τὸν δ᾽ ἄρ᾽ ὑπόδρα ἰδὼν προσέφη πολύμητις Ὀδυσσεύς·

"ξεῖν᾽, οὐ καλὸν ἔειπες· ἀτασθάλῳ ἀνδρὶ ἔοικας.

οὕτως οὐ πάντεσσι θεοὶ χαρίεντα διδοῦσιν

ἀνδράσιν, οὔτε φυὴν οὔτ᾽ ἂρ φρένας οὔτ᾽ ἀγορητύν.

ἄλλος μὲν γάρ τ᾽ εἶδος ἀκιδνότερος πέλει ἀνήρ,

ἀλλὰ θεὸς μορφὴν ἔπεσι στέφει, οἱ δέ τ᾽ ἐς αὐτὸν170

τερπόμενοι λεύσσουσιν· ὁ δ᾽ ἀσφαλέως ἀγορεύει

αἰδοῖ μειλιχίῃ, μετὰ δὲ πρέπει ἀγρομένοισιν,

ἐρχόμενον δ᾽ ἀνὰ ἄστυ θεὸν ὣς εἰσορόωσιν.

ἄλλος δ᾽ αὖ εἶδος μὲν ἀλίγκιος ἀθανάτοισιν,

ἀλλ᾽ οὔ οἱ χάρις ἀμφιπεριστέφεται ἐπέεσσιν,175

ὡς καὶ σοὶ εἶδος μὲν ἀριπρεπές, οὐδέ κεν ἄλλως

οὐδὲ θεὸς τεύξειε, νόον δ᾽ ἀποφώλιός ἐσσι.

ὤρινάς μοι θυμὸν ἐνὶ στήθεσσι φίλοισιν

εἰπὼν οὐ κατὰ κόσμον. ἐγὼ δ᾽ οὐ νῆις ἀέθλων,

ὡς σύ γε μυθεῖαι, ἀλλ᾽ ἐν πρώτοισιν ὀίω180

ἔμμεναι, ὄφρ᾽ ἥβῃ τε πεποίθεα χερσί τ᾽ ἐμῇσι.

νῦν δ᾽ ἔχομαι κακότητι καὶ ἄλγεσι· πολλὰ γὰρ ἔτλην

ἀνδρῶν τε πτολέμους ἀλεγεινά τε κύματα πείρων.

ἀλλὰ καὶ ὥς, κακὰ πολλὰ παθών, πειρήσομ᾽ ἀέθλων·

θυμοδακὴς γὰρ μῦθος, ἐπώτρυνας δέ με εἰπών."185

ἦ ῥα καὶ αὐτῷ φάρει ἀναΐξας λάβε δίσκον

μείζονα καὶ πάχετον, στιβαρώτερον οὐκ ὀλίγον περ

ἢ οἵῳ Φαίηκες ἐδίσκεον ἀλλήλοισι.

τόν ῥα περιστρέψας ἧκε στιβαρῆς ἀπὸ χειρός,

βόμβησεν δὲ λίθος· κατὰ δ᾽ ἔπτηξαν ποτὶ γαίῃ190

Φαίηκες δολιχήρετμοι, ναυσίκλυτοι ἄνδρες,

λᾶος ὑπὸ ῥιπῆς· ὁ δ᾽ ὑπέρπτατο σήματα πάντων

ῥίμφα θέων ἀπὸ χειρός. ἔθηκε δὲ τέρματ᾽ Ἀθήνη

ἀνδρὶ δέμας ἐικυῖα, ἔπος τ᾽ ἔφατ᾽ ἔκ τ᾽ ὀνόμαζεν·

"καί κ᾽ ἀλαός τοι, ξεῖνε, διακρίνειε τὸ σῆμα195

ἀμφαφόων, ἐπεὶ οὔ τι μεμιγμένον ἐστὶν ὁμίλῳ,

ἀλλὰ πολὺ πρῶτον. σὺ δὲ θάρσει τόνδε γ᾽ ἄεθλον·

οὔ τις Φαιήκων τόδε γ᾽ ἵξεται, οὐδ᾽ ὑπερήσει."

    Odysseus angrily takes up the challenge to enter a contest, and easily throws the discus farther than any of the other contestants.

