αἱ δ᾽ ὅτε δὴ ποταμοῖο ῥόον περικαλλέ᾽ ἵκοντο,
ἔνθ᾽ ἦ τοι πλυνοὶ ἦσαν ἐπηετανοί, πολὺ δ᾽ ὕδωρ
καλὸν ὑπεκπρόρεεν μάλα περ ῥυπόωντα καθῆραι,
ἔνθ᾽ αἵ γ᾽ ἡμιόνους μὲν ὑπεκπροέλυσαν ἀπήνης.
καὶ τὰς μὲν σεῦαν ποταμὸν πάρα δινήεντα
τρώγειν ἄγρωστιν μελιηδέα· ταὶ δ᾽ ἀπ᾽ ἀπήνης90
εἵματα χερσὶν ἕλοντο καὶ ἐσφόρεον μέλαν ὕδωρ,
στεῖβον δ᾽ ἐν βόθροισι θοῶς ἔριδα προφέρουσαι.
αὐτὰρ ἐπεὶ πλῦνάν τε κάθηράν τε ῥύπα πάντα,
ἑξείης πέτασαν παρὰ θῖν᾽ ἁλός, ἧχι μάλιστα
λάιγγας ποτὶ χέρσον ἀποπλύνεσκε θάλασσα.95
αἱ δὲ λοεσσάμεναι καὶ χρισάμεναι λίπ᾽ ἐλαίῳ
δεῖπνον ἔπειθ᾽ εἵλοντο παρ᾽ ὄχθῃσιν ποταμοῖο,
εἵματα δ᾽ ἠελίοιο μένον τερσήμεναι αὐγῇ.
αὐτὰρ ἐπεὶ σίτου τάρφθεν δμῳαί τε καὶ αὐτή,
σφαίρῃ ταὶ δ᾽ ἄρ᾽ ἔπαιζον, ἀπὸ κρήδεμνα βαλοῦσαι·100
τῇσι δὲ Ναυσικάα λευκώλενος ἤρχετο μολπῆς.
οἵη δ᾽ Ἄρτεμις εἶσι κατ᾽ οὔρεα ἰοχέαιρα,
ἢ κατὰ Τηΰγετον περιμήκετον ἢ Ἐρύμανθον,
τερπομένη κάπροισι καὶ ὠκείῃς ἐλάφοισι·
τῇ δέ θ᾽ ἅμα νύμφαι, κοῦραι Διὸς αἰγιόχοιο,105
ἀγρονόμοι παίζουσι, γέγηθε δέ τε φρένα Λητώ·
πασάων δ᾽ ὑπὲρ ἥ γε κάρη ἔχει ἠδὲ μέτωπα,
ῥεῖά τ᾽ ἀριγνώτη πέλεται, καλαὶ δέ τε πᾶσαι·
ὣς ἥ γ᾽ ἀμφιπόλοισι μετέπρεπε παρθένος ἀδμής.
ἀλλ᾽ ὅτε δὴ ἄρ᾽ ἔμελλε πάλιν οἶκόνδε νέεσθαι110
ζεύξασ᾽ ἡμιόνους πτύξασά τε εἵματα καλά,
ἔνθ᾽ αὖτ᾽ ἄλλ᾽ ἐνόησε θεά, γλαυκῶπις Ἀθήνη,
ὡς Ὀδυσεὺς ἔγροιτο, ἴδοι τ᾽ ἐυώπιδα κούρην,
ἥ οἱ Φαιήκων ἀνδρῶν πόλιν ἡγήσαιτο.
