Homer Odyssey 20.320

Samuel Butler (Translator)

Odyssey. Homer. Samuel Butler (Translator). London. 1900 (?).

Current edition Perseus

Odyssey (English) (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.)

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

New Alexandria Commentaries

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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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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