The “he/she thought of other things” (ἄλλ᾽ ἐνόησε) formula ordinarily signals a change of scene or turn of the plot in a substantially new direction (see Odyssey 2.382). Here, exceptionally, it marks a continuation of the current scene: Athena devises a way to avoid a narrative shift. The remarkable reversal of normal usage draws attention to the passage that follows (Odyssey 23.247-343), a passage that is concluded by another instance of the formula, used, as usual, to signal a change of scene engineered by Athena (Odyssey 23.344; this is an instance of “ring composition”). The lines thus enclosed describe the long-awaited reunion of Penelope and Odysseus, and include the verse that Aristophanes of Byzantium and Aristarchus, according to the scholia, designated as the τέλος (the “end” or “fulfillment”—the meaning of this remark is much debated) of the Odyssey (see 23.296). The passage also includes the recapitulation of prior events by both Penelope and Odysseus. The integration of their respective stories (Penelope narrates what has happened on Ithaka in Odysseus’ absence, while Odysseus relates the tale of his wanderings) not only figures the reunion of the lovers; it also reconstitutes in a straightforward, linear fashion the fabula of the Odyssey, which has been presented by the poem’s master narrator in a self-consciously disjointed manner (compare de Jong 2001:563). The bracketing of these signal acts of narration by references to Athena’s agency underscores the goddess’s role as “source and sponsor of the plot” (quotation from Murnaghan 2005:61): it is Athena who makes possible the recapitulation of the plot on this occasion, just as it is she who sets in motion and directs events throughout the poem.\r\n\r\n \r\n\r\nReferences\r\n\r\nde Jong, I. J. F. 2001. A Narratological Commentary on the Odyssey. Cambridge and New York.\r\n\r\nMurnaghan, S. 1995. “The Plan of Athena.” In The Distaff Side: Representing the Female in Homer’s Odyssey (ed. B. Cohen) 61-80. New York and Oxford.

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.

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

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.

The two divine horses that draw the chariot of Ēōs, goddess of the dawn, are here named as Phaéthōn and Lámpōn. These names, both referring to the radiance of the sun, are parallel to the names for the two daughters of Hēlios, god of sunlight, who are Phaéthousa and Lampetíē. See also the comment at O.12.132. As already noted there, these four names and the myths linked with them reflect mythological traditions that can be reconstructed by way of Indo-European linguistics.

At O.23.264–284, Odysseus retells to Penelope the prophecy of Teiresias about the odyssey that still awaits the hero after he has re-established himself as husband of Penelope and as king of Ithaca. The retelling here does not add to what was said already at O.11.119–137, on which I refer to the comment at those lines. But there is one big exception, centering on a most interesting detail: in his quest to travel as far inland as possible, until the oar that he carries on his shoulder is mistaken for a winnowing shovel, the wording of Odysseys has it that he will be passing through many astea ‘cities’ of humankind, Ο.23.267–268. The word astea ‘cities’ here recalls the same word as used in O.01.003, with reference to the journeys of Odysseus in the Odyssey: there too, it is said, the hero will be passing through many astea ‘cities’ of many different kinds of people. The question is, do those astea ‘cities’ belong to the Odyssey or to an odyssey beyond the Odyssey?

For this epithet of ships, phoinikoparēioi ‘having cheeks of purple’, see also at O.11.124. Also the comment at O.09.125.

The scholia report that this line was the very last line of the Odyssey as supposedly composed by Homer—in the opinion of both Aristarchus and his predecessor, Aristophanes of Byzantium. Whatever their opinion may have been, there is evidence to show that both these editors of Homeric poetry retained in their editions of the base text the remaining lines of Odyssey 23 and the lines of Odyssey 24. For an example of such evidence, see the comment at O.23.310–343.

The scholia report that these lines were athetized by Aristarchus. Such a report shows that, even where editors like Aristarchus expressed doubts concerning the authenticity of a given set of verses in Homeric poetry, they would still retain such verses in the base text of their editions. This point is relevant to the comment at O.23.296. On athetesis and on base text, see the inventory of Words and Ideas.

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’