Homer Odyssey 22.1

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Odyssey. Homer. London. 1858.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

English (Alexander Pope, 1726, ed. Watson, 1858) (OCR draft) (English) (English (Alexander Pope, 1726, ed. Watson, 1858))

Provisional text from uncorrected OCR; expect errors.

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.) — 22.1 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.) — 22.1 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.) — 22.1 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.1 focus
Then resourceful Odysseus tore off his rags, and sprang on to the broad pavement with his bow and his quiver full of arrows. He shed the arrows on to the ground at his feet and said, [5] “The mighty contest [ āthlos] is at an end. I will now see whether Apollo will grant it to me to hit another mark which no man has yet hit.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 22.1 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.1 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 22.1 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.1 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 22 focus

Notes on the current edition

Odyssey

1. We are now come to the great event or catastrophe of the Odyssey, which is the destruction of the suitors. The manner in which the poet conducts it, has been censured by some as incredible: it has been asked, "Why did not the suitors rush upon Ulysses in a body?" To do so was impossible, because Ulysses shot from the threshold, as Cocles on a narrow bridge stood against the whole army of Porsena. Homer might easily have raised an army, and placed Ulysses at the head of it; but the more difficult way being most conducive to his honour, he rejects all easy methods, shows him struggling with infinite hazards, out of which he extricates himself personally by his wisdom and courage. By these means he completes the character of his hero, leaves a noble image of his worth upon the minds of the spectators, and makes him go off the stage with the utmost applause. Pope.

New Alexandria Commentaries

Anita Nikkanen

This speech of Leiodes the sacrificing priest as he begs Odysseus to spare him during the massacre of the suitors contains a line ending that also appears in Penelope’s speech at O.4.695: οὐδέ τίς ἐστι χάρις μετόπισθ’ εὐεργέων, “and there is no kharis afterwards for good deeds.” Here, Leiodes claims that he has not done anything, but will lie dead beside the suitors, “and there is no kharis afterwards for good deeds” (O.22.318-319). Although Odysseus does not believe him and slays him, Leiodes’ words confirm the conventionality of the thought: good deeds deserve good kharis in return, and when that does not happen, the social system is being perverted.

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Gregory Nagy

Here at O.22.001–007 is the moment when Odysseus finally strips off the rags of a beggar and stands tall at the threshold as he scatters at his feet the arrows from his quiver. He will now pick up the arrows, one by one, and shoot them at the suitors. And he starts by taking aim at Antinoos. In Plato’s Ion, this moment is treated as the greatest of all scenes pictured in Homeric poetry. In a conversation with the rhapsode Ion, who specializes in the performance of Homeric poetry, Plato’s Socrates is making a mental list of what he considers to be the greatest Homeric scenes. First place in the list goes to the moment that we see here at the beginning of Rhapsody 22, where Odysseus stands at the threshold and pours the arrows from his quiver. This moment in the Odyssey, as we see in the order of mention by Plato’s Socrates, outranks even the greatest moment in the Iliad, which gets only second place. The Iliadic moment is where Achilles lunges at Hector, evidently for the last time. And third place goes to any one of those moments in the Iliad where Andromache or Hecuba or Priam, in that order, are shown lamenting. In this mental list of Plato’s Socrates, we see two examples of fear or terror and one combined example of pity—two emotions that are considered to be primary in tragedy as analyzed by Aristotle in his Poetics. I quote here the relevant wording, where Plato’s Socrates is speaking directly to the Homeric rhapsode Ion (Plato Ion 535b–c):

ΣΩ. Ἔχε δή μοι τόδε εἰπέ, ὦ Ἴων, καὶ μὴ ἀποκρύψῃ ὅτι ἄν σε ἔρωμαι· ὅταν εὖ εἴπῃς ἔπη καὶ ἐκπλήξῃς μάλιστα τοὺς θεωμένους, ἢ τὸν Ὀδυσσέα ὅταν ἐπὶ τὸν οὐδὸν ἐφαλλόμενον ᾄδῃς, ἐκφανῆ γιγνόμενον τοῖς μνηστῆρσι καὶ ἐκχέοντα τοὺς ὀιστοὺς πρὸ τῶν ποδῶν, ἢ Ἀχιλλέα ἐπὶ τὸν Ἕκτορα ὁρμῶντα, ἢ καὶ τῶν περὶ Ἀνδρομάχην ἐλεινῶν τι ἢ περὶ Ἑκάβην ἢ περὶ Πρίαμον, τότε πότερον ἔμφρων εἶ ἢ ἔξω {c} σαυτοῦ γίγνῃ καὶ παρὰ τοῖς πράγμασιν οἴεταί σου εἶναι ἡ ψυχὴ οἷς λέγεις ἐνθουσιάζουσα, ἢ ἐν Ἰθάκῃ οὖσιν ἢ ἐν Τροίᾳ ἢ ὅπως ἂν καὶ τὰ ἔπη ἔχῃ;

