THE ODYSSEY OF HOMER TRANSLATED INTO ENGLISH BLANK FERSE WILLIAM CULLEN BRYANT VOLUME I. BOSTON OSGOOD AND COMPANY JAMES R. LateTicknor & Fields, and Fields, Osgood, & Co. 187I U^ A 7^ Entered accordingtoAct ofCongress, in theyear 1871, BY JAMES R. OSGOOD & CO., in the Office of the Librarian of Congress, at Washington. University Press: Welch, Bigelow, & Co, Cambridge. PREFACE. nPHE kind reception which my translation of the Iliad has -'- met with from my countrymen has encouraged me to attempt a translation of the Odyssey in the same form of verse. I have found this a not unpleasing employment for a period of life which admonishes me that I cannot many times more appear before the public in this or any other manner. The task of translating verse is not, it is true, merely mechan- ical, since it requires that the translator should catch from his author somewhat of the glow with which he wrote, just as a good reader is himself moved by the words which he delivers, and communicates the emotion to his hearers yet is the — ; translator spared the labor of invention, the task of pro- ducing the ideas which it is his business to express, as well as that of bringing them into their proper relations with each A other. great part of the fatigue which attends original com- position, long pursued, is therefore avoided, and this gentler exercise of the intellectual faculties agrees better with that stage of life when the brain begins to be haunted by a presentiment that the time of its final repose is not far off. iv Preface. Some of the observations which I have made, in my Preface to the Iliad, on that work and the translation which I have made of it, apply also to the Odyssey and to the version which I now lay before the reader. The differences between the two poems have been so well pointed out by critics, that I shall have occasion to speak of but two or three of them. In executing my task, I have certainly missed in the Odyssey the fire and vehemence of which I was so often sensible in the Iliad, and the effect of which naturally was to kindle the mind of the translator. I hope that the version which I have made will not on that account be found lacking in a sufficient degree of spirit and appearance offreedom to make it readable. Another pecu- liarity of the Iliad, of a less agreeable nature, consists in the frequent recurrence ofhand-to-hand combats, in which the more eminent warriors despatch, by the most summary butchery, and with a fierce delight in their own prowess, their weaker adver- saries. These incidents so often occur in the narrative, being thrown together in clusters, and described with an unsparing minuteness, that I have known persons, soon sated with these horrors, to pass over the pages in which they are described, and take up the narrative further on. There is nothing of this kind in the Odyssey, at least until near the close, where Ulysses takes a bloody vengeance on the suitors who have plundered his estate, and conspired to take the life of his son, and in that part of the poem the horror which so enormous a slaughter would naturally awaken is mitigated by the recollection of their Preface. v guilt. The gods of the Odyssey are not so often moved by brutal impulses as those ofthe Iliad, nor do they seem to dwell in a sphere so far removed from the recognition of those rules of right and wrong which are respected in human society. In the composition of the two poems, one of the most remarkable differences is the abundance of similes in the Iliad, and their comparatively rare appearance in the Odyssey, In the Iliad the desire of illustrating his subject by a similitude sometimes seizes the poet in the midst of one ofthe most interesting parts of his narrative, and immediately there follows a striking pic- ture of some incident bearing a certain resemblance to the one which he is relating. Sometimes, after one simile Is minutely given, a second suggests itself, and is given with equal minute- ness, and there is one instance at least of a third. It is curious to mark what a fascination the picturesque resemblance of objects and incidents has for the poet, and how one set of these images draws after it another, passing in magnificent procession across the mirror ofhis imagination. In the Odyssey are com- paratively few examples of this mode of illustration ; the poet is too much occupied with his narrative to think of them. How far this point of diiference between the two poems tends to support the view of those who maintain that they could not have proceeded from the same author, is a question on which it is not my purpose to enter. In the Preface to my version ofthe Iliad, I gave very briefly my reason for preserving the names derived from the Latin, by vi Preface. which the deities of the Grecian mythology have hitherto been — known to English readers, that is to say, Jupiter, Juno, Neptune, Pluto, Mars, Venus, and the rest, instead of Zeus, Here, and the other names which are properly Greek. As the propriety of doing this Is questioned by some persons of exact scholarship, I will state the argument a little more at large. The names I have employed