# The Odyssey, Book 19: Penelope and the Beggar; The Recognition of the Scar

Ὀδύσσεια · Homer · The Homecoming

Penelope questions the beggar. The old nurse Eurycleia washes his feet, finds the boar's scar, and knows him. Penelope tells her dream of the geese.

Source: https://1732studios.com/books/odyssey/19. Data: https://1732studios.com/books/odyssey/19.json. Audio: https://audio.1732studios.com/odyssey/<line id>.m4a.

**1** αὐτὰρ ὁ ἐν μεγάρῳ ὑπελείπετο δῖος Ὀδυσσεύς,  
But noble Odysseus stayed behind in the hall,

**2** μνηστήρεσσι φόνον σὺν Ἀθήνῃ μερμηρίζων·  
plotting the suitors' slaughter together with Athena;
> Pondering, scheming: The participle means to turn something over in the mind, to deliberate anxiously. Here it carries the weight of plotting murder.

**3** αἶψα δὲ Τηλέμαχον ἔπεα πτερόεντα προσηύδα·  
and at once he spoke winged words to Telemachus:
> Winged words (formula): A stock Homeric epithet-phrase for speech, picturing words as flying from speaker to hearer. It recurs throughout the poem.

**4** Τηλέμαχε, χρὴ τεύχεʼ ἀρήϊα κατθέμεν εἴσω  
"Telemachus, we must store the weapons of war away inside,

**5** πάντα μάλʼ· αὐτὰρ μνηστῆρας μαλακοῖς ἐπέεσσι  
every one of them. And when the suitors miss them and question you,

**6** παρφάσθαι, ὅτε κέν σε μεταλλῶσιν ποθέοντες·  
put them off with soft words, the moment they ask after them, longing for them.

**7** ἐκ καπνοῦ κατέθηκʼ, ἐπεὶ οὐκέτι τοῖσιν ἐῴκει  
Say: 'I stowed them clear of the smoke, since they no longer looked like

**8** οἷά ποτε Τροίηνδε κιὼν κατέλειπεν Ὀδυσσεύς,  
those that Odysseus left behind when he set out for Troy,

**9** ἀλλὰ κατῄκισται, ὅσσον πυρὸς ἵκετʼ ἀϋτμή.  
but were tarnished, as far as the breath of the fire had reached them.

**10** πρὸς δʼ ἔτι καὶ τόδε μεῖζον ἐνὶ φρεσὶν ἔβαλε δαίμων  
And on top of that a god has put this greater fear in my heart:

**11** μή πως οἰνωθέντες, ἔριν στήσαντες ἐν ὑμῖν,  
that you might somehow, sodden with wine, set a quarrel going among yourselves,

**12** ἀλλήλους τρώσητε καταισχύνητέ τε δαῖτα  
and wound one another and bring shame on the feast

**13** καὶ μνηστύν· αὐτὸς γὰρ ἐφέλκεται ἄνδρα σίδηρος.  
and the wooing; for iron of itself draws a man on.'"

**14** ὣς φάτο, Τηλέμαχος δὲ φίλῳ ἐπεπείθετο πατρί,  
So he spoke, and Telemachus obeyed his dear father,

**15** ἐκ δὲ καλεσσάμενος προσέφη τροφὸν Εὐρύκλειαν·  
and calling out the nurse Eurycleia he said to her:

**16** μαῖʼ, ἄγε δή μοι ἔρυξον ἐνὶ μεγάροισι
                     γυναῖκας,  
"Nurse, come now, shut the women up for me inside the halls,

**17** ὄφρα κεν ἐς θάλαμον καταθείομαι ἔντεα πατρὸς  
so that I may store away in the chamber my father's fine

**18** καλά, τά μοι κατὰ οἶκον ἀκηδέα καπνὸς ἀμέρδει  
armor, which neglected throughout the house the smoke is dulling

**19** πατρὸς ἀποιχομένοιο· ἐγὼ δʼ ἔτι νήπιος ἦα.  
while my father is away; and I was still a child then.
> Nepios: A small child, and by extension someone helpless or without understanding. Here it marks Telemachus's youth at the time his father left.

**20** νῦν δʼ ἐθέλω καταθέσθαι, ἵνʼ οὐ πυρὸς ἵξετʼ ἀϋτμή.  
Now I want to store it where the breath of the fire will not reach it."

**21** τὸν δʼ αὖτε προσέειπε φίλη τροφὸς Εὐρύκλεια·  
Then his dear nurse Eurycleia answered him:

**22** αἲ γὰρ δή ποτε, τέκνον, ἐπιφροσύνας ἀνέλοιο  
"If only, child, you would at last take up such good sense
> Wishing optative: The optative with the particle αἲ γὰρ expresses a wish: 'if only you would take up.' Eurycleia hopes Telemachus is finally maturing.

**23** οἴκου κήδεσθαι καὶ κτήματα πάντα φυλάσσειν.  
as to care for the house and guard all its possessions.

**24** ἀλλʼ ἄγε, τίς τοι ἔπειτα μετοιχομένη φάος οἴσει;  
But come, who then will go with you to carry the light?

**25** δμῳὰς δʼ οὐκ εἴας προβλωσκέμεν, αἵ κεν ἔφαινον.  
You would not let the serving-women come forward who might have given light."

**26** τὴν δʼ αὖ Τηλέμαχος πεπνυμένος ἀντίον ηὔδα·  
Then wise Telemachus answered her in turn:
> Wise (perfect participle): A perfect-tense participle used as a fixed epithet of Telemachus, meaning 'shrewd, sound of mind.' The perfect denotes a settled, abiding quality.

**27** ξεῖνος ὅδʼ· οὐ γὰρ ἀεργὸν ἀνέξομαι ὅς κεν ἐμῆς γε  
"This stranger here; for I will not tolerate an idle man who lays a hand

**28** χοίνικος ἅπτηται, καὶ τηλόθεν εἰληλουθώς.  
on my grain-ration, even one come from far away."
> Choinix: A dry measure of grain, roughly a man's daily ration. The point: anyone who eats my bread must earn it.

**29** ὣς ἄρʼ ἐφώνησεν, τῇ δʼ ἄπτερος ἔπλετο μῦθος.  
So he spoke, and for her the word stayed unwinged.
> Unwinged word (idiom): A puzzling formula: the word 'did not fly,' i.e. she made no reply and simply obeyed. Contrast the common 'winged words' that fly from speaker to hearer.

**30** κλήϊσεν δὲ θύρας μεγάρων εὖ ναιεταόντων.  
She barred the doors of the well-built halls.

**31** τὼ δʼ ἄρʼ ἀναΐξαντʼ Ὀδυσεὺς καὶ φαίδιμος υἱὸς  
Then the two of them sprang up, Odysseus and his glorious son,
> Dual number: The verb and pronoun are in the dual, the special form for exactly two. Homer uses it here for father and son acting as a pair.

**32** ἐσφόρεον κόρυθάς τε καὶ ἀσπίδας ὀμφαλοέσσας  
and carried inside the helmets and the bossed shields

**33** ἔγχεά τʼ ὀξυόεντα· πάροιθε δὲ Παλλὰς Ἀθήνη,  
and the sharp-pointed spears; and before them Pallas Athena,

**34** χρύσεον λύχνον ἔχουσα, φάος περικαλλὲς ἐποίει.  
holding a golden lamp, made a light wondrously fair.

**35** δὴ τότε Τηλέμαχος προσεφώνεεν ὃν πατέρʼ αἶψα·  
Then at once Telemachus spoke to his father:

**36** ὦ πάτερ, ἦ μέγα θαῦμα τόδʼ ὀφθαλμοῖσιν
                     ὁρῶμαι.  
"Father, truly this is a great marvel my eyes behold.

**37** ἔμπης μοι τοῖχοι μεγάρων καλαί τε μεσόδμαι,  
Surely the walls of the halls and the fair crossbeams,

**38** εἰλάτιναί τε δοκοί, καὶ κίονες ὑψόσʼ ἔχοντες  
the rafters of fir, and the pillars rising high,

**39** φαίνοντʼ ὀφθαλμοῖς ὡς εἰ πυρὸς αἰθομένοιο.  
shine before my eyes as if with blazing fire.

**40** ἦ μάλα τις θεὸς ἔνδον, οἳ οὐρανὸν εὐρὺν ἔχουσι.  
Surely some god is within, of those who hold the wide heaven."

**41** τὸν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then Odysseus of many devices answered him:
> Of many devices (epithet): The signature epithet of Odysseus, 'of many counsels/devices,' marking his cunning. It recurs as a formula whenever he speaks.

**42** σίγα καὶ κατὰ σὸν νόον ἴσχανε μηδʼ ἐρέεινε·  
"Hush, hold it within your mind and ask no questions.

**43** αὕτη τοι δίκη ἐστὶ θεῶν, οἳ Ὄλυμπον ἔχουσιν.  
This, you see, is the way of the gods who hold Olympus.

**44** ἀλλὰ σὺ μὲν κατάλεξαι, ἐγὼ δʼ ὑπολείψομαι αὐτοῦ,  
But go you and lie down, while I stay behind here,

**45** ὄφρα κʼ ἔτι δμῳὰς καὶ μητέρα σὴν ἐρεθίζω·  
so that I may stir up the serving-women and your mother still further;

**46** ἡ δέ μʼ ὀδυρομένη εἰρήσεται ἀμφὶς ἕκαστα.  
and she in her grief will question me about each thing."

**47** ὣς φάτο, Τηλέμαχος δὲ διὲκ μεγάροιο βεβήκει  
So he spoke, and Telemachus went out through the hall

**48** κείων ἐς θάλαμον, δαΐδων ὕπο λαμπομενάων,  
to lie down in his chamber, by the light of blazing torches,

**49** ἔνθα πάρος κοιμᾶθʼ, ὅτε μιν γλυκὺς ὕπνος ἱκάνοι·  
where before he used to sleep whenever sweet sleep came over him;

**50** ἔνθʼ ἄρα καὶ τότʼ ἔλεκτο καὶ Ἠῶ δῖαν ἔμιμνεν.  
there then he lay down too and waited for bright Dawn.

**51** αὐτὰρ ὁ ἐν μεγάρῳ ὑπελείπετο δῖος Ὀδυσσεύς,  
But noble Odysseus stayed behind in the hall,

**52** μνηστήρεσσι φόνον σὺν Ἀθήνῃ μερμηρίζων.  
plotting the suitors' slaughter together with Athena.

**53** ἡ δʼ ἴεν ἐκ θαλάμοιο περίφρων Πηνελόπεια,  
Then wise Penelope came down from her chamber,
> Wise, circumspect (epithet): The standing epithet of Penelope, literally 'thinking all around,' i.e. prudent and circumspect. A formulaic marker of her character.

**54** Ἀρτέμιδι ἰκέλη ἠὲ χρυσέῃ Ἀφροδίτῃ.  
like Artemis or golden Aphrodite.

**55** τῇ παρὰ μὲν κλισίην πυρὶ κάτθεσαν, ἔνθʼ ἄρʼ ἐφῖζε,  
For her they set a chair beside the fire, where she would sit,

**56** δινωτὴν ἐλέφαντι καὶ ἀργύρῳ· ἥν ποτε τέκτων  
inlaid with ivory and silver; once a craftsman

**57** ποίησʼ Ἰκμάλιος, καὶ ὑπὸ θρῆνυν ποσὶν ἧκε  
had made it, Icmalius, and fitted a footstool beneath for the feet,

**58** προσφυέʼ ἐξ αὐτῆς, ὅθʼ ἐπὶ μέγα βάλλετο κῶας.  
joined to the chair itself, over which a great fleece was thrown.

**59** ἔνθα καθέζετʼ ἔπειτα περίφρων Πηνελόπεια.  
There then wise Penelope sat down.

**60** ἦλθον δὲ δμῳαὶ λευκώλενοι ἐκ μεγάροιο.  
And the white-armed serving-women came from the hall.
> White-armed: A formulaic epithet for women (most famously Hera), describing bare white forearms as a mark of beauty.

**61** αἱ δʼ ἀπὸ μὲν σῖτον πολὺν ᾕρεον ἠδὲ τραπέζας  
They cleared away the abundant food and the tables

**62** καὶ δέπα, ἔνθεν ἄρʼ ἄνδρες ὑπερμενέοντες ἔπινον·  
and the cups from which the overbearing men had been drinking;

**63** πῦρ δʼ ἀπὸ λαμπτήρων χαμάδις βάλον, ἄλλα δʼ ἐπʼ αὐτῶν  
and they threw the fire from the braziers down to the ground, and on them

**64** νήησαν ξύλα πολλά, φόως ἔμεν ἠδὲ θέρεσθαι.  
heaped much fresh wood, to give light and warmth.

**65** ἡ δʼ Ὀδυσῆʼ ἐνένιπε Μελανθὼ δεύτερον αὖτις·  
Then Melantho reviled Odysseus a second time again:

**66** ξεῖνʼ, ἔτι καὶ νῦν ἐνθάδʼ ἀνιήσεις διὰ νύκτα  
"Stranger, will you still keep on plaguing us here through the night,

**67** δινεύων κατὰ οἶκον, ὀπιπεύσεις δὲ γυναῖκας;  
roaming about the house and ogling the women?

**68** ἀλλʼ ἔξελθε θύραζε, τάλαν, καὶ δαιτὸς ὄνησο·  
Get out the door, you wretch, and be content with your dinner;

**69** ἢ τάχα καὶ δαλῷ βεβλημένος εἶσθα θύραζε.  
or soon you will be struck with a firebrand and go out the door."

**70** τὴν δʼ ἄρʼ ὑπόδρα ἰδὼν προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then with a scowl Odysseus of many devices answered her:
> Looking from under (with a scowl): A formulaic phrase for an angry, lowering glance, literally 'looking up from beneath the brows.' It signals indignant speech.

