# The Odyssey, Book 8: The Phaeacian Games and the Songs of Demodocus

Ὀδύσσεια · Homer · The Wanderings

The Phaeacians hold games for their guest. Demodocus sings of Troy, and the stranger weeps. Alcinous asks him who he is.

Source: https://1732studios.com/books/odyssey/8. Data: https://1732studios.com/books/odyssey/8.json. Audio: https://audio.1732studios.com/odyssey/<line id>.m4a.

**1** ἦμος δʼ ἠριγένεια φάνη ῥοδοδάκτυλος Ἠώς,  
Now when early-born, rosy-fingered Dawn appeared,
> The dawn formula: This whole-line formula opens countless days in Homer. ἠριγένεια ('early-born') and ῥοδοδάκτυλος ('rosy-fingered') are stock epithets of Dawn.

**2** ὤρνυτʼ ἄρʼ ἐξ εὐνῆς ἱερὸν μένος Ἀλκινόοιο,  
the sacred force of Alcinous rose up from his bed,

**3** ἂν δʼ ἄρα διογενὴς ὦρτο πτολίπορθος Ὀδυσσεύς.  
and up rose Zeus-born Odysseus, sacker of cities.
> Epithets of Odysseus: διογενής ('Zeus-born') and πτολίπορθος ('sacker of cities') are formulaic epithets that fit Odysseus into the hexameter line.

**4** τοῖσιν δʼ ἡγεμόνευʼ ἱερὸν μένος Ἀλκινόοιο  
And the sacred force of Alcinous led them on

**5** Φαιήκων ἀγορήνδʼ, ἥ σφιν παρὰ νηυσὶ τέτυκτο.  
to the Phaeacians' meeting-place, which was built for them beside the ships.

**6** ἐλθόντες δὲ καθῖζον ἐπὶ ξεστοῖσι λίθοισι  
When they arrived they sat down on the polished stones

**7** πλησίον. ἡ δʼ ἀνὰ ἄστυ μετῴχετο Παλλὰς Ἀθήνη  
side by side. But Pallas Athena went through the town
> Imperfect of ongoing motion: μετῴχετο is imperfect, picturing Athena moving through the town as a continuing action while the men sit.

**8** εἰδομένη κήρυκι δαΐφρονος Ἀλκινόοιο,  
in the likeness of a herald of wise Alcinous,
> Participle of disguise: εἰδομένη ('looking like, in the likeness of') is a middle participle Homer uses for a god taking on someone's form.

**9** νόστον Ὀδυσσῆι μεγαλήτορι μητιόωσα,  
devising a homecoming for great-hearted Odysseus,
> Nostos: homecoming: νόστος, the journey home, is the central theme of the whole poem and gives us the word 'nostalgia.'

**10** καί ῥα ἑκάστῳ φωτὶ παρισταμένη φάτο μῦθον·  
and standing beside each man she spoke her word:

**11** δεῦτʼ ἄγε, Φαιήκων ἡγήτορες ἠδὲ μέδοντες,  
"Come now, leaders and counselors of the Phaeacians,

**12** εἰς ἀγορὴν ἰέναι, ὄφρα ξείνοιο πύθησθε,  
go to the assembly, so you may learn about the stranger

**13** ὃς νέον Ἀλκινόοιο δαΐφρονος ἵκετο δῶμα  
who has just come to the house of wise Alcinous

**14** πόντον ἐπιπλαγχθείς, δέμας ἀθανάτοισιν ὁμοῖος.  
after wandering over the sea, like the immortals in build."

**15** ὣς εἰποῦσʼ ὤτρυνε μένος καὶ θυμὸν ἑκάστου.  
Speaking so, she stirred the force and spirit of each man.

**16** καρπαλίμως δʼ ἔμπληντο βροτῶν ἀγοραί τε καὶ ἕδραι  
Quickly the meeting-grounds and the seats filled with men

**17** ἀγρομένων· πολλοὶ δʼ ἄρʼ ἐθηήσαντο ἰδόντες  
as they gathered; and many marveled when they saw

**18** υἱὸν Λαέρταο δαΐφρονα· τῷ δʼ ἄρʼ Ἀθήνη  
the wise son of Laertes; for upon him Athena

**19** θεσπεσίην κατέχευε χάριν κεφαλῇ τε καὶ ὤμοις  
poured a marvelous grace over his head and shoulders,
> Charis: grace: χάρις is the radiant attractiveness a god can pour over a mortal, here making Odysseus impressive to the Phaeacians.

**20** καί μιν μακρότερον καὶ πάσσονα θῆκεν ἰδέσθαι,  
and made him taller and stouter to look upon,

**21** ὥς κεν Φαιήκεσσι φίλος πάντεσσι γένοιτο  
so that he might be welcome to all the Phaeacians,
> Purpose with the optative: ὥς κεν with the optative γένοιτο expresses Athena's purpose: 'so that he might become.' The optative suits a goal aimed at in past narration.

**22** δεινός τʼ αἰδοῖός τε καὶ ἐκτελέσειεν ἀέθλους  
formidable and respected, and might carry off the contests,

**23** πολλούς, τοὺς Φαίηκες ἐπειρήσαντʼ Ὀδυσῆος.  
the many with which the Phaeacians would test Odysseus.

**24** αὐτὰρ ἐπεί ῥʼ ἤγερθεν ὁμηγερέες τʼ ἐγένοντο,  
But when they had gathered and were assembled together,

**25** τοῖσιν δʼ Ἀλκίνοος ἀγορήσατο καὶ μετέειπε·  
Alcinous addressed them and spoke among them:

**26** κέκλυτε, Φαιήκων ἡγήτορες ἠδὲ μέδοντες,  
"Hear me, leaders and counselors of the Phaeacians,
> Perfect imperative 'hear me!': κέκλυτε is a reduplicated perfect used with imperative force, a fixed Homeric call to attention.

**27** ὄφρʼ εἴπω τά με θυμὸς ἐνὶ στήθεσσι κελεύει.  
that I may say what the heart in my breast commands.

**28** ξεῖνος ὅδʼ, οὐκ οἶδʼ ὅς τις, ἀλώμενος ἵκετʼ ἐμὸν δῶ,  
This stranger here—I do not know who—came wandering to my house,

**29** ἠὲ πρὸς ἠοίων ἦ ἑσπερίων ἀνθρώπων·  
whether from the peoples of the east or of the west.

**30** πομπὴν δʼ ὀτρύνει, καὶ λίσσεται ἔμπεδον εἶναι.  
He urges an escort, and begs that it be made certain.

**31** ἡμεῖς δʼ, ὡς τὸ πάρος περ, ἐποτρυνώμεθα πομπήν.  
Let us, as in the past, speed his escort onward.
> Hortatory subjunctive: ἐποτρυνώμεθα ('let us urge on') is a first-person plural subjunctive, the standard way to say 'let us do' something.

**32** οὐδὲ γὰρ οὐδέ τις ἄλλος, ὅτις κʼ ἐμὰ δώμαθʼ ἵκηται,  
For no one else either, whoever comes to my house,

**33** ἐνθάδʼ ὀδυρόμενος δηρὸν μένει εἵνεκα πομπῆς.  
stays here long, grieving for want of an escort.

**34** ἀλλʼ ἄγε νῆα μέλαιναν ἐρύσσομεν εἰς ἅλα δῖαν  
But come, let us drag a black ship down to the bright sea,

**35** πρωτόπλοον, κούρω δὲ δύω καὶ πεντήκοντα  
one sailing for the first time, and let two and fifty young men

**36** κρινάσθων κατὰ δῆμον, ὅσοι πάρος εἰσὶν ἄριστοι.  
be chosen throughout the land, all who are best.

**37** δησάμενοι δʼ ἐὺ πάντες ἐπὶ κληῖσιν ἐρετμὰ  
When you have all lashed the oars well to the thole-pins,

**38** ἔκβητʼ· αὐτὰρ ἔπειτα θοὴν ἀλεγύνετε δαῖτα  
step ashore; then afterward make ready a swift feast

**39** ἡμέτερόνδʼ ἐλθόντες· ἐγὼ δʼ ἐὺ πᾶσι παρέξω.  
coming to my house; I will provide well for all.

**40** κούροισιν μὲν ταῦτʼ ἐπιτέλλομαι· αὐτὰρ οἱ ἄλλοι  
These are my orders to the young men. But you others,

**41** σκηπτοῦχοι βασιλῆες ἐμὰ πρὸς δώματα καλὰ  
scepter-bearing kings, come to my fine house

**42** ἔρχεσθʼ, ὄφρα ξεῖνον ἐνὶ μεγάροισι φιλέωμεν,  
so that we may entertain the stranger in the halls,

**43** μηδέ τις ἀρνείσθω. καλέσασθε δὲ θεῖον ἀοιδὸν  
and let no one refuse. And summon the divine singer,

**44** Δημόδοκον· τῷ γάρ ῥα θεὸς πέρι δῶκεν ἀοιδὴν  
Demodocus; for to him the god granted song above others,

**45** τέρπειν, ὅππῃ θυμὸς ἐποτρύνῃσιν ἀείδειν.  
to give delight, in whatever way his heart stirs him to sing."

**46** ὣς ἄρα φωνήσας ἡγήσατο, τοὶ δʼ ἅμʼ ἕποντο  
So speaking he led the way, and they followed with him,

**47** σκηπτοῦχοι· κῆρυξ δὲ μετῴχετο θεῖον ἀοιδόν.  
the scepter-bearers; and a herald went after the divine singer.

**48** κούρω δὲ κρινθέντε δύω καὶ πεντήκοντα  
And the two and fifty chosen young men
> The dual number: κούρω and κρινθέντε are dual forms (used for pairs/sets here counted out), a feature Homer keeps that classical Attic largely dropped.

**49** βήτην, ὡς ἐκέλευσʼ, ἐπὶ θῖνʼ ἁλὸς ἀτρυγέτοιο.  
went, as he ordered, to the shore of the barren sea.
> 'The barren sea': ἀτρύγετος ('barren, unharvested') is a recurring epithet of the sea: it yields no crop, unlike the land.

**50** αὐτὰρ ἐπεί ῥʼ ἐπὶ νῆα κατήλυθον ἠδὲ θάλασσαν,  
But when they had gone down to the ship and the sea,

**51** νῆα μὲν οἵ γε μέλαιναν ἁλὸς βένθοσδε ἔρυσσαν,  
they dragged the black ship into the deep water,

**52** ἐν δʼ ἱστόν τʼ ἐτίθεντο καὶ ἱστία νηὶ μελαίνῃ,  
set the mast and the sails in the black ship,

**53** ἠρτύναντο δʼ ἐρετμὰ τροποῖς ἐν δερματίνοισι,  
fitted the oars in their leather loops,

**54** πάντα κατὰ μοῖραν, ἀνά θʼ ἱστία λευκὰ πέτασσαν.  
all in due order, and spread the white sails wide.
> 'In due order': κατὰ μοῖραν means 'according to what is fitting,' a common phrase for things done rightly and in proper measure.

**55** ὑψοῦ δʼ ἐν νοτίῳ τήν γʼ ὥρμισαν· αὐτὰρ ἔπειτα  
They moored her high up in the deep water; and then

**56** βάν ῥʼ ἴμεν Ἀλκινόοιο δαΐφρονος ἐς μέγα δῶμα.  
they set out to go to the great house of wise Alcinous.

**57** πλῆντο δʼ ἄρʼ αἴθουσαί τε καὶ ἕρκεα καὶ δόμοι ἀνδρῶν  
The porticoes and courtyards and rooms filled with men

**58** ἀγρομένων· πολλοὶ δʼ ἄρʼ ἔσαν, νέοι ἠδὲ παλαιοί.  
as they gathered; many there were, both young and old.

**59** τοῖσιν δʼ Ἀλκίνοος δυοκαίδεκα μῆλʼ ἱέρευσεν,  
For them Alcinous sacrificed twelve sheep,

**60** ὀκτὼ δʼ ἀργιόδοντας ὕας, δύο δʼ εἰλίποδας βοῦς·  
eight white-tusked boars, and two shambling oxen;
> 'Shambling-footed oxen': εἰλίπους literally describes the rolling, dragging gait of cattle—a vivid stock epithet for oxen.

**61** τοὺς δέρον ἀμφί θʼ ἕπον, τετύκοντό τε δαῖτʼ ἐρατεινήν.  
these they flayed and dressed, and made ready a lovely feast.

**62** κῆρυξ δʼ ἐγγύθεν ἦλθεν ἄγων ἐρίηρον ἀοιδόν,  
And the herald came near, leading the trusty singer,

**63** τὸν πέρι μοῦσʼ ἐφίλησε, δίδου δʼ ἀγαθόν τε κακόν τε·  
whom the Muse loved above others, and gave both good and ill:

**64** ὀφθαλμῶν μὲν ἄμερσε, δίδου δʼ ἡδεῖαν ἀοιδήν.  
she robbed him of his eyes, but gave him sweet song.
> The μέν…δέ balance: μέν and δέ are the classic antithetical pair: she robbed him of sight (μέν clause) but gave him sweet song (δέ clause). The preceding line (b8-l63) set up the polarity with τε...τε (both good and ill), and here the same contrast is sharpened into a formal antithesis.

**65** τῷ δʼ ἄρα Ποντόνοος θῆκε θρόνον ἀργυρόηλον  
For him Pontonous set a silver-studded chair

**66** μέσσῳ δαιτυμόνων, πρὸς κίονα μακρὸν ἐρείσας·  
in the midst of the banqueters, leaning it against a tall pillar;

**67** κὰδ δʼ ἐκ πασσαλόφι κρέμασεν φόρμιγγα λίγειαν  
and the herald hung the clear-toned lyre from a peg

**68** αὐτοῦ ὑπὲρ κεφαλῆς καὶ ἐπέφραδε χερσὶν ἑλέσθαι  
just above his head, and showed him how to reach it with his hands,

**69** κῆρυξ· πὰρ δʼ ἐτίθει κάνεον καλήν τε τράπεζαν,  
the herald; and he set beside him a basket and a fine table,

**70** πὰρ δὲ δέπας οἴνοιο, πιεῖν ὅτε θυμὸς ἀνώγοι.  
and a cup of wine, to drink whenever his heart bade him.

**71** οἱ δʼ ἐπʼ ὀνείαθʼ ἑτοῖμα προκείμενα χεῖρας ἴαλλον.  
Then they reached out their hands to the good things laid ready before them.
> A formulaic feast-line: This line ('they put forth their hands to the food ready before them') recurs throughout Homer to open a meal.