have been given to the gods and goddesses of ancient Greece from the very beginnings of our language. Chaucer, Spenser, Shakespeare, Milton, and the rest, — down to Proctor and Keats, a list whose chronology extends — through six hundred years, have followed this usage, and we may even trace it back for centuries before either ofthem wrote. Our prose writers have done the same thing the names of ; Latin derivation have been adopted by the earliest and latest translators of the New Testament. To each of the deities known by these names there is annexed in the mind of the — English reader and it is for the English reader that I have — made this translation a peculiar set of attributes. Speak of Juno and Diana, and the mere English reader understands you at once ; but when he reads the names of Here and Artemis, he looks into his classical dictionary. The names of Latin origin are naturalized; the others are aliens and strangers. The conjunction and itself, which has been handed down to us unchanged from our Saxon ancestors, holds not its place in our language by a firmer and more incontestable title than the names which we have hitherto given to the deities of ancient Greece. Preface. vli — We derive this usage from the Latin authors, from Virgil, and Horace, and Ovid, and the prose writers of ancient Rome, Art as well as poetry knows these deities by the same names. We talk of the Venus de Medicis, the Venus of Milo, the Jupiter of Phidias, and never think of calling a statue of Mars a statue of Ares. For my part, I am satisfied with the English language as it has been handed down to us. If the lines of my translation had bristled with the names of Zeus and Here, and Poseidon and Ares, and Artemis and Demeter, I should feel that I had departed from the immemorial usage of the English tongue, that I had introduced obscurity where the meaning should have been plain, and that I had given just cause of complaint to the readers for whom I wrote, W. C. BRYANT. August, 1871. — CONTENTS OF VOL. I. BOOK I. VISIT OF PALLAS TO TELEMACHUS. — — A Council of the Gods. Deliberations concerning Ulysses. Mercury — despatched to Calypso, to bid her send Ulysses to Ithaca. Visit of Pallas, in the Shape of Mentor, to Telemachus, advisi—ng him to repair to Pylos and Sparta—in Quest of his Father, Ulysses. Revels of the Suitors of Penelope. —Phemius, the Minstrel, andhis Song of the Re- turn of the Grecians. The Suitors rebuked by Telemachus . . i BOOK II. DEPARTURE OF TELEMACHUS FROM ITHACA — The ChiefM—enofIthaca assembledbyTelemachus.—His Complaint ofthe Suitors. Their Attempt to justify thems—elves. Prophecy of the Re- turn of Ulysses by the Seer,Halitherses. Request of Telemachus for a Vessel to—visitPylos andSparta, in Quest ofhisFather,granted by the Assembly. Preparations for hisDeparture 24 BOOK III. INTERVIEW OF TELEMACHUS WITH NESTOR. Arrival of Telemachus, with Pall—as in the Shape of Mentor, at Pylos. His In—terview with Nestor. Nestor's Narrative of his Return from Troy. —History of the Death of Agame—mnon and the Revenge of Orestes. Departure of Pallas to Heaven-. Telemachus sent by Nes- tor with his Son Peisistratus to Menelaus at Sparta . . . -47 BOOK IV. CONFERENCE OF TELEMACHUS AND MENELAUS. — Arrival of Telemachus and his Companion—at Sparta. A We—dding ; the Marriage ofthe Daughter ofMenelaus. Helenin Sparta. Entertain- —— X Contents. — —ment of the Guests. —Helen's Account ofher Returnto her Husband. The Trojan Horse. Narrative of the Visit of Menelaus to Egypt, — in Order to consult the Sea-God, Proteus. Menel—aus informed byhim that Ulysses is detained by Calypso in her Island. Plot ofthe Suitors to lie in Wait for Telemachus on his Voyage and destroy him. Penelope visited and consoled by Pallas in a Dream . . • 1\ BOOK V. DEPARTURE OF ULYSSES FROM CALYPSO. Mercury despatched by Jup—iter to Calypsowith a Message co—mmanding her to send away Uly—sses. A Raft constructed by Ulysses. His Depart- u—re on the Raft. A Storm raised by Neptune, and the Raft destroyed. Escape ofUlysses from the Tempest, and his Landing on the Isle of Scher" inhabited by the Phsacians . . . . . . .119 BOOK VI. ULYSSES DISCOVERED BY NAUSICAA. Nausicaa,Daughter ofAlcinous, King ofthe Phjeaci—ans, directed by Pallas to go to theRiver and wash her Mar—riage Robes. Sports ofher Maidens after the Washing is performed. Ulysses awakened by the Noise, re- lieved and clothed by Nausicaa, and bidden to follow her into the City, and there make his Suit to the Queen, the Wife of Alcinous . -144 BOOK VII. RECEPTION OF ULYSSES BY ALCINOUS. — Return of Nausic—aa to the City, followed by Ulysses. Palace and Garden ofAlcinous. Reception ofUlysses bythe Queen and herHusband. Narrative given by Ulysses of his Voyage and Shipwreck .162 . . BOOK VIII. FESTIVALS IN HONOR OF ULYSSES. A General Council of the P—hzeacians, in which—it is determined to send Ulysses home to Ithaca. A Solemn Feast. Lay of the Trojan War, — — sung by Demodocus the—Minstrel. Public Games. Ulysses conquers in throwing the Discus. The Amour ofMars and Ven\ls sung by De- — modocus. His Song of the Trojan Horse and the Fall of Troy 180 .