**71** δαιμονίη, τί μοι ὧδʼ ἐπέχεις κεκοτηότι θυμῷ;  
"You strange woman, why do you set upon me like this, with such a spiteful heart?

**72** ἦ ὅτι δὴ ῥυπόω, κακὰ δὲ χροῒ εἵματα εἷμαι,  
Is it because I am filthy, and wear shabby clothes on my body,

**73** πτωχεύω δʼ ἀνὰ δῆμον; ἀναγκαίη γὰρ ἐπείγει.  
and beg through the land? Necessity drives me to it.

**74** τοιοῦτοι πτωχοὶ καὶ ἀλήμονες ἄνδρες ἔασι  
Such are beggars and homeless wandering men.

**75** καὶ γὰρ ἐγώ ποτε οἶκον ἐν ἀνθρώποισιν ἔναιον  
For I too once lived in a house among men,

**76** ὄλβιος ἀφνειὸν καὶ πολλάκι δόσκον ἀλήτῃ,  
blessed and rich, and often I gave to a wanderer,

**77** τοίῳ ὁποῖος ἔοι καὶ ὅτευ κεχρημένος ἔλθοι·  
whatever sort he was and with whatever need he came.

**78** ἦσαν δὲ δμῶες μάλα μυρίοι, ἄλλα τε πολλὰ  
I had servants past counting, and many other things

**79** οἷσίν τʼ εὖ ζώουσι καὶ ἀφνειοὶ καλέονται.  
by which men live well and are called wealthy.

**80** ἀλλὰ Ζεὺς ἀλάπαξε Κρονίων· ἤθελε γάρ που·  
But Zeus the son of Cronus ruined it—for so, I suppose, he willed.
> Son of Cronus (patronymic): A patronymic naming Zeus as son of Cronus, a common Homeric way of identifying gods and heroes by lineage.

**81** τῷ νῦν μήποτε καὶ σύ, γύναι, ἀπὸ πᾶσαν ὀλέσσῃς  
So now, woman, beware lest you too one day lose all

**82** ἀγλαΐην, τῇ νῦν γε μετὰ δμῳῇσι κέκασσαι·  
the splendor in which you now outshine the serving-women;

**83** μή πώς τοι δέσποινα κοτεσσαμένη χαλεπήνῃ,  
lest somehow your mistress grow angry and turn harsh on you,

**84** ἢ Ὀδυσεὺς ἔλθῃ· ἔτι γὰρ καὶ ἐλπίδος αἶσα.  
or Odysseus come; for there is still a portion of hope.

**85** εἰ δʼ ὁ μὲν ὣς ἀπόλωλε καὶ οὐκέτι νόστιμός ἐστιν,  
And even if he has perished so, and is no longer to return,

**86** ἀλλʼ ἤδη παῖς τοῖος Ἀπόλλωνός γε ἕκητι,  
still by Apollo's grace he has such a son,

**87** Τηλέμαχος· τὸν δʼ οὔ τις ἐνὶ μεγάροισι γυναικῶν  
Telemachus; and not one of the women in the halls

**88** λήθει ἀτασθάλλουσʼ, ἐπεὶ οὐκέτι τηλίκος ἐστίν.  
escapes his notice when she misbehaves, since he is no longer so young."

**89** ὣς φάτο, τοῦ δʼ ἤκουσε περίφρων Πηνελόπεια,  
So he spoke, and wise Penelope heard him,

**90** ἀμφίπολον δʼ ἐνένιπεν ἔπος τʼ ἔφατʼ ἔκ τʼ ὀνόμαζε·  
and she rebuked the maid, spoke a word and called her by name:
> Spoke and called by name (formula): A recurring verse used to introduce a pointed address. The two verbs together form a fixed expression for speaking directly to someone.

**91** πάντως, θαρσαλέη, κύον ἀδεές, οὔ τί με
                     λήθεις  
"Bold creature, shameless bitch, you do not escape me at all,

**92** ἔρδουσα μέγα ἔργον, ὃ σῇ κεφαλῇ ἀναμάξεις·  
doing this great wrong, which you will wipe off onto your own head.

**93** πάντα γὰρ εὖ ᾔδησθʼ, ἐπεὶ ἐξ ἐμεῦ ἔκλυες αὐτῆς  
For you knew all of it well, since you heard it from me myself,

**94** ὡς τὸν ξεῖνον ἔμελλον ἐνὶ μεγάροισιν ἐμοῖσιν  
how I intended in my own halls

**95** ἀμφὶ πόσει εἴρεσθαι, ἐπεὶ πυκινῶς ἀκάχημαι.  
to question the stranger about my husband, since I am sharply grieved."

**96** ἦ ῥα καὶ Εὐρυνόμην ταμίην πρὸς μῦθον ἔειπεν·  
She spoke, and addressed Eurynome the housekeeper:

**97** Εὐρυνόμη, φέρε δὴ δίφρον καὶ κῶας ἐπʼ αὐτοῦ,  
"Eurynome, bring a chair now and a fleece upon it,

**98** ὄφρα καθεζόμενος εἴπῃ ἔπος ἠδʼ ἐπακούσῃ  
so that the stranger may sit and speak his word and listen

**99** ὁ ξεῖνος ἐμέθεν· ἐθέλω δέ μιν ἐξερέεσθαι.  
to me; for I wish to question him."

**100** ὣς ἔφαθʼ, ἡ δὲ μάλʼ ὀτραλέως κατέθηκε φέρουσα  
So she spoke, and the woman very briskly brought and set down

**101** δίφρον ἐΰξεστον καὶ ἐπʼ αὐτῷ κῶας ἔβαλλεν·  
a polished chair, and threw a fleece upon it;

**102** ἔνθα καθέζετʼ ἔπειτα πολύτλας δῖος Ὀδυσσεύς.  
there then much-enduring noble Odysseus sat down.
> Much-enduring noble Odysseus: One of Odysseus's most frequent formulaic epithets, 'much-suffering' or 'much-enduring,' celebrating his capacity to bear hardship.

**103** τοῖσι δὲ μύθων ἦρχε περίφρων Πηνελόπεια·  
And wise Penelope began the talk among them:

**104** ξεῖνε, τὸ μέν σε πρῶτον ἐγὼν εἰρήσομαι αὐτή·  
"Stranger, this first I myself will ask you:

**105** τίς πόθεν εἶς ἀνδρῶν; πόθι τοι πόλις ἠδὲ τοκῆες;  
who among men are you, and from where? Where is your city and your parents?"
> Who and from where? (formula): The standard Homeric question put to a guest, asking name, homeland, and lineage. It is the host's customary opening.

**106** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then Odysseus of many devices answered her:

**107** ὦ γύναι, οὐκ ἄν τίς σε βροτῶν ἐπʼ ἀπείρονα γαῖαν  
"Lady, no mortal upon the boundless earth

**108** νεικέοι· ἦ γάρ σευ κλέος οὐρανὸν εὐρὺν ἱκάνει,  
could find fault with you; for indeed your fame reaches the wide heaven,
> Kleos (fame): Kleos is the glory or renown that spreads abroad and outlives a person—a central value in Homeric society. Penelope's reaches heaven itself.

**109** ὥς τέ τευ ἢ βασιλῆος ἀμύμονος, ὅς τε θεουδὴς  
like that of some blameless king, who god-fearing

**110** ἀνδράσιν ἐν πολλοῖσι καὶ ἰφθίμοισιν ἀνάσσων  
and ruling over many strong men

**111** εὐδικίας ἀνέχῃσι, φέρῃσι δὲ γαῖα μέλαινα  
upholds good judgments, and the black earth bears for him
> Generalizing subjunctive: These present subjunctives describe what any such good king habitually does; the long Homeric endings (-ῃσι) mark the generic, repeated action of a relative clause.

**112** πυροὺς καὶ κριθάς, βρίθῃσι δὲ δένδρεα καρπῷ,  
wheat and barley, and the trees are heavy with fruit,

**113** τίκτῃ δʼ ἔμπεδα μῆλα, θάλασσα δὲ παρέχῃ ἰχθῦς  
the flocks bring forth without fail, and the sea yields fish

**114** ἐξ εὐηγεσίης, ἀρετῶσι δὲ λαοὶ ὑπʼ αὐτοῦ.  
under his good rule, and the people flourish beneath him.

**115** τῷ ἐμὲ νῦν τὰ μὲν ἄλλα μετάλλα σῷ ἐνὶ οἴκῳ,  
So ask me now about all else here in your house,

**116** μηδʼ ἐμὸν ἐξερέεινε γένος καὶ πατρίδα γαῖαν,  
but do not probe into my lineage and my native land,
> Negative command: μηδέ with the present imperative ἐξερέεινε forbids an ongoing action: 'stop asking,' 'do not keep probing.' The present aspect suits a prohibition against continuing.

**117** μή μοι μᾶλλον θυμὸν ἐνιπλήσῃς ὀδυνάων  
lest you fill my heart still fuller with sorrows

**118** μνησαμένῳ μάλα δʼ εἰμὶ πολύστονος· οὐδέ τί με χρὴ  
as I remember; I am a man of much grieving. And it is not right for me
> Participle of the speaker: The aorist middle participle agrees with an implied 'me': sorrow would fill the heart of me 'having remembered.' Homer often lets such participles carry the temporal sense 'when/once I remember.'

**119** οἴκῳ ἐν ἀλλοτρίῳ γοόωντά τε μυρόμενόν τε  
to sit weeping and wailing in a house not my own,

**120** ἧσθαι, ἐπεὶ κάκιον πενθήμεναι ἄκριτον αἰεί·  
since it is the worse thing to mourn endlessly without measure;

**121** μή τίς μοι δμῳῶν νεμεσήσεται, ἠὲ σύ γʼ αὐτή,  
lest one of the maids be angry with me, or you yourself,

**122** φῇ δὲ δακρυπλώειν βεβαρηότα με φρένας οἴνῳ.  
and say I drift in tears because my wits are heavy with wine.
> "Drift in tears": A rare compound joining 'tear' (δάκρυ) and 'to sail/float' (πλώω): to be so soaked in weeping as to be 'awash.' Odysseus fears being thought a maudlin drunk.

**123** τὸν δʼ ἠμείβετʼ ἔπειτα περίφρων Πηνελόπεια·  
Then wise Penelope answered him:

**124** ξεῖνʼ, ἦ τοι μὲν ἐμὴν ἀρετὴν εἶδός τε δέμας τε  
"Stranger, truly my excellence, my looks and my form,

**125** ὤλεσαν ἀθάνατοι, ὅτε Ἴλιον εἰσανέβαινον  
the immortals destroyed when the Argives embarked for Ilium,

**126** Ἀργεῖοι, μετὰ τοῖσι δʼ ἐμὸς πόσις ᾖεν Ὀδυσσεύς  
and among them went my husband Odysseus.

**127** εἰ κεῖνός γʼ ἐλθὼν τὸν ἐμὸν βίον ἀμφιπολεύοι,  
If he were to come and take charge of my life again,
> Optative wish/condition: The present optative ἀμφιπολεύοι frames an unreal, hoped-for situation: 'if only he might come and tend it.' The optative carries the remote, wished-for tone.

**128** μεῖζον κε κλέος εἴη ἐμὸν καὶ κάλλιον οὕτως.  
then greater would my fame be, and fairer thus.

**129** νῦν δʼ ἄχομαι· τόσα γάρ μοι ἐπέσσευεν κακὰ δαίμων.  
But now I grieve, so many are the evils a god has loosed upon me.

**130** ὅσσοι γὰρ νήσοισιν ἐπικρατέουσιν ἄριστοι,  
For all the noblest who hold power over the islands,

**131** Δουλιχίῳ τε Σάμῃ τε καὶ ὑλήεντι Ζακύνθῳ,  
over Dulichium and Same and wooded Zacynthus,

**132** οἵ τʼ αὐτὴν Ἰθάκην εὐδείελον ἀμφινέμονται,  
and those who dwell about Ithaca itself, clear in the sun,
> Epithet of Ithaca: A standing epithet, roughly 'far-seen' or 'clear in the light'—an island that stands out plainly. We keep the concrete image rather than flatten it.

**133** οἵ μʼ ἀεκαζομένην μνῶνται, τρύχουσι δὲ οἶκον.  
they woo me against my will and waste away my house.

**134** τῷ οὔτε ξείνων ἐμπάξομαι οὔθʼ ἱκετάων  
So I take no heed of strangers, nor of suppliants,

**135** οὔτε τι κηρύκων, οἳ δημιοεργοὶ ἔασιν·  
nor at all of heralds, who do the people's work;

**136** ἀλλʼ Ὀδυσῆ ποθέουσα φίλον κατατήκομαι ἦτορ.  
but longing for Odysseus I melt away my own heart.

**137** οἱ δὲ γάμον σπεύδουσιν· ἐγὼ δὲ δόλους τολυπεύω.  
They press for the marriage, but I spin out my schemes.
> "Spin out tricks": τολυπεύω means literally to wind wool into a ball; here it is a weaving metaphor for contriving stratagems—apt, since her great trick is the loom itself.