**72** αὐτὰρ ἐπεὶ πόσιος καὶ ἐδητύος ἐξ ἔρον ἕντο,  
But when they had put away their desire for drink and food,
> 'Put away their desire': A fixed phrase: literally 'they sent forth the desire from themselves,' i.e. satisfied their hunger and thirst.

**73** μοῦσʼ ἄρʼ ἀοιδὸν ἀνῆκεν ἀειδέμεναι κλέα ἀνδρῶν,  
the Muse stirred the singer to sing the glorious deeds of men,
> Kleos: glory in song: κλέα ('glories, famous deeds') is the renown that song preserves—the very thing epic poetry confers and is about.

**74** οἴμης τῆς τότʼ ἄρα κλέος οὐρανὸν εὐρὺν ἵκανε,  
from a lay whose fame in that day reached the wide heaven:

**75** νεῖκος Ὀδυσσῆος καὶ Πηλεΐδεω Ἀχιλῆος,  
the quarrel of Odysseus and Achilles, son of Peleus,

**76** ὥς ποτε δηρίσαντο θεῶν ἐν δαιτὶ θαλείῃ  
how once they contended at a rich feast of the gods

**77** ἐκπάγλοις ἐπέεσσιν, ἄναξ δʼ ἀνδρῶν Ἀγαμέμνων  
with terrible words; and Agamemnon, lord of men,

**78** χαῖρε νόῳ, ὅ τʼ ἄριστοι Ἀχαιῶν δηριόωντο.  
rejoiced in his heart that the best of the Achaeans were quarreling.

**79** ὣς γάρ οἱ χρείων μυθήσατο Φοῖβος Ἀπόλλων  
For so Phoebus Apollo had foretold him in prophecy

**80** Πυθοῖ ἐν ἠγαθέῃ, ὅθʼ ὑπέρβη λάινον οὐδὸν  
in holy Pytho, when he crossed the stone threshold

**81** χρησόμενος· τότε γάρ ῥα κυλίνδετο πήματος ἀρχὴ  
to consult the oracle; for then the beginning of woe was rolling onward

**82** Τρωσί τε καὶ Δαναοῖσι Διὸς μεγάλου διὰ βουλάς.  
upon Trojans and Danaans alike, through the plans of great Zeus.
> 'Through the will of Zeus': Echoes the proem of the Iliad: the suffering of both armies unfolds according to Zeus's design.

**83** ταῦτʼ ἄρʼ ἀοιδὸς ἄειδε περικλυτός· αὐτὰρ
                  Ὀδυσσεὺς  
These things the far-famed singer sang; but Odysseus,

**84** πορφύρεον μέγα φᾶρος ἑλὼν χερσὶ στιβαρῇσι  
taking up his great purple cloak in his strong hands,

**85** κὰκ κεφαλῆς εἴρυσσε, κάλυψε δὲ καλὰ πρόσωπα·  
drew it down over his head, and hid his handsome face;

**86** αἴδετο γὰρ Φαίηκας ὑπʼ ὀφρύσι δάκρυα λείβων.  
for he was ashamed before the Phaeacians to let tears fall from his eyes.
> Imperfect of shame: αἴδετο ('he felt shame, was ashamed') is imperfect, conveying his sustained emotional state while the song goes on.

**87** ἦ τοι ὅτε λήξειεν ἀείδων θεῖος ἀοιδός,  
Indeed, whenever the divine singer left off singing,
> Optative of repeated action: λήξειεν is an optative in a 'whenever' clause: it marks an action that happened again and again in past time.

**88** δάκρυ ὀμορξάμενος κεφαλῆς ἄπο φᾶρος ἕλεσκε  
he would wipe away the tears and take the cloak from his head
> The iterative -σκ- ending: ἕλεσκε ('he kept taking') has the Homeric iterative suffix -σκ-, marking habitual or repeated past action.

**89** καὶ δέπας ἀμφικύπελλον ἑλὼν σπείσασκε θεοῖσιν·  
and, lifting the two-handled cup, pour libation to the gods.

**90** αὐτὰρ ὅτʼ ἂψ ἄρχοιτο καὶ ὀτρύνειαν ἀείδειν  
But whenever the singer began again, and the noblest

**91** Φαιήκων οἱ ἄριστοι, ἐπεὶ τέρποντʼ ἐπέεσσιν,  
of the Phaeacians urged him to sing, since they delighted in his words,

**92** ἂψ Ὀδυσεὺς κατὰ κρᾶτα καλυψάμενος γοάασκεν.  
Odysseus would cover his head again and weep.

**93** ἔνθʼ ἄλλους μὲν πάντας ἐλάνθανε δάκρυα λείβων,  
There he escaped the notice of all the others as he shed his tears,
> Lanthano with a participle: λανθάνω ('escape notice') takes a participle (λείβων, 'shedding tears') to mean 'he wept unnoticed'—the participle carries the main idea.

**94** Ἀλκίνοος δέ μιν οἶος ἐπεφράσατʼ ἠδʼ ἐνόησεν  
but Alcinous alone noticed and was aware of him,

**95** ἥμενος ἄγχʼ αὐτοῦ, βαρὺ δὲ στενάχοντος ἄκουσεν.  
sitting near him, and heard him groaning heavily.
> Genitive with 'hear': ἀκούω often takes the genitive of the source of sound: here στενάχοντος ('him groaning') is genitive as the thing heard.

**96** αἶψα δὲ Φαιήκεσσι φιληρέτμοισι μετηύδα·  
At once he spoke among the oar-loving Phaeacians:
> 'Oar-loving': φιλήρετμος ('fond of the oar') is a standing epithet for the seafaring Phaeacians.

**97** κέκλυτε, Φαιήκων ἡγήτορες ἠδὲ μέδοντες.  
"Hear me, leaders and counselors of the Phaeacians.

**98** ἤδη μὲν δαιτὸς κεκορήμεθα θυμὸν ἐίσης  
By now we have satisfied our hearts with the equal feast
> 'The equal feast': δαὶς ἐίση, the 'equally divided feast,' stresses fair shares for all—an ideal of the proper banquet in Homer.

**99** φόρμιγγός θʼ, ἣ δαιτὶ συνήορός ἐστι θαλείῃ·  
and the lyre, which is the companion of the rich feast.

**100** νῦν δʼ ἐξέλθωμεν καὶ ἀέθλων πειρηθῶμεν  
Now let us go out and make trial of the contests,
> 'Let us' subjunctives: Both verbs are first-person plural subjunctives expressing exhortation: 'let us go out and let us test.'

**101** πάντων, ὥς χʼ ὁ ξεῖνος ἐνίσπῃ οἷσι φίλοισιν  
all of them, so that the stranger may tell his friends,

**102** οἴκαδε νοστήσας, ὅσσον περιγιγνόμεθʼ ἄλλων  
when he has returned home, how far we surpass others

**103** πύξ τε παλαιμοσύνῃ τε καὶ ἅλμασιν ἠδὲ πόδεσσιν.  
in boxing and wrestling and jumping and in running."

**104** ὣς ἄρα φωνήσας ἡγήσατο, τοὶ δʼ ἅμʼ ἕποντο.  
So speaking he led the way, and they followed with him.

**105** κὰδ δʼ ἐκ πασσαλόφι κρέμασεν φόρμιγγα λίγειαν,  
The herald hung the clear-toned lyre on its peg,

**106** Δημοδόκου δʼ ἕλε χεῖρα καὶ ἔξαγεν ἐκ μεγάροιο  
took Demodocus by the hand, and led him out of the hall,

**107** κῆρυξ· ἦρχε δὲ τῷ αὐτὴν ὁδὸν ἥν περ οἱ ἄλλοι  
the herald; and he guided him along the same road that the others took,

**108** Φαιήκων οἱ ἄριστοι, ἀέθλια θαυμανέοντες.  
the noblest of the Phaeacians, to marvel at the contests.

**109** βὰν δʼ ἴμεν εἰς ἀγορήν, ἅμα δʼ ἕσπετο πουλὺς ὅμιλος,  
They set out to go to the assembly, and a great crowd followed with them,

**110** μυρίοι· ἂν δʼ ἵσταντο νέοι πολλοί τε καὶ ἐσθλοί.  
thousands; and many fine young men stood up.

**111** ὦρτο μὲν Ἀκρόνεώς τε καὶ Ὠκύαλος καὶ Ἐλατρεύς,  
Up rose Akroneos and Okyalos and Elatreus,

**112** Ναυτεύς τε Πρυμνεύς τε καὶ Ἀγχίαλος καὶ Ἐρετμεύς,  
Nauteus and Prymneus and Anchialos and Eretmeus,

**113** Ποντεύς τε Πρωρεύς τε, Θόων Ἀναβησίνεώς τε  
and Ponteus and Proreus, Thoon and Anabesineos,

**114** Ἀμφίαλός θʼ, υἱὸς Πολυνήου Τεκτονίδαο·  
and Amphialos, son of Polyneos son of Tekton.
> Genitive of descent: Both names stand in the genitive to mark lineage: 'of Polyneos, the son of Tekton.' The patronymic suffix -ίδης ('son of') is itself declined into the genitive.

**115** ἂν δὲ καὶ Εὐρύαλος, βροτολοιγῷ ἶσος Ἄρηϊ,  
And up rose Euryalos too, the equal of man-destroying Ares,
> Man-destroying Ares: βροτολοιγός ('bane of mortals') is a fixed epithet of the war-god. The phrase 'equal to Ares' is a standard way of praising a warrior's fierce strength.

**116** Ναυβολίδης, ὃς ἄριστος ἔην εἶδός τε δέμας τε  
son of Naubolos, who was the best in looks and build

**117** πάντων Φαιήκων μετʼ ἀμύμονα Λαοδάμαντα.  
of all the Phaeacians after blameless Laodamas.

**118** ἂν δʼ ἔσταν τρεῖς παῖδες ἀμύμονος Ἀλκινόοιο,  
Up too stood the three sons of blameless Alkinoos,

**119** Λαοδάμας θʼ Ἅλιός τε καὶ ἀντίθεος Κλυτόνηος.  
Laodamas and Halios and godlike Clytoneus.

**120** οἱ δʼ ἦ τοι πρῶτον μὲν ἐπειρήσαντο πόδεσσι.  
First of all they made their trial in the footrace.
> Aorist middle: ἐπειρήσαντο is aorist middle of πειράομαι, 'they made trial (of themselves).' The middle voice keeps the action's interest on the subjects—they test their own speed.

**121** τοῖσι δʼ ἀπὸ νύσσης τέτατο δρόμος· οἱ δʼ ἅμα πάντες  
For them the track was stretched out from the starting-line, and all together

**122** καρπαλίμως ἐπέτοντο κονίοντες πεδίοιο·  
they flew swiftly, raising the dust across the plain.

**123** τῶν δὲ θέειν ὄχʼ ἄριστος ἔην Κλυτόνηος ἀμύμων·  
Far the best of them at running was blameless Clytoneus:
> ὄχα + superlative: The adverb ὄχα intensifies a superlative, 'by far the best.' It is a Homeric formula for marking a clear winner.

**124** ὅσσον τʼ ἐν νειῷ οὖρον πέλει ἡμιόνοιιν,  
as far as the range of a span of mules in fallow ground,

**125** τόσσον ὑπεκπροθέων λαοὺς ἵκεθʼ, οἱ δʼ ἐλίποντο.  
by such a margin he outstripped the people, while the others fell behind.

**126** οἱ δὲ παλαιμοσύνης ἀλεγεινῆς πειρήσαντο·  
Then they made trial of the painful sport of wrestling,

**127** τῇ δʼ αὖτʼ Εὐρύαλος ἀπεκαίνυτο πάντας ἀρίστους.  
and there in turn Euryalos surpassed all the best men.

**128** ἅλματι δʼ Ἀμφίαλος πάντων προφερέστατος ἦεν·  
In the jump Amphialos was foremost of them all,

**129** δίσκῳ δʼ αὖ πάντων πολὺ φέρτατος ἦεν Ἐλατρεύς,  
and at the discus by far the strongest of all was Elatreus,

**130** πὺξ δʼ αὖ Λαοδάμας, ἀγαθὸς πάϊς Ἀλκινόοιο.  
and at boxing Laodamas, the good son of Alkinoos.

**131** αὐτὰρ ἐπεὶ δὴ πάντες ἐτέρφθησαν φρένʼ ἀέθλοις,  
But when they had all delighted their hearts with the contests,

**132** τοῖς ἄρα Λαοδάμας μετέφη πάϊς Ἀλκινόοιο·  
Laodamas, son of Alkinoos, spoke among them:

**133** δεῦτε, φίλοι, τὸν ξεῖνον ἐρώμεθα εἴ τινʼ
                     ἄεθλον  
"Come, friends, let us ask the stranger whether he knows

**134** οἶδέ τε καὶ δεδάηκε. φυήν γε μὲν οὐ κακός ἐστι,  
and has learned any sport. In build he is no weakling—
> Perfect with present force: δεδάηκε is the perfect of *δάω, 'has learned (and so knows).' The Greek perfect describes a present state resulting from a past action.

**135** μηρούς τε κνήμας τε καὶ ἄμφω χεῖρας ὕπερθεν  
his thighs and calves, and both his hands above,

**136** αὐχένα τε στιβαρὸν μέγα τε σθένος· οὐδέ τι ἥβης  
his sturdy neck and great strength. Nor does he lack

**137** δεύεται, ἀλλὰ κακοῖσι συνέρρηκται πολέεσσιν·  
youth at all, but he is broken by many hardships;

**138** οὐ γὰρ ἐγώ γέ τί φημι κακώτερον ἄλλο θαλάσσης  
for I say there is nothing worse than the sea

**139** ἄνδρα γε συγχεῦαι, εἰ καὶ μάλα καρτερὸς εἴη.  
for breaking a man, however very strong he may be."
> Optative of concession: The optative εἴη in 'even if he should be very strong' frames a hypothetical concession without asserting it as fact—a typical use of the optative in a conditional clause.

**140** τὸν δʼ αὖτʼ Εὐρύαλος ἀπαμείβετο φώνησέν τε·  
Then Euryalos answered him and said:

**141** Λαοδάμα, μάλα τοῦτο ἔπος κατὰ μοῖραν ἔειπες.  
"Laodamas, this word you have spoken is very fitting.
> 'According to due measure': κατὰ μοῖραν, literally 'according to one's portion,' is a formula meaning 'rightly, properly, as is fitting.' It recurs whenever a speaker approves of what was said.

