Homer Odyssey 20.299

ed. George Chapman

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Odyssey. Homer. ed. George Chapman. London. 1857.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) (English) (English (George Chapman, 1667, ed. Hooper 1857))

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.) — 20.299 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.) — 20.299 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.) — 20.320 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 20.299 focus
As he spoke he picked up a heifer’s foot [300] from the meat-basket in which it lay, and threw it at Odysseus, but Odysseus turned his head a little aside, and avoided it, smiling sardonically as he did so, and it hit the wall, not him. Then Telemachus spoke fiercely to Ktesippos, “It is a good thing for you,” said he, “that the stranger turned his head so that [305] you missed him. If you had hit him I should have run you through with my spear, and your father would have had to see about getting you buried rather than married in this house. So let me have no more unseemly behavior from any of you, for I am grown up now to the knowledge of good [310] and evil and understand what is going on, instead of being the child that I have been heretofore. I have long seen you killing my sheep and making free with my wheat and wine: I have put up with this, for one man is no match for many, but do me no further violence. [315] Still, if you wish to kill me, kill me; I would far rather die than see such disgraceful scenes day after day—guests insulted, and men dragging the women servants about the house in an unseemly way.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 20.299 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 20.299 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 20.299 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 20.299 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 20 focus

Notes on the current edition

Odyssey

1. Sardinian. A Sardinian, or sardonic, laugh; from σαρδόνιον a plant of Sardinia, which was said to distort the face of the eater. The reading, however, is generally σαρδάνιον, from σαίρω, to grin like a dog, show the teeth.

New Alexandria Commentaries

Anita Nikkanen

In this passage we see that the suitors’ lack of kharis in their dealings with Odysseus’ household is repaid by an akharistos meal, one that has no kharis (as the term applies to the reciprocal exchange of good turns; see O.24.281-286 and my comment there for this meaning of kharis). Although the end of the passage, “for they were the first to contrive unseemly things” (O.20.394), appears to explain the meal’s lack of kharis as a result of Athena’s and Odysseus’ initiative in unjust machinations, according to Penelope, the suitors have done ἀεικέα ἔργα, “unseemly deeds,” before this. Furthermore, she connects the suitors’ unseemly deeds directly with a lack of kharis in return for good deeds (O.4.694-695, where see my comment). The lack of kharis in this meal as the reciprocation of the lack of kharis in the suitors’ feasting in Odysseus’ house, therefore, is another manifestation of the interconnections of kharis, reciprocity and social order, and the concerns regarding them that run through the fabric of the Odyssey.

See further:Seaford, Richard. 1994. Reciprocity and Ritual: Homer and Tragedy in the Developing City-State. Oxford: Clarendon Press; New York: Oxford University Press.

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Gregory Nagy

Rhapsody 20 reveals the darkest thoughts of Penelope. There she is, lying awake in bed, unable to fall asleep, and now she starts to think the unthinkable, tearfully spilling her private thoughts by praying to Artemis: I want to die in the worst way, she confides to the goddess, so why don’t you shoot me with your arrows, putting me out of my misery? Or maybe my death should be even worse? Penelope is now haunted by horror stories about unfortunate girls who thought they were getting married but who instead became servants to infernal Furies. She cries for them and she cries for herself, thinking of a dream she had about sleeping with Odysseus, who was looking the way he had looked twenty years ago. Her crying carries over till daybreak, and her laments are overheard from not that far away by Odysseus, who is having his own dark thoughts about the vengeance he so passionately desires.

draft js image error“The Harpies Going to Seize the Daughters of Pandareus” (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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The cognitive process of noeîn ‘take note (of), notice’ at O.20.204 is associated here with a moment of ‘remembering’ as expressed by the root of the verb mnē- ‘mentally connect’ at O.20.205.

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The noun kertomiai ‘words of insult’ is correlated with the verb kertomeîn ‘say words of insult’, as attested at I.02.256, O.02.323, O.18.350.

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The noun enīpē ‘scolding’ is correlated with the verb eniptein ‘scold’, on which see especially the comment at O.18.321–326.

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The feasting that we see being described here at O.20.276–280 involves the whole astu ‘city’ of Ithaca, O.20.276, and, as we see in the wording of O.20.276–277, all this feasting climaxes in a hekatombē ‘hecatomb’, as proclaimed throughout the city by kērūkes ‘heralds’. On the word hekatombē ‘hecatomb’, a priestly word referring to the sacrifice of one hundred cattle, see the comment on O.04.351–353. The occasion for this hecatomb is evidently a festival of Apollo, signaled by the vivid description at O.20.277–278: the Achaeans are now seen assembling inside the sacred alsos ‘grove’ of the god Apollo, O.20.278. What follows after the sacrifice of a hundred cattle is then described at O.20.279–280: the meat is cooked and divided among the participants. And the whole occasion of this feasting is indicated at O.20.280 by way of two all-important words here: (1) dais ‘feast, division of portions (of meat); sacrifice’, and (2) daiesthai ‘feast; divide (meat), apportion, distribute’. On dais ‘feast’ as a stylized way of referring to an overall festival, see the introductory comments at O.08.038 and at O.08.061; also the follow-up comments at O.08.429, O.09.003–111, O.13.023. For further references to the festival of Apollo, see the comments at O.21.267, O.21.404-411, and O.21.429-430.

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See also O.18.347

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The suitor Ktesippos goes even beyond the base behavior of the other suitors by throwing the pous ‘foot’ of a cow at Odysseus, O.20.299, though he misses. Presumably, this part of the sacrificial animal was the least prestigious portion of all the beef to be consumed on the occasion of the feasting that followed the hecatomb marking the festival of Apollo. For more on this hecatomb, which involved the sacrifice of notionally one hundred cattle to celebrate the festival of Apollo, see the anchor comment at O.20.276–280. The insulting of the disguised Odysseus by the provocative Ktesippos is bipartite here: (1) Ktesippos mocks Odysseus in words by sarcastically offering him a portion of the feast that would suit the most lowly of participants, and (2) he mocks him in action by throwing that portion at him instead of handing it over to him.

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See also O.11.179, O.15.521–522, O.16.076, O.18.289, and O.19.528. Here again it is said that whoever succeeds in marrying Penelope would surely qualify as ‘the best of the Achaeans’.

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Because the goddess Athena has destabilized for the suitors their noēma ‘thinking [by way of nóos]’, they will be incapable of ever recognizing the disguised Odysseus—until it is too late for them. The noun noēma is derived from the verb noeîn ‘take note of, notice’, which signals the kind of thinking that leads to recognition. See especially the comment at O.19.215–248.

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Among the many signs that signal the doom of the suitors, this omen as pictured here at O.20.354 is perhaps the most striking.

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Theoklymenos the seer can read with his mind, as expressed by the verb noeîn ‘take note (of), notice’, the doom of the suitors.

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Leonard Muellner

in a list of attestations of genos eukhesthai einai and its transformations

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analysis of the passages in the Odyssey that imply that a basic component of the story of Odysseus’ return, the massacre of the suitors, is a variant of the mēnis theme

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analysis of the functional overlap between hiketēs and xeinos, argument that in Homer hiketēs still means ‘he who comes, arrives,’ and the constraint to give hospitality to anyone who arrives (hikanein, hikein) at one’s house

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comment on Ktesippos as a villain in terms of the morality of the Odyssey

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