i am looking for an english translation of odysseus's encounter with polyphemus

in the dactylic hexameter (henceforth dahe).

i found translations by Rodney Merrill and Richmond Lattimore but when i tryed to sing them in dahe they didnt match to the laws of dahe.

Currently reading the Iliad. I went to high school in Florida, where even in an “A” rated public school, we did not read as many classics as we should have. So this is my first go at it, finally, as an adult.

What are your thoughts about this epic? I’m on book 6, and I’m having a hard time not applying a modern lens to the reading. I’m rolling my eyes at the gods’ meddling ways and getting turned off at the drama. How can I apply a more collegiate viewpoint on my reading so that I can enjoy it more?

I'm finishing an MA in Religious Studies in Korea (coursework done, writing my thesis). My thesis is on the cynocephali, the dog-headed beings of ancient and medieval lore, and how medieval Christians came to incorporate them into the cult of saints (e.g., St. Christopher).

While working through the sources, I became much more interested in Greek classics. I now want to do a PhD in the US studying ancient Greek material from a religious studies perspective. This isn't a passing idea. I'm seriously considering it and willing to put in the work.

The problem is languages. Until recently I never planned to learn Greek or Latin, so I'm starting Greek from scratch and my Latin is at a beginner level. Most Classics PhD programs seem to expect solid Greek and Latin before admission, so I've been leaning toward Religious Studies programs instead.

My questions:

1. Is it realistic to get into a Religious Studies PhD (ancient Mediterranean / Greek religion focus) and build up Greek and Latin mainly *during* the program rather than before it?

2. Before applying, I plan to spend about a year on intensive study in Korea: summer/winter intensive language programs, undergraduate intro Greek and Latin courses, and online courses. Would that make me a competitive applicant, or is it a non-starter?

3. If it's not feasible, my backup plan is a 2-year MA in Classics in Korea first. That would push everything back about three years, and I'd likely finish the PhD around age 37–38. Would that seriously hurt my chances of getting a faculty position?

I'd really appreciate honest advice, especially from people who came to Greek/Latin late or who have served on admissions committees.

I'm drawing together a style of presenting Latin in a form inspired by retro gaming.

The study of Latin through inscriptions in particular presents a real, tangible experience of Latin which otherwise can appear excessively high-minded and impenetrable. I hope my pixel-art helps to rectify this view while making the language clear and accessible – without the risk of being buried in grammar!

Most epitaph inscriptions of the Imperial period included some variation of dis manibus - "to the deified spirits of the dead." We’re in the spooky season after all and so examining gravestones as primary sources of evidence is eerily appropriate…

Over the next few weeks – in the run up to Hallowe’en and my first video upload – I’ll be posting a few Latin quotes pertaining to the ‘manes’ in Roman thought. The deification of the dead as ‘manes’ or, ‘spirits’ that bore influence over the living was the dominant Roman view of death and the afterlife.

Please give me your impressions - I think there's still plenty of scope for originality even when the source material is thousands of years old!

‘hic manes, hic intra tecta tenebo’ (Silvae, 3.3.196)

“I will hold your manes here, here within the house” (translated by Charles W. King)

The quote above from Statius' Silvae comes from a collection of short poems offering consolations for the dead. While the ‘manes’ – spirits of the dead – were worshipped collectively at official festivals like the Parentalia, Statius provides an intimate glimpse into private occasions such as worshipping an individual person with perfumes and flowers at a household shrine - despite the fact manes only exists as a plural noun.

In a longer translation for D. R. Shackleton Bailey, we read in the next line:

'hic manes, hic intra tecta tenebo. tu custos dominusque laris, tibi cuncta tuorum parebunt'

“Here I shall keep you spirit, within these walls. You shall be guardian and master of the hearth, all your folk shall obey you.”

The use of the second person singular in phrases like tu custos and tibi cuncta can only confirm the individuality of one, singular spirit that remains with an indelible force to guard and watch over the house.

Contrast this ghostly apparition with Tranio’s invention in the Mostellaria. Here (lines. 495-505), the deceased has allegedly remained to haunt the house precisely because they were denied their due rites after death. In both instances, the individual spirit of the dead persists regardless, either as a venerated protector of hearth and home or, as an invocation of duties that should have been paid to the dead but were violated…

I'm posting this image to hopefully generate some comments and feedback. Art crits more than welcome.

I'm drawing together a style of presenting Latin in a form inspired by retro gaming.

The study of Latin through inscriptions in particular presents a real, tangible experience of Latin which otherwise can appear excessively high-minded and impenetrable. I hope my pixel-art helps to rectify this view while making the language clear and accessible – without the risk of being buried in grammar!