σφαῖραν ἔπειτ᾽ ἔρριψε μετ᾽ ἀμφίπολον βασίλεια·115
ἀμφιπόλου μὲν ἅμαρτε, βαθείῃ δ᾽ ἔμβαλε δίνῃ·
αἱ δ᾽ ἐπὶ μακρὸν ἄυσαν· ὁ δ᾽ ἔγρετο δῖος Ὀδυσσεύς,
ἑζόμενος δ᾽ ὥρμαινε κατὰ φρένα καὶ κατὰ θυμόν·
"ὤ μοι ἐγώ, τέων αὖτε βροτῶν ἐς γαῖαν ἱκάνω;
ἦ ῥ᾽ οἵ γ᾽ ὑβρισταί τε καὶ ἄγριοι οὐδὲ δίκαιοι,120
ἦε φιλόξεινοι καί σφιν νόος ἐστὶ θεουδής;
ὥς τέ με κουράων ἀμφήλυθε θῆλυς ἀϋτή:
νυμφάων, αἳ ἔχουσ᾽ ὀρέων αἰπεινὰ κάρηνα
καὶ πηγὰς ποταμῶν καὶ πίσεα ποιήεντα.
ἦ νύ που ἀνθρώπων εἰμὶ σχεδὸν αὐδηέντων;125
ἀλλ᾽ ἄγ᾽ ἐγὼν αὐτὸς πειρήσομαι ἠδὲ ἴδωμαι."
notes
Nausicaa and the other Phaeacian girls arrive at the shore to wash their laundry. The girls play ball together. Odysseus wakes and wonders where he is.
From her first appearance in the poem, Nausicaa straddles the boundary between naïve innocence and awakening sexuality, a liminal position that Homer represents by various stylistic gestures that point in opposite directions.
read full essay
Her bedroom has the golden doors that often signal sexual potential, but the two maidens sleeping outside offer protection for her innocence. That shield fails to keep Athena out, however, and the goddess stirs the young princess’s curiosity about marriage, both as a social institution and, in a more submerged way, as the entrance into sexual maturity. She aims to be a “good girl,” who wants to help her father and brothers look presentable. But at Athena’s urging, she also hopes to make herself ready for marriage, a motive that her father immediately recognizes. She drives happily off for a washing party and picnic with her ἀμφίπολοι, her virginity protected on the way by her “lofty” wagon.
At the river, all is innocence and purity: sparkling clear water, clothes and girls washed clean and dried in the sun. After lunch, the fun continues as the girls play a game of catch and Nausicaa leads them in a song, which reminds the poet of Artemis and her handmaidens:
οἵη δ᾽ Ἄρτεμις εἶσι κατ᾽ οὔρεα ἰοχέαιρα,
ἢ κατὰ Τηΰγετον περιμήκετον ἢ Ἐρύμανθον,
τερπομένη κάπροισι καὶ ὠκείῃς ἐλάφοισι·
τῇ δέ θ᾽ ἅμα νύμφαι, κοῦραι Διὸς αἰγιόχοιο,
ἀγρονόμοι παίζουσι, γέγηθε δέ τε φρένα Λητώ·
πασάων δ᾽ ὑπὲρ ἥ γε κάρη ἔχει ἠδὲ μέτωπα,
ῥεῖά τ᾽ ἀριγνώτη πέλεται, καλαὶ δέ τε πᾶσαι·
ὣς ἥ γ᾽ ἀμφιπόλοισι μετέπρεπε παρθένος ἀδμής.
As Artemis the arrow-shooter goes through the mountains
over lofty Taygetos or majestic Erymanthos
delighting in the wild boars and swift deer,
and with her, nymphs, daughters of aegis-bearing Zeus,
range over the wilds, playing, and Leto is delighted,
for the head and brows of Artemis rise above all the others,
and she is easily distinguished, though all are beautiful.
So the unwed virgin shown forth among the maidens.
Odyssey 6.102–9
The simile underscores Nausicaa’s virginal purity and also her godlike beauty. Beyond that, the regal bearing we associate with a goddess imbues the young princess with enhanced dignity. She is a young girl who likes to play catch, but she is also a member of Phaeacian royalty. The gravitas carried in the latter role will slowly emerge as she takes charge of the needy stranger.
Virgil channels this latter quality in his reworking of Homer’s simile, describing Aeneas’ first glimpse of the Carthaginian queen Dido as she inspects new building projects:
Quālis in Eurōtae rīpīs aut per iuga Cynthī
exercet Dīāna chorōs, quam mīlle secūtae
hinc atque hinc glomerantur Orēades; illa pharetram
fert umerō gradiēnsque deās superēminet omnēs
(Lātōnae tacitum pertemptant gaudia pectus):
tālis erat Dīdō, tālem sē laeta ferēbat
per mediōs īnstāns operī rēgnīsque futūrīs.
