, with a due share of egotistic loquacity and innocent co-
quetry.”— peppnipušev introduces a favorite Homeric method of
describing the workings of the human breast, by way of narra-
tive, instead of Soliloquy. Heppäpušev first exhibits the thoughts
in a state of agitation, then follow the various expedients that
marshal themselves before the mind, and finally appears the
Summation expressed by Šoćggaro.
142. # . . . , introducing a double indirect deliberative ques-
tion; H. 737; G. M. 71; G. 244. — you'vov with Xabºv; H. 574 e.
This was the common attitude of the suppliant. Thetis in her
Solemn prayer to Zeus grasps his knees with one hand, and his
chin with the other, A 500, and Priam, presenting himself before
Achilles to beg the ransom of Hector, clasps his knees and kisses
the dread hands that had slain many a son of his, Q 478.
143. atros, “thus,” as he was, defined more accurately by
âtroorašū.
144. ei Seiffele, “in case she would point out,” a condition
where the conclusion is implied in the context; v 182; G. M.
53, Note 2. — eſpara. Odysseus had doubtless noticed the gar-
ments on the beach. This line has been bracketed by many edi-
tors as otiose and inapposite, since the question in the mind of
86 * NOTES.
the hero was not what he had best ask, but how. His fear was
lest, if he approached so near as to clasp her knees, the maiden
would be more shocked than propitiated.
145. Sočororaro . . . e.tval, “it appeared on the whole to be bet-
ter,” always with some doubt yet remaining in the mind as to
complete wisdom in the choice of alternatives. Virgil has em-
ployed in his own way this mode of expression for Æneas, when
he receives from Mercury the command of the gods to depart
from Carthage, Æn. IV. 285–87:
Atque animum nunc huc celerem, nunc dividit illuc,
In partesque rapit varias perque omnia versat.
Haec alternanti potior schtentia visa est.
147. Hºi, n. 16, 306, & 273, 9 230; H. 743; G. M. 46; G. 218.-
Note youva here, Yotvov above. — dºpéva ; On 106.
148. “Straightway a gracious and winning speech he spake.”
A speech more admirably contrived to effect its purpose can
scarcely be pointed out even in Hm., whose speeches everywhere
are wonderful specimens of argument and eloquence. Beginning
with the assumption that she is a goddess, he likens her to Ar-
temis, but if she be a mortal, her beauty must be the joy of all her
dear ones; for anything comparable with it he never saw save
once, a springing palm in Delos. Reverence for her beauty is so
mingled with his admiration that it sustains and elevates a flat-
tery which would be too open and unblushing in itself. A skil-
ful hint at his former importance in the world is followed up by
an appeal to her sympathics for the forlorn and shipwrecked
wanderer whom the very gods are persecuting. He then re-
minds her of the common obligations of hospitality, in that she
is the first whom he has met in the new land, and prefers a re-
quest whose very moderation is proof of the true delicacy that
accompanies real want. He closes with the wish that the gods
who persecute him may shower upon her the choicest blessings
they have in store for maiden virtue and maiden hope—a hus-
band, lïome, and fondest mutual affection.
149. Touvoop at is chosen, though the suppliant is at a distance,
as if to excuse his apparent lack of formality in the position he
assumes. – &vaorora occurs elsewhere in Hm. Only of goddesses.
Odysseus' original supposition is that he is to meet daughters of
BOOK WI. 87
Zeus. Doubtless this idea is shaken by the earthly signs of a
homely occupation scattered about ; yet he does not free himself
wholly from his first expectation, and for rhetorical purposes he
does not wish to do so. —6eós . . . Šoraru, “Some goddess, then, or
mortal art thou?” a double direct question with the particle
omitted in the first clause, as a 226, § 140, 314, 371.-What parts
of siut are regularly enclitic 3 H. 105; G. 27.
150. rol, “of those who.” Before a relative referring to a
whole class of persons or facts, a gen, plur. is often to be supplied
in thought.
151. ore #yaye; this harsh hiatus is elsewhere found in the sec-
ond foot, T 185, B 8, T 46, T 288.
152. etSos is beauty of face, Héye?os loftiness of stature, and
quiv that complete harmony of every limb and part which formed
the Greek ideal of beauty, and was afterwards embodied in their
masterpieces of art. It may represent massiveness of frame, or
slenderness, as here. The poet has already likened Nausicaa to Ar-
temis, and he makes his hero strike upon the same analogy. It
is needless, nay, wholly wrong, to suppose that Odysseus was con-
ceived to have acquired an idea of the appearance of Artemis from
statuary or painting. The former of these arts is barely men-
tioned in the poems, the latter never. Personal communication
between man and the deities, especially in the Iliad, is so com-
mon that one need not look further. See on & 107, m 100, 934.
—This whole address should be compared with that of Æneas
to Venus when she meets him on the shores of Carthage in the
guise of the huntress, AEn. I. 327–34:
O—quam te memorem, virgo 2 mamque haud tibi vultus
Mortalis, nec vox hominem sonat. O dea certe;
An Phoebi soror? an Nympharum Sanguinis una?
Sis felix, nostrumque leves, quaecumque, laborem,
Bt, quo sub caelo tandem, quibus Orbis in Oris
Jactemur, doceas: ignari hominumque locorumque
Erramus, vento huc et vastis fluctibus acti:
Multa tibi ante aras nostra cadet hostia dextra.
154. Here speaks the heart of him who in no name delighted
so much as to be called the father of Telemachus; B 260, A 354.
Virgil's paraphrase, put into the mouth of Æneas in his first
address to Dido, is characteristic:
88: NOTES.
Quæ te tam laeta, tulerunt
Saecula 2 qui tanti talem genuere parentes?
155–57. PláAa, causal asyndeton: “For deeply, Iween, are their
hearts ever with fond gladness warmed because of thee, when
beholding such a Scion to the dance tripping.”—èüğpoorºvnow;
the plur. of abstract nouns is especially common in Hm., and oc-
curs more frequently in the Od. than the Il. What force does it
convey 2 H. 518 c.—Neuorarávrov after arduoi has several parallels
in the poems, and is variously explained: either the dat. is so far
equivalent to a gen. that the partc. agrees with the implied apóv,
in preference to the expressed a quot; or it is an actual gen. abso-
lute with subject suppressed; or the partc. is indeed dependent
on 9ppoc, but represents the last stage of development before its
full emancipation into the gen. absol.—eiorouxvedorov agrees with
the natural gender of 0&\og, as referring to the maiden, rather
than the grammatical; H. 523. — The joint participation of
maiden and youth in the dance, which was a common custom in
the Homeric day, exhibits a freedom and independence of man-
ners such as existed later among Some of the Dorians and Asiatic
Greeks, but stands far removed from the seraglio-like confine-
ment of the sex at Athens. A beautiful picture is drawn of the
choral dance as exhibited upon the shield of Achilles:
#v6a pºp #68 ou kai Trapbºvou &\pag-iſolat
dopxativt’, &\\?\ov čtti kaparq Xeipas àxovires.
Töv 6' ai. Mév \ett&s 606vas #xov, oi 6é XuTāvas
ałat #üvviſºrovs, jica. oºri)\govt-as #Aaíg
ſcat 6' ai Māv kaA&s a req &vas Éxov, oi čá play aipas
eixov Xovo et as #3 &pyvpéov Taxapºdovov.
oi 6’ 67-É pièv 6pážaokov čTuotapuávovoru Tóðacroſiv
fiela uáA’, dis & Te Tis Tpoxöv ćppaevov čv Tax44motu
& Köuevos kapapºsts Trelpforetat et ke 0&nglu
&\\ote 6’ at 6páža.orkov #7tl ora-ixas &\\?\oto w.
aroXXós 6’ ipleposuta. Xopów Treputata.0° àpu}\os
Tsp7tóuevot us7& 6é o qu äuäXTreto 6aios &otöös
q) oppºigov Öoud, 68 kvpua TnTijpe kat' at Toys
Aloxarijs #34pxovºros éðivevov kató: piāo orovs. X, 593–006.
“There, laying each on other’s wrist their hand,
Bright youths and many-suitored maidens danced:
In fair white linen these ; in tunics those,
Well woven, shining soft with fragrant oils;
BOOK WI. 89
These with fair coronets were crowned, while those
With golden swords from silver belts were girt.
Now whirled they round with nimble practised feet,
Easy, as when a potter, seated, turns
A wheel, new fashioned by his skilful hand,
And spins it round, to prove if true it run;
Now featly moved in well-beseeming ranks.
A numerous crowd, around, the lovely dance
Surveyed, delighted; while an honored bard
Sang, as he struck the lyre, and to the strain
Two tumblers in the midst were whirling round.” DERBY.
Compare with this the dance of women before the altar and
statue of a goddess, as figured below from an archaic bronze
bowl in the Cesnola Collection.
-
158, repl kāpt; cf. Chaucer, Wuf of Bathe's Tale:
“It tikeleth me about myn herte-roote.”
—&AAwy in connection with a superlative is a common Greek


90 NOTES.
construction, but the two are virtually antagonistic. The superl.
includes all of the Series, not excepting the happy man, while
&\\tov cypressly excludes him. ÖAXtoy may be translated as if
Távrov. This inclusion of the object compared among the ob-
jects of comparison is similar to that of including a person or
thing among those from whom they are to be distinguished (on
84), and the present time in the past, & 220. Compare Milton's
imitation in Paradise Lost, IV. 323:
“Adam the goodliest man of men since born
His sons; the fairest of her daughters Eve.”
159. &é8voloru 3ptoras, “by his gifts prevailing.” Aristotle says
that the Greeks in early days were accustomed to purchase their
wives from each other. The Homeric poems exhibit a transition
period, in this respect, as in so many others. To make large
presents to the father of the bride was still the prevailing cus-
tom, and Écôva for the most part represents these, as here; for
the leading thought of the passage is to heighten the estimation
in which the maiden is held, and this is best effected by depict-
ing her as the object of ardent competition among numerous
suitors who will pay heavily for the boon of her hand. See on
28, 287. &yāymrat ; on 28.—A poet in the Anthology rises to a
still higher flight in his panegyric:
aúðatutov Ó 3\{Tov as ' Touad Aguos Go Tus & kočel
imitsos 6’ 6 qu)\öv &0&vatos 6' 6 yaputov.
161. &vöp’. Homer's truly Greek love of the beautiful in hu-
man form has not confined that characteristic to the female sex.
All of his heroes possess beauty in a marked degree. Thersitcs,
the most contemptible wretch beneath the walls of Troy, was at
the same time the most ugly. Achilles, on the other hand, the
greatest of his heroes, possesses an almost superhuman beauty.
The poet expressly declares, 9 168, that beauty is one of the three
great gifts of god to man ; and his reverence for it throughout
the poems rises almost to a worship. It entitles Ganymede and
Tithonus to immortality. The reverence, therefore, which Odys-
seus here professes before the maiden, who is plainly the poet's
ideal of virgin beauty, must not be attributed merely to his flatter-
ing and gain-seeking tongue, but to a genuine admiration, which
the plain-spoken hero neither needs nor desires to repress.
BO () is VI. 91
162. Aſ Aq); On 8. No other mention of Delos is found in Hm.
Voss has inferred from this passage that Delos in Agamemnon's
time possessed the foremost oracle of Apollo for seafarers, as
Delphi for landsmen. This conjecture gives a plausible motive
for Odysseus' stopping there on his way to Troy, as AEneas does
on his voyage to Italy. Doubtless it became a welcome haven
at a very early period, for its harbor is one of the best in the
AEgean. A scholiast thinks that the palm here is the same one
of which much is made in the Homeridean Hymn to Apollo in
connection with the birth of that god ; but he overlooked the
epithet véov. In Homer no spot bears any trace of being honored
as the birth-place of a god. The Apollo of our poet, in particular,
is a deity too lofty and dread to have his birthplace fixed. In-
deed, his birth at Delos was an Ionian and Athenian legend,
never recognized by the Delphians, Boeotians, or Peloponnesians,
except the Messenians. As late, however, as the time of Cicero
and Pliny, a palm-tree was shown on the island which was de-
clared to be the one under which Apollo and Artemis were born,
and the same which Odysseus Saw ; and a palm is found as an
em!, lem of Delos on Greek vases.
163. The use of 9&\og above seems to have suggested the com-
parison by épvos here. 0&Nog is properly a branch of the tree,
£pwoc a scion which springs from the root. Hm. does not use
#ovoc like 0&\og of a person, as the later poets do, but he says of
Achilles &váðpapsy ovel io'oc, X 56. The slender grace of Nausicaa,
marked by the comparison with Artemis, is here again empha-
sized by the young palm shooting up with the straightness of
the arrow.—évémara is also construed in this sense with ög,0a)\ptoic,
êv Óp6a)\ptoiouv.
165. Thy 68by, “on that journey;” cognate accusative; H. 547;
cf. & 261, 9 107. — fi, “by which.”—#1e)\\ev, 135. What other
tenses of the infinitive may follow 2 H. 711; C. 501; G. 118, 6.
166. &s 8 atros, “and in the self-same way.” This phrase al-
ways assumes this form and place in the Homeric verse. Later
it becomes (boratºrog. As an adverb it corresponds exactly to Ö
airóc, the pronoun, ačrwg being the adverb of airóc. Buttmann
therefore conjectured that the accent should be abrác, and this
is written by Bekker. — reºrea, plupf, with sense of imperf.
92 NOTES.
The termination is archaic, with personal ending y dropped, as
regularly in 1st aor. ; H. 351 D.
167. Šk, with yaing, rather an unusual separation of prep. from
noun, but see 0 149, t 535, X 115, and some remarkable prose exam-
ples in Prof. Short's Essay, p. lxxxiii.-8ópu, in the unusual sense
of a standing tree. Commonly of the tree cut and fashioned.
168. &s, “as,” correlative to Ög 6’ ačroc, not to Totov. The
usual order of the correlatives is reversed; cf. y 218–19, 1 224.
—yūval. From line 153 the assumption of divinity has been
abandoned. In the vividness of the Homeric conception of
the scene, it seems scarcely too much to assume that the poet
imagined some gesture of dissent on the part of the maiden to
have determined the question. She makes no disclaimer in her
speech, as does Aphrodite in answer to Anchises in the Hymn,
and to AEneas in the AEneid, under similar circumstances. Hm.
turns his epos into drama more fully and frequently than any
other poet. As in the unacted play, we are left to imagine
the action, tone, gesture, not only of the speaker, as & 206, 276,
m 30, 48, X. 353, but of the person addressed ; see on m 315,
and compare s 205, c 330, Milton, Paradise Lost, II. 689–95,
Anthon on AEneid, III. 340. Virgil is usually much more de-
scriptive. Compare AEm. I. 561 with the words of Nausicaa.
below. — Seiðua ; H. 319 D.; stem öPt, 68.6Fua = 8stola; on 121.
Under the spell of her beauty he puts his fear to assume the
usual position of the suppliant upon higher ground than before,
147. — &Yapat re ré8mtrá re, “I both revere thee and marvel.”
Construe as with the former, not the latter, which is intransitive.
169. Sè, “although,” 108. The arrangement of sentences co-
ordinately, that is by employing the co-ordinate conjunctions
(H. 853, 855–67) to unite them, is doubtless the second stage of
development in a language, the arrangement side by side with-
out conjunctions being the earliest. The Greek language in the
Homeric poems had reached the third stage, that of subordina-
tion (H. 853 b), but it still reverted with a lingering fondness to
the earlier mode, and frequently used it where the logical con-
nection requires a rendering in accordance with the later full
Subordination; on 6, 234, 9 389, n. 262.
170. x81ſos. The poets are fond of using adjectives for adverbs
|BOOK WI. 93
of place, still more frequently for those of time, sometimes those of
mode or manner and cause; H. 488 c.; on v 75. —oivotra is used by
Hm. only of the sea and of oxen; v 32. “Wine-hued ” is its prop-
er sense, and wine is either épw0póg, or puéAaç, or atóoil, of which
ał9op is flashing, ué\ag dark, and épv6póc dark red. See on 53.
171. “And so long continually did the wave keep bearing me
on, the sweeping tempests also.”—édépel is made to agree with
the nearest noun, though referring to 668A\at as well. This is
often the case even when several subjects stand before the verb,
and is regular, as with us when only one precedes. As here, 6
628, X 626, v 192, p 186; cf. m .277. For the thought, compare
the words of Æneas to his mother, Æn. I. 375:
Nos Troja antiqua . . . diversa per aequora vectos
Forte sua Libycis tempcstas appulit oris.
172. &m'. Anastrophe does not take place when the proposi-
tion suffers elision, nor when Čá is inserted between the preposi-
tion and its case; & 107, m 79, 85.—'Oyuyſms occurs in Hm. only
with vijaoc, and takes the same case. It is Calypso's isle, the épt-
pa\ög 9a)\ágong, or centre of the great northern sea; on m 244.—
vöv 8", “now, however,” pointing out the occurrence as beyond
expectation; it may also refer to something unwished for, or not
resulting in accordance with the circumstances. A succeeding
aorist has the force of a perfect.— káBBaAe, “has flung me down;”
H. 73 D.—Satpov. The idea of divine Providence governing
the world and shaping the current of events is generally centred
by Hm. in Zeus, the father of gods and men, who holds the
scales of fate, and on whose floor the two caskets stand which
contain the varying incidents of human destiny; on 188. Often
this idea is conveyed by 0sóg, 0soí, &0ávarot, 6aipawy, representing
either Zeus himself or the gods in their combined action, since
the polity of Olympus is founded upon that of the Greek state,
and the united action of the ruler, counsellors, and people is the
only proper mode of decree; on m 197.
173. Šápa. . . . kaków, “that doubtless even here I may suffer
some ill.”—ödpa is epic and lyric only. In final clauses the sub-
junctive is frequent after a leading historical tense, but here the
force of káBBaAe is such that the subj. follows naturally; see 9
511, 580, v 303, ºr 233, y 15, X 94, A 158, I 98.
94. NOTES.
174. Traùoregró’; supply caköy as subject; on 6 520. When only
are diphthongs elided ? H. 70 D.; & 307, 9 184.—āAA’. . . “but
still many will the gods work me cre that.”—troXXà, i. e. Kaká from
kaków. — re)\éoval; H. 374.
175. &vaara’. He still retains the reverential mode of address.
—ore... *s ºrpºtmy; such a separation is strongly emphatic in itself,
and still further emphasis is gained by placing as at the head of
the sentence, and £c Tptórmy at the beginning of the line. Less
care is taken for effect in the less pressing case v 228. Cf. m 51–
52, 89, 317–18.
177. Tív8e tróAlv, “the city here.” What would the prose con-
struction require with this phrase ? H. 538; G. 141, Note 1 (c);
C. 389. He has seen no city, but infers there must be one near,
just as he conjectures that the habitations of men must be near
because he hears the cry of nymphs.
178. &orru and tróAlv are scarcely distinguished here, but the
former, allied to the Sanscrit root was, “to dwell,” is properly the
town considered as a dwelling-place; the latter, connected with
troXàc, is the city viewed with reference to the inhabitants, hence
the State. —Éákos, in AEolic 604Koç, showing Fočkoç, as needed
here by the metre.
179. “If haply some wrap of the vestments thou hadst when
hither coming.”—ortreſpov, the garments for the wash; see on 69.
—áxes. Why the indicative 3 H. 745; G. 221; C. 536; G. M. 49;
& 150, 153,282, 312, n 199, 320, 321, 9 146,408.
180. Sotev ; II. 721, 1; G. M. 82. How is this optative distin-
guished from the potential 3 H. 722; on 4 57; cf. 181, 244, 245,
m 148, 149, 224, 314, 316, 331, 333. — bpeal, 106, 118, 166, 313.
181–83. “Both a husband and a home, and a noble oneness of
heart may they make to follow them; for surely naught than this
is more masterful or happy, than when a husband and wife, one-
hearted in their purposes, a household sway.”—kpetororov, strong
against 8vo, Hevéeorolv; ápelov, happy among eigevéritorv. With ot,
&\\o may be supplied, as v 392; cf. I 401, Soph. O. T.428. – rooye
... à 39’; the gen. after the comparative is more clearly defined
by the clause introduced by # 30', which is only an enlargement
of the demonstrative. This idiom is general from Hm. down, in
prose as well as poetry, and finds its counterpart in Latin, as
BOOK WI. 95
Cic. Verr. IV. 35.-èxmirov, subj, in conditional relative sentence,
general supposition, with āv omitted; H. 757; G. 233; C, 554;
G. M. 62–3. So & 189, 232, 288, m 72, 74, 202, 9 45, 148, 210,
523, 524, 547; with div, 6 553, v 101; with ce, & 202, m 33, 9 32,
147, 586. -
184–85. “Many pains to their foes, but joys to their well-
wishers; and most of all, too, are they wont to hear it them-
selves.” Why is the accent of tróAA’ shifted 3 H. 100. —äNYea
stands in apposition to the whole thought of the preceding clause,
the unity of heart in a happy home; cf. T 50, A 197, & 306. This
construction is especially common in Euripides. In what case
is the appositive 3 H. 501–2. — k\vov, the gnomic aor, to be trans-
lated like a present; H. 707; G. 205; C. 494; G. M. 30. The
sense is, none know it better than themselves; but Hm. has pre-
ferred the stronger dramatic form of statement, whereby the con-
versations between the two, or themselves and their friends, are
set before us. Ameis puts it in this way: “The Homeric man
loves speech, not dumb enjoyment; in the Oral epos oral con-
verse is often silently implied.” Compare the use of sixopat,
A 91, k\vrá, é, 58, pó06', 200, and the way in which piépaympat, “to
remember,” acquires the sense “to mention,” iTracoğw, “to hear,”
becomes “to answer,” dºaicăw, “to say nothing,” becomes “to
escape notice.” -
187–90. Odysseus has already hinted his former rank, 164, and
the princess, partly perhaps to return his complimentary lan-
guage, assumes it as a fact. She says in effect: “Thou seemest
not to me a man of low degree or witless. True, thou art in wo-
ful plight, but it is Zeus, the Olympian, that portions good fort-
une to all men, high as well as low, according to his own caprice,
and while he gives, he also takes away; wherefore 'tis he, I
think, that hath flung thee down to this pitiful condition, and
thy merit suffers naught in my esteem by reason of thy present
case. But since the gift is his, ’tis thine to bear it as the common
lot of man.” The capricious distribution of good and evil finds
frequent mention in Hm., and notably in the address of Achilles
to Priam :
às ydp & TrakAdºorau-To 0sol 68t)\otort Bootoiouv,
§68w &Xvvuévous autot 63 T' &c.116éas eigtv.
96, |NOTES.
ôovoi yáo Ta Tíðot katakatatat #v Atós of 68t
6&pany oia. Ötöwort kaköv, #Tepos 6& #&@w.
* A. y º f Af w f
(5 Máv k’ &ppºićas 600m Zeis Tap Trukápavvos,
&\\ota pučv Te Kakºg 3 ye KūpāTat, &\\oºre 6' ào 0\%.
(§ 6é ka Töv \vypóv 600m, \wſ?mºrów £6mkev,
* r w z 2 * 2. *** 2. A
Kai é Raki) (3očgpoo Tus éari X06va Öſtav šAccüvel,
q, outſ: 6' otºrs Óeoigt Tarſupićvos of Te 6portoia'tw. Q 525–33.
“Such is the thread the gods for mortals spin,
To live in woe, while they from cares are free.
Two coffers lie beside the door of Jove,
With gifts for man: one good, the other ill;
To whom from each the Lord of lightning gives,
Him sometimes evil, sometimes good befalls;
To whom the ill alone, him foul disgrace
And grinding misery o’er the carth pursue:
By god and man alike despised he roams.” DERBY.
Achilles makes application of the principle to his father, Peleus,
whose exceeding fortune was to be marred by the carly death
of his son.
187. &mei. No proper apodosis for this clause appears. The
thought is broken at the end of the line, and when resumed at
191, it is resumed with a change, and &rei repeated. See on
& 275. — kakó has been rightly understood by Eust. of degree,
not moral character; cf. E. 126, a 411, 6 64, 6 553.
189. &0&Amaruv ; on 37, 183. – £káorrº, appositive, as āX\m, 138.
190. oroi : when do the enclitic pronouns retain their accent?
H. 232. What does Hm. use for the enclitic got ? — rāy’, i. e. Kaká.
—rerX&prev. Hm. regularly uses the short -pusy after a short syl-
lable, the long -va after a long one, in the infinitive.
191. vov 8", 172. “I could wish that Zeus had been more kind
to thee, but though he afflict thee, yet will we not.” -
192. ov, correlative to Štrei. — Sevſoreal must not be confounded
with ösöerat, 44.
193. “(Of those things) which it is meet a suppliant trial-tried
on meeting one (should not lack).”—&y; on 150. The case is
governed by pu) 58ffsobat, to be supplied in the thought. Why pu)
rather than ob? H. 837; G. 260, 1, Note 1.
194. oivopa; cf. m 54, & 42, 102, m 83.
197. “And upon him depend the Phaeacians' strength and
BOOK WI. 97
power.”—éK with too, or with the verb ; see on v 116.-èxeral,
middle, “hold themselves,” the king being conceived as the stay
to which all the people cling for safety and strength; N 346, 9 67.
198. *H Éd, “she spoke accordingly;” 9 186, 416, 469; more
fully, 6 46,482. — kéAevorev, “called to.”
199. otité pov, “stop, I pray you.” The ethical pºol in this
sense, especially with imperative thoughts; m 208, 303, v 59.-
tróge. She implies that the mere fact of seeing a man is no good
reason for their flight. Only in the event of his being hostile
Would their flight be excusable; on 140, m 10.
200. A pºſitroë . . . $40.6", “you do not say to yourselves, I hope,
do you?”— pºſſ would be āpa puff or pºv in the Attic. What
answer is implied in such questions? H. 829. – 4:40.0’; the op-
eration of the mind in thought again represented dramatically,
as in the actual self-dialogue of Odysseus above, 119, 141; on
185.
201. “For that man exists not as a living mortal, nor can he
even be born,” a strong asseveration of the supposition contained
in the previous question, that they cannot imagine him to be a
foeman. The asyndeton is causal. — otros àvīp is quite indefi-
Inite. oſſrog is generally found before a relative sentence, Seldom
6ös; if the latter, it is emphatic. —yevntau, epic Subjunctive; H.
720 e? G. M. 87; on & 126. Its taking oil, not puff, shows its close
connection with the future; compare ºr 437, where Eurymachus,
replying to Penclope, who has upbraided the suitors for their
plots to slay her son, bids her be of good cheer:
oùk £a 0° of Tos &viſp, oùó’ £age:Tat, oùóē yévital,
§s Kev Tu Aguáxºp, a tº vići, Xsipas & Toto ev.
— Siepos : Nausicaa has something of her father's fervor; on
X 349, ) 167; p. 187.
202. For the rhyme, see on 61.
203. She assigns two reasons for their immunity from enemies:
the special love and protection of the gods, and their remoteness
from the rest of the world.
204. troMuk\}orrº èvi tróvrº; this phrase occurs again only 3 354,
where it is descriptive of the island Pharos, a day's sail from
Egypt, and r 277, of the spot in the midst of the sea, at a distance
from Thrinakia, where Odysseus' bark founders, and he loses all
C
98 NOTES.
his companions. This seems to bear towards fixing the position
of Scheria as insular; on 8, m 239.
205. to xarou, “the remotest of men.” The Ethiopians are like-
wise called čoxarot &vöpöv, a 23, and they are situated along the
stream of Oceanus to the South. The Phaeacians appear to rep-
resent loosely great distance in the opposite direction, though
all indications place them far from the northern Oceanus.
206. “But some unfortunate yonder in his wanderings hither
has come.” The man we see yonder is no exception, for he is
some unfortunate, who is here simply because he has been driven
out of his course, and has reached here by chance. — 36e is fre-
quent, especially in the poets, in the adverbial use of “here,” be-
fore us ; “yonder,” at no great distance, accompanied by a gest-
ure indicating the position ; on 170; H. 678. —Sworrmvos is used
substantively, as c 281, X 80, 93. —áAópevos, m 239, 6 28, 14, & 278.
207. Töv, as relative. The true relation of trpès here is gener-
ally misconceived. As akin to Tpó, this preposition has, with the
gen. especially, the sense of “in front of,” “in the sight of.”
Donaldson says rightly that Toog 95&v means “in the eyes of
the gods,” “as seen by the gods.” Compare our “’fore Heaven.”
This is further seen from the following passages: Zeus accompa-
nies strangers, m 165; he protects because he accompanies, Zsic
ë' TruTupuſ two iceT&ov Te £etva v Te, šćivuoc, Ög £eivolouv ćip' aidotovouv
ÖTrnēši, t 270; he takes vengeance upon the one who ill-treats the
suppliant, because he has a personal Oversight of Such evil-doer,
Zečg orpéac Tío atto iceThotog, Öore kai &\\ovg &v0p67Tovg #popá kai Ti-
vvtat, 607tc &pidºpty, v 213; and he is a witness for suppliants, icé-
tag, oigtv ćpa Zsic paſtorvpoc, T 422. Hence the meaning “under
the protection ” usually assigned here arises from the earlier
“under the eye of.”
208. §eſvoſ re arroxot. — £eſvos in its widest Sense Comprehends
not only the suppliant, ikárnc, who appears with a suit for shelter
and aid under the pressure of some calamity, and the guest
proper who needs food and shelter simply because of his ab-
sence from home and the lack of inns for accommodation, but
also the public beggar, Troxêg Travöhutoc, of whom Irus in the
Lighteenth Odyssey is the type. These travel about the country
seeking relief in hospitality, and pay for it, in a measure, by im-
BOOK WI. 99
parting the news of which they are the gatherers and bearers.
Odysseus appears at his own palace in this guise, and Antinous,
the suitor, reproaches Eumaeus for inviting a beggar to the house.
The swineherd answers evasively that no one would be so foolish
as to invite a beggar, to cat him out of house and home, p 387.
But if the beggar came uninvited, he came as a £givoc, towards
whom the courtesy of the age must be extended. — &\{ym ...;
“small for the giver, but welcome to the recipient.” Scholiast.
It is a proverbial expression; & 58, A 167; Soph. O. C. 5.
209. Bpóorºv, tróoruv, Sócrus denote the result of the action. What
is the usual sense of the verbal ending gig 3 H. 460.
210. Aoûorate, “give him to bathe,” i. e., supply him with the
appliances of the bath, so that he may bathe himself. These
consisted, under Ordinary circumstances, of the water for the
bathing-tub, and the oil for anointing, with perhaps a clange
of clothing. The active Aoûgars is here used in its causative
sense; H. 686. From what has already been said of the deli-
cacy of the Homeric age respecting the person (note this, in
the main, also in archaic art), and from the poet's handling of
this whole episode, it would be hard to believe that the mean-
ing of Noða, here and elsewhere could be simply “go bathe the
stranger,” the ablution to be performed by the maidens them-
selves. For this scryice is not merely rendered by slaves, but in
the house of Nestor his youngest daughter attends Telemachus
at the bath, and IHelen performs a similar office for Odysseus
when he enters Troy disguised as a beggar. Gladstone (Studies,
II. p. 513 sq.) has shown that such a sense is not only repugnant
to the entire tone of Homeric morals, but is inconsistent with
the facts and the usage of the words. See n 296 for an ex-
planation of this use of the active given by the poet himself;
and observe that, while the active occurs regularly of the part
performed by the attendants, the middle is uniformly employed
of the act of bathing whenever it is described ; & 96, 227, 9427,
449. – 60’... àvépovo, “where near by there is shelter from the
wind.”—éri, adverbial. —&vélovo; H. 565. The shelter would
appear from the circumstances of the description, s 400–43, to
have been a cliſt, forming, by its projection into the sca, a harbor
within which the river empties. If the river be conceived as
tº º
Q &
gº &
3.
:
:
;
:
100 NOTES.
ning at an acute angle to the sea-coast on the side opposite the
washing-troughs, and the bank there rising to a considerable
height, the conditions will be sufficiently complied with: on 138.
211. &\\{\mat kéAevaray, “to each other called.” This “is a
happy, picturesque touch; it shows each, uneasy under reproof,
endeavoring slyly to throw the blame on her fellow, and it indi-
cates that flight had scattered them.” Hayman. See on 138, and
compare o 658, where the Greeks, hemmed in about their ships by
Hector's impetuous valor, after retreat stood closely massed beside
their tents: taxe yāp aid ºc kai čáoc dºmyºc Yap ºptºsov &\\?\ototy.
212. “And down then Odysseus they seated, taking him to
the shelter.” – kä8; on 100.- -------
The pregnant construction of
&m with the acc. of motion and A
a verb of rest requires a verb
of motion to be supplied in
translation; H. 618 a ; 9 469, Bºs
& 218. º
213. On 17. Such repetitions
of the name and patronymic orº
its equivalent, so common in
Hm., are intended to elevate
the style and dignify the in-
dividual. The expression is
more than ordinarily remark-
able here, in that the subjectº
of the formulaic ºc cºevgev is
added, contrary to the poet's
usual custom.
214. Trap ... ot: this separa-
tion by conjunctions is one of
the most common; & 248, 197, §
230, n 70, 231, y 27, & 207, 29;
on 167. – The bapos, like the Fº
x\aiva, was a large rectangular
blanket-like mantle, worn.
loosely about the person as the
outer garment, and caught overi
-
* *- - - -- -
-- -
-- -
-
-
-
-
-- -
• *-* * *

IBOOK WI. 101
the shoulder by a clasp, which was often of elaborate and cul-
rious workmanship, as that worn by Odysseus When departing
for Troy, r 226. It corresponded to the Roman toga, as the
xvrév did to the tunic or under-garment. This was a sort of
woollen shirt, shaped to the body, and reaching generally to the
knees. It was without sleeves, or had only very short Ones. See
the accompanying cut from an archaic statue of the CeSmola Col-
lection.—eſpard, appositive, “as garments;” a frequent formula;
m) 234.
216. piv, subject acc.—Aoûorðat, “to bathe himself.” The whole
procedure here doubtless gives in full the usual details. After
telling him that everything is ready and he can bathe in the
stream, they were withdrawing to a distance, when Odysseus
forestalls the movement in order to ingratiate himself with the
attendants by a display of delicacy, as he had already done with
their mistress by his winning courtesy and modest request.
217. Sá ša rēr', “straightway then.” This collocation of par-
ticles shows Odysseus' eagerness to anticipate their departure.
When only may 8% stand at the beginning of a clause ? H. 851 c.
—The dat. of the person with Heravāda, seems to be one of place,
since the simple verb regularly has an acc., but the compound a
dat., pointing to the influence of the preposition as determining
the case; cf. 9 433.
218. Gºriš' . . . &aróirpoſev, “take your stand, going thus to a
distance;” On 212. — oiro, “thus,” as you are now doing, shows
that they are already withdrawing.—áðp’; on 80. When is the
subjunctive used in such clauses 2 G. M. 66, 2; & 304, n 319, & 295,
X 351; ) 141, 276, 280. —éyò airós, “I, by myself,” so that in the
unembarrassed performance of the task I may be free from any
hindrance from your possible proximity.
219. §poluv; 19, 82; 224.— &#14 i ; On 9.
220. 8mpèv gives to èorrºw the force of a perfect; n 152, 9 36; on
158,250. .
221. §yaye, “I at least,” whatever a boor might do. —&y shifts
the positive tone of the future, “I will not,” to the more courteous
“I would not,” because it is repugnant to my feelings; G. M. 37,
2; II. 710 b. Icey is the usual particle with the future; āv only
here and X 49, 66.
102 NOTES.
222. koúpm, properly of the freeborn, and often of the noble.
It is therefore a dignifying word, and by the use of it here Odys-
seus still further gains the good-will of the attendants by inti-
mating his belief that they are above the common station of
diplºpt toxot.
223. efirov, “told it,” i. e., his delicate courtesy, and the good
impression he had made upon them. This, coupled with & ré.
vsv6sy, shows that the princess had purposely gone to a distance
along the sea-shore where her attendants join her.
224. 5 k; this hiatus is not unusual, especially after airáp 6;
m 230, 9 396. What words are exempt from elision ? H. 70.-èk
arorapoo. The usual custom where conveniencies were at hand
appears to be shown at c 361, where Odysseus in the palace of
Circe is made to seat himself in the bathing-tub and wash from a
large tripod, pouring the water down over head and shoulders.
& Troraptoi, and perhaps eioav appear to show conformance with
the custom here. — vigero, with a double acc. like verbs of de-
priving ; the gen. 219; H. 553; G. 164; C. 402.
225. vöra ; on 107. — &pitrexey; why not dippexey 2 H. 65 d.
226. &rpuyérovo, “vintageless,” “unharvested;” m 124. This is
the specific epithet of Ög, 9&\agoa, Tóvroc, and of aibhp, in oppo-
sition to the land, which is troXópopſ30c, Toxv/3órstpa.
227–28. arávra, Sc. xpóa. — &Aeuyev, active for metrical con-
venience.— &pºi; on 100; “and about him the garments had
thrown.”
229. Hev begins the apodosis of 371stó). —Alès; II. 572 d. —ékye-
‘Yauto, like Virgil's Ammone Satus, Nate dea, etc.
230–31. “Both taller to look upon and portlier, and down
from his head she showered his thick locks, the hyacinth blos-
som matching.”—eiglöéety; what voice is used in this construc-
tion ? G. M. 93, 2. How is träororova formed from Traxtoy 3 H. 60.
This heightening of the personal graces for a special purpose is
resorted to again on the following morning, when Odysseus is to
appear before the critical eyes of the whole Phaeacian people, 9
19, and on another occasion when he is to be recognized by
Penelope, J, 157. Penelope herself is in like manner adorned by
the goddess when she purposes presenting herself before the
suitors to complain of their omission to offer the customary
BOOK WI. 103
gifts, a 195; and Laertes is renewed with additional youth after
his recognition of Odysseus, a 369. All these involve no absolute
change in the appearance, further than to heighten and reanimate
what is already there, fill up the toil-worn or grief worn limbs,
and bring back the springing step and lofty bearing. Flowing
hair was a characteristic of the Greeks of the Heroic Age, as of
the Spartans later; their care of it is evinced by the common
phrase cépm kopóww.reg ’Axalot.— otAas, identical in root With 6\oc,
whole, is here “thick and heavy,” representing the vigorous
growth of manly strength. Am. The likeness to the flower of
the hyacinth has generally been found in its dark color. But
Homer is not accustomed to make his similes turn upon Color.
They are rich in the use of motion, force, form, Sound, symmetry,
number; but Mr. Gladstone finds only three color similes out of
some two hundred, A 141, E 14, P 547. Again, the color which fills
the ideal of beauty for the hair, and forms the crowning glory of
his great heroes, is blonde or auburn, as that of Menelaus, Achil-
les, etc. It is true that the extraordinary mental gifts of Odys-
seus everywhere so far overshadow his bodily qualities that the
latter are seldom mentioned; yet it is clear that he lacks but one
of the Homeric elements of beauty—stature. He is shorter by a
head than the lofty-statured Agamemnon, but he is more stately
than Menelaus. Yet at v 399 and 431 he is distinctly stated to
have £av0ág Tpixaç; and if those passages are genuine, as is usual-
ly conceded, at least for One, the same color must be supposed
here; for no change affecting that is made from this point on to
the transformation of v. The difficulty remains, however, that
at ºr 175, where he is retransformed, to be recognized by his son,
we find the expression pusXayypou)c yévero, kváveat 6' éyévovro Yevst-
&ösc, which has appeared inconsistent with auburn hair. But it
must be remembered that the poet is treating of a change from
the white complexion and white beard of decrepit age, v 430–32,
Tr 182, a 355, to the strength and color of active manhood, and
the verb yévero is to be noted, “he became dark-skinned” from
white, and his beard “became darkened” from white. The ruddy
tan and Sunburn of a man much in the open air, and the ruddy
beard usual with auburn hair, would satisfy the epithets; cf.
p. 243, Virg. Æn. VIII. 64, IX. 816. Even light hair with a black-
104. NOTES.
ish board is a combination sometimes secn. Egyptian paintings
represent the Creteward enemies of the Nineteenth and Twen-
tieth Dynasties as fair, with aquiline nose, blue eyes, short red
beard, and hair formally curled. Since, therefore, the likeness
in the present passage is not assignable to color, there remains
the form, so common in the Homeric simile. As the petals of
the hyacinth are thick and curly, so was the hair of Odysseus.
232. xpuorov ... àpyūpº, “gold may have wrought about sil-
ver.”—arepsy, eſſeral, aor. Subj., which is most commonly found in
Homeric similes, though the pres. also occurs. The comparison
is taken from the region of the metal-worker's art. Such addi-
tional splendor as the artisan imparts to the already beautiful
silver by plating it with gold, the art of Athene bestows upon
Odysseus. Plating with gold is often mentioned. Nestor gilds
the horns of the victim which he is to offer to Athene ; the silver
wool-basket of Helen is wrought about the lips with gold; on
6 403, 430. Gold was more plentiful than silver in the Homeric
day, but it was at the same time more valuable. Numerous ob-
jects of silver plated with gold were discovered by Schliemann
at Mycenae, but invariably a thin plate of copper was found be-
tween the other two metals, as if the goldsmith had been able to
plate the gold on copper more easily than on the silver at once.
233. Hephaistos teaches the metal-worker as being the god
who presides over that particular branch of art; but Athene, as
the ruler of the wider sphere of all art and handiwork. As a fe-
male, she particularly imparts skill in spinning, weaving, em-
broidery, and other accomplishments of her sex; but she also
teaches mensuration to the carpenter, and presides over industry
in gencral. —8éSaev; 0 481. -
234. Since 63 introduces a clause of result, Čars would be sub-
stituted for it under full subordination, as 30.
235. ketbaxâ: poetic construction, partitive apposition to ré;
H. 500 b : 0 19, 541. The foregoing passage has been applied by
Virgil to AEneas, as the enveloping cloud dissipates and he stands
revealed before Dido, AEn. I. 588:
Restitit AEneas, claraque in luce refulsit,
OS humerosque deo similis; namgue ipsa decoram
Caesariem nato genetrix lumenque juventae
BOOK WI. 105
Purpurcum et laetos oculis afflarat honores:
Quale manus addunt ebori decus, aut ubi flavo
Argentum Pariusye lapis circumdatur auro.
236. &mdvev£e; he crosses over to the sea-shore where he can
be seen by the maidens, but apart from them, and seats himself
to await their further attendance in Supplying the promised
food. This act again exhibits in strong relief the profound re-
finement that characterizes the entire Scene. He does not force
himself upon them. IIe does not even approach them. That
might excite repugnance as appearing to show too much famili-
arity. His action is measured by the feelings of true gentility.
237. káANet ... or ríABøv. Compare the description of Paris, T
392, káAAst Ts ori)/30), kai épaoty, and of the young men in the
dance, as quoted on 157. – 6 metro, “marvelled.”
239. k\}ré; & 324, m 186, 9 26, 97, 387, 536. – 33 pa; , 32, 173,
255, 289, m 187, 317, 9 12, 27, 42, 241, 394, 427, 431, 477, 556. —
eitro ; is the mode regular in sequence 3 G. M. 31, 33.
240. of . . . Ceów, “not without the favor of all the gods.” So
Virgil makes Venus say to Æneas, AEn. I. 387:
Quisquis cs, laud, credo, invisus cælestibus auras
Vitalcs carpis, Tyriam qui adveneris urbem.
More succinctly, Won sine mumine divum, II. 777. -
241. §avákeorg’. How does the Homeric usage in this elision
compare with the Attic? H. 70. This occurs in Hm. especially
after double or.
242. The change wrought in the squalid sea-waif is so great
that it imust needs have been done by a god; he must therefore
be under the protection of the dwellers of Olympus.--trpáorðey,
as applied to place is “in front of;” on 207. We generally view
the past as behind, the future as before us. Homer, on the con-
trary, conceived the past as in front, the future behind, as in
his description of the prophetic powers of Calchas, A 70: bg jôm
Tá T' éðvra Tá tº £ogópewa Troö tº #61 ra. After the present and the
future, “that which is in front” must be the past. A vestige of
the same view appears in our “before,” which may be employed
to translate Trpá00sy here.
244–45. “Would that such an one my husband might be
called, coming hither and dwelling, and him it might please
A $.
{)
106 NOTES.
here to remain.”— at Yap, introducing a wish viewed as attain-
able; on 180. What other particles are used ? H. 721; C. 514;
G. 251; G. M. 82. — evoč8e; on 218, 212. These lines were re-
jected by the grammarian Aristarchus as too bold to suit the
maidenly character of Nausicaa ; but it is to be observed that
they are spoken to her attendants, and the position of the group
is such that they are quite out of ear-shot of Odysseus. The
thought of her approaching marriage is continually before her,
and is naturally a subject of frequent conversation between her-
self and her maids (on 185), and even Odysseus himself fell
upon it in his speech. She despises the aristocracy of the land,
who alone are her suitors, and the thought just uttered, that
the stranger has been sent by Heaven to their land, awakens a
vague hope that he may be the one looked for to bring her
deliverance from an alliance beneath her dignity; on 35. But
even this springing hope is alluded to as vaguely as it is vague-
ly conceived. — oi may refer to the indefinite Totòoºs, but it Sug-
gests the particular application to the stranger. He has al-
ready hinted his former importance in the world, and it is not
unusual in the poems to find the outer comeliness taken to argue
mental and moral qualities of worth, which in this case have been
proved as well by his speech as by his bearing throughout. All
this conspires to present the thought to her in the light of a pos-
sibility, and the frankness of her nature reveals it to her compan-
ions, but the poet has been careful that it shall not reach the
ears of Odysseus.
247. A frequent formula.--pid Aa, “very willingly.”
248. Trúp: for such apocopate forms see & 18, 212, 214, 230, 253,
9 85, 110, y 75; in composition, & 172, v 17, 135. —’Oövgorit: of
the dat. sing. is seldom elided even in Hm.; here it is not only
preserved, but lengthened by the combined arsis and casura;
0 224, c. 520, X 28, ºr 206.
250. “Ravenously; for long without taste of food had he
been.”— ŠparaNéaos; on 30. — As Smpöv above, 220, gave to the
present the force of a perf, so here it makes the imperf equiva-
lent to a plupf. — #8mrūos; H. 584 b. Odysseus Sails seventeen
days on his raft from Ogygia, and on the morning of the eigh-
teenth the dusky mountains of Scheria appear in the distance,
BOOK WI. 107
like a shield spread on the Sea. He is then espied by Poseidon,
who raises the storm that destroys his raft, and Odysseus floats
on for two days, till on the twentieth he lands, seeks the covert,
and sleeps until the next day when aroused by the maidens. His
fast, therefore, has lasted some three days or more.
251–52. On 111, 112.
253. Kparepôvuxas; on m 2. — &v; On 214, 248. What shows
that it is not the particle? H. 873, 849.
254. The formula &mos . . . Švápagev occurs some 43 times in
Hm., always before a direct address. Either the name of the
person implied in Övöpia’sy is expressly added, or else some rep-
resentative, as £eive here, with the exception of s 181, c 319, p 215,
© 248, E 218, Q 286, where its omission is compensated for each
time by the emphatic prominence of the thought. Am.
255. "Oporeo . . . ifiev, “Arise now, stranger, cityward to go.”
Odysseus is still sitting; cf. E 13, Ö 6’ &Tö x0ovög &pyvro Treć6g.—
What two peculiarities has”Oporeo? H. 349 D., 345 D.—tley; on
50. —Trépºlo, “I may conduct.”
256. Buttmann's twofold derivation for 8atópovos, Šáic, ppäv,
“warlike,” for the Iliad, and Šajval, ºphy, “prudent,” for the
Odyssey, is very generally rejected, and the latter alone allowed.
Properly “well taught,” it has a wide application according to
circumstances, whether experienced in war, or “accomplished”
as host, or what may be ; ) 168, 9 8, 13, 18, 56, 373.
257. pauſikov. When the partitive gen. is dependent upon a
relative pronoun, the commonest position for it is immediately
before the relative, as 0 204; but sometimes separated from it,
as here. If placed after the relative, it is regularly separated
from it, as m 156, 322. ---
258. p4A 38', “exactly as follows.”— 38e, as the adverb of 668,
usually refers to something yet to be said. – 8pSeuv; H. 784;
G. M. 101. The infinitive in this use is commonly viewed as a
milder form of command than the imperative, Kühner supplying
a verb of wishing, as found. A 277. Krüger thinks it a relic of a
primitive naïveté. Ameis objects to both of these, and considers
it a mark of energetic brevity wholly in the spirit of the Heroic
Age, like the German use of the passive participle for the imv.,
which Wolf used to call the cartman's imperative. — oëk &mivāor-
108 NOTES.
orew, 187. He has already exhibited such sure marks of chival-
rous feeling, that he will understand and appreciate her desire not
to be seen publicly in his company, and so forgive the apparent
breach of hospitality in not conducting him quite to the palace.
259. “As long as the fields we are traversing and the tillage of
men.” — 34p’; On 28, 9.147. — &v and ke, both in Same clause also
a 361, A 187, 202, N 127, Q 437, t 334. — ke is found doubled, 6 733,
but áy never in Hm., though often in later Greek; G. M. 42, Note
3. — &Ypots; H. 550. — By &Ypots the country is meant, whether
wild or cultivated; by épya that which is cultivated. Odysseus,
landed in the country of the Laestrygonians, mounts a cliff, and
thence sees no signs of man except a curling smoke, oùre 306 v
oùr’ &vöpóv čoya, k 98; Virgil's Sata lasta boumque labores.
260–61. He6', 54. —- pyeo-6au, as 258, 295, 298, 304, 311, m 222,
0 12. — 58öv, 165.
262. čtrºv, 28, 297, 9 511, 553; of what is it compounded ? H.
759.-What two peculiarities in the form étruffetoplew 2 H. 400 D. i.
—trépi. ; On & 12; cf. m. 110, 944, 63. — trºpyos, “a turreted wall.”
263. Škárepòe, 19.-tróAmos, 40. The situation is that of a city
built upon a peninsula, something like that of New York, with
a harbor on each side, and a narrow neck of land connecting the
peninsula, with the mainland. This neck is the eig'í0pm or en-
trance to the city from the country. The end of the peninsula
towards the sea appears to have been unfitted for landing, by
reason of its elevation and ruggedness along shore, or lack of
shelter. The dock-yards were consequently built along the low
neck of land, and occupied both sides of the single road-way
leading into the city, so that the ships, drawn up upon their rests
out of the water, as was customary in the Homeric day, seemed
to form a rampart along the road-side, and guard the way.
264. Aerth, predicate. — Most recent authorities agree upon
the meaning “curved” for &piquéAuororat, but some refer it to the
sides, others to the ends. They reject altogether the older inter-
pretation, “rowed on both sides,” arguing that, as it is applied
to a ship when in a state of rest, it is natural to look to its shape
as then seen, not to characteristics of motion, for the explanation.
Yet it is not always used of a ship at rest: ) 9, 252, t 64, p 390,
N 174, O 549. The annexed cuts are from the Ramesseum on the
BOOK WI. 109
west side of the Nile at Thebes, on whose walls is portrayed the
great naval battle fought in the mouth of the Nile between the
Egyptians under Ramses III. and invaders from Asia Minor, Cy-
prus, Crete, and the adjacent regions, about 1275 B.C. The upper
figure is a ship of the victorious Egyptians; the lower belongs to
the “Pelesta of the mid sea” (Pelasgians) and the “Tekkariu ’’