**142** αὐτὸς νῦν προκάλεσσαι ἰὼν καὶ πέφραδε μῦθον.  
Go yourself now and challenge him, and make your meaning plain."
> Aorist middle imperative: προκάλεσσαι is an aorist middle imperative, 'challenge (him) for yourself.' Commands in the aorist treat the action as a single whole rather than ongoing.

**143** αὐτὰρ ἐπεὶ τό γʼ ἄκουσʼ ἀγαθὸς πάϊς Ἀλκινόοιο,  
Now when the good son of Alkinoos heard this,

**144** στῆ ῥʼ ἐς μέσσον ἰὼν καὶ Ὀδυσσῆα προσέειπε·  
he went and stood in the middle and spoke to Odysseus:

**145** δεῦρʼ ἄγε καὶ σύ, ξεῖνε πάτερ, πείρησαι ἀέθλων,  
"Come here, you too, good father stranger, and try the games,

**146** εἴ τινά που δεδάηκας· ἔοικε δέ σʼ ἴδμεν ἀέθλους·  
if perhaps you have learned any. It is fitting you know the sports;

**147** οὐ μὲν γὰρ μεῖζον κλέος ἀνέρος ὄφρα κʼ ἔῃσιν,  
for there is no greater glory for a man, while he lives,
> kleos, glory through deeds: κλέος is the renown a man wins by his actions and that others speak of him. Athletic skill, like battle, is a source of this lasting fame.

**148** ἤ ὅ τι ποσσίν τε ῥέξῃ καὶ χερσὶν ἑῇσιν.  
than what he achieves with his own feet and hands.

**149** ἀλλʼ ἄγε πείρησαι, σκέδασον δʼ ἀπὸ κήδεα θυμοῦ.  
Come then, try, and scatter the cares from your heart.
> Imperative with tmesis: σκέδασον is an aorist imperative, 'scatter!'; the prefix ἀπό is split off (tmesis) and governs θυμοῦ, 'away from your heart'—a common Homeric construction.

**150** σοὶ δʼ ὁδὸς οὐκέτι δηρὸν ἀπέσσεται, ἀλλά τοι ἤδη  
Your journey will not be put off much longer now; already for you

**151** νηῦς τε κατείρυσται καὶ ἐπαρτέες εἰσὶν ἑταῖροι.  
the ship is hauled down and the crew stand ready."

**152** τὸν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then Odysseus of many wiles answered him:
> Epithet 'of many wiles': πολύμητις ('of many counsels, resourceful') is Odysseus' signature epithet, a formulaic phrase that fills the verse-end and characterizes the hero.

**153** Λαοδάμα, τί με ταῦτα κελεύετε κερτομέοντες;  
"Laodamas, why do you all order me this, mocking me?

**154** κήδεά μοι καὶ μᾶλλον ἐνὶ φρεσὶν ἤ περ ἄεθλοι,  
Cares are more in my mind than contests,

**155** ὃς πρὶν μὲν μάλα πολλὰ πάθον καὶ πολλὰ μόγησα,  
I who before have suffered much and toiled at much,

**156** νῦν δὲ μεθʼ ὑμετέρῃ ἀγορῇ νόστοιο χατίζων  
and now I sit in your assembly, longing for my homecoming,
> nostos, the homecoming: νόστος is the central theme of the poem: the return home. χατίζων ('longing for, in need of') marks Odysseus' driving desire throughout Book 8.

**157** ἧμαι, λισσόμενος βασιλῆά τε πάντα τε δῆμον.  
begging the king and all the people."

**158** τὸν δʼ αὖτʼ Εὐρύαλος ἀπαμείβετο νείκεσέ τʼ
                  ἄντην·  
Then Euryalos answered him and reviled him to his face:

**159** οὐ γάρ σʼ οὐδέ, ξεῖνε, δαήμονι φωτὶ ἐίσκω  
"No, stranger, I do not liken you to a man skilled

**160** ἄθλων, οἷά τε πολλὰ μετʼ ἀνθρώποισι πέλονται,  
in contests, of the many kinds there are among men,

**161** ἀλλὰ τῷ, ὅς θʼ ἅμα νηὶ πολυκλήιδι θαμίζων,  
but rather to one who, plying his many-benched ship,

**162** ἀρχὸς ναυτάων οἵ τε πρηκτῆρες ἔασιν,  
is a captain of sailors who are traders,

**163** φόρτου τε μνήμων καὶ ἐπίσκοπος ᾖσιν ὁδαίων  
one mindful of his freight and overseer of his wares

**164** κερδέων θʼ ἁρπαλέων· οὐδʼ ἀθλητῆρι ἔοικας.  
and of greedily-snatched gains. You look like no athlete."

**165** τὸν δʼ ἄρʼ ὑπόδρα ἰδὼν προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then, with a dark look, Odysseus of many wiles addressed him:
> 'With a dark look': ὑπόδρα ἰδών, 'looking from under (the brows),' is a formula for an angry, scowling glance. It always precedes a stern or indignant reply in Homer.

**166** ξεῖνʼ, οὐ καλὸν ἔειπες· ἀτασθάλῳ ἀνδρὶ ἔοικας.  
"Stranger, you have not spoken well; you are like a reckless man.

**167** οὕτως οὐ πάντεσσι θεοὶ χαρίεντα διδοῦσιν  
So it is: the gods do not give pleasing gifts to all

**168** ἀνδράσιν, οὔτε φυὴν οὔτʼ ἂρ φρένας οὔτʼ ἀγορητύν.  
men alike—not build, nor sense, nor skill in speech.
> Triple negative correlation: The repeated οὔτε ('neither... nor... nor') lists the three gifts the gods distribute unevenly: physique, intelligence, and eloquence. The parallel structure underscores Odysseus' point.

**169** ἄλλος μὲν γάρ τʼ εἶδος ἀκιδνότερος πέλει ἀνήρ,  
For one man may be rather poor in looks,

**170** ἀλλὰ θεὸς μορφὴν ἔπεσι στέφει, οἱ δέ τʼ ἐς αὐτὸν  
but a god crowns his words with grace, and people gaze at him
> Crowning words with shape: The image is of beauty (μορφή) set like a garland upon a man's speech. Homer makes eloquence itself a kind of physical adornment that draws every eye.

**171** τερπόμενοι λεύσσουσιν· ὁ δʼ ἀσφαλέως ἀγορεύει  
with delight; and he speaks on without faltering,

**172** αἰδοῖ μειλιχίῃ, μετὰ δὲ πρέπει ἀγρομένοισιν,  
with winning modesty, and stands out among the gathered men,
> aidôs, gracious modesty: αἰδώς is the respectful restraint that wins others' regard; paired with μειλιχίη ('gentle, soothing'), it describes a speaker whose modest poise commands the room.

**173** ἐρχόμενον δʼ ἀνὰ ἄστυ θεὸν ὣς εἰσορόωσιν.  
and as he goes through the town they look on him as a god.

**174** ἄλλος δʼ αὖ εἶδος μὲν ἀλίγκιος ἀθανάτοισιν,  
Another again may be in looks like the immortals,

**175** ἀλλʼ οὔ οἱ χάρις ἀμφιπεριστέφεται ἐπέεσσιν,  
but no grace is set as a crown around his words,

**176** ὡς καὶ σοὶ εἶδος μὲν ἀριπρεπές, οὐδέ κεν ἄλλως  
just as in your case your looks are striking—not even a god

**177** οὐδὲ θεὸς τεύξειε, νόον δʼ ἀποφώλιός ἐσσι.  
could shape them otherwise—but in mind you are worthless.
> Empty in mind: ἀποφώλιος means 'empty, good-for-nothing, vain.' Odysseus turns Euryalos' insult back: handsome but hollow-minded, the opposite of the graceful speaker just described.

**178** ὤρινάς μοι θυμὸν ἐνὶ στήθεσσι φίλοισιν  
You have stirred the heart in my breast

**179** εἰπὼν οὐ κατὰ κόσμον. ἐγὼ δʼ οὐ νῆις ἀέθλων,  
by speaking improperly. I am no novice at contests,
> 'Not according to order': κόσμος here means proper order or decorum; οὐ κατὰ κόσμον is 'unfittingly, out of place.' It is the direct opposite of κατὰ μοῖραν in line 141.

**180** ὡς σύ γε μυθεῖαι, ἀλλʼ ἐν πρώτοισιν ὀίω  
as you claim, but I think I was among the foremost

**181** ἔμμεναι, ὄφρʼ ἥβῃ τε πεποίθεα χερσί τʼ ἐμῇσι.  
while I could trust in my youth and my hands.
> Pluperfect of confidence: πεποίθεα is the pluperfect of πείθω in its intransitive sense, 'I had come to trust / I trusted.' The perfect system of this verb means 'rely on, be confident in.'

**182** νῦν δʼ ἔχομαι κακότητι καὶ ἄλγεσι· πολλὰ γὰρ ἔτλην  
But now I am gripped by hardship and griefs; for I have endured much,

**183** ἀνδρῶν τε πτολέμους ἀλεγεινά τε κύματα πείρων.  
passing through wars of men and the painful waves.

**184** ἀλλὰ καὶ ὥς, κακὰ πολλὰ παθών, πειρήσομʼ ἀέθλων·  
Yet even so, though I have suffered much, I will try the contests;

**185** θυμοδακὴς γὰρ μῦθος, ἐπώτρυνας δέ με εἰπών.  
for your word bites the heart, and you have provoked me by speaking."
> A heart-biting word: θυμοδακής literally means 'biting the spirit (θυμός).' The vivid compound captures how Euryalos' taunt has stung Odysseus into action.

**186** ἦ ῥα καὶ αὐτῷ φάρει ἀναΐξας λάβε δίσκον  
He spoke, and leaping up, cloak and all, seized a discus
> Aorist participle of swift action: ἀναΐξας ('having sprung up') is an aorist participle showing the action that precedes and leads into the main verb λάβε ('seized'). It conveys a quick, decisive movement.

**187** μείζονα καὶ πάχετον, στιβαρώτερον οὐκ ὀλίγον περ  
larger and thicker, not a little heavier

**188** ἢ οἵῳ Φαίηκες ἐδίσκεον ἀλλήλοισι.  
than the one the Phaeacians threw among themselves.

**189** τόν ῥα περιστρέψας ἧκε στιβαρῆς ἀπὸ χειρός,  
Whirling it round, he let it fly from his sturdy hand,

**190** βόμβησεν δὲ λίθος· κατὰ δʼ ἔπτηξαν ποτὶ γαίῃ  
and the stone hummed; down they cowered to the ground,
> The humming stone: βόμβησεν is an onomatopoeic verb, 'it boomed/hummed.' Homer makes us hear the discus tear through the air before we see where it lands.

**191** Φαίηκες δολιχήρετμοι, ναυσίκλυτοι ἄνδρες,  
the Phaeacians of the long oars, men famed for their ships,
> Stacked epithets: Two formulaic compound epithets pile up: 'long-oared' and 'famed-for-ships.' Such epithet clusters are a hallmark of Homeric style and meter.

**192** λᾶος ὑπὸ ῥιπῆς· ὁ δʼ ὑπέρπτατο σήματα πάντων  
beneath the stone's rush; but it flew past all the marks,

**193** ῥίμφα θέων ἀπὸ χειρός. ἔθηκε δὲ τέρματʼ Ἀθήνη  
speeding swiftly from his hand. And Athena set the mark

**194** ἀνδρὶ δέμας ἐικυῖα, ἔπος τʼ ἔφατʼ ἔκ τʼ ὀνόμαζεν·  
in the likeness of a man, and she spoke and addressed him:
> Participle of disguise: ἐικυῖα ('resembling,' perfect participle of ἔοικα) with the dative ἀνδρί describes Athena's disguise: 'like a man in form.' Such divine disguises recur throughout the poem.

**195** καί κʼ ἀλαός τοι, ξεῖνε, διακρίνειε τὸ σῆμα  
"Even a blind man, stranger, could pick out your mark

**196** ἀμφαφόων, ἐπεὶ οὔ τι μεμιγμένον ἐστὶν ὁμίλῳ,  
by groping, since it is not at all mixed in with the crowd,

**197** ἀλλὰ πολὺ πρῶτον. σὺ δὲ θάρσει τόνδε γʼ ἄεθλον·  
but far the first. Take heart about this contest:

**198** οὔ τις Φαιήκων τόδε γʼ ἵξεται, οὐδʼ ὑπερήσει.  
none of the Phaeacians will reach this throw, let alone pass it."

**199** ὣς φάτο, γήθησεν δὲ πολύτλας δῖος Ὀδυσσεύς,  
So she spoke, and much-enduring noble Odysseus rejoiced,
> Epithet 'much-enduring': πολύτλας ('having endured much') is one of Odysseus' standard epithets, recalling all the suffering he has borne. The whole verse-end phrase is a fixed metrical formula.

**200** χαὶρων, οὕνεχʼ ἑταῖρον ἐνηέα λεῦσσʼ ἐν ἀγῶνι.  
glad that he saw a kindly comrade in the contest.

**201** καὶ τότε κουφότερον μετεφώνεε Φαιήκεσσιν·  
And then he spoke more lightly among the Phaeacians:

**202** τοῦτον νῦν ἀφίκεσθε, νέοι. τάχα δʼ ὕστερον
                     ἄλλον  
"Reach that now, young men. Soon, I think, I shall throw another

**203** ἥσειν ἢ τοσσοῦτον ὀίομαι ἢ ἔτι μᾶσσον.  
as far, or even farther still.

**204** τῶν δʼ ἄλλων ὅτινα κραδίη θυμός τε κελεύει,  
Of the rest, whomever his heart and spirit urge,
> Indefinite relative: ὅτινα ('whomever') is the indefinite relative pronoun introducing a general challenge: anyone whose heart prompts him. It sets up the imperative πειρηθήτω in the next line.