As Diana, on the banks of Eurotas and the peaks of Cynthus,
leads the chorus, and a thousand mountain nymphs
follow her, joined together here and there; she carries
a quiver on her shoulder and strides towering over all;
and joy courses through the quiet heart of Leto.
So Dido strode happily through the crowd,
intent upon the work and her future realm.
Aeneid 1.498–504
Dido seems an unlikely match for a young girl in the grip of new emotions, but Virgil will show her eventually undone by love, used cynically by Juno and Venus, wandering distracted through Carthage. Dido is perhaps the Roman poet’s most striking creation. A tragic casualty of Roman destiny, she is regal and dignified but finally destroyed by the madness of her love for Aeneas. As he so often does, Virgil has pushed beyond the surface of Homer’s portrait, attuned to a part of Nausicaa that is muted at first but resonates later in Penelope’s struggle to resolve the competing forces within herself: the awakening desire to move out of her numbed withdrawal in response to the chaos in Ithaka and the flickering hope that Odysseus might still return. The Odyssey cannot accommodate Roman gravitas, but Penelope’s resourcefulness and determination show an inner strength that Virgil drew on in creating his heroine.
The game of catch winds down and Nausicaa begins to think about heading home, but Athena has other plans. This whole expedition, we are now reminded, was her initiative, and she now moves toward her ultimate goal: Nausicaa must meet Odysseus and lead him to the palace. The princess’s last toss goes astray, the maids shout, the hero wakes up and ponders:
"ἦ ῥ᾽ οἵ γ᾽ ὑβρισταί τε καὶ ἄγριοι οὐδὲ δίκαιοι,
ἦε φιλόξεινοι καί σφιν νόος ἐστὶ θεουδής;
ὥς τέ με κουράων ἀμφήλυθε θῆλυς ἀϋτή:
νυμφάων, αἳ ἔχουσ᾽ ὀρέων αἰπεινὰ κάρηνα
καὶ πηγὰς ποταμῶν καὶ πίσεα ποιήεντα.
ἦ νύ που ἀνθρώπων εἰμὶ σχεδὸν αὐδηέντων;
ἀλλ᾽ ἄγ᾽ ἐγὼν αὐτὸς πειρήσομαι ἠδὲ ἴδωμαι."
"Oh no! What sort of people are these, whose land I’ve reached?
Are they arrogant, fierce, and lacking in justice?
Or kind to strangers, with intelligence like the gods’?
That’s the voice of girls wafting around me,
or nymphs, who haunt the steep summits of the mountains
and springs of rivers and grassy meadows.
Am I near people who speak my language?
Come now, I’ll try to see for myself."
Odyssey 6.119–26
We know the voices come from girls, but the poet’s simile has added a mythical penumbra, as Nausicaa and her playmates cavort against a numinous backdrop. In his quandary, Odysseus ranges around the boundaries of human and divine, always a source of energy in the poem. The phrase ἀμφήλυθε θῆλυς ἀυτή (122) recalls the alluring music of Calypso, mysterious sounds that surround the hero and blur the clean edges of consciousness, having the power to distract him from his mission. (See Book 5.43–91 essay) Male bards like Phemius and Demodokus offer stories of the Trojan War, full of paradigms for masculine heroism. This other kind of singing, which Odysseus has heard coming from Circe’s house and the island of the Sirens, is always dangerous. Nausicaa will indeed be a threat to Odysseus. But as we are about to learn, he could also be dangerous to her.
Further Reading
Austin, N. 1975. Archery at the Dark of the Moon, 193–194; 202–203. Berkeley: University of California Press.
Gross, N. 1976. “Nausicaa: A Feminine Threat.” Classical World 69: 311–317.
Mackie, H. 1997. “Song and Storytelling: An Odyssean Perspective.” Transactions of the American Philological Association 127: 77–95.