**138** φᾶρος μέν μοι πρῶτον ἐνέπνευσε φρεσὶ δαίμων,  
First a god breathed into my mind the thought of a robe:

**139** στησαμένῃ μέγαν ἱστόν, ἐνὶ μεγάροισιν ὑφαίνειν,  
I set up a great loom in the hall and began to weave,

**140** λεπτὸν καὶ περίμετρον· ἄφαρ δʼ αὐτοῖς μετέειπον·  
a fine web of vast measure; and at once I said to them:

**141** κοῦροι, ἐμοὶ μνηστῆρες, ἐπεὶ θάνε δῖος
                        Ὀδυσσεύς,  
'Young men, my suitors, since noble Odysseus is dead,

**142** μίμνετʼ ἐπειγόμενοι τὸν ἐμὸν γάμον, εἰς ὅ κε φᾶρος  
hold back, though you press my marriage, until I finish this robe—

**143** ἐκτελέσω—μή μοι μεταμώνια νήματʼ ὄληται—  
let not my spinning be wasted and the threads come to nothing—

**144** Λαέρτῃ ἥρωϊ ταφήϊον, εἰς ὅτε κέν μιν  
a shroud for the hero Laertes, against the time when

**145** μοῖρʼ ὀλοὴ καθέλῃσι τανηλεγέος θανάτοιο·  
the ruinous doom of death that lays men low takes hold of him;
> Epithet of death: A formulaic genitive phrase for death, often rendered 'death that brings long woe' or 'lays men full-length low.' The exact sense is disputed even in antiquity; we keep its grave, formulaic weight.

**146** μή τίς μοι κατὰ δῆμον Ἀχαιϊάδων νεμεσήσῃ,  
so that none of the Achaean women in the land may blame me

**147** αἴ κεν ἄτερ σπείρου κεῖται πολλὰ κτεατίσσας.  
if he lay without a winding-sheet, who had won so much.'

**148** ὣς ἐφάμην, τοῖσιν δʼ ἐπεπείθετο θυμὸς
                     ἀγήνωρ.  
So I spoke, and their proud hearts were persuaded.

**149** ἔνθα καὶ ἠματίη μὲν ὑφαίνεσκον μέγαν ἱστόν,  
Then by day I would weave at the great loom,
> Iterative imperfect: The suffix -σκ- marks repeated, habitual past action: 'I used to weave.' Homer pairs it here with ἀλλύεσκον ('I used to unravel') in the next line to capture her nightly routine.

**150** νύκτας δʼ ἀλλύεσκον, ἐπεὶ δαΐδας παραθείμην.  
but at night, once I had set torches by, I would unravel it.

**151** ὣς τρίετες μὲν ἔληθον ἐγὼ καὶ ἔπειθον Ἀχαιούς·  
So for three years I went unseen and persuaded the Achaeans;

**152** ἀλλʼ ὅτε τέτρατον ἦλθεν ἔτος καὶ ἐπήλυθον ὧραι,  
but when the fourth year came and the seasons rolled round,

**153** μηνῶν φθινόντων, περὶ δʼ ἤματα πόλλʼ ἐτελέσθη,  
as the months waned and many days were accomplished,

**154** καὶ τότε δή με διὰ δμῳάς, κύνας οὐκ ἀλεγούσας,  
then indeed, through my maids—shameless dogs—

**155** εἷλον ἐπελθόντες καὶ ὁμόκλησαν ἐπέεσσιν.  
they came upon me and caught me, and rebuked me with their words.

**156** ὣς τὸ μὲν ἐξετέλεσσα, καὶ οὐκ ἐθέλουσʼ, ὑπʼ ἀνάγκης·  
So I finished it, against my will, under compulsion.

**157** νῦν δʼ οὔτʼ ἐκφυγέειν δύναμαι γάμον οὔτε τινʼ ἄλλην  
And now I can neither escape the marriage nor find any other

**158** μῆτιν ἔθʼ εὑρίσκω· μάλα δʼ ὀτρύνουσι τοκῆες  
scheme; my parents press me hard

**159** γήμασθʼ, ἀσχαλάᾳ δὲ πάϊς βίοτον κατεδόντων,  
to marry, and my son chafes as they devour his living,

**160** γιγνώσκων· ἤδη γὰρ ἀνὴρ οἶός τε μάλιστα  
knowing it well; for he is now a man fully able

**161** οἴκου κήδεσθαι, τῷ τε Ζεὺς κῦδος ὀπάζει.  
to care for a household, one to whom Zeus grants honor.

**162** ἀλλὰ καὶ ὥς μοι εἰπὲ τεὸν γένος, ὁππόθεν ἐσσί.  
But even so, tell me your lineage, where you come from.

**163** οὐ γὰρ ἀπὸ δρυός ἐσσι παλαιφάτου οὐδʼ ἀπὸ πέτρης.  
For you are not sprung from the oak of old story, nor from a rock."

**164** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then resourceful Odysseus answered her:
> "Resourceful Odysseus": A standard epithet, 'of many devices.' Homer attaches it to Odysseus dozens of times, and here it is pointed: he is about to spin an elaborate false tale.

**165** ὦ γύναι αἰδοίη Λαερτιάδεω Ὀδυσῆος,  
"Honored wife of Odysseus, son of Laertes,

**166** οὐκέτʼ ἀπολλήξεις τὸν ἐμὸν γόνον ἐξερέουσα;  
will you never cease asking after my birth?

**167** ἀλλʼ ἔκ τοι ἐρέω· ἦ μέν μʼ ἀχέεσσί γε δώσεις  
Well, I will tell you—though you will give me over to sorrows

**168** πλείοσιν ἢ ἔχομαι· ἡ γὰρ δίκη, ὁππότε πάτρης  
more than I already hold; for that is the way, when a man

**169** ἧς ἀπέῃσιν ἀνὴρ τόσσον χρόνον ὅσσον ἐγὼ νῦν,  
has been gone from his homeland as long as I now have,

**170** πολλὰ βροτῶν ἐπὶ ἄστεʼ ἀλώμενος, ἄλγεα πάσχων·  
wandering over many cities of men, suffering pains.
> Participles of wandering: Two present participles paint continuous action: 'wandering' and 'suffering.' Stacked together they evoke the open-ended toil that defines Odysseus' story.

**171** ἀλλὰ καὶ ὣς ἐρέω ὅ μʼ ἀνείρεαι ἠδὲ μεταλλᾷς.  
But even so I will tell you what you ask and inquire of me.

**172** Κρήτη τις γαῖʼ ἔστι, μέσῳ ἐνὶ οἴνοπι πόντῳ,  
There is a land called Crete, in the midst of the wine-dark sea,
> "Wine-dark sea": The famous formula οἶνοψ πόντος, literally 'wine-faced/wine-looking sea.' We keep the traditional English 'wine-dark' for its color and weight.

**173** καλὴ καὶ πίειρα, περίρρυτος· ἐν δʼ ἄνθρωποι  
fair and rich, washed round by the sea; and in it the people are

**174** πολλοί, ἀπειρέσιοι, καὶ ἐννήκοντα πόληες.  
many, past counting, and there are ninety cities.

**175** ἄλλη δʼ ἄλλων γλῶσσα μεμιγμένη· ἐν μὲν Ἀχαιοί,  
Tongue mingles with tongue: there are Achaeans,

**176** ἐν δʼ Ἐτεόκρητες μεγαλήτορες, ἐν δὲ Κύδωνες,  
and great-hearted true Cretans, and Cydonians,

**177** Δωριέες τε τριχάϊκες δῖοί τε Πελασγοί.  
Dorians in three tribes, and noble Pelasgians.

**178** τῇσι δʼ ἐνὶ Κνωσός, μεγάλη πόλις, ἔνθα τε Μίνως  
Among them is Knossos, a great city, where Minos

**179** ἐννέωρος βασίλευε Διὸς μεγάλου ὀαριστής,  
reigned nine years at a time, the confidant of mighty Zeus,

**180** πατρὸς ἐμοῖο πατήρ, μεγαθύμου Δευκαλίωνος  
the father of my father, great-hearted Deukalion.

**181** Δευκαλίων δʼ ἐμὲ τίκτε καὶ Ἰδομενῆα ἄνακτα·  
Deukalion fathered me and lord Idomeneus;

**182** ἀλλʼ ὁ μὲν ἐν νήεσσι κορωνίσιν Ἴλιον ἴσω  
but he went off to Ilium in the beaked ships

**183** ᾤχεθʼ ἅμʼ Ἀτρείδῃσιν, ἐμοὶ δʼ ὄνομα κλυτὸν Αἴθων,  
with the sons of Atreus, while my own famous name is Aethon,

**184** ὁπλότερος γενεῇ· ὁ δʼ ἄρα πρότερος καὶ ἀρείων.  
the younger born; he was the elder and the better man.

**185** ἔνθʼ Ὀδυσῆα ἐγὼν ἰδόμην καὶ ξείνια δῶκα.  
There it was that I saw Odysseus and gave him guest-gifts.

**186** καὶ γὰρ τὸν Κρήτηνδε κατήγαγεν ἲς ἀνέμοιο,  
For the force of the wind had driven him down to Crete

**187** ἱέμενον Τροίηνδε παραπλάγξασα Μαλειῶν·  
as he made for Troy, carrying him off course past Malea;

**188** στῆσε δʼ ἐν Ἀμνισῷ, ὅθι τε σπέος Εἰλειθυίης,  
it set him at Amnisos, where the cave of Eileithyia stands,

**189** ἐν λιμέσιν χαλεποῖσι, μόγις δʼ ὑπάλυξεν ἀέλλας.  
in difficult harbors, and he barely escaped the storms.

**190** αὐτίκα δʼ Ἰδομενῆα μετάλλα ἄστυδʼ ἀνελθών·  
At once he went up to the town and asked for Idomeneus,

**191** ξεῖνον γάρ οἱ ἔφασκε φίλον τʼ ἔμεν αἰδοῖόν τε.  
for he said he was his guest-friend, dear and honored.

**192** τῷ δʼ ἤδη δεκάτη ἢ ἑνδεκάτη πέλεν ἠὼς  
But for Idomeneus the tenth or eleventh dawn had already come

**193** οἰχομένῳ σὺν νηυσὶ κορωνίσιν Ἴλιον εἴσω.  
since he had gone off to Ilium in the beaked ships.

**194** τὸν μὲν ἐγὼ πρὸς δώματʼ ἄγων ἐῢ ἐξείνισσα,  
So I led Odysseus to my house and entertained him well,

**195** ἐνδυκέως φιλέων, πολλῶν κατὰ οἶκον ἐόντων·  
kindly making him welcome, for there was plenty in my house;

**196** καί οἱ τοῖς ἄλλοις ἑτάροις, οἳ ἅμʼ αὐτῷ ἕποντο,  
and for the rest of his companions, who followed along with him,

**197** δημόθεν ἄλφιτα δῶκα καὶ αἴθοπα οἶνον ἀγείρας  
I gathered barley from the people's store and gave it, and gleaming wine,

**198** καὶ βοῦς ἱρεύσασθαι, ἵνα πλησαίατο θυμόν.  
and oxen to sacrifice, that they might content their hearts.

**199** ἔνθα δυώδεκα μὲν μένον ἤματα δῖοι Ἀχαιοί·  
There the noble Achaeans stayed twelve days,

**200** εἴλει γὰρ Βορέης ἄνεμος μέγας οὐδʼ ἐπὶ γαίῃ  
for a great North Wind, Boreas, penned them in, and would not let them

**201** εἴα ἵστασθαι, χαλεπὸς δέ τις ὤρορε δαίμων.  
stand even on the land—some harsh god had roused it.

**202** τῇ τρισκαιδεκάτῃ δʼ ἄνεμος πέσε, τοὶ δʼ ἀνάγοντο.  
On the thirteenth the wind fell, and they put out to sea."

**203** ἴσκε ψεύδεα πολλὰ λέγων ἐτύμοισιν ὁμοῖα·  
He spoke, telling many lies that seemed like the truth,
> "Lies like the truth": A famous line on Odysseus' art of plausible fiction: 'lies resembling true things.' It echoes the Muses' words to Hesiod and marks Homeric storytelling itself as the craft of convincing invention.

**204** τῆς δʼ ἄρʼ ἀκουούσης ῥέε δάκρυα, τήκετο δὲ χρώς·  
and as she listened her tears flowed and her face was wet.

**205** ὡς δὲ χιὼν κατατήκετʼ ἐν ἀκροπόλοισιν ὄρεσσιν,  
As snow melts down upon the high mountain peaks,
> Epic simile: This begins an extended simile comparing Penelope's tears to melting snow swelling the rivers. The ὡς ... ὣς ('as ... so') framing across lines 205-208 is the hallmark of Homeric similes.

**206** ἥν τʼ Εὖρος κατέτηξεν, ἐπὴν Ζέφυρος καταχεύῃ·  
which the East Wind has thawed when the West Wind pours it down,

**207** τηκομένης δʼ ἄρα τῆς ποταμοὶ πλήθουσι ῥέοντες·  
and as it melts the rivers run full and flowing—

**208** ὣς τῆς τήκετο καλὰ παρήϊα δάκρυ χεούσης,  
so her fair cheeks melted as she shed her tears,

**209** κλαιούσης ἑὸν ἄνδρα παρήμενον. αὐτὰρ Ὀδυσσεὺς  
weeping for her own husband, who sat beside her. But Odysseus

**210** θυμῷ μὲν γοόωσαν ἑὴν ἐλέαιρε γυναῖκα,  
pitied in his heart his weeping wife,

**211** ὀφθαλμοὶ δʼ ὡς εἰ κέρα ἕστασαν ἠὲ σίδηρος  
yet his eyes stood as if of horn or iron,
> Eyes of horn or iron: A striking image of self-control: his eyes are as unmoving as hard horn or iron, betraying nothing though he feels for her.