Most epitaph inscriptions of the Imperial period included some variation of dis manibus - "to the deified spirits of the dead." We’re in the spooky season after all and so examining gravestones as primary sources of evidence is eerily appropriate…

Please give me your impressions - I think there's still plenty of scope for originality even when the source material is thousands of years old!

si quis piorum manibus locus (Agricola, .46)
"if any place exists for the manes of the pious" (translated by Charles W. King)

From the above quote, Tacitus’ tentative hope for a comfortable home in the afterlife for his dead father-in-law speaks to a singular understanding of ‘manes’, a word that nevertheless appears only as a plural noun. This linguistic quirk begs the question whether Romans worshipped the dead as a collective or if the individual dead were singled out for particular rites. A more complete translation of the passage from Mattingly (1948) reads:

"If there is any mansion for the spirits of the just, if, as the wise aver, great souls do not perish with the body, quiet, O Father, be your rest!"

This direct appeal to Agricola’s ghost would seem to substantiate an individual ‘manes’ reading.

​

Lions and bulls are motifs frequently seen in ancient Anatolia. As can be seen on the coins, the most fundamental motif appearing on the Lydian coins—which are considered the first minted coins—is the lion. Another motif seen on the coins of the Lydian Kingdom depicts the moment when that lion attacks a bull.

The motifs seen on these earliest coins, minted in the 6th century BCE, belong to the Kingdom of Lydia. Although there are various interpretations as to why they chose the lion for their coins, it is generally accepted that they were inspired by a species of lion found in ancient Anatolia. However, there is no clear, accepted explanation for why the lion is depicted attacking the bull. It is likely that this served as propaganda depicting a confrontation between the Kingdom of Lydia and another kingdom in Anatolia (Phrygians?).

What really caught my attention, however, is that this motif continued to be used in the Tarsus area during the Hellenistic period. We know that the satrap who ruled the region before Alexander the Great used this symbol and that Alexander continued this tradition. Indeed, the fact that the Asian Lion (Panthera leo persica), native to Anatolia, lived in the eastern and southeastern regions of Anatolia explains the lion depicted on these coins (and, of course, the lion seen on Babylonian coins as well).

It can be said that the Late Hittite city-states, which emerged in the southeastern region after the collapse of the Hittite Empire around 1200 BCE, clearly reflect Aramaic influence. But how is it that the Kingdom of Lydia, located to the west, used a type of lion found in the east, while its eastern rivals were symbolized by a bull?

It is unfortunate that the history of the period between 1200 BCE and 500 BCE is so obscure, forcing us to rely heavily on interpretation. Nevertheless, the fact that nearly the same figure was used in the same way for over 300 years is quite impressive.

Hi, I’m not sure if this is the right place to post this but I’m studying higher classical studies this year. The course includes religion and belief in classical Greece and religion and belief in the Roman world. I was wondering if anyone had any book recommendations to help with this? I understand that the topics are quite vague but if there’s any books or study materials explaining the basics of Greek and Roman religions, they would be a massive help. Also if there are any students who have studied this any help on how you revised it would be greatly appreciated:)

In antiquity, the serpent was one of the figures frequently used by the Greeks, the Romans, and the local cultures situated between them. It is particularly noteworthy because it frequently appears in mythological narratives. A serpent motif can be seen on each of the coins below. The vast majority of them are associated with the cult of Heracles.

It is often recounted that Heracles, while still a child, strangled with his bare hands two snakes that had come to kill him; there are also the famous Kistophoros coins featuring a quiver motif adorned with an aplustre, and it is believed that the quiver—as is also known from Alexander the Great’s coins—depicts Heracles.

Asclepius, who is identified by the serpent coiled around his staff, is one of the most famous (and yes, the symbol of the two intertwined serpents used as the emblem of modern medicine is incorrect).

Of course, we can also see some symbols that go beyond general mythological stories. Local beliefs, in particular, seem to play a significant role in this regard. Take, for example, the Uraeus serpent motif, which you can see on the fourth coin below. The serpent on this coin, minted in Alexandria, is the symbol that adorned the heads of ancient Egyptian pharaohs and represented the goddess Wadjet.

My personal favorite, however, is the one shown on the third coin. This coin, which is also an Egyptian minting, strikes me as a symbol of Egypt’s multiculturalism. The Serpent, associated with the pharaohs and Egypt, is intertwined with Poseidon’s trident, and the motif that appears to be holding this staff is Serapis, a Hellenistic Egyptian-Hellenic deity; the horns seen on Serapis are also a symbol of the horns of Ammon (Zeus-Ammon). If you asked me, “What is Egypt?” I think I’d show you this coin.