**205** δεῦρʼ ἄγε πειρηθήτω, ἐπεί μʼ ἐχολώσατε λίην,  
come here and let him try, since you have angered me too much—

**206** ἢ πὺξ ἠὲ πάλῃ ἢ καὶ ποσίν, οὔ τι μεγαίρω,  
at boxing, or wrestling, or even running; I begrudge it not at all—

**207** πάντων Φαιήκων, πλήν γʼ αὐτοῦ Λαοδάμαντος.  
any of all the Phaeacians, except Laodamas himself.

**208** ξεῖνος γάρ μοι ὅδʼ ἐστί· τίς ἂν φιλέοντι μάχοιτο;  
For he is my host. Who would fight a man who befriends him?

**209** ἄφρων δὴ κεῖνός γε καὶ οὐτιδανὸς πέλει ἀνήρ,  
Foolish indeed and worthless is that man

**210** ὅς τις ξεινοδόκῳ ἔριδα προφέρηται ἀέθλων  
who offers a quarrel of contests to his host

**211** δήμῳ ἐν ἀλλοδαπῷ· ἕο δʼ αὐτοῦ πάντα κολούει.  
in a foreign land: he only cuts down all his own standing.

**212** τῶν δʼ ἄλλων οὔ πέρ τινʼ ἀναίνομαι οὐδʼ ἀθερίζω,  
But of the others I refuse none and slight none,

**213** ἀλλʼ ἐθέλω ἴδμεν καὶ πειρηθήμεναι ἄντην.  
rather I am willing to know them and test them face to face.
> Homeric infinitives: ἴδμεν ('to know') and πειρηθήμεναι ('to make trial') are Homeric infinitive forms. The infinitives complete ἐθέλω, 'I am willing to...'.

**214** πάντα γὰρ οὐ κακός εἰμι, μετʼ ἀνδράσιν ὅσσοι ἄεθλοι·  
For I am not bad at all in the contests men engage in.

**215** εὖ μὲν τόξον οἶδα ἐύξοον ἀμφαφάασθαι·  
I know well how to handle the polished bow:

**216** πρῶτός κʼ ἄνδρα βάλοιμι ὀιστεύσας ἐν ὁμίλῳ  
I would be the first to strike a man, shooting into the throng

**217** ἀνδρῶν δυσμενέων, εἰ καὶ μάλα πολλοὶ ἑταῖροι  
of enemy men, even if very many comrades

**218** ἄγχι παρασταῖεν καὶ τοξαζοίατο φωτῶν.  
stood close beside me and shot at the foe.
> Optatives in a future less vivid condition: παρασταῖεν and τοξαζοίατο are conditional/potential optatives in a future less vivid condition (εἰ + optative): even if very many comrades were to stand beside him and shoot, Odysseus imagines he would prevail. This is not a past iterative construction — the past iterative uses the -σκ- suffix, as in ἐρίζεσκον (b8-l225).

**219** οἶος δή με Φιλοκτήτης ἀπεκαίνυτο τόξῳ  
Philoctetes alone surpassed me with the bow

**220** δήμῳ ἔνι Τρώων, ὅτε τοξαζοίμεθʼ Ἀχαιοί.  
in the land of the Trojans, when we Achaeans shot.

**221** τῶν δʼ ἄλλων ἐμέ φημι πολὺ προφερέστερον εἶναι,  
But over all other men I declare myself far the better,
> Comparative adjective: The comparative 'far the better' is in the accusative as predicate of the infinitive 'to be' (εἶναι) in indirect statement after 'I declare.'

**222** ὅσσοι νῦν βροτοί εἰσιν ἐπὶ χθονὶ σῖτον ἔδοντες.  
of all the mortals now on earth who eat bread.

**223** ἀνδράσι δὲ προτέροισιν ἐριζέμεν οὐκ ἐθελήσω,  
But with men of former times I will not be willing to contend,

**224** οὔθʼ Ἡρακλῆι οὔτʼ Εὐρύτῳ Οιχαλιῆι,  
neither with Herakles nor with Eurytus of Oechalia,

**225** οἵ ῥα καὶ ἀθανάτοισιν ἐρίζεσκον περὶ τόξων.  
who would contend even with the immortals over archery.
> Iterative imperfect: The -σκ- suffix on this imperfect marks repeated, habitual action: 'they used to contend, again and again.'

**226** τῷ ῥα καὶ αἶψʼ ἔθανεν μέγας Εὔρυτος, οὐδʼ ἐπὶ γῆρας  
And so great Eurytus died suddenly, nor did he reach old age

**227** ἵκετʼ ἐνὶ μεγάροισι· χολωσάμενος γὰρ Ἀπόλλων  
in his halls; for Apollo in anger

**228** ἔκτανεν, οὕνεκά μιν προκαλίζετο τοξάζεσθαι.  
killed him, because he had challenged him to a contest with the bow.

**229** δουρὶ δʼ ἀκοντίζω ὅσον οὐκ ἄλλος τις ὀιστῷ.  
With the spear I cast as far as no other man can with an arrow.

**230** οἴοισιν δείδοικα ποσὶν μή τίς με παρέλθῃ  
Only in running do I fear some Phaeacian might pass me,
> Fear clause: A clause of fearing introduced by μή with the subjunctive: 'lest someone pass me.' In English this becomes 'I fear that someone might pass me.'

**231** Φαιήκων· λίην γὰρ ἀεικελίως ἐδαμάσθην  
for I was beaten down shamefully and hard

**232** κύμασιν ἐν πολλοῖς, ἐπεὶ οὐ κομιδὴ κατὰ νῆα  
amid many waves, since there was no steady provision

**233** ἦεν ἐπηετανός· τῷ μοι φίλα γυῖα λέλυνται.  
aboard the ship; and so my dear limbs are loosened."
> Limbs loosened: 'Loosening of the limbs' is a Homeric idiom for losing strength, whether through exhaustion, fear, or death. Here it is sheer exhaustion from the sea.

**234** ὣς ἔφαθʼ, οἱ δʼ ἄρα πάντες ἀκὴν ἐγένοντο σιωπῇ.  
So he spoke, and they all fell silent, hushed and still.

**235** Ἀλκίνοος δέ μιν οἶος ἀμειβόμενος προσέειπεν·  
Alkinoos alone answered him and said:

**236** ξεῖνʼ, ἐπεὶ οὐκ ἀχάριστα μεθʼ ἡμῖν ταῦτʼ
                     ἀγορεύεις,  
"Stranger, since what you say among us is not ungracious,

**237** ἀλλʼ ἐθέλεις ἀρετὴν σὴν φαινέμεν, ἥ τοι ὀπηδεῖ,  
but you wish to show the excellence that goes with you,
> Aretê: Aretê is excellence or prowess of any kind — here athletic skill, but the word covers martial valor and moral worth as well.

**238** χωόμενος ὅτι σʼ οὗτος ἀνὴρ ἐν ἀγῶνι παραστὰς  
angry because this man, standing beside you in the contest,

**239** νείκεσεν, ὡς ἂν σὴν ἀρετὴν βροτὸς οὔ τις ὄνοιτο,  
insulted you — no mortal would belittle your excellence

**240** ὅς τις ἐπίσταιτο ᾗσι φρεσὶν ἄρτια βάζειν·  
who knew in his own mind how to speak fittingly —

**241** ἀλλʼ ἄγε νῦν ἐμέθεν ξυνίει ἔπος, ὄφρα καὶ ἄλλῳ  
but come now, mark my word, so that to another too

**242** εἴπῃς ἡρώων, ὅτε κεν σοῖς ἐν μεγάροισι  
you may tell it, among the heroes, when in your own halls

**243** δαινύῃ παρὰ σῇ τʼ ἀλόχῳ καὶ σοῖσι τέκεσσιν,  
you feast beside your wife and your children,

**244** ἡμετέρης ἀρετῆς μεμνημένος, οἷα καὶ ἡμῖν  
remembering our excellence — what deeds even to us

**245** Ζεὺς ἐπὶ ἔργα τίθησι διαμπερὲς ἐξ ἔτι πατρῶν.  
Zeus has set as our work, continually, ever since our fathers' day.
> Genitive of source: The genitive πατρῶν ('from the fathers') marks origin in time: the Phaeacians' gifts run 'from the time of the fathers' onward.

**246** οὐ γὰρ πυγμάχοι εἰμὲν ἀμύμονες οὐδὲ παλαισταί,  
For we are not flawless boxers, nor wrestlers,

**247** ἀλλὰ ποσὶ κραιπνῶς θέομεν καὶ νηυσὶν ἄριστοι,  
but we run swiftly on foot and are the best with ships,

**248** αἰεὶ δʼ ἡμῖν δαίς τε φίλη κίθαρις τε χοροί τε  
and always dear to us are the feast, the lyre, and the dances,

**249** εἵματά τʼ ἐξημοιβὰ λοετρά τε θερμὰ καὶ εὐναί.  
changes of clothing, warm baths, and beds.

**250** ἀλλʼ ἄγε, Φαιήκων βητάρμονες ὅσσοι ἄριστοι,  
But come now, you dancers of the Phaeacians, all the best of you,
> Dancers: A rare word for dancers, literally 'those who fit step to step.' It points to the Phaeacians' prized skill in rhythmic movement.

**251** παίσατε, ὥς χʼ ὁ ξεῖνος ἐνίσπῃ οἷσι φίλοισιν  
make sport, so that the stranger may tell his friends,

**252** οἴκαδε νοστήσας, ὅσσον περιγιγνόμεθʼ ἄλλων  
when he returns home, how far we surpass others

**253** ναυτιλίῃ καὶ ποσσὶ καὶ ὀρχηστυῖ καὶ ἀοιδῇ.  
in seamanship, in running, in dancing, and in song.

**254** Δημοδόκῳ δέ τις αἶψα κιὼν φόρμιγγα λίγειαν  
And let someone go quickly and bring for Demodokos the clear-toned lyre

**255** οἰσέτω, ἥ που κεῖται ἐν ἡμετέροισι δόμοισιν.  
that lies somewhere in our halls."

**256** ὣς ἔφατʼ Ἀλκίνοος θεοείκελος, ὦρτο δὲ κῆρυξ  
So spoke Alkinoos, godlike, and the herald rose

**257** οἴσων φόρμιγγα γλαφυρὴν δόμου ἐκ βασιλῆος.  
to bring the hollow lyre from the king's house.

**258** αἰσυμνῆται δὲ κριτοὶ ἐννέα πάντες ἀνέσταν  
And the nine chosen umpires all stood up,
> Umpires: The aisymnêtai are appointed officials, here stewards or umpires who organize and judge the games.

**259** δήμιοι, οἳ κατʼ ἀγῶνας ἐὺ πρήσσεσκον ἕκαστα,  
public men, who managed each thing well in the contests,

**260** λείηναν δὲ χορόν, καλὸν δʼ εὔρυναν ἀγῶνα.  
and they smoothed the dancing-floor and widened a fine ring.

**261** κῆρυξ δʼ ἐγγύθεν ἦλθε φέρων φόρμιγγα λίγειαν  
The herald came near, carrying the clear-toned lyre

**262** Δημοδόκῳ· ὁ δʼ ἔπειτα κίʼ ἐς μέσον· ἀμφὶ δὲ κοῦροι  
for Demodokos; and he then went into the middle, and around him the young men,

**263** πρωθῆβαι ἵσταντο, δαήμονες ὀρχηθμοῖο,  
in the first bloom of youth, stood — skilled in the dance —
> In youth's first bloom: The word marks young men at the very start of manhood, at the peak of their physical grace and energy.

**264** πέπληγον δὲ χορὸν θεῖον ποσίν. αὐτὰρ Ὀδυσσεὺς  
and they struck the wondrous dancing-floor with their feet. And Odysseus

**265** μαρμαρυγὰς θηεῖτο ποδῶν, θαύμαζε δὲ θυμῷ.  
watched the twinkling of their feet, and marveled in his heart.
> Twinkling: The noun means a flashing or shimmering — here the rapid, glittering motion of the dancers' feet.

**266** αὐτὰρ ὁ φορμίζων ἀνεβάλλετο καλὸν ἀείδειν  
Then, playing the lyre, he struck up a fine song

**267** ἀμφʼ Ἄρεος φιλότητος εὐστεφάνου τʼ Ἀφροδίτης,  
about the love of Ares and fair-crowned Aphrodite,
> Epithet in the genitive: 'Fair-crowned' (εὐστεφάνου) is a standing epithet of Aphrodite, here in the genitive agreeing with her name.

**268** ὡς τὰ πρῶτα μίγησαν ἐν Ἡφαίστοιο δόμοισι  
how first they lay together in the house of Hephaestus

**269** λάθρῃ, πολλὰ δʼ ἔδωκε, λέχος δʼ ᾔσχυνε καὶ εὐνὴν  
in secret; and Ares gave many gifts, and shamed the marriage bed

**270** Ἡφαίστοιο ἄνακτος. ἄφαρ δέ οἱ ἄγγελος ἦλθεν  
of lord Hephaestus. At once a messenger came to him,

**271** Ἥλιος, ὅ σφʼ ἐνόησε μιγαζομένους φιλότητι.  
Helios, who had seen them joined in love.

**272** Ἥφαιστος δʼ ὡς οὖν θυμαλγέα μῦθον ἄκουσε,  
And Hephaestus, when he heard the heart-grieving tale,

**273** βῆ ῥʼ ἴμεν ἐς χαλκεῶνα κακὰ φρεσὶ βυσσοδομεύων,  
went to his forge, brooding evil deep in his heart,
> Brooding deep: The verb literally means 'building in the depths,' a vivid metaphor for plotting silently and deep within oneself.

**274** ἐν δʼ ἔθετʼ ἀκμοθέτῳ μέγαν ἄκμονα, κόπτε δὲ δεσμοὺς  
and set the great anvil on its block, and forged bonds,

**275** ἀρρήκτους ἀλύτους, ὄφρʼ ἔμπεδον αὖθι μένοιεν.  
unbreakable, unloosable, so they might stay fast in place.

**276** αὐτὰρ ἐπεὶ δὴ τεῦξε δόλον κεχολωμένος Ἄρει,  
But when he had made the snare, in his anger against Ares,

**277** βῆ ῥʼ ἴμεν ἐς θάλαμον, ὅθι οἱ φίλα δέμνιʼ ἔκειτο,  
he went to the bedchamber where his own dear bed lay,

**278** ἀμφὶ δʼ ἄρʼ ἑρμῖσιν χέε δέσματα κύκλῳ ἁπάντῃ·  
and around the bedposts he poured the bonds in a circle, on every side,

**279** πολλὰ δὲ καὶ καθύπερθε μελαθρόφιν ἐξεκέχυντο,  
and many too were hung from above, down from the roof-beam,

**280** ἠύτʼ ἀράχνια λεπτά, τά γʼ οὔ κέ τις οὐδὲ ἴδοιτο,  
fine as spider's webs, such as no one could even see,
> Spider's webs: The smith's chains are compared to gossamer thread — a paradox of metal made finer than a spider's web, invisible yet unbreakable.