Nagler, M. 1977. “Dread Goddess Endowed With Speech.” Archaeological News 6: 77–85.
Van Nortwick, T. 1992. Somewhere I Have Never Travelled: The Second Self and the Hero’s Journey in Ancient Epic, 100–19. New York: Oxford University Press1.
———. 2008. The Unknown Odysseus: Alternate Worlds in Homer’s Odyssey, 27–28. Ann Arbor: University of Michigan Press.
Wohl, V. 1993. “Standing by the Stathmos: The Creation of Sexual Ideology in the Odyssey." Arethusa 26: 19–46.
87 ὑπεκπρόρεεν: 3rd sing. impf. act. indic. > ὑπεκπρορέω (ὑπ-εκ-προ-ρέω).
87 ῥυπόωντα: “dirty things” (i.e., dirty laundry), neut. acc. pl. pres. act. ptc. > ῥυπόω.
87 καθῆραι: aor. act. infin. > καθαίρω. Infinitive of purpose.
88 ἀπήνης: “from the cart,” genitive of separation.
89 σεῦαν: “chased,” “drove,” unaugmented 3rd pl. aor. act. indic. > σεύω. The subject is the ἀμφίπολοι from line 84.
90 τρώγειν: infinitive of purpose.
90 ταὶ: still the ἀμφίπολοι.
91 ἐσφόρεον: 3rd pl. impf. act. indic. > εἰσφέρω (alternative form).
92 στεῖβον: the clothes were placed in a trough and stamped on to loosen the dirt. This is still the traditional way to wash laundry in some societies (see this YouTube video of women washing clothes with their feet in the Jaunsar Bawar region of India).
92 ἔριδα προφέρουσαι: “displaying rivalry,” “contending with each other.”
93 πλῦνάν τε κάθηράν: unaugmented 3rd pl. aor. act. indics.
94 πέτασαν: unaugmented 3rd pl. aor. act. indic. > πετάννυμι. The object of the verb is ῥύπα in line 93.
95 ἀποπλύνεσκε: “washed up,” unaugmented 3rd sing. iterative impf. act. indic. > ἀποπλύνω.
96 λοεσσάμεναι: fem. nom. pl. pres. mid. ptc. > λούω.
96 λίπ᾽ ἐλαίῳ: “with rich oil,” “richly with oil,” a formulaic phrase that appears more than a dozen times in Homer.
97 ἔπειθ᾽: = ἐπειτα.
97 εἵλοντο: 3rd pl. aor. mid. indic. > αἱρέω (LSJ αἱρέω B). The object of the verb is δεῖπνον.
98 μένον: unaugmented 3rd pl. impf. act. indic. > μένω.
98 τερσήμεναι: aor. pass. indic. > τέρσομαι. Infinitive of purpose.
99 τάρφθεν: 3rd pl. aor. pass. indic. > τέρπω. The verb takes a genitive object.
99 αὐτή: i.e., Nausicaa.
100 ἀπὸ … βαλοῦσαι: "casting off," "throwing aside," fem. nom. pl. pres. act. ptc., tmesis > ἀποβάλλω.
102 οἵη: “as …,” introducing a simile.
102 εἶσι: 3rd sing. pres. act. indic. > εἶμι.
104 ὠκείῃς: fem. dat. pl. > ὠκύς.
106 φρένα: accusative of respect.
107 πασάων δ᾽ ὑπὲρ: = ὑπὲρ πασῶν.
107 ἥ: i.e., Artemis.
<109 ἥ … παρθένος ἀδμής: i.e., Nausicaa.
112 ἔνθ(α): “then.”
112 ἄλλ(α) ἐνόησε: “had another plan.”
113 ὡς …: “namely, that …,” introducing indirect discourse (outlining Athena’s plan) with optatives (ἔγροιτο, ἴδοι, ἡγήσαιτο) in secondary sequence.
113 ἔγροιτο: 3rd sing. aor. mid. opt. > ἐγείρω.
114 οἱ: “him,” dative object of ἡγήσαιτο ( > ἡγέομαι).