    Euryalus has poked the bear, and there will be consequences. But first, a homily from the sailor:

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    τὸν δ᾽ ἄρ᾽ ὑπόδρα ἰδὼν προσέφη πολύμητις Ὀδυσσεύς·
    "ξεῖν᾽, οὐ καλὸν ἔειπες· ἀτασθάλῳ ἀνδρὶ ἔοικας.
    οὕτως οὐ πάντεσσι θεοὶ χαρίεντα διδοῦσιν
    ἀνδράσιν, οὔτε φυὴν οὔτ᾽ ἂρ φρένας οὔτ᾽ ἀγορητύν.
    ἄλλος μὲν γάρ τ᾽ εἶδος ἀκιδνότερος πέλει ἀνήρ,
    ἀλλὰ θεὸς μορφὴν ἔπεσι στέφει, οἱ δέ τ᾽ ἐς αὐτὸν
    τερπόμενοι λεύσσουσιν· ὁ δ᾽ ἀσφαλέως ἀγορεύει
    αἰδοῖ μειλιχίῃ, μετὰ δὲ πρέπει ἀγρομένοισιν,
    ἐρχόμενον δ᾽ ἀνὰ ἄστυ θεὸν ὣς εἰσορόωσιν.
    ἄλλος δ᾽ αὖ εἶδος μὲν ἀλίγκιος ἀθανάτοισιν,
    ἀλλ᾽ οὔ οἱ χάρις ἀμφιπεριστέφεται ἐπέεσσιν,
    ὡς καὶ σοὶ εἶδος μὲν ἀριπρεπές, οὐδέ κεν ἄλλως
    οὐδὲ θεὸς τεύξειε, νόον δ᾽ ἀποφώλιός ἐσσι."

    Glaring from under his brows, many-minded Odysseus spoke:
    “Friend, that was not well said; you seem like a reckless man.
    So it is that the gods do not give graces to all
    men, neither in stature nor wits nor skill at speaking.
    One man may be less handsome to look at,
    but the god puts comeliness in his words, and others
    look on him with delight; he speaks faultlessly,
    with pleasing modesty, and stands out among those gathered,
    and they look on him like a god as he goes through the town.
    Another is beautiful, godlike to look upon,
    But his words are not crowned with grace, as is the case
    with you, whose beauty shines forth, and not even
    a god would make it otherwise, but your mind is empty.”

    Odyssey 8.165–77

    A roundabout way to tell the young man he’s a nitwit, we might think. But the speech serves two purposes for the poet. It showcases Odysseus’s own skill as a speaker, but more importantly, it brings up again the theme of appearance and reality, which has surfaced so often before in the poem. The craggy sailor doesn’t look like much to the swaggering young men, but they’re in for a surprise.

    Now comes the big moment. Rising up (ἀναΐξας, 186), the weathered stranger grabs an even bigger discus than the one the Phaeacians have been using and lets it fly. The poet has some fun with the next image:

    βόμβησεν δὲ λίθος· κατὰ δ᾽ ἔπτηξαν ποτὶ γαίῃ
    Φαίηκες δολιχήρετμοι, ναυσίκλυτοι ἄνδρες,
    λᾶος ὑπὸ ῥιπῆς·

    The stone hummed, and the Phaeacian men, who ply
    the long oars, famous sailors, fell to the ground
    as the stone flew over their heads.

    Odyssey 8.190–92

    The nasty hum of the discus while the spectators—including the two princes, one assumes— hit the deck is a delicious touch. But our immediate delight is only the beginning of the complex reaction this moment is meant to evoke. The powerful toss reveals the formidable force of an epic hero, and the function of the sailor’s homily on deceiving appearances becomes clear. Beneath all the grimy wrinkles lurks Odysseus. He is not identified here, because the poet is building slowly toward that big revelation, teasing us by raising expectations that will go unfulfilled a little longer. But the narrative rhythm replicates what we will see later in the evening and several times thereafter, the anonymous hero rising in the esteem of his hosts, gaining leverage until he reemerges as Odysseus. We see here the importance of having the princes speak for the sailor’s competitors. In the aristocratic view of epic heroism, excellence is inherited through blood, and some guy who washes up on shore naked is not expected to emerge victorious over royalty. Note that the first to hail the stranger’s mark is Athena, who always appears in support of the story she has arranged, Odysseus’s successful defeat of the suitors and the reestablishment of right order, with all its aristocratic hierarchies affirmed, in Ithaka.