**281** οὐδὲ θεῶν μακάρων· πέρι γὰρ δολόεντα τέτυκτο.  
not even the blessed gods; for it was wrought full of cunning.

**282** αὐτὰρ ἐπεὶ δὴ πάντα δόλον περὶ δέμνια χεῦεν,  
But when he had poured all the snare about the bed,

**283** εἴσατʼ ἴμεν ἐς Λῆμνον, ἐυκτίμενον πτολίεθρον,  
he made as if to set off for Lemnos, the well-built city,

**284** ἥ οἱ γαιάων πολὺ φιλτάτη ἐστὶν ἁπασέων.  
which is by far the dearest of all lands to him.

**285** οὐδʼ ἀλαοσκοπιὴν εἶχε χρυσήνιος Ἄρης,  
Nor did Ares of the golden reins keep a blind watch,
> Blind watch: Literally a 'blind lookout' — Ares was not keeping careless guard; he watched sharply for his chance.

**286** ὡς ἴδεν Ἥφαιστον κλυτοτέχνην νόσφι κιόντα·  
when he saw Hephaestus the famed craftsman going away;

**287** βῆ δʼ ἰέναι πρὸς δῶμα περικλυτοῦ Ἡφαίστοιο  
he set off for the house of glorious Hephaestus,

**288** ἰσχανόων φιλότητος ἐυστεφάνου Κυθερείης.  
longing for the love of fair-crowned Cytherea.

**289** ἡ δὲ νέον παρὰ πατρὸς ἐρισθενέος Κρονίωνος  
She, lately come from her father, the mighty son of Cronus,

**290** ἐρχομένη κατʼ ἄρʼ ἕζεθʼ· ὁ δʼ εἴσω δώματος ᾔει,  
had just sat down; and he went inside the house,

**291** ἔν τʼ ἄρα οἱ φῦ χειρί, ἔπος τʼ ἔφατʼ ἔκ τʼ ὀνόμαζε·  
and clasped her hand, and spoke, and called her by name:
> Idiom: grew into her hand: The verb φῦ ('grew') with the dative gives the vivid Homeric idiom of clasping a hand so closely it seems to grow into it.

**292** δεῦρο, φίλη, λέκτρονδε τραπείομεν
                     εὐνηθέντες·  
"Come, my love, let us go to bed and take our delight,

**293** οὐ γὰρ ἔθʼ Ἥφαιστος μεταδήμιος, ἀλλά που ἤδη  
for Hephaestus is no longer here at home, but by now, I think,

**294** οἴχεται ἐς Λῆμνον μετὰ Σίντιας ἀγριοφώνους.  
he is gone to Lemnos, to the Sintians of savage speech."

**295** ὣς φάτο, τῇ δʼ ἀσπαστὸν ἐείσατο κοιμηθῆναι.  
So he spoke, and to her it seemed welcome to lie down.

**296** τὼ δʼ ἐς δέμνια βάντε κατέδραθον· ἀμφὶ δὲ δεσμοὶ  
The two went to the bed and lay down; and around them the bonds
> Dual number: The forms τώ and βάντε are dual, used for exactly two — here Ares and Aphrodite as a pair. The dual is common in Homer.

**297** τεχνήεντες ἔχυντο πολύφρονος Ἡφαίστοιο,  
of skilled Hephaestus poured close, cunningly made,

**298** οὐδέ τι κινῆσαι μελέων ἦν οὐδʼ ἀναεῖραι.  
and it was not possible to move a limb or lift one.

**299** καὶ τότε δὴ γίγνωσκον, ὅ τʼ οὐκέτι φυκτὰ πέλοντο.  
And then indeed they knew that there was no more escaping.

**300** ἀγχίμολον δέ σφʼ ἦλθε περικλυτὸς ἀμφιγυήεις,  
Near them came the glorious one with crooked legs,
> Crooked-legged: A standing epithet of Hephaestus, referring to his lameness — 'lame in both legs' or 'with crooked feet.'

**301** αὖτις ὑποστρέψας πρὶν Λήμνου γαῖαν ἱκέσθαι·  
having turned back again before reaching the land of Lemnos;

**302** Ἠέλιος γάρ οἱ σκοπιὴν ἔχεν εἶπέ τε μῦθον.  
for Helios kept watch for him and told him the tale.

**303** βῆ δʼ ἴμεναι πρὸς δῶμα φίλον τετιημένος ἦτορ·  
He went toward his house, grieved at heart,

**304** ἔστη δʼ ἐν προθύροισι, χόλος δέ μιν ἄγριος ᾕρει·  
and stood in the doorway, and fierce anger seized him;

**305** σμερδαλέον δʼ ἐβόησε, γέγωνέ τε πᾶσι θεοῖσιν·  
he shouted terribly, and called out to all the gods:

**306** Ζεῦ πάτερ ἠδʼ ἄλλοι μάκαρες θεοὶ αἰὲν
                     ἐόντες,  
"Father Zeus, and you other blessed gods who live forever,
> Participle: ever-living: The present participle ἐόντες ('being') with αἰέν ('always') is a formula for the gods: 'those who exist forever.'

**307** δεῦθʼ, ἵνα ἔργα γελαστὰ καὶ οὐκ ἐπιεικτὰ ἴδησθε,  
come here, that you may see deeds laughable and not to be borne,

**308** ὡς ἐμὲ χωλὸν ἐόντα Διὸς θυγάτηρ Ἀφροδίτη  
how Aphrodite, daughter of Zeus, dishonors me

**309** αἰὲν ἀτιμάζει, φιλέει δʼ ἀίδηλον Ἄρηα,  
always, because I am lame, and loves destructive Ares,

**310** οὕνεχʼ ὁ μὲν καλός τε καὶ ἀρτίπος, αὐτὰρ ἐγώ γε  
because he is handsome and sound of foot, while I

**311** ἠπεδανὸς γενόμην. ἀτὰρ οὔ τί μοι αἴτιος ἄλλος,  
was born a weakling. Yet no other is to blame for that,
> Weakling: A rare adjective meaning feeble or infirm; Hephaestus uses it of his own lameness from birth.

**312** ἀλλὰ τοκῆε δύω, τὼ μὴ γείνασθαι ὄφελλον.  
but my two parents, who ought never to have begotten me.
> Dual: the two parents: τώ is again the dual, here pointing to the two parents as a pair, agreeing with τοκῆε ('parents,' also dual).

**313** ἀλλʼ ὄψεσθʼ, ἵνα τώ γε καθεύδετον ἐν φιλότητι  
But come and see where the two of them sleep in love,

**314** εἰς ἐμὰ δέμνια βάντες, ἐγὼ δʼ ὁρόων ἀκάχημαι.  
gone up into my bed; and I, looking on, am grieved.

**315** οὐ μέν σφεας ἔτʼ ἔολπα μίνυνθά γε κειέμεν οὕτως  
Yet I do not think they will want to lie like this even a little while longer,

**316** καὶ μάλα περ φιλέοντε· τάχʼ οὐκ ἐθελήσετον ἄμφω  
for all their great love; soon the two of them will not wish

**317** εὕδειν· ἀλλά σφωε δόλος καὶ δεσμὸς ἐρύξει,  
to sleep; but the snare and the bond will hold them fast,

**318** εἰς ὅ κέ μοι μάλα πάντα πατὴρ ἀποδῷσιν ἔεδνα,  
until her father gives me back every bride-gift,

**319** ὅσσα οἱ ἐγγυάλιξα κυνώπιδος εἵνεκα κούρης,  
all that I handed over for the sake of his dog-faced daughter,
> Dog-faced: 'Dog-eyed' or 'dog-faced' is a term of contempt for shamelessness, hurled here by Hephaestus at the unfaithful Aphrodite.

**320** οὕνεκά οἱ καλὴ θυγάτηρ, ἀτὰρ οὐκ ἐχέθυμος.  
because his daughter is beautiful, but cannot govern her desire."

**321** ὣς ἔφαθʼ, οἱ δʼ ἀγέροντο θεοὶ ποτὶ χαλκοβατὲς
                  δῶ·  
So he spoke, and the gods gathered to the bronze-floored house;
> Bronze-floored house: A formulaic epithet for a god's dwelling, 'set on a floor of bronze' — a mark of its imperishable splendor.

**322** ἦλθε Ποσειδάων γαιήοχος, ἦλθʼ ἐριούνης  
Poseidon came, the earth-encircler, and Hermes came, the bringer of luck,

**323** Ἑρμείας, ἦλθεν δὲ ἄναξ ἑκάεργος Ἀπόλλων.  
Hermes, and lord Apollo who works from afar came too.
> Epithet: far-working: 'Working from afar' (ἑκάεργος) is a standing epithet of Apollo, alluding to his bow that strikes at a distance.

**324** θηλύτεραι δὲ θεαὶ μένον αἰδοῖ οἴκοι ἑκάστη.  
But the goddesses stayed each at home for shame.

**325** ἔσταν δʼ ἐν προθύροισι θεοί, δωτῆρες ἑάων·  
The gods, givers of good things, stood in the doorway;

**326** ἄσβεστος δʼ ἄρʼ ἐνῶρτο γέλως μακάρεσσι θεοῖσι  
and unquenchable laughter rose up among the blessed gods
> Unquenchable laughter: Literally 'inextinguishable laughter' — the same word ('asbestos') gives us the modern term for the fireproof mineral.

**327** τέχνας εἰσορόωσι πολύφρονος Ἡφαίστοιο.  
as they looked on the contrivances of skilled Hephaestus.

**328** ὧδε δέ τις εἴπεσκεν ἰδὼν ἐς πλησίον ἄλλον·  
And thus one would say, looking at his neighbor nearby:
> Iterative aorist: The -σκ- form again marks repeated action: 'one after another would say,' the gods speaking in turn.

**329** οὐκ ἀρετᾷ κακὰ ἔργα· κιχάνει τοι βραδὺς
                     ὠκύν,  
"Evil deeds do not prosper; the slow one catches the swift,
> The slow catches the swift: A proverb: 'the slow overtakes the swift,' framing the whole episode as a moral about cunning beating speed.

**330** ὡς καὶ νῦν Ἥφαιστος ἐὼν βραδὺς εἷλεν Ἄρηα  
as even now Hephaestus, slow as he is, has caught Ares,

**331** ὠκύτατόν περ ἐόντα θεῶν οἳ Ὄλυμπον ἔχουσιν,  
though he was the swiftest of the gods who hold Olympus,

**332** χωλὸς ἐὼν τέχνῃσι· τὸ καὶ μοιχάγριʼ ὀφέλλει.  
Hephaestus, lame as he is, caught him by his craft; so Ares owes the adulterer's fine."
> The adulterer's fine: A rare compound meaning the penalty or 'catch-fee' owed for being caught in adultery. The gods treat the trap as a legal seizure requiring damages.

**333** ὣς οἱ μὲν τοιαῦτα πρὸς ἀλλήλους ἀγόρευον·  
So they spoke such things to one another;

**334** Ἑρμῆν δὲ προσέειπεν ἄναξ Διὸς υἱὸς Ἀπόλλων·  
but lord Apollo, son of Zeus, said to Hermes:

**335** Ἑρμεία, Διὸς υἱέ, διάκτορε, δῶτορ ἑάων,  
"Hermes, son of Zeus, guide and giver of good things,
> Giver of good things: A formulaic epithet for gods who bestow blessings. Here Apollo addresses Hermes with this title even as he teases him.

**336** ἦ ῥά κεν ἐν δεσμοῖς ἐθέλοις κρατεροῖσι πιεσθεὶς  
would you really be willing, pressed tight in strong chains,

**337** εὕδειν ἐν λέκτροισι παρὰ χρυσέῃ Ἀφροδίτῃ;  
to sleep in bed beside golden Aphrodite?"

**338** τὸν δʼ ἠμείβετʼ ἔπειτα διάκτορος ἀργεϊφόντης·  
Then the guide, slayer of Argus, answered him:
> Epithet of Hermes: A standing epithet for Hermes, traditionally 'slayer of Argus.' Such formulaic epithets fill the metrical line and identify the speaker.

**339** αἲ γὰρ τοῦτο γένοιτο, ἄναξ ἑκατηβόλʼ Ἄπολλον·  
"If only this could happen, lord Apollo who shoots from afar:

**340** δεσμοὶ μὲν τρὶς τόσσοι ἀπείρονες ἀμφὶς ἔχοιεν,  
let three times as many endless chains hold me fast,

**341** ὑμεῖς δʼ εἰσορόῳτε θεοὶ πᾶσαί τε θέαιναι,  
and you gods look on, and all the goddesses too,

**342** αὐτὰρ ἐγὼν εὕδοιμι παρὰ χρυσέῃ Ἀφροδίτῃ.  
and still I would sleep beside golden Aphrodite."

**343** ὣς ἔφατʼ, ἐν δὲ γέλως ὦρτʼ ἀθανάτοισι θεοῖσιν.  
So he spoke, and laughter rose among the immortal gods.

**344** οὐδὲ Ποσειδάωνα γέλως ἔχε, λίσσετο δʼ αἰεὶ  
But laughter did not hold Poseidon; he kept begging

**345** Ἥφαιστον κλυτοεργὸν ὅπως λύσειεν Ἄρηα.  
Hephaestus, the famous craftsman, to set Ares free.

**346** καί μιν φωνήσας ἔπεα πτερόεντα προσηύδα·  
And speaking out, he addressed him with winged words:
> Winged words: The classic Homeric formula introducing speech: words 'take wing' from the speaker to the listener.

**347** λῦσον· ἐγὼ δέ τοι αὐτὸν ὑπίσχομαι, ὡς σὺ
                     κελεύεις,  
"Let him go; and I promise you myself, just as you require,

**348** τίσειν αἴσιμα πάντα μετʼ ἀθανάτοισι θεοῖσιν.  
that he will pay all that is fitting before the immortal gods."

**349** τὸν δʼ αὖτε προσέειπε περικλυτὸς ἀμφιγυήεις·  
Then the famous lame god answered him in turn:
> The lame one: An epithet of Hephaestus, roughly 'crook-footed' or 'lame in both legs,' marking his characteristic disability.

