Homer Odyssey 22.255

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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.) — 22.255 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.) — 22.255 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.) — 22.272 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 22.255 focus
They threw their spears as he bade them, but Athena made them all of no effect. One hit the door post; another went against the door; the pointed shaft of another struck the wall; [260] and as soon as they had avoided all the spears of the suitors much-enduring great Odysseus said to his own men, “My friends, I should say we too had better let drive into the middle of them, or they will crown all the harm they have done us by killing us outright.”
English (William Cullen Bryant, 1873) (OCR draft) Experimental (English (William Cullen Bryant, 1873)) — 22.255 focus
English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) Experimental (English (Thomas Hobbes, 1667, ed. Molesworth 1843)) — 22.255 focus
English (George Chapman, 1667, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1667, ed. Hooper 1857)) — 22.255 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 22.255 focus
English (H. B. Cotterill, 1911) (OCR draft) Experimental (English (H. B. Cotterill, 1911)) — 22 focus

Notes on the current edition

Odyssey

1. That is, Polybus was slain by the faithful swain, Eumaeus.
2. This refers to a passage in the latter end of the twentieth book, where Ctesippus throws the foot of a bullock at Ulysses. Philaetius here gives him a mortal wound with his spear, and tells him it is a return for the foot of the bullock. 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

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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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

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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contrasting Phemios’ plea to be spared to Odysseus with that of Leodes, in context of the 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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contrasting Phemios’ plea to be spared to Odysseus with that of Leodes, in context of the 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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