114 πόλιν: accusative of goal of motion, or “terminal accusative” (Smyth 1588).
116 ἅμαρτε: “missed,” with genitive, 3rd sing. aor. act. indic. > ἁμαρτάνω.
116 βαθείῃ … δίνῃ: dative governed by the prepositional prefix ἐμ- (ἐν-) in the compound verb ἔμβαλε.
117 αἱ: i.e., the attendants.
117 ἐπὶ: “whereupon,” “at which,”or simply “then,” adverbial.
117 μακρὸν: “aloud,” adverbial.
118 ἑζόμενος: “sitting up.”
119 τέων: interrogative adj., gen. pl. > τί.
121 σφιν: dative of possession.
122 ἀμφήλυθε: 3rd sing. aor. act. indic. > ἀμφέρχομαι.
122 ἀϋτή: “cry,” “shouting.”
123 νυμφάων: in apposition to κουράων.
123 ἔχουσ(ι): “inhabit” (LSJ ἔχω A.3).
126 πειρήσομαι: 1st sing. aor. mid. short-vowel hortatory subj. (Smyth 1797b.)
vocabulary
ῥόος –ου ὁ: a stream, flow, current 85
περικαλλής –ές: very beautiful
ἱκνέομαι ἵξομαι ἱκόμην ––– ἷγμαι –––: to come, reach
τοι: let me tell you, surely
πλυνός –οῦ ὁ: washing trough, a place to do laundry
ἐπηετανός –όν: always full; all year round
ὑπεκπρορέω ὑπεκπρορεύσομαι ὑπεκπροέρρευσα: to flow forth under
ῥυπάω – – – – –: to be foul, filthy, dirty
καθαίρω καθαρῶ ἐκάθηρα κεκάθαρμαι ἐκαθάρθην: to make clean
ἠμίονος –ου ὁ: mule
ὑπεκπρολύω ὑπεκπρολύσω ὑπεκπροέλυσα: to loose from under
ἀπήνη –ης ἡ: a four-wheeled wagon
σεύω σεύσω ἔσσευα – ἔσσυμαι ἐσσύθην/ἐσύθην: to shake, push, hurl; to drive back, chase, hunt; (mid. pass.) to hurl oneself, leap, rush, be eager
δινήεις –εσσα –εν: whirling, eddying
τρώγω τρώξομαι ἔτρωξα (or ἔτραγον) τέτρωγμαι: to gnaw, nibble, munch 90
ἄγρωστις –ιδος ἡ: a grass that mules fed on
μελιηδής –ές: honey-sweet
ἀπήνη –ης ἡ: a four-wheeled wagon
εἷμα –ατος τό: clothing
εἰσφέρω εἰσοίσω εἰσήνεγκα εἰσενήνοχα εἰσενήνεγμαι εἰσηνέχθην: to bring in, to propose (a question, a law), to pay tax (εἰσφορά)
μέλας μέλαινα μέλαν: black, dark, obscure
στείβω στείψω ἔστειψα/ἔστιβον: to tread on, tread under foot
βόθρος –ου ὁ: hole or pit dug in the ground
θοός –ή –όν: swift
ἔρις –ιδος ἡ: strife, rivalry
προφέρω προοίσω προήνεγκα/προήνεγκον προενήνοχα προενήνεγμαι προηνέχθην: to bring before
ἀτάρ (or αὐτάρ): but, yet, consequently
πλύνω πλυνῶ ἔπλυνα πέπλυκα πέπλυμαι ἐπλύθην/ἐπλύνθην: to wash, clean
καθαίρω καθαρῶ ἐκάθηρα κεκάθαρμαι ἐκαθάρθην: to make pure
ῥύπα –ων τά: dirt
ἑξῆς: one after another, in order, in a row
πεταννύω/πετάννυμι πετῶ ἐπέτασα πεπέτακα πέπταμαι ἐπετάσθην: to spread out
θίς θινός ὁ: shore, beach
ἅλς ἁλός ὁ: salt (m.); sea (f.)