110 NOTES.
(Teucri ?), and is one of the earliest representations we have of a
vessel from Greek localities. Both ends curve up into the neck
and head of a water-bird, which certainly gives a definite mean-
ing for the epithet copoviot (A 170) when compared with kopóval
eiväAtat, e 66 (cf. dikpa kópwpºſła, I 241, and the Lat. rostrum), and
for Öp6okpalpâwy, > 3, from a different point of view; and since
&pſpuéAtooſa exchanges with these at metrical need, it is probably
to be explained in the same way.
265. eipäatal ; H. 405 D. b. — traoruv . . . Škáorrº, “for all (the
Phaeacians) have a boat-house each.”—trägiv; H. 598. —ákáorrº,
189. — Am., deriving étréorrlov from étri oriival, explains it as a
place for the ship to stand upon when drawn out of the water;
but the view of the Scholiasts, that besides the mere rest there
was also a covering Over them to shelter from sun and rain, seems
more reasonable, as they were for permanent use; on v 77. Yet
we must not conceive them in closed houses, for the ships are
prominent objects in the Scene, m 43.
266. Phaeacian devotion to the sea is marked not only by the
fact that every man has a pinnace of his own, but by their estab-
lishing their agora hard by the ships, though at Troy it was be-
side Priam's palace, and in the camp of the Greeks near its cen-
tre. The agora then, as later, was the common resort of the men,
whether any public business was doing or not. No regular as-
sembly of the people had taken place in Ithaca since the depart-
ure of Odysseus, till convoked by Telemachus, 3 7, and no other
is spoken of from that time till after the death of the suitors;
yet Telemachus goes to the agora on the morning following his
return from Sparta, evidently expecting to find, and does find,
the people gathered there. He does the same on the succeeding
morning, as if it was a matter of course. See o 468, c 114.—ka-
Aöv ... àpidis, “around a beautiful shrine of Poseidon.”—IIoori-
8ſtov nowhere else in Hm. as a substantive, but B 506 as adj., IIo-
otéâtov &yNaoy &\oog. This has probably led one of the scholiasts
to interpret it here of a grove or glebe, and Mr. Gladstone urges
this view. That, however, accords rather with the unsettled con-
dition of a camp, as before Troy, or a primitive country life, than a
wealthy and peaceful city. Furthermore, the poet has expressly
stated that Nausithous founded temples when the city was built,
I3OOK WI. 111
and we have no other mention of them unless this is one. Glad-
stone himself says that in the agora “the public solemnities of
religion were performed, and thcre were gathered into a focus
the religious as well as the patriotic sentiments of the country.”
Hence we should naturally look there for a temple, and that too of
their tutelary divinity. We can have little doubt who that great-
est of the gods would be to a people so pre-eminently devoted to
the sea, and the sequel shows that Poseidon regards them as his
actual offspring, and it is he that endows them with their mirac-
ulous speed upon his element; v 130, n 35. Virgil unites both
grove and temple, Æn. I. 441. — &pidis stands mostly after its
case, but, like &pſpi, it does not shift its accent.
267. “With hauled stones in the earth fast Sct.” Three ex-
planations have been given for this; the first of which, namely,
that of a stone pavement, may be rejected at once, not because
that would be an anachronism, as Merry says, for Schliemann
discovered a paved street at Troy, twenty-five feet below the sur-
face; but because the athletic exercises of 9, performed in the
agora, would not have been held on a paved surface. Of tºe
other two, the weight of authority leans towards a wall of Cy-
clopean architecture enclosing the square. In the only passage
where katopuxáeorori occurs elsewhere, it is employed of the stones
forming the wall of the court-yard before the cave of Polyphe-
mus. In like manner Évrotoruv is found only Once more, & 10, and
there of the stones used by Eumaeus in constructing the enclosure
of his court-yard. Others, however, refer the stones to the seats
mentioned 9 6; cf. B 99, X 504, 314. Schliemann's excavations
in the acropolis of Mycenae unearthed a circular enclosure about
one hundred feet in diameter, formed of two rows of slabs set
upright in the earth, and dove-tailed together at the top by a
third slab covering them. The upright slabs leaned somewhat
towards the centre, thus forming both enclosure and seats, and
combining the diverse views here, if Schliemann's interpretation
of it be accepted. The Phaeacian agora is of great size compared
with that. Of porticos and other decorative structures which
adorned the agoras of the later Greeks Hm. makes no mention.
268. §v6a, as 266, close by the ships, possibly a part of the
agora adjacent. —ötrMa is a general term, including all the tack-
112 NOTES.
ling of the ships, defined more accurately by the appositives
Teiopiara, o Tréipa. -
269. ortreſpa, final lengthened by arsis and caesura; “sails.”—
àtročávovorºv, the reading of all the MSS.; “they taper.” One of
the many details of ship-building is here put for all; but it is a
very important One, since the skill of the Phaeacians in the use
of the oar is set before us frequently; on v 81. A newly built
ship is mentioned 9 35.
270. Contrast with this the boast of Odysseus, 9 215–29. And
yet the bow and the quiver themselves are regarded by the Ho-
meric hero as weapons scarcely worthy of his hands, a fact which
presents the unwarlike habits of the Phaeacians in still stronger
colors; on 9 220. Besides their passion for the sea, their other
pleasures are enumerated 6 248–49.
273. “From their gossip unpleasant I shrink.” In returning
to the town the princess would be compelled to pass by the ships
and through the agora, where she knew that many would be
gathered whether for business or lounging; on v 155. The voice
of public opinion is the greatest moral power that the man of the
Homeric day knew. It restrained from crime more even than rev-
erence for the gods; cf. I 459–61, § 239, p 324. —&ttorga, “after-
wards;” on 242. Such a speech would not be uttered by the
churl in her hearing, but would be spread among the people till
it came to the cars of her family, who would then blame her; cf.
épéovoſt, 285.
274. Hopetºn ; on 147. – Ed Aa. . . . 87,10v, “for they are very
uncharitable among the people.” This characteristic receives
exemplification from the speech of Euryalus 0 159–64, and is
touched upon by Athene m 16–17.
275. etarmori, “may say;” G. M. 87; H. 720 e : on 126, 201. —
kakórepos; On 187. Some of the ancient commentators rejected
275–88 as unsuited to the character of the princess. Hayman
has well said: “The more repugnant such female freedom was
to later Greek notions of decorum, the more certain the genuine-
ness of the passage.” Goethe, with his true poetic instinct and
clear insight into the workings of the human heart, has divined
the real character of the maiden, and vindicated both the pas-
sage and the purpose of the cláer poet. Besides a frankness and
BOOK WI. 113
a naïveté so open that the thoughts which spring in the heart
fall maturally from the lips, Homer here develops more fully,
though covertly and by the dramatic method, that predilection
for Odysseus which has already been seen to be springing up in
the maiden's breast. It is this first feeling of love which makes
her so sensitive to the thought of the gossiping tongue that
would couple her name with Odysseus, and the poet with con-
summate art has veiled it carefully by causing the maiden to put
into the mouth of another what she censures in her words though
she wishes in her heart. An engaging forwardness is thus rescued
from the verge of boldness by an expedient which Pope declares
to be “an instance of the great art of Homer in saying every-
thing properly.” The length to which the speech of the sup-
posed churl is carried may be attributed in part perhaps to the
artless garrulousness of the princess, seen already in the suspen-
sion of the thought at 187 and 262, and in the diffuseness of de-
scription there following; but if the theory propounded on 35 be
admitted, every word is needed without exception.
276. 8 cxpresses emphatic Surprise. — 36e; on 206.
277. “And where was she so fortunate as to find him? A hus-
band now will she have of her own choice.” It is wrong to
translate eipe, “picked up,” as some have done; sūptako is to find
what one seeks, and, as Eust. has said, is here used of a piece of
good-fortune. &ompa is a lucky find. By the dramatic method,
Nausicaa is returning some of the compliments which Odysseus
had paid her in his first speech. She was beautiful as Artemis,
possibly a nymph; he is handsome and majestic, nay, perhaps a
god. The bitter sarcasm which many have seen in the entire
Speech is totally at variance with the feelings of the princess,
and lies rather in the mind of the commentator than in the
language of the poet. No slighting or unkindly words should
fall from her lips.-aērā, 6 118; on 282.
278. “Either some one doubtless driven out of his course she
has brought from his ship.”—trMay}{0évra ; on 206.
279. If he is a man, he must have arrived in a vessel, and come
from afar, for none dwell near us; a variant of 204–5.
280. “Or else to her beseeching some long-prayed-for god has
come.” Nitzsch, while disposed to retain the remainder of the
114 NOTES.
passage, would reject this and the following line. They are,
lowever, exactly to the point. Despairing of a release from the
indignity of a union with native suitors, the maiden's prayer
turns even to the gods. Nor need such a prayer be deemed pre-
sumptuous on her part. Poseidon himself is her great-grand-
father, and the gods are wont to come familiarly to fraternize
and feast with the Phaeacians, who are of their kin; m 56–66, 199–
206. The poet who represents the sea-nymph Thetis as married
to Peleus and living for many years in his palace would surely
feel no difficulty in the idea of such a union among the semi-
divine Phaeacians. In fact we have a similar prayer from the
mouth of the Greek Antiope, X 261.
281. ##el 84 guy, “and will have her to wife.”
282. “All the better is it if she even herself personally going
to him a husband has found from abroad' (than that she should
remain unwedded as she bids fair to do).--—BéArepov commonly
occurs where two disagreeable alternatives present themselves,
and the less of two evils is chosen. Here the two are, on the
one hand, no marriage at all, on the other an indelicate forward-
ness which transgresses the widest limits of decorum. But the
latter, bad as it is, is preferable to the unheard of refusal to
marry altogether; on 66. Situated as we are she ought to aban-
don all her old motions of caste, and wed with a Phaeacian; but
if she persists in her pride of station, better that she find her
equal from abroad. — kaúrá for kai airſ. — kai and trep both em-
phasize airſ. Lines 278–84 appear to be answers to the thoughts
contained in 276–77. There are two questions and one assertion.
“Who is the stranger ?” finds answer in “some foreigner, or else
a god.” “Where did she find him 8° “She brought him from
some ship, or else he comes from heaven.” “Now she will have
a husband ” is referred to by “better that she should than to go
unwedded, even though she has been so unmaidenly as to seck
out a husband and make the choice herself.” The chief censure
lics in at Tj, 277, and kaith Treo Touxopuévy, as proved by 286–88,
where the thought is recapitulated.
286. kali . . . vegeoró, “and I too at another maiden should be
wroth.” The gossipers would be right, too, for I should say the
same of any one; showing that the bitter sarcasm is far from the
ROOK WI. 115
poet's thought. — vegeoró, Subj, for Attic opt. with āv; cf. a 228,
o 69, Nº. 494, the last two illustrating the peculiar modal change
from fiégou to pſorymºral. The subj. is regular in formal sequence;
the opt. appears to follow the thought of the leading verb in its
equivalence to an opt. Compare the changes after the listorical
present; G. M. 32; 63, 4 (b.).
287–88. “Who, namely, against the wish of her friends, her
father and mother yet living, with men doth mix, before at least
her public marriage has come.” This is appositive and explana-
tory to #Tug Totaútá ye 6éćot, to Öystösa Taijra, and in fact to all from
275. The phrase tra"pös kai pºmrpos éávrov particularizes pi\tov,
and brings the thought of their being still alive clearly into
view, and the sense is, “against the wish of her friends, espe-
cially of her father and mother, and they still living.” Cf. a
78, 0 148,-How does the Homeric construction of trptv differ
from that of later writers? G. M. 106; G. 274.—This episode
doubtless shows that in the choice of a husband greater freedom
was allowed the maiden in the heroic day than later at Athens,
but the share of the parents and other relatives in defining the
limits of the choice was a very important one. The father is
most frequently spoken of as giving his daughter to a husband,
or the suitor as prevailing by the pound per pound weight of his
gifts; see 159. The brothers also are mentioned as influential in
the matter. All her friends are interested, since the maintenance
of the honor and power of the family is at stake, but most of all
the father and mother who rejoice at her fair fame, & 30, as they
would grieve if she failed to comply with the prevailing laws of
decorum. As the poet plainly tells us here, she could hold no
converse with men before marriage, except with the consent of
her parents. After marriage much greater freedom was per-
mitted. We find Arete in the puéyapov at various times of the
day, & 51, 304, m 231, 9423, X 335, v 57; and she appears on the
street when she pleases, as do the Trojan matrons often.
291. 8 ſets, “thou wilt find.” What irregularity has this form 2
H. 378 D. Others make it a present with future sense. — Both
*A0ivms and aiye(pov depend on d’Agoc, the former as a possessive
genitive, the latter as one of material; 321, v 104. — diyeupos is
identified by the greater number of commentators with the black
116 NOTES.
poplar (populus migra). It is characterized by the poet as tall,
water-fed, smooth, its boughs growing at the very top of the
stem, and is selected by the wheelwright for the felloe of the
chariot-wheel, and is pointed out by Calypso to Odysseus to-
gether with the alder and fir, among the trees with which he was
to build his raft. It grows habitually in moist spots, clustering
about fountains or along the sluggish streams of some low-lying
Swamp - land. Curtius, deriving from the root aiy, “to move
quickly,” makes it the aspen (populus tremula). Others still
have thought it the white poplar (populus alba).
292. čv and &pi;i, both adverbial. The poplars cluster about
a fountain within a meadow.
293. rélevos has two distinct uses in Hm. It is a tract of land
set aside, Tépt-vo), either for the Service of the gods and sacred to
some particular deity, as that of Aphrodite in Cyprus, of Zeus on
Mt. Gargarus, of Demeter at Pyrasus, and of the river Spercheius;
or for the maintenance and enrichment of the king, forming the
crown-lands, as that of Bellerophon, AEneas, Meleager, Sarpedon,
Glaucus, Odysseus. Thucydides tells us, III. 70, that the site of
the répuswoc of Alcinous was pointed out by the Corcyraeans even
in his time as a sacred glebe. — rega\vić; on 70.
294, “So far from the city as calls the shouter,” makes himself
heard.— Boſtoras, in prose à Bojoac. Compare 117; as the volume
of sound is there measured by distance, here the distance is
measured by the volume of sound.
295. pleīval, 261, \ 351; the active of ptávo, alone is in use.
296. &o-TuSe A96 piev. The harshness of this hiatus seems to
Suggest the possibility of an initial F for the stem X9; other
possible cases of its occurrence in Hm. are o 543, p 56, E 77, 504,
K 62,444, p. 62,231, & 398, c 331, a 17, y 234, I 403, N 172, x 156,
p 105, a 402, M. 225, a 168. The Doric jv6ov has been compared
with our “wend,” and the recently deciphered Cypriote inscrip-
tions give the proper name EöFéA601).
298. kai rére, “then at length,” introducing the apodosis; m
262.
301–2. “For by no means like to that are the dwellings of the
Phaeacians, since so goodly is the palace of Alcinous the hero.”
—cios is equivalent to &rt rotoc, and causal in sense; 9 155; H.
BOOK WI. 117
822; G. 238; G. M. 65, 4. The purpose of the poct is to magnify
the object by an unusual fulness and ruggedness of expression.
—rotori refers to 6%para; hence the plural.—Observe the loving
pride with which the princess dwells upon her father, 256, 290,
293,296,299, 302, 308–9, 196–97, 57.
303. #pºos: this shortening of a long vowel or diphthong in
the body of a word is found clisewhere: Several times in oioc, as
m 312, vióg, as A 270, and 3:3Xmat, A 380. —āv does not compound
with any of the relative conjunctions except Tret in Homer.
What is the usage in prose ? H. 759. —8ópol . . . kai ai)\}, ; on 9,
0 57, & 51, 72. — kekö0&gt; 47, 71. The spectator is conceived to
be without the palace; on 106.
304. p &\a qualifies āca, as P 190; but pâAa ºka 20 times. The
postposition of the adverb is sometimes used in prose for em-
phasis, and is regular with airika pučAa, 85 pºa. Short, Essay,
p. lxiii.; on m 32.--àºp’; On 218.
305. pºmtép’; why poetic 3 H. 551. Such a personal acc. after
ikvéopiat 12 times in Iliad, 23 in Od.; m 141, 9 125. — v Trupos at Yā,
“in the fire-light;” on 52. -
306. 6aúpa i8éa 3al ; G. M. 93, 2, Note 2; on 184. 9avpuagróg
does not occur in either poem. Cf. m 45, 0.366, v 108.
307. Kíovi kekkup.évm, “against a pillar reclined.” The Seat of
the house-wife was the k\to in or k\topičc, so called because of its
having a leaning back which admitted of a partially reclining
position for the occupant, k\topuſ, kek}\tpuévn, p 97. In consequence,
the back of the chair was set against a pillar or wall for firmness
of Support; m 95, 9 66, 473, T 55. — oi, 131; not with öTwo 68w.—
eiat', Attic jvtat ; on 174. -
308. rotukék\vral cità, “rests against the same " (cíov); the
king is in front, the queen at one side. For this use of airſ, See
On 9 107.
309. Tó, “upon which,” with éðipevos ; &0évotos és with the
same, as both position and caesura favor. Then the thought is
one that falls naturally from the lips of the fond and admiring
daughter, and at the same time pictures sufficiently the effemi-
macy of the Phaeacian court; cf. m 4–5. The cacSura falls much
more frequently into the last foot in Hm. than in Virgil. It oc-
curs about one hundred times in the first twelve books of the
118 NOTES. /
Od., excluding enclitics. At times the effect is striking, as o 479;
but frequently the word concluding the line is insignificant.
310–11. Trori; on 3, 75; & 116, 9 501, 508. — ifierépms, the home-
word in the mouth of the child.
312. kaptra Mipos, with tönau; on m 194. — ei kai concedes some-
thing that does or will really exist, or has existed; kai ei con-
cedes a supposed case which does not exist, and in many cases is
impossible. Jelf. Hence the force is, “even though from very
far thou art, as I am aware is the case.”
313–15 are wanting in some MSS., and are bracketed by unan-
imous consent of editors since the time of Wolf, for they mere-
ly repeat in varied language the thought of 311–12, and they are
found in proper connection m 75–7, which see.
318. “And well they sped on, and well they pranced with
their feet.” Compare for the passage :
“He ruled his eager courser's gait,
Forced him with chastened fire to prance,
And high curveting, slow advance.”
SCOTT, Lay of the Last Minstrel, IV. 21.
—rpéxov, a frequentative from Toéxw, as a Towpaw from otpépa),
Tow Tów from Tpétro, vopuéo from vépaw.
319–20. p.4\", “firmly.”—érotaro; H. 357 D. —vów, “with judg-
ment,” not so freely but that her attendants and Odysseus might
keep up with lier.
321–22. Süoreró; on 78; 7 289. —’A6mvatms; On 291. —iva, 27.
324. 'Arpurévn is only used as an epithet of Athene, and al-
ways with Auðg Tékog. Its usual derivation, &, Toño, “unwearied
one,” is peculiarly appropriate to her as the goddess of intellect.
Others have connected it with örpüvo, indicating her other great
function as goddess of war, like Xaocoöog, “the inciter,” “folk-
stirrer.” Hayman suggests that it may be a patronymic from
diſputog ; but such a repetition after Auoc Tékoç recurring regularly
seems too harsh.
325. vov 8% rep, “now then at last.”— Note the use of pleu
ākovorov, &koúaras after k\ióí puev. This is quite unprecedented,
and shows the heartfelt earnestness of the prayer, almost a de-
mand that she shall hear him. She had been his patroness and
ever-ready assistant so constantly on the plain of Troy, that he
BOOK WI. II9
had come to look upon her aid as due to him by a right of his
own. Theirs was a partnership founded upon similarity of char-
acter, as the goddess herself declares, v 296–331. He there com-
plains that she has abandoned him ever since the fall of Troy;
she replies that it was only during his wanderings, and then be-
cause she was unwilling to battle with Poseidon.
326. “Me while getting wrecked, when the famous Earth-
shaker was wrecking me.”— flavopévou may refer to the whole pc-
riod of his sufferings ever since “the god scattered the Greeks,”
1, 317, while the appositive clause áre ... àvvooriyalos points to the
last dread calamity, altogether due to Poseidon, when nearing
the Phaeacian land. For a similar appositive clause, see m 198.
327. This line with the change of 'AxtA\jog for painkag is also
spoken by Priam in invocation to Zeus when setting out from
Troy to ransom the dead body of Hector, Q 309. See 9 21–2,
v 121.
329. Švavirim, “undisguised.” After rejecting v 320–23, which
have been pronounced spurious on other grounds by all author-
ities, there is nothing to intimate that Odysseus knows of the
presence of Athene until she reveals herself in her own proper
form in Ithaca. On other occasions she is accustomed to make
herself known to him at once, both on the plains of Troy and in
his native land. The strict incognito which she maintains in
Scheria is the expedient by which the poet preserves the dignity
of Poseidon, and yet effects his purpose. Poseidon has himself
in effect said, s 288, that his power over Odysseus ends as soon as
he reaches Scheria, but the influence of that deity is so command-
ing there that Athene is bound to respect his rights outwardly,
though she may work her will secretly as best she can. And
here we are confronted by another inconsistency, so common in
the thco-mechanism of the poet; on 42. In theory the gods Tráy-
Ta toao w, § 379, Trávra öövavtat, c 306; but it is in theory only. It
may be urged here that it is not from Odysseus that the goddess
needs to be concealed, to save her uncle's dignity, but from Po-
seidon. The answer, however, lics in the method of the poet, by
which a god is easily made to be ignorant, or to ignore or over-
look when necessary. One of the most striking instances is
found at the opening of the Thirteenth Iliad, when the Trojans
120 - NOTES.
have broken into the naval encampment of the Greeks, and the
destruction of the whole fleet is imminent. The Greeks are dis-
heartened, and Zeus has forbidden all the gods taking part in
the fight or encouraging either side, while he, in obedience to his
promise to Thetis, has favored the Trojans. The poet's country-
men must be reanimated, and to effect this he makes Zeus, who
sits on topmost Gargarus overlooking the field, turn his eyes
away, to contemplate the Thracians and just-dealing Abioi. Of
this Poseidon takes immediate advantage, hastens to the scene
of battle, and infuses new courage into the breast of the two
Ajaxes. On v 140. — atóero. Hm. has taken the greatest care
throughout that none of his five highest deities shall come into
open conflict with each other, even when they take opposite sides
of a question or quarrel. They are bound together by a law of
mutual respect, and are never allowed even to be named to mor-
tals as being opposed in strife. In the Theomachy Apollo will
not engage with Poseidon, atógro Yáp Öa Traſpokaotyvirowo putyńus-
vat #y traXápagotv, p. 468. In the death-Scene of Hector, it is not
till Apollo quits him that Athene, who was at hand and ready,
joins and accompanies Achilles. Besides the general tie of re-
spect, there was, in the case of Athene and Apollo, a deference
due to the age of Poseidon in accordance with the feeling so
prominent in Hm. Poseidon himself yields to it, though with
reluctance, when Zeus orders him from the battle-field; “for,”
says the messenger Iris, “thou knowest that the Erinyes ever
accompany the elder,” O 204; cf. v. 141.
330. śmigade)\ós Hevéauvev, “was ferociously enangered.” Tv-
&a-ps). = “swell;” cf. our “boiling over with rage.” The Ho-
meric Poseidon is chiefly distinguished for two characteristics,
the element of vast force, in which he stands second only to Zeus,
and a persistent vindictiveness. He hates the Trojans through-
out the action of the Iliad, because Laomedon cheated him out
of his stipulated reward for building the walls of Troy; and
he pursues Odysseus, without relenting, for many years, because
that hero had blinded his son Polyphemus. His anger at the
perpetrator of this act, committed as it was in pure self-defence,
and against a monster who respected neither gods nor man, and
involving the least possible moral delinquency, evinces the utter
BOOK VII. 121
lack of moral elevation which, with an absence of intellectual
force, also characterizes this deity.
331. How does the Homeric construction of trópos differ from
that of trptv.2 G. M. 106, 2, Note 5.
IBOOK WII.
2. How is trpác formed from Trport & H. 76. Tooti occurs 60
times in Hm., and of these 57 times before the digamma, āorv
alone claiming 33 of these, "IXtov 17, and Öy 3. — pévos jºiávouv.
Strength and endurance are the two qualities prominent in the
Homeric epithets of the mule, as Kparépôvvé, Évreauspyóg, taxaspyóg.
3. What does Attic prose use for of 3 H. 675 a. —āyak\urū;
on & 58. —ikayev; On & 119, 250.
4. arriorey, “she checked the mules;” supply jutóvovg. The
full form ºrtrovg £armore occurs E 775, e 49; on m. 130, 325, & 7.-
êy trpoſłópolov, “in the Outer gate,” a spacious entrance from the
street into the ai)\ff, or open court, and here the comer usually
stopped with the chariot, the animals were unyoked and fed in
the adjacent stalls, and the chariot tilted up against the side of
the entrance, & 39 sq. For the dat. Of Tpóðupov, Hm. always em-
ploys the plural with čv, Švi, Ští; for the gen. and acc. always the
singular. No other cases occur. —&pidis, & 266.
5. iorravit’ . . . Éva Myklou ; On & 309, 62, 76, 6 419.
6. Avov; H. 268 b. — re éordepov. Hiatus is sometimes ad-
mitted at the end of the fourth foot when a caesura occurs there
at the same time, as a 60, 6 141, m 70, k 337, 574, p. 75, o 425, etc.
The casura here is called the Bucolic, because of its frequent oc-
currence in the Bucolic poets. The first two Idyls of Theocritus,
for instance, comprising 316 lines, contain 261 of these caesuras,
or 83 per cent. Hm. does not employ it so often, but it is found
205 times in the 331 lines of £, or 62 per cent. ; so, in the re-
mainder of these selections, m has 64 per cent., 9.60, X .60, v.54.
The Eclogues of Virgil have but 28 per cent. This caesura is
not unfrequently accompanied by a pause in the sense, indicated
by a comma or colon, rarely a period.
6
122 NOTES.
7. 6&Napov, & 15. — Trop, needed not only for light but for
warmth, ſpówg psy jöä 9épé09at, T 64; for the scene of the Odys-
sey appears to be laid in the late autumn, when the mornings
and evenings are chill. Several passages point to this period
of the year. When Odysseus is sailing from Ogygia, no sleep
falls upon his eyelids for watching the pilot-Stars of the day, the
Pleiades, Bootes, the Bear, and Orion, a 271. The month when
these were best situated to serve his purpose was November; for
they were then visible the whole night through. Again, after
landing at the river-mouth, he retires to the wood-sheltered ac-
clivity for fear of the frost, and the chilling breeze that will
spring up from the river at early dawn, e 467. The frost and
cold of morning are again mentioned p 25, when, a few days
later, the hero has landed in Ithaca ; and that of evening, p 191;
on X 373, n. 121.
8. Ypmüs ‘Atreupo im, “an aged dame of Apeire.” Those who
identify Scheria with Corcyra, consider Apeire here to be Epirus,
'Atreipm being formed from #7tstpog, as 'Hptačín from diptaffog. This
is at variance with & 204–5, which see; and the territorial name of
Epirus is not mentioned by Hm. He does speak of the Thespro-
tians, who dwelt in that region, and Odysseus, in one of his false
accounts of himself, says that he was landed among them on his
way home by the Phaeacians. This, however, only fixes a general
northerly or north-westerly direction for the Phaeacians, not at
all their proximity to Ithaca. Apeire may be derived from &,
Trsipap, “the limitless land.”—Eurymedousa is a feminine form of
Eurymedon, the name of the king of the Giants, 58, and, in the
Iliad, of the charioteer of Agamemnon and one of Nestor's at-
tendants. It is significant of high birth, and the inference may
doubtless be drawn that she was kidnapped from a home of
wealth and station, like the Phoenician nurse of Eumaeus, who,
while wandering in the fields, was carried off by Taphian pirates,
o 427. The chief sources from which the slaves of the Heroic Age
were obtained are enumerated o 383: cities sacked, or children
left alone among the flocks or herds, and carried off by a sudden
descent of enemies from the sea.
10. Yépas àge)\ov, “as royal due they chose out;” So Briseis was
chosen for Achilles by the sons of the Achaeans, II 56. Some such
BOOK VII. 123
*/
article of booty was habitually set aside for the chief, before the
regular distribution took place. The present passage points to a
descent of Phaeacian ships upon some coast-land, and the Seizure
of other booty besides the woman; and as she became the nurse
of Nausicaa, it belongs to their earlier days in Scheria, soon after
their removal from Hypereia, when their disposition was more
warlike than at the period of our story. Cf. v. 113. Numerous
statements of the poems show that such piratical expeditions
were not regarded as disgraceful, but as an honorable distinction
rather; Thucydides expressly declares it to have been a charac-
teristic of that day, and to have descended in full force to his
own time among the Locri Ozolae, the AEtolians, and the Acarna-
nians. Mr. Gladstone's view of our passage is different. Among
the revenues of a king he places presents from traders as a con-
sideration for permission to barter their wares, and therefore,
“We find that certain traders, sailing to Scheria, made a pres-
ent to Alcinous, as the sovereign, of the captive Eurymedousa.”
Perhaps the obscurity which is introduced by the employment
of vásg with #yayov, and the omission of the subject of ÉÉeXov, be-
longs to the purpose of the poet; On v 125.
11. oiveka. . . . Švaorore. Out of the spoils of Tenedos, overrun
by Achilles, the Achaeans chose Hecamede for Nestor, oùvska (3ov-
Aff &ptorsåsoice &Tévrov, A 627, bringing into prominence the great-
ness of Nestor in the council, as here the absoluteness of Alcinous
in his kingship, a fact several times dwelt upon; 187.-0eoû . . .
ãkovey, “and as to a god did the people hearken unto lim.”
Connect 0éoù with airoij, implied in the thought; & 326, m 84.—
Why has &s the accent 3 H. 104; G. 29; £ 309, n. 71, 9467. The
use of ākovsy in this connection is not common, the ordinary
phrase being 080c &g tiero &#pup, not only of kings, & 205, A 58,
N 218, K 33, I 155, but of priests, E 78, II 605. * .
12. #, demonstrative. —rpéde, “used to nurse.” Her position
was like that of Eurycleia in the house of Odysseus, where she
had been the nurse of Telemachus, and of his father before him,
and where she still attends upon Telemachus, though in his
twenty-first year, when he retires to rest, a 434–42.
13. #, as n 295; cf. p. 125–26, T 354–56, A 442–44, p 276–77.-
eigo, “within the chamber;” for the princess may not present
124 NOTES.
herself among the gathered guests in the hall. She does not
appear upon the scene again until the following evening, when
she bids Odysseus farewell, 0.457. —8óptrov; on & 97.-èkóapel;
the converse, m 232. For the tense, see on 4 100.
14. Öpto; on 4 50. --&gdi 8', with F. and Am., for the common
aúráp. It is the reading of Aristarchus. Cf. 42, 140.
15. Aépa is the divine mantle of invisibility which commonly
shrouds the gods themselves, and which they all have power at
any time to throw around such persons or objects as they may
be anxious to conceal. It is mostly denominated &ffo: sometimes
vspéAm, sometimes &x\ög, and even vää, 0.562. By it, favorites are
rescued from danger many times by the gods in the Iliad, and
they habitually throw it over their horses, chariots, arms, and the
like, whenever left temporarily by them. The poet takes the
physical fact that mist, cloud, darkness, conceal from sight, and,
infusing into this a divine element, employs the words that relate
to physical phenomena in naming his divine manifestations. For
although this mist or darkness may gather and may dissipate
like the physical reality, it must be understood to be as invisible
itself as the object it shrouds. It may even conceal deity from
deity, E 343, though Athene has recourse to the helmet of Aïdes,
to hide her from Ares, E 845. — The word &ſip always in Hm.
has a in Inom., but m in oblique cases. jño is found in the Ionic
Hipparchus. It is always fem. in Hm. and Hes., but masc. from
Holt. down. — The recurrence of the same word, as 'O8vorſt after
'Oövgostic, where we should employ the pronoun, is not infrequent
in both Greek and Latin ; cf. & 262–63, 9 50–2; Xen. An. I.4,12;
Cic. Cat. II. 12.
16. Peyā0upos is a common epithet of heroes and of peoples.
Here it may be compared with Öreppſaxoi, & 274, and appears to
mean high spirited in a bad sense, supercilious. In estimating
this characteristic of the people, it is necessary to take into ac-
count their remoteness from other men (on 9 102), and the great
rarity of visits from strangers. Treatment such as is here appre-
hended might be expected from a flippant and indolent populace,
lounging about the market-place, and puffed up with their own
conceit. Even the people of Ithaca are scarcely more courteous.
Bumaeus, when leaving Odysseus alone without the palace, warns
T3OOK WII. 125.
him not to linger long, lest Some one should beat him and drive
him away, p 278. True, Odysseus is there in beggar-guise, but
the stranger and beggar are classed together, & 208. Virgil has
imitated our passage where AEneas is entering Carthage:
At Venus obscuro gradientCs acre sepsit,
Et multo nebulae circum dea fudit amictu,
Cernere ne quis eOS, neu quis contingere posset,
Molirive moram, aut Veniendi poscore causas. AEn. I. 411.
His hero is shrouded in mist for the same reason as Odysseus,
and the necessity for it is attested by the treatment which his
companions received who had landed in the harbor.
17. etm; cf. 6 134, & 142. -
18, 8.30 earðau, & 165. –épayviv; On 79.
20. trapdevikſ, veſivtål, “a girlish maiden.” Observe how mi-
nutely the poet Sustains & 300. Doth Tap6evukā and vehytów are sub-
stantives in all other pas- *
sages in Hm., and are best so
treated here; On & 3. – káN-
Truv, borne upon the head or
shoulder for carrying water
from the fountain to the
town. The fountain already
mentioned is sufficient for
the purpose here; but the
towns-people are said, m 131,
to obtain their water from
the palace. The people of Ithaca and the Læstrygonians were
supplied with water from a fountain outside the city, p 205, c 105;
so, too, the Athenians in earlier days (Hdt.VI. 137), and the Eleu-
sinians. Female slaves bring the water for the palace of Odysseus,
and for that of the father of Eumaeus, but it is the king's daugh-
ter that performs the Service among the Laestrygonians and Eleu-
sinians (Hymn to Dem.). Sir Charles Fellows, in his narrative
of travels through Lycia during the first half of the present cen-
tury, speaking of the Island of Kastelorizo, off the Lycian coast,
says: “It is perfectly barren of Supplies; even the water for the
use of the town is collected in large tanks, about a mile up the
mountain, whence it is carried by women, who are continually
>
*z
, O
sº
•
rºl
;
&
iſºl

126 NOTES.
passing and repassing in most classic groups, with pitchers slung
over their shoulders. The town is inhabited almost entirely by
Greeks.” -
21. orrā, “stopped.” This action would imply that she in-
tended to address him, as actually takes place after this phrase,
E 170, G 100; hence 8 is strongly adversative, “but,” for Odys-
Seus anticipates her. Virgil makes Venus speak first, Æn. I. 321.
22. oik &v, & 57. —ävépos, “hero,” as E 649, A 194.
23. ‘AAkuvéou ; the retention of the quantity of the final before
êg may be explained from arsis and the pause ; but Öc originally
had an initial consonant, traces of which are seen more clearly
with the adverb, in such phrases as & 309, than with the relative
itself in Hm. Curtius contends that the vanished consonant is
j, not F.— &váororo in Hm. is most frequently construed with the
simple dative, whether of persons or places. The dat. is either
One of place or of interest. The occasional addition of perá or ēv
throws the weight in favor of the former. The gen. is also found,
but mostly with places, only twice with persons.
25. Tºm A69ev . . . Yaſms, “from afar, out of a distant land;” cf.
0.68, 577. — ré, “wherefore;” H. 611. For the metre, see on 6.
26. #pya is substituted for yaiav of & 177. The épya he has
now seen, & 259; he had not then.
28. §eive trárep is the respectful address to age, used also by
Laodamas, 0 145, and by Euryalus after his lesson in politeness,
6 408. Both words are nouns here, as 32; on & 3. — 39, sc. Setgat ;
49.
29. §treſ . . ., “since near my noble father it dwells.” This
poetic usage of vaío and kindred verbs with islands and other
places is frequent in Hm. The house, island, town, is conceived
as an actual person, in this instance as a neighbor. Compare £60c
'I0áknc, v 344; in terra domibus negata, Hor. C. I. 22, 22; agelli
quem habitatum quinque focis, Hor. Ep. I. 14, 2; Soph. Ajax, 596–
97; Hat. VII. 140. Touching this feature of the Homeric style,
Gladstone has said: “The tendency of the Heroic Age, standing
at its maximum in Hm., was to pour life Outward, nay, almost to
force it into everything. Where we should be passive, he is ac-
tive, and ever at work with a bolder encrgy and keener pleasure
to vivify. His uplifting and vitalizing process is everywhere at .
BOOK WII. 127
work. Animate nature is raised even into divinity, and inani-
mate nature is borne upward into life. His waves (as well as his
fire), when they are stirred, shout, in the very word, iáxsw, that he
gives to the assembly of the Achaeans; when they break in foam,
they put on the plumes of the warrior's helmet, copäggeq0at; when
their lord drives over them, they open wide for joy; and when
he strides upon the field of battle, they, too, boil upon the shore,
in an irrepressible sympathy with his effort and emotion.”
30. Totov, “in such wise,” “so,” Homeric adverb, nearly equiv-
alent to oãrwg, and regularly postpositive, qualifying adjectives
and adverbs, and spoken with proper emphasis and gesture; here
with finger on lips.
31. Trportóororeo Hºmā āpéeuve; looking might lead to questioning.
The injunction is not unnecessary to one wrapped in his mystic
veil, of which he was utterly unconscious. A voice out of the
vacant air would have raised a lively commotion among the gos-
sips. Though vision may pass only from within the veil out- .
ward, voice may penetrate in either direction, or else the warning
here would be idle; cf. AEn. I. 422.
32. oil páN’, “by no means.” Aft\' strengthens oi, all the more
by its postposition and separation. Compare otºrwg in the speech
of Telemachus to Eumaeus, in relation to the disguised Odysseus,
p 12: épé 6' oitrog Éorty &Travrag &v0pótrovg &véx809at. Still stronger
forms are puéX' otºrwg, s 103, and oitt påX’, a 261. p &Xa before the
negative occurs B 241, E 278, 407, S 434, a 103, 358; in prose of
puéXa; see Short, ESSay, p. xci. — &véxoviral, “tolerate.”
33. &Yatragópevol. $vXéovo’, “welcoming do they befriend.” The
inhospitable character here attributed to the Phaeacians is at va-
riance with the sentiments of Nausicaa, & 207, and of Alcinous,
m 190, 9 32, 546, etc., and of the aged Echeneus, n 159. Nitzsch
reconciles the inconsistency on the ground that Athene's com-
munication does not throughout represent a statement of facts,
but really embodies the thoughts of the wary and much-travel-
led hero, at the moment of entering a strange city. It will be ob-
served, however, that the hospitable sentiments fall from the lips
of the royal family, and from an elder of the Council. The hospi-
tality of these is really as princely as their surroundings; the same
could hardly be expected from the people of the market-place to
128 NOTES.
whom otös points. Nausicaa herself feels that she may have oc-
casion to rue their ill-manners, and not even the presence of the
king and all his court Saves Odysseus from the insults of Euryalus,
and he a noble too; while Arete fears the crew may lay hands on
the effects of the stranger, unless they are well secured, 9 443–54.
34. The causal asyndeton advances a reason for their inhospi-
tality. It is conceit of their marvellous speed upon the sea that
renders them intolerant of Strangers. — vnvoi 6ofiorly . . . Öketmartv.
A standing epithet like 60%, occurring so continually as it does
with vnic, must necessarily lose a portion of its vigor. Since,
therefore, it was too weak here to characterize the Phaeacian
ships, &csimov was added. Compare Troöävepoc dréa "ſpic, nine
times in Iliad; 60áv ÓkváAwv vsöv, Soph. Ajax, 710; Xaototo Sa-
airply og Toâyoto, Theoc. 7, 15. Observe the emphasis thrown on
&keigow by its closing a spondaic line, while the following verse
dashes through the full measure of dactyls. –tretrol.0óres; & 272.
35. Accºrpa, connected with \alpóg, \apūogo, “to swallow,” al-
ways carries with it the idea of danger, though not to the Phaea-
cians; 0 563.
36. “Their ships are swift as wing or thought.” For other
estimates of the speed of their ships, sce m 325, v 81–7. This now
hackneyed simile of the rapidity of thought is more fully devel-
oped and actually dramatized O 80–3, where it is descriptive of
Here speeding from Ida to Olympus:
&s 6’ 67-’ &v čn váos &vápos, Šarr’ fari aroXX}v
'yalav ŠX1,Xov60s qpsori arevka)\ipunal votion
“àv6' #1ju ſi èv6a,” wavouvriya i Ta aroXX&,
ës kpattvös Mepravia. Šléart-at-o ºrd-Tula "Hom.
“Swift as the mind of man, who many a land
Hath travelled o'er, and with reflective thought
Recalls, “Here was I such a day, or here,’
And in a moment many a scene surveys:
So Juno sped o'er intervening space.” DERBY.
Gladstone quotes these two passages as the main instances in
Hm. of ideas properly subjective. The mind of that age was not
addicted to turning in upon itself for self-communion, but to
pouring itself outward upon the objective world. It is in the
Lyric Period that the subjective begins properly to appear.
38. per’ tyvia Baïve occurs only here and 3.406, y 30, 8 193. It
BOOK WII. 129
indicates the greatest care in following a guide implicitly, so that
the foot is planted in the exact spot, as it were, from which the
leader's was just lifted, without deviating to the right or left.
Its appropriateness here is obvious. At 3 406, y 30, where Te-
lemachus follows Athene under the guise of Mentor, it exhibits
his yet unformed character and lack of self-reliance. At a 193
Odysseus has just been distrusting the motives of Calypso; he
now abandons himself to her guidance without reserve.
39. vavorikAuroi is applied only to the Phaeacians and Phoeni-
cians, and this fact, among others, led Mure to conjecture that the
whole Phaeacian episode was intended as a playful satire upon
Some Phoenician colony of the West. The similar form wavouk\et-
Tóg only £ 22. In the Hymn to Aphrodite it is coupled with
Euboea. •
40. Stå with the accusative in the sense of “through” is most-
ly poetic, but usually marks the object as passing only part way
through ; with the gen, it goes through and passes out. Odys-
Seus would be among them even in the palace. Virgil has,
Infert Se septus nebula—mirabile dictu–
I’er medios, miscetoue wiris, neque cernitur ulli. AEm. I. 439. .
41. What does the augment of eta show % H. 312 a.—The con-
ception of Athene in Hm. is too awful and dread to attribute to
her those feminine characteristics of beauty which are so common
with the other goddesses. Except the “luminous eye,” which
may be considered beautiful in its intellectual aspect, she has no
other ascriptions of the kind Save àtrkókapºos here, and jököpiog
three times in Z, where she is invoked in her temple at Troy. In
both these instances it is in connection with a people much more
effeminate than the Greeks, and here it is immediately counter-
acted by Četvr). - - . . -
44. airóv; on & 83. — &yopäs; the plural is again found 0 16,
but the sing. 9 5, & 266; on 4 107. F. thinks the plur. is used by
a species of attraction to the neighboring plurals. -
45. Orko)\óTreorgiv &pmpóra, “with palisades close set;” upon the
wall, or at its foot ? When the Greeks are driven to their ships,
they build a wall about the camp with towers along its circuit,
H 436, and in front they run a ditch which is defended on its
inner brink by sharp stakes, akóAotrec, projecting over it. Here
G*
130 . NOTES.
the Sea may remove the necessity for a ditch; but the wall about
the court-yard of Eumaeus, & 11, was defended without by a row
of stakes, though it had no ditch. Still they are a prominent feat-
ure in the view before him. Virgil omits this particular:
Miratur molem AEneas, magalia quondam,
Miratur portas Strepitumque et Strata viarum. AEn. I. 421.
It is to be remembered that these warlike defences were con-
structed when the people first removed from warlike neighbors;
& 9, 270. , f
47. Totori 82, “for them then;” H. 597; G. 184, 3, Note 2. This
construction of roigt removes the harshness of its use where only
two are present, seven or eight examples of which occur. That
it should be employed at all for two is due to the formulaic char-
acter of the line, which, when once cast, is made to serve on all
occasions; yet see on & 158, and Hólt. VI.43, 13 (Stein). —82; H.
862 b : G. M. 57; on 9 389.
48, to ; on 3, 29. “This, then, is the house for you.” Compare
the exclamation of Odysseus to Diomed when on their night ex-
cursion they come upon the sleeping Rhesus: oãróg rol, Atópmösc,
&vāp, oùrot 68 rot introl, K. 477. - W.
49. tre+pabéuev; 4 47, n 28. –öjets; & 291. – Suorpedºis and 8toys-
våg are undoubtedly and uniformly titles, and are nearly equiva-
lent to the phrase “Royal Highness” of the present day. They
commonly accompany the name of the individual or class, and
are confined, with one single exception in the Iliad, to the per-
sons of the highest known rank, that of 8agiXijeg, or kings. The
King, as such, stands in special relation to deity, and it is express-
ly declared that kings derive the right to rule from Zeus, from
whom descended, by successive deliveries, the sceptre of Aga-
D1GIT]]].OIl . rip) 6’ &c. Atóg £ort, pixei Öé à puntiera Zsóg, B 197. Glad-
stone.—Baoru Mias; & 54. . . • - * : :* -
50. Satºrmv Sauvupévous; cf. & 61. – p.m.8é; H. 858 a. From this
point the poet forgets the maiden, and makes the goddess speak;
on 9 161–64. • * *
52. čpyolarly, “undertakings.”—ei kat; on & 312. Some apod-
osis, “as would be the case, too,” is omitted; on & 144. See
6 139, 217, II 748; cf. m 315, X 356. - -
53. Béararoway. Akin to the relaxation in the sense of 3agiXijeg
BOOK WII. 131
which the Odyssey presents (454);is the introduction of the titles
êorrowa and 3ao (Asta, which never occur in the Iliad. The for-
mer is applied to Eurydice the wife of Nestor, to Arete, and to
Penelope; the latter to Nausicaa, Arete, and Penelope. This
title, Queen, betokens political movement, and, in the case of Eu-
rydice and Penelope, the increased influence of women due to
the absence of their husbands at Troy, and the cares of state
thus devolving upon them. Gladstone. Among the Phaeacians,
it shows the habitual power cxercised by the women.—kixáoreau,
“thou shalt find,” i. e. Seck out ; the future of mild command;
i) 319; H. 710; G. M. 25, Note 5.
54–5. “Now, Arete is her name of commemoration, and she is
from progenitors the same that begat Alcinous the king.” A
name is tróvupov when it has been selected for the express pur-
pose of commemorating some circumstance connected with the
child or family, as when Autolycus names his grandson Odys-
Seus, the Hater, because he had himself hated So many in his day:
Tox\otow Yap tywys 660ccénevoc T66 irávo tº 6' 'Obvoste §vou'
£ora èTówwpov, r 407. Cf. I 561. Hólt. tells us, WI. 63, that Dem-
aratus, the Spartan king, was so called (Amp-ápmroc = 6 riff Shup
&pmróc) because a prayer had been offered up by the people that
the king, his father, long childless, might be vouchsafed a son.
So, Arete is the prayed-for child, like Odysseus, T404.—The mean-
ing of rokºjov is determined by the following genealogy.—rów
aúróv, the article, as in Attic prose; H. 538 b. The attempt made
by many critics to explain every instance of the article in Hm.
as used demonstratively is now generally abandoned. Krüger
has well said that the same amount of ingenuity expended upon
the Attic article could make that always demonstrative. Indeed,
Mr. Paley, one of the latest English editors of the Iliad, has
founded upon the proper article use in Hm. one branch of his
argument for the late authorship of the poems, placing them as
far down as 450 B.C. In this point he has been completely re-
futed by Hayman; not, however, by denying the article use, but
by showing from Hesiod, Archilochus, Alcman, Sappho, Alcaeus,
Solon, and Tyrtaeus—the earliest writings we have after Hm., and
all previous to 500 B.C.—that the real article occurs there with
as much frequency as in Hm.; in short, “that the language
132 NOTES.
seems to have been at that period, as in Homer's, in the plastic
state, which admitted of this same word being either article, de-
monstrative pronoun, or relative.” A precisely similar fluctua-
tion is observable in our own “the" during a considerable period
of the early stage of the English tongue, and it is still seen in the
German “der.” In one of the oldest Greek inscriptions extant,
that of Aboo Simbel, 650 B.C., we find the regular use of the ar-
ticle, as follows: Taira Éypalav Toi giv Yapuarixºp tº 680k\[éog].
Cf. on m 201, 223.
56. The genealogical table here given is this:
Poseidon | Periboia,
Nausithous
Rhexenor Alcinous
Arete

Navaríðoov; & 7. —évoortx90w ; v 140.
57. Yetvaro ; ; 25. – Yuvauków . . . &ptorrm, “ of women in beauty
the foremost.”
58–60. Heya Añropos; On & 17. It is probably to be taken here
also in a good sense. The onus of their destruction is thrown
upon the people by applying to them örsp06potat, and &rá00a)\ov
more especially, as if their king, better disposed and wiser, had
been forced into their foolhardy undertakings against his will.
This would suit, too, the desire to trace back the more humane
disposition of the Phaeacians. &Aege is then to be translated
“lost,” as p 68, where Penelope, incredulous of the return of
Odysseus, declares to Eurycleia that the suitors 3’ &ragga)\iac
#Trabov airãp 'Oövoo'eig Ø\so's rºoij vöorov 'Axattàog, Ø\8to 3’ airóc.
The piety of Odysseus is often contrasted with the destruction of
all his followers by their own presumptuous acts. Hence we
may perhaps Suppose a rebellion of Eurymedon's people against
himself, and their destruction in a fratricidal war. Whether
this, or a war with some other tribe of Hypereia, possibly the Cy-
clopes, or with the gods according to the later tradition, Hm. does
not enlighten us. The Giants are mentioned only here, n 206,
and c 120, where the Laestrygonians are likened to them, a fact
which shows their size, since the wife of the king there was as
BOOK WII. 133 .
big as a mountain, though Nausithous evidently is not so. He-
siod even has no trace of the war between the Giants and the
gods. He makes them three in number and hundred-handed, and
they assist the gods against the Titans. –áráo 6a)\ov applies to
deep, deliberate wickedness, attended with an obstinate persist-
ence that must be known to be wrong. For when it is intended
to let in any allowance for mere weakness, or for solicitation from
without, or for a simply foolish blindness, then the word árm, not
dragóaxim, is used. Such is the wickedness of Ægisthus, though
warned by Hermes, of the suitors, the Giants, and the crew of
Odysseus, who devoured the oxen of the sun. Gladstone.
61–3. Špſym, “was united.” — ev; n 23. —‘Pn£ºivopé; on 6 110.
64. &kovpov, “heirless,” as regarded succession to the throne.
— BáN' . . . 'AtráAAov. All Sudden and unexpected deaths, smit-
ing the person when sound and well, without any visible or pre-
monitory cause, are attributed to the painless arrows of Apollo
for men, and of Artemis for women. The former produce the
deaths by plague in the First Iliad, that of the pilot of Menelaus
at his helm, and of the sons of Niobe in the presence of their
mother. In the happy isle of Surie, where Eumaeus was born, the
people never died of disease, but by the gentle arrows of Apollo
and Artemis, after passing to a good old age. By Artemis dies
the nurse of Eumaeus on the Phoenician ship, the wife of Eetion,
the daughters of Niobe, Ariadne, and even Orion. The corpse
of Hector, restored by preternatural agency to integrity and
freshness after the lacerations it had undergone, is said to be-
come like to the body of one slain by Apollo, that is, stricken
down in the full vigor of health.
65. Am. and F. punctuate before év, after schol. P. T. Exam-
ples may be found to support either; A 198, 31, 68, E 485.
66. Trovãorat’; H. 556. Another probable case of the marriage
of uncle and niece is that of Cretheus and Tyro. Diomed proba-
bly, and the Trojan Iphidamas certainly, married an aunt. Later,
marriages of this kind were much more common at Sparta. An-
axandridas and Leonidas each wedded a niece, and Archidamus
his aunt.
68. viv Ye, sometimes opposed to the future, as P 206, T 408,
O 211, a 123, v 200; but more frequently to the past, as Z 125,
134 NOTES.
6 32, X 449, and so, doubtless, here. The declension in the posi-
tion of woman may have begun even in the poet's day; on 9223,
& 66. – Štrº, “obedient to.”—oikov čxovorty; 3, 183.
69. Trepi; On & 158. —èorruv, not only has been honored, but
still is honored, and this is the important point, since it is to the
high estimation in which she is now held that Odysseus is in-
debted for the hospitality extended. As her suppliant he must
needs be received, though she say not a word. This silence,
which she maintains until Odysseus' prayer has been granted,
is the highest tribute that the poet could pay to her influence.
With ēorruv the thought supplies rerupumpiévn, or rupińsooa ; y 129.
70. śic re, “both by.” What preposition is more common 2
H. 624 c. On the day before the death of the suitors, Athene
suggests to Penelope to appear before them, and remind them
that they had not yet made the customary gifts to the future
bride, 67twg rupińsoo a yévouro pa)\ov Tpõg Tóguóg Te kai viéog # Tápog
jev, a 161.
71. 0eêv &s eia!opóðvres, of the Orator, 6 173; Of Eurymachus,
o 520.
72. Sevöéxarat pºčovorºv, “greet her with acclamations.” . How
is 8elöéxarat formed ? H. 319 D., 392 a. The Sense originates in
the use of Östicvvpal for stretching out the hand in pledging with
the wine-cup. — pºol.oruv here takes the place of the usual Óstróso-
ow ; A 4 ; cf: X 434. — or retxmo'; On & 183, 37.
73. v6ou èorðAoû, “a goodly mind,” sound Sense and a kind
heart; cf. m. 111, 292. — kai airl. Hers is not merely reflected
light from the king, nor is it imputed to her through any empty
compliment to her station. She has a mind of her own, and
knows how to use it ; m 234, 9 443, X 335.
74. “For such wives as she may kindly befriend, and their
husbands, she reconciles differences.”. She is a general peace-
maker, but more especially in marital discords; an example of
her wisdom and discretion, and also of her influence.—fforty is
read by the best MSS., and is adopted here with Am., F., and
Hay. for the common oiotv.
75. et kév has what equivalents in Attic? H. 747; G. 223, Note
2; C. 535. The supposition is particular; G. M. 48, 50; so & 3i:3,
6 496, v 182; cf. n 204, & 179.
BOOK VII. * 135
78. Cf. 37,153, 182, 946, 104, n 207,240,298, 302,308, etc. The
duty of diversifying the connecting commonplaces of a narrative
—the modes, for example, of specifying, in the course of a long
dialogue, the deposition and resumption of the discourse by the
speakers—is often one of the most irksome tasks to which the
modern author is subjected. From these obstructions to the
easy flow of his ideas the old poet was comparatively free. On
the first few occasions he instinctively selected such forms of ex-
pression as appeared most appropriate and euphonous, and in the
future was content to reproduce the same idea in the same terms,
with such partial modifications as his own taste or incidental
circumstances might Suggest. “Epic commonplace” is common
also to other nations in a primitive state of society, and reflects
the simplicity of the age, as contrasted with the more studied
art of refined periods of literature. Mure.
79. Aſtre Sé, co-ordinate construction for XuTroöga. The more
important thought is placed first ; on & 9. —éparelyily. It has
been much debated whether the ancients generally, and whether
Hm. in particular, had any distinct idea of beauty of landscape.
Mr. Ruskin thinks that Hm. has no trace of feeling for what we
call the picturesque. This faculty, it is true, was not highly de-
veloped in our poet; yet it Surely existed. Šparstvág (śpáo), like
our “lovely,” indicates not only beauty, but a high degree of it,
since it describes the charms of Hermione, who had the beauty
of golden Aphrodite. It appears, therefore, to be clear that Hm.
applied it to countries shaped in mountain and valley, Lacedæ-
mon, Emathia, Scheria, the height of Pergamus, because such pre-
scnt a beautiful appearance to the eye as compared with coun-
tries of other forms less marked. But while this feeling did exist
with Hm., it was one in the bud only; as, indeed, until within a
very few generations it has lain undeveloped among ourselves.
He may have been the father of this sentiment for his nation, as
he was of so much besides. But the plant did not grow up
kindly among those who followed him. If, then, Hm. sees less
in the sensible forms of natural objects than we do, it probably
is in a great degree because the genius of his people and his own
genius had taught him to invest them with a soul which drew
up into itself the best of their attractions. Gladstone. On 4 123.
136 NOTES.
80. £icero. As regards locomotion, Athene and Apollo display
their majesty by movement instantaneous and self-sustained.
They start, and their journey is completed. On one occasion
Only, Athene dons the winged Sandals of Hermes, a 96. Zeus,
Here, Poseidon, Ares, habitually employ their chariots and im-
mortal horses. Athene, indeed, mounts the chariot of Here, but
it is only to accompany that goddess, 6 389.--Why is Marathon
mentioned 2 Situated on the north-east coast of Attica, it would
not lie in the direct route to Athens from Scheria in the supposed
north-west. Athene, therefore, goes out of her way, as Here does
in her flight from Olympus to Ida in the Fourteenth Iliad, 225–
83, where the object seems to be to represent her passage as
made by land, touching the lighest peaks that line at intervals
the path. Athene, on the contrary, goes by Sca, 79, and the poet
appears to have conceived a northerly route from Scheria by
water, communicating with the AEgean through the Hellespont
(on m 324, 244), whence Marathon would lie directly in her way.
But, in any case, why introduced rather than other places on the
route? The easiest answer always to Homeric puzzles is that the
passage is an interpolation, in this case after Marathon had be-
come famous from the battle against the Persians; but, centuries
before that battle had set its crown of glory upon it, Marathon
had been a place of importance, as the head of the Doric Tetrap-
olis, which under Xuthus defends Attica from the bronze-clad
warriors of Chalcis, and from which Ion, the son of Xuthus, be-
comes ruler at Athens by wedding the daughter of Erechtheus,
a union to which the present lines may have some reference.
See Curtius, History of Greece, pp. 320, 132, Am. ed. —’A6;ivmy, the
only instance of the name of the city in the singular. But other
proper names are varied, as eff3m, eiðat, Mukhvn, Mukijval, pnph,
‘pmpai, KońTm, Kpijrat, MáXéta, MáXétat. •
81. Erechtheus, according to B 547–51, was sprung from the
soil, nursed by Athene, and established in Athens in her rich
temple, ég #vi triovu vng, where the youths of the Athenians
propitiate him with bullocks and lambs, as the years roll round.
The two were worshipped in common in the ancient temple
On the Acropolis, which contained also the Salt - spring and
the Sacred olive, and was destroyed by Xerxes. On the site,
BOOK WII. 137
the beautiful Erechtheum was built, considerable remains of
which are still to be seen. The accompanying engraving ex-
hibits a restoration of it. —8égov doubtless the same as vng,
B 549.
82. te; H. 405 D.— kāp; & 309, m 7. The poet has grouped the
circumstances carefully, that the goddess may preserve her incog-
nito. She has said that her father's house is hard by the palace,
thus giving opportunity for her to retire in that direction, and
escape the eye of Odysseus before vanishing.
83. §pplauv', 133–34. —xáAkeov, either copper or bronze, but
which is uncertain. Brass, a compound of copper and zinc, it
was not. Pure copper is so easily bruised and battered that
Some process for tempering, now unknown (AEsch. Agam. 612),
must be allowed if we make it the sole material of the numerous
weapons and utensils in Hm. which are of XaAlcóc. Count Caylus
did, after long experiment, discover that copper could be hard-
ened by repeated water-baths; and pure copper implements have
been recently discovered at Santorin, Troy, in Attica, Cyprus,

