Homer Odyssey 19.361

ed. A. T. Murray

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Odyssey. Homer. ed. A. T. Murray. London. 1919.

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Current edition Perseus

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

Translations (9)
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.) — 19.361 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.) — 19.386 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 19.361 focus
On these words the old woman covered her face with her hands; she began to weep and made lamentation saying, “My dear child, I cannot think whatever I am to do with you. I am certain no one was ever more god-fearing than yourself, and yet Zeus hates you. [365] No one in the whole world ever burned him more thigh portions, nor gave him finer hecatombs when you prayed you might come to a green old age yourself and see your son grow up to take after you; yet see how he has prevented you alone from ever getting back to your own home. [370] I have no doubt the women in some foreign palace which Odysseus has got to are gibing at him as all these sluts here have been gibing you. I do not wonder at your not choosing to let them wash you after the manner in which they have insulted you; [375] I will wash your feet myself gladly enough, as circumspect Penelope, daughter of Ikarios, has said that I am to do so; I will wash them both for Penelope’s sake and for your own, for you have raised the most lively feelings of compassion in my mind; and let me say this moreover, which pray attend to; we have had all kinds of strangers in distress come here before now, [380] but I make bold to say that no one ever yet came who was so like Odysseus in figure, voice, and feet as you are.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 19.361 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 19.361 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 19.361 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 19.361 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 19.361 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 19 focus

New Alexandria Commentaries

Gregory Nagy

Rhapsody 19 is best known for a scene where Odysseus is recognized by his old nurse Eurykleia. She notices a tell-tale scar on his leg—the result of a wound that marks the moment in his youth when he was gored in a boar hunt. This scar can be seen as a sēma or ‘sign’ of the hero’s identity.

draft js image error“Euryclea Discovers Ulysses” (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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Here at O.19.370 and O.19.372 the objects of mockery as expressed by the verb ephepsiaâsthai ‘mock’ are not the unjust but the just, such as the disguised Odysseus and others like him who are despised as beggars. Once again, such mockery comes from blame poetry, but here the blame is unjustifiable. The women who mock the disguised Odysseus are described at O.19.373 as engaging in lōbē ‘words of insult’ and aiskhea ‘disgraceful things’. Both these words point to unjustified forms of blame. On lōbē ‘words of insult’, see the comment at O.18.347. As for aiskhea ‘disgraceful things’, it is the concrete plural of the abstract singular aiskhos, which means ‘disgrace, shame’: see the comment on aiskhos at O.11.433.

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Eurykleia recognizes Odysseus when she is washing his feet. The sign for her recognition is the scar that she notices on his leg—a wound that marks the time when he went on a boar hunt to Parnassus with his mother’s father, Autolykos. The word that signals the recognition is gignōskein ‘recognize’ at O.19.392 and at O.19.468. The scar that Eurykleia recognizes here turns out to be a sēma ‘sign, signal’ of the hero’s true identity, as we see from the use of that word at O.21.217 and at O.23.073. See the comments at O.21.217–224 and at O.23.073–077 respectively. This word sēma ‘sign, signal’ does not occur here at O.19.388–507, but the occurrences at O.21.217 and O.23.073 and O.24.329 indicate clearly that the scar as a sēma is a subtext, as it were, for the recognition scene that frames the narrative about the boar hunt at Parnassus.

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