ἧχι: where
λᾶϊγξ –ιγγος ἡ: small stone, pebble 95
χέρσος –ου ἡ: dry land, land
ἀποπλύνω ἀποπλυνῶ ἀπέπλυνα ἀποπέπλυκα ἀποπέπλυμαι ἀπεπλύθην/ἀπεπλύνθην: to wash away
λούω λούσομαι ἔλουσα λέλουμαι: to wash; (mid.) to wash myself, bathe
χρίω χρίσω ἔχρισα κέχρικα κέχριμαι ἐχρίσθην: to rub, anoint
λίπα: richly, plentifully, generously
ἔλαιον –ου τό: olive-oil
δεῖπνον –ου τό: meal, supper
ὄχθη –ης ἡ: riverbank
εἷμα –ατος τό: clothing
τέρσομαι τερσήσομαι ἐτέρσην: to be or become dry
αὐγή –ῆς ἡ: the light of the sun, sunlight
ἀτάρ (or αὐτάρ): but, yet, consequently
σῖτος –ου ὁ: grain; bread
τέρπω τέρψω ἔτερψα ––– ––– ἐτάρφθην/ἐτέρφθην: to delight; (mid./pass.) to have one's full of
δμῳή –ής ἡ: an enslaved person, especially taken in war
σφαῖρα –ας ἡ: a ball, playing-ball 100
ἄρα: now, then, next, thus
παίζω παίξω ἔπαισα (or ἔπαιξα) πέπαικα (or πέπαιχα) πέπαισμαι ἐπαίχθην: to play like a child, to sport, play
κρήδεμνον –ου τό: a veil
Ναυσικάα –ας ἡ: Nausicaa, the Phaeacian princess, daughter of Alcinous and Arēte
λευκώλενος –ον: white-armed
ἄρχω ἅρξω ἦρξα ἦρχα ἦργμαι ἦρχθην: begin, rule (+gen.)
μολπή –ῆς ἡ: the song and dance, a chant
Ἄρτεμις –ῐδος ἡ: Artemis
ἰοχέαιρα –ας ἡ: arrow-pourer, shooter of arrows
Τηΰγετον –ου τό: Taygetus, a mountain range in Laconia, extending to Cape Taenarum
περιμήκετος –ον: very tall
Ἐρύμανθος –ου ὁ: Erymanthus, a mountain in Arcadia
τέρπω τέρψω ἔτερψα ––– ––– ἐτάρφθην/ἐτέρφθην: to delight; (mid./pass.) to have one's full of
κάπρος –ου ὁ: the boar, wild boar
ὠκύς ὠκεῖα ὠκύ: quick, swift, fast
ἔλαφος –ου ὁ/ἡ: a deer
νύμφη –ης ἡ: a young wife, bride; nymph, a divinity of waters or woods 105
κόρη (or κούρη) –ης ἡ: girl, maiden; daughter
Ζεύς Διός ὁ: Zeus
αἰγίοχος –ον: aegis-holding
ἀγρονόμος –ον: haunting the country
παίζω παίξω ἔπαισα (or ἔπαιξα) πέπαικα (or πέπαιχα) πέπαισμαι ἐπαίχθην: to play like a child, to sport, play
γηθέω γηθήσω ἐγήθησα γέγηθα ––– –––: to rejoice, be glad
φρήν φρενός ἡ: diaphragm; heart, mind, wits
Λητώ –οῦς ἡ: Leto (Latona), mother of Apollo and Artemis
κάρα –ατος τό: the head
ἠδέ: and
μέτωπον –ου τό: forehead
ῥεῖα: easily, lightly
ἀρίγνωτος [–η] –ον: easily recognizable
πέλω ––– ἔπλον ––– ––– –––: to be (the aor. has pres. signif.)