**350** μή με, Ποσείδαον γαιήοχε, ταῦτα κέλευε·  
"Do not, Poseidon who girds the earth, ask this of me.

**351** δειλαί τοι δειλῶν γε καὶ ἐγγύαι ἐγγυάασθαι.  
Wretched are the pledges one pledges for wretched men.

**352** πῶς ἂν ἐγώ σε δέοιμι μετʼ ἀθανάτοισι θεοῖσιν,  
How could I bind you before the immortal gods,

**353** εἴ κεν Ἄρης οἴχοιτο χρέος καὶ δεσμὸν ἀλύξας;  
if Ares should go off, escaping his debt and the chains?"

**354** τὸν δʼ αὖτε προσέειπε Ποσειδάων ἐνοσίχθων·  
Then Poseidon the earth-shaker answered him in turn:

**355** Ἥφαιστʼ, εἴ περ γάρ κεν Ἄρης χρεῖος ὑπαλύξας  
"Hephaestus, even if Ares does dodge his debt

**356** οἴχηται φεύγων, αὐτός τοι ἐγὼ τάδε τίσω.  
and goes off in flight, I myself will pay you this."

**357** τὸν δʼ ἠμείβετʼ ἔπειτα περικλυτὸς ἀμφιγυήεις·  
Then the famous lame god answered him:

**358** οὐκ ἔστʼ οὐδὲ ἔοικε τεὸν ἔπος ἀρνήσασθαι.  
"It is not possible, nor right, to refuse your word."

**359** ὣς εἰπὼν δεσμὸν ἀνίει μένος Ἡφαίστοιο.  
So speaking, the strength of Hephaestus loosed the chain.
> The strength of Hephaestus: A periphrasis: 'the might of Hephaestus' simply means Hephaestus himself. Homer often names a hero's force in place of the hero.

**360** τὼ δʼ ἐπεὶ ἐκ δεσμοῖο λύθεν, κρατεροῦ περ ἐόντος,  
And when the two were freed from the chain, strong as it was,
> The dual number: τώ is dual, referring to exactly two persons, Ares and Aphrodite together. Homer keeps the old dual for natural pairs.

**361** αὐτίκʼ ἀναΐξαντε ὁ μὲν Θρῄκηνδε βεβήκει,  
at once they sprang up, and the one went off to Thrace,

**362** ἡ δʼ ἄρα Κύπρον ἵκανε φιλομμειδὴς Ἀφροδίτη,  
while she, laughter-loving Aphrodite, came to Cyprus,
> Laughter-loving: A standing epithet of Aphrodite, 'fond of smiles.' It fits gracefully even here, just after she has been humiliated.

**363** ἐς Πάφον· ἔνθα δέ οἱ τέμενος βωμός τε θυήεις.  
to Paphos, where she has a sacred precinct and a fragrant altar.

**364** ἔνθα δέ μιν Χάριτες λοῦσαν καὶ χρῖσαν ἐλαίῳ  
There the Graces bathed her and anointed her with oil,

**365** ἀμβρότῳ, οἷα θεοὺς ἐπενήνοθεν αἰὲν ἐόντας,  
the immortal oil that shines upon the gods who live forever,

**366** ἀμφὶ δὲ εἵματα ἕσσαν ἐπήρατα, θαῦμα ἰδέσθαι.  
and they dressed her in lovely garments, a wonder to behold.

**367** ταῦτʼ ἄρʼ ἀοιδὸς ἄειδε περικλυτός· αὐτὰρ
                  Ὀδυσσεὺς  
So the famous bard sang; and Odysseus

**368** τέρπετʼ ἐνὶ φρεσὶν ᾗσιν ἀκούων ἠδὲ καὶ ἄλλοι  
delighted in his heart as he listened, and so did the others,

**369** Φαίηκες δολιχήρετμοι, ναυσίκλυτοι ἄνδρες.  
the Phaeacians with their long oars, men famed for their ships.
> Long-oared, ship-famed: Two epithets define the Phaeacians as a seafaring people: 'with long oars' and 'renowned for ships.'

**370** Ἀλκίνοος δʼ Ἅλιον καὶ Λαοδάμαντα κέλευσεν  
Then Alcinous told Halius and Laodamas

**371** μουνὰξ ὀρχήσασθαι, ἐπεί σφισιν οὔ τις ἔριζεν.  
to dance alone, since no one could rival them.

**372** οἱ δʼ ἐπεὶ οὖν σφαῖραν καλὴν μετὰ χερσὶν ἕλοντο,  
So when they had taken a fine ball in their hands,

**373** πορφυρέην, τήν σφιν Πόλυβος ποίησε δαΐφρων,  
a purple one, which skilled Polybus had made for them,

**374** τὴν ἕτερος ῥίπτασκε ποτὶ νέφεα σκιόεντα  
the one would fling it up toward the shadowy clouds,

**375** ἰδνωθεὶς ὀπίσω, ὁ δʼ ἀπὸ χθονὸς ὑψόσʼ ἀερθεὶς  
bending backward, and the other, leaping high from the ground,

**376** ῥηιδίως μεθέλεσκε, πάρος ποσὶν οὖδας ἱκέσθαι.  
would catch it easily before his feet touched the earth again.

**377** αὐτὰρ ἐπεὶ δὴ σφαίρῃ ἀνʼ ἰθὺν πειρήσαντο,  
And when they had tried the ball thrown straight upward,

**378** ὠρχείσθην δὴ ἔπειτα ποτὶ χθονὶ πουλυβοτείρῃ  
they danced then upon the bountiful earth,

**379** ταρφέʼ ἀμειβομένω· κοῦροι δʼ ἐπελήκεον ἄλλοι  
trading places again and again; and the other young men

**380** ἑστεῶτες κατʼ ἀγῶνα, πολὺς δʼ ὑπὸ κόμπος ὀρώρει.  
standing in the ring kept time, and a great din rose up.

**381** δὴ τότʼ ἄρʼ Ἀλκίνοον προσεφώνεε δῖος Ὀδυσσεύς·  
Then noble Odysseus said to Alcinous:

**382** Ἀλκίνοε κρεῖον, πάντων ἀριδείκετε λαῶν,  
"Lord Alcinous, most renowned of all the people,
> Most renowned of the people: ἀριδείκετε is vocative, the case of direct address; λαῶν is a partitive genitive, 'foremost among the people.'

**383** ἠμὲν ἀπείλησας βητάρμονας εἶναι ἀρίστους,  
you boasted that your dancers were the best,

**384** ἠδʼ ἄρʼ ἑτοῖμα τέτυκτο· σέβας μʼ ἔχει εἰσορόωντα.  
and so it has proved true: awe holds me as I watch."

**385** ὣς φάτο, γήθησεν δʼ ἱερὸν μένος Ἀλκινόοιο,  
So he spoke, and the sacred strength of Alcinous rejoiced,

**386** αἶψα δὲ Φαιήκεσσι φιληρέτμοισι μετηύδα·  
and at once he spoke among the oar-loving Phaeacians:

**387** κέκλυτε, Φαιήκων ἡγήτορες ἠδὲ μέδοντες.  
"Hear me, leaders and counselors of the Phaeacians.

**388** ὁ ξεῖνος μάλα μοι δοκέει πεπνυμένος εἶναι.  
This stranger seems to me a man of much good sense.
> Of good sense: A perfect participle praising shrewd, wise judgment. It marks someone whose speech and bearing show discernment.

**389** ἀλλʼ ἄγε οἱ δῶμεν ξεινήιον, ὡς ἐπιεικές.  
Come then, let us give him a guest-gift, as is fitting.

**390** δώδεκα γὰρ κατὰ δῆμον ἀριπρεπέες βασιλῆες  
For twelve distinguished kings throughout the land

**391** ἀρχοὶ κραίνουσι, τρισκαιδέκατος δʼ ἐγὼ αὐτός·  
rule as chiefs, and I myself am the thirteenth.

**392** τῶν οἱ ἕκαστος φᾶρος ἐυπλυνὲς ἠδὲ χιτῶνα  
Let each of you bring him a clean cloak and a tunic

**393** καὶ χρυσοῖο τάλαντον ἐνείκατε τιμήεντος.  
and a talent of precious gold.

**394** αἶψα δὲ πάντα φέρωμεν ἀολλέα, ὄφρʼ ἐνὶ χερσὶν  
Let us quickly bring it all together, so that in his hands

**395** ξεῖνος ἔχων ἐπὶ δόρπον ἴῃ χαίρων ἐνὶ θυμῷ.  
the stranger may hold it and go to supper glad at heart.

**396** Εὐρύαλος δέ ἑ αὐτὸν ἀρεσσάσθω ἐπέεσσι  
And Euryalus must make amends to him with words

**397** καὶ δώρῳ, ἐπεὶ οὔ τι ἔπος κατὰ μοῖραν ἔειπεν.  
and a gift, since he spoke a word that was out of place."
> In due measure: The idiom 'according to one's portion' means fittingly, properly. Negated here, οὔ ... κατὰ μοῖραν marks Euryalus's words as improper.

**398** ὣς ἔφαθʼ, οἱ δʼ ἄρα πάντες ἐπῄνεον ἠδʼ
                  ἐκέλευον,  
So he spoke, and they all approved and urged it on,

**399** δῶρα δʼ ἄρʼ οἰσέμεναι πρόεσαν κήρυκα ἕκαστος.  
and each sent his herald to bring the gifts.

**400** τὸν δʼ αὖτʼ Εὐρύαλος ἀπαμείβετο φώνησέν τε·  
Then Euryalus answered him and spoke:

**401** Ἀλκίνοε κρεῖον, πάντων ἀριδείκετε λαῶν,  
"Lord Alcinous, most renowned of all the people,

**402** τοιγὰρ ἐγὼ τὸν ξεῖνον ἀρέσσομαι, ὡς σὺ κελεύεις.  
I will indeed make amends to the stranger, as you bid.

**403** δώσω οἱ τόδʼ ἄορ παγχάλκεον, ᾧ ἔπι κώπη  
I will give him this sword, all of bronze, whose hilt

**404** ἀργυρέη, κολεὸν δὲ νεοπρίστου ἐλέφαντος  
is of silver, and the scabbard of fresh-sawn ivory

**405** ἀμφιδεδίνηται· πολέος δέ οἱ ἄξιον ἔσται.  
is fitted around it; it will be worth much to him."

**406** ὣς εἰπὼν ἐν χερσὶ τίθει ξίφος ἀργυρόηλον  
So speaking, he placed the silver-studded sword in his hands

**407** καί μιν φωνήσας ἔπεα πτερόεντα προσηύδα·  
and, raising his voice, addressed him with winged words:

**408** χαῖρε, πάτερ ὦ ξεῖνε· ἔπος δʼ εἴ πέρ τι βέβακται  
"Farewell, father stranger; and if some harsh word

**409** δεινόν, ἄφαρ τὸ φέροιεν ἀναρπάξασαι ἄελλαι.  
has been spoken, may the storm-winds snatch it up and carry it off.

**410** σοὶ δὲ θεοὶ ἄλοχόν τʼ ἰδέειν καὶ πατρίδʼ ἱκέσθαι  
And may the gods grant you to see your wife and reach

**411** δοῖεν, ἐπεὶ δὴ δηθὰ φίλων ἄπο πήματα πάσχεις.  
your homeland, since long away from your loved ones you suffer pains."

**412** τὸν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then Odysseus of many wiles answered him:
> Odysseus of many wiles: The hero's signature epithet, 'of many counsels,' marks his cunning. It recurs throughout the poem in the same metrical slot.

**413** καὶ σὺ φίλος μάλα χαῖρε, θεοὶ δέ τοι ὄλβια δοῖεν.  
"Farewell to you too, friend, and may the gods grant you blessings.

**414** μηδέ τι τοι ξίφεός γε ποθὴ μετόπισθε γένοιτο  
And may you never afterward feel the lack of this sword

**415** τούτου, ὃ δή μοι δῶκας ἀρεσσάμενος ἐπέεσσιν.  
you have given me, making amends with your words."

**416** ἦ ῥα καὶ ἀμφʼ ὤμοισι θέτο ξίφος ἀργυρόηλον.  
He spoke, and slung the silver-studded sword about his shoulders.

**417** δύσετό τʼ ἠέλιος, καὶ τῷ κλυτὰ δῶρα παρῆεν.  
The sun went down, and the splendid gifts were brought to him.

**418** καὶ τά γʼ ἐς Ἀλκινόοιο φέρον κήρυκες ἀγαυοί·  
Noble heralds carried them to the house of Alcinous,

**419** δεξάμενοι δʼ ἄρα παῖδες ἀμύμονος Ἀλκινόοιο  
and the sons of blameless Alcinous received them

**420** μητρὶ παρʼ αἰδοίῃ ἔθεσαν περικαλλέα δῶρα.  
and set the beautiful gifts beside their honored mother.

**421** τοῖσιν δʼ ἡγεμόνευʼ ἱερὸν μένος Ἀλκινόοιο,  
The sacred strength of Alcinous led the way for them,

**422** ἐλθόντες δὲ καθῖζον ἐν ὑψηλοῖσι θρόνοισι.  
and when they came in they sat down on high seats.

**423** δή ῥα τότʼ Ἀρήτην προσέφη μένος Ἀλκινόοιο·  
Then the strength of Alcinous spoke to Arete:

**424** δεῦρο, γύναι, φέρε χηλὸν ἀριπρεπέʼ, ἥ τις
                     ἀρίστη·  
"Come, wife, bring out a fine chest, the very best you have,

**425** ἐν δʼ αὐτὴ θὲς φᾶρος ἐυπλυνὲς ἠδὲ χιτῶνα.  
and put in it yourself a clean cloak and a tunic.

**426** ἀμφὶ δέ οἱ πυρὶ χαλκὸν ἰήνατε, θέρμετε δʼ ὕδωρ,  
Heat a cauldron of bronze over the fire for him, and warm water,

**427** ὄφρα λοεσσάμενός τε ἰδών τʼ ἐὺ κείμενα πάντα  
so that, when he has bathed and seen all neatly laid out,

**428** δῶρα, τά οἱ Φαίηκες ἀμύμονες ἐνθάδʼ ἔνεικαν,  
the gifts the blameless Phaeacians have brought him here,

**429** δαιτί τε τέρπηται καὶ ἀοιδῆς ὕμνον ἀκούων.  
he may delight in the feast and in hearing the song's strains.

**430** καί οἱ ἐγὼ τόδʼ ἄλεισον ἐμὸν περικαλλὲς ὀπάσσω,  
And I will give him this lovely cup of my own,

**431** χρύσεον, ὄφρʼ ἐμέθεν μεμνημένος ἤματα πάντα  
of gold, so that, remembering me all his days,

**432** σπένδῃ ἐνὶ μεγάρῳ Διί τʼ ἄλλοισίν τε θεοῖσιν.  
he may pour libations in his hall to Zeus and the other gods."

**433** ὣς ἔφατʼ, Ἀρήτη δὲ μετὰ δμῳῇσιν ἔειπεν  
So he spoke, and Arete told her serving women

**434** ἀμφὶ πυρὶ στῆσαι τρίποδα μέγαν ὅττι τάχιστα.  
to set a great tripod over the fire as fast as they could.

**435** αἱ δὲ λοετροχόον τρίποδʼ ἵστασαν ἐν πυρὶ κηλέῳ,  
And they set a tripod for heating bath-water over the blazing fire,

**436** ἔν δʼ ἄρʼ ὕδωρ ἔχεαν, ὑπὸ δὲ ξύλα δαῖον ἑλοῦσαι.  
poured water into it, and took up wood and kindled it beneath.