    From a different perspective, the sailor’s winning toss can appear as the triumph of an underdog, upsetting the social hierarchy, represented by the royal princes. This view reflects the world of the anonymous stranger, an outsider who enters the settled precincts of the powerful and injects new energy. Odysseus occupies this persona for most of the poem, infiltrating various societies and effecting changes that are not always welcome to the locals. The wisdom and richness of the Odyssey has everything to do with the poet’s ability to keep both perspectives, and the values they dramatize, alive in the story (see the Introduction).

    An analogous situation later in the poem, for which this one is the paradigm, prompts the same kind of dualling perspectives. Iros, a mean-tempered beggar, comes across Odysseus, himself now disguised as a beggar in rags, in the forecourt of the royal palace in Ithaka and orders him to scram. Odysseus tries to defuse the tension at first, offering to share the doorway to the palace. Iros continues to fling insults at the newcomer until Antinous, a leader of the suitors, notices the dispute:

    ὦ φίλοι, οὐ μέν πώ τι πάρος τοιοῦτον ἐτύχθη,
    οἵην τερπωλὴν θεὸς ἤγαγεν ἐς τόδε δῶμα.
    ὁ ξεῖνός τε καὶ Ἶρος ἐρίζετον ἀλλήλοιϊν
    χερσὶ μαχέσσασθαι: ἀλλὰ ξυνελάσσομεν ὦκα.

    Friends, never has anything happened to match this,
    the entertainment a god has brought to this house.
    The stranger and Iros are threatening to fight
    each other hand-to-hand. Let’s hurry it along.

    Odyssey 18.36–39

    The dynamic we see on Scheria recurs here, a sympathetic stranger confronted by a younger man, on whose side are local aristocrats spoiling for a fight. If anything, the edginess is more pronounced here, as the visitor is more of an outsider, his opponent is nastier, and the spectators are clearly eager for bloodshed.

    After some further discussion of the arrangements for the fight, with Euryalus and Antinous, the two leaders of the arrogant suitors on one side and Telemachus on the other, the stranger steps into the ring:

    ὣς ἔφαθ᾽, οἱ δ᾽ ἄρα πάντες ἐπῄνεον: αὐτὰρ Ὀδυσσεὺς
    ζώσατο μὲν ῥάκεσιν περὶ μήδεα, φαῖνε δὲ μηροὺς
    καλούς τε μεγάλους τε, φάνεν δέ οἱ εὐρέες ὦμοι
    στήθεά τε στιβαροί τε βραχίονες: αὐτὰρ Ἀθήνη
    ἄγχι παρισταμένη μέλε᾽ ἤλδανε ποιμένι λαῶν.
    μνηστῆρες δ᾽ ἄρα πάντες ὑπερφιάλως ἀγάσαντο:

    So [Telemachus] spoke, and they all agreed. But Odysseus
    tucked up his rags around his loins, and his thighs appeared,
    splendid and huge, and his wide shoulders shown forth
    and his chest and brawny arms; but Athena,
    standing beside the shepherd of the people made his limbs bigger.
    And the suitors in their arrogance all gazed at him, astonished.

    Odyssey 18.67–72

    Once again, appearances have been deceptive; once again, Athena is on hand to strengthen her favorite’s case; and once again, the underdog wins, flattening the hapless Iros with one punch, much to the delight of the suitors, to whom this is all a game. Verses 68–70 here echo Laodamas’ assessment of the sailor he invites to join the contest in Book 8:

              φυήν γε μὲν οὐ κακός ἐστι,
    μηρούς τε κνήμας τε καὶ ἄμφω χεῖρας ὕπερθεν
    αὐχένα τε στιβαρὸν μέγα τε σθένος·

              His build is not bad,
    thighs and lower legs and both arms above
    and thick neck and strong chest;

    Odyssey 8.134–36

    The Phaeacian games, like so much of Books 7 and 8, are part of the paradigm Homer is establishing for later events in Ithaka. When tracking this kind of technique in the poem, we need to step back from the particulars of the two venues, Scheria and Ithaka, and listen for the underlying rhythms and structures. The beggar who fascinates Penelope in Ithaka is walking in the footsteps of that sailor who washes up on the Phaeacian beach and wins over both the nubile princess and her mother the queen. Both personae have one foot in the bright heroic world that Athena is intent on reestablishing with Odysseus reinstalled as king, husband, father, and son, and one in the unglamorous but wider world of the outsider, the wanderer, the adventurer, where Odysseus lives for most of the story. Both worlds are alive in the poem simultaneously, available to us as we follow Odysseus home.

