Homer's Odyssey / A Commentary

by Denton Jaques Snider

In the third group are two mothers who have a double honor; each has borne twins and heroic ones at that; moreover the Gods again enter the domestic relation of mortals. Leda's sons are "Castor the horseman, and Pollux the boxer," the first being mortal, the second immortal, and reputed son of Zeus, who permitted the immortal brother to share his immortality with his mortal brother; hence "every other day they both are alive, and every other day they both are dead." Again the divine gives itself to the human in the spirit of true brotherhood; the son of Zeus takes on the ills of mortality through fraternal love. The second mother of this group is Iphidameia, who declares Neptune to be the father of Otus and Ephialtes, of her monstrous twins, "who at the age of nine years threatened war upon the Gods," and proposed to storm heaven by piling Mount Ossa upon Olympus and Pelion on top of that. Such is the contrast: one set of sons is noble, worthy, and "receive honor like unto Gods;" the other set is defiant, assailing the divine order, and are slain by the arrows of Apollo "ere the down blossomed beneath their temples, and covered their chins with tender furze."

c. Such, then, is the account of the mothers, the women who have borne children famous in legend. They have taken up nearly the whole of the present catalogue; the wives and maidens now come in for brief mention, forming two groups, three persons to the group. The poet is impartial, he introduces the faithful woman, Ariadne, and the faithless woman, Eriphyle; in the one case man is the betrayer of woman, and in the other case woman is the betrayer of man. Possibly in Ariadne may be a little hint for Nausicaa, saying, Beware.

But the singer is tired and sleepy; moreover has he not told the essence of the matter in this portion of his song? He at once dismisses any further account of famous women, "wives and daughters of Heroes," whom he saw in Hades. Nausicaa and Arete have had their share, wonderful has been their interest in the struggles and sufferings of their sex; they feel in themselves the possibility of such conflicts. These ideal shapes of the olden time, product of the myth-making Imagination, are types, are the ghosts of Hades which Ulysses must see and know, ere he return to the Upperworld.

II.

We now reach the second main division of the Book, which is marked by the introduction of the audience, the Phæacians, "who were held rapt with the charm" of the story. Observe, too, that the palace was not brilliantly illuminated, but shadowy—fit environment for fairy tales (line 334). This main division is again separated into two subordinate divisions which embrace the Present and the Past, and thus is in structure homologous with the preceding main division. Yet both the Present and the Past are not now the same as the previous Present and Past.

I. First of the hearers speaks out the mother, wife of Alcinous, Arete, in response to the compliment of Ulysses in singing of the Famous Women of Greek legend. "Phæacians, how does this man seem to you now in form, stature, and mind?" Very different does he seem from what he once did; thus she gently apologizes for her previous treatment. She appreciates the Hero; moreover, she asks that the high guest receive hospitable gifts without stint; "for much wealth lies in your halls by the bounty of the Gods."

Having thus heard from the woman, we now are to hear from the man, the representative Phæacian, king Alcinous. In the first portion of the Book Ulysses and his companions were the Present to which the Past appeared in Hades. Now the Phæacians are introduced as the Present, which is to hear the voice of the Past from Hades. Moreover, the Past is not the Pre-Trojan, but the Trojan Past, which we have already (in the Eighth Book) seen to be dear to the Phæacian heart. It is no wonder, then, that Alcinous, as soon as he can urge his request, calls for a song about the Greco-Trojan Heroes in the Underworld. "Tell us if thou didst see any of those godlike Argives who followed thee to Troy and there met their fate." Not the mother of the Hero, but the Hero himself is now to be called up; the man wishes to listen to the deeds of man. Demodocus, the Phæacian bard, always sung of some phase of the Trojan struggle, which was the popular subject of story and song in Phæacia. Thus we note again how the famous Past, stored away in Hades, is made to flow into the Present, and to contribute an ideal of heroism, and a warning also, to the living.

A touch of Homer as literary critic we should not pass by, as he does not often take that part. Alcinous, praising the tale of Ulysses, says: "Form of words is thine, and a noble meaning, and a mythus, as when a minstrel sings." Three important qualities of poetry are therein set forth: beauty of language, nobleness of content, and the fable in its totality—all of which belong to the preceding narrative. Moreover, Alcinous draws a sharp contrast with that other sort of storytellers, mere liars, "of whom the dark earth feeds many," who go about "fabricating lies, out of which we, looking into them, can get nothing," can draw no meaning. Such at least is our view of this passage (line 366) about which there is a difference of opinion among commentators. At any rate we catch a glimpse of Homeric literary criticism in Homer, who states the requirements of good poetry, and contrasts them with the "liar" or fabricator of yarns, which are certainly devoid of the noble spirit or worthy content.

So Ulysses is asked to begin his Trojan story, always more interesting than that catalogue of women, at which everybody began to yawn. "It is not yet time to go to sleep," cries Alcinous, "the night here is unspeakably long," and still further, "I would hold out till daylight," listening to thy story.

II. The Trojan Past, then, is the theme; we are to behold the ghosts of those who were famous during the War at Troy, and immediately afterwards, both men and women. But the women are not here given a special portion to themselves, but are woven into the general narrative. This part of the Book is sung for the men, the opposite sex is withdrawn into the background; still they will be duly mentioned, since the whole conflict is over a woman. Moreover Alcinous wishes to hear what the heroic men are doing in the future world, whither too he must go.