**212** ἀτρέμας ἐν βλεφάροισι· δόλῳ δʼ ὅ γε δάκρυα κεῦθεν.  
unmoving in their lids; by guile he held back his tears.

**213** ἡ δʼ ἐπεὶ οὖν τάρφθη πολυδακρύτοιο γόοιο,  
But when she had had her fill of tearful lament,

**214** ἐξαῦτίς μιν ἔπεσσιν ἀμειβομένη προσέειπε·  
she answered him once more and spoke to him with words:

**215** νῦν μὲν δή σευ, ξεῖνέ γʼ, ὀΐω πειρήσεσθαι,  
"Now, stranger, I think I will put you to the test,
> Future infinitive: ὀΐω ('I think/expect') governs the future middle infinitive πειρήσεσθαι: 'I expect to test you.' Future infinitives after verbs of expecting are common in Homer.

**216** εἰ ἐτεὸν δὴ κεῖθι σὺν ἀντιθέοις ἑτάροισι  
whether in truth, there with your godlike companions,

**217** ξείνισας ἐν μεγάροισιν ἐμὸν πόσιν, ὡς ἀγορεύεις.  
you really hosted my husband in your halls, as you say.

**218** εἰπέ μοι ὁπποῖʼ ἄσσα περὶ χροῒ εἵματα ἕστο,  
Tell me what sort of clothing he wore about his body,

**219** αὐτός θʼ οἷος ἔην, καὶ ἑταίρους, οἵ οἱ ἕποντο.  
what he himself was like, and the companions who followed him."

**220** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then resourceful Odysseus answered her:

**221** ὦ γύναι, ἀργαλέον τόσσον χρόνον ἀμφὶς ἐόντα  
"Lady, it is hard to speak of him after so long an absence,

**222** εἰπέμεν· ἤδη γάρ οἱ ἐεικοστὸν ἔτος ἐστὶν  
for it is now the twentieth year

**223** ἐξ οὗ κεῖθεν ἔβη καὶ ἐμῆς ἀπελήλυθε πάτρης·  
since he went away from there and left my homeland behind;

**224** αὐτάρ τοι ἐρέω ὥς μοι ἰνδάλλεται ἦτορ.  
yet I will tell you how my heart pictures him.

**225** χλαῖναν πορφυρέην οὔλην ἔχε δῖος Ὀδυσσεύς,  
Noble Odysseus wore a cloak of purple wool,
> purple cloak: The chlaina is a heavy outer mantle. Purple dye was costly, marking the wearer as a man of rank.

**226** διπλῆν· αὐτάρ οἱ περόνη χρυσοῖο τέτυκτο  
doubled over; and on it was fashioned a brooch of gold

**227** αὐλοῖσιν διδύμοισι· πάροιθε δὲ δαίδαλον ἦεν·  
with twin sheaths for the pin; and on its face was a marvel of craft:

**228** ἐν προτέροισι πόδεσσι κύων ἔχε ποικίλον ἐλλόν,  
in its forepaws a hound held a dappled fawn,

**229** ἀσπαίροντα λάων· τὸ δὲ θαυμάζεσκον ἅπαντες,  
gripping it as it writhed; and everyone marveled at it,
> iterative imperfect: The -σκ- suffix marks a Homeric iterative imperfect: people 'used to marvel' repeatedly. It conveys habitual or recurring past action.

**230** ὡς οἱ χρύσεοι ἐόντες ὁ μὲν λάε νεβρὸν ἀπάγχων,  
how, though they were of gold, the one throttled the fawn as it gripped it,

**231** αὐτὰρ ὁ ἐκφυγέειν μεμαὼς ἤσπαιρε πόδεσσι.  
while the other, straining to escape, struggled with its feet.

**232** τὸν δὲ χιτῶνʼ ἐνόησα περὶ χροῒ σιγαλόεντα,  
And I noticed the tunic, glistening on his body,

**233** οἷόν τε κρομύοιο λοπὸν κάτα ἰσχαλέοιο·  
fine as the skin of a dried onion:
> the onion-skin simile: A homely, vivid comparison: the tunic's fabric is as fine and glossy as the papery skin of a dried onion. Such everyday images ground Homer's epic descriptions.

**234** τὼς μὲν ἔην μαλακός, λαμπρὸς δʼ ἦν ἠέλιος ὥς·  
so soft it was, and bright as the sun;

**235** ἦ μὲν πολλαί γʼ αὐτὸν ἐθηήσαντο γυναῖκες.  
indeed many women gazed at him in wonder.

**236** ἄλλο δέ τοι ἐρέω, σὺ δʼ ἐνὶ φρεσὶ βάλλεο σῇσιν·  
And I will tell you something else, and lay it up in your heart:

**237** οὐκ οἶδʼ ἢ τάδε ἕστο περὶ χροῒ οἴκοθʼ Ὀδυσσεύς,  
I do not know whether Odysseus wore these clothes at home,

**238** ἦ τις ἑταίρων δῶκε θοῆς ἐπὶ νηὸς ἰόντι,  
or whether some comrade gave them to him as he went aboard the swift ship,

**239** ἤ τίς που καὶ ξεῖνος, ἐπεὶ πολλοῖσιν Ὀδυσσεὺς  
or perhaps some host, since to many men Odysseus

**240** ἔσκε φίλος· παῦροι γὰρ Ἀχαιῶν ἦσαν ὁμοῖοι.  
was dear; for few of the Achaeans were his equal.

**241** καί οἱ ἐγὼ χάλκειον ἄορ καὶ δίπλακα δῶκα  
And I myself gave him a bronze sword and a double cloak,

**242** καλὴν πορφυρέην καὶ τερμιόεντα χιτῶνα,  
a fine purple one, and a tunic reaching to his feet,

**243** αἰδοίως δʼ ἀπέπεμπον ἐϋσσέλμου ἐπὶ νηός.  
and with full honor I sent him off on his well-benched ship.

**244** καὶ μέν οἱ κῆρυξ ὀλίγον προγενέστερος αὐτοῦ  
Moreover a herald attended him, a little older than himself,

**245** εἵπετο· καὶ τόν τοι μυθήσομαι, οἷος ἔην περ.  
and I will describe to you what sort of man he was.

**246** γυρὸς ἐν ὤμοισιν, μελανόχροος, οὐλοκάρηνος,  
Round-shouldered he was, dark-skinned, with curly hair,
> physical portrait: Homer's individualizing detail for the herald Eurybates: hunched shoulders, dark skin, woolly hair. Such concrete portraits are rare and serve here as proof of the disguised Odysseus's reliability.

**247** Εὐρυβάτης δʼ ὄνομʼ ἔσκε· τίεν δέ μιν ἔξοχον ἄλλων  
and Eurybates was his name; Odysseus honored him above the rest

**248** ὧν ἑτάρων Ὀδυσεύς, ὅτι οἱ φρεσὶν ἄρτια ᾔδη.  
of his comrades, because his mind matched his own."

**249** ὣς φάτο, τῇ δʼ ἔτι μᾶλλον ὑφʼ ἵμερον ὦρσε
                  γόοιο,  
So he spoke, and stirred in her still more the longing to weep,

**250** σήματʼ ἀναγνούσῃ τά οἱ ἔμπεδα πέφραδʼ Ὀδυσσεύς.  
as she recognized the sure tokens that Odysseus described to her.
> sêmata — recognition tokens: The sêmata ('signs, tokens') are the concrete proofs that confirm identity in the Odyssey's recognition scenes. Here the brooch and clothing are tokens that move Penelope to tears.

**251** ἡ δʼ ἐπεὶ οὖν τάρφθη πολυδακρύτοιο γόοιο.  
And when she had had her fill of tearful lament,

**252** καὶ τότε μιν μύθοισιν ἀμειβομένη προσέειπε·  
then she answered him with these words:

**253** νῦν μὲν δή μοι, ξεῖνε, πάρος περ ἐὼν
                     ἐλεεινός,  
"Now, stranger, though before this you were merely pitiable,

**254** ἐν μεγάροισιν ἐμοῖσι φίλος τʼ ἔσῃ αἰδοῖός τε·  
you shall be dear and honored in my halls;

**255** αὐτὴ γὰρ τάδε εἵματʼ ἐγὼ πόρον, οἷʼ ἀγορεύεις,  
for it was I myself who gave him those clothes you describe,

**256** πτύξασʼ ἐκ θαλάμου, περόνην τʼ ἐπέθηκα φαεινὴν  
folding them from the storeroom, and I fastened on the shining brooch

**257** κείνῳ ἄγαλμʼ ἔμεναι· τὸν δʼ οὐχ ὑποδέξομαι αὖτις  
to be his glory. But I shall not welcome him again

**258** οἴκαδε νοστήσαντα φίλην ἐς πατρίδα γαῖαν.  
coming home to his own dear native land.

**259** τῷ ῥα κακῇ αἴσῃ κοίλης ἐπὶ νηὸς Ὀδυσσεὺς  
It was by an evil fate that Odysseus, in his hollow ship,

**260** ᾤχετʼ ἐποψόμενος Κακοΐλιον οὐκ ὀνομαστήν.  
went off to look upon Evil-Ilion, name not to be spoken."
> "Evil-Ilion": Penelope coins a bitter compound, Kakoïlion ('Evil-Ilion'), and calls the name unspeakable. The wordplay conveys her loathing for the city that took her husband.

**261** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then resourceful Odysseus answered her:
> the epithet 'resourceful': polymêtis ('of many devices') is a fixed formulaic epithet for Odysseus, filling the line's end. Such epithets are a hallmark of oral hexameter style.

**262** ὦ γύναι αἰδοίη Λαερτιάδεω Ὀδυσῆος,  
"Honored wife of Odysseus, son of Laertes,

**263** μηκέτι νῦν χρόα καλὸν ἐναίρεο, μηδέ τι θυμὸν  
do not mar your fair skin any longer, nor waste your heart away

**264** τῆκε, πόσιν γοόωσα. νεμεσσῶμαί γε μὲν οὐδέν·  
with weeping for your husband. Yet I do not blame you at all;

**265** καὶ γάρ τίς τʼ ἀλλοῖον ὀδύρεται ἄνδρʼ ὀλέσασα  
for any woman mourns when she has lost

**266** κουρίδιον, τῷ τέκνα τέκῃ φιλότητι μιγεῖσα,  
her wedded husband, to whom she bore children in love,

**267** ἢ Ὀδυσῆʼ, ὅν φασι θεοῖς ἐναλίγκιον εἶναι.  
even one other than Odysseus, who they say was like the gods.

**268** ἀλλὰ γόου μὲν παῦσαι, ἐμεῖο δὲ σύνθεο μῦθον·  
But cease your weeping, and mark my words:

**269** νημερτέως γάρ τοι μυθήσομαι οὐδʼ ἐπικεύσω  
for I will tell you truly and will hide nothing,

**270** ὡς ἤδη Ὀδυσῆος ἐγὼ περὶ νόστου ἄκουσα  
how I have already heard of the homecoming of Odysseus,
> nostos — homecoming: nostos, 'return home,' is the central theme of the whole poem. The disguised hero teases Penelope with news of his own nostos.

**271** ἀγχοῦ, Θεσπρωτῶν ἀνδρῶν ἐν πίονι δήμῳ,  
near at hand, in the rich land of the Thesprotians,

**272** ζωοῦ· αὐτὰρ ἄγει κειμήλια πολλὰ καὶ ἐσθλὰ  
alive; and he is bringing many fine treasures,

**273** αἰτίζων ἀνὰ δῆμον. ἀτὰρ ἐρίηρας ἑταίρους  
begging them through the land. But his trusty comrades

**274** ὤλεσε καὶ νῆα γλαφυρὴν ἐνὶ οἴνοπι πόντῳ,  
he lost, along with his hollow ship, on the wine-dark sea,
> wine-dark sea: oinopi pontôi, 'wine-faced/wine-dark sea,' is one of Homer's best-known fixed epithets, here in the dative after the preposition. The compound describes the deep color of the open water.

**275** Θρινακίης ἄπο νήσου ἰών· ὀδύσαντο γὰρ αὐτῷ  
as he came from the island of Thrinacia; for angry with him were

**276** Ζεύς τε καὶ Ἠέλιος· τοῦ γὰρ βόας ἔκταν ἑταῖροι.  
both Zeus and the Sun, because his comrades had killed the Sun's cattle.