I'm plodding through book 3 in Greek with very poor reading comprehension, so I'm struggling with the literal meaning of the text and not really able to judge what the storytelling intentions of the author would have been. Listening to Calasiris blather on about mysticism, it strikes me as too silly to hold a reader's interest, so I'm wondering if he's meant to be some kind of social stereotype of an old, boring, pseudo-erudite know-it-all who goes on endless monologues. In that case, presumably it's satire and these passages are meant to be funny for their original audience, sort of like the self-important clergyman Mr. Collins in Pride and Prejudice. But I don't know what would have seemed silly enough to be obviously satirical to an audience thousands of years ago, so I don't know, maybe it's the equivalent of a Michael Crichton thriller and we're supposed to be like, "oh, cool, robots and dinosaurs!" Earlier in book 3, Cnemon is clearly toying with Calasiris and maybe having some fun at his expense, but I'm not clear on whether the point of that is supposed to be that Calasiris is set up as some kind of foolish old Polonius.

​

An oft forgotten figure of Greek Literature is the extraordinary, exquisite erudite and scholar of greek and latin, monk and theologian, philologist and mathematician, the true homo universalis of the greek middle ages Μάξιμος Πλανούδης. Apart from introducing arabic numerals to byzantine math, Max had learned, possibly by western friars of Costantinople, excellent Latin, which he used in the context of Paleologian era Union of the Churches attempts. But, rather than achieving the Palace's goals of Union with Rome, Planudes left us, as a true πάρεργον ἔργου μεῖζον, vibrant traslations of the latin middle ages classical best sellers; Ovid's Metamorphosis (rendered in rythmical prose), Cicero's Somnium Scipionis (alongside Macrobius's invaluable commentary), Boethius De Consolatione Philosophiae (translating in superb greek prose the rugged latin of the author as well as doing the unimaginably difficult feat of translating as well the poetic meter of the prosodic parts of Boethius's prosimetrum, in callimachean and nonnian vocabulary), and of course Augustine's De Trinitate (he had to make up for all this juicy literature with a serious, ponderous, theological treatise, which nevertheless was actively studied and quoted by the hesychast premier, Palamas, in Maximus' translation). Such an important translator (and the sole reason we have the charming Theocritean Idylls to this day, as he was their chief editor and transmittor) could be utilised by student's of both greek and latin; a simulteneous reading of both versions could reveal important syntactical proximities and divergences of both languages; it could serve as a model to imitate for aspiring modern-day greek or latin writers; and in my opinion, illumine such important texts as Ovid's and Boethius' with his lucid and creative prose even further than say, a scholarly commentary.

Postscriptum. Having read half a year ago Boethius in both the original and Planudes' rendering, and now going over the latter's Metamorphosis, it's safe to say, he is able to grasp and even in some cases, surpass, the original. Such a pity he didn't get his hands on the Confessiones of the great Augustine. Such a pity.

I'm not able to find any real discussion of this online but perhaps I'm looking in the wrong places/using the wrong search terms. I know that a lot of the Greek tragedies and fragments are from Oxyrhynchus find but so much of the present excavation is unclear to me - is there more still to be discovered there? I also know there were excavations in Philadelphia, Egypt that have turned up two new fragments. I know the Vesuvius scrolls so far have been unrelated but there are a lot of them, is there any indication some might be in there? I'm sure we'll continue to find small things, just curious what the current thought is around whether there can be expected to be much more or not.

I gave up on the Perseus site at Tufts a couple of years ago, when my attempts at accessing dictionary entries seemed to end in Backend fetch failures 99% of the time. I’ve been using the Perseus site at Chicago since then, but for the past few days the Greek and Latin texts at that site have been down—when I click on the links, I get directed to a blank page that says, “Forbidden: You don't have permission to access this resource.“

Does anyone know if something specific is going on, beyond the usual plague of bot swarms and LLM scraping that have destroyed these resources for the (human) public, much like when a toxic-waste factory moves into your neighborhood and makes it unlivable?

Is there any other comparable resource? I‘ve tried the Scaife viewer but find it extremely cumbersome. I’m at the point of wishing that Chicago or Tufts would put their entire resource behind a firewall and charge fees for using it, so they could presumably control access.

I illustrated the moment Telemachos (Telemachus) speaks to the people of Ithaca trying to persuade the suitors to leave his house while Zeus sends 2 eagles above him to warn everyone of the intentions of the Gods. As with every Odyssey related illustration, I tried to take every archaeological evidence and Homeric description there is into consideration to come up with something that is close to the original vision of the ancient Greeks.