133 NOTES.
France, Ireland, and India. In Chaldaca it has been found, thougu
rarely, the most of the objects having a component of tin, which
hardens the copper and produces bronze. Two of Dr. Schlic-
mann's Trojan battle-axes had respectively 4 and 9 per cent. of tin,
while one of his swords from Mycenae yielded upon analysis 13 per
cent, a fragment of a vase-handle 10 per cent, but a copper kettle
had only the slightest trace, 0.09 per cent.—oë8öv, the threshold
of the palace proper. That he has passed the threshold of the
ai)\ff, and stands within the open court, seems certain from ēkro-
obey ai).jg, 112, and 135, 95; besides, from such a standpoint he
is able to take in the whole scene, though it would be captious
indeed to limit the poet in so general a description merely to
what Odysseus could see.
84–5. “I’or as of the sun was the splendor, or of the moon,
throughout the palace high-roofed of great-hearted Alcinous.”—
égºre, & 122, n 11. The glitter is from the gold, silver, and copper
with which the palace is adorned, now lighted up by the latest
glories of sunset from without, and the flaming torches within.
Compare the description of the palace. Of Menelaus, emblazoned
with the returns of his seven years' wanderings about Cyprus,
Phoenicia, Egypt, and Libya, 6 72–3:
XaXicoſ Ts a Tepotiju köö 6&pata #xijevta,
xpva'où T' #AékToow Te kai épºpov #6’ &\éq avtos.
86. Totzov, “house walls,” retxsa, “city walls.” The men of
Hesiod's Third Age, which preceded that of the Heroes, not only
were clad in XaXkóg, and used implements of XaXkóc, but dwelt in
houses constructed of XaAkóc. Doubtless the poet, in his realm
of phantasy, may construct his palace walls of solid bronze or
copper; but if we are to look for any real counterpart of the
buildings of the day, the walls were only sheathed with metal
plates. The so-called Treasury of Atreus at Mycenae, which be-
longs to a very early period, still shows traces of such sheathing
in the bronze nails disposed at regular intervals throughout the
interior, attesting the purpose for which they originally served.
Of like construction in the historic period was the Temple of
Athene XaXictoucoc, at Sparta, begun, it was Said, by Tyndareus,
and the Treasury of the Sicyonians at Olympia, Paus. III. 17, 2,
VI. 19, 2. Doors of wood, plated with bronze, were found near
BOOK WII. 139
Nimrud in 1879; and when Pizarro conquered Peru, the inner
walls of the temple of Cuzco were covered with plates of gold
that furnished a heavy contribution to the ransom of the Inca.
*Anxéat'; & 9. .
87. 6puykös kvávolo, “a cornice of kuanos.”— kúavos is Some-
thing dark, to contrast with the walls, but whether a paint or
a metal it is impossible to determine. Many of the ancients
thought it a pigment formed of a native carbonate of copper;
others make it bronze, lead, steel. The last is favored by Buch-
holz, Am., F.; but steel is so quickly eaten into a surface of rust
by the action of the weather that it would serve no practical
purpose as an outside coping, which this unquestionably is.
88. §vrös &epyov, “were wont to enclose,” when shut for the
night; they were now wide open ; on 3, 51. The phrase is ap-
plied to a city, > 512, and an island, Q 544; cf. , 303.
89. arraðpoi; & 19. Virgil has lavished his description upon
Dido’s temple, and with consummate art has introduced the
pleasing episode of the pictures, Æn. I. 448:
(Templum) AErca cui gradibus Surgebant limina nexasque
* AFre trabes, foribus cardo stridebat ahenis.
90. ść”, “thereon,” upon the gradpoi...—xpuarém ; & 79. – kopówm,
the hook by which the door was drawn to ; 0%pmy 6' Trépwoo's co-
púvy &pyvpéy, of the sleeping-apartment of Telemachus, a 441.
The contrast of colors in the various metals, and their disposi-
tion, should be noticed.
91. Ékárepôe, Sc. 0upáwy; 3, 19. A pair of gold and a pair of
silver dogs guarded the portals.
92-3. iśving ; ; 233. –$vXagoºgeval; & 82.
94. &0avárous properly, as appositive to kövsg, should take its
case; but when, between the appositive and the idea to which
it belongs, a relative sentence intervenes, the appositive can
agree with the relative. This construction is not infrequent
among the poets, but in prose occurs noticeably only in Plato.
Krüger.—évras. This line has been thought a later addition
from the presence of Övraç, instead of the usual #6, rag. The MSS.
give &vrec, T 230, and otomg, ~ 489; but the objectors there either
change or excise. Yet precisely, analogous forms are seen in
got, 9 580, T 202, Öot, a 491, E 274.—āyúpos #1ata trávra, “ageless
140 NOTES.
forevermore.”—āyúpaos or āyúpos never occurs in Hm. except
with &0&varog, and always of something divine, as the AEgis, B
447, and the immortal horses of Achilles, P 444. Penelope is
{3poróg, but Calypso, &0&varog kai &yńowg, s 218; cf. m 257. The
epithets, therefore, cannot be said to describe merely the endur-
ing character of the material of which the dogs are fashioned.
These porter-dogs must be endowed with the same attributes of
life and motion with which the poet invests other works of high
art in metal, especially from the hand of Hephaistos, and they
furnish the climax of that copious vivifying power which he has
poured like a flood through his verse. Hephaistos has twenty
tripods in his Smithy that move spontaneous to the assembly of
the gods, and the two maidens that attend his limping gait are
Wrought of pure gold, and
Tijs #v učv vºos é o Ti Award qipao'ív, #v 6é ſcal at 6?
kai o 0évos, &6avárov čá 68&v čTo Épy a to acruy. X. 419.
The arms of Achilles manufactured by Hephaistos, so far from
being a weight upon him, seemed like wings to lift him from the
ground; and the figures on the shield moved and fought, danced
and sang, while the golden furrow darkened into mellow mould
behind the plough. The Phaeacian ships, which knew no higher
architects than the Phaeacians themselves, were gifted with
thought and intelligence, and needed not the helmsmen to guide
them on their way; 9 556–62.
95. v 88, “but within.” The poet passes now to a description
of the interior of the great banqueting-hall, which could be seen
by Odysseus through the open doors. —épmpé8at’; H. 392 D; C.
287; cf. : 308, 9 66,473.
96. Sucºtrepès; 9245. – Év6’ evi, “whereon;” cf. E. 216.-Trétrºov;
2, 38.
98–9. £8plóðvro, “were wont to sit;” & 257, v 9.—éarmergvöv Yàp
ëxegrkov, “for store without stint they ever had.” So Odysseus,
returning to the ship after he has compelled Circe to retransform
his companions that had been changed into swine, tells the rest
whom he finds there to hasten to the palace that they may see
their comrades Tivovrag kai éðoyrag étmeTavöv yáp #xovow, k 427.
#Trnēravöv in these two passages and Ap. Rh. II. 1179 is a Sub-
stantive; cf. a 360.
BOOK WII. 141
100. koºpot, not statues, but “youths;” hence they are doubt-
less to be considered animate productions of the same hand that
wrought the golden hounds. Assyrian art, from which the
Greeks borrowed so much, thus far exhibits no work that can
justly be called a statue, only five rude figures of stone in the
round. On the other hand, sculpture in relief attained there to
a high degree of excellence. So it is in the Homeric poems;
there is no statuary. The Pallas figure of Z. 303 must have been
as rude as the oldest Assyrian figure; cf. the seated goddess
figured above, p. 89. The dogs of Alcinous may have been a
poetic reflection of something similar to the lions over the gate-
way at Mycenae, or, rather, like the handmaids of Hephaistos and
the torch-bearers here, living creatures, not made of flesh and
blood, but turned out of the poetic alembic gold. Of art in re-
lief, however, the poems are often descriptive, notably in the shield
of Achilles, where the vivid imagination of the poet doubtless
soars high above the art of his day. Schliemann's discoveries
at Mycenae show almost nothing in the round, but much in re-
lief. The accompanying figures exhibit two of the half-dozen
attempts at representation of the human form in metal among
the objects discovered there;
these, however, are properly re-
liefs, since they are stamped out,
and each is but half a body. The Lº:
terra-cotta figures were still more *
rude, as may be seen by examining similar statuettes in the Ces-
nola Collection, especially the Venuses from Alambra. – Boſtov,
“pedestals,” an earlier sense than “altar,” which, however, occurs


142 NOTES.
in Hm. At € 441 it is a raised platform on which the chariot
of Zeus is placed after use. " . .
101. Softöas, uniformly in the plural, because, “as appears from
ancient marbles and other representations, it was formed of a
number of staves or twigs, either bound by a rope wound round
them in a spiral form, or surrounded by circular bands at equal
distances. The inside of the torch may be supposed to be filled
with flax, tow, or other vegetable fibres, the whole being abun-
dantly impregnated with pitch, rosin, wax, oil, and other inflam-
mable substances.” Dict. Antiq. Here the encasement is of
gold. They are employed in the palace of Odysseus to light the
way to bed, to kindle the fire in the braziers, give light to Penel-
ope at her evening task in her chamber, and, in fact, wherever a
portable light was needed. The lamp, Xàxvoc, is mentioned but
once, T. 34. Corresponding to the koúpot here, in the hall of
Odysseus are the three Xap Tripsc, or braziers filled with wood,
lighted and kept replenished, a 307.
102. 4 a.ſvovires, intransitively, “giving light,” as o 308.
103. oi, the king; On & 131. The palace of Odysseus also has
fifty female slaves, imitated by Virgil of the household of Dido.
8poai is taken up again distributively by the following ai pºv, at
8', so that no verb is to be supplied; so a 109, n. 129, 9 360, p. 73.
The change from the past tenses in the preceding description to
the presents that follow, 104–30, is unusual for Hm., who, in nar-
ration, regularly uses the present only of facts which may be con-
ceived to be true during the time of the singer himself, as & 42–
6, v 96–112, B 751–55. Though the historical present was ad-
mitted here and in a few other instances by the scholiasts, some
modern critics deny its use altogether in Hm., and hence Fried-
länder, F., Düntz., characterize the present passage as an interpo-
lation. Note that the presents here are not of the ordinary his-
torical nature, since they all denote the continued wonted act,
much like A 163, 168, v 377, etc.; cf. & 87, c 349–50, v 160, £ 165;
yet the ground-work appears laid for the later use, and such
slight advances as the present passage shows may exhibit the
path along which it developed. - :
104. &Aerpetſovort. This was one of the Severest tasks imposed
upon the slave, and it fell regularly upon the women. Twelve
BOOK WII. - 143
are assigned to this duty in the palace of Odysseus. A specified
amount must be the grist of each per day, and the hour which
loosed the ox from his yoke brought no rest to one whose feeble
strength had not fulfilled her task. It is such a one that in the
dawn of the morning hears the thunder-omen sent by Zeus to
Odysseus on the day the suitors die, v 105. Among the Egyptians,
too, “the maid-servant that is behind the mill” is the lowliest of
the land. Exodus xi. 5. The hand-mill consisted of two circular
Stones, nearly flat, the lower one fixed, while the other turned
On a pivot or shaft rising from the centre of that beneath it.
The grain, descending through an aperture in the upper stone
immediately above the pivot, gradually underwent the process
of grinding as it made its way from the centre to the rim. It
Was turned by the woman seated, and holding a handle fixed
perpendicularly near the edge. Such a mill is still to be found
among the islands of the AEgean, and is the same as the Scot-
tish quern. Schliemann discovered at Troy numerous stones of
lava, 13 in. long by 7 broad, which are reasonably conjectured
to have been used as mill-stones; found also at Mycenae. — ºrt;
0.403, 563, A 367; on 4 12.-prºotra kaptröv, “apple-hued grain "
is probably wheat, as barley is called white, Asvków. The scholiast
compares gavéſ, the epithet of Demeter. -
106. If #leval applies to the weavers as well as the spinners,
then some foreign fashion, like the Egyptian, is intended; for
the Greeks are habitually represented as moving up and down
before the loom, to rôv étrotxopévn (A 31), as they wove, a posture
necessitated by the upright loom then in use. Yet kará 66pua, 103,
makes the description a general one, so that we are not to look for
all the slaves in the pāyapov (cf. 121,061), where the mill-grinders
would be incongruous indeed, and the loom-workers only less so.
The mill-maids of v are located in the ai)\ff, and the websters
belong to the women’s apartments; T 125, 142, X 440. The spin-
ners might properly remain in the hall, 6 121–35, and answer to
& 307. They are closely linked here with the former, because
the two tasks are closely allied, and their joint product is the
pride and boast of the people; & 26–7, 49, 53, 58, 61, 64, 111, 306,
m 107–11, 235, 0.249, 392, 425,441, 455, v 67, 73, 118. The simile
then probably illustrates both words, arpa pūow and juevat, rapid
144 NOTES.
motion in working, combined with a fixed position at work;
& 292.
107. “And from the close-warped linen drops the liquid oil.”
—ö0ovéov, the outer garment of Helen, T 141, when she visits the
walls, and of the maidens in the dance, > 595; cf. v 73. –átroAeſ-
Beral is explained, by some, of the oil with which the threads
were sprinkled while weaving, to impart a lustre to the cloth, as
the so-called weavers' glue is used at the present day; cf. X. 596,
quoted & 157. Others insist that it is only a figurative mode of
indicating that the cloth is as lustrous as oil; or that the weav-
ing is so fine and close that oil will not pass through if poured on.
At all events, the cloth has a lustrous surface, & 26, 74, and else-
where. Compare a somewhat similarly dubious expression Cal-
lim. Ad Apol. 37–9, and Hymn to Hestia, where it is said of her:
aial gºv TAokáuwu &troXeigetat Úypôv #Aatov.
108–9. Šargoy; £ 294.—éAauvépév ; on v 81. –&s, irregular cor-
relative to 60 orov.–83; on 47.
110–11. ioTöy, “loom,” not web, as counter to vija ; H. 549. —
Texymororal, contract adjective from Texuñégoat, as Tipujvra from ri-
phsvra, S. 475. —Trépt; H. 112, 9 44, 63. “Por roundly to them
has Athene given both knowledge of very beauteous handi-
work and goodly minds.” Poseidon aids the men, m 35, Athene
the women. For this province of Athene, see on & 233. —émía-ra-
orbat is fully nominal, and is connected by kai to ºppévac.
112. čkroorbev ačxºs, said naturally for One standing within
the ai)\}. By a turn of the head the scene to be described
could be seen by Odysseus, or may have been remarked before
entering. Dut see on 83. –&yx. 0.9páov, across the street from
them.
113. Terpáyvos, “ of four measures.” What the yān was as a
measure of land is uncertain. The AEtolians offer to Mcleager as
a great gift, puśya óðpov, a glebe of fifty measures, tépgyog TrevTrilcoy-
Töyvov, of their best vine and corn land, I 579. —8pkos, “enclos-
ure.”—&#14 orépoćev, length and breadth, equivalent to the en-
tire circuit; cf. §v6a kai évôa, 86, 95.
114. The whole garden is divided into three parts, the orchard
proper, the vineyard, and the vegetable garden, the description
of each of which is introduced by év0a 68, 114, 122, 127. “The
BOOK WII. 145
Gardens of Alcinous” have become the synonym for all that
poet may conceive of luxuriant fruitfulness. Milton has intro-
duced them in a simile to set off his Garden of Eden:
“Spot more delicious than those gardens feigned
Or of revived Adonis, or renowned
Alcinous, host of old Laertes' son.” P. L., IX. 440.
Of the kind of beauty here described, Gladstone, in his treatment
of the subject of the picturesque in Hm. (on 79), remarks as fol-
lows: “I assent entirely, on the other hand, to what Mr. Ruskin
has said respecting his sense of orderly beauty in common nat-
ure. The Garden of Alcinous is truly Dutch in its quadrangular
conceptions; but it is plain that the poet means us to regard it
as truly beautiful. Symmetry, screnity, regularity, adopted from
the forms of living beauty which were before him, enter large-
ly into Homer's conceptions of one form, at least, of inanimate
beauty.” Studies, III. p. 420. —aredºkäori like AEAóyxãat, A 304.—
ºrmNefláovro ; on 3, 14. Scheria is called āpiśa)\ov, E 34.
115–16. &Yxval, flouai, p.m.Aéau, ovkéal, éNatal, are all trees. –
&YAačkapirot, “bright-fruited;” cf. mitida, fruges, Lucr. I. 252.
These two lines also describe the fruit-trees that flung down
their branches over the head of Tantalus in the Underworld, but
whisked them high above his reach if he attempted to pluck
their fruit; X 589.
117–18. “Of these never does the fruit decay or fail, winter or
Summer, lasting through the year.”—xeſpatos; H. 591; G. 179;
C. 426. Hm. divides the year into three seasons only—spring,
summer, and winter. Öröpm, which has been called autumn by
Some, includes too much, since it begins early in July, and must
be taken as a synonym of 0épog. T3uchholz. —étre+jorios gathers
up and emphasizes the thought of the preceding. — FéA ciel,
“ever unceasing.”
119. For a similar “acephalous” line, see 0452, and compare
& 45, m 94.—Zeduptm is properly an adj. ; only here for Zépwpoc.
This wind is the most prominent in the view of Hm. Within
the circle of the AEgean and in Ithaca it is a fierce, loud-roaring
wind, often bringing storm and destruction to ships. Only in
Scheria and Elysium, & 567, does it partake of the milder char-
acter, which was afterwards recognized in Zephyr when it had
Hy
(ſ
i46 NOTES.
moved down from the north and become a simple west wind; for
its home, when it sweeps down from Thrace, is in the north-west,
and so far towards the north that it almost meets with Boreas at
times.
120. The fruit is now spoken of —étrº, “upon,” “after.”
121. The grape belongs properly in the following description
of the vineyard, but the poet has anticipated here, in order to
declare emphatically that the most essential peculiarity of the
orchard, its never-failing supply, also pertains to the vineyard
as well. It will be observed that this quality of their climate
Scarcely squares with the need of fires, m 7, but we are expressly
informed that all here is supernatural and god-given, 132; on
& 42. The poet has transferred to this one spot everything de-
sirable that nature offers in different places and different climes,
or that the fancy can conceive in one wonderful clime. There-
fore, as Am. Temarks, it is a fruitless task to attempt to bring
each several part of the description into accord with actual real-
ity, and to satisfy the critical judgment on every side. Aris-
totle, when asked his opinion of the city of Athens, wittily
quoted this line in allusion to the sycophants.
122–26. oi, 103. —tſis . . . inrotrepkáçovoriv, “Of which one part,
a Sunny area in a level spot, is dried by the sun, and then again
other grape-clusters they gather, and others they tread; and in
front, too, are setting grapes, casting their flower, and others just
darkening.”–0e)\ótreşov, appositive to £repov. The sense runs:
In one part of the vineyard, more sunny than the rest, perhaps by
reason of elevation (cf. Virg. Georg. II. 521), or distance from the
fruit-trees, the clusters hang till dried to raisins; in another part
they gather fruit, and in a third they make the wine. — réporera.
is generally understood to refer to a partial drying of the grape
for the vinum passum, which was made from such grapes; Ameis
argues that no hint of any such wine is to be found in Hm., while
the plain sense is more Homeric, and would furnish an addi-
tional product for the table, and a further proof of luxuriant profu-
Sion. —érépas, Sc. grapvX&c.—Ameis refers arápolòe to the extrem-
ity of the branches of the vine, because the clusters nearest the
parent stock ripen first. — The preposition of introtrepkátovoruv is
usually given the sense of “someºwhat.” Am. Sees in it another
BOOK WII. 147
touch of nature; for the grape begins to color first underneath.
Compare with this passage the beautiful picture of the vintage
wrought upon the shield of Achilles, > 561–72.
127–28. “There, too, well-ordered garden-beds of all kinds
along the last row are growing, bright the year through.”—trpa-
orial, from Trpágov, meant originally a leek or Onion garden; on 477.
The garden of fruit and vegetables appears to have been a com-
mon, if not a necessary, adjunct to a household. Odysseus extols
in high terms the careful cultivation bestowed upon the Šoxarog
and Tpagth of Laertes, o 244–47: Diomed speaks of many doxarot
among the possessions of his father, E 123; and pease and beans
are mentioned in a simile, N 589, and the poppy, € 306. —vetarov,
the last row of vines passing in the order assumed above from
trees to vines, and vines to vegetables. – Yavóooral must not be
taken in the sense of “bright with flowers,” as if this were a
flower-garden. Such appears to be the meaning of Mr. Bryant's
“beds of plants that all the year bore flowers.” As this verb, in
the only passages where it otherwise occurs in Hm., pictures the
sheen from the polished helmets and breastplates, so here it sets
before us the lustre of leaves that are full-fed from the soil and
full-watered from the irrigating rivulets. No hint of the cul-
tivation of flowers simply as such is to be found in Hm.; for the
poppy was undoubtedly an article of food, as we know it to have
been in the time of Thucydides, and as it still is in Poland and
Russia. The love of flowers, however, was not absent in the
Heroic Age, as is evinced by the frequent and loving mention
of them bespangling the meadows and hill-tops, and by their se-
lection to adorn objects in metal and tapestry; but this fondness
found full gratification in their profusion of wild flowers. Of
these the lily, crocus, asphodel, hyacinth, and violet are mentioned
in the poems; but, strange to say, the rose, which grows so lux-
uriantly there, and is so frequent a theme with the later poets,
appears only indirectly in the epithets 60600&ictvNog, 6066etc, and
the proper name ‘Póðoc. The same is the case in Hesiod, and it
first meets us in the Hymn to Demeter.
129. Šv 83, in the vegetable garden. — A pèv . . . , 8’, as above,
104. — kitrov, the same as āpxarog above. The Orchard-garden
of Laertes is called indifferently kijirog, Öpxarog, d\off. Irrigation
148 NOTES.
by artificial channels is made the subject of a simile in the Iliad.
Achilles, pursued by the river Scamander, which overflows its
banks in the chase, is compared with the man who, letting the
water in upon a garden, hastens on to clear the stoppages from
the channels, and is overtaken by the stream, p 257.
130. # 8’; the other spring is led under the threshold of the
court, within which an enclosed fountain, like that of Ithaca (on m
20), may be supposed constructed, and from this the towns-people
obtained water. —ingly, “pours;” on m 4.
131. Ameis is of opinion that the presents of 104–30 are due
to the poet's assuming the standpoint of Odysseus as he surveys
the scene, but with 58pečovro this standpoint is abandoned, and
he returns to the regular recital; on 50.
132. “Such, then, among the possessions of Alcinous were
the splendid gifts of the gods.” – šv 'AAkuvéolo; & 11. oticip,
the usual word to be supplied, is here to be understood in its
widest sense of the house and all belonging thereto, so as to in-
clude the garden with its wonders, as well as the palace.—āorgy,
6, 233.
133–34. These lines, with proper substitutions, are applied to
Hermes when he stops before the Grotto of Calypso, to gaze in
admiration at the beauties there spread before the eye, s 75.
135. oi,8öy, of the house proper. —8%piatos, governed by elow;
6, 290.
136. #yńropas àSé Héðovras, “leaders and guardians,” the regu-
lar titles descriptive of the chieftains as a body, in their capacity
as leaders and shepherds of the people—on the One hand, taking
the initiative in war, on the other, exercising a patriarchal guar-
dianship and watchfulness over the people. The latter title ha-
bitually accompanies the former, and they are as regularly joined
to some genitive, as here.
137. Apyelºbóvrm, commonly translated “Argus-slayer,” as re-
ferring to the myth of Io, but no explanation of the word is
given in Hm., Hesiod, or the Hymns, and Io nowhere appears in
Hm. Ameis derives from &pyóc and paiva, and translates “the
courier,” following a Scholiast, 6 taxéog kai Tpavóg &Topawóplewog ;
others, interpreting &pyóc as “bright,” get “the bright shiner,”
connecting it with the idea of the dawn. Eppstag is referred
BOOK WII. 149
by Max Müller to the Sk. Sarameias, one of the names for the
dawn.
138. or révôearkov; & 6. Is this a proper conclusion for the con-
ditional relative clause following ? G. M. 62 Rem. Libation is
- poured to Hermes last, before retiring to rest, because he is the
giver of sleep through the agency of his caduceus, as is said £47:
et\ero &# 64360 v, Tjt’ &vöpóv čupata 6&Ayet
&v č0á\et, Toys 6 a.578 kai ÜTv6out as āysipet.
He exercises this influence upon the warders of the Grecian camp
when he conducts Priam through their midst to the tent of Achil-
les, Q 445. — ºvmoraſaro; & 286, 970, 87, 90, 220; on 4 183.
139–41. Suá Sápa: & 304. —#ép' yov, like a garment; & 61: Sep-
tus nebula, AEn. I. 439. —YKer’: why the indicative 3 G. M. 66, 1 ;
G. 239. So n 276, 280; cf. & 218.
142. &#14 i ; on & 9. — Observe the recurrence of 'O8vororets, 133,
139, 142,145, at the end of the line, a favorite position for a proper
name if the metre will admit. Of the 73 instances of the occur-
rence of the name Odysseus in those selections, 47 are at the end
of the line, to 26 elsewhere. Cf. 9 2, 4, 8, 180–32, 143,419, 421,
423. - -
143. “And then, at last, from him back poured the mystic
air.” — ačroto; H. 580. — mºd Muy. The cloud melted back into
the transparent atmosphere from which it was formed, as mist
vanishes before the morning's sun. For though the veil is divine,
the similitude of the natural phenomenon is maintained; and
the ancients considered fog to be nothing more than thickened
air, while darkness was a very thick fog deceiving the sight.
Virgil has expressed this somewhat more accurately: Circum-
J'usa repente Scindit Sé mubes et in athera purgat apertum, AEn. I.
587.
144–45, oi 8° àve? Yévovro, “and silent they became.”— &veg,
made an adj. by most authorities, in spite of Buttmann. — kára ;
& 12. — $6ta i8óvres; & 199. — AML'ráveuev ; On & 20, v 151.
146. 03Watep, a more resonant and exalted mode of address
than the simple patronymic, which is found but twice among the
Phaeacians, 0 114–16. Compare Odysseus' address to Nausicaa,
0.464, and that of the suitors to Penelope, a 245, 285, p. 321.
147. Observe the art with which the dignity of the king is up-
150 NOTES.
held (respecting which he is somewhat touchy, A 348), by the
choice of tróarly, and its position here. The dignity and brevity
of the prayer are admirably adapted to the situation. Compare
it with the presentation of his case to Nausicaa. All the eulo-
gistic compliments which comprised one half of the speech to
the young lady, and all reference to his former importance in the
world, are omitted. His misfortunes are but barely stated, the
prayer for their prosperity is abridged, and, instead of the mod-
esty which characterized his request to the maiden, we have the
boldness that befits the suppliant to king and court.
148–49. &ABua Kočpleyat, “happiness in their lives;” cf. 0413,
& 306. — goélieval is added to contrast with what follows; not
only to live happily, but die happily, in the midst of wealth and
honors, bequeathing these to their children, not to strangers.
150. Yépas may be any prize for honorable services, as an es-
tate, Z 194, I 578, a female slave, complimentary portions at ban-
quets, presents in general, and even the kingly authority. As
regards succession to the last, Gladstone concludes from the evi-
dence offered by the position of Telemachus, that “It was ad-
mitted by the suitors that it descended to him from his father.
Yet there evidently was some special, if not formal, act to be
done, without which he could not be king. Perhaps the expres-
sions of Antinous imply that such a proceeding was much more
than formal, and that the accession of Telemachus to the Supreme
dignity might be arrested by the dissent of the nobles. The an-
swer, too, of the young prince (a 396) seems to be at least in har-
mony with the idea that a practice either approaching an elec-
tion, or in some way involving a voluntary action on the part of
the subjects, or of a portion of them, had to be gone through.”
Studies III. p. 51.
151–52. “But for me an escort speed ye my native land to
reach.”—ikéorèal ; on & 82, 90, n 174, 9 45, t 518; & 58, p 362,
a 93–5. —66 ororov, “with all haste,” a comparative used absolute-
ly, but never for the positive, simply, and always with the im-
perative, the hortative subjunctive, or sentences of purpose. Am.
—éret.871. I speak of haste because I have already been kept so
long from home. —8m03 ; on & 220.
153. Štr'; & 52. He seats himself by the hearth, because the
BOOK WII. 151.
lowly position would display his personal humility, notwith-
standing the boldness of his request, and because it was near the
feet of Arete. That a certain degree of Sanctity, too, should at-
tach to the family hearth, and the spot near which the guest was
seated in honor, is a natural inference; but it was not as yet ex-
alted into divinity. "Igrin, as a goddess, appears first in Hesiod,
where she is a sister of Demeter and Here; in the Hymn to
Aphrodite she is regularly installed over the hearth. The sup-
pliant often takes seat on the threshold of the room, as Odysseus
before AEolus, k 62, and at home as beggar, p 339; so Penelope,
in her agony of grief at the departure of Telemachus, 6718. The-
mistocles, in exile, follows among the Molossians the example of
Odysseus here.
154. rupt oi; ; 224, 248, 296. –ākñv avori, “hushed in si-
lence;” 9 234, A 333, v 1. -
155. Ölje Sè 871, “but at last, then,” mostly after the preceding
formulaic line, to which it naturally attaches as introducing the
action which some one of the company, more bold or more ener-
getic than the rest, takes upon himself to urge or initiate after a
long silence of astonishment, doubt, or fear.
156. £avíkov ; on & 257,202. — Trpoyevéorrepos, “an elder,” “very
aged;” the comparative as 0&agov, 152, káA\tov, 159.
157. Hú0otor ; H. 609.-eið6s, causal; H. 789 c. Knowledge
in the Homeric day must be founded on experience, and experi-
ence comes with years. The aged man, with his many-sided ex-
perience reaching back into the past of three generations, is the
wise man, skilled to speak the word that wins the meed of fair-
est counsel :
divip, TraMauá Ts aroXX& Te giöös,
Négrap, où kai Trpág ('ev &ptoti, paiveto 8ov\ff. o 51.
159–60. “Not indeed to thee is this full honorable, nor even
is it fitting.”—fioróat defines ré8e appositively; H. 766; A 359,
364. —xapai may be taken literally (ć 51, T 63) or generally.
161. “But these, thy word awaiting, themselves restrain;” cf.
A 342–46. — otSe, with a gesture to his fellow-kings.
162. &pyvpoikov, an epithet applied only to the sword (on 0.406),
and to the throne in the palace of Hephaistos, Alcinous, Circe,
and once in that of Odysseus; hence something unusually splen-
152 NOTES.
did. Compare the numerous large gold bosses or buttons dis-
covered by Schliemann in the graves of Mycenae.
163. eforov čvaorrioras; & 7–8. – kmpõkeorgi ; On 6 399.
164. The scholiasts unite in giving the sense “anew” to the
preposition of éirukpāoral, and this is well adapted to the case in
hand, since the last libation for the night has been poured, and
the mixture may well be supposed exhausted. Many recent edi-
tors think it describes the addition of the wine to the water.—
kai, “also,” as well as Hermes. – reptrukepačve, like &otspotmråc,
doyukšpavvog, orspotmyspéra, śpt{3pspuérng, jiptºpspuérmg, Épíyöov7rog, st-
pāora, vegeXmyśpera, ceXavvæpſic, is an ascription of Zeus in his ca-
pacity as lord of the atmosphere and its phenomena.
165–66. or reſoropley; on & 31. How is a Tet. Imade from otévô. ?
H. 49, 31. —ikérgarty; & 207. —évôov čávrov = Töv čvöov čávrov, “Of
the viands within,” ready at hand; 176. This is the custom when
the stranger comes in unexpectedly; no fresh meal is prepared.
167. Tóy’: why the acc. ? H. 576 a. —iepāv piévos 'AAkuvéovo,
“the impetuous ardor of Alcinous.” Ameis suggests this ren-
dering for iepāv, an archaic meaning supported by the Sk, ishiras.
Hayman describes Alcinous as “simple, genial, good-natured,
garrulous, boastful, and hospitable;” but the main spring from
which these characteristics flow is an ardent impetuosity which
carries him away quite beyond the limits of sober discretion.
He is somewhat slow of perception, and therefore backward in
action upon an unexpected emergency; but when the proper
train is suggested by others, he is not only quick to acquiesce,
but far outstrips the suggestion in his eagerness of adoption.
Astonished at the appearance of Odysseus, he remains speechless
with the rest till chidden into action by Echeneus, whose age
brings both the wisdom that comprehends the situation and the
reverence under which his chidings will be brooked. Then the
king hastens to raise the hero and seat him even upon the throne
of his favorite son. When the courtiers have retired, it is Arete
that begins the conversation, 236, and introduces the usual ques-
tions which it was his place to put to the guest; cf. A 335, and for
his impetuosity, m 299–301, 311–16, 9 102, 246, 388, 546, X 348–53,
375–76, etc. The periphrasis of “the impetuous ardor of Alcin-
ous,” for “the impetuous and ardent Alcinous,” is common to
BOOK VII. 153
many languages, and personifies that quality which is the essence
of the individual; cf. on 187. Of similar plurases Hm. has, ic
Tij}\spuéxoto, Káo Topog Bim, a 6&vog 'Hériovog, IIvXalpêvéog Nóatov kijp.
168. Xelpös; & 142. – 8atºpova; & 256. — arouku)\opºſitiv, like tro-
Xipintic, Toxvpuffixavoc, troXúrpotoc, troXúppov, elsewhere his epithets.
169–70. What irregularity has axapéquy” H. 206 D.—&yatrá-
vopa, “manly;” for proof of this see his speech to Odysseus, as
compared with that of Euryalus; 0 145–64.
171. 8é; On & 6; it exchanges with Y&p, p 257. — pºv, the son.
172–76 are repeated 4 times in the Odyssey: a 136–40, when
Athene, in the guise of Mentes, is received by Telemachus in
Ithaca; 6 52–6, when Telemachus and Peisistratus arrive at the
palace of Menelaus; k 368–72, of Odysseus in the halls of Circe;
p 91–5, of Telemachus with Theoclymenus on his return to his
home. It is remarkable that many such repetitions in the poems
are descriptive of objects of that homely character which may
appear least adapted
for poetical embellish,
Iment. Yet it is evident
that they were agree-
able to the poet's au-
dience, as they are, in-
deed, to modern taste,
though foreign to our
practice. For us the
apparent anomaly has
been explained by the
charm of antiquarian
interest, as the domes-
tic utensils of Pompeii ſã
awaken a livelier emo- tº
tion than the porticos
and temples; but for
the poet's contempora-
ries, it must reflect the
feelings of a simple
and childlike state of
society. As the potter

