Homer Odyssey 22.42

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.) — 22.42 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.) — 22.42 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.) — 22.42 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.42 focus
They turned pale with fear as he spoke, and every man looked round about to see where he might flee for safety, but Eurymakhos alone spoke.
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 22.42 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 22.42 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.42 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.42 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 22 focus

New Alexandria Commentaries

Gregory Nagy

Now, at the beginning of Rhapsody 22, a third test awaits Odysseus: he must kill the suitors. The king shows no hesitation. Having just won the contest in archery with the very first arrow that he shoots after stringing his mighty bow, he now goes on to aim his next arrow at Antinoos, who has been by far the worst of those leftover Achaeans of Ithaca. Odysseus shoots the arrow, and it hits the mark: Antinoos is instantly killed, O.22.008–021. The successive arrows, each one of them, will also hit the mark, and he keeps on shooting until there are no arrows left, O.22.116–119. Then, after Odysseus has run out of arrows to shoot, he arms himself with his armor for hand-to-hand combat, O.22.120–125. The slaughter of the suitors will continue until in the end all are killed.

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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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On the infusion of strength as by way of divinely breathing it into the hero and thus reminding him of his own menos in the sense of his ‘power’, see the comments at I.10.482, I.11.508, I.15.059–060, I.15.262. Here at O.22.203, the menos ‘power’ that is breathed-out had been presumably breathed-in by divine agency.

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Leonard Muellner

analysis of the meaning and uses of piphauskesthai, here in the sense of ‘reveal through speech’ (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai)

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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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