     

    Further Reading

    Dimock, G. 1989. The Unity of the Odyssey, 96–99. Amherst, MA: University of Massachusetts Press.

    Fenik, B. 1974. Studies in the Odyssey, 153–171. Hermes Einzelschriften 30. Wiesbaden: F. Steiner.

     

    165  ὑπόδρα ἰδὼν: "looking grimly" (lit., "from under the brows"). A common formula for an angry look.

    167  χαρίεντα: substantive neut. acc. pl. adj.

    168  φυὴν … φρένας … ἀγορητύν: in apposition to χαρίεντα, enumerating the potential gifts of the gods.

    169  εἶδος: accusative of respect.

    170  ἔπεσι: dat. pl. > ἔπος. Depending on the metrical requirements of the line, the dative plural can be ἔπεσι, ἔπεσσι, or ἐπέεσσι (as in line 175).

    170  στέφει: “puts (acc.) around (dat.),” here, a way of saying the god makes him a graceful speaker.

    170  οἱ: “men,” substantive. The τ(ε) that follows is the untranslatable Homeric τε.

    172  μετὰ δὲ πρέπει: "distinguishes himself among," tmesis > μεταπρέπω, with dative.

    173  ἐρχόμενον … εἰσορόωσιν: the subject switches back to the οἱ of line 170, and the participle ἐρχόμενον agrees with an unexpressed object μιν, “him” (referring to the ὁ in line 171).

    173  θεὸν ὣς: anastrophe.

    174  εἶδος: accusative of respect. Understand πέλει (ἐστί) with this line, as in 169.

    175  ἐπέεσσιν: dative with the compound verb ἀμφιπεριστέφεται.

    176  σοὶ: dative of possession. Understand ἐστί as the verb.

    176  οὐδέ κεν ἄλλως / οὐδὲ θεὸς τεύξειε: “the god would not make it otherwise,” i.e., would change nothing about your appearance. Potential optative. For the emphatic repetition of οὐδέ, see note on line 32.

    177  νόον: accusative of respect.

    178  ὤρινάς: 2nd sing. aor. act. indic. > ὀρίνω.

    180  μυθεῖαι: 2nd sing. pres. mid. indic. > μυθέομαι.

    180  ὀίω / ἔμμεναι: “I think that I was …,” indirect discourse with accusative and infinitive. The accusative is omitted because it refers to the same person as the subject of the main verb. ἔμμεναι must be translated as a past tense because of the pluperfect πεποίθεα in 181 and the contrasting νῦν δ᾽ in 182.

    181  ὄφρ᾽ : “as long as …,” introducing a temporal clause with indicative (Smyth 2395).

    181  πεποίθεα: “I had trust in,” 1st sing. plupf. act. indic. > πείθω. For the pluperfect with a dative, see Cunliffe πείθω 5b.

    181  ἐμῇσι: “in my …,” possessive adj.

    182  ἔχομαι: “I am held,” “I am hindered,” with datives of means.

    183  πείρων: “passing through,” with the preceding accusatives as its objects > πείρω.

    184  ἀλλὰ καὶ ὥς: “but even so …”

    184  παθών: “although I have suffered,” concessive participle (Smyth 2066).

    185  θυμοδακὴς γὰρ μῦθος: understand ἦν, “was.”

    186  αὐτῷ φάρει: “with his cloak as it was,” “cloak and all,” the “sociative dative” (Monro 144) or “comitative dative” (Smyth 1525), an idiomatic use of the dative with αὐτός.

    186  λάβε: unaugmented aor.

    187  οὐκ ὀλίγον περ: “not just a little,” ὀλίγον is an adverbial accusative of “measure and degree” (Smyth 1609) modifying the adjective στιβαρώτερον.

    188  ἢ οἵῳ: “than (a discus of the sort) with which…,” understand δίσκον, line 186, as the antecedent of οἵῳ.

    190  βόμβησεν δὲ λίθος: “the stone went whizzing through the air.” The verb is used elsewhere for the roar of the sea, the rolling of thunder, the buzzing of bees, and the sound of oars crashing through the water.

    190  κατὰ … ἔπτηξαν: "cowered in fear," tmesis, 3rd pl. aor. act. indic. > καταπτήσσω.

    192  λᾶος: gen. sing. > λᾶας.

    192  : i.e., the stone discus.

    192  σήματα: “the marks,” markings on the the ground to indicate where each discus in the competition has landed.