154 NOTES.
Soon learns to fashion the common utensils of every-day use into
more elegant shapes and to adorn them with various forms of
ornamentation, so the poet brings gratification to the popular
taste by the embellishment of objects of domestic or familiar in-
terest. — Trpox64 to be construed with pépovoa; cf. y 440. The
Trpóxooc serves also for dipping the wine from the mixer and fill-
ing the cups. The preceding figure exhibits a Troöxooc of gold,
discovered by Schliemann in one of the tombs at Mycenae.
173. Ötrèp. The hands are held over the basin, and washed
while the water is poured over them from above, as the Moslem
custom demands at the present day. This ablution habitually
precedes the meal as well as the sacrifice. Fingers, not forks,
conveyed the food to the mouth. —Aé3mºros; on v 13.
174. villao-0at ; & 82. If the infinitive terminations -0.0a, -puévat,
and -at were originally dative case-endings, as many think, we can
easily trace the dative sense here, “for washing.”—rpátreſaw. A
Separate table is usually placed before each person at the feast.
All were accustomed to sit; reclining at table was a later cus-
tom, but when introduced is uncertain. The Spartans appear
to have followed it at the time of Alcman, but for Greek women
and children the ancient custom continued in vogue.
176–77. etőara; On & 77.-xapuſopévm trape&vrov, “giving freely
out of her present store;” H. 574. — mºve; & 249. Virgil gives
an additional touch out of his own time :
Dant famuli manibus lymphas, Cereremdue canistris
IExpediunt, tonsisque ferunt mantelia willis. AEn. I. 701.
182. Tennyson’s “honey-hearted” rightly interprets pe)\{{pova,
for the elder poet is personifying, according to his custom; on 29,
187. HeXtºppayy is also an epithet of Trvpéc, ciroc, čTvoc.— kup-váo,
rip-vnu, like trir-vo, show a rare weakening of s to t, permitted
by the strength of the following combination of consonants;
H. 334 C. -
183. &mapčáplevos Setráeororuv, “having performed the initiatory
rite in succession with the cups.”— étrapčáplevos is a ritualistic
word, but what the rite was it is impossible to determine, wheth-
er a formula of words, as the cup is handed to the guest, y 41, 45,
47, a 121, 151, o 150, or a slight libation, £ 447, or a few drops
poured into the cup for the guest to make the libation. See
BOOK WII. - 155
the lifelike representation of wine-distribution of later days on
the sarcophagus from Golgoi in the Cesnola Collection.
184. ortreforév ; of course this is the act of the feasters, whatever
the herald does.
186–87. This magniloquent opening, with the appropriate
change of persons addressed, falls from the lips of Hector, An-
tenor, Priam, Zeus twice, Alcinous twice, and Odysseus twice be-
fore the suitors. Such association is significant. The simpler
form appears & 239. —The personification of 0.upas, as something
different from the individual himself, is a strong Homeric char-
acteristic; on 3, 118, 9 178,237.
188. Satorápevol; H. 789 c. — karaketere, “Seek ye repose.” This
form is made an imperative by most authorities. According to
H. 378 D., it is a fut. ind. used like cuxhoeat, m 53. Can karaketo-
psy, in a final sentence after Öqpa, a 419, be a future ? G. M. 44, 1,
Note 1; G. 216, 1, Note 1.
189. Yépovras; on 3. 55; the title officially applied to the mem-
bers of the 3ovXà, and it had thus become dissociated from the
idea of age, even in Hm., for Nestor was the only old man among
the Greek yépovreg, before Troy, Idomeneus, indeed, was near
upon old age, and Odysseus was apparently not under fifty. The
majority would seem to have been rather under middle life,
Achilles not above thirty, and perhaps much younger. Compare
the Spartan yepovata, the Roman Senatus, and Our alderman. —
ëtri with ka)\éoravres; cf. & 55, m 49, 9 7–11, 41–2. The full num-
ber of twelve kings is especially summoned on the morrow.
192. čs X’; H. 741; G. M. 44, 1, Note 2; G. 216, 1, Note 2;
m 223, 9 101, 251, & 113.—The article with £etwos, as with yépav, is
formulaic, occurring some 33 times in the Odyssey, far more fre-
quently than with any other word except yépov, showing, ac-
cording to Some, the high honor conceded to these. — &veuše,
without the toil and annoyance that usually accompany a voy-
age by sea; cf. m 318–19, 9 445, 563, v 79–80, 89–92, 119.
194. kapraxtºlos, placed at the close of the thought for rhetor-
ical and metrical reasons. Except here, & 312, p. 166, E 904, it
stands always (38 times) at the beginning of the verse, whether
at the beginning, middle, or end of the clause.—éorriv, “he is,”
as proved by the termination -9sy, and by & 312.
156 NOTES.
195. p.m.8é, “and that he may not,” connecting tré0mgw with
trºntal. Why not oběš2–pearanyës Ye, “meantime at least;” or
it may be local as elsewhere, “in mid passage.” -
196. “At all events ere he upon his native land sets foot; but
there then.” Would the inf. be used here in prose after trptv Ž
G. M. 67; G. 240. -
197–98. “He shall suffer whatever for him at his birth-hour
Fate and the Spinners stern spun off with the thread, when him
his mother bore.” So long as he is under our protection he shall
suffer nothing; but once landed on his native shores, our task
is done, and he must not look to us further: an intimation thus
early of the poet's purpose to make the Phaeacians leave him
asleep on the Ithacan coast and return immediately.—ágora; II.
246 D.—Atara is here a power determining and ruling affairs,
and so far is faintly personified. This is a rare use of the word,
which more commonly means the destiny of the person as it is
determined by the gods, or a moral law for the government of
conduct. The Klothes are nowhere else mentioned in Hm., but
appear to be a special personification of the fate-determining
power which in Hesiod become the three daughters of Night—
Elotho, Lachesis, and Atropos. Aisa and the Klothes here per-
form the functions assigned to Aisa alone, 'Y' 127, to Moira, Q 209,
0sot, Q 525, a 17, X 139, v 196, y 208, 6 579, to Zeus, 6 207, to Satutov,
T 64, Käp, Nº. 78; in all which cases, except the last, the verb étri-
véa, or #Truk)\600 represents the act. Hence the process of spin-
ning the destiny of man is performed most frequently by the
gods, to whom it properly belongs; and when otherwise assigned,
it is a special concentration of a general function upon a single
minister, or a minister in conjunction with the gods, as here, for
the Klothes may stand for the gods themselves. It was the later
Greek mind that elaborated the idea of a Fate apart from and
higher than the gods. In Hm. destiny, in whatever form, never
fights with the gods, nor, unless it be in the shape of death, de-
fies them ; not even the human will is controlled in such a man-
ner as to suggest or sustain the necessitarian theory. — Bapetal; on
& 188. — yelvopévº . . . §re; cf. & 326. As an example of parallel
passage, entirely distinct from epic commonplace (on m 78), and
exhibiting the natural disposition of the same mind to express a
BOOK WII. 157
similar idea in a similar manner, and thus bringing proof of the
unity of authorship for Iliad and Odyssey, Mure compares the
present passage with Y 126, where the destinics of the other pro-
tagonist are thus referred to by Here:
iva pūj Tu pºetà Totòagot Túðnatu
&ſjuepov iſotºpov at Te T& Teio et at ào'o a oi Aio a
'ywyvouévºg áTrávnos Aíva), ÖT8 pluv Téka uſtrip.
199. The extraordinary manner of his appearance before them,
his beauty, & 230–37, 243, 276, and their remoteness from men
make Alcinous doubtful if he be not a god.
200. &AAo ru ré8”, “Something other (than ordinary) herein.”
—ró8’; & 206, 276. -
201. Tö, exactly like the Attic use of the article with adverbs;
H. 524. — doivovrat ; & 220. – evapyets, “undisguised,” in their
own proper persons, so as to be easily recognized. This boon is
not always granted to the Greeks, as is expressly stated when
Athene appears to Odysseus at the hut of Eumaeus, and Telema- .
chus does not see her, T 161. This infirmity of vision may arise
from the supernatural ether habitually enveloping the deity, or
from a mist that stands before the person’s eyes and must be re-
moved, E 127, or from some disguise assumed by the divine per-
sonage, m 19, 6 8, 193; for it is assumed that the proper persons
of the deities are in general well known; on 3, 152.
202. čp$opley; & 183. This word in the great majority of cases
does not have P in Hm. and Hesiod, though pyov does.—The
hecatomb, even in Hm., never reaches a hundred victims, and is
not always confined to oxen. The greatest number specifically
named is in the hecatomb offered to Poseidon by Nestor, y 7,
when 81 bullocks are sacrificed. Twelve heifers are promised
to Athene by the Trojans, Z 93, and Peleus slays 50 sheep to the
river Spercheios, Nº. 147. *
203. &#111; & 205. The Phaeacians, like the Ethiopians, are a
race favored by the gods with their presence and familiar inter-
course, especially on occasions of solemn and stated sacrifice,
when they appear and seat themselves beside them like any
guest. At the opening of the Odyssey, Poseidon is among the
Ethiopians, Év6' 6 ye répreto èatti trapſiptevog, a 26, and in A all the
gods sojourn among them for twelve days in continual feasting.
158 NOTES.
Such intercourse implies more than the mere enjoyment of the
savor of the banquet, even to partaking of the food, notwith-
standing we are told that the gods eat not bread nor drink the
ruddy wine, E 341, both of which Athene does when, disguised
as Mentor, she is present at the sacrifice which Nestor is offering
to Poseidon. See on Z 42, 329. The tradition of a time when
the gods dwelt among men and ruled over them is common to
many nations.
204–5. “And if, too, any one of us, a wayfarer, even though
journeying alone, haply meets them, no concealment at all do
they make, since to them near akin are we.”—With ris Supply
fuðv. — kai, even upon ordinary occasions when no sacrifices
are being offered. —£4.3Mmrat ; on & 54, m 75. — karakpótrougly.
Among the Greeks at all periods the notion was prevalent that
the gods commonly appear upon earth and travel about in dis-
guise, to watch the good and evil among men, p 485–87. In the
Hesiodic Works and Days it is the first or golden race that, after
death, perform this service, becoming the unseen police of the
gods. A like belief is prévalent elsewhere. In India it is Brah-
ma and Vishnu generally who wander; in the Edda, Odin, Loki,
and Hoenir; and throughout the Middle Ages it is Christ and
St. Peter. — Yyáðey compared with dyxiðsot, s 35, and the general
cxpression v 130, appears to mean near in kinship. No such
genealogy can be positively traced in Hm. except for the royal
family. The case is similar with the Cyclopes and the Giants,
though Polyphemus is the son of Poseidon. According to He-
Siod, the Giants and Cyclopes are sons of Gaia, and Acusilaus
and Alcaeus ascribe a similar origin to the Phaeacians.
208. &XXo ºrt, not the thought that I am a god. — pºol ; on 3, 199.
209. When Athene has retransformed him from his beggar-
guise to his proper personality, that he may disclose his identity
to his son, and he is taken by the latter for a god, his disclaimer
is more simple, ºr 187. &
210. quilv, “shapeliness;” & 152. — evnrotor (3porotorw, “to
deathful mortals,” a collocation occurring several times; also
6vnroi äv6007tou, ävöpec. Bootóc has the same root as mort-al.
popt. by metathesis (H. 57) becomes upor., a combination of ini-
tials not admitted in Greek, and therefore 3 is inserted as in
| BOOK WII. 159
humble from humilis, chamber from camera, etc., and this expels the
p which joined to produce it. Cf. tepibi-pºporog, q0tot-p.ſ3porog,
&-p3poroc. It is not humility on the part of Odysseus that
causes him to disown kinship with the divine, as Blackie would
have us believe (Horae Hellen.), for he is wise enough to perceive
his rôle to be that of the forlorn shipwrecked wanderer, and
that he must gain that escort as a suppliant which he could not
obtain as a god; on 225, 0 154.
211. 3x4ovros: why not the infinitive 2 H. 802. The verb prop-
erly applies to a beast of burden. Like the veriest overladen
pack-animal, I struggle along under the weightiest burden of
misfortune that man ever bore.
212. čv6pétrov; ; 257. The word is emphasized both by its
position in the line and remote separation from its governing
word; men, not gods. – šv &Ayeguy ; I, in the midst of my mis-
fortunes, liken myself to them in the midst of theirs.
213–14. kai. 8. §ri kai pāAAov, “yea, and still more even.”—#r.
often strengthens the comparative, like adhue in late Latin.—
kai pāAMov is a favorite phrase. —#3;travra is incorporated from
the omitted condition, “if I should relate;” H. 821.
215. “But suffer me to sup, in trouble though I be.” Much
could I tell of misfortunes met and dangers braved, but ask it
not; hunger's demands are too imperious for many words, and
even grief and misfortune must retire before its cravings. This
thought is thoroughly Homeric (on 9 178), nay, Odyssean, as may
be seen from o 344–45, p 286–88,473, a 53, T 154–69, 225, Q 601–20,
where it appears each time, except the last, in the mouth of Odys-
Seus; cf. Xen. An. II. 3, 5. It was in obedience to such a code that
the custom of the day allowed no questions to be asked the guest
till he had sated his hunger. Although Alcinous had not direct-
ly transgressed this law, Odysseus finds it necessary to answer
the implication of his speech, and also apologizes for the vigor
he is showing at the viands, and conveys a strong hint that the
law of guestship is being infringed. The introduction of such a
topic here, however, sounds to us incongruous at the least. And
yet nothing, perhaps, could more thoroughly accomplish his pur-
pose of dispelling all suspicion of his divinity than this very
descent to dwell upon the lowest mortal necessities. Compare
160 NOTES.
the expression of St. Paul when he and Barnabas were thought
by the people of Lystra to be Mercury and Jupiter, and the priest
was about to sacrifice to them: “Sirs, why do ye these things?
We also are men of like passions with you.” Acts xiv. 15.
216. £ari, “beside,” is more graphic than the simple gen. after
the comparative, since it sets before us the very act of arranging
things side by side for ocular comparison. — kávrepov ; H. 224 D.
The superlative also occurs K 503. The figure receives illustra-
tion from the well-known words of Achilles to Agamemnon, cy-
vög &ppiat' {xov, A 225, Ó puéy’ &vatóég, 158, and the epithet which
Helen applies to herself, cvytózručoc, T 180, 6 145.
217. &m Aero, ŠkéAevorey; On & 185. —#t’ is causal; & 802.—With
ékéAcuorev supply ruvé. The statement is a general one, but is
particularized in dig ſcai éyò. — &váykm ; & 136.
219–21. Čs kai; 9 176. —# 88, “but this maw of mine.”— p.6A
aiei, 118. —ék with Ambévet, “makes me forget;” On 4 100. — trów-
tov; H. 576. —-āoro’; after Trág and similar words the regular rel-
ative is Śoog, not &c. — &véyel; & 216.
222–23. Öpets 8', opposed to pué pºv, 215. Why the nominative’
H. 784; G. 269, Note: C. 577. —ág'; ... 31. — &s k', 192. — roy,
Attic article; cf. Eur. Med. 711, 20. — Tru6%igere; On & 7.
224. Kaſarep, the only instance in all Hm. where these particles
are found contiguous. Elsewhere they are either separated by
one or more words, & 282, or kai is used alone, m 218, or Trép alone,
215, & 87. — He . . . aidov, “me even life may leave,” a poetic use of
the opt., where the thought is rather a permission than a wish ; G.
M. 82, Note 1. With a change of ióóvra to #7tstra, the same phrase
is employed by the wounded Sarpedon, when he begs Hector
only to drag him away from the field that he may not become a
prey to the Greeks, E 685; and it is found nowhere else; on 197.
Odysseus' heart-sick longing for home meets us at the very open-
ing of the poem, where Athene says of him that he so yearns to
see even the Smoke curling up from his native land that he
wishes he were dead, a 58; and Calypso, bearing tidings of his
release from her isle, finds him sitting upon the rocks of the sea-
shore weeping his life away, and gazing out towards his home
over the sea, a 151. See 28, c 47–52, n 260.
225. The expression is a general one, but points to kingly
BOOK VII. 161
power in the possessor, and is intended to convey an intimation
of the important position which he held at home, as was done
also to Nausicaa, & 164. The natural manner in which these
hints are introduced gives them additional force, and they are
artfully calculated to raise the hero in the estimation of his
hearers—a point overlooked by those who think this line an
interpolation. Nitzsch Suggests that oilcijag äAox6v re p(\my kai
và Truov viðv, Z 366, would have been more suitable. To mention
his wife and son would unquestionably have been more pathetic;
but any man might have a wife and son that he loved. A king
would have possessions and slaves and a palace. —Throughout
this speech the prominence which he gives to his sufferings, and
to the wretchedness of his present condition, is to be remarked
in 211–14, in Knööpewów Tºp, pud Ma Tsupópºevov, Trévôog áxovra, Trévôog
#x0, 60 o' étraffoy, Śpiè Töv Óðormvov, troX\d. Tabávra.
226–28. Tráveov; on 9 898. — karū Hoſpaw, “with fitness.”—aº-
råp ..., a repetition, in epic style, of 184, after interruption, in
order to gain a resumptive foothold from which to start off
anew; cf. ) 233–36; y 165–67; T 1–2, 51–52; a 45–87, s 3–43.
233. &tekóo peow . . . 8avrés, “cleared away the appliances of
the banquet,” more fully described tº 60: #A907, 33 Ögoal XevictóXs-
vot ic psydpoto ai Ö’ &Trô pºv girov troXèv jogov jóē Tpatrážag kai Öğıra.
—With £vrea Satróg compare Virgil's Cerealia arma, AEm. I. 177.
234–36. Éyvo, “she recognized.” Ameis suggests that this
discovery, made at the very first, was the reason of her silence,
because she hoped, after the departure of the guests, to be able to
satisfy her curiosity undisturbed. It doubtless connected itself in
her mind with Nausicaa's task of the day, and suggested that the
garments must have come from her. Should there be anything in
the circumstance calculated to provoke the censorious tongue, she
was wise enough not to draw it out before the whole company.
Nausicaa had not communicated with any one in the péyapov
since her arrival.-The custom of the matron's weaving with her
daughters the clothing for the husband and sons was seized
upon by the poets as a favorite means of recognition of lost rel-
atives. Penelope is convinced that the Pseud-Odysseus has
seen her husband; for he describes the very garments she had
given him at his departure, T 255. Creusa, in the Ion of Euripides,
162 NOTES.
\
proves herself to be the mother of Ion by describing the pattern
of a shawl in which she had wrapped him as an infant. Iphi-
geneia recognizes Orestes on one occasion, and Electra knows
him on another by the figured clothing he wore.
236. A formulaic line, occurring 52 times.—dovīoraq’; on v 58.
—arrepčevra carries with it not only the idea of Swiftness, but of
flying from the lips as the arrow from the bow, and passing as
straight to the mark. The metaphor is doubtless taken from the
feathered arrow, iot Trepčevrsc, II 773, and Pindar talks of the many
swift arrows within his quiver that speak to the wise, Ol. II. 150;
cf. Psalm lxiv. 3. “When the savage and the deaf-mute both ex-
press the speaking of truth by passing the extended index directly
forward from the lips, and the utterance of falsehood by carrying
it crookedly sidewise, there seems to be some natural analogy
between the gesture and the thought.” Marsh, Lectures on the
Engl. Lang. - g
237. Trparov, “first,” before any other question; adj. with ro.
What would Totòrm mean? H. 488 c.—éyòy . . . airſ, I myself, in-
dependently, without waiting for my husband; on 73, 167. The
same line is put into the mouth of Penelope when she begins her
conversation with the disguised Odysseus, T 104, and again with
a slight change after the interruption occasioned by the foot-
bath, T 509. Its occurrence nowhere else is significant.
238. Tís Tróðev, two questions blended into a single sentence,
a favorite idiom of the Greeks, but seldom imitated in Latin;
H. 827. The question is one habitually put to strangers after
they had broken their fast; a 170, c 325, § 187, o 264, a 298, p 150.
239. “Didst thou not say that over the deep wandering hither
thou camest?” and how does that accord with the garments you
wear? In fact, Odysseus had not said a word in her presence
about his coming by sea; but he has spoken of his sufferings away
from his friends, and that, coupled with the fact of his being a
stranger, was evidence enough to the Phaeacians that he had ar-
rived by sea. The question is so natural that it forms the most
convincing, because unconscious, proof that Scheria was con-
ceived of as an island.—oi : what answer is expected ? H. 829;
cf. & 57, 200.
241. “Eſard is it, O queen, fully to relate.” By this apology
EOOK WII. 163
the poet puts aside the first part of the inquiry, and, as 225, does
not tell the whole story, that the interest of the development
through the Eighth Book may not flag, and opportunity be ob-
tained for the complete recital of his hero's wanderings in Books
IX.-XII. Besides, Odysseus' veracity and honesty have been
questioned, and that to him is the vital point to answer in his
present situation. He knows as yet nothing of his name being
famous among them. Virgil imitates this opening when Æneas
begins his story to Dido: Infandum, Regina, jubes renovare do-
lorem. -
242. Oùpavíoves, “the heaven-dwellers;” cf. & 150. It is not a
patronymic from Oùpavóc, for Hm. knows nothing of Ouranos as
an arch-god anterior to Kronos; Ouranos and Gaia are great and
venerable gods, but neither presents the character of predecessor
to Kronos and Zeus. The progenitor of all the gods, in the Ho-
meric mythology, appears to have been Oceanus, E 201; cf. the
cosmogony of the Chaldaeans and the philosophy of Thales. It
was the later and more systematic theogony of Hesiod that ce-
mented the link between Kronos and Zeus.
244. 'QYuyſm is situated at the épupa)\ög 6a)\ágong, a 50, that is,
at the midpoint of a sea, just as the épºq,a)\óg of a shield is at its
centre. This is the great northern Sea which Hm. supposed to oc-
cupy the main part of Europe. Ogygia is northerly, for Hermes,
speeding towards it as the bird flies, passes from Olympus over
Pieria, and then downward upon the sea, and all the bearings of
Odysseus' homeward voyage point that way. Strabo identified
it with the island Gaulos, near Malta, and others placed it off the
coast of Bruttium. —átrótrpoôev, eighteen days' steady sail from
Scheria.
245. All that is known of Atlas from Hm. is that he is the
father of Calypso, is 6\oöppov, and knows the depths of every
Sea, and personally guards or holds the pillars that keep heaven
and earth asunder. —8oNóeororo ; this characteristic is no unpar-
donable fault in the eyes of Hm., a merit rather. Odysseus, at
the beginning of his recital to Alcinous and his court, proclaims
himself one, Ög Trôot 66Aotovy &v60%TrototypišAø, t 20. The poet has
given us an example of her artfulness in her attempts to detain
OdysseuS by gracious and winning words, a 56; and of her de-
164: INOTES.
ceitfulness in pretending to him, after she had received the order
from Zeus, that she was sending him away of her own election,
and out of compassion for his homesickness.
246–47. oiâé... p.ío Yeral, as & 205, because of remoteness. Her-
mes tells her that he comes unwillingly, and at the command
of Zeus; for no one would of his own free-will traverse such a
mighty expanse of water, where a god could get no refreshment
on the way from the offerings of mortals; s 100.
248–50. Saigow; on 4 172. —éAgas exéarge, “having smitten,
clove asunder;” described more fully p 403–49. Setting out
from Thrinakia, where his companions had brought upon them
the vengeance of Zeus by their slaughter of the oxen of the Sun,
they are scarcely out of sight of land before a storm arises, and
howling Zephyrus Snaps the mast, which dashes out the brains
of the pilot as it falls. Zeus hurls his thunderbolt, and the ship,
quaking from stem to stern, is filled with Sulphurous Smoke.
The crew fall dead into the sea, and Odysseus wanders through
the ship till the waves part the sides from the keel, which he then
bestrides, lashing to it the mast. The wind shifts, and he is borne
back on his route till morning, when he is drawn into the whirl-
pool of Charybdis. Just as the keel is plunging downward into
the abyss, he catches the long branches of an overshadowing fig-
tree, and there clings, bat-like, without a footing all the day long.
At last the timbers reappear, he drops upon them, paddles out
of reach of the maelstrom, and is then borne on to Ogygia.
251. arávres, all upon his own vessel, which alone remained to
him. Eleven other ships that had set sail with him from Troy
were destroyed the year before in the harbor of the Læstrygo-
nians, and his vessel had escaped only through his discretion in
remaining outside the harbor till he had ascertained the charac-
ter of the people. — &mé40.6ev; & 99.
252. rpótruv . . . ŠAöv, “the keel in my arms seizing.” So s 371,
when his raft is blown to piccos he clings to a plank, bestriding
it as he would a race-horse, káXm 9’ &c tºrTroy Xaivajy.
253. evvigap . . . Sekárm, a frequent formula in Hm. : of Odys-
seus borne from Malea to the Lotophagi, t 82; from AEolus into
sight of Ithaca, c 28; from the vicinity of Crete to the Thespro-
tians, & 314. The pestilence caused by Apollo's arrows lasts nine
BOOK WII. 165
days, and ceases on the tenth; cf. Z 174, Q 610, 664. The decade
is thus a favorite number, but it is at the same time a round num-
ber, and, like that of the hecatomb, must not be insisted upon as
conveying anything like mathematical accuracy. The prepara-
tions for the siege exhaust ten years, the siege itself ten, and the
home-coming of Odysseus ten, according to several statements
of the poet; yet by strict calculation of the epochs laid down,
the last does not exceed nine years. Similar difficulties are met
with in IIdt. ; and through this inexactness we may account in
a measure for the Superhuman endurance attributed to the hero.
Twice he is said to float for ten days astride a timber without
food or drink; he clings to the branches of the fig-tree by his
hands alone a whole day, and directs the tiller for eighteen days
without closing his eyes. But the real explanation is to be found
in that poetic exaggeration which exalts the hero into the demi-
god, makes Ajax hurl a stone heavier than two ordinary men can
lift, makes Ramses II., alone with his charioteer, overthrow 2500
chariots of the Khita with three men to a chariot (Poem of Pen-
taur), and Richard Coeur-de-Lion, just risen from a sick-bed, Smite
asunder with broadsword the steel handle of a mace an inch and
a half in thickness (Scott, Talisman).
255. This line after 246 presents the same disagreeable repeti-
tion as & 144, and is therefore bracketed; for with this all diffi-
culty vanishes, if, with Nitzsch, ēvövkéwg u' be written in 256. —
Maſłowora, in the Sense of icoptogapévy), & 278, is extraordinary.
Many bracket 251–58 without sufficient reason; for not only is
Some such summary natural, but 256–57 are necessary to the se-
Quel; on 312.
256. §§ {\el ; m 33, 9 208. –érpedºev exchanges with ēköpist in the
Same phrase, p. 450; cf. 9.453. -
257. A scholiast cites this as an example of her deceitfulness,
because she was promising what she could not perform, for Zeus
alone could confer immortality. This function of Zeus is famil-
iar to us from the story of Tithonus in the Hymn to Aphrodite,
but appears to be later than Hm., with whom immortality is
produced and maintained simply by a diet of nectar and ambro-
sia, which Odysseus purposely and stubbornly refuses, desiring
rather to return home a mortal than remain a deathless exile;
166 NOTES.
cf. 8 196–98, E 341–42, T 38; also Pindar, Ol. I. 98–101, Pyth. IX.
105–11, Theocr. XV. 106–8, Apol. Rhod. IV. 869, Ovid, Met. XIV.
606. Indeed, of nectar and ambrosia Julius Braun has said:
“This is the food which the gods require in order to preserve
their immortality. It has come to the west from Central Asia,
with the whole company of the Olympian gods; for the root of
the conception is the tree of life in the ancient system of Zoroas-
ter. The fruit and sap of this tree of life bestow immortality,
and the future Messiah (Sosiosh in the Zend writings) will give
some of it to all the faithful, and make them immortal. This
hope is fully expressed in the Assyrian sculptures, where the
winged genii stand before the holy tree with a vessel contain-
ing the juice and fruit.” Geschichte der Kunst. Compare the
Tree of Life in the Garden of Eden, and that among the Egyp-
tians.
260. Sákpuoru. Tears spring from their sources with far greater
readiness among the excitable inhabitants of Greece and Italy
than in our colder clime and among Our more reserved and self-
contained people. For the hero to Weep was as honorable as
for the Mohawk to repress all signs of emotion. But even here,
Odysseus, man of iron nerve and Soul as he was, has a specialty.
—áp.Bpora; on 210, 214. It is an epithet applied to anything
belonging to the gods, made by them, or coming from them.
261–63. Sh &Y. One syllable by synizesis.-àyöðaróv; & 170.—
kai rére 84, “then at length.” This use of kai, like that of Šá, m 47,
probably displays a reminiscence of that stage of the language
when all coupling of clauses was co-ordinate; cf. on 3, 169, 9 389.
—airfis for £o airijc; on 3, 27. Calypso says nothing to him of
the message from Zeus.
264–66. troAv8éopov, “well-jointed,” both by bolts, yāppot, and
dovetailing, àpproviat; e 248. —arpoémkev ; H. 312. — re; on 3, 14.
Some think that Atapóv has lost an initial x.
267–69. Ökroko.18ékárm, so that the two days in the water shall
make up the double decade.—orkućevra, “shade-covered,” because
well wooded. Others say shadow - casting, because of their
Ineight; cf. Dum montibus umbrae lustrabunt convea'a, AEn. I. 607;
Sol ubi montium mutaret umbras, Hor. C. III., 6,41. Others look
to the dimness and haziness lent to the mountains by the dis-
BOOK WII. 167
tance, or the dark color of the foliage and earth. It is an epi-
thet also of clouds and palaces. – 4t)\ov; on 9 178.
270. Refer Y&p to Övapiépg). —£uvéoreo 6al ötſui, “to be fellow-
shipped with misfortune.”—ötgut is viewed as an animate exist-
ence, a comrade; so a breeze is called čo 6\ov šraipov, A 7; on 6 99,
237.
271–74. Hou ètrópore, “upon me set.”— Hou è$oppigas, “against
me calling up.”—katéömore kéNeu6q., “chained down my advance;”
another bold figure, as so many throughout this fine description.
The onward journey is conceived as possessed of motion and life,
and is caught and fettered like any prisoner. vögrog is treated
in the same way, & 61. KéMeußos is most commonly the journey,
ööóg the path over which the journey is made.—óplvey . . . $4peo-
6at, “and stirred up the Sea immeasurable, nor even a whit did
the wave suffer me upon the raft incessantly groaning to be borne
along,” but swept me off into the sea. He recovers his position,
however, upon the raft, and then the sea-nymph Ino comes to his
aid and lends him her immortal scarf to assist him in swimming
when the raft is destroyed; s 313–52.
275. GºeNAa; it is kūpa, s 366, dread and grievous, down-sweep-
ing, which strikes him and scatters the timbers of the raft like
chaff upon a threshing-floor.
276–78. ró8e; & 276. —ödpa ; m 141. — &méAaorore; & 171. —
évôa. . . . xéporov, “there me emerging the wave would have over-
powered upon the coast.”— I'. Observe that the regular posi-
tion in Hm. for the enclitic pronouns is close to the head of the
Clause. — ké . . . Buñorato; the condition is implied in d'AA' &vaxao-
očušvog; H. 746, 751; G. M. 49, 2, 52; G. 222; C. 537.
279. Trpès; & 89. –Bakov, “by hurling me;” H.789 b : on v 58.
— &reptrét, applied also to xàpog, A 94, of the house of Aïdes: to
Öaic, c. 124, of the cannibal feast which the Laestrygonians made
of the dead comrades of Odysseus; and to Aquàc, hunger.
280. śvaxa.ororánevos aráAuv, “retiring back;” So &vaxáéopal with
&l, Öztioſoro, Šáozriora). — TráAuv always local in Hm. — vixov; & 100.
—eios; & 80, n 141. He is actually carried by a huge wave tow-
ards the shore, and would have been dashed dead against the
beetling cliffs had he not caught an outlying rock and held with
thc grip of death till the wave swept on to the cliff. Its refluent
168 NOTES.
surge bore him back far from the shore, and then he turned to
swim along the coast, watching for a harbor; e 400–40.
281–82. čs after śarīA0ov; cf. N 756; on 6 190. — Tâ . . . &ptor-
Tos, “where, lo l to me there came in sight a spot most admira-
ble.”—tre+páoy ; H. 584. — orkétras; & 210.
283. A great desire for brevity has made this line obscure.
The details are given at length s 451–58. On reaching the
mouth of the stream, he prays to the river-god for aid, who stays
his outflow, and lands Odysseus Safe on the bank, but so ex-
hausted that he falls flat, the water gurgles out of his mouth and
nostrils, and he lies for some time breathless and speechless in a
faint; at length he begins to breathe again, and into his bosom
his spirit is gathered back, Šg ºppéva 0vſ10g dyśp6m, e 458. Hence
*K, “when out of the water;” treaſov, “I fell fainting.” 0upºnye-
péov nowhere else occurs, but ác ºppéva 0wpºg &yépôn (also X 475)
gives the general sense of returning life after a swoon. If this,
then, be taken as a fut, partc. (H. 374), all difficulty vanishes, and
the sense is “soon to revive;” or even as a present, equivalent,
in the hurry of the moment, to a fut. J. Krauss (Rhein. Mus. für
Phil. 1877, p. 324) neatly suggests Šk Čš Teodºv 0wpºnyépsov.
284. &mdveuðe; On & 127, m 7. —8Lutre'réos, a standing epithet of
rivers, as nourished by Zeus; on & 105, m 164; cf. Zºg ās, £457.
All rivers, the sea, fountains, and wells are said to flow from
Oceanus, p 196; on & 11, m 242. -
285–86. karéSpaôov; H. 57. — Advorápmv, elsewhere of drawing
liquids from one vessel into another. He covers himself up with
the leaves to keep him from the night air, naked as he was.
There was a heap large enough to protect three men in the
winter season, and he buries laimself in the midst, as a fron-
tiersman hides a live brand deep in the ashes, to keep the seeds
of fire alive, e 482–91. —6ebs; it is Athene, e 591, though he does
not know it.— &treſpova; no wonder, after twenty days of sleep-
lessness.
289. We read Set\ero, “was westering,” with Butt., Nitzsch,
Am..., F., instead of the common Štosto. The assumption that it
was a mere conjecture of Aristarchus is without sufficient founda-
tion. 660 ero cannot be reconciled with & 321 and the other cir-
cumstances of Z, unless it be assumed that the Sun on that late
BOOK WII. 169
autumn day might seem to the group in the ravine to have
been some time down behind the hills, though it had actual-
ly but just set when they emerged into the more open region
about the city. It is accepted by some, however, with the re-
mark that such discrepancies are explainable under the greater
carelessness of detail naturally resulting from Oral recitation,
since they are found even in Virgil and others who committed
their thoughts to writing at once (cf. Longinus, 33). Compare
# 344 with the other circumstances of that book. Set\opat, in-
deed, is not found elsewhere, but Östs\thorac appears in p, and
the analogy of p 111, t 56, points to some form of Öst)\m here.
—āvākev. Sleep is here viewed as a cloud (on m 15, 143), which
pours down, 286, overpowers, and holds the sleeper a fast pris-
oner, p 17, till it chooses to release him; cf. & 2, n 318, #7twog
Tavčapuárop, Q 5. Sometimes there is complete personification;
on v 80; sometimes it is a mantle thrown about one, 36AXsty; cf.
Sancho Panza’s “Blessings on the man that invented sleep; it
folds round a man like a cloak.”
290–91. Why is reſis older than offic 2–évémora ; & 163.− traugotº-
oras; & 100. — airl; On & 83. — eikvia ; & 151.
292. voſipatos #15porev, Synonymous with vöov Šešeral, 73. She
is her own mother's daughter; On & 201. —#18porey, from
stem duapr. = &ppar. (H. 57) = dp/3par. (H. 53) =&pgpot. (H. 25).
Since the probable derivation is a privative and root pep, “to di-
vide,” the aspirate of &paprávo is due to a mistaken analogy, or
to a fondness for the aspirate which developed itself prominently
in the Attic.
293. Supply ºpčaora in thought before Óg. “ (Since she acted)
as you would not expect so young a person meeting you to do.”
—Why ivº H. 23 D. Is the conjunction àv ever found in Hm. 2
on m 75. —éAtrolo contains the indefinite or ideal second person,
as if ric.—veórepov; m 156. At Nº. 590, Antilochus, deprecating
the anger of Menelaus, throws the blame upon his youth; for
“the young are quick in temper, but in judgment weak.” Mene-
laus demands the presence of Priam in the compact for the dueſ,
I 108, “for the minds of the young are ever wavering.”
294–6. Apšépley: why the fut. ? G. M. 27, Note 3. — ãdºpačéovoruv,
“are inconsiderate.”—aſſºotra, “Sparkling,” as the light glances
8
170 NOTES.
from the surface. The translation “dark-red” is disproved by
p. 19, atéotra oivov šov6póv.–Novo’; On & 210.
297. &xvöplevés trep; 215, 218, 224. His forlorn condition has
not induced him to depart one jot from the exact truth demanded
by Arete's question, however much he might think to gain by a
trumped-up story. This is to be compared with the numerous
false accounts he gives of himself to Eumaeus, Penelope, and the
suitors, for it is truly a most masterly and veracious summary of
s and 4. Eumaeus has had frequent cause to lament the eagerness
with which Penelope listens to every stranger; “for roving men
in need of hospitality are prone to falsehood, and never wish to
speak the truth;” # 125, A 363–66. —áAméeſnv, appositive to raû-
Ta; cf. 200. —katéAega, as perfect.
299–301. Tooro . . . Špil, “in this at least not rightly took my
daughter thought,” granting in other points what you said about
her understanding, 292; on m 167. —arpármy; & 176.
303–5. How; & 199. —oik #0e)\ov. This prevarication is ventured
upon to shield Nausicaa from the over-zeal displayed by the
king. He may know from the habits of the times that she has
had no communication with any in the hall, and, from her anxi-
ety not to be seen with him in public, he may think she will be
discreet about it in the future. This was enough for a Greek to
avail himself of at any time, with the hope of escaping detection;
on 245. Even the old archbishop Eustathius says here, “Odys-
seus falsifies plainly, a thing which the wise man would do upon
Öccasion.” It is to be observed that Odysseus' original request
was simply that the city be pointed out to him, and he does not
intimate that he expected more.—Setoras dioxuvópevós re, “struck
with alarm, and feeling a delicacy.” The aor. represents the
simple act, the pres. the continuance of the feeling.
306–7. Hiſ . . . iSávrt, “lest haply elen thy spirit might be dark-
ened at the sight.”—étruo-kāororavro, properly of the contraction
of the brows in anger. — 8vorºm Aov, “Over hasty.”—yáp T', much
like kai yap, and regularly introducing some such generalizing
statement as the present one; 0 169. — eigèv; by the use of the
plural and pix' &v6pótrov, Odysseus, with delicate tact, transfers
the burden of the censure from Alcinous to the common frailties
Of the entire human race.
BOOK WII. 171
310. Haytótos, “causelessly.”— keyokó00au, dependent on rotoč-
row; G. M.93, 1, Note 1. The construction is more common after
the relative; both dem. and relative are found p 172. — paytāſos
points to Śāgāmāot, keyokóorêal to #Tigküggatto. — &petvo . . . trāvra,
“nay, better all in measure due.” This is the golden mean, aurea
mediocritas, the great aim of the Greek, so little practised by Al-
cinous. It is expressed more succinctly by the wise Spartan: pum-
6&v ćyav.
311. at Yap; & 244. —Zeo. This invocation, in which the three
most powerful gods are apostrophized together, never meets us
upon occasions having reference to any particular rite or func-
tion, but simply when the speaker wishes to give utterance with
a peculiar Solemnity or emphasis to some paramount desire, as
when Agamemnon wishes ten such counsellors as Nestor, or that
his warriors had the same activity of spirit as the two Ajaxes.
By it both Nestor and Laertes wish themselves young again,
and Menelaus prays for the appearance of Odysseus among the
suitors. A scholiast drew the inference from this form of adju-
ration that Hm. was a native of Athens, because the Athenians
were accustomed to use it.
312. oiós; On & 303. —èöv and 4 povéov, both causal; cf. A 361:
since thou art so noble, and thy sentiments accord so fully with
mine. 311–16 fell under the suspicions of Aristarchus, doubtless
because of Alcinous' startling offer of his daughter's hand to a
total stranger; but the king is plainly quite captivated by the
commanding presence and bearing of his guest, and by the elo-
Quence and delicacy of sentiment he has displayed. His high
station in life has been directly asserted, 225, and the immortal-
ity which Calypso designed for him argued a lofty lineage befit-
ting such a fate and such a love; 256–57. His sentiments have
already met the approval of the courtiers, 226, and though Al-
cinous dissents from the thought that he might be angered at
Odysseus' return with Nausicaa, yet he respects and approves
the delicacy which prompted the action of the hero, to the de-
gree that he feels assured that Odysseus' feelings are at one with
his bearing and eloquence. To infer kingly station in a stranger
from his appearance and comportment merely, is not confined to
the impetuous Alcinous; cf. 6 63, v 223, v 194, a 253. Indeed,
172 - NOTES.
both father and daughter have suggested that he may be even a
god, m 199, & 280; and the former distinctly declares, X 363–67,
that he believed him no impostor, but the hero his appearance
and words proclaim. Add to all this the strong predilection to
a foreign marriage with royalty, & 35, 244, 275, and the offer from
SO impetuous a person loses its startling features, and becomes
eminently characteristic of the man.
313. TraiSá . . . exépley, “my daughter thou hadst to wife.”
With ēxépev, #93 ouc may be supplied with Eust., or the inf. con-
sidered as developing more emphatically the abruptness of the
ardent wish. The acc. and inf. in a wish are not uncommon;
G. M. 102; but this and a 379 are the only examples in Hm.
where the nom. occurs, and in the latter the wish is unattain-
able, so that ùpeXoy would be supplied.
314. p.évov; note how the words of the father echo those of
the daughter, & 244–45. —8é T’; On & 105. —Sotºmy, “that I might
give,” continuing the wish from at Yép, and showing the nature
of the wish implied in #xépusy; cf. 6 339–42.
315. “(As I would do) if willingly at least thou wouldst re-
main,” supplying the conclusion; H. 753. Here a gesture of dis-
sent on the part of Odysseus, settling the question definitely, may
be supposed (on & 168); for the language immediately changes,
and at 317 the proposition is completely abandoned and never
alluded to again, while in the next Book he is assumed to be the
possessor of a wife at home; 9 243, 410, 457–62. The proba-
bility of the explanation offered by Mure and Hayman, that this
change is due simply to the garrulity of Alcinous, is much abated
by the solemnity of the appeal and the wish. By making his
hero decline this offer, as well as that of Calypso, the poet extols
his constancy, and his affection for his wife.—k’; H. 748; G. M.
50, 2, Note 2 (b.). —8é, “well.”
316–18. Hºl: why not oil 3 H. 834. — rekpatpop.au, “I appoint.”
—et eioſis, know well, and therefore rest content. — aiptov čs is
explanatory of £g róð’.—ès by all authorities here, but ág m 254,
y 137, O 59; sic, o 541. —8é8pmp.évos; on 289,0445, v. 79.
319–20. Aégeau ; on 53. — oi, the crew, as Opposed to ot. —
ëAóooru ; m 109, & 82. — ya)\ſivmy; & 259; 0563, m 192. —ööp’; & 218.
— kai et aroſ, “ and wherever clºc.”
BOOK WII. \ 173
321–22. starep . . . ÉKaorépo, “even though very much further.”
—etirep is frequently concessive, whether with the indic. as here,
0.408, v 138; or the subj., as A 580; or opt., v 42, 49. — of Aa3v ;
on & 257. —rm Norá'ro. The Phaeacians have already becn denomi-
nated the remotest of men, & 205, and this is again reiterated by
the declaration that the point which is one of the most central
in the Greek world was to them the most distant known.
323–24. ‘PaSápavôuy ... Tutvöv. The allusion here is so obscure
that it merely piques our curiosity without leaving anything to
satisfy it; nor is it elucidated by later legend. Thadamanthus
is son of Zeus by a Phoenician maid, and is brother of Minos,
F. 321, and he rules the abodes of Elysium, & 564, as Minos judges
the dead in the House of Aïdes. The present passage completes
all mention of him in Hm. Tityos appears again, A 576, under-
going punishment in the Underworld, for attempting violence
to Leto “as she was going to Pytho through Panopeus,” a town
in Phocis upon the route of the Sacred processions or embassies
from Delos to Delphi through Marathon. Geraestum, in Euboea,
is also on this route, and it was sacred to Poseidon (Y 177), the
patron god of the Phaeacians. Hence it may be conjectured that,
since étropop. has the special Sense in Hm. Of visiting or oversee-
ing for punishment, the semi-divine Phaeacians, dwelling some-
where towards Elysium, become the carriers of Rhadamanthus to
visit Tityos at Panopeus after his crime, and determine whether
he, as related to the gods, shall be transferred to Elysium or Ha-
des; and their leaving him in Euboea would be quite in unison
with their depositing Odysseus in the harbor of Phorcys; v 96.
Dut Euboea is far out of the way for any one going to Panopeus
along the western side of Greece, Crissa being the usual landing-
place. If, therefore, we accept the supposition of Gladstone that
the Phaeacians passed round by the north and entered the AEgean
by the Hellespont (on m 80, 244), they are then kept “entirely in
their own element as borderers between the world of Greek ex-
perience and the world of fable.” Studies, III. p. 283.
325–26. #v6'; 4 47.—With réAeororov and &mivuoray supply 666), ;
cf. m 4. —#patu ré airó; on m 55. Whether this refers to the out-
ward passage only, or to both, remains dubious. The distance
is evidently considered greater than that to Ithaca, which is al-
174 - TNOTES.
ready known to them, v 113, and the voyage thither occupies all
the night from Sunset to dawn. It is customary for them to
wait till evening before setting out from home; hence ijuart may
perhaps be extended through the whole twenty-four hours and
limited to the outward journey.
327–28. etäjorets; & 257. – kai airós, as well as Rhadamanthus.
—évi (bpeoiv; 0448. —āororov ; m 108. –&vappāirrely; v 78.
331–33. até’; & 244. — getöopov, “grain - giving,” personifies
&povpav. —&affeotov, “unquenchable,” exhibits k\éos under the
aspect of an ever-rising flame; cf. clarus, gloria ; on & 29; 0 74.
Alcinous desires such fame as earnestly as if he were not cut off
from the rest of mankind by his isolated position; 0 101, 244.
335–38. Kék\ero; 4, 71. –8éºvi'; & 20. – Štr' aiboggºm, “under the
portico,” which ran along the front of the house, and here the
bed of the guest was habitually placed, as that of Telemachus
at Pylos and Sparta, of Odysseus in Ithaca, and of Priam in
the tent of Achilles, who, however, apologizes to Priam for
so doing, Q 650, but the circumstances are quite exceptional.
Doubtless we may see in the custom a reminiscence of a period
when all strangers were regarded with too much suspicion to be
admitted to the house at night.—fiftyea, corresponding to our
mattress, as Tétrºm'ras to under sheets, and x\aſyas to upper sheet
and blanket. The XXaiva is also an outer-garment; on & 214,
0.455; hence the use of £oragóat.
339–43. torqv ; m 82.-8áos; m 101. —”Oporo; & 255. — kéov;
m 229. — &ortraorröy; v 35.
345–47. Tomtois, “perforated,” with auger-holes in the sides
of the bedstead, through which thongs of leather were passed to
support the Öhysa, etc. Compare the description of the bed made
by Odysseus, térpmva Öğ Trávra repérpg) éic 3’ &révvoga ipêvra 300g
poivuci paewóv, l, 198; cf. v 77. —èpv6oſtrº, “Sounding,” to the
tread of passing feet, made more perceptible by the roof flinging
back the sound. — Aéxos . . . eviv, “graced his couch and bed.”
–X&os is properly the bedstead, eviv all that forms the bed
thereon; p 179. -
IBOOK WIII. 175
IBOOK WIII.
1. *Hpos indicates more clearly than Öre a sharply defined
point of time, and therefore in all the thirty-eight passages
where it occurs it is joined with the indicative, except 3 400,
where the subjunctive is found. — puyéveta, from its compo-
nents jou, I 360, and yiyvopat (cf. 6ts Övočskárn yáver' (ºg, A 493;
Xen. An. I. 10, 18, Aristoph. Nub. 3), appears to mean “early
coming.” Sometimes jóg is viewed in its physical aspect, and
then it may be said poetically to be born anew every day;
but she is commonly represented as a distinct person with a
continuity of existence, the wife of Tithonus, rising from his
couch every day. “Child of Dawn” cannot stand in any strict
acceptation of the terms, for Hm. gives us no hint of the parent-
age of Eos, nor any physical aspect that will accord with such a
phrase. The first sign of breaking day is the morning star Eog-
pópoc, which comes as the herald of light, and proclaims the ap-
proach of Eos, v 94. After him follows Eos herself, Nº. 226, who,
rising from beside Tithonus, mounts into the sky with her span
of swift-footed colts from the streams of Oceanus. In Hesiod
she is sister of Helios and Selene, and born of Hyperion and
Theia, children of Ouranos and Gaia. —Éoãočákrv\os is usually
referred to the red rays of the coming sun, which, in certain con-
ditions of the atmosphere, are seen to spread in divergent bands
like the fingers of the outspread hand. Mostly an epithet of the
personal Eos; of the physical, Z 175. How Eos finds her way
back to the east is nowhere hinted, and the same silence is
observed with respect to the Sun. Dater poets, as Mimmermus,
solved the problem for the sun by conceiving the return to be
made on the stream of Oceanus in a golden cup furnished with
wings.
2–3. ispöv ; m 167. — &v; & 253. — &pro, as iſ 348; otherwise the
imperfect describes the act of rising from sleep; cf. o 59–61. —
TrroAttropºos, only of Achilles and Odysseus among their genera-
tion. Achilles boasts that he has captured twelve cities with
his ships, and eleven more by land about the Troad, I 328.
176 NOTES.
Odysseus obtains the appellation as pre-eminent in counsel, and
as the prime cause of the fall of Troy, 9 494.
4–7. Totorºv, Odysseus and probably the sons of Alcinous. It
may apply to the two Only; m 47. — trapū wºuai ; & 266. —Térukto;
& 301. —Atôolorly; £ 267. — arXmortov, “near each other,” as A 21, re-
ferring particularly to Alcinous and Odysseus, the proximity em-
phasizing the honor paid to the latter. — Herºxeto, “had gone
upon a quest.” usr- points to her search for the men; 47.
8. kūpuku. Athene acts as herald also in B, to still the people,
that Odysseus may be heard by all, and she sets the limit of the
discus-throw, 9 193. The lamp is carried by her to light Odys-
Seus and Telemachus while conveying the weapons from the
banqueting-hall, r 33, and she restores the whip to Diomed which
Apollo had thrown from his hand in the chariot-race, Nº 383.
No service is too menial for this mighty goddess to perform for
her favorites; on & 76. —8atópovos; & 256.
10–12. čkáorrº, limited by line 11 ; m 189; as I 11. — Aeur', an
adverbial form regularly used with the plur. only, Öeſpo with the
sing.; 9 133, 145. The present is not an exception, since āye is
purely adverbial and formulaic; G. 253; G. M.84, Note 1. — iéval;
On & 261. —ödpa . . . Trúðmorée, “that of the stranger ye may hear.”
13–15. véov; H. 552. —“Qs . . . Káorrou. This formulaic line
occurs here only in the Odyssey, but ten times in the Iliad,
where it uniformly follows some stirring appeal to the army in-
citing to deeds of Valor and martial fury. — pièvos kal 0upov are
there “ardor and spirit” worthy of the soldier; here “ardor and
desire” to see and hear of the stranger. Such combinations of
closely parallel words, to heighten the force of expression, are
Common in all languages, as piévoc with &\kh, 0ápotoc, lºvyń; 6vpuðg
with poſſiv, koačin, livXà ; Quietum animum mentemque benigmam,
AEn. I. 304; “Stir your hearts and minds to mutiny and rage,”
Shaks. Jul. Caes. -
16–19. Šuarxnvro, “became filled;” H. 403 D.— &yopat; on m 44.
— &ypopévoy; the partc. is the only form of this aor. that suf-
fers syncopation. — Aaéprao; other forms? 9 75; not -ov in Hm.
— keda Afi ; On & 235. This retouching after the same operation
performed yesterday shows the character of the change pro-
duced. It bears a close analogy to that resulting from the use
BOOK VIII. 177
of the bath, y 468, which it actually follows, & 229, p. 156; hence
perhaps the need of its renewal after a heavy night's sleep.
21–3. “That to the Phaeacians all, pleasing he might become,
and dread and revered, and might achieve exploits many in
number, in which the Phaeacians made trial of Odysseus.”—
&s key; G. 216, Note 2; G. M. 44, Note 3. — bíAos; & 327. —öeuvés
tº aiãoiás, feelings produced by his personal appearance (on & 161),
by his feat with the discus, and by his general challenge, 234.
—troAMoës. The Sense is, he was able to prove successful in
contests many, and it was in contests that they tested him;
not the numerous contests which. The sequel shows that he
was engaged in the discus-throwing only, but he was challenged
to other deeds, 145, and he signified his readiness to meet them
in others, 206. The difficulty, more apparent than real, led Zeno-
dotus to reject the line. What obelizing editor of Hm. would
admit such a criticism as Conington makes upon Virg. Æn. V.
68 “Either Virgil has expressed himself loosely, or when he
wrote this line he thought of introducing one more game.” —
rows; H. 549; or perhaps the acc. is chosen here by preference for
the antecedent case; cf. 9 100, 145, 184. — £atmkes . . . '08vorios;
On m 15. - - -
24. “But when in consequence they had been gathered, and
together were come.” This line, recurring five times, describes
the act of gathering in from all sides, and the resulting condition
of the assembly, seated and intent to hear and judge; on 15; 3378.
26–8. kék\ure; on m 186. — oëk otö’ $orris. Odysseus does not
disclose his name or country till the king expressly requests it,
and supports his request by the declaration that his destination
must be divulged in order that the pilotless ship may know
where to direct her course, 9550. This sustains the interest of
the incognito, and exalts the hospitality extended to the un-
known stranger. — Observe, in general, oiða &g £arw, but otic oióa
ãoric artv, since the indefiniteness which the antecedent clause
acquires by the addition of the negative makes the indefinite
Öorrug necessary.
29. He . . . , indirect question dependent on oió', as a fuller ex-
planation of 60 ric.—ºotov . . . Šotreptov. To Hm. the horizon is
usually divided into two parts only—the sunrise and the Sunset,
8%
178 NOTES.
--
morning and evening, east and west. This may be derived from
the line drawn by the bird-diviner, for whom all to the east, the
home of the morning and the home of the race, was propitious,
all to the west and darkness, ill-omened, M. 239–43. North and
south are sometimes indicated by the winds; v 110–11.
30–3. prešov, “ratified” by the people, 157, as it has already
been promised by the king; m 317, 192, 151. — &s . . . Trep, “just as
heretofore;” 9 566, v 180. – otöè . . . &NAos, “for not another, no,
not one.” This emphatic doubling of the neg. displays the im-
petuosity of the speaker; A 349, ) 167, oióē yöp obôé and oběš pºv
où'ěš are common in Hm., but are not Attic, though the latter
phrase occurs in the poetic style of Xen. and of Plato's Phaedrus.
RTüger. — &rus; m 17, & 28. — ev6á8’; & 47. —8mpov; & 220. — eſſ-
veka tropitris, with puévet, “for the sake of,” to gain.
34. HéAauvav, the usual color for the Homeric ship, probably
produced by pitch. The only intimation of the use of paint in
the heroic day is for ships, which are either black, uáXaival,
kvavóToq/pot, Or red-cheeked, pºt)\roTráppot, pouvukoTráppot. The stain-
ing of ivory with purple for the cheek-piece of the bridle is men-
tioned, A 141, in a simile, as done by a Maeonian or Carian woman.
It seems something rare and foreign. In like manner, none of
the numerous objects discovered by Schliemann on the site of
Troy (1871–73), below the historic stratum, have any signs of
paint, except two stray fragments. All Ornamentation not in
raised work is incised in the pottery while the paste was soft.
This is a characteristic of all the most ancient ceramic ware un-
earthed about the AEgean, and may be seen in that part of the
Cesnola Collection which came from Alambra. Still, the accoutre-
ments of the terra-cotta warriors found there are roughly deline-
ated in red and black. The pottery of Mycenae, however, un-
earthed by Schliemann was of an early painted variety. —8tav
stands as an epithet of &Na almost exclusively in passages where
the theme is embarkation. It looks to the solemn tone of the
Sailor's thought at the moment of separation, when he intrusts
himself to the god of the sea and offers up a silent prayer for
protection; and this pious tone of thought is heightened by the
consciousness that that deity dwells along the shore and lingers
in its neighborhood. Buchholz.
BOOK WIII. 179
35. Trpotórkoov, in honor of the guest, and to insure his safety
and the boasted speed. The wain selected by Priam to con-
vey Hector's ransom to Achilles was Tpwrotrayńc, Q 267. – kočpo;
& 222. The dual coöpaſ results from the proximity of 660. Glad-
stone conjectures that 650 stands for the two most important
men of the crew, the captain and the steersman, and that the less
important rowers are not regarded as forming a part of the sub-
ject of the verb. For fifty was a regular ship's complement of
rowers, as in the Seven ships of Philoctetes, and the fifty of
Achilles. We may compare A 393, where the Cadmeiones choose
for the ambush against Tydeus coöpovg Trevrákovra 66w 6' yńTopsc
joav. In Odysseus' ship, Eurylochus appears to have been a sec-
ond in command, though probably not the steersman; k 204–8,
429–41, X 23, p. 195, 278, 339. Did Hm., like Mr. Gladstone,
Ameis, and Düntzer, forget that the Phaeacian vessels have nei-
ther rudder nor steersman 2 See 6 557–58.
86–7. Kpuváorðov, mid. imperative 3d plur. governing coöpo,
with subject indefinite, like the common pagi; or is the subject
to be found 9 258–592–8 morápevol: why middle 2 H. 689. —
êtri k\mtoriv, “to the rowlocks.” The k\mts in a ship is the up-
right pin or thole projecting from the upper extremity of the
ship's ribs, to which the oar was loosely fastened by the twisted
thong of leather, Tporóc, 53. A common rendering of k\mirºv,
“rowing-benches,” is pronounced incorrect by Grashof, Doeder-
lein, Seiler, Am., F.
38. Božºv, “speedy,” quickly prepared, quickly ended. That
departure before nightfall was not contemplated is evident
from the events of the day following, when the same haste
is made by the king to bestow the presents in the vessel at
early dawn, v 19, but the whole day is allowed to pass in irk-
some idleness till evening draws on. Such bustle is charac-
teristic of Alcinous. – &Aeyövere, “do ye lend hand to ;” only
in the Odyssey, and with Öaira, Čairag. Authorities are not
agreed as to whether the sense is “prepare” or “partake of;”
probably both. a 374, 8 139, it is applied to the suitors, who
are told by the herald, p 170–82, that it is time for them to
cease their exercises before the palace, and go in to prepare
the feast, which they accordingly do, throwing their mantles
180 NOTES.
on the thrones, and slaughtering the sheep, goats, and Swine;
Cf. 6 61.
39–42. et traoru, “plentifully to all.” Cf. ispäia Trox\& Trapsixov,
# 250. – oi äAAot, appositive to the pronoun implied in Épx800'.
The article with the plural of &\\os is formulaic; 107, 204, 212.
—orkmirrooxou, an exclusive epithet of kings; but the Sceptre as a
badge of authority was borne also by judges, heralds, priests, and
seers.- Baart)\mes, appositive to oi &\\ot. — #pa . . . 86Hata kakö. ;
for this naïve expression see & 58, and on 9 178; Compare the
old ballad of the Blind Beggar's Daughter of Bednall Greene,
where the “pretty Bessee” is made to say of herself:
“My father,” quoth shee, “is plaine to be seene,
The seely blind beggar of Bednall Greene,
That daylaye sits begging for charitie,
He is the good father of pretty Bessee.”
43. 0etov &otööv. The bard was an indispensable member of a
royal court in the Homeric day, and his was recognized as an es-
tablished profession, like that of the herald, the seer, the physi-
cian, and the artificer, who were all denominated 6mutospyot, handi-
Craftsmen. The bard of Agamemnon was appointed guardian
to Clytemnestra in her husband’s absence; and it is not until
AEgisthus has banished him to a desert isle that the plotter is
enabled to gain the confidence of the queen. Hm. is careful to
tell us, at the first mention of Phemius in the palace of Odysseus,
that he appears among the suitors and sings for them only be-
cause he is coerced. The bard is 0elos, because of his close con-
nection with deity; cf. 44, 63,481,488, 498–99.
44–9. Beös, the muse; 63.−trépu ; m 110.-répreuv; & 82. –örrm,
“howsoever;” m 72. –érorptivuoriv, “prompts;” 73. Observe the
prominence given to song by the closing words of the last three
lines. – orkmtrooxou, Substantively, as E 93. — kāpuš, Pontonous;
65; m 179.-koúpo; on 35.-0tv’; & 94, 236.
51–2. oiye, emphatic repetition of the subject in the second
clause, a common epic construction ; m 163, 9 488. It lays a
stress upon the clause which our idiom, and for the most part
the Attic, does not recognize. —iorría ; On & 107, and see the sail
of the Pelesta, p. 109. — Notice the repetition in consecutive
Verses, via, vija, vnt. So, twice, k 407-8, 444, 446–47; on m 15.
ROOK WIII. 181
At A 1–3 these verSCS are repeated, but at 9–11 the construction
of our idiom is followed, vija, Tºv, Tijg.
53–4. Tootrois; on 37. — Trávra may be taken adverbially, or
Trotéovreg Supplied; H. 508 b. 1 342 shows that Trávra does not be-
long to Épernó, but the phrase is a formula of general application,
“everything ship-shape.”—ává tréraororov, “they unrolled,” on the
vessel, to be in readiness to hoist on the mast; Schol. B. Q. ; on
v 81. These details are formulaic; on m 172.
55. “And high on the water they moored her,” by a cable to
the perforated Stone, v 77, and by the anchor stone thrown out
ahead. — inlow; only So far out as to give floatage, since the stern
must be close enough to shore to admit of egress without a small
boat, no hint of which occurs in Hm.; cf. y 11, v 75. With 5 poi
compare 3 800, and the nautical phrases tºrspawom68wrec, trip roë-
row &vakoxeigavréc, Hdt. VI. 116, vačc usrećpovc, Thuc. I.48; “the
high seas.”
57. Giòovoraí, the two porticos on opposite sides of the ai)\}. —
épkea, the enclosures of the aixh.—8ópol, the rooms of the house,
the péyapov and vestibule. These terms include, with exagger-
ated fulness, the whole house open to men.
58. This verse is wanting in several MSS., and is condemned
by most editors. -
59. AAktvoos; On & 76. He takes part in person, as do Nestor
and his sons, y 435–46, where Stratios and Echephron lead up
the victim by the horns, AretOS brings the lustral water and the
sacrificial barley, Thrasymedes stands ready with the axe, and
Perseus holds the bowl for catching the blood. Nestor's duty is
to offer the prayer and perform the other initiatory rites. The
suitors are similarly engaged, 3 300, #y ai)\ff, where these prepa-
rations for the banquet were habitually made (A 773–76) ; and
there stood the altar of Zeºc 'Epreioc, which could be used in the
ceremonies.—The word iépevorev exhibits the religious tendencies
of the age. To slay an animal for food is in every case to sacri-
fice it, ispáčew, whether for the solemn and public offerings to the
gods, or for the private table of the swineherd. To the gods
was always assigned their portion. In early times among the
Egyptians, as with the modern Arabs, the master of the house
killed whatever was brought to the table. Virgil makes Dido
182 NOTES.
proclaim the thanksgiving at the temples, but she feasts AEneas at
her own palace. The banquet to the ship's crew has its parallel
in the bulls, lambs, and swine sent by Dido to Æneas' compan-
ions in the harbor. à
60. ei AſtroSas, “rolling-paced,” a noticeable characteristic of
the gait of the ox, occasioned by the knee and the hoof at each
stride describing a semi-gyration about the straight line of the
course, so that the foot is swung round, and not lifted and set
down squarely like the “high-stepping” horse, &epoſitrovg.
61. Sépov applics only to the beeves and the sheep. The swine
are not flayed, but singed (sğoyrac, 3300).-èparelváv, “delicious.”
Compare the more labored preparations for the banquet in Dido's
palace:
© At domus interior regali splendida luxu
Instruitur, mediisgue parant convivia tectis . . .
Quinquaginta intus famulae, quibus ordine longo
Cura penum struere et flammis adolere Penates;
Centum aliae totidem que pares aetate ministri,
Qui dapibus menSaS Onerent et pocula ponant.
62. čyyúðey: if the termination -98v here retains any of its sep-
arative force, it is rather in the sense of coming from a distance
so as to be near; on 67. The simple “near” gives its usual force
in Hm. with verbs both of rest and motion; & 279, m 112. —épím-
pov, “dearly loved.”
63. The Muses are the givers of song to mortals, while the
province of Apollo in Hm. is to preside over the mechanical
art of playing upon the lyre, or of endowing with prophetic in-
stinct; on 9 488. The Muses have no number in Hm., except in
the last book of the Odyssey, where they are the conventional
nine. Here the Muse confers upon her favorite both the good
and the ill which Zeus commingles with the common lot of hu-
manity; 3, 188.
64. Observe the chiastic arrangement of the clauses of this
line and the preceding, and the effect of the alliterative 3. Some
have supposed that the tradition of the blindness of Hm. arose
from the careful and sympathetic picture which he has here
drawn of the blind bard Demodocus, and the prominence which
he has given him beyond any other minstrel in the poems. In the
ancient Homeridean Hymn to Apollo, the bard tells the maidens
BOOK WIII. 18 3
of Delos, if any stranger arrives and asks, “Who is the sweetest
singer that comes to delight you,” to answer,
Tuq}\ós &vijo, oikei čá Xíq) #vu Tauta)\o Éo on.
This minstrel is called Homer by Thucydides, and, though the
hymn is later than the poems, the fact shows the early origin of
the tradition which made our poet blind. Some thought that
the tradition arose from 3p.mpoc in the Cumaean dialect, meaning
blind. The bard Thamyris, B 594–600, is one whom the Muses
did not love. He boasted that he could prove victor even
though they should contend with him themselves, and he was
punished with loss of sight and the power of song.
66. Héororº, Substantively; on 4 8. Why Go ? The original stem
was ple6to ; cf. Sk. madhias, medius, mitten, middle.—épetaras; m 95.
67. Kå8 &K, “down from,” the usual Greek idiom, looking to the
result of the action, so that it hung down; on 62, 85.—The bóp-
piyā is the same as the cigapug, and the earliest Aépa, which last
is first mentioned in the Hymn to Hermes, to whom its invention
is there attributed. It had two arms curving upward in the
familiar shape, and a crossbar near the top, to which the gut-
strings, running up from below, were attached. y\apvpr, 257, re-
fers to the hollow between the arms and the crossbar. Accord-
ing to the common Greek statement, the póppuyá had four strings
in the heroic period, and the three others were not added till the
time of Terpander, 650 B.C. See the very early Cypriote bronze
bowl above, p. 89, and Schliemann, “Troy,” p. 25–8.-Atyevav,
also applied to the wind, to the Muses when singing, and Nestor
and Telemachus when speaking.
68. atroo, adv. “there,” defined in epic manner by iTrip cépa-
Xjc. airoi is thus followed by áv, Šví, with dat. thirteen times,
Trapá and dat. four times; also êtri, Tpég, perá, kará; cf. 6 577, v 56.
—étréºpače ; 4 47, m 49, 6 142.
69. Káveov, properly a wicker basket, but usually any vessel in
which the food was served, a broad shallow dish, patera. A 630
it is of bronze, and holds the onion on Nestor's table; in Circe's
palace it is of gold; v 300, one holds not bread as usual, but the
beef's hoof hurled by Ctesippus at Odysseus; y 442, it contains
the sacrificial barley. Observe the prothusteron here; On & 9.
70. Triety; 45. —āvéYou ; on m 138, 0 87, 90. An especial honor
184 NOTES.
is here paid to the bard, as kings have “fuller cups” than others,
A 262, e 162, M 311.
71-2. Formulaic lines occurring often; 9 484. — Xeipas; on
m 173. Virgil introduces a custom of his own day: Postguam
évémpta fames épulis, mensæque remota, AFn. I. 216. More closely:
Postguam evenpta fames et amor compressus edendi, VIII. 184.
73. &vijkev, “inspired.”— k\éa &vöpôv, “glorious deeds.” The
envoys find Achilles singing the same in his tent, I 189; a theme
suiting the man and the age. The Virgilian bard is Hesiodic
and didactic. Iopas’ song is of cosmogony and astronomy, of
eclipses, Arcturus, the Hyades; Hm. glories in man and his chiv-
alrous deeds.
74. oipºms ris, “that path of Song, of which.”— otºms, gem. by
inverse attraction to the relative, for otpany, a construction not un-
common in Hm.; H. 817; G. 153, Note 4.—Tór àpa, “then even,”
so soon after the events themselves, the celebrity of the war being
so instantaneous that it was seized upon at once by the minstrels
of the day as the subject of song. Of the four lays whose sub-
& ject is given us in the Odyssey, all are upon the Trojan War
except One, and in that the scene is laid upon Olympus, not on
earth. — k\éos . . . ikavev ; On & 29; cf.fama Super &thera motus, AEm.
I. 379; 457. The story has spread to the ends of the earth, and
hence the Phaeacians must know it, as the bard does in the pal-
ace of Odysseus, and the Sirens in their lone isle, p. 191. Virgil
gives the reason why the incidents of the war are so well known
to Dido, a Phoenician; it was from the banished Teucer who had
sought her father's aid. But Hm, gives us no clew, save this of
heaven-high fame and the inspiration of the Muse.
75. vetkos, more specifically defining otping Tijg, k\éa &vöpóv.
76. §s ... Smptoravro, “how Once they battled.”–0a)\etm, “boun-
teous;” H. 218 D. The ancient authorities mostly refer this quar-
rel to the period succeeding the death of Hector, with whose
burial the Iliad closes. A truce of twelve days had been granted
by Achilles to Priam for the celebration of Hector's funeral so-
lemnities; and it is at the end of this period, upon the eve of the
resumption of hostilities, that the banquet to the gods is most
plausibly set. Here a dispute arises between Achilles and Odys-
seus touching the future conduct of the war. Achilles is hot for
EOOK WIII. 185
open assault, Odysseus urges stratagem. Frightful words are
bandied between them, and Agamemnon is rejoiced because the
fulfilment of the prediction touching the fall of Troy seems near
at hand.
77–8. &vaš &vöpów, the distinctive title of Agamemnon, given
lim 46 times; otherwise, only 6 times; never found after Hm.—
vág, “in his soul,” not expressing his joy. —ét’, 6tt, causal. Is
this elision allowable in the Attic 2 H. 70 D. ; G. 12, Note 2.
What modes are found in causal sentences? G. M. 81, 1 and 2;
what is the usage in Hm. ? G. M. 81, 2, Note 1.
79. &s, “so,” gathers into itself with careless ease from the pre-
ceding the thought that the great piece of fortune was at hand
when the chieftains quarrelled.
80. IIv6ot, the most ancient name for Delphi, which does not
itself occur in Hm., though often in the Hymn to Apollo. Of
Pytho mention is made X 581, as the destination of Leto; B 519,
as a city of Phocis; and I 405, where it is a synonym for a city
of the greatest wealth. — Yağém, an epithet given to Several cities
and lands which stand under the immediate protection of some
god, as Pylos of Poseidon, Lemnos of Hephaistos, Nysa of Diony-
SOS.—itrépôm Aáivov oë8öv, a common expression for entering a
house, as that of Eumaeus, ºr 41, of Odysseus, p 30, p. 88; v 63.
Here it is the threshold of the temple, built of stone, according
to the Hymn to Apollo, under the direction of the deity him-
self, by the brothers Trophonius and Agamedes. Pausanias
states that it was this temple that was burned 548 B.C. The
Oracle was unquestionably an ancient one, and of great influence
in the Homeric age, as shown by its wealth, which would be
gathered from the offerings of consulters, and by the fact that so
important an event as the expedition against Troy was referred
to its decision. The only other oracle certainly belonging to
that age is that of Zeus at Dodona; but see on 3, 162. The more
usual and accessible mode of ascertaining the divine will was
through the mouths of the various seers, gifted by Apollo with
the power of interpreting the significance of the flight of birds,
the flashing of lightning, appearance of meteors, etc.
81. “To consult the oracle; for then even was rolling down
woe's beginning.”—róre fia, like Tót' dipa, 74, but referring to the
186 NOTES.
period before the war, when Agamemnon went to Pytho. — kv-
Aívöero, especially of on-sweeping waves; here the wave of woe.
82. Alès . . . Bou)\ás; compare the expression at the opening
of the Iliad : Auðg 6' trexétero Bow\ft, A 5. —Suð, “in pursuance of.”
84. Tropóðpeov; & 53. – $6pos; On & 214. One end of the ample
garment, that was commonly thrown over the shoulder, could
readily be drawn over the head to conceal the features.
85. käk, “down over;” cf. 67. — Trpáorotra; on & 107. Telema-
chus, weeping before Menelaus at the latter's touching reference
to Odysseus and his family, holds his purple cloak before his eyes
with both his hands, 6 115. In the Pompeian fresco depicting
the sacrifice of Iphigeneia, Agamemnon is represented with his
mantle shrouding his face, as Eur. Iph. Aul. 1550; indeed, so
characteristic was this as the costume of Sorrow that Aristopha-
nes makes Euripides deride AEschylus for his frequent use of it
on the stage; Ran. 912.
86. £atmkas, object of atóero, “before the Phaeacians.” Thetis,
mourning for the loss of Patroclus, when summoned by Iris to
attend the Olympian council, replies that she feels reluctance to
mingle with the gods, with such a load of unrepressed sorrow in
her heart, O 90; and Odysseus says, T 119, that it ill beseemeth
him to sit grieving in another's house, lest mistress or maid
might call his tears the maudlin tears of one overcome with
wine; on m 260.
87-9. §re; n 188.—ápiólkürek\ov. Aristotle, in describing the
opposite cells of the honeycomb, says that on each side of a
common base they have an opening like the duquköTreMAa. This,
then, was a double cup, of which one end would serve as a pedes-
tal while the other was in use, and some have supposed that such
cups were in use in the time of the philosopher. Nothing of the
kind, however, has ever been discovered, according to Krause,
among the vast number of vases and cups from ancient sites (a
few have been found among the very ancient remains of Bologna,
Italy), and the numerous diverse explanations for the term by the
ancients themselves argue against that supposition. Schliemann,
comparing y 41, 50, 63, claims that the duptkörs)}\ov is the same as
the ÖAstorov (add o 85, 102), and the &\storov is called äuporov, x 10
(cf. x 17, v 153), or two-handled; of these he finds many kinds both
BOOK VIII.
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188 NOTES.
the theme of their song was his own achievements. This not only
satisfied his love of glory, and flattered his self-esteem, but gave
him fuller assurance of a return to his home. Like the paintings
which Æneas beholds on the walls of Dido's temple, depicting
the exploits of himself and of his companions, hic primum sperare
Salutem ausus et afflictis melius conſidere rebus, AEn. I. 451.
90. śpxovro . . . Örpúvelav, the more prominent thought placed
first, though the reverse is the order of time, as 69. The pauses
show that the lay was one of considerable length. Is the urg-
ing proof of a fixed composition divided into rhapsodies, or of
a floating mass, undefined, fashioned at will and continued at
command 3
91–6. &méeorgiv, not words merely, but theme as well, “lay.”—
katū with kakuujáplevos. They are always separated in Hm. — yoã-
agrkey; H. 410 D.—arávºras &Aévêave, a tribute to the magic power
of the bard ; 9 532, X 334, 368. — meðpáorat’ & ‘vámorev, “noticed
and remarked him;” On 15. – Greváxovros; On 6 564.—óu)\mpérpol-
ori, exclusively applied to the Phaeacians and the Taphians.
98. Saurès; H. 575. —Cup ov, not object of the verb; cf. otvoto
icopéogâpºevog cará 6-pºv, & 46. —étorms, as the standing epithet of
the mind (ppévac), the ship, and the shield, betokens the quality
of symmetry of parts which makes “well-proportioned,” “evenly
balanced,” and, for the banquet, “duly portioned,” not in the
Sense of each and all sharing alike, but of each receiving the
share due to his position in the community; for the king, M 311,
the honored guest, 0 475, the faithful warrior, H 321, receive a
larger share than the rest, the servants a smaller; w 281–82, 9 70.
99. Gruviopos, “wedded to,” “linked with.” It is said, p 271,
that the gods made the phorminx 3atri śraipmy; cf. Dapibus su-
premigrata testudo Jovis, Hor. C. I. 32, 14.
100–3. Treup.m.9%pev; H. 413; cf. 0120,126, 205, 213.−&s x’; n 192.
—évía trim ; H. 450 D. 8. For the thought, see n 333, 9 243–44,--
ãororov ; m 108. The speaker's characteristic impetuosity has again
carried him beyond the bounds of prudence; but it is not an
unnatural boast of a people so isolated that they conceive a
contempt for the outside world through sheer ignorance of its
achievements, and, wrapping themselves in their own conceit,
regard their littleness with a serene satisfaction (cf. a 382–86).
BOOK WIIH. 189
Experience with one foreign arm of heroic mould brings retrac-
tion of the vaunt, 246.
106–7. #ayev čk; the same repetition v 21, B 690, Z 42, H. 336,
435, I 331, K267, Nº. 394; #y repeated a 260, T 10, v 261, x 347,
B 720, z 244, H 438, A 155, P 570; &vá, x 132, 142, 240, Nº. 717; c,
3. 802, p 610; on 4 77,0190. — airly 660V, “along the same way,”
the earlier expression for tºy airi)w 660V, which occurs in a simi-
lar passage of the Iliad, Z 391. —oi äAMou, 40. Supply the kin-
dred verb jegay from joxs. The bard must be honored with the
same attention as the others, and would take his pleasure in the
games as well as they. The dance does not seem to be contem-
plated at this time; 254–55.
108. &é6Avo, as &0\a 160, of the games; usually the prizes.—
0avpavéovres; 4 134. The description of athletic sports always
possessed an especial charm for the Hellenic hearer; but the poet
here indulges it with a brevity which seems to presuppose the
elaborate and detailed account of the funeral games of Patroclus
in the Twenty-third Iliad to be already in his répertoire, and to
have been often sung in its proper place. Besides funeral games,
of which those following the death of CEdipus and of Amarunkeus
of Elis are spoken of in the Iliad, mention is made of those in
which Tydeus was victorious at Thebes when he had proceeded
thither as envoy; and the Olympic Games, or something corre-
sponding thereto, appear to have been a regular institution in
Elis; on v 81.
109–10. śormero trou)\\s; & 164.— puptov; H. 257 D. should read:
“Hm. uses only puptow, paroxytone, and always in the Sense of
numberless.”—to ravro, impf, of the whole number rising one
after the other; &pto of the single act of each individual.
111–14. All the Phaeacian names, with the exception of Alcin-
ous, Arete, Laodamas, Rhexenor, Demodocus, and Polybus, are
indicative of their ruling passion for the sea, and this is further
illustrated by the very length of the list here, equalled nowhere
else in Hm., except by that of the Nereids who rise from the Sea
with Thetis to sing their lament over Patroclus, > 39–49. Many
of the names here will be recognized as possessing equivalents
among Our Own proper names. –IIpupiveys and TIpºpsûs may be
respectively the same as the later Tpupyjrūg, helmsman, and Trpſp-
190 NOTES.
pármc, the lookout who stood at the ship's head to give signs to
the pilot ; on 35.
115–17. §v, sc. §orm. — BporoMovyč, “man-quelling,” exclusive
epithet of Ares. The whole phrase occurs in the Iliad of Hector,
Achilles, and Leonteus. In bodily powers Euryalus appears to
be the foremost champion the Phaeacians can boast; 126–27.-
We read Nav3ox{öms with La Roche, Bekker, and others, without
the traditional 9', considering it a patronymic (as B 518), referring
to Euryalus, thus bringing the following ascription of beauty into
connection with Odysseus' words, 174–77. So much description
of his personal qualities appears natural in consideration of the
important part he plays in the sequel; and since the place of
honor, in a poetic enumeration, is at the extremes, if 0' be read,
we have the anticlimax of an unknown person.
118–22. Toei's traibes; & 63. — Totoru . . . 8pópos, “and for these
from the starting-point the pace was strained to the utmost.”—
893pos is not the course, but the pace, as Nº. 375. —viſorg ms is the
scratch-line (vögow) from which the race was straight away to the
goal about which the people stood, 125. In the Olympic Games
the foot-race was originally a straight One, the length of the sta-
dium, and it was not till the 14th Olympiad that it was changed
to the StavXoc, in which they ran out and back. —arešíovo; H. 590;
G. 179, 2; C. 425. -
124–25. “As far as on the fallow is wont to be the range of the
mules, so far, outstripping his competitors, did he come in to the
people, while they were left behind.” The distance meant by
oùpov #}ºlóvouw is not known ; but from the circumstances of
K 344–57 it appears to have been greater than a spear-cast.
There, Odysseus and Diomed, out upon their nocturnal scouting
expedition, hear the Trojan spy Dolon coming towards them.
Odysseus proposes to let him pass by a little, and then rush upon
and seize him, or else drive him into the camp. As soon as he
is past them,
§oro'ou T’ £Tri oºpa TréXovt-at
Żutóvov–ai 'ydºo ºrg (30&v Trpoq spéo Tapaſ aioruv
#Akéueval vetoio Ba08 ims armſcºrów &potpov—,
they start after him. Many have thought that of pov represents
the distance a mule team will outstrip oxen in a specified time.
BOOK VIII. 191
Eut from Nº. 431 it seems best to make it the whole distance the
mule team will go at One pull till they stop for breath, and this,
the poet's experience has taught him, is greater than that of the
ox. Compare the Latin measures actus, versus, and our furlong,
ploughgate. Clytoneus comes in so far ahead, because he is 0éew
by aparoc; cf. Virg. Æn. V. 318–19. There is no such distance
between the competitors ºf 754–81. Odysseus is victor at last,
but only because Athene makes Ajax slip and fall just at the
goal. -
126. &Aeyewis. The spirit of this epithet is well illustrated
from the wrestling-match between Ajax and Odysseus, Nº. 714—17,
where their backs are said to creak beneath the tug and strain
of their stout hands, the sweat pours down like rain, and bloody
weals leap up along their sides and shoulders. So Scott, Lady
of the Lake, W. 23: -
“For life is Hugh of Larbert lame;
Scarce better John of Alloa's fare,
Whom senseless home his comrades bear.”
127. Trávras āptorrous. The victors, paired by lot, contend, two
by two, till Euryalus alone remains victor even of those who have
proved themselves best in the previous matches. Am. This suits
the lengthened description accorded Euryalus, 115–16, and his
. Subsequent arrogance.
129–31. ‘ENatpets: the arm that drives the oar well, hurls the
discus furthest. —érépé0 marov; , 99. –épéva: the plural is more
common, but cf. , 155. The contests here resemble the later pen-
tathlon, described in the following lines:
. &\pia. Troööv, 6takov Ta (30Xī), kai &icoutos épw?),
Rai épéuos jóē aráAm, put a 6' £TAaTo T&ot Taxevti.
Of these, only the javelin-throwing, in which the Phaeacians are
nowise concerned, is omitted, boxing being substituted. In Nº
the leap does not appear, but chariot-racing, armed assault, and
archery are added, and it is the chariot-race of which the poet
makes by far the most. In Scheria, we find no mention of the
horse at all; neither are there any horses in Ithaca, and the
reason alleged, § 605, is that Ithaca is a rugged, pent-up island,
and no island is fit for horses. -
133–34. Aeote; 9 11. —I'or the hiatus before et, see on m 6.—
192 NOTES.
otöé . . . Sečámke, “knows and has learned;” on 90. Why the
indic. 2 G. M. 70, 1, Rem.; on m 17, & 239. – Ye pºèv, “at all events,”
whether he knows or not.
135–36. The generic dviv is here described with epic minute-
ness in the various parts, as the connoisseur might run his eye
admiringly over the muscles of an athlete. The early poet is
fond of such picturesque definiteness in his descriptions.—firep-
6ev, simply to specify that the hands are higher than the feet.
At N 75, he says Évêp68 Töögg kai Xéipeg öTrépéev. Compare the lan-
guage of Scripture: “I destroyed his fruit from above, and his
roots from beneath.” Amos, ii. 9. — ordévos, a characteristic addi-
tion to the parts, since abévoc is viewed as a member of the body;
On 237.
137–39. Oruvéppmkrai, ; cf. Danai fracti bello, AEn. II. 13; Miles
Jºractus membra, Hor. Sat. I. 1, 4. — roMéeorolv; & 284. — ot. . . . Tí.
separated, as m 73,216. — guyxeijau, “to crush.” Construe ye with
ovyxsijat, from which it is attracted by its fondness for the first
word in its clause. In many points of view there is nothing bet-
ter than the sea, especially to the oar-loving Phaeacians; but in
the one point of utterly crushing a man there is nothing worse.
This is Phaeacian observation, rather than experience; 9 563.−
eim; m 52. The rendering of these lines has been preserved to
us from the Odyssey of Livius Andronicus, which was the first
translation of HIm. into Latin, and served as a school-book in the
days of Horace :
Namgue nilum pejus
Macerat hemonem, quamde mare saºvom, viris quoi
Sunt magnæ, topper confringent importunae undae.
141–42. HéNo. . . . karū Hoºpov; m 227. — airès . . . pºov: this
line was not recognized by Aristarchus, Aristophanes, or Zenod-
otus; but it must be confessed, as Am. Says, that the preceding
line, standing alone, renders the answer strangely jejune and ab-
rupt. — ièv, like the absolute pépov, &yov, ŠA061), Xaggºv, ióðv, Tapa-
grác, is employed to place the whole action more vividly before
the eyes of the hearer, on the stage as it were. — réºpače pºčov,
“show forth thy saying.” According to Aristarchus, ºpééo never
means in Hm. simply to speak, but always to point out, as 68;
but the addition of uń0ov here and a 273 reveals the tendency
BOOK VIII. I93
to the later meaning already begun. Cf. 9499, and ôstk-vöval,
dic-ere.
145–48. Aeëp'; 911. — kai ov, “thou too,” as well as ourselves.
— £ouke . . . &é0Aous, “for it beseemeth thee to wot of feats of
strength;” cf. 134.—iègev is more commonly 1st plur.ind.—tépa
key flow, “as long as he may live;” on 3, 183, 259, n. 94. Note
the rhyme jaw, jaw; on 3 61. This sentiment, that man gains
no greater glory in all his years than that which rewards the
successful competitor in the games, is thoroughly Hellenic, and
proves the Phaeacian, though lower in the scale of achievement,
to be the equal of the Achaean in enthusiasm for the pursuit.
149. Treipmoat, orkéðaorov. The order would point to action as
the proper means of dispelling his anxieties; but 8, 150, appears
to be causal, and thus to introduce the reason; hence, as 90.
Laodamas anticipates the objection which Odysseus actually
makes, with a sympathetic appreciation for his situation and a
manly respect for the hero, which mark every line of his two
short speeches, and prove him to be what the poet names him,
the goodly Son of Alcinous. The tone of his language is no less
courteous When beyond the hearing of Odysseus than when ad-
dressing him, and he forms a pleasing contrast to the unmanner-
ly Euryalus. The challenge is couched in such terms that it is
really a compliment to Odysseus, and offers him a chance to
leave behind him in the land a reputation for prowess, which
was so dear to the Homeric man. Tydeus, visiting the Cadmeio-
nes, even challenges them himself to the contests of the ring.—
étrö . . . 6uplow ; On & 167; cf. Y. 341.
153–57. The words of Laodamas, kind and courteous as is
their intent, sound to Odysseus, in his situation, like a taunt.
The connection of thought in his answer runs much in this wise:
Laodamas, why bid me this? you cut me to the heart; for you
present to me the pleasing picture of one whose cares are light,
and to be thrown aside at will. Would that such lot were mine
—that the expectation of departure might give me to assume that
cheer which victory in the games demands ! But games are not
for such as I. Care, only, shrouds my mind; for, such depths of
suffering have I journoyed through in all the past. And now,
sitting as suppliant of your people and your king, craving a
9
194 . NOTES.
return which is not yet mine, think you I can so lightly rid me
of my anxious fears?—raora ; H. 555. — Hou, äori, “ have I.”— kai
pāX\ov; n 213.-ès; & 302. —tróNN'; H. 547 c.—peº; m 101, 9433.
Odysseus is too prudent to feel unshaken confidence in mere
preparations and promises, and takes advantage of the opportu-
nity to hint that fact, as well as his longing to depart.—arávra.
Te 8ff.ov. Gladstone sees in this phrase a sign of the strong pop-
ular infusion in the political ideas of the age. Something simi-
lar seems hinted at in the account of the prayer of Tydeus and
Polynices for assistance at Argos, A 380.
158–60. vetkeoré T âvrmv, “and dispraised him to his face.”—
où Yáp, “no, for ;” On 32. — &0\ov; On 108; contraction, as 164.
— troXXà ; ) 260, 214, 0.214. — TréNovral ; m 132, 6 233.
161–64. “But to him who, with ship of many a row-lock abid-
ing, a captain of seamen who are traders, fares abroad, both of
his cargo heedful and keen-eyed for return wares and profits ra-
pacious; for, athlete thou art not like.” The sting of this pas-
sage lies not so much in the allegation that Odysseus is a trader
as that he has been so devoted to his wares and his gains that
his bodily powers and every nobler ambition have been sacrificed
to them. It is the gain, too, which is made by sharpness of deal-
ing, and by peaceful, though often by illegal, means. See on m 10.
The Greeks who are mentioned in the poems as engaged in com-
merce, the Cretans and the Taphians, are at the same time char-
acterized as high-handed corsairs rather than peaceful merchants;
but it is the Phoenicians that hold in their hands the chief carry-
ing trade of the Mediterranean, and to them, as a class, the pres-
ent passage may be Supposed to refer, since to them the poet else-
where gives the epithets Toàkrat, “greedy knaves,” Toxvratra Now,
“very crafty,” and in general he paints their character as a com-
pound of such greed and cunning as accords closely with the
picture here. An acquaintance with such traders is here a bit
out of Greek experience, rather than Phaeacian (on m 50, X 367;
cf. Am. on o 381), since the possessions of the latter are the gift
of the gods, m 132, A 341; unless they have gained such knowledge
abroad (v 113), or a ship has been driven there by chance at some
time; & 202, 278, 0 31, A 364–65.--trpmktſipes. All the crew are
traders, and probably interested in the venture. So the plural is
BOOK WIII. 195
used of the Phoenicians who came to Surie with their wares and
corrupted the nurse of Eumaeus, o 415,456. – déptov. The cargo
of the Phoenician ship just mentioned contained pivota &0üppara,
which may be enumerated as ornaments, decorations, the finest
products of the loom, gold, silver, electrum, ivory, tin, etc. In
bartering these they remained a whole year, amassing “much sub-
stance,” which would form the 68atov of the return voyage. When
ready to leave, they notify the Phoenician nurse of Eumaeus, who
steals him away, together with three goblets of gold, and em-
barks with them. Such gains may be classed among kepāéov Šp-
archéov.—Since One of the Scholiasts limits d'éprov Hvířov to keep-
ing in mind the value of each article of the cargo, it has been
cited as one of the proofs of the absence of writing in the Homeric
day. This by no means necessarily follows, whatever may have
been the state of letters at the time. Any careful master would
keep a close watch of the cargo, whether he possessed a bill of
lading or not ; and the manner in which the sales were con-
ducted required an accurate knowledge of the wares, without .
turning to a price-list. Wolf saw this. Prolegom. XX., Note c.
— Šptra Méav ; & 250.
165. §tróðpa iböv, torva tuéns, AEn. VI. 467; acerba tuéns, Lucr.
W. 33. Mr. Gladstone, so competent a critic in oratory, charac-
terizes the following response of Odysseus as “that wonderful
speech in answer to the insolence of Euryalus, which teaches us,
more than any other composition with which I am acquainted,
up to what point emotion, sarcasm, and indignation can be car-
ried without any loss of self-command.” Juv. Mundi, p. 392.
166. oi ka)\öv, 239, 397, 408. —&Taoréâ\p, “presumptuous;” on
7, 60. — &oukas, retorted from 164. -
167. oitos, “so we see.” oërog in this usage regularly points
to the person addressed as an example of the case educed. The
application is made more fully 176. —xaptevra, “(all) the gifts of
charm.” The neutr. plur. is used substantively, as often in Hm.,
and here implies Trávra ; A 320, N 729.
168. buily, bpévas, &yopmtöv, particularize Xaptevra as the three
great gifts of the gods to man—beauty (and thereunder vigor and
strength), the power of thought, and power of speech. —oire, oùt’,
oùr', as Z 450–52, distinguish the general negation by dividing it
196 NOTES.
into the parts especially to be dwelt upon. No man has all three;
one has pujy, another ºppévac, &yopmtöv.
169–70. &\\os pºv, opposed to &\\og 6' aty, 174. — Yáp T'; ) 307.
—ākubvárepos, “feebler.”—pop by . . . otéðel, “the crown of charm
over his words flings;” popów, figuratively, as X 367; #meot, in-
direct object.
171. &ordaMéos, “unfalteringly,” with copious flow of language,
when the words come thick and fast as snowflakes in the winter
storm. Odysseus is describing himself as if he had just been lis-
tening to the famous passage from the Third Iliad, when Ante-
nor, looking out upon the battle-field from the watch-tower of
Ilium, with Helen, Priam, and the Trojan Elders, gives his remi-
niscences of the hero who had come to Troy with Menelaus before
the war, to demand the restitution of Helen ; T 210–24.
172. aiãot pet)\lyſm, “with a winning deference,” a marked in-
dication of respect for his audience, which forms a principal
grace of the orator. This sometimes takes the form of a little
hesitation at the beginning of a speech, and many eminent speak-
ers have practised it merely in order to give the appearance of
unpremeditated reply to prepared speeches. – pietà. . . . trpétrel ;
Z 109.
173–75. 6eby &s; m 71–2. — &\{yklos &0avárolorly; m 5. — &MA’. . .
&méeororiv, “but not for him is grace flung crown-like round about
his words.”—xápus is synonymous with poppi}v above.—&pidºutrept-
orréderal. According to Bekker, in the 15,694 verses of the Iliad
there are 185 which have no caesura in the third foot, and in the
12,101 of the Odyssey there are 71. These are mostly in proper
names or in compounds, so that at the end of the first element a
kind of caesura occurs, as & 200, and, besides, a caesura regularly
falls in the fourth foot. This is prevented by ápºttreptor, and
by duptºrovnaðus?', Nr 159, so that Am. and F. would separate &pſp-
from the verb; but cf. Hor. C. I. 18, 16; 37, 5; II. 12, 25; 17, 21.
176–77. Ös kai oroi, with special application of the thought to
the case in hand, as n 219. –&pirpetres, “pre-eminent.”—áAAws,
i. e. better. — otöé . . . otóē; on 32. — véow . . . orot, “but in judg-
ment profitless art thou.” With all his attractive exterior, he has
no intellect, and therefore no power of becoming speech.
178. orjôearo't q(Aotorºv, “my dear breast.” It has becn cus-
BOOK WIII. 197
tomary to render dºt\os in such connections as a possessive pro-
noun; but this is out of deference to the feelings of a later age,
rather than a right appreciation of the earlier. In its use as an
attributive, the applications of this word may be divided into
two classes. It occurs in the poems between 500 and 600 times,
and most frequently by far with words of relationship and the
like, Tarſip, piñrmp, TráTzra, Tékvov, Tékoc, viðg, traig, kaotyvnTog, Škvpóg,
uñTowg, dicottig, dicottmc, kovpiðvoc, d\oxog, Tóouc, plaia, Toopóg, vöppm,
#Taipog, cepa)\ff, Ščivog, dºvī0, Yépov, 0.86c, pujósa, Yaia, aia, Tarpíg.
None of these give offence in the English when connected with
dear, and this translation is forced upon us when a limiting gen-
itive, as N 427, O 639, M 355, 6 51, y 259, etc., or a possessive pro-
noun, as E 314, 318, T 132, Z 474, II 447, T 4, p 330, 378, a 214,
to 505, Q 416, § 177, v 413, x 350, qualifies the same noun; I 555,
A 327, fall under fixed epithet. The evidence for the strength
of the domestic affections is cumulative throughout the poems.
The second class comprises the mind, life, parts of the body, etc.,
as 0.uptóg, aiºv, jrop, kāp, otijóog, Naupiðc, Xeip, Yotvara, Yvia, {3\épapa,
eipiata, Öópa, Yépac, čápa, oikia, Öğpuyta, v6oroc. With these, the pos-
sessive translation is almost universal; but if we find the poss.
pron., poss. gen., Or a quasi poss. dat. at the same time, this must
show that the sense of dear was necessary, and consequently that
the same sense was not incompatible when the pronoun was not
used. Such are found s 297, 406, x 68, 147, p 114, 425, a 345,
3 WO3, o 166, 182, 3 270, t 413, ºr 274, v 9, v 231, N 85, etc. This
gives fair ground for the conviction that p(\og to Hm. meant dear
in both classes, and the explanation of this curious fact is prob-
ably this: 1st. In many ways it is the youth of the world that the
Homeric poems set before us in their childlike directness of ex-
pression, which is quite foreign to ourselves, but often heard from
the lips of children before a conventional Schooling has repressed
the undisguised utterances of the feelings. The Homeric man
calls his breast dear, just as he calls his hand Stout, p. 174, or his
thigh thick, X 231, or his house beautiful, 941, or himself valiant,
A 393; t 19–20, etc. 2d. The fondness of the poet for personifica-
tion leads him to apply it to the feet, N 75, the hands, e 434; whiſe
the members are sometimes treated as separate and distinct indi-
vidualities apart from the person himself, as v 237, 13–22, s 355,
198 NOTES.
A 314. Under this aspect there is as good reason for applying the
word dear to one's own hand as to that of a second person. The
German exhibits many instances of a similar usage, and the Eng-
lish a few. See Proceed. of Am. Philolog. Assoc., 1878, p. 15–17.
179–81. karū kóopov; 141.-How is pubeſat formed? H. 370 D. b.
—áppeval, “that I was,” as impf. What three uses has the pres.
inf. 2 G. M. 15. – 33 p’; cf. 147, & 259. —aretrotéea ; & 166.
182–85. §xoplat, as if by chains. – TroMAŠ. &rAmy; on m 225.-
ãvöpów . . . areípov, “through both the wars of men and grievous
waves cleaving my way,” the one with my sharp sword, the other
With my sharp-prowed ship. —áAAä kai Ös, referring to the pre-
ceding, is more closely defined by the concessive tra.0ów, and sug-
gests the later use of 6pog with a participle; cf. A 104.—pºos, jv.
186. airá, bápel, “with cloak and all,” a use of airóg continued
into later Greek; H. 604. Hm. also joins gév with it; v 118; so
Xen. Cyr. II. 2, 9. Usually in such trials of strength the cum-
brous pāpoc would be thrown aside, and in the boxing and wrest-
ling matches of Nº even the Xtröy is doffed, and a loin-cloth only
worn. The scholiasts describe the discus as
a circular plate of stone or metal, about a
º * foot in diameter, pierced through the centre
#7 by a hole, and thrown by the aid of a strap
attached. But nothing in Hm. is said about
the last two particulars, and the copies of
Myron's Discobolus (see cut) show neither
strap nor hole. There the disk, grasped by
the hand on One side, extends up the forearm,
and is in the act of being dismissed into the
air. The object in view was to throw from a
fixed point to the greatest distance, as in the
Scottish “putting the stone.” This exercise was common in the
Homeric day as a part of the military training; for the heavy
stone, ready at hand on the battle-field and hurled by the prac-
tised arm, is often mentioned in the Iliad as a formidable weapon
when others were exhausted. -
187. “Very large as well as thick, heavier by not even a little.”
—tráxerov, probably a strengthened adj. form of Taxic. — or rifle-
pørepov, heavier in consequence of its size and thickness.