**437** γάστρην μὲν τρίποδος πῦρ ἄμφεπε, θέρμετο δʼ ὕδωρ·  
The fire wrapped the belly of the tripod, and the water grew warm.

**438** τόφρα δʼ ἄρʼ Ἀρήτη ξείνῳ περικαλλέα χηλὸν  
Meanwhile Arete brought out for the stranger a beautiful chest

**439** ἐξέφερεν θαλάμοιο, τίθει δʼ ἐνὶ κάλλιμα δῶρα,  
from the chamber, and laid in it the splendid gifts,

**440** ἐσθῆτα χρυσόν τε, τά οἱ Φαίηκες ἔδωκαν·  
the clothing and the gold, which the Phaeacians had given him.

**441** ἐν δʼ αὐτὴ φᾶρος θῆκεν καλόν τε χιτῶνα,  
and she herself laid in it a fine cloak and tunic,

**442** καί μιν φωνήσασʼ ἔπεα πτερόεντα προσηύδα·  
and she spoke to him, addressing him with winged words:
> Winged words formula: A standard Homeric speech-introduction formula. The aorist participle φωνήσασα (having spoken up) and the imperfect προσηύδα (addressed) frame the words.

**443** αὐτὸς νῦν ἴδε πῶμα, θοῶς δʼ ἐπὶ δεσμὸν
                     ἴηλον,  
"See to the lid yourself now, and quickly throw a binding over it,

**444** μή τίς τοι καθʼ ὁδὸν δηλήσεται, ὁππότʼ ἂν αὖτε  
so that no one may harm you on the way, when later

**445** εὕδῃσθα γλυκὺν ὕπνον ἰὼν ἐν νηὶ μελαίνῃ.  
you sleep sweet sleep as you travel in the black ship."

**446** αὐτὰρ ἐπεὶ τό γʼ ἄκουσε πολύτλας δῖος Ὀδυσσεύς,  
Now when much-enduring noble Odysseus heard this,
> Much-enduring Odysseus: A recurring epithet-formula for Odysseus, marking him as the man who has borne much suffering.

**447** αὐτίκʼ ἐπήρτυε πῶμα, θοῶς δʼ ἐπὶ δεσμὸν ἴηλεν  
at once he fitted the lid on, and quickly threw over it a binding,

**448** ποικίλον, ὅν ποτέ μιν δέδαε φρεσὶ πότνια Κίρκη·  
an intricate one, which once the lady Circe had taught him in his mind.

**449** αὐτόδιον δʼ ἄρα μιν ταμίη λούσασθαι ἀνώγει  
Then the housekeeper bade him go straightway to bathe,

**450** ἔς ῥʼ ἀσάμινθον βάνθʼ· ὁ δʼ ἄρ ἀσπασίως ἴδε θυμῷ  
and he stepped into the tub; and gladly he saw in his heart

**451** θερμὰ λοέτρʼ, ἐπεὶ οὔ τι κομιζόμενός γε θάμιζεν,  
the warm baths, since he had not often been so tended,

**452** ἐπεὶ δὴ λίπε δῶμα Καλυψοῦς ἠυκόμοιο.  
ever since he had left the home of fair-haired Calypso.

**453** τόφρα δέ οἱ κομιδή γε θεῷ ὣς ἔμπεδος ἦεν.  
All that while his care had been constant, as for a god.

**454** τὸν δʼ ἐπεὶ οὖν δμῳαὶ λοῦσαν καὶ χρῖσαν ἐλαίῳ,  
Now when the handmaids had washed him and anointed him with oil,

**455** ἀμφὶ δέ μιν χλαῖναν καλὴν βάλον ἠδὲ χιτῶνα,  
and had thrown a fine cloak about him and a tunic,

**456** ἔκ ῥʼ ἀσαμίνθου βὰς ἄνδρας μέτα οἰνοποτῆρας  
he stepped out of the tub and went toward the men who were drinking wine.

**457** ἤιε· Ναυσικάα δὲ θεῶν ἄπο κάλλος ἔχουσα  
And Nausicaa, holding beauty given by the gods,

**458** στῆ ῥα παρὰ σταθμὸν τέγεος πύκα ποιητοῖο,  
stood by the doorpost of the strongly-built hall,

**459** θαύμαζεν δʼ Ὀδυσῆα ἐν ὀφθαλμοῖσιν ὁρῶσα,  
and she marveled at Odysseus, gazing at him with her eyes,

**460** καί μιν φωνήσασʼ ἔπεα πτερόεντα προσηύδα·  
and she spoke to him, addressing him with winged words:

**461** χαῖρε, ξεῖνʼ, ἵνα καί ποτʼ ἐὼν ἐν πατρίδι
                     γαίῃ  
"Farewell, stranger, so that one day, when you are in your native land,
> Imperative of greeting: χαῖρε is a present imperative used as a parting wish, literally "rejoice," idiomatically "farewell."

**462** μνήσῃ ἐμεῦ, ὅτι μοι πρώτῃ ζωάγριʼ ὀφέλλεις.  
you may remember me, since to me first you owe the price of your life."

**463** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς.  
Answering her, Odysseus of many counsels said:
> Odysseus of many counsels: πολύμητις ("of many devices/counsels") is Odysseus' signature epithet, marking his cleverness and resourcefulness.

**464** Ναυσικάα θύγατερ μεγαλήτορος Ἀλκινόοιο,  
"Nausicaa, daughter of great-hearted Alkinoos,

**465** οὕτω νῦν Ζεὺς θείη, ἐρίγδουπος πόσις Ἥρης,  
may Zeus so grant it now, the loud-thundering husband of Hera,
> Optative of wish: θείη is the aorist optative of τίθημι, expressing a wish: "may he so grant." The optative is Homer's regular mood for prayers.

**466** οἴκαδέ τʼ ἐλθέμεναι καὶ νόστιμον ἦμαρ ἰδέσθαι·  
that I reach home and see the day of my return;

**467** τῷ κέν τοι καὶ κεῖθι θεῷ ὣς εὐχετοῴμην  
then there too I would pray to you as to a goddess

**468** αἰεὶ ἤματα πάντα· σὺ γάρ μʼ ἐβιώσαο, κούρη.  
always, all my days; for you gave me back my life, maiden."

**469** ἦ ῥα καὶ ἐς θρόνον ἷζε παρʼ Ἀλκίνοον βασιλῆα·  
He spoke, and sat down on a chair beside King Alkinoos.

**470** οἱ δʼ ἤδη μοίρας τʼ ἔνεμον κερόωντό τε οἶνον.  
And by now they were portioning out the meat and mixing the wine.

**471** κῆρυξ δʼ ἐγγύθεν ἦλθεν ἄγων ἐρίηρον ἀοιδόν,  
A herald came near leading the trusty bard,

**472** Δημόδοκον λαοῖσι τετιμένον· εἷσε δʼ ἄρʼ αὐτὸν  
Demodokos, honored by the people; and he set him

**473** μέσσῳ δαιτυμόνων, πρὸς κίονα μακρὸν ἐρείσας.  
in the midst of the banqueters, propping him against a tall pillar.

**474** δὴ τότε κήρυκα προσέφη πολύμητις Ὀδυσσεύς,  
Then Odysseus of many counsels spoke to the herald,

**475** νώτου ἀποπροταμών, ἐπὶ δὲ πλεῖον ἐλέλειπτο,  
cutting off a slice from the chine, with the greater part still left,

**476** ἀργιόδοντος ὑός, θαλερὴ δʼ ἦν ἀμφὶς ἀλοιφή·  
from a white-tusked boar, and rich fat was on both sides of it:

**477** κῆρυξ, τῆ δή, τοῦτο πόρε κρέας, ὄφρα
                     φάγῃσιν,  
"Herald, come, hand this meat over, so that he may eat,

**478** Δημοδόκῳ· καί μιν προσπτύξομαι ἀχνύμενός περ·  
to Demodokos; and I will greet him warmly, grieved though I am.

**479** πᾶσι γὰρ ἀνθρώποισιν ἐπιχθονίοισιν ἀοιδοὶ  
For among all men who live upon the earth the bards

**480** τιμῆς ἔμμοροί εἰσι καὶ αἰδοῦς, οὕνεκʼ ἄρα σφέας  
have their share of honor and respect, because the Muse

**481** οἴμας μοῦσʼ ἐδίδαξε, φίλησε δὲ φῦλον ἀοιδῶν.  
has taught them paths of song, and she loves the tribe of bards."

**482** ὣς ἄρʼ ἔφη, κῆρυξ δὲ φέρων ἐν χερσὶν ἔθηκεν  
So he spoke, and the herald carried it and put it in the hands

**483** ἥρῳ Δημοδόκῳ· ὁ δʼ ἐδέξατο, χαῖρε δὲ θυμῷ.  
of the hero Demodokos; and he received it, and rejoiced in his heart.

**484** οἱ δʼ ἐπʼ ὀνείαθʼ ἑτοῖμα προκείμενα χεῖρας ἴαλλον.  
Then they reached out their hands to the good things lying ready before them.
> Feasting formula: A formulaic line repeated at feasts. προκείμενα is a present middle participle ("lying set before them") modifying the good things.

**485** αὐτὰρ ἐπεὶ πόσιος καὶ ἐδητύος ἐξ ἔρον ἕντο,  
But when they had put away their desire for drink and food,
> Put away desire: ἕντο is the aorist middle of ἵημι; the idiom literally "sent out the desire," i.e. satisfied their appetite. A fixed feast-formula.

**486** δὴ τότε Δημόδοκον προσέφη πολύμητις Ὀδυσσεύς·  
then Odysseus of many counsels spoke to Demodokos:

**487** Δημόδοκʼ, ἔξοχα δή σε βροτῶν αἰνίζομʼ
                     ἁπάντων.  
"Demodokos, beyond all mortals I praise you.

**488** ἢ σέ γε μοῦσʼ ἐδίδαξε, Διὸς πάϊς, ἢ σέ γʼ Ἀπόλλων·  
Either the Muse, daughter of Zeus, taught you, or Apollo;

**489** λίην γὰρ κατὰ κόσμον Ἀχαιῶν οἶτον ἀείδεις,  
for in fitting order you sing the doom of the Achaeans,
> In fitting order: κόσμος here means due arrangement or proper order. Odysseus praises the bard for singing accurately and in the right sequence, as if he were an eyewitness.

**490** ὅσσʼ ἔρξαν τʼ ἔπαθόν τε καὶ ὅσσʼ ἐμόγησαν Ἀχαιοί,  
all that the Achaeans did and suffered, and all the toils they endured,

**491** ὥς τέ που ἢ αὐτὸς παρεὼν ἢ ἄλλου ἀκούσας.  
as though somehow you had been there yourself, or heard it from another.

**492** ἀλλʼ ἄγε δὴ μετάβηθι καὶ ἵππου κόσμον ἄεισον  
But come now, change your theme and sing of the building of the horse,

**493** δουρατέου, τὸν Ἐπειὸς ἐποίησεν σὺν Ἀθήνῃ,  
the wooden one, which Epeios made with Athena's help,

**494** ὅν ποτʼ ἐς ἀκρόπολιν δόλον ἤγαγε δῖος Ὀδυσσεὺς  
which once noble Odysseus brought as a trick up to the citadel,

**495** ἀνδρῶν ἐμπλήσας οἵ ῥʼ Ἴλιον ἐξαλάπαξαν.  
having filled it with the men who then sacked Ilion.

**496** αἴ κεν δή μοι ταῦτα κατὰ μοῖραν καταλέξῃς,  
If you recount these things for me in fitting order,

**497** αὐτίκʼ ἐγὼ πᾶσιν μυθήσομαι ἀνθρώποισιν,  
at once I will tell among all men

**498** ὡς ἄρα τοι πρόφρων θεὸς ὤπασε θέσπιν ἀοιδήν.  
how a gracious god has granted you inspired song."

**499** ὣς φάθʼ, ὁ δʼ ὁρμηθεὶς θεοῦ ἤρχετο, φαῖνε δʼ
                  ἀοιδήν,  
So he spoke, and the bard, stirred by the god, began, and let his song shine out,
> Aorist passive participle: ὁρμηθείς is an aorist passive participle ("having been set in motion, impelled"); θεοῦ is a genitive of source — impelled by the god.

**500** ἔνθεν ἑλὼν ὡς οἱ μὲν ἐυσσέλμων ἐπὶ νηῶν  
taking it up from where the Argives boarded their well-benched ships

**501** βάντες ἀπέπλειον, πῦρ ἐν κλισίῃσι βαλόντες,  
and sailed away, after setting fire to their huts,

**502** Ἀργεῖοι, τοὶ δʼ ἤδη ἀγακλυτὸν ἀμφʼ Ὀδυσῆα  
the Argives, while the others, around glorious Odysseus,

**503** ἥατʼ ἐνὶ Τρώων ἀγορῇ κεκαλυμμένοι ἵππῳ·  
sat in the assembly-place of the Trojans, hidden within the horse;

**504** αὐτοὶ γάρ μιν Τρῶες ἐς ἀκρόπολιν ἐρύσαντο.  
for the Trojans themselves had dragged it up to the citadel.

**505** ὣς ὁ μὲν ἑστήκει, τοὶ δʼ ἄκριτα πόλλʼ ἀγόρευον  
So it stood there, while they argued much without end,

**506** ἥμενοι ἀμφʼ αὐτόν· τρίχα δέ σφισιν ἥνδανε βουλή,  
sitting around it; and a threefold plan pleased them:

**507** ἠὲ διαπλῆξαι κοῖλον δόρυ νηλέι χαλκῷ,  
either to split the hollow timber with pitiless bronze,

**508** ἢ κατὰ πετράων βαλέειν ἐρύσαντας ἐπʼ ἄκρης,  
or to drag it to the heights and hurl it down from the rocks,

**509** ἢ ἐάαν μέγʼ ἄγαλμα θεῶν θελκτήριον εἶναι,  
or to let it stand as a great offering to charm the gods,

**510** τῇ περ δὴ καὶ ἔπειτα τελευτήσεσθαι ἔμελλεν·  
which indeed was how it was destined to end in the end;

**511** αἶσα γὰρ ἦν ἀπολέσθαι, ἐπὴν πόλις ἀμφικαλύψῃ  
for it was their fate to perish, once the city should enclose
> Fate: αἶσα is one's allotted destiny or doom. The line states that destruction was fated once Troy took the horse in.

