Homer Odyssey 22.292

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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.) — 22.292 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.) — 22.292 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.) — 22.272 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.292 focus
Thus spoke the stockman, and Odysseus struck the son of Damastor with a spear in close fight, while Telemachus hit Leokritos, son of Euenor, [295] in the belly, and the dart went clean through him, so that he fell forward full on his face upon the ground. Then Athena from her seat on the rafter held up her deadly aegis, and the hearts of the suitors quailed. They fled to the other end of the court like a herd of cattle [300] maddened by the gadfly in the season [ hōrā] of early summer when the days are at their longest. As eagle-beaked, crooked-taloned vultures from the mountains swoop down on the smaller birds that cower in flocks upon the ground, [305] and kill them, for they cannot either fight or flee, and lookers-on enjoy the sport—even so did Odysseus and his men fall upon the suitors and smite them on every side. They made a horrible groaning as their brains were being battered in, and the ground seethed with their blood.
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 22.292 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.292 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 22.292 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.292 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 22 focus

New Alexandria Commentaries

Gregory Nagy

At the end of Rhapsody 21, Odysseus has already passed, in rapid succession, two of three successive tests that needed to be endured by the true king of Ithaca. That is, he has already performed a stringing of his mighty bow and has already won an ultimate contest in archery by executing a perfect shot with the very first arrow that he shoots from the bow. But now, at the beginning of Rhapsody 22, the third test awaits Odysseus. He must now kill the suitors, and the successive killings that follow will ultimately eliminate all the would-be husbands of Penelope. In the end, Odysseus will be the only Achaean left standing. And he has by now been revealed as the only true husband, the only true king. So, he has become the best of the Achaeans in the Homeric Odyssey. But a question remains. Now that all the suitors have been killed, what will happen to the other characters in the Odyssey who had turned against the king in the course of his lengthy absence? Here is where things get really ugly. The extreme cruelty of the retribution that awaits these characters, as we see it narrated here in Odyssey 22, presents the modern reader with moral problems that cannot be evaded.

draft js image errorOdysseus kiling Penelope’s suitors. Attic red-figure skyphos, ca. 440 BCE. Image via Wikimedia Commons.

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All those who cooperated with the suitors are killed, except for two: Odysseus spares the lives of the poet Phemios and the herald Medon. Phemios is described as an aoidos ‘singer’ at O.22.330 and Medon as a kērux ‘herald’ at O.22.357.

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The description of the aoidos ‘singer’ here at O.22.376 as poluphēmos ‘having many different kinds of things said’ is relevant what is noted in the comments at O.01.342 and O.02.035: the content of the epic songs sung by this singer could be understood differently by different listeners. See also the comment at O.22.330–331 and, further back, at O.12.184.

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Leonard Muellner

analysis of the differentiation of blame in the Odyssey (vs. in the Iliad) and the muting of the mēnis theme in it, here especially regarding the suitors, their relatives, and Odysseus and his family

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