**277** οἱ μὲν πάντες ὄλοντο πολυκλύστῳ ἐνὶ πόντῳ·  
They all perished in the surging sea;

**278** τὸν δʼ ἄρʼ ἐπὶ τρόπιος νεὸς ἔκβαλε κῦμʼ ἐπὶ χέρσου,  
but the wave cast him upon his ship's keel onto dry land,

**279** Φαιήκων ἐς γαῖαν, οἳ ἀγχίθεοι γεγάασιν,  
into the country of the Phaeacians, who are kin to the gods,

**280** οἳ δή μιν περὶ κῆρι θεὸν ὣς τιμήσαντο  
and they honored him heartily like a god,

**281** καί οἱ πολλὰ δόσαν πέμπειν τέ μιν ἤθελον αὐτοὶ  
and gave him much, and were eager themselves to escort him

**282** οἴκαδʼ ἀπήμαντον. καί κεν πάλαι ἐνθάδʼ Ὀδυσσεὺς  
home unharmed. And Odysseus would long ago

**283** ἤην· ἀλλʼ ἄρα οἱ τό γε κέρδιον εἴσατο θυμῷ,  
have been here; but to his heart this seemed the better course:

**284** χρήματʼ ἀγυρτάζειν πολλὴν ἐπὶ γαῖαν ἰόντι·  
to gather wealth, traveling over the wide earth;

**285** ὣς περὶ κέρδεα πολλὰ καταθνητῶν ἀνθρώπων  
so far beyond all mortal men in the ways of gain

**286** οἶδʼ Ὀδυσεύς, οὐδʼ ἄν τις ἐρίσσειε βροτὸς ἄλλος.  
does Odysseus know, nor could any other mortal rival him.

**287** ὥς μοι Θεσπρωτῶν βασιλεὺς μυθήσατο Φείδων·  
So Pheidon, king of the Thesprotians, told me;

**288** ὤμνυε δὲ πρὸς ἔμʼ αὐτόν, ἀποσπένδων ἐνὶ οἴκῳ,  
and he swore to me, pouring libation in his house,

**289** νῆα κατειρύσθαι καὶ ἐπαρτέας ἔμμεν ἑταίρους,  
that the ship was drawn down and the crew made ready,

**290** οἳ δή μιν πέμψουσι φίλην ἐς πατρίδα γαῖαν.  
who would convey him to his own dear native land.

**291** ἀλλʼ ἐμὲ πρὶν ἀπέπεμψε· τύχησε γὰρ ἐρχομένη νηῦς  
But me he sent off first, for a ship happened to be sailing,

**292** ἀνδρῶν Θεσπρωτῶν ἐς Δουλίχιον πολύπυρον.  
a ship of Thesprotian men, bound for Dulichium rich in wheat.

**293** καί μοι κτήματʼ ἔδειξεν, ὅσα ξυναγείρατʼ Ὀδυσσεύς·  
And he showed me the treasures Odysseus had gathered;

**294** καί νύ κεν ἐς δεκάτην γενεὴν ἕτερόν γʼ ἔτι βόσκοι,  
they would keep a man's heirs to the tenth generation,

**295** ὅσσα οἱ ἐν μεγάροις κειμήλια κεῖτο ἄνακτος.  
so many were the heirlooms lying there in the king's halls.

**296** τὸν δʼ ἐς Δωδώνην φάτο βήμεναι, ὄφρα θεοῖο  
And he said that Odysseus had gone to Dodona, so that from the god's

**297** ἐκ δρυὸς ὑψικόμοιο Διὸς βουλὴν ἐπακούσαι,  
high-leafed oak he might hear the counsel of Zeus,

**298** ὅππως νοστήσειε φίλην ἐς πατρίδα γαῖαν  
how he should return to his own dear native land,

**299** ἤδη δὴν ἀπεών, ἤ ἀμφαδὸν ἦε κρυφηδόν.  
after so long an absence, whether openly or in secret.

**300** ὣς ὁ μὲν οὕτως ἐστὶ σόος καὶ ἐλεύσεται ἤδη  
So he is safe and will come back even now,

**301** ἄγχι μάλʼ, οὐδʼ ἔτι τῆλε φίλων καὶ πατρίδος αἴης  
very near at hand, and no longer far from his friends and his native land

**302** δηρὸν ἀπεσσεῖται· ἔμπης δέ τοι ὅρκια δώσω.  
will he be kept away for long; yet I will give you my oath upon it.

**303** ἴστω νῦν Ζεὺς πρῶτα, θεῶν ὕπατος καὶ ἄριστος,  
Let Zeus be my witness now first, highest and best of the gods,
> third-person imperative: istô ('let him know / be witness') is a third-person imperative invoking Zeus as guarantor of the oath. Greek can command in the third person, not just the second.

**304** ἱστίη τʼ Ὀδυσῆος ἀμύμονος, ἣν ἀφικάνω·  
and the hearth of blameless Odysseus, to which I have come:

**305** ἦ μέν τοι τάδε πάντα τελείεται ὡς ἀγορεύω.  
truly all this shall be brought to pass as I declare.

**306** τοῦδʼ αὐτοῦ λυκάβαντος ἐλεύσεται ἐνθάδʼ Ὀδυσσεύς,  
Within this very year Odysseus will come here,
> lykabas — 'year': A rare and obscure Homeric word for the cycle of the year. Its precise sense was already debated in antiquity.

**307** τοῦ μὲν φθίνοντος μηνός, τοῦ δʼ ἱσταμένοιο.  
as one month wanes and the next begins."

**308** τὸν δʼ αὖτε προσέειπε περίφρων Πηνελόπεια·  
Then prudent Penelope answered him:

**309** αἲ γὰρ τοῦτο, ξεῖνε, ἔπος τετελεσμένον εἴη·  
"Ah, stranger, would that this word might be fulfilled!

**310** τῷ κε τάχα γνοίης φιλότητά τε πολλά τε δῶρα  
Then you would soon know my kindness and many gifts

**311** ἐξ ἐμεῦ, ὡς ἄν τίς σε συναντόμενος μακαρίζοι.  
from me, so that whoever met you would call you blessed.

**312** ἀλλά μοι ὧδʼ ἀνὰ θυμὸν ὀΐεται, ὡς ἔσεταί περ·  
But in my heart I have a foreboding of how it will be:

**313** οὔτʼ Ὀδυσεὺς ἔτι οἶκον ἐλεύσεται, οὔτε σὺ πομπῆς  
Odysseus will never come home again, nor will you obtain

**314** τεύξῃ, ἐπεὶ οὐ τοῖοι σημάντορές εἰσʼ ἐνὶ οἴκῳ  
an escort, since there are no such masters in this house

**315** οἷος Ὀδυσσεὺς ἔσκε μετʼ ἀνδράσιν, εἴ ποτʼ ἔην γε,  
as Odysseus was among men — if ever he truly was —
> "if ever he truly was": A poignant formulaic phrase of doubt, almost wondering whether Odysseus ever really existed. The imperfect ἔην ('he was') captures her despairing nostalgia.

**316** ξείνους αἰδοίους ἀποπεμπέμεν ἠδὲ δέχεσθαι.  
to send honored guests on their way and to receive them.

**317** ἀλλά μιν, ἀμφίπολοι, ἀπονίψατε, κάτθετε δʼ εὐνήν,  
But come, maids, wash him and spread a bed for him,

**318** δέμνια καὶ χλαίνας καὶ ῥήγεα σιγαλόεντα,  
with bedding and cloaks and gleaming coverlets,

**319** ὥς κʼ εὖ θαλπιόων χρυσόθρονον Ἠῶ ἵκηται.  
so that warm and comfortable he may reach golden-throned Dawn.
> golden-throned Dawn: chrysothronon Êô, 'golden-throned Dawn,' is a standard epithet for the goddess of the dawn. Homer regularly personifies and adorns Dawn with such formulas.

**320** ἠῶθεν δὲ μάλʼ ἦρι λοέσσαι τε χρῖσαί τε,  
And at daybreak, very early, bathe him and anoint him,

**321** ὥς κʼ ἔνδον παρὰ Τηλεμάχῳ δείπνοιο μέδηται  
so that within, beside Telemachus, he may take thought of his meal,

**322** ἥμενος ἐν μεγάρῳ· τῷ δʼ ἄλγιον ὅς κεν ἐκείνων  
seated in the hall; and it shall be the worse for any of those men

**323** τοῦτον ἀνιάζῃ θυμοφθόρος· οὐδέ τι ἔργον  
who vexes this man to the heart's hurt; he will accomplish nothing

**324** ἐνθάδʼ ἔτι πρήξει, μάλα περ κεχολωμένος αἰνῶς.  
more here, however terribly enraged he may be.

**325** πῶς γὰρ ἐμεῦ σύ, ξεῖνε, δαήσεαι εἴ τι γυναικῶν  
For how, stranger, will you learn of me whether at all

**326** ἀλλάων περίειμι νόον καὶ ἐπίφρονα μῆτιν,  
I surpass other women in understanding and shrewd counsel,
> noos and mêtis: Penelope claims excellence in noos ('understanding, mind') and mêtis ('cunning intelligence') — the very quality, mêtis, that defines her husband. Here she presents intelligence as a woman's virtue.

**327** εἴ κεν ἀϋσταλέος, κακὰ εἱμένος ἐν μεγάροισιν  
if you dine unkempt and clad in rags in the halls?

**328** δαινύῃ; ἄνθρωποι δὲ μινυνθάδιοι τελέθουσιν.  
Human beings are short-lived creatures.

**329** ὃς μὲν ἀπηνὴς αὐτὸς ἔῃ καὶ ἀπηνέα εἰδῇ,  
Whoever is himself harsh and harsh in his thoughts,
> subjunctive in generalizing relative: The subjunctive ἔῃ ('may be') in this relative clause expresses a general truth: 'whoever is harsh.' Homeric Greek uses the subjunctive for such universal conditions.

**330** τῷ δὲ καταρῶνται πάντες βροτοὶ ἄλγεʼ ὀπίσσω  
on him all mortals call down sorrows for the time to come

**331** ζωῷ, ἀτὰρ τεθνεῶτί γʼ ἐφεψιόωνται ἅπαντες·  
while he lives; and once he is dead all men mock at him.

**332** ὃς δʼ ἂν ἀμύμων αὐτὸς ἔῃ καὶ ἀμύμονα εἰδῇ,  
But whoever is himself blameless and knows what is blameless,

**333** τοῦ μέν τε κλέος εὐρὺ δὶα ξεῖνοι φορέουσι  
his wide fame strangers carry abroad
> kleos: Kleos is the renown or glory that travels by word of mouth and outlives a man. Here it spreads through guests and strangers who pass on a good name.

**334** πάντας ἐπʼ ἀνθρώπους, πολλοί τέ μιν ἐσθλὸν ἔειπον.  
among all peoples, and many call him noble.

**335** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις Ὀδυσσεύς·  
Then resourceful Odysseus answered her:
> Standard epithet line: This whole verse is a recurring formula introducing Odysseus' speeches; πολύμητις ('of many devices') is his fixed epithet.

**336** ὦ γύναι αἰδοίη Λαερτιάδεω Ὀδυσῆος,  
Honored lady, wife of Odysseus son of Laertes,

**337** ἦ τοι ἐμοὶ χλαῖναι καὶ ῥήγεα σιγαλόεντα  
truly cloaks and glossy rugs have become hateful to me

**338** ἤχθεθʼ, ὅτε πρῶτον Κρήτης ὄρεα νιφόεντα  
ever since I first left the snowy mountains of Crete

**339** νοσφισάμην ἐπὶ νηὸς ἰὼν δολιχηρέτμοιο,  
behind me, going aboard a ship with long oars,
> long-oared: A compound epithet of the ship, literally 'with long oars.' Homer's ships carry such stock descriptive compounds.

**340** κείω δʼ ὡς τὸ πάρος περ ἀΰπνους νύκτας ἴαυον·  
and so I will lie, as before, through sleepless nights;

**341** πολλὰς γὰρ δὴ νύκτας ἀεικελίῳ ἐνὶ κοίτῃ  
for many nights now on a wretched bed

**342** ἄεσα καί τʼ ἀνέμεινα ἐΰθρονον Ἠῶ δῖαν.  
I have spent, and waited for the bright-throned, holy Dawn.
> well-throned Dawn: Dawn (Eos) regularly receives ornamental epithets like 'well-throned' or 'rosy-fingered.' She is personified as a goddess.

**343** οὐδέ τί μοι ποδάνιπτρα ποδῶν ἐπιήρανα θυμῷ  
Nor are foot-washings any pleasure to my heart;

**344** γίγνεται· οὐδὲ γυνὴ ποδὸς ἅψεται ἡμετέροιο  
no woman shall touch my foot

**345** τάων αἵ τοι δῶμα κάτα δρήστειραι ἔασιν,  
of those who serve as maids throughout your house,

**346** εἰ μή τις γρηῦς ἔστι παλαιή, κεδνὰ ἰδυῖα,  
unless there is some aged crone, wise and devoted,

**347** ἥ τις δὴ τέτληκε τόσα φρεσὶν ὅσσα τʼ ἐγώ περ·  
one who has endured in her heart as much as I myself.

**348** τῇ δʼ οὐκ ἂν φθονέοιμι ποδῶν ἅψασθαι ἐμεῖο.  
Her I would not begrudge to touch my feet.

**349** τὸν δʼ αὖτε προσέειπε περίφρων Πηνελόπεια·  
Then prudent Penelope answered him in turn:

**350** ξεῖνε φίλʼ· οὐ γάρ πώ τις ἀνὴρ πεπνυμένος ὧδε  
Dear stranger, never yet has any man so thoughtful

**351** ξείνων τηλεδαπῶν φιλίων ἐμὸν ἵκετο δῶμα,  
of guests from distant lands come dear to my house,

**352** ὡς σὺ μάλʼ εὐφραδέως πεπνυμένα πάντʼ ἀγορεύεις·  
so shrewdly and so sensibly do you speak in all things.

**353** ἔστι δέ μοι γρηῢς πυκινὰ φρεσὶ μήδεʼ ἔχουσα  
I have an old woman with a shrewd and steady mind,

**354** ἣ κεῖνον δύστηνον ἐῢ τρέφεν ἠδʼ ἀτίταλλε,  
who well nourished that ill-fated man and reared him,

**355** δεξαμένη χείρεσσʼ, ὅτε μιν πρῶτον τέκε μήτηρ,  
taking him in her hands when his mother first bore him.

**356** ἥ σε πόδας νίψει, ὀλιγηπελέουσά περ ἔμπης.  
She shall wash your feet, frail though she now is.

**357** ἀλλʼ ἄγε νῦν ἀνστᾶσα, περίφρων Εὐρύκλεια,  
Come now, rise up, prudent Eurycleia,

**358** νίψον σοῖο ἄνακτος ὁμήλικα· καί που Ὀδυσσεὺς  
and wash this man, your master's age-mate. And surely Odysseus

**359** ἤδη τοιόσδʼ ἐστὶ πόδας τοιόσδε τε χεῖρας·  
is by now such as this in his feet and such in his hands;

**360** αἶψα γὰρ ἐν κακότητι βροτοὶ καταγηράσκουσιν.  
for swiftly do mortals grow old in misfortune.
> grow old in hardship: A gnomic remark: suffering ages a person fast. Penelope uses it to excuse how the stranger no longer looks young.

