Homer's Odyssey 1.144-55
Syllables in bold are dynamically prominent according to the new theory of the ancient Greek pitch accent. Digammas occasionally obtrude into history like Banquo’s ghost:
Samuel Butler’s translation with certain names Hellenised:
Then the suitors came in and took their places on the benches and
seats. Forthwith men servants poured water over their hands, maids
went round with the bread-baskets, pages filled the mixing-bowls with
wine and water, and they laid their hands upon the good things that
were before them. As soon as they had had enough to eat and drink
they wanted music and dancing, which are the crowning embellishments
of a banquet, so a servant brought a lyre to Phemius, whom they compelled
perforce to sing to them. As soon as he touched his lyre and began
to sing …
(A word about Samuel Butler’s translation: Butler opened my eyes to the fact that the Odyssey is comedy. The preciousness of this insight, which is hard won—the nonsense and pretence that piles high and wide whenever the word ‘epic’ is conjured, is a mountain to dig through—is also beyond valuation. His work is considered ‘public domain’, and hence prone to ignorant misuse and exploitation for other ends. But can anyone today really reuse Mr. Butler’s prose? I hope he would not be offended by the re-Hellenising of ‘Minerva’ and ‘Ulysses’.)
Greek text hyperlinked to lexica via Perseus (perseus.tufts.edu):
ἐς δ᾽ ἦλθον μνηστῆρες ἀγήνορες. οἱ μὲν ἔπειτα
ἑξείης ἕζοντο κατὰ κλισμούς τε θρόνους τε,
τοῖσι δὲ κήρυκες μὲν ὕδωρ ἐπὶ χεῖρας ἔχευαν,
σῖτον δὲ δμῳαὶ παρενήνεον ἐν κανέοισιν,
κοῦροι δὲ κρητῆρας ἐπεστέψαντο ποτοῖο.
οἱ δ᾽ ἐπ᾽ ὀνείαθ᾽ ἑτοῖμα προκείμενα χεῖρας ἴαλλον.
αὐτὰρ ἐπεὶ πόσιος καὶ ἐδητύος ἐξ ἔρον ἕντο
μνηστῆρες, τοῖσιν μὲν ἐνὶ φρεσὶν ἄλλα μεμήλει,
μολπή τ᾽ ὀρχηστύς τε: τὰ γὰρ τ᾽ ἀναθήματα δαιτός:
κῆρυξ δ᾽ ἐν χερσὶν κίθαριν περικαλλέα θῆκεν