Levaniouk, Olga. 2011. Eve of the Festival: Making Myth in Odyssey 19. Hellenic Studies Series 46. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Levaniouk.Eve_of_the_Festival.2011.
Part 1. Odysseus
Chapter 1. Beginning of the Dialogue: Setting up the Third Cretan Lie
“ἔρχεο, δεῦρο κάλεσσον, ἵν’ ἀντίον αὐτὸς ἐνίσπῃ.
“Come, call him here, so he can tell me himself.”
αἶψά κε σὺν ᾧ παιδὶ βίας ἀποτείσεται ἀνδρῶν.
together with his son he would make them pay for their violence at once.
The beggar’s hopeful report of Odysseus in Thesprotia is known to Penelope only at second hand and is a priori suspect, and yet somehow the very talk of this new visitor leads her to the thought of what might happen if Odysseus came back. Although elsewhere Penelope denies the possibility that her husband may still return, here her statement is an expression of potentiality, not a condition contrary to fact. What happens next is even more striking: Telemachus sneezes and the ever-pessimistic Penelope laughs and takes the sneeze as a good omen. This suddenly hopeful tone is again connected to the beggar’s presence as Penelope, now for the third time, asks Eumaeus to bring the stranger to her:
οὐχ ὁράᾳς, ὅ μοι υἱὸς ἐπέπταρε πᾶσιν ἔπεσσι;
τῷ κε καὶ οὐκ ἀτελὴς θάνατος μνηστῆρσι γένοιτο
πᾶσι μάλ’, οὐδέ κέ τις θάνατον καὶ κῆρας ἀλύξει.
Don’t you see that my son sneezed at my words?
Therefore may death indeed come to the suitors,
all of them, and may not one escape death and fate.
Of course, Penelope laughs as she expresses this wish, and her laughter complicates the interpretation of her words. It certainly does not seem like the laughter of mirth. A wish for the suitors’ death hardly seems to be a joke. Does the laughter mean that she is not in earnest? The laugh, whatever else it may mean, sets Penelope’s remark apart from her usual tearful talk and attracts attention to it. At the same time, it seems to distance Penelope from her own words, and this means that there is something in them worth distancing, something potentially dangerous. It would be out of character {22|23} for Penelope to put too much confidence in Telemachus’ sneeze and it could be risky for her to express hope, since the suitors might notice and become suspicious. The laugh diffuses this danger and smoothes over the disparity between Penelope’s habitual grief and her behavior in this scene. It offers Penelope the possibility of denying her own words and disguises the importance of what she says. But under the cover of laughter the possibility is raised that the stranger is telling the truth, that there may be some news of Odysseus.
οἴην πρὸς ξεῖνον φάσθαι ἔπος ἠδ’ ἐπακοῦσαι.
to speak to a stranger and listen to him when you are alone.
μνηστήρων οὐχ ἥδε δίκη τὸ πάροιθε τέτυκτο,
οἵ τ’ ἀγαθήν τε γυναῖκα καὶ ἀφνειοῖο θύγατρα
μνηστεύειν ἐθέλωσι καὶ ἀλλήλοισ’ ἐρίσωσιν·
αὐτοὶ τοί γ’ ἀπάγουσι βόας καὶ ἴφια μῆλα
κούρης δαῖτα φίλοισι, καὶ ἀγλαὰ δῶρα διδοῦσιν·
ἀλλ’ οὐκ ἀλλότριον βίοτον νήποινον ἔδουσιν.
this is not what the way of suitors used to be,
those who wish to woo a good woman, a wealthy man’s daughter, {24|25}
and compete with each other.
They themselves bring cattle and fat sheep
to feast the young woman’s family, and give glorious gifts:
they do not devour without recompense the livelihood of others.
οὕνεκα τῶν μὲν δῶρα παρέλκετο, θέλγε δὲ θυμὸν
μειλιχίοισ’ ἐπέεσσι, νόος δέ οἱ ἄλλα μενοίνα.
because she extracted gifts from them, and charmed their minds
with her honeyed words, but in her mind she had another intent.
νείκεοι· ἦ γάρ σευ κλέος οὐρανὸν εὐρὺν ἰκάνει,
ὥς τέ τευ ἢ βασιλῆος ἀμύμονος, ὅς τε θεουδὴς
ἀνδράσιν ἐν πολλοῖσιν καὶ ἰφθίμοισιν ἀνάσσων
εὐδικίας ἀνέχῃσι, φέρῇσι δὲ γαῖα μέλαινα
πυροὺς καὶ κριθάς, βρίθῃσι δὲ δένδρεα καρπῷ,
τίκτῃ δ’ ἔμπεδα μῆλα, θάλασσα δὲ παρέχῃ ἰχθῦς
ἐξ εὐηγεσίης, ἀρετῶσι δὲ λάοι ὑπ’ αὐτοῦ.
