Homer Odyssey 21.425

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.) — 21.401 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.) — 21.401 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 21.401 focus
Another said, “I hope he may be no more successful in other things than he is likely to be in stringing this bow.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 21.401 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 21.401 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 21.401 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 21.401 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 21.401 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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In the context of a future celebration, taking place in a post-heroic age at the festival of Apollo, the term hepsiâsthai ‘mock’ could refer to the ridiculing of the suitors by way of blame poetry. Odysseus as speaker here may be speaking beyond his own epic time, beyond the heroic age, by mocking his rivals for not yet knowing what he already knows full well will happen to them. On the perspectives of a post-heroic age with regard to the festival of Apollo, see the comment at O.22.437–479, where it is argued that the various grim dysfunctionalities that pollute the heroic world in myth are expurgated in the post-heroic world by way of ritual, as in the case of seasonally recurring festivals where primal ordeals are re-enacted in contexts of festive celebration, even merriment.

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The wording here at O.21.429–430 is a reference to the festival of Apollo, picking up from O.20.276–280. See the anchor comment on those lines. After having successfully accomplished the two feats of stringing the bow and shooting through the holes of the twelve axe-heads, Odysseus can truly say to Telemachus: now is the hōrā ‘season’, O.21.428 (νῦν δ’ ὥρη). As the wording of Odysseus goes on to explain at O.21.429–430, now is the season for ‘the Achaeans’ to be feasting, in daylight, and there will be eating and drinking, also singing and dancing, as expressed by the noun molpē ‘singing-and-dancing’, O.21.430. On molpē as a combination of singing and dancing, see the note at O.04.015–019. Such merriment, as the wording highlights in the same line, O.21.430, is what happens on the occasion of a dais ‘feast. The word is used here in the general sense of ‘feast’, with reference to a stylized festival. On the use of this word dais ‘feast’ elsewhere as well in this general sense, see especially the comments at O.08.429 and at O.13.023; also the comment at O.20.276–289 with specific reference to the festival of Apollo. The overall wording of Odysseus here at O.21.429–430 can be read as good news about good feasting ahead for those in the post-epic future who will be participating in the festival of Apollo—but it is bad news for the suitors, whose perverted feasting in the epic present will soon lead to the carnage that commences in Rhapsody 22. This killing of the suitors, which follows the stringing of the bow and the winning of the ultimate contest in archery, is the third part of an epic mythological complex that functions as an aetiology for the post-epic ritual complex of celebrating the festival of Apollo by happily eating and drinking, singing and dancing. As Odysseus says at O.21.428, the season has arrived for such celebration. It is the season of springtime, and the song of swallows has once again returned to the land, as we saw previously at O.21.411. See again the comment at O.21.404–411. The mythological violence in the epic present will lead to ritual order in the post-epic future as celebrated at the festival of Apollo. For more on the ritualized function of this festival as stylized in the narrative of the Odyssey, I recommend the comprehensive analysis of Levaniouk 2011, especially pp. 13–15.

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