Here, my task was a lot simpler than the previous ones because I decided to show only Telemachos, the two eagles and the bright blue Greek sky. No buildings, no pottery or other equipment. First of all I tried to get whatever I could from Homer’s descriptions of the scene. It is clear that this speech happened early in the morning so we can have a very bright light that highlights the colors and shape of everything. Next, we have the two eagles which I imagine are supposed to be golden eagles (aquila chrysaetos) since this is the most common species in Greece and they were associated with Zeus multiple times throughout the mythology. Now onto Telemachos, the main focus of this illustration. From what Homer tells us, Telemachos is a boy that is approaching adulthood with his beard starting to appear. This was a clear sign for me to depict a teenage beard with some hair appearing here and there on his face. Also the poet mentions that there is a great resemblance between the young prince and his father Odysseas (Odysseus) so I tried to implement that as well.

Apart from that we don’t have any more visual information on the character so I decided to turn to the archaeological evidence. His hairstyle, skin tone and hair color were inspired from some Mycenaean frescoes that depict men around his age. Turning to his clothes I faced a problem. The thing is that there is evidence of how Mycenaean male clothes looked but, unfortunately, we don’t have much variation here. And variation is much needed in my project because otherwise the tons of male characters from the Odyssey will all wear the same 2-3 clothes. My solution to this was to keep the shape (which was probably the standard fashion of the era) and change the colors. To do that I tried to make an educated guess on what colors could the Mycenaeans use to paint clothes looking at the female fresco depictions that use many more combinations and came up with that interesting pink blue and mint green combination.

A small excerpt from the Odyssey that mentions this scene:

“There is no way I can drive the mother who bore me from my father's house. The king is abroad and we do not know whether he is alive or dead and sending his wife back to her family will force them to ask for compensation. Therefore I will not utter such a word. If you choose to take offence at this, you can leave the house and feast elsewhere at one another's houses at your own cost. But if it seems in your eyes to be a better and more profitable thing, that one man's livelihood should be ruined without atonement, waste it. But that will be against the will of the gods and you may be punished for your actions by Zeus.”

So spoke Telemachus, and in answer Zeus, whose voice is borne afar, sent forth two eagles, flying from on high, from a mountain peak. For a time they flew swift as the blasts of the wind side by side with wings outspread; but when they reached the middle of the many-voiced assembly, then they wheeled about, flapping their wings rapidly, and down on the heads of all they looked, and death was in their glare.

Hi! I'm an ancient history PhD, that recent launched a platform that lets humanities scholars design and host live online reading seminars. We opened our first few classes for enrollment, including one on the "Art of the Odyssey," taught by Caroline Igra (PhD NYU).

If anyone's interested, but cannot afford the enrollment fee, feel free to DM me. We'll do our best to help out.

Whether you are a student, a teacher, a researcher or a hobbyist, please share with us what you read this week (books, textbooks, papers...).

The article reconstructs geographical maps of the North-West Caucasus coast in the 2nd century AD, based on the texts of Claudius Ptolemy and Flavius Arrian. Then the obtained data are refined and synchronized together. In addition, the ethnic and political picture of the region is reconstructed.

Belousov, Artem (2026). Problems of Reconstruction of the Coastal Geography of the Northwest Caucasus in the 2nd Century AD. figshare. Journal contribution. https://doi.org/10.6084/m9.figshare.33969061.v1

To what extent can a historical character be detached from its context, era, and origins?

Alexander the Great, a Macedonian general who lived in the 4th century BCE, has been portrayed in many different ways throughout his life. He is seen, in particular, as a figure who has been reimagined in European literature.

The manuscript you can see is Peniarth 481D, dated to the 15th century, from the National Library of Wales.

The illustrations on the first page is really interesting. In the first image, Nektanebus is on the throne, receiving news about Artaxerxes’ threat of invasion; in the second image below, Nektanebus is in his chamber, using magic to neutralize Artaxerxes’ fleet in a water vessel.

In the illustration on the second page, Alexander, riding Bucephalos, is entering Italy with his followers. We can recognize Bucephalos especially by his iconic horns. It is particularly striking to see Alexander—who is not known to have undertaken any campaigns to the west—depicted as entering the Italy.

When we look at Alexander’s attire and entourage, we can see that we are right in the middle of the Middle Ages. We know that in many manuscripts, the illustrations are drawn in a style appropriate to the period in which they were created. However, what is striking is that the content of this work is also distinctly medieval.

In this work, which is an adaptation of the Historia de preliis Alexandri Magni, we see that Alexander has now become an entirely different fictional character. This transformation has always struck me deeply. I will soon be writing an article about the Roman d'Alexandre, which took shape in Europe under French influence in particular; I recommend that anyone interested take a look at it now.

Link

At the Olympic games of 380 BCE, Isocrates distributed his Panegyricus, calling for a pan-Hellenic conquest of Persia... with Athens at the helm, of course.