For indeed your fame reaches the broad sky,
just like the fame of some perfect king, who upholds justice,
god-fearing, as he rules over many and valiant men,
and the black earth bears wheat and barley, and trees are laden with fruit,
and sheep constantly bear young, the sea provides fish,
because of his good leadership, and the people under him prosper.
I will come back to this very complex utterance in another chapter to consider its peculiarities as a compliment to Penelope. For the moment, however, I set aside its implications for her and even for the development of the dialogue and focus on only one aspect of Odysseus’ pronouncement, namely what it reveals about Odysseus himself.
ὡς δὲ χιὼν κατατήκετ’ ἐν ἀκροπόλοισιν ὄρεσσιν,
ἥν τ’ εὖρος κατέτηξεν, ἐπὴν ζέφυρος καταχεύῃ,
τηκομένης δ’ ἄρα τῆς ποταμοὶ πλήθουσι ῥέοντες·
ὣς τῆς τήκετο καλὰ παρήϊα δάκρυ χεούσης,
κλαιούσης ἑὸν ἄνδρα, παρήμενον.
just like the snow melts on the topmost mountains,
when the East Wind melts it, after the West Wind has poured it on,
and the flowing rivers are in flood as it melts.
In this way her fair cheeks melted as she poured tears,
crying for her husband, who was present.
ἀμφοτέρῃσι δὲ χερσὶν ἑλὼν κόνιν αἰθαλόεσσαν
χεύατο κὰκ κεφαλῆς πολιῆς, ἁδινὰ στεναχίζων.
with both hands he grasped the sooty dust
and poured it over his gray head, groaning incessantly.
The only exact parallel to these lines is Iliad 18.22–24 (Iliad 18.22–23 = Odyssey 24.315–316), where Achilles reacts to the news of Patroklos’ death, which suggests that in the Odyssey Laertes is thinking of Odysseus’ death. [13] The force of his grief is expressed by the idea of pouring of dust, just as Penelope pours tears in Book 19.
σήματ’ ἀναγνόντος, τά οἱ ἔμπεδα πέφραδ’ Ὀδυσσεύς·
as he recognized the sure signs that Odysseus showed him.
σήματ’ ἀναγνούσῃ, τά οἱ ἔμπεδα πέφραδ’ Ὀδυσσεύς·
as she recognized the sure signs that Odysseus showed her.
σήματ’ ἀναγνούσῃ, τά οἱ ἔμπεδα πέφραδ’ Ὀδυσσεύς.
as she recognized the sure signs which Odysseus showed her.
The occurrence of the same formula, which does not appear elsewhere in the Odyssey, unites the three episodes: only on these three occasions does a family member recognize Odysseus’ signs as ἔμπεδα, ‘firmly in place’, a marked term in the poem. [14]
ἐν μεγάροισι ν ἐμοῖσι φίλος τ’ ἔσῃ αἰδοῖός τε·
but now in my house you are a respected friend.
In sum, the parallels between Odysseus’ reunion with Laertes and the scene of the Third Cretan Lie suggest that not only the former but also the latter revolve around, or rather are structured by, the theme of Odysseus’ self-revelation. [16]
τήκετο, δάκρυ δ’ ἔδευεν ὑπὸ βλεφάροισι παρειάς.
ὡς δὲ γυνὴ κλαίῃσι φίλον πόσιν ἀμφιπεσοῦσα,
ὅς τε ἑῆς πρόσθεν πόλιος λαῶν τε πέσῃσιν,
ἄστεϊ καὶ τεκέεσσιν ἀμύνων νηλεὲς ἦμαρ·
ἡ μὲν τὸν θνῄσκοντα καὶ ἀσπαίροντα ἰδοῦσα
ἀμφ’ αὐτῷ χυμένη λίγα κωκύει·
melted, and tears from under his eyelids drenched his cheeks.
Just as a woman cries, falling and embracing her dear husband,
who fell defending his city and its people,
warding off the pitiless day from the city and children.
She sees him dying and gasping for breath
and she pours herself over him and cries in a piercing voice.
Footnotes