Homer Odyssey 23.181

ed. A. T. Murray

View: By Card

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

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.) — 23.181 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.) — 23.173 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 23.181 focus
She said this to try him, but Odysseus was very angry and said, “Wife, I am much displeased at what you have just been saying. Who has been taking my bed from the place in which I left it? He must have found it a hard task, [185] no matter how skilled a workman he was, unless some god came and helped him to shift it. There is no man living, however strong and in his prime, who could move it from its place. For it was wrought to be a great sign [ sēma]; it is a marvelous curiosity which I made with my very own hands. [190] There was a young olive growing within the precincts of the house, in full vigor, and about as thick as a bearing-post. I built my room round this with strong walls of stone and a roof to cover them, and I made the doors strong and well-fitting. [195] Then I cut off the top boughs of the olive tree and left the stump standing. This I dressed roughly from the root upwards and then worked with carpenter’s tools well and skillfully, straightening my work by drawing a line on the wood, and making it into a bed-prop. I then bored a hole down the middle, and made it the center-post of my bed, at which I worked till I had finished it, [200] inlaying it with gold and silver; after this I stretched a hide of crimson leather from one side of it to the other. So you see I know all about this sign [ sēma], and I desire to learn whether it is still there, or whether any one has been removing it by cutting down the olive tree at its roots.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 23.181 focus
English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) Experimental (English (Alexander Pope, 1726, ed. Watson, 1858)) — 23.181 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 23.181 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 23.181 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 23.181 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 23 focus

New Alexandria Commentaries

Gregory Nagy

After the killing of the suitors, Eurykleia rushes to the bedroom of Penelope, waking her up. The queen has slept through it all—the first good night’s sleep she has had in the longest time, she admits. Eurykleia goes on to tell Penelope that Odysseus has really returned and has killed the suitors, but the patient wife will need one more test, to make it perfectly certain that she has recovered her husband. The sēma ‘sign’ of the royal bed that once was theirs and will be theirs once again can now seal their perfect mutual understanding.

draft js image errorEurykleia waking Penelope (1773). Print by Thomas Burke, after a painting by Angelika Kauffmann. Image via the British Museum.

source

The ultimate sēma ‘sign, signal’ for the mutual recognition of Penelope and Odysseus is the immovable bed that the king had made to be shared with the queen. Within the space of the lines demarcated by O.23.107–230, the noun sēma recurs at O.23.110, O.23.188, O.23.202, O.23.206, O.23.225. The mutual recognition is confirmed by the verb anagignōskein ‘recognize’, when Penelope at long last overtly recognizes Odysseus at O.23.206.

source
Leonard Muellner

analysis of the meaning and uses of piphauskesthai (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai), in this verse as ‘show, reveal’

source