His plans never quite reached fruition until the the years just after his death--accomplished not by Athens or another Greek polis, but rather by Philip II and his son Alexander.

To my knowledge, there are NO audiobook recordings of the Panegyricus. Hopefully this will fill that niche. I also performed a couple of his short letters (to Philip and Alexander).

I state that I only recently read the Odyssey, and in italian; but I read something about it before.
Since Helen free will and culpability was a point of contention even in classical time, it seems that this translation could be relevant; the other translations suggest something in direction of Helen’s agency, while the Wilson’s one doesn’t.

A few years ago, someone on this subreddit posted a useful comparison of 18 Odyssey translations using the opening lines of Book 22 (Odysseus throwing off his rags and challenging the suitors). They later made an updated version with about 30 translations of the same passage. Having gotten myself into the same hobby, I thought it might be interesting to make an update to those posts, with an even more comprehensive collection of Odyssey translations.

First, though, I think there are better passages to compare than the opening of Book 22. It's more representative than the proem, but there's a little less room for substantial disagreement between translators. A more interesting choice, in my opinion, is the scene in Book 23 where Penelope makes a final test of Odysseus's identity before recognizing him as her husband. She instructs Eurycleia to move Odysseus's bed, causing Odysseus to react with shock, and without explicit prompting, describe the secret of the bed's construction. The passage includes words describing Penelope and Odysseus, which can be revealing of how translators view both characters, and it contains dialogue where differences in rhythm, tone, and interpreted emotion are especially clear.

Emily Wilson chose this excerpt for a detailed comparison of five translations, which explains many of the details to look out for. Three of the major ones are how Penelope is described, what emotion Odysseus appears to be feeling, and how Odysseus addresses his wife. I find it interesting how some of the more modern translations are more likely to add metaphors and idioms not in the original. It's also interesting to see which translators portray Odysseus as dismayed or annoyed, rather than truly angry. James Huddleston, whose translation for The Chicago Homer is pretty underrated in my opinion, comes off well for accuracy by Wilson's standards.

There are a total of 74 excerpts below, presented in chronological order. I already had a substantial collection of translations, but for this, I spent several months tracking down a copy of what I believe to be every complete English translation of the Odyssey ever published, as well as some incomplete ones. Within the limits I've set (only works that describe themselves as translations, were not AI-generated, and differ in nearly every line from each other are included), I think it's complete, but let me know if I've missed something.

Odyssey Book 23, lines 181-184

ὣς ἄρ᾽ ἔφη πόσιος πειρωμένη: αὐτὰρ Ὀδυσσεὺς
ὀχθήσας ἄλοχον προσεφώνεε κεδνὰ ἰδυῖαν:
‘

ὦ γύναι, ἦ μάλα τοῦτο ἔπος θυμαλγὲς ἔειπες:
τίς δέ μοι ἄλλοσε θῆκε λέχος;

Chapman, 1615

This said she to assay him, and did stir
Ev'n his establish'd patience, and to her;
Whom thus he answer'd: 'Woman! Your words prove
My patience strangely. Who is it can move
My bed out of his place?'

Ogilby, 1665

Thus said the Queen, her dearest Lord to trie.
But he, offended, made this rough Reply;

'Strangely you talk, your Order's something odd:
Who can remove that Bed, unless some God?'

Hobbes, 1675

Thus said she, but to try if that were he,
Yet griev'd him to the heart, and made him doubt.
'Woman,' said he, 'who has remov'd my bed?

Pope, 1725

Thus speaks the queen, still dubious, with disguise
Touch'd at her words, the king with warmth replies
'Alas for this! what mortal strength can move
The enormous burden, who but Heaven above?'

Cowper, 1792

So spake she, proving him, and not untouch'd
With anger at that word, thus he replied.
'Penelope, that order grates my ear.
Who hath displaced my bed?'

Cary, 1823

Thus she spoke, trying her husband; but Ulysses grieving addressed his wife, who knew what was prudent;

'O my wife, you have uttered this a very grievous word. Who has placed my bed elsewhere?'

Sotheby, 1834

She spake — her cautious speech Ulysses tried.
When thus her lord indignantly replied:

'O woman! thou a bitter word hast said.
Who in a different place that bed has laid?'

Buckley, 1851

Thus indeed she spoke, trying her husband; but Ulysses grieving addressed his wife, who knew prudent things:

'O lady; very grievous indeed is this word thou hast uttered. Who has placed my bed elsewhere?'

Giles, 1858

Thus she said, making trial of her husband: but Ulysses, sighing, addressed his wife, knowing prudent things. 'Oh lady, verily indeed thou hast spoken this word grievous to my heart: but who has placed my bed elsewhere?'