    193  θέων: “speeding” (lit., “running”), nom. masc. sing. pres. act. ptc. > θέω.

    193  τέρματ᾽: “the marks,” synonymous with σήματα.

    194  δέμας: accusative of respect.

    194  ἔπος τ᾽ ἔφατ᾽ ἔκ τ᾽ ὀνόμαζεν: “addressed him out loud,” a common line-ending formula in Homer.

    195  καί … ἀλας: “even a blind man …”

    195  κ᾽ … διακρνειε: “could distinguish,” potential optative.

    196  μεμιγμένον ἐστὶν: 3rd sing. pf. pass. indic., periphrastic form > μίγνυμι (for the periphrastic form of the perfect passive, see Smyth 599d-e).

    196  ὁμίλῳ: “with the crowd,” implying that the marks where the Phaeaecians’ discuses fell are all crowded together.

    197  θάρσει: “have confidence in,” 2nd sing. pres. act. imperat. > θαρσέω, with accusative.

    198  τόδε: referring to the σῆμα, the mark of Odysseus’s discus (line 195).

    198  ὑπερήσει: 3rd sing. fut. act. indic. > ὑπερίημι.

    ἄρα: now, then, next, thus 165

    ὑπόδρα: from under

    πρόσφημι πρόσφησω προσέφησα: to speak to, address

    πολύμητις –ιος: of many counsels

    Ὀδυσσεύς –έως ὁ: Odysseus, king of Ithaca, hero of the Odyssey

    ἀτάσθαλος –ον: presumptuous, reckless, arrogant

    χαρίεις –ίεσσα –ίεν: graceful, charming, beautiful

    φυή –ῆς ἡ: growth, stature

    οὔτι: in no wise

    ἄρα: now, then, next, thus

    φρήν φρενός ἡ: diaphragm; heart, mind, wits

    οὔτι: in no wise

    ἀγορητύς –ύος ἡ: the gift of speaking, eloquence

    ἀκιδνός –ή –όν: weak, feeble, faint, less highly regarded 

    πέλω ––– ἔπλον ––– ––– –––: to be (the aor. has pres. signif.)

    μορφή –ῆς ἡ: form, shape, beauty 170

    στέφω στέψω ἔστεψα ––– ἔστεμμαι ἐστέφθην: to put round

    τέρπω τέρψω ἔτερψα ––– ––– ἐτάρφθην/ἐτέρφθην: to delight; (mid./pass.) to have one's full of

    λεύσσω ––– ––– ––– ––– –––: to look

    ἀσφαλής –ές: not liable to fall, immoveable, steadfast, firm

    ἀγορεύω ἀγορεύσω ἠγόρευσα ἠγόρευκα ἠγόρευμαι ἠγορεύθην: to speak, say

    αἰδώς αἰδοῦς ἡ: a sense of shame, shame, modesty, self-respect

    μειλίχιος [–α] –ον: gentle, mild, soothing

    πρέπω πρἐψω ἐπρέψα: to be clearly seen, to resemble, to seem (πρέπει it is fitting)

    ἀγείρω ἀγερῶ ἤγειρα ἀγήγερμαι ἠγέρθην: gather, collect

    ἄστυ ἄστεως τό: town

    εἰσοράω εἰσόψομαι εἰσεῖδον εἰσεόρακα/εἰσεώρακα/εἰσόπωπα εἰσεόραμαι/εἰσεώραμαι/εἰσῶμμαι εἰσώφθην: to look into, look upon, view, behold

    ἀλίγκιος –ον: resembling, like

    ἀθάνατος –ον: immortal, deathless; (plur.) the gods 

    οὗ, οἷ, ἕ and encl. οὑ, οἱ, ἑ: him, her, it; himself, herself, itself 175

    ἀμφιπεριστέφομαι ἀμφιπεριστέψομαι ἀμφιπερεστεψάμην: to adorn

    ἀριπρεπής –ές: clearly visible, shining; notable

    τεύχω τεύξω ἔτευξα τέτευχα τέτυγμαι ἐτύχθην: to make, build, prepare, fasten; to bring about, to be 

    νόος νόου ὁ: mind, perception

    ἀποφώλιος –ον: empty, vain, idle, useless, fruitless

    ὀρίνω ὀρινῶ ὤρινα: to stir, raise, agitate

    στῆθος –ους τό: breast, chest; (pl.) heart, spirit

    νῆϊς –ϊδος: unknowing of, unpractised in

    ἆθλος –ου ὁ: contest, test of strength, task

    μυθέομαι μυθήσομαι μεμύθημαι ἐμυθήθην: speak or talk of, describe, explain, relate 180