SOCRATES: Hold it right there. Tell me this, Ion—respond to what I ask without concealment. When you recite well the epic verses [epos plural] and induce a feeling of bedazzlement [ekplēxis] for the spectators [theōmenoi]—when you sing [as the subject of your singing] Odysseus leaping onto the threshold and revealing himself to the suitors and pouring out the arrows at his feet, or [as another subject of your singing] Achilles rushing at Hector, or [as still another subject of your singing] something connected to the pitiful things about Andromache or Hecuba or Priam— are you then in your right mind, or outside yourself? Does your spirit [psukhē], possessed by the god [enthousiazein], suppose that you are in the midst of the actions you describe in Ithaca or Troy, or wherever the epic verses [epos plural] have it?

This description captures the high drama of Homeric performance, as here at the beginning of Rhapsody 22.

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The rapid succession of actions at the end of Rhapsody 21, where the stringing of the bow had been followed immediately by the shooting of the first arrow, is now matched at the beginning of Rhapsody 22 by a similarly rapid succession of actions taken by Odysseus. The king shows no hesitation as he proceeds to kill Antinoos, O.22.008–021. And he will thereafter keep on killing the suitors, one after the other. Correspondingly, the transition from Rhapsody 21 to Rhapsody 22 shows no hesitation: the shooting of the first arrow, which wins the contest in archery at the end of one rhapsody, is followed immediately by the shooting of the next arrow that kills Antinoos here in the next rhapsody—to be followed in turn by the successive killings that will ultimately eliminate all the other would-be husbands of Penelope.

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Now, at the beginning of Rhapsody 22, a third test awaits Odysseus: he must kill the suitors. The king shows no hesitation. Having just won the contest in archery with the very first arrow that he shoots after stringing his mighty bow, he now goes on to aim his next arrow at Antinoos, who has been by far the worst of those leftover Achaeans of Ithaca. Odysseus shoots the arrow, and it hits the mark: Antinoos is instantly killed, O.22.008–021. The successive arrows, each one of them, will also hit the mark, and he keeps on shooting until there are no arrows left, O.22.116–119. Then, after Odysseus has run out of arrows to shoot, he arms himself with his armor for hand-to-hand combat, O.22.120–125. The slaughter of the suitors will continue until in the end all are killed.

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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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As noted in the comment at O.22.001-125, Odysseus passes three tests in proving that he is the lawful husband of Penelope and the genuine king of Ithaca: (1) the stringing of the bow, (2) the contest in archery, and (3) the killing of the suitors. Here at O.22.005, we see that the Greek word referring to the second test, the contest in archery, is aethlos (āthlos) ‘ordeal’. Now that he has performed his winning shot, Odysseus is saying that the contest has ‘reached an outcome’, as expressed by the verb ek-teleîn, O.22.005. On the use of this word aethlos (āthlos) ‘ordeal’ with reference to the heroic Labors of Hēraklēs, see the comment at O.11.620–624. On the use of this same word with reference to the ‘ordeals’ of warfare, see the comments at I.03.125–128; also at O.03.262 and O.04.170. On its use with reference to contests in athletics, see the comment at O.08.096–103. The masculine noun aethlos (āthlos), in referring to the ritualized ‘ordeal’ of āthlētai ‘athletes’, is correlated with the neuter noun aethlon (āthlon), which refers to a ‘prize’ that is won in competition among athletes.

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Seeing that Odysseus has just now shot an arrow that has killed the suitor Antinoos, the rest of the suitors are feeling outraged, assuming as they do that this killing was accidental, O.22.031–032. They revile Odysseus, whom they still fail to recognize, exclaiming that he has accidentally shot the very best of all the young men in Ithaca, O.22.029–030. In effect, they are delusionally assuming that Odysseus has killed the best of the Achaeans in Ithaca. They exclaim further that they will kill the would-be beggar and feed his corpse to vultures, O.22.030, adding derisively: so, don’t expect to win some prize for this shot of the arrow, O.22.027–028. And the word that is used here at O.22.027 for ‘prize’ is aethlon (āthlon), O.22.027. Whereas the masculine noun aethlos (āthlos) refers to the ritualized ‘ordeal’ of competition, as noted in the comment at O.22.005, the neuter noun aethlon (āthlon) ordinarily refers to a ‘prize’ that is won in the competition—as also noted in the comment at O.22.005.