**361** ὣς ἄρʼ ἔφη, γρηῢς δὲ κατέσχετο χερσὶ πρόσωπα,  
So she spoke, and the old woman covered her face with her hands,

**362** δάκρυα δʼ ἔκβαλε θερμά, ἔπος δʼ ὀλοφυδνὸν ἔειπεν·  
and let fall warm tears, and uttered a mournful word:

**363** ὤ μοι ἐγὼ σέο, τέκνον, ἀμήχανος· ἦ σε περὶ
                     Ζεὺς  
Alas for you, my child, helpless that I am! Surely Zeus

**364** ἀνθρώπων ἤχθηρε θεουδέα θυμὸν ἔχοντα.  
hated you above all men, god-fearing though your heart was.
> god-fearing: θεουδής means reverent toward the gods. The irony is sharp: the most pious man is the one Zeus seems to have hated.

**365** οὐ γάρ πώ τις τόσσα βροτῶν Διὶ τερπικεραύνῳ  
For no mortal ever burned for Zeus who delights in thunder

**366** πίονα μηρίʼ ἔκηʼ οὐδʼ ἐξαίτους ἑκατόμβας,  
so many rich thigh-pieces nor such choice hecatombs

**367** ὅσσα σὺ τῷ ἐδίδους, ἀρώμενος ἧος ἵκοιο  
as you used to give him, praying that you might reach

**368** γῆράς τε λιπαρὸν θρέψαιό τε φαίδιμον υἱόν·  
a sleek old age and rear your glorious son.

**369** νῦν δέ τοι οἴῳ πάμπαν ἀφείλετο νόστιμον ἦμαρ.  
But now from you alone he has taken away the day of homecoming.
> day of return: νόστος (homecoming) is the central theme of the poem; 'the day of return' is a fixed phrase for the longed-for safe arrival home.

**370** οὕτω που καὶ κείνῳ ἐφεψιόωντο γυναῖκες  
So perhaps even at him the women mocked,

**371** ξείνων τηλεδαπῶν, ὅτε τευ κλυτὰ δώμαθʼ ἵκοιτο,  
women of distant hosts, when he came to some famous house,

**372** ὡς σέθεν αἱ κύνες αἵδε καθεψιόωνται ἅπασαι,  
just as these bitches here all jeer at you,

**373** τάων νῦν λώβην τε καὶ αἴσχεα πόλλʼ ἀλεείνων  
whose insolence and many disgraces you now avoid

**374** οὐκ ἐάας νίζειν· ἐμὲ δʼ οὐκ ἀέκουσαν ἄνωγε  
by not letting them wash you. But me, not unwilling, bids

**375** κούρη Ἰκαρίοιο, περίφρων Πηνελόπεια.  
the daughter of Icarius, prudent Penelope.

**376** τῷ σε πόδας νίψω ἅμα τʼ αὐτῆς Πηνελοπείης  
Therefore I will wash your feet, both for Penelope's own sake

**377** καὶ σέθεν εἵνεκʼ, ἐπεί μοι ὀρώρεται ἔνδοθι θυμὸς  
and for yours, since the heart within me is stirred

**378** κήδεσιν. ἀλλʼ ἄγε νῦν ξυνίει ἔπος, ὅττι κεν εἴπω·  
with grief. But come now, attend to the word I speak:

**379** πολλοὶ δὴ ξεῖνοι ταλαπείριοι ἐνθάδʼ ἵκοντο,  
Many sorely-tried strangers have come here,

**380** ἀλλʼ οὔ πώ τινά φημι ἐοικότα ὧδε ἰδέσθαι  
but I declare I have never yet seen any so alike

**381** ὡς σὺ δέμας φωνήν τε πόδας τʼ Ὀδυσῆϊ ἔοικας.  
as you are in build and voice and feet to Odysseus.

**382** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Then resourceful Odysseus answered her:

**383** ὦ γρηῦ, οὕτω φασὶν ὅσοι ἴδον ὀφθαλμοῖσιν  
Old woman, so indeed say all who have seen with their eyes

**384** ἡμέας ἀμφοτέρους, μάλα εἰκέλω ἀλλήλοιϊν  
the two of us, that we are very like

**385** ἔμμεναι, ὡς σύ περ αὐτὴ ἐπιφρονέουσʼ ἀγορεύεις.  
each other, just as you yourself shrewdly observe.

**386** ὣς ἄρʼ ἔφη, γρηῢς δὲ λέβηθʼ ἕλε παμφανόωντα  
So he spoke, and the old woman took the gleaming cauldron

**387** τοῦ πόδας ἐξαπένιζεν, ὕδωρ δʼ ἐνεχεύατο πουλὺ  
in which she would wash his feet, and poured in much water,

**388** ψυχρόν, ἔπειτα δὲ θερμὸν ἐπήφυσεν. αὐτὰρ Ὀδυσσεὺς  
cold, and then added hot on top. But Odysseus

**389** ἷζεν ἐπʼ ἐσχαρόφιν, ποτὶ δὲ σκότον ἐτράπετʼ αἶψα·  
sat away by the hearth and quickly turned toward the dark;
> Aorist middle: ἐτράπετο is an aorist in the middle voice ('he turned himself'), marking Odysseus' deliberate self-protective move toward the shadow.

**390** αὐτίκα γὰρ κατὰ θυμὸν ὀΐσατο, μή ἑ λαβοῦσα  
for at once he feared in his heart that, taking hold of him,

**391** οὐλὴν ἀμφράσσαιτο καὶ ἀμφαδὰ ἔργα γένοιτο.  
she might notice the scar and his secret be laid bare.

**392** νίζε δʼ ἄρʼ ἆσσον ἰοῦσα ἄναχθʼ ἑόν· αὐτίκα δʼ ἔγνω  
She came close and began to wash her master; and at once she knew

**393** οὐλήν, τήν ποτέ μιν σῦς ἤλασε λευκῷ ὀδόντι  
the scar, which once a boar had dealt him with its white tusk

**394** Παρνησόνδʼ ἐλθόντα μετʼ Αὐτόλυκόν τε καὶ υἷας,  
when he had gone to Parnassus to visit Autolycus and his sons,

**395** μητρὸς ἑῆς πάτερʼ ἐσθλόν, ὃς ἀνθρώπους ἐκέκαστο  
his mother's noble father, who surpassed all men

**396** κλεπτοσύνῃ θʼ ὅρκῳ τε· θεὸς δέ οἱ αὐτὸς ἔδωκεν  
in thievery and in oaths; the god himself had granted it,

**397** Ἑρμείας· τῷ γὰρ κεχαρισμένα μηρία καῖεν  
Hermes; for to him he burned welcome thigh-pieces

**398** ἀρνῶν ἠδʼ ἐρίφων· ὁ δέ οἱ πρόφρων ἅμʼ ὀπήδει.  
of lambs and kids; and the god went readily at his side.

**399** Αὐτόλυκος δʼ ἐλθὼν Ἰθάκης ἐς πίονα δῆμον  
Now Autolycus, having come to the rich land of Ithaca,

**400** παῖδα νέον γεγαῶτα κιχήσατο θυγατέρος ἧς·  
found a child newly born to his daughter;

**401** τόν ῥά οἱ Εὐρύκλεια φίλοις ἐπὶ γούνασι θῆκε  
and Eurycleia set him upon his dear knees

**402** παυομένῳ δόρποιο, ἔπος τʼ ἔφατʼ ἔκ τʼ ὀνόμαζεν·  
as he finished his supper, and spoke and addressed him:
> Speech-introduction formula: A recurring formulaic line, literally 'spoke a word and named it out,' used to introduce direct address.

**403** Αὐτόλυκʼ, αὐτὸς νῦν ὄνομʼ εὕρεο ὅττι κε θῆαι  
Autolycus, now find yourself a name to give

**404** παιδὸς παιδὶ φίλῳ· πολυάρητος δέ τοί ἐστιν.  
your child's dear child; he is much prayed-for.

**405** τὴν δʼ αὖτʼ Αὐτόλυκος ἀπαμείβετο φώνησέν τε·  
Then Autolycus answered her and said:

**406** γαμβρὸς ἐμὸς θυγάτηρ τε, τίθεσθʼ ὄνομʼ ὅττι κεν εἴπω·  
My son-in-law and my daughter, give him the name I shall tell:

**407** πολλοῖσιν γὰρ ἐγώ γε ὀδυσσάμενος τόδʼ ἱκάνω,  
since I come here having been angered at many,
> Wordplay on the name: The verb ὀδύσσομαι ('to be angry, to hate') puns on the name Odysseus. Autolycus names the boy 'the man of wrath/the hated one.'

**408** ἀνδράσιν ἠδὲ γυναιξὶν ἀνὰ χθόνα πουλυβότειραν·  
both men and women, across the bountiful earth,

**409** τῷ δʼ Ὀδυσεὺς ὄνομʼ ἔστω ἐπώνυμον· αὐτὰρ ἐγώ γε,  
let his name be 'Odysseus.' And as for me,

**410** ὁππότʼ ἂν ἡβήσας μητρώϊον ἐς μέγα δῶμα  
when he has grown to manhood and comes to the great house

**411** ἔλθῃ Παρνησόνδʼ, ὅθι πού μοι κτήματʼ ἔασι,  
of his mother's people on Parnassus, where my possessions lie,

**412** τῶν οἱ ἐγὼ δώσω καί μιν χαίροντʼ ἀποπέμψω.  
of these I will give him, and send him off rejoicing.

**413** τῶν ἕνεκʼ ἦλθʼ Ὀδυσεύς, ἵνα οἱ πόροι ἀγλαὰ
                  δῶρα.  
For these gifts Odysseus came, that Autolycus might give him splendid presents.

**414** τὸν μὲν ἄρʼ Αὐτόλυκός τε καὶ υἱέες Αὐτολύκοιο  
Him then Autolycus and the sons of Autolycus

**415** χερσίν τʼ ἠσπάζοντο ἔπεσσί τε μειλιχίοισι·  
greeted with their hands and with gentle words;

**416** μήτηρ δʼ Ἀμφιθέη μητρὸς περιφῦσʼ Ὀδυσῆϊ  
and his mother's mother, Amphithea, embracing Odysseus,

**417** κύσσʼ ἄρα μιν κεφαλήν τε καὶ ἄμφω φάεα καλά.  
kissed his head and both his lovely eyes.

**418** Αὐτόλυκος δʼ υἱοῖσιν ἐκέκλετο κυδαλίμοισι  
And Autolycus called upon his glorious sons

**419** δεῖπνον ἐφοπλίσσαι· τοὶ δʼ ὀτρύνοντος ἄκουσαν,  
to prepare a meal; and they heeded his urging,

**420** αὐτίκα δʼ εἰσάγαγον βοῦν ἄρσενα πενταέτηρον·  
and at once led in a five-year-old bull;

**421** τὸν δέρον ἀμφί θʼ ἕπον, καί μιν διέχευαν ἅπαντα,  
they flayed it and dressed it and cut it all up,

**422** μίστυλλόν τʼ ἄρʼ ἐπισταμένως πεῖράν τʼ ὀβελοῖσιν,  
and skillfully chopped it small and pierced it on spits,

**423** ὤπτησάν τε περιφραδέως, δάσσαντό τε μοίρας.  
and roasted it carefully, and divided out the portions.

**424** ὣς τότε μὲν πρόπαν ἦμαρ ἐς ἠέλιον καταδύντα  
So then all day long until the sun went down

**425** δαίνυντʼ, οὐδέ τι θυμὸς ἐδεύετο δαιτὸς ἐΐσης·  
they feasted, and their hearts lacked nothing of the equal feast;

**426** ἦμος δʼ ἠέλιος κατέδυ καὶ ἐπὶ κνέφας ἦλθεν,  
but when the sun had set and darkness came on,

**427** δὴ τότε κοιμήσαντο καὶ ὕπνου δῶρον ἕλοντο.  
then they lay down and took the gift of sleep.
> the gift of sleep: Sleep as 'a gift' is a recurring Homeric phrase, treating rest as something bestowed rather than merely taken.

**428** ἦμος δʼ ἠριγένεια φάνη ῥοδοδάκτυλος Ἠώς,  
And when early-born, rosy-fingered Dawn appeared,
> rosy-fingered Dawn: The signature Homeric epithet for Dawn, a fixed formula marking daybreak and the start of a new episode.