Worsley, 1861

Thus she spake, proving him. He, direly stirred,
Quick to his loyal wife made answer there:
'Wife, thou hast spoken a soul-piercing word.
Tell me what hand hath set my couch elsewhere.'

Norgate, 1863

So spake she indeed to put her lord to the proof:
Whereat Odusseus wrathful thus address'd
His consort shrewd and duteous:
'Sure, sure a heart-distressing word, O woman!
And who, who has put my bedstead forth elsewhere?'

Musgrave, 1865

She ceas'd; her lord hereby intent to test, — who thus
The wife who well her duty conjugal
Knew how to fill, in mournful tone address'd: —
'Lady! heart-grieving and most sad is this
Which thou hast just commanded! Who is it
That hath my bed to any spot remote
From where it stood, remov'd!'

Bigge-Wither, 1869

Thus did she speak, sore-trying of her husband:
But sorely vexed at heart was great Odysseus,
And thus addressed his all-too-cautious wife:
'Oh ladie! sure a bitter word thou'st said!
And who hath placed my bed elsewhere?'

Edginton, 1869

Tempting her husband thus she spake to him.
Ulysses troubled much then spake to her:

'This word, O woman, bitter to my heart!
My couch who hath plac'd elsewhere?'

Bryant, 1871

She spake to try her husband; but, displeased,
Ulysses answered thus his virtuous queen: —

'O woman, thou hast said unwelcome words.
Who hath displaced my bed?'

Barnard, 1876

She thus to try her husband spoke; but he
Disturbed, addressed again his prudent wife:
'Lady! the word thou speakest grieves my heart.
Who has removed my couch elsewhere?'

Butcher & Lang, 1879

So she spake and made trial of her lord, but Odysseus in sore displeasure spake to his true wife, saying: 'Verily a bitter word is this, lady, that thou hast spoken. Who has set my bed otherwhere?'

Mongan, 1879

Thus she spoke, making trial of her husband; but Ulysses, grieving, addressed his wife, who knew what was prudent:

'O lady! you have indeed uttered this speech very grievous to the mind. Who has placed for me my bed elsewhere?'

Schomberg, 1879

This speech she made to put him to the proof,
If he her husband were. In anger then
Ulysses thus addressed his constant wife:
'Lady, thou sayest this to vex my soul:
Who has the couch removed?'

Way, 1880

So spake she the testing-word for her husband, — Odysseus started,
And indignation-stirred he cried to the queen wise-hearted:
'Lady, a heart-stinging word and a cruel is this thou hast said!
Who hath elsewhither moved my couch?'

Palmer, 1884

She said this in the hope to prove her husband; but Odysseus spoke in anger to his faithful wife: 'Woman, these are bitter words which you have said! Who set my bed elsewhere?'

Morris, 1887

Thus she spake to prove her husband; but Odysseus, grieved at heart,
Spake thus unto his bed-mate well-skilled in gainful art:
'O woman, thou sayest a word exceeding grievous to me!
Who hath otherwhere shifted my bedstead?'

Cordery, 1897

She spoke, to test her husband; deeply moved,
He turned on his pure-minded wife, and said:

'My Wife, this word thou utterest breaks my heart.
Who to my hurt hath moved that bed elsewhere?'

Butler, 1900

She said this to try him, but Ulysses was very angry and said, 'Wife, I am much displeased at what you have just been saying. Who has been taking my bed from the place in which I left it?'

Mackail, 1903

So she spake to try
Her husband; but Odysseus ill-content
Thus to his wife wise-hearted made reply:

'O wife, this word you utter likes me ill,
Who moved the bed!' that were a feat of skill
Hard to perform, except a God himself
Coming removed it lightly at his will.

Cotterill, 1911

Thus did she speak as a test for her husband; and much was Odysseus
Angered thereat, and he turned to his own true wife and addressed her:
'Verily, wife, this word thou hast spoken is grievously cruel.
Who hath removed it — the bed that I built?'

Murray, 1919

So she spoke, and made trial of her husband. But Odysseus, in a burst of anger, spoke to his true-hearted wife, and said: 'Woman, truly this is a bitter word that thou hast spoken. Who has set my bed elsewhere?'

Caulfeild, 1921

So did she speak to test what her lord might know: but Odysseus,
Answered in anger and spoke to his wife too cautiously minded:

'Lady, it grieves me much to hear the word you have spoken.
Who, I must ask you, has moved that bed?'

Marris, 1925

So said she, and made trial of her lord
But in a burst of anger spake Odysseus
To his true wife:
'A bitter word is this,
That thou hast spoken, lady! who hath moved
My bed elsewhere?'