BOOK WIII. 199
188. “Than such as the Phaeacians were wont to pitch with
against each other.”—oïq) ; II. 607. — &AMAouoruv ; II. 602.
189–90. Töv fia treptorpélas, “this then Swinging round.” The
motion is that of the base-ball pitcher of to-day, and Zeus employs
it when he hurls Ate out of heaven, T 131. —Bópºmorev, an onoma-
topoeic word. The whir is heightened by the rotary motion in-
parted by the twisting impulse, Atagopuévy Tréterat, Nº. 846. — karð.
8’ &m'rméav Troti : kará in composition is rarely repeated with the
accompanying substantive; A 493, T 25, p. 86, 179, v 249; but
other prepositions often define the thought more clearly, as ºrori
here; v, n 285, 345, 0422, v 135; #7tt, v 70, 74, 76; c, c 107. So
&Tó with čá, a 270, ºr 65, a 260, to 7, 189, N 367; with trapá, e 533,
F. 46, O 407; dºubt with Trept, Nº. 561; on n 281, 9 106.
191. A latent sarcasm might be thought to lurk under this
line in this connection; but when compared with its occurrence
369, v 166, and the habit of the poet, the weight inclines to the
rejection of such a supposition.
192–93. § 8, the stone. — or para, the marks (sticks, stones, or
what not) set up to indicate the spot where the discus of each
had fallen in the previous contest, 129. Note the mixing of met-
aphors in Ötrépartaro, 6éov; cf. 247. 0éo also of a ship, of a rolling
stone, of the potter's wheel, a vein, and the rim of a shield.—
é0mke . . . 'A0;ivn, “Athene set the bounds,” i.e., fixed the Gijua,
195, which was to show how far Odysseus had thrown, and would
then form a goal for any other who would prove victor by pass-
ing beyond it. Táppa, so used, is commonly plural.
195–98. Kat ... àgéad'éov, “even a blind man, stranger, could
pick you out this mark, groping with his hands.”—rot; on 4 131.
—óp (Ag), “throng,” of other marks set up before. —Téöe Y is the
reading of Aristarchus, and refers to the aijua to which she points.
—išeral, “will come up to.”
200–1. &ratpov čvnéa, “a helpmate well-wishing;” becoming
£raipov by reason of the assistance given Odysseus, as a fair
wind is called to 0\ög &raipog, X 7.-āyövl, like &yopff, but espe-
cially of the assembly for the games. – kovdérepov, “more light-
ly,” with lighter heart. The success of the cast, and the di-
version in his favor among the people, dissipated Some of the
gloom of his feelings (on 149) which had been visible even in
200 NOTES.
his countenance, and mollified the anger with which he had de-
nounced Euryalus. -
202. Toºrov, 6iokov, the natural expression for him to use from
his standpoint, just as Tóðs, 198, for Athene at the other end of
the space; hence róðs there is better than the other reading, róv y'.
—ráxa 8. §atepov, “and quickly thereafter ;” so réxa always in
FIm., and not till later in the sense of “perhaps.”
203–6. Togo-oºrov h . . . pigoraſov, “So far or still farther,” both
adverbial. — gaggrov; H. 222 D. — Tév čAAay; on & 257; as op-
posed to véot, it includes those who do not plume themselves
upon their discus-throwing so much as upon the other exercises
enumerated 206. —kpaším 6vplós; on 15. — &ye trelpmºto; on 11.
–– kai Trogly, because he is distrustful of his own powers there,
and virtually withdraws the challenge, 230.
207–8. Trávrov čovákov, defining Tów &\\ov, “Of all the Phaea-
cians I say.”— attoo, “alone,” a meaning not infrequent, and
obtained by its use in opposition to “others;” more exactly,
airóc oioc, puffvog. Laodamas appears to be the eldest of the un-
married sons of Alcinous, because he has his seat next his father
(cf. y 39), is the prime favorite, and takes the lead in challenging
Odysseus. He is, then, in a special sense, the representative of
the family, and as such is excepted by Odysseus from the number
of the challenged; and he is regarded by him as his host more
particularly, because, by his yielding his seat to the stranger, he
placed himself in that relation at the outset, and he has actually
proved himself the real host in his speech; cf. y 36–50,482. The
married sons have no specific mention, except & 63. — $1Méoviru,
“with his entertainer,” with the added motion of the progress of
the act at the time. — pláxolºro, of the contest in games also Nº. 621.
209–10. Keïvés àvip, as subject. —£euvošákº avoids the ambi-
guity of £eivoc. — trpođêpmrau ; & 92, 183. The folly of Such a
course is exemplified in the action of Tydeus, A 391, who, though
a £givoc, challenged and defeated all the Cadmeiones in the games.
So enraged were they that, as he was returning, they laid an am-
bush for him, and it was only his wondrous prowess and the
aid of Athene that saved him from an ignominious death.
211–15. §o ... ko)\oſet, “for his all he mars.”—iðjiev, 146; m 327.
—-treupnóñºeval ; on 100. — Trávra. . . . cipiu, “for in all things not
BOOK WIII. 201
Worthless am I.”--trávra, limited by äggot dis0}\ot.—per ăvăpăow,
emphatic position; cf. 204, 230, 408, v 143. When compared
With 160, does there appear to be a lurking sarcasm in the phrase
at the lack among the Phaeacians of the warlike sports which he
proceeds to dwell upon ?—Why is the hiatus allowed after of Sa?
II. 67 D. d: C. 63 D.; cf. 216, v 14. — &pidad'éaorðat ; H. 802.
216–18. “I first my man could strike with my arrow in a
throng of men who were hostile, even though full many a comrade
close by me were standing and using the bow at the warriors.”
—trpórós, before my comrades. His shot is quick and sure, like
that of Meriones in the Patrocleian games, who snatches the bow
from his competitor, who has cut with his arrow the string con-
fining the dove, and pierces the bird through before it has escaped
from his range, Nº. 870. — &v8pa. He does not shoot at random
into the mass, but selects his mark. — Tapao ratey; m 52.
219. Philoctetes led the Thessalians from Meliboea; but on the
way to Troy, while in Lemnos, he was bitten by a serpent that
issued from the altar as the chiefs were sacrificing. The wound
became so offensive that he was abandoned by his companions,
and remained in Lemnos until after the period covered by the
Iliad. An Oracle came to the Greeks that Troy could not be
taken till the arrows of Heracles, which that hero had presented
to Philoctetes at his death, were in the Grecian camp. Accord-
ingly, an embassy is sent for Philoctetes, who is finally prevailed
upon to come to the Troad, where he is healed and slays Paris
with his bow.
220. Sipº, “land.”—rotagotheó'. This for the foremost chief.
tains would not be in battle, but in contests of archery, which may
be supposed to have received a special impulse by the return of
the great archer to the camp. Teucer is the only man of note.
who makes the bow his regular weapon. The bow is spoken of
slightingly, because it did not demand that close hand-to-hand
conflict in which the Achaean gloried. See the weapons of the
Pelesta as compared with those of the Egyptians, p. 109. In
general, these northward maritime enemies of the Egyptians do
not use the bow. Odysseus' bow is left at home, and he makes
no use of one in the Iliad except in the night-scout of the Dolo-
neia, and then he is supplied with one by Meriones, and actually
9%
202 NOTES.
brings it into play only to lash the horses of Rhesus into camp.
His claim here to excellence in its use prepares the mind of the
hearer for his great feat in the sequel, when he slays so many of
the suitors with his bow. -
221–22. čplé is an example of what unusual construction ?
H. 775; C. 569. So H 198, N 269. – Šororov : the hero is compar-
ing himself with men of his own generation. Elsewhere the poet,
Speaking in his own person, uses oiot, when contrasting those of
his day with the Troic heroes; E 304, M 383. —With étri x009.
Compare Trix0óvuot, A 272. In these, man is opposed to the gods,
who are Oüpavitovsc, m 242. The same contrast appears in orºtov
ëSovres, which is varied in oi &poëpng captröv ščovoſt, Z 142, ouroſpá-
yog, t 191 ; cf. N 322; Quicumque terra munere vescimur, Hor. C. II.
14, 10. The gods, on the other hand, où Girov £6000', où Trivova’’
ał007ta oivov, E 341.
223. &vöpáort ºrporépolotv. The ever-recurring lament for “the
good old times of our fathers” has been the constant theme of
the pessimist in all ages. Homer touches upon it frequently, es-
pecially in extolling the strength of his heroes, of whom Diomed,
Hector, Æneas, hurl stones which two men, oiot viv (3porot gigw,
could not lift. This fact has been taken by some to prove that
the poet must have lived long after the scenes he describes. The
weakness of such evidence is apparent in itself, and Hm. has re-
futed it in the present passage, where those who are so much
greater than Odysseus are removed from him by one generation
only. Heracles was still alive when Odysseus, though a young
man, p 21, meets Iphitus in Messenia, and Eurytus was not long
dead; cf. A 262–72. Poetic and popular exaggeration is the
main element in such comparisons; on m 253. — 0e)\ſigro, a naïve
expression; cf. 9. 210.
224. ‘Hoak\fit ott’; On & 248. Heracles wounds both Here and
Aïdes with his arrows, E 392–409, and his shade, which Odysseus
meets and recognizes in the lower world, is armed with bow and
arrow, ready in hand, with arrow upon the string, X 607. His
traditional costume of the club and lion’s skin is later than Hm.
Pisander of Rhodes, B.C. 600, is said to have been the first thus
to accoutre him. The annexed cut, from a colossal statue discov-
ered by Gen. Cesnola in the temple of Golgoi, exhibits him arrayed
IBOOK WIII. 203
with bow, club, and lion's skin. Eurytus
was king of CEchalia in Thessaly, and, ac-
cording to the later version, he was the
teacher of Heracles in archery, and after-
wards slain by his pupil. But the Homeric
account states that it was Iphitus, the Son
of Eurytus, who was slain by Heracles, after
he had met Odysseus in Messenia, and pre-
sented him with the bow of Eurytus, which
had been left to the son by the father at his
death. This is the bow which Penclope
brings forth from its long resting-place in
the treasure-chamber, to make the proposal
to the suitors that whoever shall bend it
most easily and shoot an arrow through
twelve axe-heads set in line shall win ller
hand. None can even string it till Odys-
Seus gains permission to try, when he han-
dles it with the ease of a master, achieves
the feat proposed, and then turns upon the
suitors themselves.
225. No tradition was handed down of
any such contest on the part of Heracles.
His wounding Here and Aides does not ap-
pear to be applicable. The scholiast Sup- -
poses that the plur. is used sylleptically, tº
and applies only to Eurytus. This is very
harsh, and, Düntz. declares, impossible. More plausible is the
conjecture that some story was alluded to, which, though known
to the lays of the poet's contemporaries, fell into oblivion soon
after, and was not transmitted to later sources; on m 324.
226–28. rô; m 25. —étri with yńpac; cf. obó' icero yńpaoc obóðv,
&XX’ &\er', o 246. Otherwise, v 59. Dione says of Diomed, who
had wounded her daughter Aphrodite, that the man is not long-
lived who battles with the immortals, nor to him returned from
warfare do children upon his knees lisp the name of papa, E 406;
cf. Z 131. It is a settled doctrine with Hm., as later, that Super-
human self-conceit on the part of man will not long escape

204 NOTES.
punishment from the gods, with whose perfection he provokes
impious comparison. Thamyris and the lesser Ajax, together
with Eurytus, are his special examples, and Heracles' death is
supposed to have been hastened by his temerity in wounding
Here and Aides. -
229–30. &AAos, 3&\\st; on 107. With the English long-bow, in
the Middle Ages, three shots to the mile was reckoned good
shooting. The Homeric bow was doubtless inferior; but even
then Odysseus seems to be indulging in something of the boastful-
Iness of his host.—8e£8ouko, ; on & 168.—aroo’iy with TrapéA0p; cf.214.
231–33. &euke) tos éðapiáorðmy; 137–39. — kūpaoruv čv troXMoſs, an
expression of general import, on the wide Sea, as #y TeXáyet pietà
köpiaaty 'Appurpírng, Y 91. — Trei . . . trimeravés, “Since care of my
person on shipboard was not continuous.” This is fully ex-
plained 451–53; cf. & 220. — kopitän is never anything else in Hm.
but the care which is bestowed for the highest productiveness
of the soil, or for the best maintenance of the bodily powers,
whether of horses or men; that care, in relation to diet, cleanli-
ness, bathing, sleep, and exercise, which formed so important a
feature of Hellenic life, and which would necessarily be inter-
rupted in a great measure during the eighteen days' voyage of
Odysseus, when his constant attention day and night was given
to the helm. Of food there was abundance on board till his ship-
Wreck, a 265–67. – 4t)\a ; on 178. –XéXuvrat ; m 132; v 34; cf.
Aïnea, solountur membra, AEn. I. 92.
236. £arei finds its apodosis 241, and the thought runs thus:
Since thy challenge and thy proud claim are spoken with no
unkindly Spirit, but simply to proclaim the excellence which is
properly thine, and to meet the charges of this man who has dis-
paraged thee as no one would dispraise thy prowess who knew
the use of language, therefore hear, too, what excellences Zeus
has bestowed upon us, as upon our fathers. — oik &xáplora, “not
ungraciously.”
237. Ötrmäet, “attends.” &pgth, d\kſ, yogvara, Xeipeg are said to
attend, Özrmögiv, Étré00at, upon a man as his faithful followers and
Obedient servants, ready at all times to render such service as
may be commanded of them ; on 178, v 45. Yagrão, on the con-
trary, is his lord and master; & 133, n. 216–21.
BOOK WIII. 205
238-39. 3ri, 78. —&s, “in such wise as.” So Odysseus indig-
nantly retorts upon Agamemnon, who, in his faint-hearted do-
spair at the success of Hector by the ships, proposes that they
shall make their escape homeward by night, E 90–2:
3 x/
otya, uſ, Tís T' &\\os 'AXavāv Toitov &koúa m
p.90ov, 6v oë kav ćvijo ye 31& G Tóua Tán Tav ćyotto,
ôotus étrio Tavro jou q peoiu &ptua. 84%atv.
— key àyotro and āv čvouro form the conclusion of the conditional
relative clause áoric ärtoratro in both passages. To translate &c
“so that,” as many have done, breaks up the plain flow of the lan-
guage by making X(96plewog. ... vetkeasy parenthetical, destroys the
evident parallelism of construction which the other passage pre-
sents, and emphasizes much less strongly the manifest determina-
tion of Alcinous to lay the whole blame of the awkwardness of
the situation upon Euryalus, where it rightly belongs. The king
discerned the greatness of Odysseus directly upon his appearance
in the palace, and the judgment which Euryalus passes on him
argues neither quickness of perception nor gift of language.
Later, when good-humor is again restored, the king makes Eury-
alus apologize.
240–41. 4 peoiv; n 327. The scholiast is right in paraphrasing
âAA’ by 6); on 389, m 47; cf. § 149–51. —épé0ey; & 289. —kai äNA®,
not only learn them yourself, but spread my fame by telling it to
others.
243. Salvöm, with lengthened penult in thesis by metrical exi-
gence ; H. 28 D. — &A6x9. Odysseus has said nothing of his
wife, but his possession of a palace and slaves, and his refusal of
Calypso's offer as well as that of Alcinous, raise sufficient pre-
Sumption to found the supposition upon ; m 315. The statement
here shows that the wife was accustomed to feast in the great
hall with her husband and guests, as we find Arete m 141, 9420,
X 335, v. 57; on 4, 287–88.
244–45. Connect oia èpya, “what acquirements,” closely in
thought with eitryc.—&m ríðmort, “bestows;” on 4 100. Hm. al-
ways uses the pres, and impf. of this compound in thesis. – kai
#piv, upon us as well as you, and, what is more, Sigirepès . . . tra-
rpów, “still unimpaired from our sires,” to whom we do not con-
fess ourselves inferior, as you do to men of former days in your
and
206 NOTES.
own land. This is a hit at Odysseus, 223, and is in excellent keep-
ing with the boastfulness of the king. Athene warns Telemachus,
(3 276, that he must needs exert himself if he would prove that
he is a worthy Son of his mighty sire, “for few sons are equal to
their father; the majority are worse, though a few are better.”
246. Odysseus took occasion to qualify his original boast of
readiness to meet the Phaeacians in any contest, and was not
backward in dwelling on those accomplishments in which he
knew that the Phaeacians were not versed, and in which, there-
fore, the field was free to himself. Alcinous now adopts the same
policy, and, as usual, outstrips the prudent common-sense of his
original. He withdraws his former claim to pre-eminence in box-
ing and wrestling, 102, and, waiving competition in these, seizes
quickly upon what Odysseus wishes to decline, and enlarges upon
other accomplishments in which he feels assured that Odysseus
cannot become a competitor, and which were really the best ex-
ponents of their easy, secure, and Olympian mode of life.
247–49. §plorrow, sipušv.–8aís; m 99, v. 9. — kíðapts; 6 67. —xopot;
& 65, 157, 9 264, 371. – eſpatá čámhougā, “garments for a change,”
implying not only neatness and fastidiousness in dress, but the
abundance which permits its indulgence; 6 392, & 49, 59, 61, 64.
The contrast is supplied us in the statement of Eumaeus to Odys-
scus that they have no mantles for a change in his steading, but
one only for each man, & 513. — evat, of the Softness of the bed,
as Nestor claims that he has numerous blankets and coverlets, so
that one may sleep softly therein, y 350. The tone of these lines
is much exaggerated by Horace in his pinguis Phaeda'que, Ep. I.
15. 24, and, -
- Alcinoique
In cute curanda plus aequo Operata juventus,
Cui pulchrum fuit in medios dormire dies et
Ad strepitum citharae cessatum ducere curam. Ep. I. 2, 29.
250–54. &Ye; 11. — traforate : hiatus 2 on m 23. — klöv. As the
aor. partc. Sometimes encroaches so far on the domains of the
present as to represent time coincident with that of the primary
verb (on 9 564, v 58), so the present is occasionally used to denote
priority of time, chiefly, however, as a picturesque imperfect.
Though kudºv is probably an aor, as accent and usual meaning
BOOK WIII. 2O7
seem to show (see the gnomic äktov, Hes. Works, 345; and Plato's
translation of cuffy, A 35, by &Troxwpñorag), yet many authorities
insist that it is a present. Rühner classes it among those verbs
in which, since no aor. partc. occurs, the pres. is forced to do duty
for both ; of these he cites ióv, 9 142, 144 (n 204, 9 445), #46pus-
voc, & 118, t 244, ka08%óplewog, & 295, v 372, ÖTvíovreg, & 63 (“having
taken to themselves wives”), 67tvuopišwn, € 304; on v 134,0482.
255. oia'éro; on & 78. Other forms of this aor. imv. in Hm.
are oios, otoers; of the inf. oiașpsy, oioſépěvat; oios is also found in
Aristophanes. – arov kei rat, “probably is lying.” The king had
left the hall before the herald hung up the lyre and led forth the
bard, 104–8. keipiat also of a chair, footstool, bed.
256–58. &pro . . . otorov ; On & 50. – YAadhupily; on 67. – aigru-
pivºtal, “umpires,” “judges;” properly, those who think (uváo-
pat) only of the dues (aioſa) of each contestant, for the purpose of
giving an unbiassed decision. In the chariot-race of the Iliad,
Achilles sends Phoenix to the goal round which they were to
turn, Ög peplyêq to Öpópovg kai d\mósimºv &rositrot, Y 361. – evvéa tráv-
res, “nine in all.” Tràg with numerals marks a complete a l
definite number. In Hm. it always stands after the numeral, in
Hdt. before; later its position is not a fixed one.
259. Säpiot, “ of the people,” chosen from the people, and prob-
ably by the people.— kar’ &Yóvas, “in the assemblies;” &ytºv, only
the assembly, or place of assembly; on 200. The signification
“contest” is later.—éö... gkaorra, “were wont carefully to arrange
each particular.” It is plain from the phrasing that the aiovpavii-
rat were regular officers whose duties were fixed and frequently
discharged. Though not mentioned before, they were unques-
tionably engaged in the superintendence of the previous contests,
and their production upon the scene for the dance marks the
prominence which the poet would lend to that leading feature
of the Phaeacian accomplishments; on 36,472.
260. Aetnvav 8& Xopov, “and they smoothed the dancing-
ground,” cleared away all the obstructions, as Apollo tells Hec-
tor he will go before him and smooth the road for him (kéAsv6ov
Xetavéo, o 261) to the Greek camp. The spot is a particular one
in the agora, and must have been frequently brought into requisi-
tion for their favorite amusement. The whole agora of the Spar-
208 NOTES.
tans was called xopóc.—ka)\öv ... àyóva, “ and they widened a fair
area;” they made the people that had pushed into the arena re-
tire and leave a wide space for the dancers. — kaAöv seems to
limit &yöva to the place, since its meaning is “Serviceable for the
end in view,” as & 263, and applied to divepoc, č 253. Compare,
Ipse (AEneas) omnem longo decedere circo infusum populum et cam-
pos jubet esse patentes, AEm.V. 551, where AEneas, clearing the field
for the evolutions of the boy-cavalry with Ascanius at thcir head,
takes upon himself the duties here assigned to the umpires, and
thus especially dignifies that feature of the pageant.
264. “And they beat out the dance divine with their feet.”
Most authorities agree in making xopov here the dance, instead
of the dancing-ground, as 260. This is supported by the epithet
68tov, applied to it because the dance was very early connected
with the worship of the gods. Virgil takes the same view in his
translation, pars pedibus plaudunt choréas, AEn. VI. 644.
265. Hoppapuyās, “twinklings.” So, Byron addresses Terpsich-
ore as the “Muse of the many-twinkling feet,” and Moore has,
“Dancing feet that gleam and shoot, rapid and white, like sea-
birds o'er the deep.” This dance has been supposed by many,
in both ancient and modern times, to be of a mimetic character,
representing by its movements the scenes described by the bard
in the following song of the loves of Ares and Aphrodite. Such
dances were in high favor among the Greeks in later times, but
were mostly confined to the symposia. In private life, dancing
appears to have had the ban of condemnation set against it; and
though Plato recommends that the two sexes should be allowed
to meet socially in this way, it never found fulfilment in Athenian
history; on & 157.
266. &veſłóNXero, “struck up a prelude.” The playing of the
Homeric singer upon the cithara was probably not a continuous
accompaniment, but was confined to a prelude sounded to give
the key, to the filling-up of the pauses, and to heightening the
effect of particular passages. Later the rhapsode discarded all
accompaniment.
The comic element of the omitted cpisode which follows sub-
serves the purpose artfully to allay the angry feelings that had
been excited on both sides by the unfortunate speech of Euryalus
BOOK WIII. 209
and the retort of Odysseus, and brings back an era of good feel-
ing that was very important to the success of the poet's plans.
Hm. presents to us other instances of a similar device resorted to
for the same purpose: notably, after the angry scene between
Zeus and Here, A 584–600, when the halting Hephaistos assumes
the office of cup-bearer, and by his words and ungainly actions
wins a smile from Here's lips and hearty laughter from the other
gods; and again in the treatment which Thersites receives from
Odysseus, and the ridiculous figure he presents after his flogging.
The people are just disappointed in the great hope, roused in
them by Agamemnon's speech, of Seeing Soon their homes again;
but, though in their grief, they laughed heartily at him, B 270.
Cf. p 376–77, x 371. It is greatly to be regretted that the poet did
not choose some less objectionable form of restoring good humor
in Scheria; but, as has been often remarked, the absence of the
female sex from the circle of hearers preserves the dignity of
their character as previously sketched.
367–73. Taüt’; 83, 521. —&koúay; 429. — perú Xeporiv; & 91. —
Tºv, relative. —IIóAugos. The introduction of the name of the
inventor or maker is intended to dignify the work; as Hephais-
tos, ) 92, and often ; Daedalus, maker of the Chorus, > 592; Pher-
eclus, builder of the ships for Paris, E 62; Epcius, 9 493. —
Satópov; & 256.
374–76. Tºv, demonstrative, introducing the apod. of Črsi. —
What peculiarity of form in Öſtraorke 3 H. 410 D. — grklóevra ;
7, 268. — i8vo,0eis &m (oro, in Order to throw the ball up vertically.
–6 8'; ) 123–26, 129–30, v 67–9. — Trépos; & 331. Ball-playing
was a favorite amusement and exercise among both Greeks and
IRomans through all periods of their history. Every complete
gymnasium had a room devoted to it, where a special teacher
gave instruction in the art. Foot-ball was the favorite game at
Sparta. The game of the Phaeacians was common in later times,
and was called Ourania. The ball was thrown skyward, and
must be seized while the catcher was off his feet. Hm. men-
tions but one catcher; later there were often more. This game
was also in vogue among the ancient Egyptians, where ball-
210
NOTES.
playing was considered more particu-
larly adapted to females.
377–80. &v’ iðūv, “in an upward di-
rection,” “straight up,” as opposed to
y the following Tori x90wi; others, “with
might and main.”— trouxvgoretpm; on
& 226, v 85. – Topóð &pielflopévo, “fre-
quently interchanging,” in the figure
- . of the dance, which is probably ac-
companied by a throwing and catch-
ing of the ball, though Athenaeus
thought not.—ére)\{keov, “beat time,”
but whether with hands or feet, or
both, is not determinable from the
passage. To accompany music with
a clapping of hands was not unusual
among the Egyptians, Assyrians, and
Hebrews; see cut from an Assyrian
bass-relief – inrö . . . Öpópel; on & 40.
382. Compare this sounding line
with the earlier ones where Odysseus
addresses Alcinous, m 208, 303. He has
probed the character of his host, and
adapts himself to the circumstances.
Hereafter he always uses this formula
in addressing him, t 2, X 355, 378, v 38,
and it never occurs elsewhere, except
from the lips of Euryalus, 9401. – mºdy-
tov . . . Acióv, “pointed out of all peo-
ple.” Compare the words of Lucian
in relation to the notoriety gained by
Herodotus on reading his History at
Olympia : ét Troö ye pavein puévov, Šēsikvv-
To av Tój Śaktúxq), Hölt. 2. — &pubeikere,
like ščoxa, 487, with a partitive gen,
as if a superlative. — Mačv takes the
place of &vöpów in IIeporija, Távrov dºpt-
ôstkerov &věpáv, É 320. -

BOOK WIII. 211
383–88. &ptorous, predicatc. — &rotp.o. rérukro, “true it was ;”
II. 518, 712.-Nowhere does the ascription iepov piévos apply with
such aptness as here. See on m 167, and note its connection
here with yń0mgev, aipa, and pu&\a TreTyvpuévoc. The few words of
praise have restored the customary assurance of the king, and
he becomes highly elated. The stranger is now a very discern-
ing person.— tre+vupévos, adjectively; a standing epithet of Te-
lemachus in the Odyssey. -
389. &AN’; “therefore,” is the thought, but áXX' shows the strong
preference for co-ordination, and brings the preceding thought
abruptly to its conclusion in a lively exhortation; cf. & 36, 209,
m 162, 0 149, 542, A 345, 370, v 179; X 374. Classen would punct-
uate the preceding with a colon, especially when there is an
antecedent pºév. Beob. pp. 5–18. — The gift is the one custom-
ary, trueukés, but its richness is doubtless due to the gratified
vanity of the king. Frequent mention is made of the gift from
the host required by the hospitality of the day, as that of the
Egyptian Polybus to Menelaus, 6 128; of Polyphemus to Odys-
Seus, t 365–69; of Menelaus to Telemachus, o 115; of Ctesippus
to Odysseus, v 296–99; of Iphitus to Odysseus, q, 13; of CEneus
to Bellerophon, Z 216, etc. These gifts were usually keepsakes,
and they cemented and maintained a relationship of peculiar
tenderness; on 431. -
390–92. BaoruMies; m 49, 189. — &pxoi kpaívovoru, “as rulers exe-
cute their resolves;” {Troc may be supplied, as it is found v 115;
cf. A 346, 8 170. —Tév limits £ragrog, which is appositive to the
Subject of Švetkars; & 189. —éütrMuvès; on 249.
393. TáAavrov in Hm. is some small weight of gold not positive-
ly known. By a comparison of Nº. 269, 885, and 750, it has been
inferred that an ox was worth two talents, which at Nº. 269 form
the fourth prize in the chariot-race. A half talent is mentioned
Wr 751 as a third prize, where the second is an ox. Later there
was a gold talent called the Sicilian, much used by the Greeks of
Italy and Sicily, which was equal to six Attic drachmae, or three
quarters of an ounce. Colonies frequently retain and perpetuate
among themselves much that the mother country loses or re-
jects; hence this Sicilian talent may be a survival of the Homeric.
In the poems, to obtain a talent, the gold had to be weighed
212 -º-
NOTES.
out, as the name intimates; T 247, Nº 350, Q 232; therefore the
metal was probably in Small and irregular pieces, such as gold-
dust, leaf, nuggets, rings, beads, or the like. During excavations
at Troy in 1878, Schliemann found in the “TRoyal Palace,” among
other treasures in terra-cotta vases, “large and small lumps of
gold,” “a large nugget of gold and another of silver,” “large
lumps of melted gold,” “one such as found in gold-mines,” also
“a lump cut from a gold bar;” on 3, 52. No silver talents are
mentioned in Hm. The six silver blades discovered by Schlie-
mann in the “Trojan Treasure” may be seen in the plate oppo-
site, on the shelf below the diadems. He calls them talents; and
as they weigh about six oz. each, Mr. Head thinks they represent
the third of the Hittite mina of silver, or the lesser Babylonian
mind, whose use spread early through Asia Minor from Carche-
mish, together with the Hamathite or Cypriote syllabary, accord-
ing to Prof. Sayce, and with the civilization presented to us in the
traditions of an early Lydian power (London Academy, Nov. 22,
1879). The relative value of gold and silver we do not know for
the Homeric period further than has been stated on & 232; in the
time of Hölt. it was 13:1; but it is plain from the poems that
silver lies between gold and bronze, and gold is to bronze as
11 : 1, according to Z 236. The apparent abundance of gold in
the poems, as compared with its scarcity in Greece during the
sixth century, is remarkably confirmed by the great quantities
deposited with the dead in the sepulchres at Mycenae. See Ap-
pendix. — ripºffevros; so purſuoto, I 126. Zeus has said that Odys-
seus shall have copper also, e 38, but only a part of the gift is
now presented, in order that the remainder may seem to be ex-
torted by the greatness of the man; A 336 sq.
394–97. $4popev may include the speaker by reference to 425–
30, or it may be said condescendingly, as p 213; on 0.425. –évi
xepoiv . . . kov, of possession in general; but the whole clause is
an expression of Homeric naïveté which does not hesitate to de-
clare that a bird in the hand is worth two in the bush ; on 153;
cf. a. 311, o 76.—é airów, “him for his part,” whether or not you
give satisfaction to us who have also been wounded by your af-
front to the stranger. Am. Düntz. Teads the plainer airòg, by
conjecture.
BOOK WILL. 213
|
|
º --
IIIll
º