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Reacting to the death of Antinoos, the remaining suitors were now ‘making likenesses’, as expressed by the verb eïskein ‘make likenesses, liken’, O.22.031. That is, each one of them was ‘making likenesses’ in his own mind. They made things up in their own minds, and these things were not just illusions: they were delusions. They were still imagining that Odysseus was a mere beggar, since he had up to now looked like a beggar. The likeness of Odysseus to a beggar made the suitors imagine something different than what was really happening. They imagined that the shooting of Antinoos must have been a grotesque accident. After all, how would a mere beggar dare to shoot the best of the Achaeans in Ithaca? The suitors’ mistaken way of thinking shows a lack of the mental qualities it would take to recognize Odysseus as the true king, as the best of the Achaeans. By the time Odysseus reveals himself as his true self, it is too late for the suitors. Possession of the mental qualities that they would have needed to have—but did not have—for a timely recognition of Odysseus is expressed here by way of the verb noeîn ‘take note (of), notice’, O.22.032. This verb, derived from nóos, which means basically ‘mind, way of thinking’, signals the capacity to recognize what is true. Such a capacity is characteristic of Alkinoos, who ‘notices’ things about the disguised Odysseus, as expressed by way of the verb noeîn ‘take note (of), notice’ at O.08.094 and at O.08.533, where the power of this king to ‘notice’ is what leads ultimately to the self-revelation of Odysseus to the Phaeacians in Odyssey 8. See the comments at O.08.094 and at O.08.533; see also the anchor comment at I.05.669 on noeîn ‘take note (of), notice’. Relevant also is the note at I.13.726–735 about a generalizing statement that is made in those lines: it is said there that a person’s nóos ‘mind’, I.13.732, is what enables him or her to ‘recognize’, gignōskein, I.13.734; see also the comment at O.17.292. In the case of Alkinoos, his mental power to ‘notice’ is the motivation for his “speaking name” (nomen loquens), alkí-noos, ‘he who has the power [alk- as in alkē ‘power’] of mind [nóos]’. By contrast with Alkinoos, whose “speaking name” is positive, Antinoos as the worst of the suitors has a “speaking name” that is negative: antí-noos ‘he who has a mind [nóos] that is opposed [anti]’. The opposition between the meanings of these two names may also go deeper, involving the root *nes- in the older sense of ‘return to life and life’: Alkinoos had the mental power to promote such a return, whereas Antinoos was in the end powerless to prevent it (on this point, see also H24H 10§10).

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On the infusion of strength as by way of divinely breathing it into the hero and thus reminding him of his own menos in the sense of his ‘power’, see the comments at I.10.482, I.11.508, I.15.059–060, I.15.262. Here at O.22.203, the menos ‘power’ that is breathed-out had been presumably breathed-in by divine agency.

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At O.22.285–286, the cowherd Philoitios kills the suitor Ktesippos, who had thrown at the disguised Odysseus a most lowly portion of beef as a physical insult that augmented his verbal insults during the feast that followed the sacrifice of one hundred cattle in celebration of the festival of Apollo. See the comment at O.20.292–302. Then at O.22.287–291, having killed the suitor, the cowherd mocks the dead Ktesippos for having mistreated a lowly guest who should have really been the kingly host at the feast celebrating the festival of Apollo. In mocking Ktesippos here, the cowherd resorts to the language of blame: he addresses the dead suitor as ‘son of Poluthersēs’, where this “speaking name” (nomen loquens) Polu-thersēs means ‘he who has much boldness [tharsos]’, O.22.287. Such a name is parallel to Thersītēs, the name of a character in the Iliad who is represented as a blame poet of the worst kind. Philoitios also addresses the dead Ktesippos as philo-kertomos ‘lover of insults, O.22.287. On kertomeîn ‘say words of insult’ as used in the language of blame poetry, see the comments at I.02.256, O.02.323, O.18.350; also at O.20.263.

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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 attestations of eukhesthai + aorist infinitive (and the series to which this verse belongs)

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analysis of the meaning and uses of piphauskesthai, here in the sense of ‘reveal through speech’ (in the context of analyzing the semantic and formal confusion of piphaskein and piphauskesthai)

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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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presence of battle-book formulas in the battle in the Odyssey, here a death announcement, in the context of the analysis of the non-formulaic eukhesthai introducing speech in O.14.463, which is nevertheless analogous to formula (X) (death eukhesthai), though it is not followed by a death announcement but an adventure tale (traditional function aborted by genre-suppression)

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in a list of expressions which do not specify the speaker’s name, in the context of analyzing I.11.379 and demonstrating the functional equivalence of eukhesthai in (X) || kai eukhomenos epos ēuda or (Y) hōs ephat’ Argeioisi d’akhos genet’ euxamenoio

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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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analysis of thuoskoos as not a particularly prestigious occupation, in the context of analyzing Odysseus’ response to Leodes in O.22.321

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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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comparison of this use of secular eukhesthai to specify social relationships as marks of privilege and identity with Vedic parallels

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analysis of thuoskoos as not a particularly prestigious occupation, in the context of analyzing Odysseus’ response to Leodes in O.22.321

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in a list of eukhesthai einai + social relationship

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analysis of Odysseus’ response to Leodes in this verse as taking him to take pride in his relationship with the suitors

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comparison of this use of secular eukhesthai to specify social relationships as marks of privilege and identity with Vedic parallels

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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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