Pease, 1926

So she spake to make trial of her husband. But Odysseus said bitterly to his thoughtful wife: 'Good lady, your words break my heart. Who has put my bed in another place?'

Hiller, 1927

This she said to put her husband to the test. But Odysseus in anger said to his faithful wife:

'Woman, these are heart-breaking words of yours! Who has been moving my bedstead?'

Bates, 1929

All this she said
To try her husband. But Odysseus
Was angered at her words, and thus
He spoke to his true wife:

'What, woman!
What words are these you now have said
To pierce my heart! Who can have set
My bed in a new place?'

Shaw (Lawrence), 1932

This she said to draw her husband out; and indeed Odysseus was ruffled into protesting to his wife, 'Woman, this order pains my heart. Who has changed my bed?'

Rouse, 1937

This was a little trap for her husband. He burst into a rage:

'Wife, that has cut me to the heart! Who has moved my bed?'

Rieu, 1946

This was her way of putting her husband to the test. But Odysseus flared up at once and rounded on his loyal wife. 'Penelope,' he cried, 'you exasperate me! Who, if you please, has moved my bed elsewhere?'

Andrew, 1948

So spake she, her husband to prove, and Odysseus perplex'd,
At once to his true-hearted wife made answer and spake:
'Verily, wife, thou hast spoken a heart-piercing word.
Who then has mov'd the bedstead?'

Rees, 1960

So she spoke, to see what her husband would say.
And Odysseus lost his composure and angrily spoke
To his clever and faithful wife: 'Truly, woman,
Those words were bitter and painful! Who has moved
My bed?'

Fitzgerald, 1961

With this she tried him to the breaking point,
and he turned on her in a flash raging:

'Woman, by heaven you've stung me now!
Who dared to move my bed?'

Epps, 1965

Thus she spoke, testing out her husband. And Odysseus, vexed to impatience, said to his devoted wife: 'Woman, heartrending indeed are these words that you have spoken. Who has moved my bed elsewhere?'

Lattimore, 1967

So she spoke to her husband, trying him out, but Odysseus
spoke in anger to his virtuous-minded lady:
'What you have said, dear lady, has hurt my heart deeply. What man
has put my bed in another place?'

Cook, 1967

So she said, testing her husband. But Odysseus
Grew angry and spoke to his wife, who had a sense of devotion:
'My wife, this is a heart-hurting speech you have made.
Who has put my bed elsewhere?'

Hull, 1978

She spoke to test her husband, but Odysseus,
vexed with this wife who knew her duties, cried:
'Woman, the words you spoke have made my heart ache!
Who's moved my bed?'

Shewring, 1980

So she spoke, putting her husband to the test. Then Odysseus in sudden anger said to his faithful wife: 'Your words have wounded me to the quick. Who can have put my bed elsewhere?'

Mandelbaum, 1990

These words of hers were meant to test Odysseus.
Incensed, her husband cried to his keen wife:
'Woman, your words have wounded me. Who tore
my bedstead from its base?'

Rieu (rev. D. C. H. Rieu), 1991

This was her way of putting her husband to the test. But Odysseus flared up at once and rounded on his loyal wife. 'Lady,' he cried, 'your words are a knife in my heart! Who has moved my bed?'

Dawe, 1993

So she spoke, putting her husband to the test. Odysseus in dismay addressed the wife whose thoughts were loyal: 'My wife, what you have just said is painful to my heart. Who has put my bed somewhere else?'

Kemball-Cook, 1993

Speaking thus she was putting her man to test; but Odysseus
All of a sudden was seized with anger and said to his good wife:
'Lady, the words that you spoke to me then were bitter and wounding.
Who can have shifted my bed elsewhere?'

Murray (rev. Dimock), 1995

So she spoke, and made trial of her husband. But Odysseus, breaking out in anger, spoke to his true-hearted wife, and said: 'Woman, truly this is a bitter word that you have spoken. Who has set my bed elsewhere?'

Fagles, 1996

Putting her husband to the proof — but Odysseus
blazed up in fury, lashing out at his loyal wife:
'Woman — your words, they cut me to the core!
Who could move my bed? Impossible task'

Hammond, 2000

So she spoke, and she was testing her husband. But Odysseus flared into anger and said to his loyal wife: 'What you say now, wife, is a pain right to my heart. Who has moved my bed?'

Lombardo, 2000

She was testing her husband.
Odysseus
Could bear no more, and he cried out to his wife:

'By God, woman, now you've cut deep.
Who moved my bed?'