214 . NOTES.
398–99. Trávres, the twelve kings. –ékéNeuov, “gave the Order,”
as a concurrent vote of the 3ov\ff ; ) 226. – oiorépievau ; On 255. —
kūpuka : each king is attended by one herald at least, Who is now
despatched to the several abodes of the lords for the presents;
ºf 558–64.
40.3–5. TraykáAkeov does not necessarily preclude added orna-
ment; &rag &pyöpsog is applied to a crater which is gilded about
the lips, o 116. Schliemann found in the
graves at Mycenae many bronze-bladed
swords that had been gilded, and others
without gilt.—éru, ÉTeott; 563.- kótrm &p-
Wupém, like Achilles' Sword, A 219. Some
of the swords above mentioned from My-
cenae had hilts of bronze plated with gold,
and some of wood covered with gold, but
none with silver hilts appear to have been
found. Signor Castellani, however, had
in his possession, in 1879, an Egyptian
dagger with a blade of bronze gilt, and
a silver handle terminating in a kind of
flattened knob covered with thin gold
plates. At the junction of the blade with
the handle, some small silver nails were
inserted with exquisite taste. — ko)\ečy.
The material of the scabbard is mention-
ed only here and A 30, where that of Aga-
memnon is of silver. Those from Mycenae
were mainly of wood, adorned with gold
buttons and other ornaments (see cut);
Some even of linen.—veotrptorrow here, and
Totaroiſ a 196, T 564, are the sole evidence
we have direct from Hna. of the use
of the Saw. — Aépavros. Ivory is quite
often mentioned in use for decoration, as
that of a key, reins, chair, bedstead, the
palace of Menelaus, etc. It came to the
Greeks through the channel of Phoeni-
cian commerce, and appears early on the

BOOK VIII. - 215
Egyptian monuments as tribute from Ethiopia and the East, and
from Cyprus also in the time of Thothmes III. It was found in
small quantities even in the lowest stratum at Hissarlik, and in
still smaller quantities at Mycenae. Pausanias tells us that the el-
ephant itself was not seen in Greece before the time of Alexander
the Great. —á;1418éâtvmtat, “encircles.” As an instance of par-
allel passage (on m 197), compare N, 560–62, where Achilles is
telling Antilochus that he will satisfy Eumelus for the prize that
has been wrested from him unfairly. — troXéos . . . Šarrat, “So that
at a goodly price for him will it be balanced.”—troNéos, as noun.
—áštov, from dya, in the sense of weighing. The thought is real-
istic, as 395. The warrior's weapon as gift emphasizes the re-
traction of the Sncers of 159; cf. H 301–3. But the sword is com-
mon among presents to noble guests; p 222, T 241.
406–11. §pyvpóm\ov represents the nails used to pin the haft to
the blade, as in the Castellani dagger; they were also frequently
of gold or bronze in the Swords from Mycenae. —xaſpe, “joy be
with thee.”—trárep & ; this postposition of tº occurs Several times
not only in Hm., but also in the tragedians.—émos; On 214. —
ãºap ... àeAAal, a proverbial expression, used also by Helen of
herself in a wish, Z 346; cf. § 515, Hor. C. I. 16, 4; 26, 2. —&Aoxév ;
On 243. —étrelön . . . ; m 152.
413–15. 4 (Aos; H. 141; mostly poetic. —&NBia; m 148. — moºl
is rather “need,” longing through pressing want in dire emer-
gency, than longing through regret for ever having made the
gift. The retraction of Euryalus is as hearty as his previous
words were ungentle, and they are met by Odysseus in the same
spirit; the whole line may be considered a specific application
of the general &\{3ta.
416–18. 0éro, “slung,” by the shoulder-strap, regularly a part
of the sword's accoutrement. Some of gold were found at My-
Cente. — tº . . . kai, as m 289, & 321, exhibiting the early fondness
for co-ordination, though in such expressions of time it is some-.
times continued into Attic prose. The sense is, by the time the
Sun had set, the gifts were come. Düntzer queries why they wait
in the agora, and do not proceed at once to the palace, now that
the games are over. Evidently, in order that the whole pro-
ceeding may be a public one, transacted before the eyes of the
216 NOTES.
assembled Phaeacians; cf. 9. 157, v 14. Thus Odysseus is hon-
ored more highly, and the Homeric fondness for ocular display
is Satisfied. In like manner the gifts from Agamemnon to Achil-
les are first brought and set év påg og áyopff, T 249, and then re-
moved to his tent, T 279. Compare the setting-forth of the prizes
in the Patrocleian games, Nº. 654, 701, 799, 886.
419–21. traßes: they appear to have accompanied the heralds
to the palace, and there they perform the same duties as m 5. —
p.mtpi ; & 305. The presents are placed in her keeping because
she is peculiarly the host of the stranger, m 142, and the house-
wife is the usual guardian of the valuables in the house. When
Helen presents Telemachus with a piece of her own handiwork
for his future bride, she tells him, meanwhile, pixg trapd puntpi kst-
o60 vi pusyápºp, o 127. — rotoruv, Odysseus and the lords.
424. xm)\öv. The treasure - chamber of Odysseus contained
many a coffer well stored with garments, 6 338, p 51; likewise
that of Priam, Q 228. For the chest brought by Achilles to
Troy, see on & 76. This is kaAïc, čawāaxémc, II 222, and the lids
of Priam's are ca)\& ; cf. 6 438, v 68; hence they were of hand-
Some workmanship, and we may compare the Chest of Cypse-
lus; on & 84. This was made of cedar inlaid with ivory and
gold, and was covered with embossed representations of scenes
from early Greek legends, with the names of the personages in
archaic letters in boustrophedon style. That the chests of the
Homeric period were probably of cedar may be inferred from
their contents being called odorous, p 52, and the store-room it-
self being of cedar, Q 192; cf. Eur. Alc. 160, and Ezekiel, in his
apostrophe to Tyre, xxvii. 24: “These were thy merchants, ... in
blue clothes and broidered work, and in chests of rich apparel,
bound with cords and made of cedar.”—#ris àptorm, the best
We have.
425. airfi, here and 441, seems certainly the reading with Am.,
Eust., and probably Aristarchus, instead of air) with Bekker.
The mantle and tunic here are the contribution of Alcinous,
which he did not send for sooner, as appears from 399, 428, 440;
while the cup, 430, takes the place, only more richly, of the talent
of each of the other kings. This clears of all difficulties here,
and leaves the mantle and tunic of v 67 to be the gift of Arete
|BOOK VIII. 217
herself aſter her challenge, A 340. No gift Secrls to be required
from her here, but to omit it after what she says there would be
less than gracious. Greater prominence is given to the presents
of the king by this isolation from the others (cf. v 66-7, 0.472),
and it offers opportunity for other happy touches.
426–29. &#14. ... rupi, because the legs of the tripod enclose
the fire; see a representation of this from
the tomb of Ramses III. in the annexed
cut.—xa\köv, Toitoča, 434. —ifivate, plur.,
including the servants.-eč, “Snugly;” cf. ,
v 20, II 223. —ákočov, in its causal Sense, is tº
parallel to the causal dat. Sart; cf. A 60. Yº
Alcinous is again characteristic in dwell-
ing with delight upon the pleasure he is
conferring on the guest.
430–32. čyö, opposed to painksg, 428. — Tó8’, raising the cup
from the table before him, where the goblet was accustomed to
stand, and displaying it to all.—&\elorov, regularly of something
splendid, and it obtains the epithets ca)\óv, Treptica)\\éc, čupwrov ;
on 9 89. The derivation à, Agioc, rough with figures embossed,
is suggested by Athenaeus and Some of the scholiasts, and ac-
cepted by L. and S. This is supported and strengthened by the
fact that the larger part of the numerous gold and silver gohlets
from the graves at Mycenae are embossed with various designs.
Compare the silver and gilt bowls of the Cosmola Collection, in
the later Phoenician style. — piepvnpévos, 244. Menclaus uses the
same expression when promising an aleison to Telemachus, 6591;
cf. § 191, o 54–5. — or révôm. Achilles keeps a goblet for no other
use than to pour libation to Zeus; II 225. Thus the tender
memory of the guest-friend is lifted higher by its association
with the gods, and a prayer goes up with the libation for the
prosperity of his former host.
433–34. Heră, 156; & 307. —éeltrey, “told them.” At o'76, 93,
eitra, exchanges with kéAgvaev. Account for the tense of the fol-
lowing inf. ; G. M. 23, 2, Note 4.—rpūro8a, as shown by the fol-
lowing line and 437, is a vessel with three legs attached to it,
not a vessel with a separate tripod stand. That both kinds were
in use is probable, but the proof from the poems is inconclusive.

10
218 NOTES.
Of the former class a fine specimen of copper from the graves of
Mycenae is given below. Others of terra-cotta were common in
the excavations at Troy, and some Small specimens from very
early Cypriote tombs may be seen in the Cesmola Collection; see
on v 13. —&TTL Téxiorra: in such expressions are words denoting
possibility found with ört H. 664 b.
435–37. Moerpoxóov, “bath-filling;” at v 297 it is used substan-
tively of the slave who performed that task for the stranger or
others, and received a fee. This and the next two lines are re-
peated from x 346–48, where the corse of Patroclus is bathed for
the obsequies. The scene is now transferred to the interior of
the palace, and the impf torraorav, “proceeded to place,” may rep-
resent this; so a 307, o 257, & 433. The departure of the maids
is not mentioned ; but neither is that of Arete, nor that of her

BOOK WIII. 219
sons from the agora, 419; compare T 386–92 with 503–5; so,
often. The poet varies greatly in the minuteness of his descrip-
tions. Apparently, it is not till the water is in the bath-tub
that Odysseus sees it, 450. — Aoûoral, taking from the pile of
wood at hand, which, in the palace of Odysseus, is said to be
split in the morning by the servants and laid ready, v 161 ; cf.
a 308. The participle gives a more vivid touch to the picture
for the Supposed spectator, as I 216; detpac, a 141; Nagojv, v 300;
on 6 144.
439–41. 9a)\ápoto, “store-chamber.” That of Odysseus is de-
scribed, 6 338, when Telemachus goesthither to procure provisions
for his voyage to Pylos. It contains heaped-up gold and bronze,
clothing in chests, and odorous oil, while jars of wine were ranged
round the wall. Priam visits his, Q 191, to select costly objects
for the ransom of Hector, and it treasured many a marvel. Men-
elaus and Helen seek theirs, to procure gifts for Telemachus at
his departure, o 100. —xpvorów doubtless includes the goblet of
the king. Menelaus presents to Tclemachus a golden goblet and
a silver mixer, and Helen gives him a peplos, o 102 sq. These are
conveyed to the vessel at Pylos, where Tclemachus stows away,
êq6ñta Xovo 6v ré, Tá of MevéNaog £60key, o 207, where Xpwoºy can
refer only to the goblet ; cf. o 448, 469. — 88wkav here is to be
compared with évetkav, 428, v 12, 120–21. — airfi; the MSS. have
air) here, though abrij, 425; but this violates the customary for-
mulaic repetition. Arete is simply executing the orders given,
425. For like use of airſ, see S 542, 6 389, § 846, a 260, t 21,
+ 473, v 97. -
443. “Do thou thyself now look to the lid, and quickly thereto
a fastening cast;” another touch of realism. She does not want
him to blame her in the future if any harm befalls. Among the
first thoughts of Odysseus, on awaking in his native isle and
finding the Phaeacians gone, is to count the contents of the chest,
as well as the other objects, and see if all are safe, y 215; on m 33.
—£8e and Xóðs have recessive accent in Hm. What accent later ?
II. 366. —006s; on 38, v 19. Hm., in general, is not the poet of
slowness, but of life, action, haste; witness merely the frequency
of aipa, abrica. The departure of Odysseus that evening is still
expected.
:
:
:
220 NOTES.
;
:
444–45. 8 mAſia eral, “may do it (the chest and contents) mis-
chief;” v 124.—aºre, “next,” “once more,” “by-and-by,” as
H 459–60. There is no idea of repetition, but only an opposi-
tion to the present situation. Some have seen an interpolation
here, taking airs in the Sense of “again,” and finding in it a con-
trast to the occasion when Odysseus, returning from AEolus, after
nine nights of watching at the helm, falls asleep, and his compan-
ions open the bag of winds, and they are driven back again. Of
this Arete must necessarily be ignorant until the story is related
in c. This is making difficulties where there are none.—eč8mgöa;
m 318, v 79; H. 357 D.; C. 233 D. Some of the scholiasts imag-
ined that the Phaeacian ships had the magic power to lull the
convoyed stranger to sleep. A voyage by night, with their per-
fect calm and security, m 319, 9 563, appears sufficient to account
for the anticipated slumber.
448. arouk{\ov, “intricate,” “manifold,” shows that Secrpov re-
fers mainly to the knot. Though keys are mentioned in Hm.,
ºp 47, Z 89, they are only a hooked shank to throw back the
cross-bar of the door. It was fastened by a thong. The means
of securing the contents of any coffer was the cunning knot,
which would baffle ordinary ingenuity to untie, as the famous
Gordian Knot, which is called ěeopóg by Plutarch. Chests were
so fastened by the Tyrians in the days of Ezekiel, and Herodotus
speaks of it, III. 123, in the story of Polycrates. The impress of
the seal-ring on wax, coming into vogue, relegated the simple
knot, in a great measure, to the mystic cista. AEolus uses a silver
cord to tie the bag of winds, k 23, and Zeus a gold one about the
wrists of Here when he suspends her from the sky, O 19. Schlie-
mann found at Mycenae two gold boxes whose lids were attached
by gold wires, and two gold vases with the wires still remaining.
See cut on opposite page. This explains kojöspyov, y 392. A
scholiast tells us that the seal-ring was not yet known. It is true
that no mention is made of it in the poems, yet Schliemann dis-
covered several at Mycenae, and the rude lentoid gems of the
AEgean isles were doubtless used in part as swivel-rings. The
Babylonian cylinder and Egyptian Scarab were employed at a
very early period for this purpose; see very fine specimens of all
of these from Curium in the Cesnola Collection.— ppeal, local dat.
:
:
.
* >
©:
BOOK WIII. 221
as the recipient of the instruction; on n 327. The Scholiast sug-
gests that Circe taught him, that he might be prepared against
any such emergency as had already befallen him in the advent-
ure with the bag of winds. She is 60Xósga'a (t 32), like Calypso.
449–53. airóðvov, “forthwith.”—ágrápiiv6ov. The bath-room is
placed near the entrance to the péyapov. Hayman’s supposition,
that the preparations for the bath, and the bath itself, took place
in the péyapov, is absurd. — &p', after he had gone to the bath-
room. — &g traortos, with 6vp.6; cf. 395. – kopičáplevés; H. 801; G.
M. 112, 2. — kop.18% ; 232; m 257. —6é Ös; & 309.
454–55. Aoûgray; On & 210. —XAatvav ; On & 9. Since it is a
pápoc that Nausicaa gives him, & 214, n 234,084, 186, is a change
of clothing intended ? We have no further mention of his gar-
ments till v 399, when Athene is to transform him into a beggar,
but we are only told there that she throws about him a filthy
rag. When, however, she retransforms him, to be recognized by
Telemachus, she gives him a pápog, ºr 173. Telemachus, after his
bath in Pylos, has a pápog, y 467; next day, on arrival at Sparta,
* > e &
tº

222 NOTES.
he is bathed and receives a x\aiva, § 50, again mentioned 6 115;
when next alluded to, on the morning of his departure from
Sparta, it is a păpoc, o 61. Directly upon reaching home, he goes
to the bath, throws off a x\aiva, and after bathing dons a x\aiva,
p 86–9; cf. x 487, p 155. This evidence does not prove conclu-
sively (o 188) that the two words are synonymous, as they are
metrical equivalents in the acc., or that they are plainly distinct.
They are surely different things, however, Q 230–31, and a change
of garments would be quite in keeping with the specialty the
Phaeacians show in that direction.
456–57. oivororºpas; & 309, m 99, v 8. They appear to be just
beginning the banquet, the preparations for which have not been
interrupted by the bath to the stranger. In like manner, Telem-
achus is tended by Polycaste while Nestor is engaged in the sac-
rifice, y 464, and there, as here, the bath does not take place until
the day after arrival. —0eów . . . Kouoro ; & 16, 18, 102, 151,161.
458. Gºrā . . . trapū; On 4 212, 218.-graðpºv; & 19, m 89. As
the unmarried princess, she may not appear in the hall (m 13), but
she now comes from the women's apartments to the door leading
into the hall, by which we may suppose Odysseus, returning by
the Nation, must pass to reach his seat. This is the post also taken
by Penelope whenever she appears before the suitors. Probably
knowing from the preparations within that Odysseus is to pass
that way, the princess comes to say farewell; cf. v 387–89.
459. 6aúpaſſey; & 237. —év 349a)\plotoruv. The construction of čv
in this phrase, which is mainly confined to the poets, has been
variously explained. Am. thinks that the poet conceives all be-
fore one to be in the eyes, i. e. within the range of vision, as all
behind is in one's back, thus connecting it with the poet's Con-
ception of time; on & 242. Düntz., with many grammarians,
considers it instrumental, because the power of vision lies in
the eye, the simple dat. being more common. Naegelsbach says
that the expression arises from the form of the object being mir-
rored in the eye. Both Am. and Düntz. urge the objection to
this that it is too subjective for Hm. But the mirrored pict-
ure in the eye is a fact observed by all children at a very early
age, and that it was known to Hm. is shown by his use of
YXīvn, the pupil of the eye, in the tropical sense of “doll,” from
;
.
i
;
BOOK WIII. 223
the image; cf. the later kópm, applied to the eye by a reverse
process. -
461–62. xaſpe; translate as 408. The sense is: Fortune go
with thee, that thou mayst hereafter reach thy native land and
there remember me. The participial clause contains the prom-
inent thought, as in her speech & 61, 64; yet, like her father,
431, she wishes to be remembered.—3rt; 78. — Trpiórm; & 176. —
£oéypt', “thy life's price.” It is properly the price paid by pris-
oner to captor for Saving his life, and occurs once more, x 407,
where Hephaistos, who was saved after birth from his mother
by Thetis, says, upon her arrival to ask arms for Achilles, that he
must needs pay her 30&ypta.-This is the last glimpse we have of
Nausicaa. Her dream, & 244, has vanished, but it was all too short
to leave a sting behind. If the melancholy of a shattered hope
lingers round her few and simple words of parting, yet there
gleams through it, while claiming return for saving his life, some-
thing of the playful archness so winsome from the outset, & 57–
65. Hm. has not handled this episode as many an imitator has
done. Here we have none of the Medeas or Didos, whose name
is legion in later literature. It was quite within the province of
the poet to enchant us with the lovely creation of the Phaeacians,
but it must in nowise thwart the grander scheme of his greater
epic.
465–69. oiro, “in that way,” with reference to xaſps, Tror' ºv,
but also more fully explained by the following line. At 0 180–
81, this line and 467 form the entire speech of Telemachus in
reply to Helen's interpreting the appearance of the eagle as pro-
phetic of Odysseus' return. — vov, “now,” at last after all my
wanderings. –0etm, “ dispose.”—éptyôoutros; m 164. Here, a god-
dess so prominent, aggressive, and partisan in the Iliad, disap-
pears almost altogether from the Odyssey, being mentioned only
seven times, thrice in the present formula, once as mother of
Hebe, and thrice in legend or narrative extraneous to the subject
of the poem.—With ēA0épeval supply ipê; on 520. –ró, “in that
event,” supplies the place of what ? H. 751. —kci ketów, also there,
as well as here, with reference to his present thankfulness, and
perhaps with a reminiscence of & 149. Gladstone, taking this
literally, cites it among the evidences that deification of heroes
&
&
224 NOTES.
•:
;
Je
.."
:
and benefactors after death appears before us in Hm. as begun,
yet, at least in the Olympian mythology, as incomplete, though
the consummation of the process is imminent, since all the ma-
terials are prepared for the extraordinary development which
came later. — or . . . koúpm, “for thou didst give me back my life,
O maiden.”
469–70. śs; & 212, 9 458, Q 553. —oi 8', the attendants. – pot-
pas, the proper portions of meat assigned to each according to his
rank; on 98. Eumaeus, in his steading, preparing supper for the
disguised Odysseus, divides the roast into seven parts, one for
Hermes and the nymphs, four for his assistants, and one each for
himself and the stranger. The portions were cut up by the carver
into slices before distribution; on m 173. –évepov; on 456.
472. The entrance of Demodocus at this rather late moment
draws all eyes upon him, and gives occasion for the compliment
of Odysseus, and his subsequent request for a further display of
the poet’s gift of poesy; on 9 425.
473–75. §petoros; 65–6. — v.3.rou . . . AéAetºrto, “from the ten-
derloin a slice cutting off, but thereon the greater part was
left.” The choice piece had been served to Odysseus as a mark
of honor, as when he dines with Eumaeus, & 437; Menelaus
places his beside Telemachus when the latter arrives at his pal-
ace, & 65. In like manner Ajax is honored by Agamemnon after
his duel with Hector, H 321. Among the Spartans, the kings
had double portions assigned them at the banquet, Hdt. VI. 57;
and this was done, Xen. tells us, not that they might eat twice as
much as the others, but that they might be able to honor any
one from it if they wished, as in the case of Menelaus above men-
tioned. We may suppose the slicing here to be done with the
sword presented by Euryalus, as by Theseus in the story of Plu-
tarch. —éri. . . . AéAetºrro is parenthetical, and is doubtless in-
tended to express by the size of the piece the honor paid to the
guest. Yet it would be quite characteristic of the poet should it
be interpreted to mean that the hero does not rob himself. In-
stances of such frugal traits may be seen B 183, Z 234, 3 97, 747,
e 289, Q 236, v 15.
476. 33s limits vórov; 0 60. — &Aoué'ſ ; fat was in high esteem,
and its savor in the burning sacrifice was pleasing even to the
sº
&
e
sº
? &
tº
BOOK VIII. -ºr 225
gods. The body of Patroclus was enveloped in it completely
before cremation, and his ashes were covered with a double layer
when deposited in the urn, Nº 168, 253. Acorns and black water
serve to produce rich fat in Swine, v 410.
477–81. Th; how formed ?–Connect Aq}.cbó;tº with trópe.— kct
Huw ºrpogºrráčopal, “and that to him I may offer my embraces;”
cf. & 146–49. – kaft connects back to Öppa. — ºrpoortráčopic, origi-
nally of a garment, & 252; then offolding in one's arms, congratu-
1ating.—áxvépévés trep; m 215, 297. — &věpátrovgruv, local dat, usu-
ally with čv. – #1 popot, “participants.” — cipas, 74.—éöögåe, {{-
Mºnore; on m 217.
482–86. dépay; on 254. This partc. occurs some 95 times in
the poems, 40 of which represent time prior to the main verb;
cf. ) 172, 175. The aor. partc. is found but once; on v 134.—
Connect šv xepov with É0mkey, as 406, v 57. —#pº, a dissyllable
also H 453. Such a dat. is the common usage in this phrase, but
not invariably, as Nº. 597, where the gen, occurs. — 38éaro, formu-
laic after a gift, often followed by Xaipov. The formula is aban-
doned Nº. 597 for a simile, when Menelaus receives the horse:
Tolo 63 0946s
iávöm, dis at Te Tepi GTaxââo-auv čápoli)
Antov &\óñorkov-Tos, Šte qºpto.govolv ćpovpat.
“His royal heart was melted,
As in a growing crop of wheat, when all the acres bristle,
A dew, descending genial, the ears doth warm and Soften.”
NEWMAN.
— oi 8’; 71.
487–88. §§oxa ; on 382; in a corresponding line, N 374, Tapi is
Substituted for £oxa. — oréye, equivalent to as rotóvãs $61,7a, stands
for greater emphasis in both clauses.— Moto’... 'AtróANov. De-
modocus has been inspired either as a poet by the Muse, or as a
prophet by Apollo, since the Homeric Apollo is not the god of
song, though he presides over the mechanical art of playing on
the cithara. The Muses know all, and can impart all, B 484–91;
and the prophet, under the inspiration of Apollo, knows the past
as well as the future, A 70; on 9 74.
489–91. Atmw ... kócrpov, “for quite in order due,” referring both
to his truthful portrayal, and to the proper sequence of events;
cf. 87, 90, 500.-otroy; 81, a 350. The following line is a further
10%
226 ſº NOTES.
extension of oirov, and by its repetitions emphasizes the woe, and
indicates the particularity of the bard.— &gre; on & 122. —With
ëANov supply trapsóvroc, from Tapedy. Düntz. Gladstone, argu-
ing that the poet lived within a generation of the war, thinks
that Him. is glancing at his own case in this passage, and adds:
“The idea seems here to be conveyed with distinctness that either
actual experience, or, at the least, the evidence of those who had
possessed it, was a condition of true excellence in historic song.”
Juv. Mundi, p. 5. On the other hand, Am. Sees only a reference
to the lively and vivid portrayal of the details.
492. Egráðm9v, “pass on,” to another theme; cf. Hymn Aph.
294, get 6 &/d) apčápasyog pºstaghoopiat àA\ov čg Špayov. 489 shows that
he is asked to pass on from the earlier recital of the morning, 73.
Odysseus is naturally most interested in that of which he has
been a great part. — káo Hov, the setting-up of the parts in Order,
the building. Mure calls attention to the artistic epic arrange-
Iment of the following poem, in which the Hippocosmos ought,
historically speaking, to form the introductory scene. But, in-
stead of that, the subsequent operations of the Greek armament
are first described, and there is not a word of the horse itself
until, on the scene shifting to Troy, it is found already within
the walls. Here, then, was the proper place for the description
of the fabric and equipment of the horse, with a list of heroes it
contained, as a retrospective episode. That this does not appear
may be due to the brevity of the epitome, and to other more
commanding incidents; SO that, as it stands, the Stratagem of
the Horse would be the more accurate title, since the poem must
have comprised the whole series of events down to the recovery
of Helen, as actually treated in the Cyclic Ilii-persis.
493–94. Souparéou ; On & 30.-’Etreubs; ipse doli fabricator Epeus,
Virg. Æn. II. 264. In the Patrocleian games he is victor in the
boxing-match, but he acknowledges himself inferior in battle.—
crèv 'Aéºvil ; equum divina Palladis arte aedificant, Æn. II. 15; cf.
& 233. — rov, Šv; two relatives referring to the same antecedent,
without connectives, are unusual; but see A 382, p 229. —8óMov,
“as a means of deceit.” 66\p is the reading of Aristarchus and
Aristophanes according to the scholiast, but all MSS. give 36Nov,
which appears supported by insidias, AEm. II. 36, doli, 264; cf.
BOOK WIII. 227
Eur. Tro. 580. —#yaye, because he was the originator and prime
Imover of the enterprise, and upon his firmness and decision its
success depended; 6 284.
495–98. §pºrxāords: this line forcibly presents not only the
agency of Odysseus, but also the immense bulk of the horse.
Virgil indulges in greater detail, AEm. II. 15, 20, 32, 262. — at key;
m 75. – plv6%gopal ; cf. 242, 251. — trpád pºev, “right heartily.”—
0<bs, whether the Muse or Apollo; 488. – 6éarriv, “god-spoken,”
the poet being only the mouth-piece of the deity. -
499–500. § 3’: is this used in Attic prose ? H. 525 (y). — 5ppm-
633 Geov, “stirred by the god;” H. 582 a.— datve, “brought to
light,” showing plainly that paiva and pnput arc from the same
Toot; on 142. — vºev . . . Ös, “seizing on the theme from the
point that tells how,” with reference to 492. At the opening of
the Odyssey the Muse is called upon to begin &pé0sv, “at some
point,” a 10. — WorcréAgov, “well-decked,” according to Am.,
Düntz., Aut., F., Seiler. ašApia does not occur in Hm., tºpia, v 74,
being used instead. — Construe étri wºjów with 8&vrsg. -
501–3. &réarketov, “were sailing away,” doubtless to Tenedos,
as in the AEmeid, and for the same purpose, though not distinctly
so stated by Hm. Tenedos, however, is the first halting-place
from Troy Hellasward, y ič9. — ev; & 116. — k\tortugu, huts of
wood, etc., not tents. What anachronism is committed by Vir-
gil, AEn. I.469, II. 29?–’Apyetov resumes of pºv as explanatory.
— roi opposed to oi pāv.–à8m, “already.”—eſſor', impf. ; cf. & 307,
0 512. –áyopä, in both senses, assembly, and place of assembly;
for the agora of the Trojans was in the acropolis, H 345, B 788,
as were also the palaces of Priam, Hector, and Paris, and the
Temple of Athene.
504. atrol. By what artifice the Trojans were prevailed upon,
Hm. does not tell us. The story of Sinon appears first, so far
as is known, in the Ilii-persis of Arctimus. Heyne is supported
by Conington in the conjecture that this story may have arisen
from the account, 3 243–58, of the visit made to Troy by Odys-
seus in disguise, when he is recognized by Helen, and relates to
her “the whole plan of the Greeks.” This visit seems to have
preceded but shortly the Stratagem of the Horse, and to have
been undertaken to gain “information,” 6 258, leading to that
228 NOTES.
project. Neither does Hm. give us any hint of the Palladium ;
but that the inducement to drag the horse into the city was
Something like that assigned by Virgil, AEn. II. 17, 162–94, ap-
pears to be intimated by line 509 below. -
505–6. £orráket, as impf – rol. . . . &Yópevoy, “while they with
indecision much harangued.”—ákpura represents both Wavering
and contrary opinions, as AEn. II. 39: Scinditur incertum studia
ân contraria volgus. The charge is brought against the Trojans,
B 796, that pºiſ00u ärpurov are ever dear to them. Compare the
epithet of Thersites, &kpurópav0s.—#gevoi, to be taken loosely, as
B 255, X, 82; the speakers stand, the listeners sit. There may
be a contrast intended to £atácsi, the horse towering above the
multitude. Virgil represents the debate as taking place, as we
should expect, while the horse was still standing on the plain.
The haste with which it was drawn into the city is exhibited
above, 501–2. The statement of the text is so singular that it
would appear to embody a tradition, and this is supported by
the fact that the Lesser Iliad and the Ilii-persis also followed
Hm. — rpíza. . . . Boux?), “for in three ways among them was ad-
vice finding favor.” The several plans are introduced by #2, #, #.
Virgil has three plans, but in a different order.
507–8. StatMºgau : Virgil places this last and expands it into
a real explanation, terebrare cavas uteri et temptare latebras. – koi-
Aov Sápu, cavum robur, Æn. II. 260. — v. Mé personifies not only
XaXicó, but elsewhere Ösopºc, čTvog, juap, jrop, 6vpuóc. — karð "re-
Tpáov : Virgil unites the thought of Hm. and the karaj)\{yety of
Arctinus in his pelago praºcipitare, Subjectisqué urere flammis. –
ěpáoravras; on & 60. One part of the citadel is higher than the
rest, and there looks down a steep escarpment.
509–10. # . . . eſvat, “ or to leave it as it was, a great offering,
to be a means of propitiating the gods.”— &áay shows with what
feelings it had been brought there.—Geów 9eXkrápuov are sepa-
rated from the preceding construction by the caesura. This line
corresponds to Virgil's first plan, duci intra muros et arce locari.
—Tâtrep 8%, “in which way exactly,” referring to the last. The
subject of épusX\gy is loosely the result of the debate.
511–12. &moMéorðat, as substantive; its subject is either the Tro-
jans, or the city personified. — why; on Z 262. — &pówka)\ºm ;
. BOOK WIII. 229
& 303. –30', 60t, “wherein.”—arávres: Hm. names Odysseus, Ty-
dides, Menelaus, and Antilochus, in 6, and Neoptolemus, in X.
Virgil gives other names, Æn. II. 261–64. Stesichorus says they
were a hundred.
514–16. Ös; 9 76, 498, 500, a 237. “The three forms of oratio
obliqua develop in the following order: First, the infinitive form;
secondly, the optative form, which is chiefly post-Homeric, the
opt. for the ind. in Hm. being restricted to a narrow class, the in-
terrogative; and, thirdly, Ög with the participle.” Prof. Gilder-
sleeve “On the Articular Infinitive,” Trans. Am. Philolog. Assoc.
1878, p. 9. – Suárpa£ov : what two changes in the verb-form for
this? H. 383 D.—itraróðey; Illos patéfactus ad auras reddit equals,
lastiqué cavo Se robore promºunt, demissum lapsi per funem, AEn. II.
260. —ékxópevol, ékºrpo)\tºrówres: when two or more participles are
thus arranged without connectives, the order of time regularly
follows that of their sequence; cf. 526–27. — &AAov falls back to
the earlier idiom.
517. After the death of Hector and Paris, the chief command
of the Trojans appears to have devolved upon Deiphobus, who,
with his brother Helenus, commanded one of the five brigades
marshalled against the Greek defences, M 94, and who follows
Helen when she visits the horse at nightfall, 3 276. This would
account for Odysseus' seeking his palace, and the heaviest battle
taking place there: but the Lesser Iliad made Deiphobus marry
Helen after the death of Paris; and though Hm. nowhere says
this, he has nothing inconsistent with it, so that it may be ac-
cepted as probably his view of the case. A special appositeness
is thus given to the presence of Menelaus there.
518–20. "Apna ; 115. — civörorov tróAepov. Virgil also takes
Odysseus and Menelaus to the house of Deiphobus, but, with his
usual persistency in degrading the character of Odysseus, he
makes the death of Deiphobus a cowardly murder in his bed-
chamber, Æn. VI. 521. — $4to, the bard said; with a change of
subject to Odysseus for the following inf. Such omissions of the
subj. of the inf., though it be not the same as that of the primary
verb, are frequent in Hm.; cf. , 174, n 274, 9 466, v 30; some-
times introducing obscurity, as 0 569, v 177. — kai éirevra, “then
too,” as well as on so many other occasions by her aid. When
230 NOTES.
she appears to him on landing in Ithaca, he entreats her to aid
him in wreaking vengeance on the suitors, and begs her to stand
by him, “as when we loosed the shining coronal of Troy;” v 388.
522–25. rºkero, “was melted;” the figure is from the melting
of snow, as it is actually drawn out into a simile, T 205, when the
tears of Penelope are described, as she is told by the disguised
Odysseus how he had entertained her husband in Crete. — k\aſ-
mort: what peculiarities in the use of this subj. ? G. M. 62, Note 3:
on & 183. — ºróorºv depends on the verb, but is also to be supplied
with the partc. — &##vireoroúaro, “falling with her arms about.”—
arpág-9ev, “in defence of,” not “in front.” The scene is plainly
laid within the city after the enemy have passed the walls and the
death-struggle is come. The preceding Song naturally leads up
to such a picture; but the presence of the wife on the battle-field
among the foremost combatants, as usually interpreted, is not read-
ily accounted for. AEschylus, describing the sack of Troy, says:
oi pºv ydp &pupi göplaguw TeſtTwkózsc &vöpāv, Agam. 326; cf. Eur. Hec.
937; x 463, T 292, I 593–94. — &;1&vacy, pres. Of attempted action.
526–28. Tèy, not the article; y 78. —&ortraipovt’, regularly of
the gasping death-throes. – xupévm cxhibits the wildness of her
abandonment to grief. — oi, the foe. — kórrowres, “Smiting.” No
such maltreatment of captive women is directly mentioned else-
where in Hm., but it is doubtless implied Z 465, I 594. It was
no soft-hearted age. Odysseus threatens Melantho, a female Ser-
vant, that he will have Telemachus cut her limb from limb, a 339;
and after the slaughter of the suitors, twelve of the Serving-women
are strung up in the yard, x 467. Antinous threatens Irus with
deportation to Echetus, who will cut off his nose and ears, and
otherwise mutilate him; and this punishment is actually inflicted
on Melanthius, whose hands and feet are also docked, x475. Zeus
declares that Here could eat the Trojans raw, A 35. To Mene-
laus, inclined to spare Adrastus, Agamemnon shouts: “Spare
none of the accursed race, not even the babe in the mother's
womb l’” Z 58; and he slays and lops off the head and hands of
a suppliant, A 146. Achilles wishes he could eat Hector raw,
x 347; and, boring his dead feet through, he drags him behind
his car, x 396. He promises to give Hector's body to the dogs
to eat raw, and to slay twelve Trojan youths on the funcral pyre
BOOK VIII. 231
of Patroclus. Hecuba wishes she had the core of Achilles' heart
to eat, Q 213; and Priam asks whether Achilles has cut Hector's
body to pieces and thrown it to the dogs, Q 409.
529–30. etpepov, only here, but containing the root ser of serous.
—eigaváyovoru : the preposition &vá here has been thought to inti-
mate that the attacking party returns home by Sea, as the Greeks
from Troy, or to some high-perched citadel. —t”, “both.”—éxé-
pey; & 82. — ris with Trapétat. This simile is remarkable even
among Homeric similes for the prolongation of the picture,
which extends even into the period of slavery ; on 4 130.
531–35. Aeetvöv, “pitiable,” exciting compassion; 530, & 327.
It does produce this effect on Alcinous; cf. Odysseus' own words,
489–90. The four following lines are repeated from 93–6. In
consequence, the excisionists, as usual, suspect the whole passage.
The more genial criticism of Amcis, Hartel, Hermann, sees no
motive more naturally and poetically conceived for introducing
the personal narrative of Odysseus than the lay of Demodocus,
nor for the tears of the hero when reminded of all that he had
done and suffered in company with his old-time comrades.
537–41. oxe6éro, “stay,” “hush;” X 334. What peculiarities
has this form 3 H. 411. — oë ros, “by no means,” as read by
thirteen MSS.; not of iro, which always means “not yet.” Am.
Others admit that otzroy may take the meaning of otºrwg.—## . . .
&otöös, “from what time we were supping, and the heavenly bard
awoke the song.” It seems best to make Sopºréop.év, impf, and
&pope, aor., transitive as usual; on m 4.— Šišupoto, like \setvöv,
531. – 4pévas; cf. & 235. — &H #13égmkey, as the cloud about the
Cyanean Cliffs; p 74.
543–47. káAAuov; & 39, m 159. — réruktat, “ have been made
ready;” v 40. — aroyltrà . . . 86po, explain Táð’. — &vti, “in the
place of.”—Térukrat, “stands;” 384. The asyndeton is causal.
The ethical tone of the Heroic Age stands at its highest, per-
haps, in the strength of the domestic affections; on 178. The
tenderness of this relation between brother and brother is exem-
plified especially by Agamemnon and Menelaus, Telemonian Ajax
and Teucer. In the case of friends, the expressions are of the
warmcst. Achilles avers of the death of Patroclus that nothing
worse could have befallen him, not even the death of his father,
*d
232 NOTES.
T 321 ; and Ajax, seeing his comrade Lycophron fall, declares
that he honored him as he did his beloved parents, O 439; cf.
0 585. —óAfyov . . . arpatríðeororiv, “ever So lightly touches aught
with his mind;” though he skims but the surface, possessing no
depth of thought and no depth of feeling; whose mind is but a
weakling weapon (cf. 556, A 344) that may strike the surface, but
never penetrate beyond. —With étrukačm, Tuvög may be supplied,
to accord with the idiom as exhibited later.
548–49. ré; n 25 ; since our deeds and thoughts are so kindly.
—vov, perhaps with reference to the way Arete's inquiry was
met; on m 241. —voňňaoru kepäa}\éotoruv, “With thoughts of guile.”
Deceit and falsehood were common traits of the Greek charac-
ter at all periods, and the frequent exhortation, throughout the
poems, to speak truthfully shows that tone to be the prevail-
ing one then. Odysseus, awakened from sleep after landing in
Ithaca, being met by Athene, tells her a long story about his
being a Cretan. She is delighted at his craft, and asserts that
deceitful words are dear to him from the very bottom of his
heart. On the other hand, Achilles stoutly maintains that the
man is hateful as the gates of hell who hides one thing in his
heart and another speaks, I 312; and much the same words are
put into the mouth of Odysseus, & 156; cf. n 297, X 364.
550–54. etar’: why this accent? H. 100. —árru ; H. 556.-ket0,
in its indefiniteness something like Tāvās, & 177. — trópºray with ot,
ric, as usual with a negative. It is a reduplicated form like the
vulgar “at all, at all.”— kokos; & 187. The public beggar in Itha-
ca had been called Arnaios by his mother, but the young men nick-
named him Irus.—étrºv 'ri, ºrpºra, cum primºm. Štrei, Štreið), rö Trpiº-
rov, rà Troöra, for metrical convenience, in Hm. take the place of
the usual prose ársi răxtora.—étri Tſ6evrai, SC. §vopia. The naming
of the child is here the joint act of the parents, as was customary,
no doubt; I 561; but Irus is named by his mother, Odysseus by
his grandfather, Scamandrius by his father. In Hm. the individ-
ual name of the son is habitually distinct from that of the father,
so that the patronymic is necessarily in frequent use for explicit-
ness. Later, the name of the father or grandfather was often
handed down; then, too, the father mostly chose the name, and
it was conferred on the seventh day or the tenth.
Jºr
BOOK VIII. 233
556–63. Tà, “thither.”—rvrvoképévai &pegi, “aiming sure in
mind;” on 547. —ot yūp; on 6 35. —igaoru is used 10 times by
IIm. with the initial long, 8 times short. For the thought, see
on m 94. The common poetic personification of the ship, as
t 127, is here carried to the extent that the galley understands
the wishes of the crew, and takes them where they will. We
may compare the winged steed of Oceanus which he directs yuá-
pºp groutov ćirsp, AEsch. Prom. 287; and in modern days the Fly-
ing Dutchman, and the canoe of Hiawatha. — Aépu; on m 15.-
art; 9 403, X 367. Cf. n 192, 195, 319, 117. Yet the Phaeacians do
have storms in the adjacent sea, as that which wrecks the raft of
Odysseus, and they know its terrors; 9 138; on & 329,42, 9 160–64.
564. “But as to that, in this wise once I heard my father
speak.”—ró8’, adverbial acc., referring to the thought of the
preceding line, the ship's immunity from harm; £3 169, § 166. —
eitrévros. The aor. partc. regularly represents action which is
past with reference to the time of the leading verb; G. M. 24;
H.717; accordingly, the natural meaning here would be, “I heard
from another of my father's having said.” In fact, this is the
meaning assigned by Welcker, Mus. Phil. 1833. Nothing in the
context will determine; but in t 497, p. 210, K. 276, p 492, the con-
text does show beyond a doubt that the act of hearing is an imme-
diate one, and that the aor. partc. is coincident in time with that
of the primary verb (G. M. 24, Note 1 and 2; H. 717 a.), a usage
which Curtius claims to be the proper and original one, from
which the other was developed (Eluc. p. 217); so Leo Meyer,
Griech. Aoriste, S. 125, with special reference to v 319, A 99.
The Homeric instances of participial construction after & coffo,
and the kindred verbs k\ffa), áta, Tuv6ávopau, ävvinput, may be
grouped under two heads: A. where the perception is imme-
diate, one hears with his own ears; B. where it is mediate, one
hears from another. Belonging to A., we have the aorist, 9 564,
1497, p 210, K276, p. 492, Y 380, B 182, K47, H 76, § 505, A 381,453,
II 531, 236, Z 281, y 337; the present, O 506, 199, c 221, A396, & 475,
995, 534, 6 76, K 189, A 463, p. 265, II 515, & 325, I 509, T 79, 3423,
+ 419. Belonging to B., the aorist, 3 728, 748, 3 375, P 879, 427,
N 521, T 322, 337, p 115; the present, A 458, a 289, 3 220, Q 490,
ir 301, H 129, y 94, & 324, 732, A 257; infinitive, Z 386, Q 543; cf.
234 NOTES.
+ 242, c. 127. All the aorists of A. may be considered coincident,
being distinguished from the presents by their conceiving the
action as transient, instead of continuing. In B., the customary
distinction of tense is fully maintained. This coincident aor.
after verbs of hearing is properly a Homeric construction, but is
sometimes imitated by the later poets, as Hymn TXem. 27, Xe-
nophanes 6, Aristoph. Nub. 291,963, Apol. Rhod. I. 278, Theoc. 13,
62, Babrius 73, Soph. Philoc. 615 (Kühn. Gr. 482, 1). The prose-
writers employ the present regularly; but cf. Hólt. V. 93, Xen.
Symp. III. 13, Luc. Tim. 30 ; on v 58. See Proceedings of Am.
Fhilolog. Assoc. 1877, p. 4–5.
565–69. &mpovés, with reference to 563; cf. 32, v 39.-The sub-
ject of 4% is Nausithous, with a change to Poseidon for the inf.;
on 520. —arote retains accent because it begins the infin. clause
to which it belongs; similarly, Eur. Phoen. 401, Or. 44, where see
Paley’s note.—péya; on v 152.
570–71. Yépov, Nausithous. As he is the son of Poseidon, he
may be supposed to have had his father's purpose imparted to
him by the god himself; n 201; but divination is not confined in
the Homeric day to professed prophets any more than it is later;
Xen. Cyr. I. 6, 2. Helen interprets an omen, o 172; and the aged
man, by his wide reach over the past, becomes ever fitted to di-
vine the future; a 200, n 157, T 109. — rā . . . Gup.3, “and that the
deity may possibly bring to pass, or it may remain unfulfilled,
even as it is wont to be dear to him in his heart.” The opt. ex-
presses the possibility cautiously, and with a nonchalance that is
highly characteristic.—ºrkero; on & 185; H. 424 D. 35. – €up.3,
450, v 145. The objection has been urged to the passage 564–
71 that it is in the main a repetition of v 173–78, and does not
belong here; that Alcinous would not have sent Odysseus home
after recalling the prophecy here, when he learns, as he does from
Odysseus' lips, that Poseidon is hostile to that hero. Such a con-
clusion to all the king's professions and promises would be lame
indeed, proving him to be quite a different person from what he
is otherwise sketched by the poet. It is plain that the expecta-
tion of the fulfilment of the prophecy in his lifetime rests but
lightly on the mind of Alcinous (cf. p. 266), and the manner in
which he dismisses it is so like him that it would be but poor
B{}OK VIII. 235
recompense to barter such a trait for a blank. Most prophets
are Cassandras till their utterances come true. Achilles rushes
into battle, though warned by his horses that his death is near,
T 409; cf. Hölt. I. 13, Virg. AEm. IV.464, III. 184; t 535, X 115.
572–76. &rpekégs; on 548. — &rarm &ºrett)\áyx64s, “in what way
thou wast driven out of thy course.”—xópas, airrods, tróAlés,
severally take the place of yaïay, Öiptov, TróAuv, of 555. — waterađ-
cras; on 7 29. What irregularity of form ? H. 370 D. Prof.
Allen, arguing against the statement that contraction takes place
and then duplication, lays down the following rule as containing
the latest views on the subject: “The verbs in ato, when uncon-
tracted, commonly show an assimilation of the two concurrent
vowels, so as to give for as or an a double a-sound, and for ao or
aw a double o-sound. This assimilation is usually accompanied
by a lengthening of one or both of the vowels.” Trans. Am.
Philolog. Assoc. 1873, p. 16. —xa\etrot ; & 120.
577–80. 3 ru; H. 549. — #v600 0016; on 68. —The collocation
*Apyetcy Advaðv is nowhere else found in Hm. 'Apygin occurs as
an epithet of Helen and Here, and is probably used as such here.
— #7Pek\@oravro ; m 198. —äväpätrols, Greeks and Trojans.—iva. . . .
ão.84, “that there might be even for them of aftertime a theme
of song.” Upon the gods rests the blame of the war, and man
should endure their inflictions with resignation; on 4 187. It
accords well with the tone of 570–71 to say that the war wa
scarcely worthy of tears (a 350), because its main purpose was to
give to singers a theme for song. The author of the Cyclic Cypria
says that Zeus ordained it in order to lighten Mother Earth of
her burdensome weight of mortals; so Eur. Hel. 38. Herodotus
maintains that the deity brought it to pass to show to men that
great crimes were visited with heavy punishment by the gods,
II. 120. —two : since to the early Greek, as well as the Hebrew,
the guiding hand of God was in all the ways of life (& 12), tva,
Öppa, &c, &Twg, in such passages as the present, represent purpose
only, not at all result; cf. t. 13, p. 428, Tr 195, X 214, A 158, B 359,
Z 357; x 373, k 236. The rule thus established extends broadly
later on, but probably holds to purpose throughout: see the ques-
tion fully discussed by Tittmann, Winer, and the New-Testament
commentators. — figu ; form, m 94; mode, G. M. 44, 2; 9 511, 4, 173.
236 NOTES.
581–83. A ; II. 831. —rts accented from rot. — Trnēs, from Tráo-
pigt, a relative by affinity, not blood ; of such, Hm. has special
names for father-in-law, mother-in-law, brother-in-law, sister-in-
law, son-in-law, daughter-in-law, and a husband's sister-in-law,
for which we have no word.—arpå ; & 36-yag Bpès: how formed ?
H. 53. — of re. . . airów, “who are wont to be by far the nearest,
after one's own blood and race.”—pid Alara, often with the Super-
lative ; H. 665 b ; cf. I 641.
584–86. Kexapuo-piéva eiðs; & 12, 23; So eiðéval pi\a, y 277, Xápur,
E 235, #7tta, v 405; in general, to Hm., knowledge presupposes
the feeling, 6 547, or the action properly arising therefrom ; to
know what is pleasing to another is to act upon the knowledge
by doing what will please (pixa ºpéot, o 360). This usage lingered
later in x&pty sióéval, and we may compare the principle laid
down by Socrates, that whoso knows what is right will do what
is right. See m 111, 75, T 329–32. — wervupéva, 388. Observe the
delicacy with which Alcinous selects for mention, not the nearest
and dearest, the blood relations. “The closing lines express the
strong genius for friendship which animates Alcinous. No ex-
ample of such an unselfish disposition is manifested by any
whom Odysseus had encountered; the friendship of all others
who befriend him is somehow tarnished. Circe is cruel, Ca-
lypso selfish, AEolus impatient and testy. Alcinous alone is
the very jewel of friendship, and he occurs just at the right
time. The poet, no doubt, had in view the rarity of disinter-
estedness when he thus drew the characters which illustrate it.”
Hayman.
Here closes the Eighth Book. The Ninth opens with the nar-
rative of Odysseus in which he discloses his name and relates his
adventures among the Ciconians, Lotophagi, Cyclopes, with Æo-
lus, among the Læstrygonians, and in the isle of Circe; see Sum-
mary, Books IX. and X. At the opening of the Eleventh Book
he sails to the mouth of Oceanus, near which he finds the en-
trance to the Underworld, whence the spirits of the dead are
Sent trooping up, to be seen and questioned. First comes the
Seer Teiresias, to question whom has been the main object of his
journey; then the spirits of heroines of the past, among them
His mother. After he has told how these passed in review be-
BOOK XI. 237
fore him, the hero breaks off his recital with the words which
open our short extract from the Eleventh Book.
BOOK XI.
328–30. &v; & 221, 126. The line is formulaic, as B 488, to in-
troduce the Catalogue of Ships; 3 240, where Helen is speaking
of the exploits of Odysseus; and A 517, as Odysseus is relating
to the shade of Achilles the valor of Neoptolemus. -áAéxous, in-
corporation, as usual in the line following the preceding formula;
m 214. — Trpiv, as Tápotóev, & 174. — $0tt': what peculiarity ? H.
401 D. I. — &pſporos; m 260, 283. —&pm : the omission of āori in
this phrase is regular. Compare the words of Æneas when be-
ginning the story of his labors: Et jam now humida cablo praecipi-
tat, Suademtgue cadentia sidera. Somnos. AEn. TI. 8.
331–35. A96vr’; On & 60. —ératpous, as 0 151. He has been
promised departure that night, or, at all events, his departure
is expected ; m 317, 9 445; and he now reminds them of this
in polite terms, and of his hunger for home. The general char-
acter of the language in which the wish is couched is purposely
selected. — airroo, “here,” a courteous addition. — Geo’s iſſy Te :
in such phrases the poet exhorts man to do all in his power, and
then leave the issue to the will of the gods; p 601, P 514–15,
Nº. 724, Hölt. VIII. 65. — plexíaev, “shall be a charge;” m 53. This
is a slightly milder form than the imv. uniformly in Hm., and is
sometimes preceded by that mode, as E 429. —&kºv; ) 154. —
km}\m0p.6, 8 gorzovro, “for with rapture were they spell-bound ;”
368. —'Apirm ; ) 237.
336. “Phaeacians, how to you does our hero here show him-
self to be gifted?” Where an adverb occurs with eipi, it may be
translated by an adjective, trós here being equivalent to Ötroioc,
as the scholiast suggests; but, in fact, siui is not the mere copula
in such phrases; it has rather the sense, to be circumstanced so
and so, to be in such and such a condition, the translation to be
determined by the context; see Ameis on A 416. The construc-
tion is poetic; the adverb with £x0 is prosaic.—ippuy; & 205.
238 NOTES.
337. iSè throws the main force on the last of the series, so that
we have, in effect, “not only ... and ... but also.”—#vöov; 9 577.
—itoras; 998. With the whole thought, compare Dido's words
after Æneas has finished his recital, AEn. IV. 10:
Quis novus hic nostris successit sedibus hospes,
Quem sese ore ferens, quam forti pectore et armist
Like that, the expression of Arete is more of an exclamation
than question; one full of triumph, too, and of delight that he,
whose outward appearance has won all, proves himself as com-
manding in intellectual gifts and in wondrous exploits; on m 312.
Her whole speech has this tenor: What think you of this man
now 2 Do you not perceive that he is the illustrious hero he
seems, and who has been so often the theme of our minstrel's
Song 2 I see clearly by your looks that you do. It is true that
lie is my guest, and proud am I of the honor; but each one of
you shares in it as well. His greatness demands from us all a
fuller recognition. Wherefore, let him not depart in haste, and
stint not your gifts to one so needy; for many are the treasures
that lie in your halls through the gift of the gods.
338–41. 8' att’, “and furthermore,” connects its sentence back
to the approving answer to her question which plainly appears
in their looks and gestures; on & 168. —épás; m 142. — Account
for the pºp of #pope; H. 319 D. Poseidon says that when the al-
lotment of the universe between Zeus, Aïdes, and himself took
place, it was divided into three parts, £ragrog 6 pp.ops ripijc, O 189.
—to draws close to the Attic use of the article as a weak pos-
sessive, allowable instances of which in FIm., according to Krü-
ger, are A 399, A 763, Nº 75, A 492; yet here it points to the gifts
already presented and lying by her.— iárqru ; m 132.
342–46. Exévmos; m 155. — 3s; this line is not found in some
MSS., but the balance of authority for its genuineness is about
even. — play belongs to what dialect 3 H. 852. —When is phy
written, and when juiv 2 H. 232. — &trö . . . Šášms; “wide of the
mark, nor wide of our expectation of her.”—oricotrow : the figure
is that of the common phrase #7tea Trépôsvra, m 236; cf. 6 556,
547. — &mo Sášms became later Tapó 66&av. — Treptºpov, only here
of Arete. It is the characteristic epithet of Penelope, occur-
ring 48 times. Otherwise it is used of the trusty nurse and
BOOK XI. 239
housekeeper Eurycleia 4 times; in the Iliad, once of Aigialeia,
the wife of Diomed. — &AA&; on 9 389. —’AAkuvéov; 3, 197. —
8', “but.”— pyov . . . Širos, i. e., it is his to decree, and his to
execute; m 161.
348–51. Tooro ... àvágrgº, “that, indeed, exactly So shall stand
as a decree, if I at least, a live man, among the Phaeacians fond
of the oar shall continue to rule.”—oiro, as 9 465, and alluding
to Arete's suggestion. — £ortal, as 336. — £obs, with strong em-
phasis; on m 167, & 201, A 88, m 147. – Xatígov; 9 156. —#1"rms
oùv, “yet at all events;” of v is resumptive after the partially par-
enthetical clause, and the two answer to the prosaic 6' oiv.–étri-
Heival ; & 295. — is aipuoy; m 318. — eioráke ; & 295, v. 59.
352–53. trāoray . . . teNéoro, “the entire gift I shall complete;”
referring to the promise implied in grog, but with a cast of lan-
guage as if he had had it in mind all the time to make the gift
larger, which evidently he had not; cf. v 40, I 598. This is quite
in harmony with the trait 0 102, 246. — tropºrº . . . Sipº. The
development of this formula in the poems is a curious instance
of that perpetual grafting of one set of words on another, that
determination to dwell in familiar cadences, and run new matter
in the same moulds, which Mr. Hayman has thought to mark the
purely recitative poet, ever trading on his fund of memory. The
simplest form of the present expression occurs Y. 137, where Po-
seidon says to Here, urging that both withdraw from the battle,
TróAepoc 3’ &vépéoot pusXàost. To Andromache, begging Hector to
pity her and abstain from battle, he replies: “Go thou home to
thy tasks,” TóAspiog 6' &vöpéoot pºfforet Táow, plot 68 pºuora, Toi
'IXiq àyygyáagw, Z 492. So Telemachus ends his speech to his
mother, who has appeared in the megaron to beg the bard to
cease his mournful lay of the return of the Achaeans, with, “Go
thou to thy room and thy tasks,” più00g 6' divöpsa'ot pusXjast Trägi, plá-
Xtora ö’ époi toã Yêp kpótoc Śar’āvī oilcº), a 358; and again, after the
trial of the bow in her presence, he uses the same language pre-
cisely, with the substitution of Tóēoy for p500c, p 352. In all these
passages there is an opposition strongly marked; in the first, be-
tween gods and men, and in all the rest between woman’s sphere
and man’s; cf. AEm. VII. 444. So here: as to the gift, as Arete
says; but the stranger's convoy home is the proper province of
240 NOTES.
us men. —āvöpeargº traoru may be explained from Hector's words,
Toi >xspíg áyyeyāagty; cf. 861.--The troptrºl of a stranger, according
to the etiquette of the time, was the special charge of the lord
of the house, as is plain from the words of Penelope, T 312–16.-
too, with a gesture indicating himself — kpáros . . . Šipº ; m 62,
23; Regum timendorum in proprios greges imperium est, Hor. C.
III. 1, 5.
356–57. &váyout', Örpúvoure, 81.80%re, are continuative presents,
keep urging, keep preparing, keep giving. The statement is
something of a pleasantry, but is in full harmony with the feel-
ings of the age with respect to gifts, in which direction Odysseus
has what we should call an especial weakness. No stronger in-
ducement could be held out to him to remain. He has just been
telling how his comrades were anxious to leave the Cyclops' den
as soon as they ascertained the character of its possessor. But
Odysseus must needs stay “to see, and get the meed of guest-
ship.” Menelaus grows rich beyond Greek experience by the
presents he receives in his eight years' wanderings, and he sug-
gests to Telemachus the wisdom of their making a tour about
Greece before he returns to Ithaca, that he may gather a goodly
store for future need. Even Achilles accepts the gifts of Aga-
memnon at their reconciliation.—eis évvavröv is proverbial in the
language of exaggeration; £ 196, § 595.
358–61. kat Tö, “even that,” with previous reference, as is most
usual with 6. —Find the subject of eth in the following line. —
aiSouárepos; 0 22.-iöotato; cf. 6 240.
363–66. Odysseus has now been persuaded to defer his depart-
ure, and the king accordingly proceeds in flattering terms to
beg him to go on with his story, one main purpose of their ur-
gency to have him remain. —to . . . thouto, “this, indeed, by no
means did we think thee on seeing thee, namely, that thou wast
a liar and an impostor, like as many the dark earth is wont to
feed, men thick sown and ever fashioning falsehoods, whence one
could not even see.”—With ro supply psy, to which g’ is subject
and rô predicate. To here points forward, and is explained by
the following line. — to kopey; on m 312. — troXuatrepéas describes
troAXous more fully; the figure is a common One, and Supported by
the preceding words.--Whether the reference in Šćev is to place
BOOK XI. 241
or material is doubtful; perhaps the Sense is that the materials
out of which the stories are woven have so little foundation in
fact that they are like the net-threads Hephaistos spread about
his couch, où ré rig oběš tootro, 9 280; cf. v. 386; on m 297.
367–72. oroi, emphatic. — &mu; 6 563, T 45. — popdºl; 9 170. —
#vi for £vetot, and opposed to Éirt. The impostor might have the
outward show of the glib speaker, but Odysseus possesses not
only grace of language, but the inward worth as well.— &s &T’
ãotöös, “even as a bard;” no ellipse need be supplied. The ex-
pression is formulaic, like that of n 36. The poet is praising his
own work. Eumaeus uses similar language to Penelope when
describing the stories that Odysseus had been relating to him,
p 518. Virgil so far forgets himself as to make Dido say of
AEneas' recital, Qua, bella eahausta camebat, Æn. IV. 14; on m 50.
— étruo-tapévos, “right Sagely.” — Trávrov, limited to his im-
mediate followers, somewhat as 353, 9 580. — thes, among the
Shades. So far he had told only of the heroines, except Teire-
sias. –áp', Šp movro, analogous to the repetition of the preposi-
tion after a verb compounded with the same; on 3, 32.
373–75. pakpāl; on m 7: in the opposite season of the year, the
spring, it is the days that are long, a 367, k 470. – 30éoróatos, the
impetuous language of the insatiate story-devourer. — oi,8é tro,
“Inot even yet.” How many a child, wide-eyed at a story half-
told, has answered warnings like those of Odysseus, 330, in the
same words! and Alcinous has much of the child about him. So
Eumaeus amidst the fervor of story-telling, o 392; cf. o 494. —8é;
On 9 389. — key àvao Xotºmy, “I could contain myself,” be content.
— &re, “if so long;” on 6 240; cf. e 189, v 391, r 589.
379. “There is time, it is true, for many words, but it is time
also for sleep.” Odysseus grants that the night is not so far
spent but there is yet time for further story; but he still ad-
heres to his original statement, in deferential language. Yet, if
they are so anxious to have him proceed, he will comply.
380–84. et S : \,
Sed si tantus amor casus cognoscere nostros
Et breviter Trojae supremum audire laborem,
Quamguam animus meminisse horret, luctuque refugit,
Incipiam. AEm. II. 10.
11
242 NOTES.
—et . . . ALAateau : what irregularity of construction in this hypo-
thetical sentence 3 H. 750; G. M. 54. —tograv with oikſpárep', not
with p3ovéotput. —oroi with &yopSüoat, as uot, 374. — ot, of ; on 0.493.
— perótrio 6ev, “afterwards,” explained in the following lines;
& 174. — irrešéquyow; & 88. — Yuvo.ukós, Clytemnestra, as shown
by the succeeding recital of the death of Agamemnon at her
hands. - * -
Odysseus here resumes the thread of his story, and tells of the
heroes he saw among the Shades, till, terrified, he retreats to his
ship and returns to Circe's abode. This closes the Eleventh
Book. In the Twelfth, he tells how he left Circe, sailed on by
the Sirens and the Cyanean Rocks, passed between Scylla and
Charybdis, reached Thrinakia, where his comrades slay the oxen
of the Sun, for which they are all destroyed on setting sail thence,
leaving the hero alone, to be wafted back on the ship's keel, till
he arrives at the isle of Calypso. Here his story connects with
the account which he had given of himself in m. He ceases, and
the first twelve books of the Odyssey are ended.
BOOK XIII.
1–6. *Qs; X 333. –— XaAkoğates, “ of bronze threshold ;” ) 83.
'i'llis is otherwise an exclusive epithet of the palace of Zeus and
that of Hephaistos on Olympus; hence, unusually splendid, as
the rest of the palace. The threshold of the palace of Odysseus
was of stone overlaid with wood. — tº . . . Trémoyºos, “therefore
by no means do I think that thou, in baffling courses driven,
wilt return back home, even though very deeply thou hast suf-
fered.” — Tó, correlative to ètrei, like totyáp. – TraMugarkay}{0évra.
is the emphatic word; cf. 9461; not as thou didst go to the
land of the Cyclopes, swept far away by all kinds of winds, over
the mighty waste of sea, by another way, by other paths, t 259;
but straight as thought reaches (m 36, 6 556) shalt thou go, be-
cause thou hast come where my ships can give thee convoy--
ei kai: thy great sufferings in the past might argue thee to be
beneath the ban of Heaven, as AEolus said, ic 74 (cf. v 331), and
BOOK XIII. 243
might promise still other perils on the deep; but nothing such
waits those that I despatch.
7–9. &vöpi and ráðe belong to both verb and partc.—eipo, pres.
of the common âpé, occurs Only here and 3 162, A 137. – Yepotſ-
orvoy, “Elders’,” such as is set apart for the yépoyrsc, m 189; it is
called £atrov, M. 320. — aiei triver’; ) 99. On the first occasion,
6 390, he calls upon them to contribute on the ground that they
are kings of the land; now, because they are habitual recipients
of his hospitality.—Note the emphatic position of épotov.
10–12. čušéortm exhibits what irregularity ? H. 209; G. 63. Hm.
uses it 10 times to 4 of the other form; & 75. —xn}\6; 9 424.—As
aro)\vöaí8a)\os is an epithet confined to objects highly ornamented,
as armor, necklaces, thrones, the chamber of Nausicaa (; 15), it
seems to limit xpuoros to the goblet presented by Alcinous, 0430;
on 6 440. This leaves àAMa trávra ööp’ for the talents contrib-
uted by the others, but with a pompous sort of indefiniteness
truly characteristic of the speaker. It is quite in keeping for
him to single out his own gift separately; on 9425.—ága, 9428;
on 6 440.
13–15. Tp(troSa ; 0434. — Aé8mra : the lebes is used for boiling,
as is the tripod, but, unlike that, it is also a wash-basin for the
feet, T 387, and the hands, m 173. It is doubtless the smaller
vessel. The annexed cuts show a tripod-stand in the Cosmola
Collection, from the vaults at Curium, and a lebes (see following
page) from one of the sepul- - ::::::::s
chres at Mycenae.—ávöpakás,
“man by man,” Severally.
Observe the language, differ-
ing from 0 389–93, in order
to include the speaker. —
#pets ..., “and we hereafter, {}
levying for ourselves among".
the people, will repay our-
selves; for burdensome is it
that one without recompense
should bestow lavishly.”—
âyeupépévot, indirect mid.; H.
689; G. 199, 2; commonly &