**512** δουράτεον μέγαν ἵππον, ὅθʼ ἥατο πάντες ἄριστοι  
the great wooden horse, where all the best men were sitting,

**513** Ἀργείων Τρώεσσι φόνον καὶ κῆρα φέροντες.  
the Argives, bringing slaughter and death to the Trojans.

**514** ἤειδεν δʼ ὡς ἄστυ διέπραθον υἷες Ἀχαιῶν  
And he sang how the sons of the Achaeans sacked the city,

**515** ἱππόθεν ἐκχύμενοι, κοῖλον λόχον ἐκπρολιπόντες.  
pouring out from the horse, leaving the hollow ambush.

**516** ἄλλον δʼ ἄλλῃ ἄειδε πόλιν κεραϊζέμεν αἰπήν,  
He sang how one here, another there, laid waste the steep city,

**517** αὐτὰρ Ὀδυσσῆα προτὶ δώματα Δηιφόβοιο  
but how Odysseus went to the house of Deiphobos,

**518** βήμεναι, ἠύτʼ Ἄρηα σὺν ἀντιθέῳ Μενελάῳ.  
like Ares, together with godlike Menelaus.

**519** κεῖθι δὴ αἰνότατον πόλεμον φάτο τολμήσαντα  
There, he said, Odysseus dared the most terrible battle

**520** νικῆσαι καὶ ἔπειτα διὰ μεγάθυμον Ἀθήνην.  
and then won it, through great-hearted Athena.

**521** ταῦτʼ ἄρʼ ἀοιδὸς ἄειδε περικλυτός· αὐτὰρ
                  Ὀδυσσεὺς  
These things the renowned bard sang; but Odysseus

**522** τήκετο, δάκρυ δʼ ἔδευεν ὑπὸ βλεφάροισι παρειάς.  
melted, and the tears wet his cheeks beneath his eyelids.
> Melted with grief: τήκετο (imperfect of τήκω) literally means "was melting"; here it vividly describes Odysseus dissolving in tears.

**523** ὡς δὲ γυνὴ κλαίῃσι φίλον πόσιν ἀμφιπεσοῦσα,  
As a woman weeps, flinging herself upon her dear husband,

**524** ὅς τε ἑῆς πρόσθεν πόλιος λαῶν τε πέσῃσιν,  
who has fallen before his city and his people,

**525** ἄστεϊ καὶ τεκέεσσιν ἀμύνων νηλεὲς ἦμαρ·  
warding off the pitiless day from his town and his children;

**526** ἡ μὲν τὸν θνήσκοντα καὶ ἀσπαίροντα ἰδοῦσα  
she, seeing him dying and gasping for breath,

**527** ἀμφʼ αὐτῷ χυμένη λίγα κωκύει· οἱ δέ τʼ ὄπισθε  
pours herself around him and wails shrilly; but behind her

**528** κόπτοντες δούρεσσι μετάφρενον ἠδὲ καὶ ὤμους  
the enemy, beating her back and shoulders with their spears,

**529** εἴρερον εἰσανάγουσι, πόνον τʼ ἐχέμεν καὶ ὀιζύν·  
lead her up into slavery, to have toil and misery;

**530** τῆς δʼ ἐλεεινοτάτῳ ἄχεϊ φθινύθουσι παρειαί·  
and her cheeks waste away with the most pitiful grief:

**531** ὣς Ὀδυσεὺς ἐλεεινὸν ὑπʼ ὀφρύσι δάκρυον εἶβεν.  
so did Odysseus shed a pitiful tear beneath his brows.

**532** ἔνθʼ ἄλλους μὲν πάντας ἐλάνθανε δάκρυα λείβων,  
There he escaped the notice of all the others as he shed tears,

**533** Ἀλκίνοος δέ μιν οἶος ἐπεφράσατʼ ἠδʼ ἐνόησεν,  
but Alkinoos alone marked him and took note,

**534** ἥμενος ἄγχʼ αὐτοῦ, βαρὺ δὲ στενάχοντος ἄκουσεν.  
sitting near him, and heard him groaning heavily.

**535** αἶψα δὲ Φαιήκεσσι φιληρέτμοισι μετηύδα·  
At once he spoke among the oar-loving Phaeacians:

**536** κέκλυτε, Φαιήκων ἡγήτορες ἠδὲ μέδοντες,  
"Hear me, leaders and counselors of the Phaeacians,
> Reduplicated imperative: κέκλυτε is a perfect imperative (2nd plural) of κλύω, formed with reduplication — a reduplicated perfect standing in for an aorist imperative, a formulaic address opening a speech to the assembly.

**537** Δημόδοκος δʼ ἤδη σχεθέτω φόρμιγγα λίγειαν·  
let Demodokos now hold back his clear-toned lyre;

**538** οὐ γάρ πως πάντεσσι χαριζόμενος τάδʼ ἀείδει.  
for he does not in any way please everyone by singing these things.

**539** ἐξ οὗ δορπέομέν τε καὶ ὤρορε θεῖος ἀοιδός,  
Ever since we began to dine and the divine bard arose,

**540** ἐκ τοῦ δʼ οὔ πω παύσατʼ ὀιζυροῖο γόοιο  
from that time the stranger has never ceased from grievous lament;

**541** ὁ ξεῖνος· μάλα πού μιν ἄχος φρένας ἀμφιβέβηκεν.  
some great sorrow, I think, has settled all about his heart.
> Grief enfolds the heart: ἀμφιβέβηκεν (perfect of ἀμφιβαίνω) literally "has come around," picturing grief as something that has encircled and stands over the mind.

**542** ἀλλʼ ἄγʼ ὁ μὲν σχεθέτω, ἵνʼ ὁμῶς τερπώμεθα πάντες,  
But come, let him hold back, so that we may all alike take delight,

**543** ξεινοδόκοι καὶ ξεῖνος, ἐπεὶ πολὺ κάλλιον οὕτως·  
hosts and guest, since this way is far better;

**544** εἵνεκα γὰρ ξείνοιο τάδʼ αἰδοίοιο τέτυκται,  
for it is all arranged for the sake of the honored guest,

**545** πομπὴ καὶ φίλα δῶρα, τά οἱ δίδομεν φιλέοντες.  
the escort and the kind gifts, which we give him in friendship.

**546** ἀντὶ κασιγνήτου ξεῖνός θʼ ἱκέτης τε τέτυκται  
A guest and a suppliant stand in place of a brother

**547** ἀνέρι, ὅς τʼ ὀλίγον περ ἐπιψαύῃ πραπίδεσσι.  
to a man who touches even a little upon understanding.

**548** τῷ νῦν μηδὲ σὺ κεῦθε νοήμασι κερδαλέοισιν  
So now do not you either conceal with crafty thoughts

**549** ὅττι κέ σʼ εἴρωμαι· φάσθαι δέ σε κάλλιόν ἐστιν.  
whatever I may ask you; it is better that you speak.

**550** εἴπʼ ὄνομʼ ὅττι σε κεῖθι κάλεον μήτηρ τε πατήρ τε  
Tell the name by which there at home your mother and father called you,

**551** ἄλλοι θʼ οἳ κατὰ ἄστυ καὶ οἳ περιναιετάουσιν.  
and others who live throughout the city and round about it.

**552** οὐ μὲν γάρ τις πάμπαν ἀνώνυμός ἐστʼ ἀνθρώπων,  
For no man among human beings is altogether nameless,

**553** οὐ κακὸς οὐδὲ μὲν ἐσθλός, ἐπὴν τὰ πρῶτα γένηται,  
neither base nor noble, once he has first been born,

**554** ἀλλʼ ἐπὶ πᾶσι τίθενται, ἐπεί κε τέκωσι, τοκῆες.  
but parents set a name on all once they have given them birth.
> Aorist subjunctive in a temporal clause: The aorist subjunctive with ἐπεί κε marks an indefinite future event: 'whenever they have given birth.' The aorist here views the act of bearing as a single completed point.

**555** εἰπὲ δέ μοι γαῖάν τε· τεὴν δῆμόν τε πόλιν τε,  
Tell me too your land, your people, and your city,

**556** ὄφρα σε τῇ πέμπωσι τιτυσκόμεναι φρεσὶ νῆες·  
so that the ships may carry you there, aiming with their minds;

**557** οὐ γὰρ Φαιήκεσσι κυβερνητῆρες ἔασιν,  
for the Phaeacians have no steersmen,

**558** οὐδέ τι πηδάλιʼ ἔστι, τά τʼ ἄλλαι νῆες ἔχουσιν·  
nor any steering-oars such as other ships possess;

**559** ἀλλʼ αὐταὶ ἴσασι νοήματα καὶ φρένας ἀνδρῶν,  
rather they themselves know the thoughts and minds of men,

**560** καὶ πάντων ἴσασι πόλιας καὶ πίονας ἀγροὺς  
and they know the cities and rich fields of all

**561** ἀνθρώπων, καὶ λαῖτμα τάχισθʼ ἁλὸς ἐκπερόωσιν  
peoples, and swiftly they cross the gulf of the sea,

**562** ἠέρι καὶ νεφέλῃ κεκαλυμμέναι· οὐδέ ποτέ σφιν  
shrouded in mist and cloud; and never for them

**563** οὔτε τι πημανθῆναι ἔπι δέος οὔτʼ ἀπολέσθαι.  
is there any fear of being harmed or of perishing.
> Aorist passive infinitive: Both πημανθῆναι ('to be harmed') and ἀπολέσθαι depend on δέος ('fear'). πημανθῆναι is a passive infinitive; the ships have no fear of suffering harm at another's hand.

**564** ἀλλὰ τόδʼ ὥς ποτε πατρὸς ἐγὼν εἰπόντος ἄκουσα  
But here is a thing I once heard my father say,

**565** Ναυσιθόου, ὃς ἔφασκε Ποσειδάωνʼ ἀγάσασθαι  
Nausithous, who used to say that Poseidon held a grudge

**566** ἡμῖν, οὕνεκα πομποὶ ἀπήμονές εἰμεν ἁπάντων.  
against us, because we are safe escorts for everyone.

**567** φῆ ποτὲ Φαιήκων ἀνδρῶν ἐυεργέα νῆα  
He said that one day a well-built ship of Phaeacian men,

**568** ἐκ πομπῆς ἀνιοῦσαν ἐν ἠεροειδέι πόντῳ  
as it returned from an escort over the misty sea,

**569** ῥαισέμεναι, μέγα δʼ ἧμιν ὄρος πόλει ἀμφικαλύψειν.  
the god would shatter, and would bury our city under a great mountain.
> Future infinitives in indirect speech: After φῆ ('he said') both infinitives are future, reporting what Poseidon threatened to do: to shatter the ship and to cover the city.

**570** ὣς ἀγόρευʼ ὁ γέρων· τὰ δέ κεν θεὸς ἢ τελέσειεν  
So the old man declared; but these things a god may either bring to pass

**571** ἤ κʼ ἀτέλεστʼ εἴη, ὥς οἱ φίλον ἔπλετο θυμῷ·  
or leave unfulfilled, however it please his heart.
> Optatives of possibility: The optatives τελέσειεν and εἴη with κεν express what a god might do: either fulfill the threat or leave it undone. The optative softens the statement into a possibility rather than a certainty.

**572** ἀλλʼ ἄγε μοι τόδε εἰπὲ καὶ ἀτρεκέως κατάλεξον,  
But come now, tell me this, and recount it truly:

**573** ὅππῃ ἀπεπλάγχθης τε καὶ ἅς τινας ἵκεο χώρας  
where you were driven off course, and what lands you reached

**574** ἀνθρώπων, αὐτούς τε πόλιάς τʼ ἐὺ ναιετοώσας,  
of men, both the people themselves and their well-settled cities,

**575** ἠμὲν ὅσοι χαλεποί τε καὶ ἄγριοι οὐδὲ δίκαιοι,  
those who are harsh and savage and without justice,

**576** οἵ τε φιλόξεινοι, καί σφιν νόος ἐστὶ θεουδής.  
and those who love strangers and have a god-fearing mind.

**577** εἰπὲ δʼ ὅ τι κλαίεις καὶ ὀδύρεαι ἔνδοθι θυμῷ  
Tell me too why you weep and grieve in your heart within

**578** Ἀργείων Δαναῶν ἠδʼ Ἰλίου οἶτον ἀκούων.  
when you hear the doom of the Argive Danaans and of Ilium.

**579** τὸν δὲ θεοὶ μὲν τεῦξαν, ἐπεκλώσαντο δʼ ὄλεθρον  
That doom the gods themselves contrived, and they spun out destruction

**580** ἀνθρώποις, ἵνα ᾖσι καὶ ἐσσομένοισιν ἀοιδή.  
for men, so that there might be song even for those yet to be.

**581** ἦ τίς τοι καὶ πηὸς ἀπέφθιτο Ἰλιόθι πρὸ  
Did some kinsman of yours perish before Ilium,

**582** ἐσθλὸς ἐών, γαμβρὸς ἢ πενθερός, οἵ τε μάλιστα  
a noble man, a son-in-law or a father-in-law, those who are most of all

**583** κήδιστοι τελέθουσι μεθʼ αἷμά τε καὶ γένος αὐτῶν;  
dearest after one's own blood and kin?

**584** ἦ τίς που καὶ ἑταῖρος ἀνὴρ κεχαρισμένα εἰδώς,  
Or was it perhaps some comrade, a man knowing things pleasing to you,

**585** ἐσθλός; ἐπεὶ οὐ μέν τι κασιγνήτοιο χερείων  
a noble one? For no whit lesser than a brother
> Genitive of comparison: χερείων ('lesser, worse') takes the genitive κασιγνήτοιο ('than a brother') to mark the standard of comparison: a wise comrade is no worse than a brother.

**586** γίγνεται, ὅς κεν ἑταῖρος ἐὼν πεπνυμένα εἰδῇ.  
is a comrade who, being a comrade, knows wise and prudent things.

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Source text: public domain (Homer, ancient; Greek per the Murray/Allen text via the Perseus Digital Library, CC BY-SA 3.0). English translation: © 2026 1732 Studios, LLC — original line-aligned draft, pending editorial review. Word-by-word morphology and syntax derived from the Perseus Ancient Greek Dependency Treebank (CC BY-SA 3.0); English glosses and notes © 2026 1732 Studios, LLC.