Eickhoff, 2001

Odysseus's eyes flashed at this and he stood up, looking down at her, anger spilling from him as greatly as the anger that ravaged the great hall earlier. 'What's this? By the gods, woman, you've goaded me strongly, now! Who has moved my bed?'

Merrill, 2002

So she spoke to her husband, trying him out, but Odysseus
spoke in anger to his wife, who had a sense of devotion:
'These are indeed, my wife, heart-anguishing words you have spoken!
Who can have put my bed in another place?'

Kline, 2004

These were words to test her husband. But Odysseus, angered, rounded on his loyal wife: 'Lady, those are truly bitter words you speak. Who has moved my bed?'

McCrorie, 2004

She spoke that way to test her man. But Odysseus
bridled and told his wife, who was knowing and careful,
'Woman, your words are really galling my own heart.
Who settled my old bed elsewhere?'

Huddleston, 2006

So said she, testing her husband. Then Odysseus,
in anger, said to his true-hearted wife:
'Woman, ah, this word you've said is very painful to the heart.
Who put my bed elsewhere?'

Johnston, 2006

Penelope said these words to test her husband.
But Odysseus, upset at his true-hearted wife,
replied and said:
'Woman, those words you uttered
are very painful. Who's shifted my bed
to somewhere else?'

Stein, 2008

So she spoke, testing her husband.
But Odysseus flashed with anger at his wife
(whose heart in fact rang true):

'O woman, the word you speak is a bitter one.
Who has put my bed
in some place other than in the chamber?'

Wilding, 2011

So she spoke to test him, but Odysseus
turned on his wife in anger:
'Woman, what you've just said has bruised my heart.
Who dared to move my bed?'

Albertson, 2013

This she said to test her lord. But Odysseus,
Flushed with anger, said to his truehearted wife,
'Woman, these words are bitter to my heart.
Who has moved my bed?'

Dawkins, 2013

In this way she tested her husband.
Odysseus with a heavy heart addressed his wily wife.

'Wife, what you say distresses me greatly.
Who has shifted my bed?'

Mitchell, 2013

She had spoken these words as a test. Odysseus, angry
and hurt, cried out to her,
'Woman, what you just told me
pierces my heart. What man dared move my bed?'

Jordan, 2014

She said that as a test of him. Odysseus,
incensed, protested to his cautious wife:
'Woman, the words you spoke have cut me deeply!
Has someone moved my bed?'

Sachs, 2014

Those were the words she spoke to test her husband. But Odysseus burst out in anger at his shrewd and faithful wife: 'Woman, this is a gut-wrenching thing for you to say! Who moved my bed to a different place?'

Powell, 2014

So she spoke, putting her husband
to the test. But Odysseus, bursting with anger, spoke to his sensible
wife: 'Woman — truly you have uttered a grievous word! Who has
moved my bed elsewhere?'

Verity, 2017

So she spoke, testing her husband; and Odysseus burst out in anger,
and addressed his faithful-minded wife:
'Lady, what you have just said causes me pain in my heart.
Who has moved my bed to another place?'

Whitaker, 2017

This she said to test her husband. Odysseus,
flaring up, replied to his true-hearted spouse:
'Wife, what you've said has cut me to the quick.
Who moved my bed?'

Wilson, 2017

She spoke to test him, and Odysseus
was furious, and told his loyal wife,
'Woman! Your words have cut my heart! Who moved
my bed?'

Green, 2018

So she spoke,
making trial of her husband. But Odysseus in response
burst out in anger, and addressed his true wife, saying:
'Woman, this word you've said embitters my heart!
Who's moved my bed elsewhere?'

Mann, 2022

So she spoke to test her husband. But Oduséus
said in anger to his wife who knew only love:
'O wife. These words you speak are agony to my heart.
Who has set my bed elsewhere?'

Underwood, 2022

She spoke like this to test her husband, and Odysseus lost his temper, and raised his voice at his cautious-minded wife.

'Woman, what you're saying is utterly heartbreaking. Who put my bed somewhere else?'

Solot, 2025

She was testing her husband, who leapt to his feet in a fury.
'Woman!' — he yelled at his faithful, unwavering wife —
'What a horrible, heart-stabbing thing you just said! Our bed?
Somebody moved it?'

Dawson, 2025

Thus she spoke, testing her husband. But Odysseus, grieved, addressed his faithful wife: 'Woman, this word you have spoken is truly painful. Who has moved my bed elsewhere?'

Mendelsohn, 2025

So she spoke, testing her husband. But now Odysseus
Grew angry at his wife, whose thoughts were so true, and addressed her:
'Woman, what you have said deeply pains my heart —
Who has moved my bedstead somewhere else?'

I have more excerpts at whichtranslation.net/odyssey. Let me know what you think!

Very excited to read it 🙂