Homer Odyssey 19.455

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Odyssey. Homer. Boston. 1873.

Current edition Experimental

English (William Cullen Bryant, 1873) (OCR draft) (English) (English (William Cullen Bryant, 1873))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ὀδύσσεια Perseus (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), editor. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.) — 19.455 focus
Translations (8)
Odyssey Perseus (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.) — 19.455 focus
Odyssey Perseus (Homer. The Odyssey: rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. Revised by Timothy Power and Gregory Nagy. London: A.C. Fifield, 1900.) — 19.467 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 19.455 focus
The sons of Autolykos busied themselves with the carcass of the boar, and bound stately godlike Odysseus’ wound; then, after saying a spell to stop the bleeding, they went home as fast as they could. But when Autolykos and his sons [460] had thoroughly healed Odysseus, they made him some splendid presents, and sent him back to Ithaca with much mutual good will. When he got back, his father and mother were rejoiced to see him, and asked him all about it, [465] and how he had hurt himself to get the scar; so he told them how the boar had ripped him when he was out hunting with Autolykos and his sons on Mount Parnassus.
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 19.455 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 19.455 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 19.455 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.455 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 19 focus

New Alexandria Commentaries

Anita Nikkanen

Penelope’s memory and mindfulness of her marriage to Odysseus are exceptional in the Odyssey: other women, we are told (O.15.20-23), tend to forget their previous marriage and children when remarrying, but Penelope here, in proposing the contest of the bow to determine the successful suitor, presents herself as doing the opposite (these lines are repeated at O.21.77-79 when she actually issues the challenge). Compare O.24.194-198, where Agamemnon singles out Penelope’s memory of Odysseus as that which deserves commemorating as a kleos. Penelope stands out as an example of socially ethical behavior.

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Gregory Nagy

Rhapsody 19 is best known for a scene where Odysseus is recognized by his old nurse Eurykleia. She notices a tell-tale scar on his leg—the result of a wound that marks the moment in his youth when he was gored in a boar hunt. This scar can be seen as a sēma or ‘sign’ of the hero’s identity.

draft js image error“Euryclea Discovers Ulysses” (1805). John Flaxman (English, 1755–1826). Purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund 1996. Image via the Tate.

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Penelope tests the disguised Odysseus by challenging him to interpret a dream that she had, which is for her a sign that she says she needs to be interpreted for her, O.19.535–553. Odysseus responds to the sign, giving his interpretation, O.19.555–558, and then Penelope responds to the interpretation, O.19.560–569. What Penelope dreams, O.19.535–553, is that the geese in her courtyard are suddenly killed by an eagle that swoops down on them. She cries and cries over the loss of her geese. But then, within the narrative of the dream itself, O.19.546–550, the eagle is quoted as saying to Penelope that he is Odysseus and that the geese are the suitors, who are to be punished for their unjust behavior. The disguised Odysseus responds to the convoluted words of Penelope by saying that her dream has already interpreted itself and that no response is needed from him—except to say what he has just said, that the dream has already interpreted itself, O.17.555–558. This way, Odysseus postpones identifying himself to Penelope, but at the same time he shows his good judgment in distinguishing between what is false and what is true about his own heroic identity as defined by his sense of justice, which is being challenged by the injustices inflicted on him by the suitors.

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The adjective amenēna ‘having no mental power [menos] inside’ applies elsewhere exclusively to the dead. Here it applies to dreams. See further the comment at O.10.521.

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In the response of Penelope, O.19.562–569, to the response of Odysseus in interpreting her dream, she says that there are two kinds of dreams, passing through two kinds of pulai ‘gates’, O.19.562: the first kind passes through a gate of keras ‘horn’, and the second kind, through a gate of elephas ‘ivory’, O.19.563. The first kind signals what is real, while the second, what is deceptive. That is why the mental power of distinguishing what is real from what is unreal becomes so seriously important. But there is also a playful side to these images of horn and ivory, as reflected in the word play that links (1) the noun keras ‘horn’ with the verb krainein in the sense of ‘authorize as real’, O.19.567, and (2) the noun elephas ‘ivory’ with the verb elephairesthai in the sense of ‘deceive’, O.19.565. The object of the verb krainein ‘authorize as real’ here is etuma ‘real things’ (ἔτυμα), O.19.567: that is what dreams from a Gate of Horn will bring. Correspondingly, the object of what is brought by dreams from a Gate of ivory is a-kráan-ta ‘unauthorized’ (ἀκράαντα), O.19.565. The playfulness extends further: I suspect that the symbolism of keras ‘horn’ here involves not only the elevated sense of ‘authorization’ but also the earthy sense of sexual desire. I suspect that the Aphrodisiac properties linked with horn as a substance are in play here. Perhaps relevant is all the folkore surrounding the earthy English adjective ‘horny’. When I speak of ‘horn’ here, I have in mind primarily the kerata ‘antlers’ of deer, the aphrodisiac properties of which are highlighted for example by the physician Galen (vol. 14 p. 240 ed. C. G. Kühn 1827). I ask myself: why does Penelope cry and cry in her dream about losing her geese? Perhaps her familiarity with the geese can be linked with her familiarity—however unwelcome—with the suitors. The geese have been around for twenty years, and where was the eagle during all this time? Perhaps that is why it is safe for Penelope to offer a recusal at O.19.568–569: surely my dream came from a Gate of Ivory, not from a Gate of Horn. For more on Penelope’s dream, I strongly recommend the analysis of Levaniouk 2011:229–246, with a critical survey of the multifarious interpretations that have been offered over the years by experts and nonexperts alike.

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