Homer's Odyssey 1.156-77
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:
… Telemachus spoke low to Athena, with his head close to hers
that no man might hear.
"I hope, sir," said he, "that you will not be offended with what I
am going to say. Singing comes cheap to those who do not pay for it,
and all this is done at the cost of one whose bones lie rotting in
some wilderness or grinding to powder in the surf. If these men were
to see my father come back to Ithaca they would pray for longer legs
rather than a longer purse, for money would not serve them; but he,
alas, has fallen on an ill fate, and even when people do sometimes
say that he is coming, we no longer heed them; we shall never see
him again. And now, sir, tell me and tell me true, who you are and
where you come from. Tell me of your town and parents, what manner
of ship you came in, how your crew brought you to Ithaca, and of what
nation they declared themselves to be—for you cannot have come by
land. Tell me also truly, for I want to know, are you a stranger to
this house, or have you been here in my father's time? In the old
days we had many visitors for my father went about much himself."
(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):
αὐτὰρ Τηλέμαχος προσέφη γλαυκῶπιν Ἀθήνην,
ἄγχι σχὼν κεφαλήν, ἵνα μὴ πευθοίαθ᾽ οἱ ἄλλοι:
‘ξεῖνε φίλ᾽, ἦ καὶ μοι νεμεσήσεαι ὅττι κεν εἴπω;
τούτοισιν μὲν ταῦτα μέλει, κίθαρις καὶ ἀοιδή,
ῥεῖ᾽, ἐπεὶ ἀλλότριον βίοτον νήποινον ἔδουσιν,
ἀνέρος, οὗ δή που λεύκ᾽ ὀστέα πύθεται ὄμβρῳ
κείμεν᾽ ἐπ᾽ ἠπείρου, ἢ εἰν ἁλὶ κῦμα κυλίνδει.
εἰ κεῖνόν γ᾽ Ἰθάκηνδε ἰδοίατο νοστήσαντα,
πάντες κ᾽ ἀρησαίατ᾽ ἐλαφρότεροι πόδας εἶναι
ἢ ἀφνειότεροι χρυσοῖό τε ἐσθῆτός τε.
νῦν δ᾽ ὁ μὲν ὣς ἀπόλωλε κακὸν μόρον, οὐδέ τις ἡμῖν
θαλπωρή, εἴ πέρ τις ἐπιχθονίων ἀνθρώπων
φῇσιν ἐλεύσεσθαι: τοῦ δ᾽ ὤλετο νόστιμον ἦμαρ.
ἀλλ᾽ ἄγε μοι τόδε εἰπὲ καὶ ἀτρεκέως κατάλεξον:
τίς πόθεν εἰς ἀνδρῶν; πόθι τοι πόλις ἠδὲ τοκῆες;
ὁπποίης τ᾽ ἐπὶ νηὸς ἀφίκεο: πῶς δέ σε ναῦται
ἤγαγον εἰς Ἰθάκην; τίνες ἔμμεναι εὐχετόωντο;
οὐ μὲν γὰρ τί σε πεζὸν ὀίομαι ἐνθάδ᾽ ἱκέσθαι.
καί μοι τοῦτ᾽ ἀγόρευσον ἐτήτυμον, ὄφρ᾽ ἐὺ εἰδῶ,
ἠὲ νέον μεθέπεις ἦ καὶ πατρώιός ἐσσι