NOTES.
this verb falls under H. 688; G. 199, 1. The first contribution
was considered all that custom demanded; and since the one now
asked for was something extraordinary, he proposes to distrib-
ute the burden among the people. In like manner, Odysseus
tells Penelope that he, as the brother of Idomeneus, had enter-
tained her husband in Crete on his way to Troy, giving to him
and his force of twelve ships barley and dark wine after he had
gathered it among the people, Ómptó0sy &yetpac, T 197. In this
way, too, Odysseus says he will make up for the riot of the suit-
ors, p 358; cf. 877, x 55. The estimate placed upon the entire
gifts of the Phaeacians may be seen from v 137–38. —éva, indefi-
nitely of a small number, as éva kai 660, B 346. –arpovkös, later
Tpoika, used adverbially. Scholiast. —xaptoraoréat ; ) 176, p. 452.
When Glaucus exchanges his armor of gold, worth a hundred
oxen, for that of Diomed, of copper, and worth nine oxen, the
poet declares that Zeus had deprived him of his senses, Z 234.
16–19. &muſivöave ; 9 506. — oi; m 229. – ºpios; 0 1. — meo'oreč-
ovro ; 6 38, 417. — einivopa, “Imanly,” personifying its noun ; cf.
N 191, A 420, 9 507. Elsewhere in our poet it is applied to wine
only, and there a similar personification is intended; on n 182.
Here it is the material, XaXkóc, rather than the vessels, that is held
in view. In its strength, temper, cutting qualities, and boundless
use, XaXkóc well deserves to be called the manly among its com-
panion metals, gold, silver, and lead.