ἀμφίπολος –ου ἡ: female attendant, handmaid
μεταπρέπω μεταπρέψω μετέπρεψα: to be the best among, be conspicuous among
παρθένος –ου ἡ: a maid, maiden, virgin, girl
ἀδμής –ῆτος: unwedded
ἄρα: now, then, next, thus 110
οἰκόνδε: home, homeward, into the house, to the women's apartment
νέομαι ––– ––– ––– ––– –––: to return (often in present with future sense), go home, go
ζεύγνυμι ζεύξω ἔζευξα ἔζευγμαι ἐζεύχθην/ἐζύγην: to yoke, put to
ἠμίονος –ου ὁ: mule
πτύσσω πτύξω ἔπτυξα – ἔπτυγμαι ἐπτύχθην: to fold
εἷμα –ατος τό: clothing
αὖτε: in turn, moreover, still, again, on the other hand
νοέω νοοῦμαι ––– ––– ––– –––: perceive, observe, think
θεά –ᾶς ἡ: goddess
γλαυκῶπις –ιδος: gleaming - eyed
Ἀθήνη –ης ἡ: Athena
Ὀδυσσεύς –έως ὁ: Odysseus, king of Ithaca, hero of the Odyssey
ἐγείρω ἐγερῶ ἤγειρα ἐγρήγορα ––– ἠγέρθην: rouse, stir up
εὐῶπις –ιδος ἡ: lovely fair-faced
κόρη (or κούρη) –ης ἡ: girl, maiden; daughter
οὗ, οἷ, ἕ and encl. οὑ, οἱ, ἑ: him, her, it; himself, herself, itself
Φαίαξ –ακος ὁ: a Phaeacian
σφαῖρα –ας ἡ: a ball, playing-ball 115
ῥίπτω ῥίζψω ἔρριψα ἔρριμμαι ἐρρίφθην: to throw, cast, hurl
ἀμφίπολος –ου ἡ: female attendant, handmaid
βασίλεια –ας ἡ: queen, princess
βαθύς βαθεῖα βαθύ: deep, high; dense
ἐμβάλλω ἐμβαλῶ ἐνέβαλον ἐμβέβληκα ἐμβέβλημαι ἐνεβλήθην: to throw (into or onto); to cause to enter, embark, put
δίνη –ης ἡ: a whirlpool, eddy
αὔω ἀΰσω ἤϋσα ἤϋκα ––– –––: to shout; to burn, light a fire, get a light
ἐγείρω ἐγερῶ ἤγειρα ἐγρήγορα ––– ἠγέρθην: rouse, stir up
δῖος –α –ον: divine, godlike, shining
Ὀδυσσεύς –έως ὁ: Odysseus, king of Ithaca, hero of the Odyssey
ἕζομαι – – – – –: to sit down
ὁρμαίνω ὁρμανῶ ὥρμηνα: to turn over
φρήν φρενός ἡ: diaphragm; heart, mind, wits
αὖτε: in turn, moreover, still, again, on the other hand
βροτός –οῦ ὁ: mortal
γαίη –ης ἡ: land, region, district
ἱκάνω ––– ––– ––– ––– –––: to come to, arrive at, reach
ἄρα: now, then, next, thus
ὑβριστής –οῦ ὁ: a violent, overbearing person, a wanton, insolent man 120
ἄγριος –α –ον: savage; wild; fierce
φιλόξενος –ον: loving strangers, hospitable
σφεῖς: they
νόος νόου ὁ: mind, perception
θεουδής –ές: god-fearing, pious, religious
κόρη (or κούρη) –ης ἡ: girl, maiden; daughter
ἀμφέρχομαι ἀμφελεύσομαι ἀμφῆλθον ἀμφιλήλυθα: to come round one, surround
θῆλυς θήλεια θῆλυ: female, feminine; soft
ἀϋτή –ῆς ἡ: to cry
νύμφη –ης ἡ: a young wife, bride; nymph, a divinity of waters or woods
αἰπεινός –ή –όν: high, lofty
κάρηνον –ου τό: head; peak, summit
πηγή –ῆς ἡ: spring, fountain; source
πῖσος –ους τό: meadows
ποιήεις –εσσα –εν: grassy, rich in grass
σχεδόν: near; almost 125
αὐδήεις –εσσα –εν: speaking with human voice
ἄγε: come! come on! well!
ἠδέ: and