**429** βάν ῥʼ ἴμεν ἐς θήρην, ἠμὲν κύνες ἠδὲ καὶ αὐτοὶ  
they set out to the hunt, both the hounds and they themselves,

**430** υἱέες Αὐτολύκου· μετὰ τοῖσι δὲ δῖος Ὀδυσσεὺς  
the sons of Autolycus; and among them noble Odysseus

**431** ἤϊεν· αἰπὺ δʼ ὄρος προσέβαν καταειμένον ὕλῃ  
went; and they climbed the steep mountain clothed in forest,

**432** Παρνησοῦ, τάχα δʼ ἵκανον πτύχας ἠνεμοέσσας.  
Parnassus, and soon reached its windy folds.

**433** Ἠέλιος μὲν ἔπειτα νέον προσέβαλλεν ἀρούρας  
Then the Sun had just begun to strike the fields,

**434** ἐξ ἀκαλαρρείταο βαθυρρόου Ὠκεανοῖο,  
risen from the gently-flowing, deep-streamed Ocean,

**435** οἱ δʼ ἐς βῆσσαν ἵκανον ἐπακτῆρες· πρὸ δʼ ἄρʼ αὐτῶν  
and the beaters came to a glen; and ahead of them

**436** ἴχνιʼ ἐρευνῶντες κύνες ἤϊσαν, αὐτὰρ ὄπισθεν  
went the dogs, searching out the tracks, while behind

**437** υἱέες Αὐτολύκου· μετὰ τοῖσι δὲ δῖος Ὀδυσσεὺς  
came the sons of Autolycus; and among them noble Odysseus

**438** ἤϊεν ἄγχι κυνῶν, κραδάων δολιχόσκιον ἔγχος.  
went close behind the hounds, brandishing his long-shadowing spear.
> long-shadowing spear: δολιχόσκιον ('casting a long shadow') is a fixed epithet for the spear, evoking its length.

**439** ἔνθα δʼ ἄρʼ ἐν λόχμῃ πυκινῇ κατέκειτο μέγας σῦς·  
There in a dense thicket a great boar lay couched;

**440** τὴν μὲν ἄρʼ οὔτʼ ἀνέμων διάει μένος ὑγρὸν ἀέντων,  
through it neither the force of the wet, blowing winds could pierce,

**441** οὔτε μιν Ἠέλιος φαέθων ἀκτῖσιν ἔβαλλεν,  
nor did the blazing Sun strike it with his rays,

**442** οὔτʼ ὄμβρος περάασκε διαμπερές· ὣς ἄρα πυκνὴ  
nor did the rain pierce it through; so dense

**443** ἦεν, ἀτὰρ φύλλων ἐνέην χύσις ἤλιθα πολλή.  
was it, and within lay a great drift of fallen leaves.

**444** τὸν δʼ ἀνδρῶν τε κυνῶν τε περὶ κτύπος ἦλθε ποδοῖϊν,  
Then the noise of the feet of men and dogs came about him,

**445** ὡς ἐπάγοντες ἐπῇσαν· ὁ δʼ ἀντίος ἐκ ξυλόχοιο  
as they pressed on in the hunt; and he came out to meet them from the thicket,

**446** φρίξας εὖ λοφιήν, πῦρ δʼ ὀφθαλμοῖσι δεδορκώς,  
bristling his mane well, and with fire glaring in his eyes,
> Bristling crest: λοφιή is the ridge of bristles along the boar's neck and back. The image of the raised mane and fire-gleaming eyes is a standard Homeric picture of a beast at bay.

**447** στῆ ῥʼ αὐτῶν σχεδόθεν· ὁ δʼ ἄρα πρώτιστος Ὀδυσσεὺς  
and stood right beside them; and first of all Odysseus

**448** ἔσσυτʼ ἀνασχόμενος δολιχὸν δόρυ χειρὶ παχείῃ,  
rushed forward, lifting his long spear in his stout hand,

**449** οὐτάμεναι μεμαώς· ὁ δέ μιν φθάμενος ἔλασεν σῦς  
eager to strike; but the boar got in first and gashed him
> Aorist participle of forestalling: φθάμενος, from φθάνω, means 'getting there first, anticipating.' The participle conveys that the boar struck before Odysseus could, a vivid sequencing of the action.

**450** γουνὸς ὕπερ, πολλὸν δὲ διήφυσε σαρκὸς ὀδόντι  
above the knee, and tore away much flesh with his tusk

**451** λικριφὶς ἀΐξας, οὐδʼ ὀστέον ἵκετο φωτός.  
as he charged sideways, but did not reach the man's bone.

**452** τὸν δʼ Ὀδυσεὺς οὔτησε τυχὼν κατὰ δεξιὸν ὦμον,  
But Odysseus struck him, hitting his mark on the right shoulder,
> Aorist participle 'hitting the mark': τυχών, from τυγχάνω, means 'having hit/attained the target.' Paired with οὔτησε ('he wounded') it stresses that the throw found its aim.

**453** ἀντικρὺ δὲ διῆλθε φαεινοῦ δουρὸς ἀκωκή·  
and the point of the shining spear went straight through;

**454** κὰδ δʼ ἔπεσʼ ἐν κονίῃσι μακών, ἀπὸ δʼ ἔπτατο θυμός.  
and he fell down in the dust with a squeal, and his life flew away.
> The life 'flew away': θυμός here is the breath of life; the verb πέτομαι ('fly') gives the formulaic image of life darting off like a bird. A standard Homeric way of saying a creature died.

**455** τὸν μὲν ἄρʼ Αὐτολύκου παῖδες φίλοι ἀμφεπένοντο,  
Then the dear sons of Autolycus busied themselves about the boar,

**456** ὠτειλὴν δʼ Ὀδυσῆος ἀμύμονος ἀντιθέοιο  
and the wound of noble, godlike Odysseus

**457** δῆσαν ἐπισταμένως, ἐπαοιδῇ δʼ αἷμα κελαινὸν  
they bound up skillfully, and with a chant the dark blood

**458** ἔσχεθον, αἶψα δʼ ἵκοντο φίλου πρὸς δώματα πατρός.  
they stopped, and quickly they came to the house of their dear father.

**459** τὸν μὲν ἄρʼ Αὐτόλυκός τε καὶ υἱέες Αὐτολύκοιο  
Then Autolycus and the sons of Autolycus,

**460** εὖ ἰησάμενοι ἠδʼ ἀγλαὰ δῶρα πορόντες  
having healed him well and given him splendid gifts,

**461** καρπαλίμως χαίροντα φίλην ἐς πατρίδʼ ἔπεμπον  
swiftly sent him rejoicing to his dear homeland,

**462** εἰς Ἰθάκην. τῷ μέν ῥα πατὴρ καὶ πότνια μήτηρ  
to Ithaca. There his father and his honored mother

**463** χαῖρον νοστήσαντι καὶ ἐξερέεινον ἕκαστα,  
rejoiced at his return and asked him about everything,

**464** οὐλὴν ὅττι πάθοι· ὁ δʼ ἄρα σφίσιν εὖ κατέλεξεν  
about the scar, what he had suffered; and he told them well

**465** ὥς μιν θηρεύοντʼ ἔλασεν σῦς λευκῷ ὀδόντι,  
how a boar had gashed him with its white tusk while he hunted,

**466** Παρνησόνδʼ ἐλθόντα σὺν υἱάσιν Αὐτολύκοιο.  
when he had gone to Parnassus with the sons of Autolycus.

**467** τὴν γρηῢς χείρεσσι καταπρηνέσσι λαβοῦσα  
This scar the old woman took in the flat of her hands,
> With palms turned down: καταπρηνής describes the hand turned palm-downward, the natural grip for cradling a leg to wash it. The precise detail sets up the moment her fingers find the old scar.

**468** γνῶ ῥʼ ἐπιμασσαμένη, πόδα δὲ προέηκε φέρεσθαι·  
and recognized it as she felt it, and let the foot drop;
> Aorist participle 'having felt': ἐπιμασσαμένη (from ἐπιμαίομαι, 'grope, feel for') in the middle voice conveys her touching with her own hands — the recognition comes through the fingertips, not the eyes.

**469** ἐν δὲ λέβητι πέσε κνήμη, κανάχησε δὲ χαλκός,  
the leg fell into the basin, and the bronze rang out,

**470** ἂψ δʼ ἑτέρωσʼ ἐκλίθη· τὸ δʼ ἐπὶ χθονὸς ἐξέχυθʼ ὕδωρ.  
and it tipped over to the other side, and the water spilled out on the ground.

**471** τὴν δʼ ἅμα χάρμα καὶ ἄλγος ἕλε φρένα, τὼ δέ οἱ ὄσσε  
Joy and pain together seized her heart, and her two eyes
> The dual for 'two eyes': ὄσσε is a dual form (with the dual article τώ), the natural number for a pair of eyes. Homer regularly uses the dual for paired body parts.

**472** δακρυόφι πλῆσθεν, θαλερὴ δέ οἱ ἔσχετο φωνή.  
filled with tears, and her strong voice was checked.

**473** ἁψαμένη δὲ γενείου Ὀδυσσῆα προσέειπεν·  
She touched his chin and spoke to Odysseus:

**474** ἦ μάλʼ Ὀδυσσεύς ἐσσι, φίλον τέκος· οὐδέ σʼ ἐγώ
                     γε  
"Truly you are Odysseus, dear child; and I

**475** πρὶν ἔγνων, πρὶν πάντα ἄνακτʼ ἐμὸν ἀμφαφάασθαι.  
did not know you before, before I had felt all over my master."

**476** ἦ καὶ Πηνελόπειαν ἐσέδρακεν ὀφθαλμοῖσι,  
She spoke, and looked toward Penelope with her eyes,

**477** πεφραδέειν ἐθέλουσα φίλον πόσιν ἔνδον ἐόντα.  
wishing to point out that her dear husband was within.
> Infinitive of purpose-wish: πεφραδέειν is a reduplicated aorist infinitive ('to make known, point out') governed by ἐθέλουσα. The infinitive completes the wish: she wanted to reveal him.

**478** ἡ δʼ οὔτʼ ἀθρῆσαι δύνατʼ ἀντίη οὔτε νοῆσαι·  
But she could neither look across at her nor notice anything,

**479** τῇ γὰρ Ἀθηναίη νόον ἔτραπεν· αὐτὰρ Ὀδυσσεὺς  
for Athena had turned her mind aside; meanwhile Odysseus,

**480** χεῖρʼ ἐπιμασσάμενος φάρυγος λάβε δεξιτερῆφι,  
groping with his hand, caught her by the throat with his right,

**481** τῇ δʼ ἑτέρῃ ἕθεν ἆσσον ἐρύσσατο φώνησέν τε.  
and with the other drew her close to himself, and spoke:

**482** μαῖα, τίη μʼ ἐθέλεις ὀλέσαι; σὺ δέ μʼ ἔτρεφες
                     αὐτὴ  
"Nurse, why do you want to destroy me? You yourself reared me

**483** τῷ σῷ ἐπὶ μαζῷ· νῦν δʼ ἄλγεα πολλὰ μογήσας  
at your own breast; and now, after suffering many pains,

**484** ἤλυθον εἰκοστῷ ἔτεϊ ἐς πατρίδα γαῖαν.  
I have come in the twentieth year to my homeland.
> Dative of time: εἰκοστῷ ἔτεϊ ('in the twentieth year') is a dative marking the point in time at which the action occurs. Homer uses the bare dative for time-when without a preposition.

**485** ἀλλʼ ἐπεὶ ἐφράσθης καί τοι θεὸς ἔμβαλε θυμῷ,  
But since you have perceived it and a god has put it in your heart,

**486** σίγα, μή τίς τʼ ἄλλος ἐνὶ μεγάροισι πύθηται.  
be silent, so that no one else in the halls may learn of it.
> Negative purpose clause: μή with the subjunctive πύθηται ('may learn') forms a fear/purpose clause: he urges silence so that no one finds out.

**487** ὧδε γὰρ ἐξερέω, καὶ μὴν τετελεσμένον ἔσται·  
For I will speak out thus, and it will surely be brought to pass:

**488** εἴ χʼ ὑπʼ ἐμοί γε θεὸς δαμάσῃ μνηστῆρας ἀγαυούς,  
if a god should subdue the lordly suitors beneath my hand,
> Future-more-vivid condition: εἴ κε (χʼ) with the aorist subjunctive δαμάσῃ sets up a vivid future condition — 'if a god subdues' — whose result Odysseus states in the next lines.

**489** οὐδὲ τροφοῦ οὔσης σεῦ ἀφέξομαι, ὁππότʼ ἂν ἄλλας  
not even you, my nurse though you are, will I spare, when the other

**490** δμῳὰς ἐν μεγάροισιν ἐμοῖς κτείνωμι γυναῖκας.  
serving-women in my halls I am killing."

**491** τὸν δʼ αὖτε προσέειπε περίφρων Εὐρύκλεια·  
Then wise Eurycleia answered him:

**492** τέκνον ἐμόν, ποῖόν σε ἔπος φύγεν ἕρκος ὀδόντων.  
"My child, what a word has escaped the barrier of your teeth!
> Formulaic 'barrier of teeth': ἕρκος ὀδόντων ('the fence of the teeth') is a recurring Homeric epithet-phrase for the mouth, treating words as escaping through a barrier. A stock formula of epic diction.