BOOK XIII. - 245
| -
20–3. e5 ; 9 427, 439. – airbs; on 4 76. – Construc iro Çuyè
with caráðhy. In the same place the lotus-charmed scouts of
Odysseus are bestowed bound, t 99. –éraípov; 0151. – BNáttou,
“they might hamper.” The care bestowed upon the presents is
shown by ed; thoughtfulness for the rowers harmonizes with 639,
v 69. A clear field is also assured for a display of their speed,
which he is so anxious to prove to his guest; 0.247. – Gºrépyotat',
“they might be speeding them ;” cf. 115.-āAéYuvov; 0 38.
24–30. Totori; 9 59. — Zmvi; ) 164. — kijavres lacks What ele-
ment 3 H. 381 D. For the brevity with which this second sac-
rifice and feast in honor of the guest (A 338) is despatched, we may
compare the description of the games of 0, after the Space allotted
to them in the Iliad; on 0 108. — pukušéa, an epithet regularly
of the gods, or that connected with them ; on 4 58. – špéAtreto ;
& 101. – Terupévos; 0472. —rpétre, from the bard sitting midway
of the hall, 9 66, 93, against a pillar where he would be out of
the direct line of vision through the open doorway, over against
which the sun seems to have been conceived as Setting; on m 84,
289. — rapidavów.vra; H. 472, Rem. k. —8üval, subject airów, the
sun ; on 9 520.
31–2. Travāgap. Odysseus, challenging Eurymachus to a plough-
ing match for a hard day's work, takes it for granted that they
shall be hungry till dark, a 370. The woodcutter of A 86, however,
takes a lunch at noon; on the Shield, the harvesters have a dinner
in the field, × 558, and the plough men receive a cup of wine at the
end of each round furrow, 2 545. — vetov ; 0 124.—&v’; On & 172.
—é\kmtow ; on 3, 183. —Bée: at a 372 the “points” of a yoke of
Oxen are given, atówwég, psydºot, dipºpo KekopmóTE Totmg, jºurceg, iaopó-
pot. N 703, we have the simile of the two Ajaxes supporting each
other side by side, like two oxen before the plough.—armkröv : He-
siod distinguishes two kinds of plough, the Trnkrów and the airó-
Yvov, both of which the farmer ought to have on hand, so that if
one breaks, the other may be put to service. The former is made
of three pieces—the handle of live oak, the share of common Oak,
and the pole of bay or elm ; the latter is all of a single piece as
it came from the forest.
33–7. katéöu ; On & 185, m 217. – Štrotxeorða, ; ) 174. —BAáBerau ;
so the soldier who goes hungry and thirsty to battle, T 166.
246 NOTES.
Virgil applies the phrase to Entellus, tarda trementi genuſ labant,
AEm. V. 431. The knees are commonly regarded as a seat of
strength. —’O8voreº; on & 248; H. 189 D.—arudavarkópsvos, “espe-
cially addressing himself;” on 6 499.
39–43. &miſſiova; 9 566, m 266. —xaſpere; 6 408. In the time
of the scholiast the formula of farewell was géov.—reféNegral:
0.544, X 352. —30.os; 9 178. — tropºri, doubtless includes the prep-
arations for departure, the farewell banquet, etc., so that it may
be loosely included in the subject of TsréAgorat. — Oipavíoves;
m 242. — &ABua; m 148, 9 413. —éºpova. . . . biXoloruv, “and my
spotless wife at home on having returned may I find, together
with my dear ones safe.” Finding his wife at home was to find
her unwedded. If wedded, she would have gone elsewhere to the
house of her husband; X 178, o 15, Tr 33, p 77.-àpºpova is merely
a standing epithet, not predicate; the thought is different, Æsch.
Agam. 606. — $5Moloriv, Telemachus, Laertes, etc.
44–6. Šišćpaívoure, “make happy.”—áperºv, prosperity, good
fortune and health, especially the outer good things of life.
Under the rule of the just, god-fearing king, the dark earth bears
wheat and barley in plenty, laden are the trees with fruit, the
flocks bring forth without fail, the sea offers its fishes, &pgrägt öä
Aaoi, T 114. —kaköv, Opposed to &pstºv; cf. 6 414.
47–52. “Qs; m 226. — kai; m 178. – eigápevol, where we should
expect a 7-storavrec, 39, 55; but a prayer of some kind habitually
accompanied the libation; cf. I 172–77, II 227–31, y 394, o 258.
In the last two passages otévêo and ečxopal occur together. —
Trépºrogey; m 193, 9 556.
53–7. *Gs; m 182–83. —èarlorro.8ów, “in turn,” stopping by each.
— airóðev, “from their places,” defined more accurately by Čá
#öpéoy; cf. 6 68. At their meals it was customary to make the
libation as they sat ; the exception, y 341, is in consequence
of the special occasion. Their sitting is mentioned here to
point the contrast in the act of Odysseus; so Agamemnon is
said to sit in the assembly, contrary to the usual custom, when
he speaks, T 77. He sits because of a severe wound, T 52. —
'Apirm ; 9 478. Rightly are his last words addressed to her as
his first had been, m 146. — &v xepori; guests in Hm. pledge their
hosts, as Odysseus does Achilles, I 224. Schol. Odysseus, when
BOOK XIII. 247
pledged by Antinous, a 121, pours a libation, drinks, and returns
the cup, a 151. —8étras; 9 89.
58. When Classen would make $ovágraz before a speech, q0sygá-
pºwoc, K 139, &#aac, A 508, Öpiokºjo'ag, E 439, &Tevčápévoc, Z 475, &rst-
Añoraç, H 225, inceptive only, his range is too narrow. In the field
of the circumstantial partc. these are good examples of the coinci-
dent aor.; on 9 564. Their time is that of the primary verb, and
they represent the manner in which the act of the primary verb is
performed, or the means, so that pov; replaces povăoag, T 161; see
a 530–35, A 508, § 492, Q 170, povňoag pov; psydºxy sizre, Luke xxiii.
46; on 9499; n 279, 915, Acts i. 24. It is noticeable that Hölt,
who so persistently turns Homeric into his own prosaic expres-
Sions, habitually says épm \éyov, Špija's Aéywy, ŚAeys pag, eitre påg, ÉAsée
pápévog, just as he turns & Trét)\floag of H 225 into &ret\éoy (I. 128).
59–62. Xaipé, as 9461. — pot, “is my prayer;” on 3, 199. – 8-
optrepès; 6 245. —tré\oviral ; death, the universal, not even the
gods are able to keep from a human being, however dear, y236.-
éyò, opposed to ov; véopal, to répreo evi. —Téptreo, “ever be hap-
py,” in thought a passive to §§paívours, 44. For the sentiment,
compare his words to Nausicaa, & 180–85, 9 467–68.
63–9. oiâöy; m 135. –arpotel; 0 399. —étri; 6 50.—8poãs; m 103.
— tºw; 9 374–75. — $6pos; on 0.425. —xm\öv, a good stout load,
one may well think, with its thirteen full suits, not to mention the
gold; cf. x 142–45.-criváv : Odysseus is expected to sleep through
the voyage (n 318, 9.445, N 331), and therefore the remark of the
Schol. that the food is intended for the crew on their way home is
natural. They do not take it from the vessel, v 120, nor does
Odysseus miss it when, upon waking, he counts his treasures so
anxiously, y 217–19. It is another mark of Arete’s careful house-
wifery (, 76), and that kindly thoughtfulness for others which
has made her the idol of all her people; n 71–4; cf. also 9 39.
70–3. Airãp; 0 50. — tropºries; 0 35.- karéðeyro: this middle
is habitually used of one's own possessions, garments or armor,
and here, accordingly, it is selected with special reference to the
food and drink as intended for the escort; and upon this the
thought is made to dwell altogether in the following words.
Tréguy kai Bpógruv, therefore, form only a loose appositive to róy’.
— &raray is made by Düntz equivalent to Travroimv, as Trägav
248 NOTES.
#606.jv, oia &vöpec àovow, a 196; cf. t. 222, A 5. – arrópearay; m 336–
37. — Aſvov, also a part of the bed prepared for Phoenix in the
tent of Achilles, I 661.
74. ikpuébuy, the deck, of which there were two in each ship,
one fore, the other aft, covering but a part of the space, the rest
being occupied by the crew; see the ship of the Pelesta above,
p. 109. It is upon the after-deck that Telemachus sits with
Athene on the voyage from Ithaca to Pylos, and with Theoclym-
enos on his return. There, too, he was to have slept, if he had
not been entertained by Nestor in his palace, y 353; cf. p. 206,
217, 229,412. This deck was probably more commodious, and
the fore-deck may have been kept free for the lookout.
75–7. Trpäpyms, “at the stern;” as adj. with vinës; on & 170. –
āv; & 253; on 6 55. –émi; 9 37. — #kaorrow ; & 189; the sing, is
most frequent, as there, the plur. occurring quite rarely, except in
neuter.—kégº, unusual for the formulaic tàc.—retopa; , 269;
it passed through the hole in a post set in the dock, and moored
the stern of the vessel close to shore; 955. — rpm roto Atôolo, show
the conveniences of the regular dock. At k 96, Odysseus, warily
keeping outside the harbor of the Laestrygonians till he learns
their character, ties the stern cable to a rock.
78. &vak\iv6évres, “throwing themselves back.” The poet has
not selected for his point of view the first motion, leaning for-
ward to catch the water, as he has done t 489, when the rock
hurled by the Cyclops has fallen in front of the vessel, and the
wave is driving them back to land. Then, Odysseus says, ŠkéAsu-
oa špſ3a)\éew cóTyc . . . oi Śē TpoTsogyreg #psogov ; cf. k 129, p. 194.
So Virgil in his phrases, remis insurgimus, AEn. III. 207, V. 189,
pronº remis, III. 668, incumbere remis, V. 15, procumöunt, W. 198.
But adductis lacertis, V. 141, reductis remis, VIII. 689, present the
opposite point of view, that moment, as in the text, when, with
oar swept through the water, the greatest impetus for that stroke
is given to the vessel; cf. Ovid, Met. XI. 461, Reducunt ordinibus
geminis ad fortia pectora remos. – &veppúrrouy presents what un-
usual form 2 H. 370 D, b : G. 120, 2.
79–80. vſöup.os, in derivation and meaning alike uncertain.
Sweet, refreshing, fettering, painless, are some of the meanings
evolved from it; cf. on n 289, and Virgil's imitation describing
BOOK XIII. 24.9
the last sleep of Deiphobus: Dulcis et alta quies placidſeque simil-
lima morti, AEm. VI. 522. —0avárq àYxtora : in the Iliad, Sleep is
the twin brother of Death, E 231, II 672.
81–3. , the ship, standing without grammatical construction,
since Troöpivn, 84, takes its place. — &gt’. . . ké\ev?ov, “as on a
plain four yoked male horses, all started together under the
blows of the lash, high leaping quickly accomplish the course.”
In this simile the prime point of comparison is not the Swiftness,
which is indeed implied, but the bounding of the ship over her
course. The moment selected at the outset is kept in view
throughout. As the ship is then under the strongest impulse
forward, the prow would be ploughing into the water and the
stern raised. When, however, the oars are lifted from the water
and thrown back for a new stroke, the prow rises, to be again
depressed by the force of the stroke. The continuous wave-like
curve thus formed is like that of the horses bounding over the
plain. The alternate rising of stern and prow would be much
more noticeable under the alternate stroke and cessation in row-
ing than with sail spread. The description throughout seems
to imply that the mast and sail of 9 52 were not used. If the
statement of n 319 be taken literally, this would necessarily be
the case; in fact, it is the skill and strength in rowing that are
kept in sight through all the Phaeacian episode, and are the great
pride and boast of the king; & 269, m 109, 319, 328, 0 37, 53, 112,
247, 253,386, v 115. So far as can be gathered, rowing and sailing
at the same time are contrary to the practice of the Homeric voy-
ager; he may employ the oar in getting out of a harbor, A 640,
or in entering it, A 435, or on the high Sea when the wind fails
him, p. 169–72; but he is only too glad when the wind springs
up to relieve him from his toil. Here, however, the purpose of
the poet is a different one, and he uses language quite distinct
from that for a ship under Sail, 3428, A 481. — retpáopov : in the
chariot-race, two horses were habitually employed ; so, too, in
war, though a third as outrigger is sometimes mentioned. Aris-
tarchus rejected the line e 185, where the names of four horses
are given as those of Hrebtor's war-chariot, and at A 699 the lan-
guage renders it doubtful whether one chariot with four or two
with a pair to each are sent to the games. Hence some have
1.1%
250 NOTES.
considered the use of four horses to the car as post-Homeric, and
our present passage a late addition. Many customs of the Ho-
meric day are known only from his similes. Holt. states, IV.
189, that “the Greeks learned from the Libyans to yoke four
horses to the chariot,” but at what time he does not say. Rawlin-
son thinks the usage originated in Egypt, and passed thence to
Libya and Greece, and asks, “Can Holt. intend to assert a con-
nection between Greece and Libya proper in the ante-Homeric
times?”—a pertinent question in the light that has recently been
thrown, by the decipherment of Egyptian records, upon the pres-
ence of Aryans in Libya long before that period. The four-horse
chariot is said to have been introduced into the Olympic Games
676 B. C. — &poreves. The Superiority which the Greeks, in gen-
eral, were wont to concede to the mare above the male horse
does not yet appear in Hm. On the contrary, the latter is more
highly esteemed. The divine horses of Achilles are male, and
those too of Diomed taken from AEneas, and those of Antilochus
and Rhesus; so, also, those cut in relief on the Stela, above the sep-
ulchres at Mycenae. The mares of Eumelus are highly praised;
but Agamemnon's mare Aithe is spoken of as if it would be a
disgrace to be passed by her, only a mare.—&º, so that their
motions are all in unison, like those of the rowers. — arXmYāoriv;
they are struck on the fore-shoulder, O 352, Nº. 500.--inpäg’; 9 375,
^ºf 500.
84–7. Trpiópºwn : beginning with of the whole vessel, the poet
now returns to the point of view assumed in &vak\v6ávrec. —
köpia. . . . 6a)\dororms; cf. the formulaic line for the ship under sail:
dpupi 68 cópta o Teipp Troppépéov učyáA’ taxe anoc ioãong, A 481, 3427;
there the prow, here the stern. — troXuq Motorſolo, a standing epi-
thet here, as v 220, Nº. 59; cf. & 26, 0.378. —# ... àparešov, “she very
steadily ran on without ceasing.”—āordaMé0s; 9 171. —#1"reSov;
m 259. The same expression of a stone dislodged from a height
and bounding down-hill, N 141. —ipm£, the genus, more closely a
defined by the species k(pkos; the order is reversed in our “gyr-
falcon,” i. e. gyrating falcon. Sailing in circles is characteristic
of the hawk family. Tomé and cipkog are elsewhere used separately
by the poet, but he does not distinguish sharply between them.
The former represents in similes the speed of Apollo, Poseidon,
BOOK XIII. 251
and Thetis. They are both the enemies of doves, starlings, and
daws. The riproc is the Swift messenger of Apollo, o 526, as the
bird of omen, and the derivation of ipmé from ispác indicates the
Same. Virgil calls the hawk Sacer ales; and the Egyptians had a
hawk-headed deity, a symbol of the Sun.
88–92. 6éouara; 0 193. –6eois; H. 603 a.—pºſſàe &ovra; & 18,
12; the fuller form is seen, T 353, Tvrtvé (ppsai puffès' #x.; cf. ) 218,
X 445; 'Ośvaija Ali Hijrty dróXavrov, B 169. —8s; 9 155, 182–83.−
87, Tóre correspond to viv Šē, 0 156; the phrase is unusual, but
has its exact parallel, o 228. — eiße. An apt allusion is made
to this passage by Antileon, one of the Ten Thousand. After
all the dangers and toils of their wearisome march to the sea
had come to a close at Trapezus, the force assembled to consider
plans for the remainder of the journey. Antileon declared him-
self tired of packing up and walking and running and carrying
arms and marching in ranks and keeping guard and fighting; he
longed to cease from these toils, and to sail the rest of the way
to Greece, craffeig óa Trep ’Oövgorºg caffeijóov, Anab. V. 1, 2.
93–5. &orrºp, named ‘Eoopópoc, Nº. 226; on 9 1.—ütrepéoxe, “ had
uprisen ;” so of the sum, A 735; & 107. — &yyé\\ov : the fut.
partc. is the regular form in such expressions, as āpāovca, B 49,
ëpéoy, Nº. 226; on 3, 50. The scholiast on X 318, citing this pas-
Sage, Writes dyye) égov.
96. Phorcys is said, a 72, to be the father of the nymph Thoosa
who bore Polyphemus to Poseidon, and he is there also a ruler
of the sea. In Hesiod he is son of Pontos and Gaia, and the
Graiai are born to him from Ceto. Virgil mentions him, W. 240.
—Aupºv : some have found this in the north end of Ithaca, others
in the Small bay on the south side of the great gulf that runs in
from the east, and severs the island nearly in twain. The two
schools have been able to fix all the places mentioned in the
Odyssey about either spot. The poet's knowledge of Ithaca ap-
pears actually to have been rather vague. —áAtoto Yépovros, also
of Nereus, A 556, and Proteus, 6 384; they belong to the same
class of deities. Hesiod says, “they call Nereus yépov, because
of his soothfastness, kindness, and justice;” Theog. 235.
97–101. 8üo ... Kroffev, “and in it are two jutting crags precip-
itous, towards the harbor crouching, which set a shelter against
252 NOTES.
the huge wave raised by danger-breathing winds without.” The
point of view is from the sea, and as one looks shoreward he sees
two forelands shoot boldly out from the coast, but soon, chang-
ing direction, they sweep round towards each other till their
heads nearly meet, as if their early bravery had paled before the
fury of the sea, and they had shrunk back like the Phaeacians
beneath the whir of the discus, 9 190, or the birdlings through
terror of the snake, B 312. In Virgil's imitation, Æn. III. 535,
the coast is personified, and is said to throw out its arms to en-
close the harbor; here each promontory is a separate individual
personified.—évépov, causal gen. as B 397. —èvrogrèev, contrasted,
as well in position as in Sense, with Écroðey. —8eorpoto, 77; 6 55;
cf. Hic fessas non vincula naves ulla tenent, Æn. I. 168, where the
present passage has been imitated as a whole. – 8ppou pérpov,
“to the roadstead's limit.” Here Hérpov is used, like TéXoc, réppa,
of the spot where the measure ends.
102–4. Tavčqux\os, “long-leaved.” Six principal sorts of the
olive have been distinguished, of which the long-leaved is chiefly
cultivated in France, the broad-leaved in Spain. This tree ap-
pears to have been purposely selected here, because of its close
connection with Athene. It is at its foot that she seats herself,
v 372, and then it is called ispá. — triparov, of the picturesque
scenery of Ithaca itself. § 606; on m 79. —#epoet.8és, “dim;” 150.
The cave of Scylla has the same epithet, p. 80. — vupdbáov; & 322,
123. To these nymphs Odysseus had been wont, in happier
days, to sacrifice, v 350, for they had an especial worship in Itha-
ca; on 6 469.
105–6. &#14 idopſies, usually a large two-eared jar for wine, flour,
honey, oil. The ashes of Patroclus are deposited in one of gold.
—Xáivol : F. suggests that the conception may have had its ori-
gin from the fanciful shapes of some stalactite cave that had
fallen under the poet’s observation. —évôa 8° àrevra, “and there
too.” &mevra introduces an additional point in the description,
as a 73. —rléal Bégorougl, “Store their combs.” Buchholz infers
from this that the domestication of the bee was well known in
the Homeric day. Be the inference legitimate or not, the fact
seems more than probable from the frequent mention of honey
and wax in the poems. Honey was their only means of sweeten-
BOOK XIII. 253
ing. Mention of the close connection between bees and nymphs
is frequent among both Greeks and Romans. See especially the
story of the nymph Melissa, and that of Aristaeus in Virgil's
Fourth Georgic.
107–8. &v, as 105,109, within the cave. —iaroi, “ looms.” Vir-
gil, in his Vivoque sedilia Saalo, Nympharum domus, AEm. I. 167,
omits such wonders, and follows rather p 318, Évêa 6' Égay vup-
ſhěwy ca)\ot Xopoi ijóē 0600 cot. As the nymphs here, SO Circe, Ca-
lypso, and even Athene practise weaving. In the German sto-
rics, too, the Water-nymphs are generally so employed. —&Autróp-
dupo, ; & 58. .
110–12. ai, plur., because 0&pa is usually so, though of a single
entrance, as & 19. The entrance alone here is meant, the cave
being a natural One. Athene closes it with a stone after the val-
uables have becn hidden within it, v 370. — Trpos, over against,
“fronting;” On & 207. — kataugatai, “entered.” cara/3atva is the
idiomatic word for passing any threshold into a room. This en-
trance faces the Sea, and may be used by men at any time; but
the other, deep in the recesses of the hills, has never been C.3-
covered by man. Inown to the immortals, it is more used by
them than the other; hence 0eórepat is fully comparative in
that sense.—ketvm, “thereby.”—áðavárov, here primarily of the
nymphs, secondarily of any of the gods; for the gender see K462–
63. The nymphs are immortal in Hm.; Hesiod limits their ex-
istence to 9720 times the life of a man; on & 123. Porphyrius, a
philosopher of the third century A.D., wrote a volume, still extant,
entirely allegorizing the description of the cave. It is a curious
specimen of a kind of criticism of Hm. that often meets us in the
scholia, and upon which much ingenuity of the philosophers of
all schools was expended. Porphyrius is of opinion that the
cave means the world; it is called gloomy, but agreeable, be-
cause it was made out of darkness, and afterwards set in this
agreeable order by the hand of the Deity. It is consecrated to
the nymphs, i. e., it is destined to the habitation of spiritual sub-
stances united to the body: the bowls and urns of living stone
are the bodies that are formed out of the earth ; the bees that
make their honey in the cave are the souls of men, which perform
all their operations in the body, and animate it; the beams on
254 - NOTES.
which the nymphs roll their webs are the bones, over which the
admirable embroidery of nerves, veins, and arteries is spread;
the fountains are the seas, rivers, and lakes of the world; the
two gates are the two poles—through the northern the souls de-
scend from heaven to animate the body, through the southern
they ascend to heaven after death. -
113–15.” Ev6', “there.”—eigéAdoray; m 109.-arply eibóres, “know-
ing it before.” The poet takes it for granted that Ithaca is well
known to them, as Odysseus gives them no directions touching
their course, and all that Alcinous asks for, 0 555–60, is the name
of his country. The knowledge which the ships possess is at
the same time predicated of the rowers. So, apparently, of Eu-
boea, m 322. —#, referring to the omitted object of eigé\agay. —
étréke)\orev, “beached.” — &gov; m 108. — &m #ilov, “up to the
half;” #patov as subst.— or repyopévm, 22; on 81. The ships of
Odysseus, Sailing on in the deep night, beach unexpectedly on
the island off the coast of the Cyclopes, t 148.
116–19. Ugáyov, “well-yoked,” stoutly built, with beams pass-
ing across from side to side to strengthen the vessel; these may
have served for rowing-benches also. — abré cºv; 0 186. —SeSpºm-
Hévov; ) 318. —kö8, Čari. The status of the preposition in IIm. has
been well exhibited by Prof. W. S. Tyler, Transactions Am. Phil-
olog. Assoc., 1874, pp. 5–14, from which the following is taken,
with statistics added to cover the selections here printed. The
prepositions were originally and properly adverbs, expressing
such essential relations as up and down, over and under, etc.,
and would, in the nature of the case, gradually pass from mere
adverbs, denoting the direction of motion or action, into prep-
ositions expressing the relations between such motions or ac-
tions and the places, persons, and things affected by them. In
Hm. we see this class of words in the transition stage between ad-
verbs and prepositions, sometimes standing alone, with a fully ad-
verbial force, and even when prefixed to a noun or compounded
with a verb sometimes hovering between the office and force of
the adv. and prep. The following table shows, not only from
IIm., but from specimen passages out of later writers, the per-
centages of occurrence under the four heads—before substan-
tives, compounded with verbs, independent, and postpositive.
BOOK XIII. 255
Before subst. Compa, with verbs. Independent. Postpositive.
T 47 per cent. 34 per cent. 10 per cent. 9 per cent.
Ç 43 { % 3S “ 12 { { 7 ( {
11 53 C & 3 { { 10 ( { 6 { {
{} 45 { { 40 { { 11 { { 4 & C
X, v 48 { { 44 { { - 6 { { 2 { {
Soph. 35 ( (. 59 ( & 3 6 (; 3 { {
IIdt, 47 { { 53 t & 0 { % O { {
Yen. 41 & C. 59 ( & () ( (. 0 { {
Of all the verbs in the passages, there were 14 per cent. of prep-
ositional compounds in T, 14 in 4, 14 in m, 17 in 6, 20 in X and 1’,
26 in Soph., 32 in Hölt., 36 in Xen., 41 in Plutarch. See on & 9,
40, 77,78, 91, 100, 167, 214.
121–24. Suð, “through the instigation of;” 9 520; at v 305,
the goddess says it was done, Špij BovXij te véſp re.—trapū ; 0458.—
6Soo : the spot where they land is plainly at some distance from
the city, and out of sight of it; yet a road is conceived as run-
ning thence past the cave, occasionally used by Wayfarers, v 221,
and by those offering sacrifices to the nymphs at the cave. By-
paths also lead up over the hills, one of which Odysseus follows
to the hut of Eumaeus. In another anchorage, also remote from
the town, Telemachus lands to visit Eumaeus on his return, while
his companions proceed to the city, o 497; and Athene, a 185,
pretends that her vessel has been left at a distance, not in the
city harbor; cf. to 308. — pºſi; 0444. — trpty; on & 331. —éypegºal
violates what rule of accent? H. 367 D.—8m Añoravro : the articles
are evidently screened by their position from the casual observa-
tion of the chance passer, though Odysseus sces them at once on
waking, v 203.
125. Why the poet brings Odysseus to his home asleep, and
makes the Phaeacians depart without waking him, is an old ques-
tion. Aristotle, Poet. 24, says that the passage is so full of ab-
surdities that they would be intolerable in a bad poet; but Hm.
has concealed them under an infinity of admirable beauties which
he has crowded together here, as so many charms to hinder our
perceiving the defects of the story. Among these beauties may
be numbered the similes of the ship, the cave with its marvels,
the dialogue of the deities, the transformation of the pinnace
into stone, and the final picture with which the episode closes.
256 NOTES.
Heraclides Ponticus, a contemporary of Aristotle, thought that a
settled policy of the Phaeacians was disclosed. They pretended
a profuse hospitality, and made speedy departure for any one
thrown among them, and that, too, by night, that their location
in the world might be kept a secret from all enterprising free-
booters. They leave Odysseus asleep, that he may not know
what direction they take in return. The schol. V. gives other
reasons for not awakening him : that they might not seem to ask
a return for the convoy, or that they might not be detained by
him, or that the poet so managed on account of the sequel, for
Odysseus would have been slain by the suitors if he had returned
openly. Plutarch, De Aud. Poet. 8, cites a tradition of the Tyr-
rhenians that Odysseus was of a remarkably drowsy disposition;
but he thinks himself that his sleep here was feigned, that he
might not have to dismiss the Phaeacians without hospitality.
Pope deems the criticism of Aristotle just. Mure sees in the con-
duct of the crew the true spirit of the practical joker, and they
doubtless indulge in a hearty laugh at Odysseus' expense, as they
imagine his consternation at waking and finding himself alone
in a supposably strange land; on 4 130. Wordsworth, Pict.
Greece, says: “Homer felt unequal to the task of describing the
raptures of Odysseus in approaching his native land, and there-
fore he very wisely landed him asleep. This is quite consistent
with the usual course of nature, which sometimes sinks from ex-
haustion in times of the greatest excitement.” See on 92.
126–27. &met)\áov. When Polyphemus, standing on the shore,
learns who has destroyed his eye, he stretches out his hands to
his sire, and prays that if it is fated for Odysseus to reach home,
he may do so only after long years, in ill plight, all his comrades
lost, upon a foreign ship, and find evils in his house. And Po-
seidon heard his prayer, t 532: whereby it is intimated that the
prayer is repeated by the deity as a threat; cf. & 330, X 102. Po-
seidon’s power to harm Odysseus himself has now ceased, but it
is quite in keeping with his customary vindictiveness to wish to
vent his spite on some one, and this he does upon the Phaeacians,
paying off an old score in the final settlement. — ras . . . trntreſ-
Amore; A 319. — Aubs . . . BovXiv ; the same phrase of Poseidon,
Y 15, when he has been summoned to the assembly of the gods,
BOOK XIII. 257
and he rises there to ask why they are gathered. IIis present
purpose is to ascertain whether any decree of the gods stands in
the way of his wishes; cf. a 20–95, a 286.
128–30. Trárep, a common appellation of the gods in many lan-
guages, but with Zeus it is formulaic. Poseidon uses it again
H 446, Here, E 757, and Helios, u 371. — &re, “when,” passing into
“since.”—rol ; 3. 29.-Yevé6)\ms; on m 205, 56; 6 232.
131–33. koi Yàp : and true it is that the Phaeacians do not
honor me, for while I said to myself that Odysseus should re-
turn at this time, and I never meant anything different, yet I did
mean that he should find no release from his sufferings till he
had set foot in Ithaca. But these Phaeacians not only received
and entertained him magnificently, but they gave him untold
gifts, and, what is unpardonable, over my element they bore him
asleep, and asleep they landed him in Ithaca. —vov, with Asú-
agabat. Düntz.-The main emphasis in the Sentence is on kakö.
TroMA& Trabóvra ; on 6 461. — Note the emphatic position of vé-
orrow and träYXu ; cf. a 75. – Štrei, Šć of ; 6 539. — trpátov, as 127.
The poet says nothing directly about this elsewhere, but the assent
of Zeus to his acceptance of the prayer of Polyphemus is implied,
t 553, where Odysseus' sacrifices to Zeus are rejected by that
deity, for he was pondering how to destroy all the hero's ships
and companions; cf. a 65–79.
134–39. oi, they, my descendants, bound by all the ties of
blood and by countless blessings showered upon them to honor
me and punish whom I punish. — eißovt’, not suffering, as I
meant, but AEAaopiévoc Śog’ #7876v0s, 92. –áyovres; on 9 254. The
aor. partc. of this verb occurs only 6 times; the present 51 times,
27 of which are used as in the passage before us.--xa)\ków ... at-
oray are the words of Zeus, 8 38–40. — &v; ) 278. — Aaxów . . . at-
oray, “having obtained from the booty his share.”—ved eMYepéra;
H. 136 D.
140. & trótrov, “O wonders;” an interjection expressing as-
tonishment mingled with displeasure; akin to Tairai, fie. — evvo-
oríyat’ is well illustrated by N 18, where Poseidon, kept from the
battle-field by the orders of Zeus, is watching it from the top-
most height of Samothrace, whence all Ida and Troy and the
ships of the Achaeans lay spread out before him. The moment
258 - NOTES.
Zeus turns his eyes away Thraceward (on & 329), Poseidon leaves
the mountain-top for his palace at AEgae, to equip himself to ap-
pear on the battle-field. Four steps he takes, and he is at AEgae,
Toépus 6' oipsa pakpá kai ú\m Troogiv tºr’ &0avárotov IIoostôāovoc ióv-
roc. -—eipuo-0evès, “ of wide-reaching power.”—otov, exclamatory,
as often. Compare the sentiments of this speech and the preced-
ing with H 445–63, where Poseidon complains to Zeus that his
achievements in building the wall of Troy will be eclipsed by
those of the Achaeans in their camp-wall, and he evidently wishes
them punished for their temerity; but Zeus simply tells him that
he shall level the wall as soon as the Achaeans depart.
141–42. &rupéſovoru ; & 283. —xaMetrov, “perilous,” Bryant; “a
work of pain,” Chapman. It combines the ideas “difficult” and
“unfeeling;” cf. 9 575, & 120, 3 651, c. 305; on & 329. —arpeg Büra-
tov. In Hm. Zeus is the eldest of the three brothers, N 355, O 187,
and Aides the youngest; Hesiod reverses the Order, making Zeus
the youngest. Here it may be said that Zeus, as Supreme arbiter,
does not include himself among the gods who could be guilty
of such an act; or, with the scholiast, Tosoftörarov may be taken
in the derived sense of “most honored;” cf. Eur. Tro. 48–9. —
&ruptmaruv táAAew, “into dishonor to thrust.”—&ruptmarty is usually
made a dat. of means, but the expression appears to be an in-
verted one, like p’ &xésqat ye 360 suc, r 167; cf. o 198, a 95, 9 71.
For the quantity of the penult, see on 9 243.
143–45. &vöpóv ; 6 408. — eitrep . . . oitu Tſeu : oºrt, not puñrt, be-
cause the negative belongs closely with tist, as if &ripáčet (141).
So 6 274, p. 382, r 85, T 289. A 55, 160, o 162, 178, 492, Y 129, 139,
Q 296 ; mostly after si è in antitheses. The negative is not com-
monly separated from its word, but we have oikárt v6ortuoc, T 85;
cf. o 162, 178, Y. 129; H. 842; C. 616, Obs. 1; G. M. 47, 3, Note.—
Bºm . . . kápret; & 197, 6; on 9 237, 178; here the insolence, be-
gotten of pride of strength and power, to whose continual urg-
ing the better nature yields at last. This is the £8pic so much
dreaded by the Greek, as bringing speedy punishment from
Heaven. Tru6%gag and &Two Trópºevot also occur with similar phrases.
oroi, a god so honored and powerful. —8’; On m 47.- kai ééo-
artoro, “surely thereafter,” if not before; the sentence is wholly
general. —érèero; 9 571.
T3OOK XIII. 259
147–49. Gila . . . *pśaupt, “quickly would I do,” on each occa-
sion that might arise, should I have your permission. The opt.
borders closely on the fut. ind., and, in fact, the two are combined
p. 347; cf. y 365–67, o 506, 9 595–98; G. M. 52, 2, Note; II. 722 b.
— &s àyopeſets, i.e., punish those that make light of me. — 6 wºv,
“Wrath.”—ótríſopov, “ look up to,” “regard.”— àMesíva, ; & 273.−
vov at, “now, however,” since I have your consent. — Trepuka)\\éa;
0 567.
151–52. §atoral, “to shatter,” break in pieces. At , 235, a
simile presents to us the picture of a vessel so shattered by Po-
seidon, and the poet tells us that but few escape to land, and they
exhausted by swimming. The same verb is used of dashing out
a man's brains and of Shivering a spear. —#öm oxóvrat, “ now
they may check themselves.” If the middle here be pressed, it
will prove that Poseidon's purpose was not to destroy the town;
and this is strengthened by the following words, which, on any
other supposition, would form as grim a pleasantry in its tone as
that of the Cyclops who tells Odysseus that, as a special favor, he
will eat him last, v 369. — &mo)\\\{ooru ; cf. m. 145, & 20, 0 87; on
& 14. — p.6 ya . . . &piquka)\!\!yat, “and a huge mountain for them
around their city enwrap.” The statement is ambiguous, like
so many in prophecies, of which this was originally one; but the
intention appears to have been to block up the harbors, and shut
them off from seafaring in that way. —&#14t-, properly “on two
sides,” may be compared with the two harbors. The construc-
tion is an inverted one, as 142. The figure is taken from a cloud
or mantle that enfolds and conceals, E 343, 9 331, 9 503.
154–55. & Trémov, “O mellow heart;” a figure from ripened
fruit; of frequent occurrence in the Iliad in affectionate address
as a term of endearment. Twice it stands in the plur., but then
assumes the declining sense of soft-hearted, weaklings.-ès is
the reading of all the MSS., though some of the scholiasts had
&c before them, and that was read by Wolf — pºv, for the em-
phatic pujy. — epiſº Cup.6, instead of the more usual plot, to display
the strong feeling with which he expresses his opinion. — 6tr-
Trére; & 303, 9 444. — Trávres : observe the touch ; all turned out
by the docks or in the agora awaiting her return; still the busy
idlers, eager for anything new ; the convoy and home-coming
260 NOTES.
a great event in their little world. — Aavvopévnv; supply vija,
as 113. 3.
156–58. Ceſval ... àiduka)\{\{au, dependent by anacoluthon upon
Öocsi, as if Óg were absent; the earliest instance of a construc-
tion quite common in Hólt., and found occasionally in the Attic
writers. Others prefer to consider the Óg clause parenthetical,
and the infinitives used imperatively. With 98tvat supply pav, as
163. The ordinary verb is Trotſjaat, as Q 611, where Zeus has
turned into stone the people of Niobe ; but Xääv puty #6mks is used
of the prodigy of the Serpent at Aulis, B 319. —6aupégaloruv, as
those who saw the Serpent changed to stone, B 320. —&mayres;
X 353. — pièya Sé. Poseidon’s wish is to give the Phaeacians a
lesson for their insolence, and punish them by the destruction of
their galley on the deep, and by cutting them off from maritime
facilities. Zeus tells him that the prodigy of the vessel turned
to stone before their eyes will be the most impressive lesson,
standing as an everlasting memorial, and wreaking vengeance
on them in ship and crew. Permission is also granted to plant
his mountain there if he choose ; so that the full warranty
of 145 is maintained, and the agency of Zeus is simply to alter
his plan as to the ship. A higher poetic interest is thus, in the
sequel, thrown about the fate of the Phaeacians, as they are left
standing about the altar. Aristophanes read pumöé, changing the
thought greatly.
160–62. Yeyáaoruv : when the scholiasts say here that this is
wrongly used for oikoúatv, because the Phaeacians have come from
Hypereia, they must either forget that it is the poet who is now
speaking, or else make the form an historical present, unless they
place the poet very close to the period of his story. Even at the
time of the story the removal must have been so distant that a
generation, at least, has been born in Scheria. But in every other
instance where yeyāaow occurs in Hm., it may have the schse
“are living,” or simply “are;” & 62, c. 5, s 35, t 118, T 279, a 84,
A 325; and necessarily so in all but the first two. 1 118 refers
to the goats on the island before the land of the Cyclopes, and
may be quite as applicable to the time of the poet as to the pe-
riod of the story. Hence, if the historic present be disallowed
(on m 103), the poet must have imagined the Phaeacians as still
BOOK XIII. 261
inhabiting Scheria in his own day. — FéAa orxe6öv, Sc. TóAvog.—
Stokop.évm; another picture of the pinnace driven on by the hands
of such oarsmen, 115,78, 155; p. 180–82.
163–64. pptgogev; m 122; not that the vessel was sunk and so
set in the bottom of the sea, but that its lower part or the exte-
rior covering (on 168) was extended downward till it reached
bottom, and then was firmly rooted there; compare the story of
the floating Delos. At the mouth of the old harbor of Corcyra
a rock was shown as the identical one. The incident may have
been suggested to the poet by some such picturesque object in
nature. —xelpi . . . Adoras, “with hand full prone having Smitten
it.”— karatrpmvet, pronus, palm down, opposed to iTruog, Supinus,
with palm turned up to hold the barley meal in prayer. It adds
a more vivid touch to the picture here, as when Apollo strikes
Patroclus his death-blow, II '792. Poseidon uses his trident to
break the rock on which Ajax is sitting, 3 506, to stir up the
waves, s 292, to sweep away the Achaean wall, M 27, and to in-
fuse courage into the two Ajaxes, N 59. – Beflikel, plupf, to ex-
hibit the instantaneousness of the act, as A 221, of Athene.
166–67. ‘patmkes; 0 191. — &öe Sé ris, a frequent formula by
which the prevailing sentiment of a number of persons is per-
sonified in ric. It often represents, as here, public opinion. “This
remarkable and characteristic creation remains, I believe, the ex-
clusive property of Hm. But perhaps we may discern in the
Homeric Tis the primary ancestor of the famous Greek Chorus.
Like Tis, the Greek Chorus is severed from all mere individuali-
ty, and expresses the generalized sentiment of the body or people
to which it belongs, in the highest and best sense which their
prevailing standard will allow.” Gladstone, Juv. Mundi, p. 437.
— arXmartov, adjective, not substantive. Ebeling.
168–69. How; & 119.-The subject of treSáo in Hm. is almost al-
ways the gods or fate; cf. 6 380, where Menelaus, wind-stayed in
Pharos, prays the sea-nymph Eidothee, oi, Trép plot sité, égric pi' &0a-
várov Trećg kai éðmo's rºsé0ov.–Kal ... rāga, “just now she was
all plainly visible;” the contrast seems implied that she is visible
no longer (cf. O 251, t 496), since the change to stone appears to
have been regarded by the poet as producing invisibility. This
is supported by the old reading &témºov, B 318, which Cicero had
262 NOTES.
in his copy, and which he so translates (De Div. II. 30) as to
show that he believed the poet viewed the object transformed
as covered with a coating of stone, and thus concealed from
sight. Compare the language of Sophocles in speaking of
Niobe, Antig. 826–27, Elec. 151, and see Am. Journal of Philol-
ogy, Vol. I. No. 1.
170–77. rā, proleptic, as so commonly with otöc.; H. 726.-
taray : how formed ? H. 409 D. 6. Excepting here, 6 772, p 152,
> 405, this form is from siput. — ºn . . . ikável, “most surely now on
me the ancient words prophetic are come.” icóvet, are come in
vengeance on me, not “ have occurred to me;” & 169. This line
is also spoken by Polyphemus when, after his blinding, Odysseus
tells him his name, and the words of the Cyclops’ prophet rush
into his thoughts, t 507. —ös . . . ; 6 565–69.
178–83. TeXetrat, “are being fulfilled.” The whole clause from
Tà is formulaic, occurring six times after the recital of prophetic
words, and the verb is invariably a progressive passive. — &s,
“as;” G. M. 61, 3. This formulaic line is sometimes followed by
a hortative Subjunctive, sometimes by an imv., as here. —tradard-
orge . . . &re . . . ikmºral; On & 239; cf. 6 32, 242, y 355, A 53. The
aor. gathers with strong emphasis all possible cases into one.—
Bpotów, rus; cf. & 150. —iepeșoropley; m 191. – at k’; On & 144,0496;
H. 830. — pºmâ’; m 195. — Treptºmkes: there may be a question
whether this is a mere metrical substitute for pāya, 177, or
whether Alcinous sees in the rock before them not only the ful-
filment of the first part of the prophecy, but the second also in
part. At all events, he does not deem it completely fulfilled,
and there stands ever before them the fear of some greater catas-
trophe, if they obey not the god; and this appears to be the ethi-
cal purpose of the poet. Eustathius thinks that the poet has
taken this means of protecting himself in the future; if the curi-
ous should inquire of him why they cannot find the Phaeacians
anywhere on earth, he can answer that they have doubtless been
destroyed by the god in the later execution of his threat; but
if they should be found, he could say that Poseidon had been
propitiated by the repentance of the people and by their sacri-
fice; on 160. .
184–87. §66eloray; on m 305, & 20, 121. —ößpou appears nowhere
BOOK XIII. - 263
else in this connection, and may be considered really significant,
and not mere padding for the line, as Düntz. Supposes. The
people are all concerned, and for them as a body the chiefs
offer their prayers and act as intercessors; on 9 157. — Bop.év,
doubtless in the agora, at the temple of the tutelary deity.
Here the Phaeacian episode closes, and the narrative transfers
the reader to the waking of Odysseus, and proceeds to describe
his adventures in his native land. Only passing allusions are
made to the Phaeacians in the subsequent books, and these simply
refer to the experience of Odysseus among them. With the pict-
ure of the whole people gathered in Solemn prayer about their
patrial altar, the poet leaves one of his most characteristic crea-
tions. Though acting merely as a means to an end—that of giv-
ing opportunity for the extension of a princely hospitality to the
hero at his sorest need, and a resting-place for the recital of his
adventures—the means grew into a conception as unique as a
people as they are winning in the individual characters por-
trayed. We have merely to read the bald and frigid narrative
of the visit of Jason to the Phaeacians on his return from Colchis,
in the Argonautica of Apollonius Rhodius, to feel the difference
between the master hand of Homer and the weakling imitator
of later days. That some of the threads of the garment woven
are left floating, where a modern writer would have finished off
the woof compactly, is due to the fact that the cpisode is a means
only; but we must remain content to bid farewell, as the poet
has done, to this people grouped about the altar, and thank him
for the beauties he has spread before us with more than lavish
lland.
APPENDIX.
THE DISCOVERIES OF SCHLIEMANN AND CESNOLA.
THE tradition that the Troy of Homer was situated in the
Troad, on the height now called Hissarlik, about three miles from
the Hellespont, was continuous, and apparently unchallenged in
antiquity except by Demetrius of Scepsis and Hestia=a of Alex-
andria Troas, both of whom wrote commentaries on the Iliad.
They assumed that the city must have been at a greater distance
from the sea, to afford battle-ground for the forces; and Strabo
follows Demetrius in locating it at the “Village of the Ilians,”
and in distinguishing pointedly between Old and New Ilium, al-
though no traces of the elder town were still in existence. Their
arguments, however, produced no alteration in the received tra-
dition; on the contrary, still higher and more substantial honors
were showered upon the existing site by the Romans through
many generations. But when, towards the close of the last cen-
tury, the account of a visit to the Plain was published by Le
Chevalier, who claimed that the site was to be found on one of
the Spurs of Ida, now called Bounarbashi, some ten miles from
the Sea, a controversy was excited which resulted in the acquies-
cence of many scholars in his theory, so that Ilium Novum and
Ilium Vetus became fixed points on our maps of the Troad, and
in authorities on Homer pretty generally. In the summer of
1868, the spot was visited by Dr. Schliemann, a retired merchant,
who was possessed not only of an ample fortune for the prosecu-
tion of researches, but of an enthusiastic love for Homer and a
strong belief in the historic reality of his song. He became con-
vinced that Hissarlik, and not Bounarbashi, was the original site
of the town, and, after making some slight excavations, deter-
mined to apply the logic of the spade systematically to the prob-
lem. This he proceeded to do in the autumn of 1871, and con-
tinued the work till June, 1873. Across the hill, which is about
12
266 APPENDIX.
400 × 300 feet, he ran from north to south a wide trench, and un-
covered the greater part of the west end. He found the native
rock at the depth of 46 to 524 feet below the top of the hill, and,
amidst the accumulation of debris, he recognized five distinct
cities, built the one upon the ruins of the other. The oldest in-
cluded all the space from the bed-rock up to 33 feet from the
top, or a layer of 13 to 20 feet; the second occupied the next 10
feet up, or from 33 to 23 feet from the surface; the third, from
23 to 13 feet; the fourth, to 64; the fifth stratum belonged to
the Greek colony of the historic period, which had long been
established and its traditions fixed at the period when Xerxes
made his expedition into Greece. This upper stratum exhibited
remains that were familiar from other Greek sites; but all the
others were filled with pottery, and implements of stone and
bronze or copper, more rude and archaic than anything that
had ever been discovered in Greece (the pottery having its orna-
mentation cut in the surface while the clay was Soft), while of
painting there was scarcely a trace. It was the second city that
the explorer claimed belonged to the Trojan period, resting his
proof upon the fact that the town had plainly been consumed
by a devouring conflagration, and from his finding there the
“Scaean Gate,” the “Palace,” the “Tower,” and the “Treasure,”
which comprised golden diadems and other ornaments, cups and
vases of gold, silver, and electrum, silver talents, copper axe-heads
and lance-heads, a copper shield and a caldron, all closely packed
together under a fallen wall near the “Palace” (see above p.
213). Rude as the art proved itself to be, the people of the
second, third, and fourth strata were possessed of the means of
recording thought by written characters, which have been shown
to be similar to those employed by the Cypriotes, though more
archaic than anything that has been discovered of the kind in
Cyprus. . . . . . , “ - * , -
Not content with his labors, in this field, Dr. Schliemann soon
after obtained permission from the Greek government to attack
the acropolis of Mycenae with his peaceful but searching weap-
ons, in an attempt to discover what wondrous secret the frown-
ing Lion Gate had been standing guard before through all the
centuries back into the dim and legendary past. In August,
1876, he set to work upon a trench running from the Lion Gate
into the acropolis towards the south for some distance, with the
intention of removing all the superincumbent soil down to the
THE DISCOVERIES OF SCHLIEMANN AND CESNOLA. 267
bed-rock. The first three feet at the surface yielded the usual
Hellenic remains; then came a stratum Some 10 feet in thickness,
which disclosed fragments of archaic painted pottery, rude idols,
spindle-whorls of Serpentine, etc., with some remains of house
walls of stone. About 75 feet from the Gate, and at the depth
of 13 feet from the surface, the enclosure called the agora, and
described above, p. 111, began to appear. Within this, near its
Southern wall, were found four Stela, or tombstones, standing up-
right in a row at short distances from each other. These were
sculptured with rude chariot-scenes and ornamentation of spirals
in relief. To the east of these was another row of similar slabs,
but without decoration. Digging below these, and in their im-
mediate vicinity, the bed-rock was soon reached, in which were
found five tombs sunk to nearly the same depth, about 30 feet
from the surface. One of these tombs, which lay directly under
the sculptured stela, had contained the bodies of three men ly-
ing with their heads to the east, so that they faced the west like
the Sculptured slabs above them. The faces of two of them
were covered by large masks of gold, which have been thought
to represent the features of the dead. The head and a portion
of the body of one are still so far preserved that a painting was
made of them, and afterwards a druggist succeeded in solidify-
ing them, so that they now form a part of the Collection at
Athens. The breast of this body was covered with a gold
breastplate; across the loins lay a gold sword-belt; and on his
right were the two swords with their ornamentation, as exhibit-
ed above, p. 214. Near by was a gold tassel, a heap of cleven
bronze swords, and a large number of studs or bosses of wood
plated with gold, and ornamented with spirals and other devices.
The tomb also contained a number of gold cups and vases, more
bronze swords, bosses, silver vases, wooden boxes, etc.
In the second tomb, below the unsculptured stelae, had been
placed the bodies of three men, and about them were found gold
diadems, a silver vase with mouth plated with copper and gold,
Some terra-cotta vases, idols, etc.
The third tomb had been the depository of three women and
possibly of a child, and the bodies had been loaded with objects
of gold in great variety—bosses, griffins, lions, stags, cuttlefish,
butterflies, swans, hippocampi, eagles, sphinxes, trees, diadems,
brooches, scales, lentoid gems, goblets, the vase given above,
p. 221, and the female figures of p. 141.
268 APPENDIX.
The fourth tomb was larger, and contained the bodies of five
men. The faces of three were covered with gold masks, and a
fourth mask, representing a lion's head, was also found. A large
Inumber of copper vessels lined the sides of the tomb, one of
which is figured on p. 218, and another on p. 244. Other objects
in great profusion much like those of the other sepulchres came
to light, among them the gold prochoos given above, p. 153, and
the two-handled cup, p. 187. The remaining tomb was Small
and had but one body.
The excavations were closed by Dr. Schliemann in December,
and the objects discovered presented to the Greek nation. Three
months after, another tomb was discovered by the agent of the
Greek government, outside the circular enclosure, but close to
the south of it, below the ruins of a house which Schliemann had
excavated; and since then, a sixth tomb has been brought to
light within the enclosure during the explorations which have
been carried on by the government itself, not only in the acrop-
olis, but in the plain, at the Treasury of Atreus, at the Heraeum,
and at Nauplia. In the three last-named places, objects have
been discovered which belong to the same archaic period as the
sepulchres of the acropolis. And to these are to be added the
remains from Spata in Attica, and others still more recent from a
tumulus at the ancient Acharnae, close to Athens itself. All
these disclose to us a period touching which the remains from
Hellenic sepulchres had hitherto been totally silent, and which
still lived only in the Lion Gate and a few remains of “Cyclo-
pean architecture,” and in the unsubstantial wonderland of poe-
try and legend upon which these discoveries now set their seal
of substantial reality.
Dr. Schliemann resumed his excavations at Hissarlik in 1878;
and though the results have not yet been fully given to the pub-
lic, they seem to confirm, in the main, the conclusions previously
reached respecting the earlier excavations. They have, at all
events, proved that if the Troy of Homer ever had any objective
existence in the Troad, it was on the height of Hissarlik: for
tradition declares the former existence of a very important city in
that vicinity; the excavations of Schliemann, Calvert, and others,
at all probable sites, have shown that Hissarlik is the only one
that presents any remains at all commensurate with the demands
of tradition ; hence this must be the site. -
When the remains from Hissarlik and Mycenae are compared
THE DISCOVERIES OF SCHLIEMANN AND CESNOLA. 269.
with those from other Greek sites, certain conclusions are reached
which are of importance to the student of Homer, as they are
also to any who may seek to trace the development of art and civ-
ilization. The objects from Hissarlik find their counterparts at
Santorin and in Cyprus, especially in the remains from Alambra
in the Cesnola Collection, often referred to in the preceding
notes. These have been assigned, on somewhat uncertain data,
to the fourteenth century B.C. At all events, they are measura-
bly more ancient than the Mycenaean treasures, which exhibit a
considerable advancement on many sides, and a somewhat
stronger contact with the East and South, though the style of
art is still native in the main, and but little influenced by the
great schools of Egypt and Assyria. Their best counterpart has
been found in the remains from Ialysus in Rhodes, and they may
be referred approximately to the eleventh century. The question
then naturally arises, How far do they represent the art of the Ho-
meric poems?—a question that is significant not only in settling
the date of the poems, but in determining how far the objects be-
come the means of close comparison and illustration for the poems.
The study of the two reveals the fact that in all that relates to
the workmanship of the mere handicraftsman, such as swords,
scabbards, sword - belts, domestic utensils, etc., the two are so
far in accord that the fashion of the Mycenaean had probably
changed but little, if at all, in the Homeric period. But the sep-
ulchres at Mycenae exhibit no work that is comparable to the
shield of Achilles, which, in fact, belongs to an entirely different
school of art, that of Phoenicia, as seen on the silver-gilt bowls in
the Cesnola Collection, the earliest specimens of which that can be
certainly fixed are the bronze bowls from Nimrud, that belong
probably to the early part of the ninth century. These exhibit a
new feature in art and the mode of ornamenting its objects, which
had been adopted by the Greeks at least as early as the Chest
of Cypselus, 700 B.C., and which produced a revolution in their
own methods and a wonderful impetus towards their later per-
fection in this field. It is the Phoenicians who in Homer are the
producers of all the finest works of art, unless they come direct
from the hand of Hephaistos, and he may be taken to represent
the poetic embodiment in divinity of all that is Phoenician and
foreign in art. Hence it is to be inferred that this Phoenician
style was beginning in the poet's day to make itself felt in
arousing enthusiasm for its productions, but that it had not yet
270 - APPENDIX.
begun to weaken very far the native style, or to be much imi-
tated in its elaborateness. The poet may have seen something
foreign which gave him a simple ground - work upon which
to construct, in his wondrous poetic workshop, that beautiful
creation of the shield which is unquestionably as far above the
art of his day as the summit of Olympus was above the real
world he trod. But if these Phoenician bowls had been so highly
prized in the day when the royal remains were deposited at
Mycenae, they would have formed a part of the tomb-furniture.
Hence the age of the poet must be later than that of those treas-
ures. But between his day and that of the Chest of Cypselus
intervene the great revolution in the style of art already men-
tioned, the expulsion of the Cypriote syllabary, if ever used in
Greece (of which we have as yet no evidence, unless Z 168–69 is
such), and the introduction, or, at all events, the freer use, of
Phoenician letters, and a strongly developed myth-making pc-
riod, all of which appear well established at the beginning of
the seventh century. For such radical changes, not to mention
others quite as extreme, a period of two centuries would seem a
moderate allowance indeed. Hence, on the evidence of art, the
age of the poems must be placed about the tenth century, a pe-
riod frequently assigned to them by the ancients, and which on
all grounds is most probable.
The discoveries made by General di Cesmola in Cyprus were be-
gun in 1866, and prosecuted with great Sagacity, energy, and
success for about ten years on all the sites of noted places in
that island. The fruits of his explorations have at last found a
fitting resting-place in the Metropolitan Museum of Art in Cen-
tral Park; and though they are not so immediately interesting to
the student of Homer as those of Dr. Schliemann, as coming from
sites more distant and less known, they are still of the highest
importance in the contributions which they offer towards solving
“The Problem of the Homeric Poems;” while to the history of
the rise and spread of that wonderful product of human genius,
the Greek art of the historic period, they form one of the most
important additions that have been set before the present age.
As such, they cannot be too carefully studied ; nor can the
classical student of America ever feel too much self-gratulation
that such a collection has found its way to this side of the At-
lantic, to pique his curiosity, to incite his ambition towards seek-
ing in unaccustomed paths of classic lore the means of solving
THE DISCOVERIES OF SCHLIEMANN AND CESNOLA. 271
its numerous problems, to bring him face to face with the reali-
ties of the past, helping to vivify the dim mental picture of his
studies, and to make him realize, as perhaps nothing else could,
the greatness of Greek genius in art, which would not rest con-
tent with such productions, but, passing from them as from rudi-
ments only, rose to the sublime heights of the masterpieces that
stood upon the acropolis at Athens, beside the waters of Al-
pheus, beneath the frowning summit of the Hyampean cliff, and
amidst the soft groves and amorous Zephyrs of Cnidus.
GREEK INDEX.
&T6, § 40, 100.
& y &, 6 11. &pg|Tif, v 44.
&y ſpoos, ) 94. 'Apºystºpóvrijs, m 137.
dyopiſ, Q 266. &pyvpój)\os, 1, 162, 0.406.
Čtypwortus, £90. &piós first-os, 0 382.
&ytóv, 0.259. Čtoſłao Tos, ) 331.
&yov, v 134. &a Tv, & 178.
&#p, 1, 15. &Táo 6a)\os, ) 60.
at:yelpos, K. 291. &Tpú'yatos, £ 226.
'Atóms, [11. 'ATAutóvn, Ç 324.
ał0ovara, m 335, 6 57. aúTáp, Ç 2.
Aïa'a, ) 197. aú78, 0.444.
aiorup,wijtal, 0.258. aúTós, £83, 308, 0 106, 186, 207.
&koúw, 0.564. aúToj, 0.68.
&\systvös, 0 126. -
d'Asſyövto, 6 38. B
&\starov, 0430. Baqi)\aſs, & 54, m 49.
&\\á, 0.240, 389. BáATapos, Q 282.
&\\d. Kai čás, 6 184. 8ovXī, Q 55, 1, 189.
&\\os, & 84, 158, 0 39. {3poT&s, 1, 210.
&\q) motifs, & 8.
àua, § 32, A 371. I.
&piq i, Ç 9. yápºos, K. 27.
&piquéAuoſo'a, Ç 264. 'yap Ts, 1, 306.
&uquicătreWNov, 0.89. ºysºyáczo-ty, v 160.
&piq iToxos, Š 18. yápas, 1, 150.
ſtuq, is, & 266. 'yépov-Tss, 1, 189.
&v, g 57, 183,221, 259, 303, v 137. y\&vköTus, K. 13.
&vagaiva, Ś 29.
&važ &vöpöv, 0 77. A
&vč, TráTao'o av, 0.54. 6&ſuov, & 172.
&uctora'a, Ç 149. ôa tºppagu, K 256.
&váo go, 11 23. Šá, & 6, 20, 86, 133, 169,172,234, 147,
&vsø, 1] 144. 79, 171, 315, 9 149.
&otóós, 0.43. Öet)\eto, n) 289.
'AT&ipm, 1) 8. - 6épw, 661.
&Tijun, & 69. 6 goads, 0448.
12%
274 GREEK
INDEX.
6é Tz, Ç 105, 108.
ôeſpo, 6 11.
680+s, 0 11.
ôňa, § 291.
ôté, m 40.
ôuTarrjs, m 284.
ôtoysvijs, m 49.
ôios, 117, 6 34.
ôtorſpagh ºffs, m 49.
66Xos, 0.493.
#yyú0sv, 0.62.
eiðos, & 152.
ai kai, Ç 312.
st kev, m 75.
giXíTroöczs, 6 60.
eipt, A 336.
strep, m 321.
eipo, v 7.
ăţa ms, 6 98.
aios, K. 80.
ëic, 0 106.
éX&to, Ç 82.
âAáq, as, 6 404.
ău, Ç 78.
ăvu, Ç 15. *
ãv Öq,0a)\ploſio’uv, 0.459.
évvoo tºyatos, v 140.
ãTapčápravos 68táeorgiv, 1, 183.
#Tavra, w 105.
#Túv, & 262.
#Tru, m 104.
#7tí, g 52, 75, m 120, 216.
#Tux66vuot, 6 221.
£Tougu, Ç 32, \ 371.
#7ttövvuos, 1, 54.
#960, n 202.
ão impos, 0 62.
‘Eppleias, m 137, 138.
és, ais, & 3, m 316.
éoxápm, g 51.
#Tu, m 213.
Eö FáA6aoy, K. 296.
sūšvºyos, v 116.
&njvoop, v 16.
supéxopos, & 4.
âûora's Nuos, 0.499.
@o Tpa, § 38.
H
fi'yūTwp, in 136.
#Adºkata, § 53.
juſ?potov, 1, 292.
iiaos, 0 1.
jv0ov, K. 296.
Žiplºyévetc., 01.
jós, & 48, 0 1.
0aúpua, Ç 306.
08 ováijs, & 121.
doij, m 34, 6 38.
0.06s, & 92.
tö8, 6443.
ióá, A 337.
ispaúa, 6 59.
ispás, m 167, 6 383.
irvéopºat, K. 805.
iva, Ç 27, 54, 6 577.
tp113, v 84.
K
k&6 ák, 0.67.
kai Öé, Q 39.
Katarap, m 224.
kavaxij, K. 82.
kávaov, 0.69.
KapTra)\incos, 1, 194.
katakaí8Ts, m 188.
kév, & 183,221, 259, m 276, 315, 021.
Rijo, Ç 11. -
Icípicos, v 84.
'Kuöv, 0.254.
K\niatu, Tí, 0.36.
k\to pºds, Q 307.
k\vºrós, & 58.
KA600es, 1, 197.
ico) adv, 6 403.
ſcopatóñ, 0.231.
ſcopagum, 1, 90.
Kopovís, & 264.
Ročom, & 222.
GREEK
INDEX. 275
kpijóspuuou, Ç 100, 0448.
kúavos, ) 87.
Kūk)\otres, Ç 5, 7, 205.
wºuTapos, ) 216.
ictóT11, 6 403.
A
ActiTua, m 35.
Xé8ms, v 13.
XevictóAévos, K 101.
Xijkv6os, & 79.
Xíyeva, 0.67.
Xtºr', 'ſ 96.
Xoja, § 96, 210.
M
p. 6Xa, § 304, m 32.
playáðuplos, m 16.
playa)\ſitop, & 17.
Auéyapov, Š 51.
puéyedos, Q 152.
pusXiqipov, 11 182.
puégoros, 666.
platé, Q 60, 133.
Awiſ, Q 147.
pañ, adv., § 193, 200, v 143.
propºpſi, 6 170.
N
wavorakAvTós, 1, 39.
w867Toto Tos, 6 403.
vijóvpios, v 79.
ym}\iffs, 6 507.
vöv, v 131.
wiju ‘ye, 1, 68.
vöv 6é, ( 172.
O
6, § 1, 1) 54, 201, 222, A 358.
36s, & 201, 206.
606vn, 1) 107.
oios, & 301.
otvolly, Ś 170.
oig'étw, 0.255.
6Ampos, 0 64.
6006kpalpos, & 264.
§s, 28, 37, 1) 23, 0.26.
Šarrus, 0 26, 238.
&rg, A 373, v 128.
&rt, 6 77.
où, & 201, 1] 239, v 143.
oùóē y&p ovéé, 0.30.
où pºa, 1, 32.
Oüpavíoves, m 242.
ôqpa, § 173,218, 239,0577.
Öxão, m 211.
ôlyov, K 77.
II
Tayyá)\keov, 0.403.
Ta) tuT\ayx0ávta, v 1.
TrčTara, Ç 57.
Tćpos, & 331.
TáTap, v 128.
TáTAos, K. 38.
TraTvvuévos, 6 383.
Téarov, v 154.
Táp, K. 87.
Trépu, Ç 262.
Tapi kāpu, Q 158.
arepiq pov, A 342.
Traghākāort, 1) 114.
TrAvvot, Q 86.
TróAts, (178.
Toxvěatóa)\os, v 10.
Toxº~\as, K 1.
Tropq ūpāos, K. 53.
Torré, 0.565.
TpeogúTarros, v 141.
Toív, Q 331.
Tpó, & 36.
arp &0upov, m 4.
Toés, K. 207.
Tods ... giarov, K. 21.
Trpág.08w, 6522.
Too-Ti, m 2.
Troöxoos, m 172.
Toward TAoos, 0 35.
TTEpáels, m 236.
Trºtoxiºroptos, 0 3.
IIv0%, 0.80.
P
6&ros, K 178.
fical/q &ia, p. 47.
firiyaa, Q 38.
ÖoôoôáktvNos, 61.
276
INDEX.
GREEK
orijua, 0 192.
o 0%uos, 0 136.
orkmar-Toijxot, 6 39.
orictóets, 1, 267.
orkóXollſ, 11 45.
orot, g 190.
T
ºráAavrov, 6 393.
TeXai-Tal, w 178.
TÉpavos, K. 293.
Tetpáyvos, m 113.
ºrts, v 166.
Tolov, m 30.
Tpm-6s, aſ 345.
TpíTrows, 6 433, v 13.
Tpoºrós, 6 53.
ūypós, & 79.
‘Yºrépsto, Ç 4.
jTrap-rapin, Ç 69.
57tóðpa, 0.165.
juro5, 6 55.
qf)
q, a tuto, m 102, 0.499.
q àpos, & 214, 6454.
q épo, K 83.
q) éptov, 0.482.
q i\os, 6 178.
q,6ppuyá, 667.
q\p&@, 0.142.
q}vñ, 152.
qiaovija as, v 58.
X
Xaipe, 0.406.
XaXkogatás, v 1.
XaXkós, 1, 83, 86, v 19.
Xtºrów, § 214.
X\aiva, § 214, 6454.
$2
&s, £1,079.
cºs, 1, 113, 168, 1, 11, 0 239, 514,
v 156.
às 3' atyros, & 166.
§oºrs, Q 122.
EN GDISH IN DEX.
A.
Ablution before meals, m 173.
Abstract for concrete, Ç 23.
Accusative, cognate, Ç61, 165, m 50;
of person after irºvéopaau, Q 305.
Acephalous lines, m 119.
Adjective for adverb, £170,206, v 75.
Adverb more nearly defined, 0 68.
AFschylus, & 8, 1, 83, 6 85, 522, 556,
ly 39.
Age, respect for, .329; brings wis-
dom, m 157.
Agora, Phaeacian, position of, ſ 266,
267; Trojan, 0.501.
Agreement of verb with nearest
noun, Ç 171.
Alcinous, character of, 12, m 147,
167, 303, 312, 315, 331, 6 38, 59, 91,
100, 236,238,241,244, 246,255, 3S2,
383,389, 394,425,426,430,531,543,
570, 577, 584, A 348, 352, 363, 373,
v 1, 13, 20.
Allegory in criticisms of scholiasts,
v 110.
Allen, F. D., on contraction of
verbs in -aw, 0.572.
&v with fut., § 221; with ice, & 259;
with subj., § 183; with opt., § 57;
with ind., v 137.
Anacoluthon, v 84, 156.
Anastrophe, & 12, 15, 172.
&viſo with national appellatives, Ç 3.
AOrist, mixed form, @ 78; gnomic,
Ç 185; as perfect, ( 172, m) 297; as
plupf., § 93; imperative, Ç 239,
v 178; partc., 6 250, 564, v 58.
Apocopate prepositions, & 248.
Apollo, Hymn to, Ç 162, 0 64, 80;
birthplace of, Ç162; presides over
the lyre, 6 63; inspires the bard
as prophet, 0.487.
Apollonius Rhodius, m 98,257,0564,
w 184.
Appositive agreeing with interven-
ing relative, m 94.
Arete, her motherly care, Ç 76; her
influence, m 69; her mental gifts,
m 73, 74, 167, 237; her careful
housewifery, v 63; her present,
6 425.
Aristophanes, § 21, 80, 01, 85, 255,
564.
Aristotle, wit of, m 121; explanation
of &piqucúTra)\\ov, 0.87; criticism
of, v 125.
Art, g 10, 18, 52, 79, 84,107, 152, 155,
161,210,214, 230, 232,233,266, 267,
1, 79, 81, 83, 84, 86, 87, 89, 90, 94,
100, 106, 107, 114, 172, 234, 634, 80,
87, 161, 224, 265, 367, 377, 393, 403,
406, 424, 430, 433,439, 448, v 10, 13,
pp. 266–71.
Artemis, tall and slender, @ 107;
sudden death attributed to her,
1) 64.
Article, with numerals, & 63; as in
Attic prose, m 54, 222, 0 39; for-
mulaic, 1192; with adverbs, m 201;
as possessive, X. 338.
Assyrian art, mainly relief, m 100;
bass-relief, 0.377; bronze-plating,
m 86.
Asyndeton, Ç 84, m 34.
Athene, passes through key-hole,
278
ENGLISH INDEX.
g 20; beautifies Odysseus, £230;
teaches art in general, (233, m 110;
bound to Odysseus by similarity
of character, & 325; incognito in
Scheria, Ç 329; respect for Posei-
don, K329; attributes of beauty,
m 41; as herald, 0 8.
Atlas, 11 245.
Attraction, inverse, 6 74.
B.
B inserted for euphony, 1, 210, 292.
Ball-playing, kinds of, 0.374, 377.
Bard, indispensable member of the
court ; connection with deity,
6 43; his knowledge from inspi-
ration from muse, 6 74; power
of 6 91.
Bath, attendance upon, £210; proc-
ess of K 216, 224; room, 6449.
Beating time to music, 0.377.
Beauty, Of Women includes height,
also size with matrons, £ 107; of
lmeroes, Ç161; reverence for, (161;
bestowed for a purpose, K 230.
Bees, domestication of, v 105.
Beggar, Ç 208. -
Bessee, Pretty, 6 41.
Blindness of Homer, tradition of,
{} 64.
Bow, use of £ 270; employed by
Teucer in Iliad; not by the Peles-
ta, 6 220; of Odysseus, 0 224; as
weapon of Heracles, 0 224; length
of shot, 6 229.
Brass not in Hm., m 83.
Bronze, the Ordinary metal for im-
plements, n 83; constituents of,
m 83; Age of Hesiod, m 86; sheath-
ing for walls, m 86; personified,
w 16.
Bryant, W. C., § 86, m 127, v 141.
Buchholz, m) 87, 117, 6 34, v 105.
C.
Caesura in last foot, (309; Bucolic,
1) 6; when lacking in third foot,
0 175; prevents elision, £ 248,
0 211. -
Carelessness of detail, 1, 289.
Castellani, 6 403.
Causal clauses, construction of,
0 78; participle, parallel to dat.,
{} 426.
Cesmola Collection, g 53, 157, 214;
m 100, 183, 6 224,430,433,448, v 13,
p.269,270.
Chests of garments, of cedar, stored,
{} 424.
Chiastic arrangement, 0 64.
Chios, bard of, 6 64.
City of Phaeacians, position, Ç 263.
Colonies retain much lost by moth-
er country, 6 393. -
Color in similes, Ç 230.
Color-sense weak and confused,{53.
Comparative used absolutely, 1156.
Concessive clause with attrap, n 321;
participle, m 224, 6 182.
Condition with conclusion implied,
§ 144, 1, 52; with ind., § 179,
w 138; with Subj., Supposition
particular, m 75; general, m 204;
with opt., 0 217; mixed form,
X 380; with relatives, § 28, 183.
Conington, £42, 6 21, 504.
Co-ordination frequent in Homer,
§ 169, a 79, 171,261, 6 416.
Copper, pure, where found, m 83.
Corcyra, identified with Scheria, Ç8;
rock in harbor, v 163.
Craftiness a merit, m 245, 303.
Crown-lands, £293.
Cruelty of the age, 6 526.
Customs known only from similes,
w81.
Cyclopes, § 5, m 204.
Cyclopean architecture, Ç 267.
Cypriote inscriptions, { 296; sylla-
bary, 0.393, p. 266, 270.
Cypselus, Chest of, & 84, 0 424,
p. 269, 270.
D.
Dances, § 64, 157; leader in, Ç 101;
divine, 6 264; mimetic, 0 265;
Plato's views of, 6 265. . .
Dative, ethical, Ç 26, 29, 119, 131,
FNGLISH INDEX.
279
199; of inf., n 174; with ustav-
3&to, Ç 217; with verbs of ruling,
m) 23.
Dawn sometimes physical, usually
a person, 61. -
8é, “for,” g 6; “although,” g 169;
“so that,” & 234; in apod., m 47.
Deaths, sudden, by Apollo and Ar-
temis, 1, 64.
Decade a common number, but a
round one, m 253.
Decks, two, v 74.
Dcification after death incomplete,
0 465. e
Deiphobus, probably in chief com-
mand at fall of Troy; perhaps
marries Helen, 0.517.
Delos, once mentioned; its palm-
tree, (162; floating, v 163.
Delphi, Homeric Pytho, mention
of; temple of; oracle of; 0 80.
Dialogue with self, ſ 118.
Diphthongs elided, § 174,0487.
Discus, shape of; mode of throw-
ing, 6 186.
Divination not confined to profess-
cd prophets, 0.570.
Dogs of Alcinous, m 94, 100.
Domestic affections, strength of,
6 178; between brothers, 6 543.
Doors, hung on pivots, Q19; bronze-
plated from Nimrud, m 86.
Dowry, Ç 28.
Dramatizing action and thought,
fondness for, ſ 118, 141; silently
implied, § 185; cf. K 349, d. 298,
£200.
Dual neuter with sing. verb, { 132.
E.
Elision, Ç 174, 241, 248, 0.487.
Emphatic word at end of clause
and beginning of line, Ç 30.
Iºnclitic pronouns, position of 1276.
Endurance, Superhuman, 1, 253.
Tºpic commonplace, m 78.
Epirus, m 8. -
Episodes common in Hm., § 42.
Epithet, fixed, Ç 26, 1] 34, v 84.
£oroplat with prepositions, {32, X 367.
Erechtheum, m 81.
Erechtheus, in 81.
Erymanthus, 103.
Euripides, m 222, 234,085, 424, 493,
522, 565, 577, v 141.
Exaggeration, poetic, n 253, 6 223.
Eye, image in, noticed by Hm.,0459.
F.
Farewell, formula of, v 39.
Fat, use of, and fondness for, 0476.
Fate in harmony with the gods, not
higher than, as later, 1197.
Feast, how portioned, 0.98, 469.
Fellows, Sir Charles, 1, 20.
Female freedom, @ 275; after mar-
riage, & 287, m. 13.
Fifty a ship’s crew, 0.35.
Fire in use, m 7.
Flowers not cultivated ; love of;
kinds mentioned, m 127.
Food on table, § 77.
Foot-race, 6 118.
Forefathers greater than descend-
ants, 0 223; no argument for date
of Hm., 6 223.
Formulaic Toigt öé, of two, ) 47;
lines, m 78, 0 71.
Fortune capriciously distributed,
& 187.
Fountain outside of city, K. 292,
1, 20; water from, carried by
king’s daughters; by slaves, m 20.
Friendship,0543; of Alcinous, 0.584,
Frugal traits, 0473.
Fruit-trees, 11 115.
Future, the, viewed as behind,
g 242; tense of mild command,
m 53, A331; participle, § 134, n 283.
G.
Games, Hellenic fondness for, 0.145;
desire for reputation in, 0 149,
108; mention of, 6.108; Olympic,
0 108, 118, v 81.
Gardem of Alcinous, 7, 114.
Garments, Phaeacians proud of,
m 106; for a change, 0.247.
280
ENGLISH INDEX.
Gender, natural, not grammatical,
§ 157.
Genitive, after comparative, defined
by clause, Ç 182; absolute, Ç 155.
Gesture of person addressed, Ç 168,
X 338.
Giants, how destroyed, 7, 58.
Gifts to guest, 6 389; formula in
acceptance of, 6 482; weakness
for, X 356; made up for by public
contribution, v 13.
Gildersleeve, B. L., on oratio obliqua,
6 514.
Gladstone, & 35, 52,128, 210, 230, 266,
m 10, 29, 36, 49, 53, 60, 79, 114, 150,
323, 0.35, 153, 165, 465, 489, v 166.
Glory as ever-rising flame, m 331.
Gnomic aorist, Ç 185, m 217.
Gods, bestow wisdom, @ 12; bestow
beauty, K 18; forms of, known
from personal intercourse, Ç 152,
n 201; ignorant, K. 329; the high-
est not pitted in Open conflict,
Ç 329; travel about in disguise,
m 204; engage in labor, 76, 68.
Gold, plating of, & 232; relative
value of, and abundance, 0.393.
Golden mean, m 310.
Graces, number; bestow beauty,
§ 18.
Grief, face covered in, 0 85; reluc-
tance to exhibit, 0.86.
Grim pleasantry, v 151.
Grinding of corn by women, 1) 104.
Guest, g 207–8; bed of, in portico,
m 335; presents to, 6 389.
II.
Hades, and life there, Ç 11.
Hair of heroes, Ç 230; of Odysseus,
Ç 230; of Europeans on Egyptian
monuments, 3 230.
Hamath, 0.393.
Hand-mill, construction of, m 104.
Hawks, characteristics of, v 84.
Hayman, Ç 21, 130, 211,275, 324, n 54,
74, 315, 9449, 584, A 352.
Head, B. V., on Schliemann’s “tal-
ents,” 6 393.
Hecatomb falls short of 100 vic-
tims, m 202.
Hephaistos, teaches metal-worker,
§ 233; endows art objects with
life, m 94.
Heracles, costume of 0 224; labors
of, (103.
Here disappears from Odyssey,
6 465.
Hermes, giver of sleep, 1, 138.
Herodotus, £31, m 20, 29,47, 54,055,
382, 448, 473, 564, 570, 577, A 331,
v 116.
Hestia not a goddess, 1, 153.
Hiatus, after first foot, 224, 296,
n 154; in second foot, Q 151; in
third foot, 6 215; with Bucolic
caesura, m 6,6133; before relative,
1) 23.
High seas, 0 55.
Hippocosmos, 0.492.
Historical present, use of, in Hm.,
1, 103, v 160.
Homesickness of Odysseus, 1, 224.
Honor, place of, in poetic enumera-
tion, 6 116. -
Horace, & 67, 1, 267, 0.99, 137, 175,
222, 247, 406, X. 352.
Horizon, division of, by Hm., 6 29.
Horse, not in Scheria, nor Ithaca;
islands not fit for, 0.129; number
of, before chariot ; male Superior
to female, v 81.
the wooden, how introduced
into Troy, 6 504, 505; heroes in,
{} 511.
Hospitality of court, 1) 16, 33.
Hunger’s imperiousness, m 215.
Hypereia, elder seat of Phaeacians,
{4
I.
Immortality produced by nectar
and ambrosia, m 257.
Imperſect, Q 100; as plupf., § 250;
participle, 0.250.
Inconsistencies, in theo - mechan-
ism, {42,329, 11.203; in characters,
n 50; in Phaeacian environment
ENGLISH INDEX.
281
because of its divine element,
1, 121.
Incorporation of antecedent adj.,
1, 213. -
Indicative, in condition, Ç 179; in
conclusion, 1) 279.
Infinitive, after verb of motion, {50;
of purpose, K 82, 90 ; of result,
{87; as imv., § 258, 260; as a da-
tive, 1, 174; dependent on Totod-
arov, , 310; in Wish, n 313; imper-
fect, 6 181; Subject omitted,
though not same as of primary
verb, 6 518.
Inscription at Aboo Simbel, 1, 55;
Cypriote, Ç 296.
Inverted expression, v 141, 151.
Invisibility, mantle of, iſ 15,31; pro-
duced by change to stone, v 168.
Invocation, trine, 1, 311.
Irrigation, artificial, m 129.
Isolation, prominence gained by,
{} 425.
Ithaca, vague knowledge of, v 96.
Ivory, use of; obtained whence;
ſound where, 0.403.
R.
kakós of degree, Ç 187.
kä with &v; doubled, § 259.
JKefa, § 79. -
Rey, use of 6 448.
Khita, n 253.
Rings receive their right to rule
from Zeus, m 49; how selected,
m 150.
Knees as seat of strength, v 33.
Knot, intricate, for chests; Gordi-
an, 9448. .
Rinowledge, based on experience,
m 157; presupposes the feeling or
action, 6 584.
Kúavos, of what, m 87.
L.
Labor, respect for; participated in
by gods and kings, & 76, 0 38,
59.
Lamp only once mentioned, 1, 101.
Landscape, Greek treatment of,
§ 123; feeling for, in HIm., ) 79,
114.
Laodamas, character of 0 140; as
host, 0.207.
Laughter as means of allaying ir-
ritation, use of, by Hm., B 266.
Paundry-pits, Q 86.
Lecythus, various styles, § 79.
Lentoid gems, 0448.
Leto, the mother, ( 106.
Libation, 1, 183; in thankfulness,
0 89; goblet for, 0 430; accom-
panied by prayer, v 47; poured
while sitting, v 53.
Life short for one that contends
with gods, 0 226.
Liquid doubled in pronunciation,
Ç 14.
Livius Andronicus, Odyssey of,
0 139.
Locomotion of Deity, aſ 80.
Ducretius, g 43, j 115, 0 165.
Lyre, shape of; strings, 0 67; use
of, by the bard, 6 266.
M.
Marathon, why mentioned, 1, 80.
Marriage, necessary, Ç 66, 282; by
purchase, Ç 159, 287; of uncle and
niece, nephew and aunt, iſ 66.
Marsh, G. P., ) 236.
Meals, £97; of workmen, v 31.
Metropolitan Museum of Art, & 79,
p. 270. -
Middle, indirect, v 13.
Migration, Ç 7.
Milton, Ç 158, 168, 1) 114.
Mina of Carchemish, 0.393.
Mind as weapon, 0.543, 556, \ 342.
Mother's thought ſulness for child’s
comfort, (; 76.
Mule in ploughing as compared
with oxen, 6 124.
Mure, {42, 61, 118, 130, 140, j 39,78,
197, 0.492, v 1:25.
Muses, the givers of song ; their
number, 0.63; punish Thamyris,
{} 64.
282
ENGLISH INDEX.
Mycenae, £232,267, 183, 86, 100, 104,
172,034, 87, 393, 403, 406, 416, 430,
433,448, v 13, 81, pp. 266–79.
Myron’s Discobolus, 6 186.
N.
Naïveté, 6 41, 394, 443.
Nakedness abhorrent to Homeric
feelings, g 129; in art, & 210.
Name, commemorative, m 54 ; of
places both sing. and plur., m 80;
Of inventor or maker introduced
to dignify work, 0.367; of Phaea-
cians indicative of passion for Sea,
0 111; by whom given; son's dis-
tinct from father’s, 6 550.
Nausicaa, character of, Q 35, 56, 58,
61, 64, 67,79, 109,140,244, 275, 277,
280, 282, 301, 0.46t.
Naval battle on Nile, § 264.
Negative ot, in conditional clauses,
v 143; with subjunctive, Ç 201,
v 143.
Nominative with inf., n 222.
Noun appositive to clause, Ç 184.
Nurse, n 12.
Nymphs, g 105,123, v 105, 107, 110.
O.
Object, verbal, supplied, m 4.
Ocular display, fondness for, 0.416.
'Oövora gifts at end of line, m 142.
Odyssey, scene of, in late autumn,
1, 7. --
Ogygia, Ç 172, m 244.
Olive, kinds of, v 102.
Olympus, K. 42.
Omission of apodosis, m 52, § 144.
Optative, potential, Ç 57; of Wish,
& 180 ; of indefinite frequency,
1, 138 ; of permission, 1, 224; like
fut. ind., v 147; of indirect ques-
tion, Ç 142; of purpose, Ç 113,
114.
Oracle at Pytho and Dodona ; influ-
ence of, 6 80.
Oratio obliqua, development of, 6514.
Oratory, 6 165; of Odysseus, 6 171;
deference for audience in, 6 172.
Ox, gait of, differing from horse,
660; “points” of; simile of, v 31.
P.
Paint, only for ships; on pottery,
6 34. -
Painting, g 152.
Palace of Alcinous, 1, 84; of Mene-
laus, n 84; of Odysseus, £51.
Palisade, m 45. •
Palladium not mentioned by Hm.,
6 504.
Part connected to whole by jôá,
Te, ſcat, K. 107. -
Participle, in acc. instead of dat.,
Ç60; in gen. instead of dat., (156;
subordinated to infinitive, [110;
fut. after verbs of motion, Ç 134,
w 93; picturesque use of, 0 141;
containing the leading idea,0461;
without connectives, 9514; pres-
ent, denoting priority of time,
6 250; aorist coincident in time
with primary verb, 6 564, v 58;
after verbs of hearing, 6564.
Particularity in description, epic
love for, 0 135; variance in use
of 6 435. - -
Partitive genitive, position of, (257;
apposition, m 103.
Patience a virtue, Ç 1.
Patronymic among the Phaeacians,
m 146. .
Pausanias, & 18, 84, 136, n 86, 0 80.
Pavement, @ 267.
Pelesta, vessels of, ſ 264; weapons
of, 6 220.
Pentathlon, 6 129.
People, power of, 6 153.
Trap, position of, ſ, 87, m. 224.
Perfect tense as present, @ 65.
Personification, a strong feature of
Homeric style, 1, 29; in objects
of art, m 94; of qualities, m 167,
0 136, v 143; of wine, 1, 182; of
the soul, m 187; of misfortune,
1, 270; of a journey, n 271; of
corn-land, m 331; of members of
the body, 0.178, 237; of bronze,
ENGLISH INDEX.
283
0.507; of ship,0556; of forelands,
ly 100. -
Philoctetes, 6 219.
Philological Association, American,
Proceedings of, ſ 35, 0 178, 564;
Transactions of, 6 514, 572, v 116.
Philology, Am. Journal of, v 168.
Phoenician, figure of, Q 79; com-
merce, 0 161, 403; style of art,
0.430, pp. 269–70.
Phorcys, v 96.
Pindar, n 236, 257.
Piracy deemed honorable, m 10,6161.
Plating, gold on silver, K. 232; on
copper at Mycenae, Ç 232, 6 403.
Pledging the health, 1, 72, v 53.
Plough, two kinds, v 31.
Pluperfect as imperfect, K. 166.
Plural for sing., to include parts,
Ç 107; of abstract nouns, . 155.
Poet praising his own work, X 367.
Polygnotus’ painting of Nausicaa,
Ç 136.
Polyphemus, & 6, v 151.
Pope’s translation false to tone of
Original, Ç 57.
Poplar, characteristics of; black,
aspen, § 291; in simile, 1, 106.
Poppy as food, 1, 127.
Porphyrius on the Ithacan cave,
v 110.
Poseidon, character of, Q 330, v 126,
140. -
Possessive pronoun not an equiva-
lent for p(\os, 0 178.
Postposition of adverb, (, 304.
Preposition, omitted, Ç8; position
of noun with, Ç9; anastrophe of,
& 12, 15, 172; repeated after com-
pound, g 77, ) 281, 6 106, 190, X367;
not repeated with appositive,
Ç 102; separated by verbal sub-
ject from verb, (, 40; separated
by verbal object from verb, £100;
harsh separation from noun,
§ 167; light separation by con-
junctions, 214; between noum
and attribute, Ç77; status of, per-
centage of occurrence, v 116.
Present for perf., § 119, 220; histor-
ical, 1, 103, v 160.
Proclitics accented, § 78.
Prophecies ambiguous, v 151.
Prophets Cassandrastill utterances
come true, 6 570.
Prothusteron, Ç 9, ) 79, 6 69, 90,
134. -
Proverbial expression, 0.406.
Providence, idea of, how conveyed,
Ç 172; instant in man’s life, Ç 12,
6 577.
Public opinion, power of £ 273;
personified, v 166.
Purpose, not result, after iva, tºs,
&Tws, 6qpa, 0.577.
Q.
Quarrel between Achilles and Odys-
seus, 0 76.
Queen as title not in Iliad, m 53.
Query why the poet brings Odys-
Seus home asleep, v 125.
Question, indirect, 142; double
direct, 149; two blended into
one, 1, 238; indirect with indic.,
0 134; direct, & 57, 200.
R.
Raisins, m 124.
Ramses II., n 253; III., § 264, 0.426.
Realism, 6394, 403, 443.
Recessive accent in tég, A&6s, 0.443.
Recitative poet trading on fund of
memory, running new matter in
same moulds, \ 352.
Recognition of lost relatives, m 235.
Relations, names for, 0.581.
Relative clause, hypothetical and
particular with subj., § 28; gen-
eral, § 183; with optative, 0.238;
of purpose with subj., § 37, with
opt., § 114; resolution of, into
conjunction and pronoun, & 302,
m) 217; exegetical, Ç 326; two rel-
atives without connectives, 6 493.
Repetition, of whole passages, § 61,
1, 172; of name and patronymic,
§ 213; Of Same noun, ) 15, 052;
284.
ENGLISH INDEX.
of connecting lines, n 78; at end
of lines, 644.
Rhadamanthus, m 323.
Rhyming verses and caesuras, Q 61.
Rose mentioned only indirectly,
ºn 127.
Tostrum, @ 264.
Rowing, poet’s point of view in,
w 78; and Sailing at Same time
not Homeric, v 81.
Royalty weds with royalty, K. 35.
Ruskin on the picturesque in Hm.,
1, 79, 114.
S.
Sacrifice, presided over by king; a
portion always offered to gods,
6 59; performed in at Aſí, 0.59.
Sail, unrolled, in readiness for hoist-
ing, 6 54.
Saw, use of 6 403.
Sayce, A. S., 6.393.
Scabbard, material of 6 403.
Scarab for ring, 0.448.
Scene at river-mouth, & 138.
Scheria, an island, § 8, 204, m 239,
{} 129.
Schliemann, H., § 13, 53, 232, 267,
m 83, 100, 104, 162, 172, 6 67, 89,
393, 403, 406, 430, 433, 448, v 81,
pp. 265–70.
Scott, Lay of Last Minstrel, § 318;
Talisman, n 253; Lady of the
Lake, 0 126.
Seal-ring, not in poems; early use
of 0448.
Separation of substantive and at-
tributive, Ç 175.
Serpent, prodigy of, in Iliad, v 156,
16S.
Shield of Achilles, § 27, 155, 7, 94,
100, 122, 0.367, v 31.
Ship, rests of, ſ 265; building, Ç 269;
describing wave-like curve under
impulse of rowers, v 81.
Short, C., Essay, º 44, 51, 167, 304,
11 32.
Shortening of long vowel in word,
§ 303.
Simile, criticism of, 130; prolon-
gation of,0529; see (102,151,166,
232, m 36, 84, 106, 0 124, 159, v 31,
81, 86.
Simplicity of the age, m 172, 6 41,
178.
Sinon, story of, unknown to Hm.,
{} 504. .
Sirens omniscient, 0 74.
ork, iterative formation, & 6.
Slaves, whence obtained, m 8.
Sleep, aspects of, m 289, v 79.
Song, theme of; Trojan War, 6 73,
74, 492.
Sons inferior to ſathers, 0.245.
Sophocles, drama of Nausicaa, (115;
See § 32, 45, 181, 208, 1) 29, 9 564,
y 116, 168.
Sound, measured by distance, g 117;
measuring distance, Ç 294.
Sound of line echoing sense, § 137.
Spectator of scene imagined, § 106,
303.
Speeches of Hm. models, & 148.
Spindle-whorl, & 53, p. 267.
Spinning, Ç 53, 1) 106, v 107.
Spondaic lines, Ç 124.
Stalactite cave, v 105.
Statuary, barely mentioned, § 152;
statue of Pallas, 1, 100; at Myce-
nae, m 100.
Stone as weapon, 6 186.
Store-chamber of Odysseus, Kſenc-
laus, Priam, 6439.
Story-telling, love of, \ 373.
Subject between prep. and verb,
§ 40; indefinite, 0 36; omitted
with inf., 6 520.
Subjective ideas rare, 1, 36; in vi-
sion, 0.459.
Subjunctive hortative, {31; closely
allied to fut., § 126, 201,286; after
historical tense, Ç 173; See § 28,
37, 183, 239, m 75. -
Succession to the throne, 1, 150.
Sun, formula for setting, Ç 31;
returns to east, how, 0 1 ; sets
behind the hills of Scheria,
v 24.
ENGLISH INDEX.
285
Suppliant, attitude of, 142, 1, 153;
protected by Zeus, K. 207–8.
Swine singed, 0 61.
Swords, material of; as gift, 6 403.
Syncopation, K 71, 0 16.
Synizesis, 6, 33, m 261.
T.
Table, one for each guest; reclin-
ing at, a later custom, m 174.
Talent, value of; how obtained ;
none of silver; Sicilian, 0.393.
Taygetus, & 103.
Tears, of heroes, m 260; compared
to melting snow, 6 522.
Tekkariu, in naval battle, § 264.
Temples, mentioned, Ç10; in Scho-
ria, Ç 266.
Tenderloin as honor to guest and
king, 6473.
Tenedos, 0 501.
Tennyson, Ç 43, n. 182.
Theocritus, m 6, 257, 6 564.
Thetis, g 280.
Thothmes III., § 79, 6 403.
Thought, speed of, in simile, 1 36.
Tlarinakia, n 248.
Tis, public opinion personifică,
1, 166.
Tityos, m 323.
Torches, material of ; use, 1, 101.
Trade, Cretans and Taphians cn-
gaged in ; Phoenician; objects of,
{} 161.
Treasury, of Atreus, in 86, p. 268; of
Sicyonians, in 86.
Tree of Life, m 257.
Trident of Poseidon, v 163.
Tripod vessel; stand, 0.433.
Trojan War, why ordained, 0.577.
Troy, K. 52, 267, m 83, 104, 0.34, 67,
87, 393, 433, pp. 265–69.
Truthfulness, 1, 297, 303; exhorta-
tion to, 6 548.
Tyler, W. S., on the preposition,
w 116.
U.
Umpires in games, 6 258; intro-
duced to mark the prominence
given to dancing, 0.259.
Until, § 80, 218.
V.
Valuables in keeping of housewife,
0 419.
Vegetable garden, m 127.
Virgil, paraphrases simile, § 102;
see & 17, 21, 29, 42, 115, 125, 145,
152, 154, 162, 168, 171, 229, 230,
235, 240, 259, 266, 309, n. 6, 16, 21,
31, 40, 45, 89, 103, 122, 143, 176,
232, 241, 267, 289, 6 15, 21, 59, 61,
71, 73, 74, 89, 124, 137, 165, 233,
260, 264, 493, 495, 501, 504, 505,
507, 509, 511, 514, 518, 570, A 328,
337, 352, 367, 380, v 78, 79, 96, 100,
105, 107.
Voice of divinity different from hu-
man, K. 125.
W.
Wagon, & 69.
Water, color of, 91.
Weavers stand, in Egypt sit, m 106.
Weaving, done by housewife, m 235;
by nymphs, v 107.
Wedding, Ç 27.
Wine used by women and claildren,
Ç 77; wine-skins, & 78; of clacrs,
v 7.
Wish attainable, § 180, 244.
Wolf, F. A., 0161, pp. X—xii.
Woman, her high position, Ç 66,
m 68; maltreatment of captive,
6 526.
Wood for fire, 0.435.
Words, closely parallel, combined,
0 15.
Wrestling-match, in Iliad, 0 126; of
Odysseus, 0 124.
Writing in Homeric day, 0 161,
p. 270, x–xi.
X.
Xenophon quotes, v 92; see {2, 31,
m 15, 215, 0 1, 30, 186, 564, 570,
1, 116.
286 ENGLISH INDEX.
Y. Z.
Year of three seasons, n 117. Zephyr, Stormy on AEgean, mild in
Yoking of animals to car, Ç 73. Scheria and Elysium, m 119.
Young, the, inconsiderate, m 293. Zeus, epithets of, as lord of atmos-
Youth of world in Homeric poems, phere, m 164; eldest of the broth-
6 178. ers, v 141.
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