Homer Odyssey 22.330

A. T. Murray (Translator)

Odyssey. Homer. A. T. Murray (Translator). London. 1919.

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Current edition Perseus

Odyssey (English) (Homer. The Odyssey, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1919.)

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.) — 22.330 focus
Translations (8)
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.) — 22.326 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.330 focus
The minstrel Phemios, son of Terpes—he who had been forced by the suitors to sing to them—now tried to save his life. He was standing near towards the trap door, and held his lyre in his hand. He did not know whether to flee out of the hall and sit down by the altar of [335] Zeus that was in the outer court, and on which both Laertes and Odysseus had offered up the thigh bones of many an ox, or whether to go straight up to Odysseus and embrace his knees, but in the end he thought it best to embrace Odysseus’ knees. [340] So he laid his lyre on the ground between the mixing-bowl and the silver-studded seat; then going up to Odysseus he caught hold of his knees and said, “Odysseus, I beseech you have mercy on me and spare me. [345] You will feel grief [ akhos] for it afterwards if you kill a bard who can sing both for gods and men as I can. I am self-taught, and the god implanted every kind of lay in my phrenes. I would sing to you as though you were a god, do not therefore be in such a hurry to cut my head off. [350] Your own son Telemachus will tell you that I did not want to frequent your house and sing to the suitors after their meals, but they were too many and too strong for me, so they made me.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 22.330 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 22.330 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.330 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 22.330 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.330 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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The name of this aoidos ‘singer’ Phemios is a “speaking name” (nomen loquens): the adjectival Phēmios is derived from the noun phēmē, defined in the comment at O.02.035 as ‘something said that means more than what is meant by the one who says it’. Accordingly, as I note in the same comment, Phemios is a singer whose songs mean more than what is meant by that singer. On the content of what Phemios sings, see the comment on O.01.342. For still more on the content, see the comment at O.22.376, where we see that an epithet of this singer is poluphēmos having many different kinds of things said’. Not only the name Phēmios is a “speaking name”: so too is the patronymic of this singer, Terpiadēs, O.22.330, derived from the verb terpein meaning ‘give delight’. On the poetic connotations of this verb, see especially the comment at O.08.026–045.

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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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On oimē as the ‘story-thread’ of song, see the comment at O.08.074.

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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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contrasting Phemios’ plea to be spared to Odysseus with that of Leodes, in context of the analysis of Odysseus’ response to Leodes in O.22.231 as taking him to take pride in his relationship with the suitors

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contrasting Phemios’ plea to be spared to Odysseus with that of Leodes, in context of the analysis of Odysseus’ response to Leodes in O.22.231 as taking him to take pride in his relationship with the suitors

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