Homer Odyssey 21.311

ed. Robert Southey

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Odyssey. Homer. ed. Robert Southey. London. 1837.

Sponsored by Tufts University.

Current edition Experimental

English (William Cowper, 1791, ed. Southey) (OCR draft) (English) (English (William Cowper, 1791, ed. Southey))

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.) — 21.311 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.) — 21.311 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.) — 21.320 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.311 focus
Circumspect Penelope then spoke to him. “Antinoos,” said she, “it is not right [ dikaios] that you should ill-treat any guest of Telemachus who comes to this house. If the stranger should prove that he has strength [ biē] [315] enough to string the mighty bow of Odysseus, can you suppose that he would take me home with him and make me his wife? Even the man himself can have no such idea in his mind: none of you need let that disturb his feasting; it would be out of all reason.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 21.311 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 21.311 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.311 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 21.311 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 21 focus

New Alexandria Commentaries

Gregory Nagy

Toward the end of Rhapsody 21, Odysseus will pass an all-important test set by Penelope: he will string his famous bow—which none of the suitors could string, no matter how hard they tried—and he will shoot an arrow straight through all the holes of twelve axe-heads lined up in a row for this one-time occasion, designed to be viewed as the contest to end all contests in the skills of archery. This contest will determine, once and for all, who is really eligible, among all the Achaeans, to be recognized as the husband of the queen. But the winning of this ultimate contest by Odysseus is not enough: the king must now kill, with the same bow, all the would-be husbands of the queen. So, once Odysseus passes the test set by Penelope, as narrated toward the end of Rhapsody 21, the killing of the rival Achaeans can begin in Rhapsody 22. And the overall occasion for both the passing of Penelope’s test and the killing of the suitors is the beginning of a grand festival celebrating the god Apollo and the arrival of spring.

draft js image errorHēraklēs stringing a bow. Silver stater, c. 450–440 BCE, Thebes (Boeotia). Image via Wikimedia Commons.

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Odysseus at O.21.217–224 shows his scar to Philoitios the cowherd and Eumaios the swineherd: this way, he is finally recognized by them. In this context, the scar is explicitly called a sēma ‘sign’, O.21.217. As we saw at O.21.205, Odysseus already knows that both the cowherd and the swineherd have the right way of thinking, the right nóos ‘mind’, and it is this mentality that will enable them to recognize him. See the comment on O.21.205.

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Already here at O.21.253–255, it is becoming evident that the suitors will not have the strength to string the bow of Odysseus, and the word for ‘strength’ here is biē, O.21.253. For more on the relevance of this word, see the comment at O.21.185.

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The wording of Antinoos here refers to an act of sacrifice that the Achaeans are expected to perform in worshipping Apollo on the occasion of his festival. See the anchor comment at O.20.276–280 on the festival of Apollo; also the comment at O.21.429–430.

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The story about the drunken and reckless behavior of the Centaur Eurytion when he was a guest of Perithoos and his Lapiths is embedded in a morally flawed mental exercise here. The narrator of the story is Antinoos, whose behavior as a bad guest is comparable to that of the Centaur, but the suitor is perversely comparing the behavior of the Centaur to that of Odysseus. Antinoos is feeling outraged that a lowly beggar would dare to compete with the suitors as Odysseus prepares to string the bow, and so the suitor warns the disguised king at O.21.305–306, threatening that Odysseus will receive the same cruel punishment that was once upon a time received by the Centaur at the hands of his outraged hosts. On the horrific details of this punishment, see the anchor comment at O.18.085–087 on extreme cruelty in Homeric narrative.

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Once again, it is made evident that Odysseus will be able to string his bow by virtue of his strength, as indicated by that most telling word biē ‘force, violence, strength’, O.21.315.

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In this case, a negative wish is correlated with a faulty premise.

draft js image errorSwallows, detail of the Spring Fresco at Thera, image via Flickr user F. Tronchin, reproduced under a CC BY-NC-ND 2.0 license.

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Odysseus effortlessly strings his bow, O.21.409, and this feat of strength for a warrior in stringing his weapon is now compared to a feat of skill for a singer who effortlessly strings his musical instrument, which is here a phorminx, a special lyre played by the singer in accompanying his aoidē ‘song’, O.21.406. Next, Odysseus tests the tautness of his bowstring, plucking it, and the sound that emanates from the string is said to be like a song: the string literally ‘sings’, as expressed by the verb hup–aeidein ‘sing [aedein] while accompanying [hupo-]’, O.21.411. The bowstring ‘sings’ like a singer who sings while accompanying himself by playing on the strings of his lyre. So, the sound of the bowstring that is plucked matches not only the sound of the strings on a lyre that are being plucked by the singer as he sings but also the sound of the singer’s voice. The metaphor is complex, since the comparison with the sound of the taut bowstring combines the sound of a musical instrument with the sound of the human voice. And the complexity is now intensified by the addition of a simile that follows the metaphor: this sound of the plucked bowstring, first compared by way of metaphor to the sound of a singer’s voice combined with the sound of the strings that he plucks in accompaniment of his song, is next compared, by way of simile, to the sound of the singing of a swallow, O.21.411. This singing of the swallow heralds not only the coming of spring but also the occasion that inaugurates this season of renewal, which is, a festival sacred to Apollo. See the anchor comment at O.20.276–280 on the festival of Apollo.

draft js image errorOriginal artwork, by Flickr user Veronica Roth, reproduced under a CC BY-NC-ND 2.0 license.

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Leonard Muellner

Apollo’s name-epithet formulas which have the same metrical shape as the divine names in the dative in the eukhomai + dative formulas, but which are not used in this system because, unlike the others, they begin with a vowel (here, words occurring before Apollo’s two dative formulas that always end with a consonant)

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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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hand as regular metonym for a warrior’s biē

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

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in a list of passages exemplifying the complementary metrical distribution of eukhos and kudos

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hand as regular metonym for a warrior’s biē

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