    ὄφρα: while; until; so that; ὄφρα … τόφρα, while … for so long

    ἥβη –ης ἡ: manhood, youthful prime, youth

    κακότης –ητος ἡ: badness

    ἄλγος –ους τό: pain

    τλάω τλήσομαι ἔτλην τέτληκα –––– ––––: to tolerate, endure, resist; to dare; to have the courage (+ infin.); (part.) τετληώς

    ἀλεγεινός –ή –όν: hard

    κῦμα –ατος τό: wave

    πείρω πειρῶ ἔπειρα – πέπαρμαι ἐπάρην: to pierce quite through

    ἆθλος –ου ὁ: contest, test of strength, task

    θυμοδακής –ές: biting the heart

    μῦθος –ου ὁ: spoken thing, speech, plan, story 185

    ἐποτρύνω ἐποτρυνῶ ἐπώτρυνα: to urge on, extort; (mid.) hasten on with

    ἠμί – – – – –: I say

    ἄρα: now, then, next, thus

    φᾶρος –ους τό: cloak

    ἀναΐσσω/ἀνᾴσσω/ἀνᾴττω ἀνᾴξω ἀνῇξα: to start up, rise quickly

    δίσκος –ου ὁ: discus, quoit , of metal or stone

    πάχετος –ον: massive

    στιβαρός –ά –όν: compact, strong, stout, sturdy

    οἷος –α –ον: (such a kind) as; for οἷός τε see οἷος III.2

    Φαίαξ –ακος ὁ: a Phaeacian

    δισκέω δισκήσω ἐδίσκησα: to engage in a contest of throwing discus

    ἄρα: now, then, next, thus

    περιστρέφω περιστρέψω περιέστρεψα περιέστροφα περιέστραμμαι περιεστρέφθην: to whirl round

    στιβαρός –ά –όν: compact, strong, stout, sturdy

    βομβέω βομβήσω ἐβόμβησα: to make a booming, humming noise, to sound deep 190

    πτήσσω πτήξω ἔπτηξα ἔπτηχα ––– –––: to frighten, scare, alarm

    γαίη –ης ἡ: land, region, district

    Φαίαξ –ακος ὁ: a Phaeacian

    δολιχήρετμος –ον: long-oared

    ναυσικλυτός –όν: famed for ships, famous by sea

    λᾶας –ου ὁ: stone

    ῥιπή –ῆς ἡ: the swing

    ὑπερπέτομαι ὑπερπτήσομαι ὑπερεπόμην ––– ὑπερπεπόταμαι/ὑπερπεπότημαι ὑπερεπετάσθην: to fly over

    σῆμα –ατος τό: a sign, mark, token

    ῥίμφα: lightly, swiftly, fleetly

    θέω θεύσομαι ἔδραμον δεδράμηκα ––– –––: to run, speed, move forward

    τέρμα –ατος τό: an end, boundary

    Ἀθήνη –ης ἡ: Athena

    δέμας –ατος τό: the (physical frame, form of the) body

    ἀλαός –όν: blind 195

    τοι: let me tell you, surely 

    διακρίνω διακρινῶ διέκρινα διακέκρικα διακέκριμαι διεκρίθην: separate, distinguish

    σῆμα –ατος τό: a sign, mark, token

    ἀμφαφάω – – – – –: to handle

    ὅμιλος –ου ὁ: crowd

    θαρσέω θαρσήσω ἐθάρσησα ἐθάρσηκα ἐθάρσημαι ἐθαρήθην: to be of good courage, take courage

    ἆθλος –ου ὁ: contest, test of strength, task

    Φαίαξ –ακος ὁ: a Phaeacian

    ἱκνέομαι ἵξομαι ἱκόμην ––– ἷγμαι –––: to come, reach

    ὑπερίημι ὑπερήσω ὑπερῆκα ὑπερεῖκα ὑπερεῖμαι ὑπερείθην: to outdo

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    Suggested Citation

    Thomas Van Nortwick and Rob Hardy, Homer: Odyssey 5–12. Carlisle, Pennsylvania: Dickinson College Commentaries, 2024. ISBN: 978-1-947822-17-7 https://dcc.dickinson.edu/homer-odyssey/viii-165-198