**493** οἶσθα μὲν οἷον ἐμὸν μένος ἔμπεδον οὐδʼ ἐπιεικτόν,  
You know what my spirit is — steadfast and unyielding;

**494** ἕξω δʼ ὡς ὅτε τις στερεὴ λίθος ἠὲ σίδηρος.  
I will hold firm like some solid stone or iron.

**495** ἄλλο δέ τοι ἐρέω, σὺ δʼ ἐνὶ φρεσὶ βάλλεο σῇσιν·  
And I will tell you another thing, and you lay it to your heart:

**496** εἴ χʼ ὑπό σοι γε θεὸς δαμάσῃ μνηστῆρας ἀγαυούς,  
if a god should subdue the lordly suitors beneath you,

**497** δὴ τότε τοι καταλέξω ἐνὶ μεγάροισι γυναῖκας,  
then I will name for you the women in the halls,

**498** αἵ τέ σʼ ἀτιμάζουσι καὶ αἳ νηλείτιδές εἰσι.  
both those who dishonor you and those who are guiltless."
> Guiltless: νηλείτιδες means 'without offense, blameless,' from nu- (negative prefix) + ἀλείτης (wrongdoer, from ἀλιταίνω, to sin), an archaic Homeric/epic term — not specifically Aeolic. It marks the maids who have not betrayed the household.

**499** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις Ὀδυσσεύς  
Then much-scheming Odysseus answered her:
> Epithet of Odysseus: πολύμητις ('of many devices, much-scheming') is Odysseus's standard epithet, recurring across the poem and filling the verse-end slot in the hexameter line.

**500** μαῖα, τίη δὲ σὺ τὰς μυθήσεαι; οὐδέ τί σε χρή.  
"Nurse, why would you name them? You have no need to.

**501** εὖ νυ καὶ αὐτὸς ἐγὼ φράσομαι καὶ εἴσομʼ ἑκάστην·  
I myself will note them well and learn each one;

**502** ἀλλʼ ἔχε σιγῇ μῦθον, ἐπίτρεψον δὲ θεοῖσιν.  
but keep your story in silence, and leave it to the gods."
> Aorist and present imperatives: ἔχε (present imperative, 'keep on holding') and ἐπίτρεψον (aorist imperative, 'entrust') give commands of different aspect — ongoing silence, but a single act of entrusting.

**503** ὣς ἄρʼ ἔφη, γρηῢς δὲ διὲκ μεγάροιο βεβήκει  
So he spoke, and the old woman went out through the hall

**504** οἰσομένη ποδάνιπτρα· τὰ γὰρ πρότερʼ ἔκχυτο πάντα.  
to fetch water for the feet, for the first had all been spilled.

**505** αὐτὰρ ἐπεὶ νίψεν τε καὶ ἤλειψεν λίπʼ ἐλαίῳ,  
But when she had washed him and anointed him richly with oil,

**506** αὖτις ἄρʼ ἀσσοτέρω πυρὸς ἕλκετο δίφρον Ὀδυσσεὺς  
Odysseus drew his stool again closer to the fire

**507** θερσόμενος, οὐλὴν δὲ κατὰ ῥακέεσσι κάλυψε.  
to warm himself, and hid the scar beneath his rags.

**508** τοῖσι δὲ μύθων ἦρχε περίφρων Πηνελόπεια·  
Then wise Penelope began to speak among them:

**509** ξεῖνε, τὸ μέν σʼ ἔτι τυτθὸν ἐγὼν εἰρήσομαι αὐτή·  
"Stranger, this much more I will ask you myself,

**510** καὶ γὰρ δὴ κοίτοιο τάχʼ ἔσσεται ἡδέος ὥρη,  
for indeed the hour of sweet rest will soon be here,

**511** ὅν τινά γʼ ὕπνος ἕλοι γλυκερός, καὶ κηδόμενόν περ.  
for anyone whom sweet sleep may take, troubled though he be.

**512** αὐτὰρ ἐμοὶ καὶ πένθος ἀμέτρητον πόρε δαίμων·  
But to me a god has given grief beyond measure;
> Grief beyond measure: ἀμέτρητον means literally 'unmeasured, immeasurable.' Penelope's πένθος (sorrow, mourning) is presented as a divinely allotted, boundless burden.

**513** ἤματα μὲν γὰρ τέρπομʼ ὀδυρομένη, γοόωσα,  
for by day I find relief in mourning, in lamenting,
> Taking 'pleasure' in weeping: τέρπομαι usually means 'enjoy,' but here with ὀδυρομένη ('lamenting') it conveys the bittersweet relief of grief — finding a kind of release in weeping.

**514** ἔς τʼ ἐμὰ ἔργʼ ὁρόωσα καὶ ἀμφιπόλων ἐνὶ οἴκῳ·  
looking to my own tasks and to the maids in the house;

**515** αὐτὰρ ἐπὴν νὺξ ἔλθῃ, ἕλῃσί τε κοῖτος ἅπαντας,  
but when night comes, and sleep takes hold of all,

**516** κεῖμαι ἐνὶ λέκτρῳ, πυκιναὶ δέ μοι ἀμφʼ ἀδινὸν κῆρ  
I lie in my bed, and thick about my throbbing heart

**517** ὀξεῖαι μελεδῶνες ὀδυρομένην ἐρέθουσιν.  
sharp cares stir me up as I lament.

**518** ὡς δʼ ὅτε Πανδαρέου κούρη, χλωρηῒς ἀηδών,  
As when the daughter of Pandareus, the pale-green nightingale,

**519** καλὸν ἀείδῃσιν ἔαρος νέον ἱσταμένοιο,  
sings beautifully when spring is newly come,

**520** δενδρέων ἐν πετάλοισι καθεζομένη πυκινοῖσιν,  
perched among the thick leaves of the trees,

**521** ἥ τε θαμὰ τρωπῶσα χέει πολυηχέα φωνήν,  
she who, shifting her notes often, pours out her many-toned voice,

**522** παῖδʼ ὀλοφυρομένη Ἴτυλον φίλον, ὅν ποτε χαλκῷ  
mourning her dear child Itylus, whom once with the bronze

**523** κτεῖνε διʼ ἀφραδίας, κοῦρον Ζήθοιο ἄνακτος,  
she killed through folly, the son of lord Zethus —
> Through folly: ἀφραδίη is 'thoughtlessness, want of sense.' The phrase διʼ ἀφραδίας frames the killing as an accident of unwisdom, not malice — sharpening the pathos of the nightingale's endless lament.

**524** ὣς καὶ ἐμοὶ δίχα θυμὸς ὀρώρεται ἔνθα καὶ ἔνθα,  
so too my own heart is stirred in two directions, this way and that,
> A heart split in two: δίχα ('in two, apart') captures Penelope's divided mind, torn between staying for her son and marrying a suitor — the simile of the nightingale's restless song made literal.

**525** ἠὲ μένω παρὰ παιδὶ καὶ ἔμπεδα πάντα φυλάσσω,  
whether I should stay beside my son and keep all things secure,

**526** κτῆσιν ἐμήν, δμῶάς τε καὶ ὑψερεφὲς μέγα δῶμα,  
my property, my slaves, and my great high-roofed house,

**527** εὐνήν τʼ αἰδομένη πόσιος δήμοιό τε φῆμιν,  
respecting my husband's bed and the talk of the people,

**528** ἦ ἤδη ἅμʼ ἕπωμαι Ἀχαιῶν ὅς τις ἄριστος  
or whether now I should follow whoever of the Achaeans is best,

**529** μνᾶται ἐνὶ μεγάροισι, πορὼν ἀπερείσια ἕδνα.  
who woos me in the halls, offering countless bride-gifts.

**530** παῖς δʼ ἐμὸς ἧος ἔην ἔτι νήπιος ἠδὲ χαλίφρων,  
While my son was still a child and light of mind,

**531** γήμασθʼ οὔ μʼ εἴα πόσιος κατὰ δῶμα λιποῦσαν·  
he would not let me marry and leave my husband's house;

**532** νῦν δʼ ὅτε δὴ μέγας ἐστὶ καὶ ἥβης μέτρον ἱκάνει,  
but now that he is grown and reaching the full measure of youth,
> The measure of youth: ἥβης μέτρον ('the measure of young manhood') is a formulaic phrase for coming of age. Telemachus has reached the prime of youth and so can manage the household.

**533** καὶ δή μʼ ἀρᾶται πάλιν ἐλθέμεν ἐκ μεγάροιο,  
he even prays that I will go back out of the house,

**534** κτήσιος ἀσχαλόων, τήν οἱ κατέδουσιν Ἀχαιοί.  
grieving for his property, which the Achaeans are devouring.

**535** ἀλλʼ ἄγε μοι τὸν ὄνειρον ὑπόκριναι καὶ ἄκουσον.  
But come now, interpret this dream for me, and listen.
> Aorist imperatives: ὑπόκριναι ('interpret') and ἄκουσον ('listen') are aorist imperatives, commanding single decisive acts: hear the dream and give its meaning.

**536** χῆνές μοι κατὰ οἶκον ἐείκοσι πυρὸν ἔδουσιν  
Twenty geese in my house eat wheat

**537** ἐξ ὕδατος, καί τέ σφιν ἰαίνομαι εἰσορόωσα·  
from out of the water, and I am warmed at heart watching them;

**538** ἐλθὼν δʼ ἐξ ὄρεος μέγας αἰετὸς ἀγκυλοχείλης  
but a great eagle with a hooked beak came down from the mountain
> Hook-beaked: ἀγκυλοχείλης ('with curved beak') is the formulaic epithet of birds of prey. It marks the eagle as the predator of the dream-vision that stands for Odysseus.

**539** πᾶσι κατʼ αὐχένας ἦξε καὶ ἔκτανεν· οἱ δʼ ἐκέχυντο  
and broke the necks of all of them and killed them; and they lay scattered

**540** ἀθρόοι ἐν μεγάροις, ὁ δʼ ἐς αἰθέρα δῖαν ἀέρθη.  
in a heap in the halls, and he was lifted up into the bright sky.

**541** αὐτὰρ ἐγὼ κλαῖον καὶ ἐκώκυον ἔν περ ὀνείρῳ,  
But I wept and wailed, even though it was in a dream,

**542** ἀμφὶ δʼ ἔμʼ ἠγερέθοντο ἐϋπλοκαμῖδες Ἀχαιαί,  
and the fair-haired Achaean women gathered about me,

**543** οἴκτρʼ ὀλοφυρομένην ὅ μοι αἰετὸς ἔκτανε χῆνας.  
as I mourned piteously that the eagle had killed my geese.

**544** ἂψ δʼ ἐλθὼν κατʼ ἄρʼ ἕζετʼ ἐπὶ προὔχοντι μελάθρῳ,  
But back he came and perched on a jutting roof-beam,

**545** φωνῇ δὲ βροτέῃ κατερήτυε φώνησέν τε·  
and with a human voice he checked me and spoke:
> Dative of means: φωνῇ βροτέῃ ('with a human voice') is a dative of means, expressing the instrument by which the eagle speaks. The marvel is that a bird speaks like a mortal.

**546** θάρσει, Ἰκαρίου κούρη τηλεκλειτοῖο·  
'Take courage, daughter of far-famed Icarius:
> Present imperative 'take courage': θάρσει is a present imperative of θαρσέω ('be confident'). The present aspect urges a continuing state of courage as the eagle reassures Penelope.

**547** οὐκ ὄναρ, ἀλλʼ ὕπαρ ἐσθλόν, ὅ τοι τετελεσμένον ἔσται.  
this is no dream, but a true waking vision that will come to pass for you.
> Dream versus waking vision: ὄναρ is a mere dream; ὕπαρ is a true vision seen as if awake, one that comes true. The eagle insists the omen belongs to the trustworthy kind.

**548** χῆνες μὲν μνηστῆρες, ἐγὼ δέ τοι αἰετὸς ὄρνις  
The geese are the suitors, and I, who before was a bird,

**549** ἦα πάρος, νῦν αὖτε τεὸς πόσις εἰλήλουθα,  
an eagle, am now in turn your own husband come home,

**550** ὃς πᾶσι μνηστῆρσιν ἀεικέα πότμον ἐφήσω.  
who will bring upon all the suitors a shameful doom.'
> A shameful doom: πότμος is one's allotted fate, especially death; ἀεικής means 'unseemly, disgraceful.' Together they promise the suitors a dishonorable end.

**551** ὣς ἔφατʼ, αὐτὰρ ἐμὲ μελιηδὴς ὕπνος ἀνῆκε·  
So he spoke, and honey-sweet sleep released me;
> Honey-sweet sleep: The epithet meliēdēs, literally 'honey-sweet', is a standard formula for sleep and for wine. It evokes the soothing release of sleep.

**552** παπτήνασα δὲ χῆνας ἐνὶ μεγάροισι νόησα  
and looking out I saw the geese in the hall,

**553** πυρὸν ἐρεπτομένους παρὰ πύελον, ἧχι πάρος περ.  
feeding on wheat from the trough, where they were before.

**554** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις
                  Ὀδυσσεύς·  
Answering her, Odysseus of many devices said:
> Of many devices: Polymētis, 'of many counsels/devices', is the recurring epithet for Odysseus. Such fixed epithets are a hallmark of Homer's formulaic oral style.

**555** ὦ γύναι, οὔ πως ἔστιν ὑποκρίνασθαι ὄνειρον  
Lady, there is no way to read this dream

**556** ἄλλῃ ἀποκλίναντʼ, ἐπεὶ ἦ ῥά τοι αὐτὸς Ὀδυσσεὺς  
by twisting it aside, since Odysseus himself

**557** πέφραδʼ ὅπως τελέει· μνηστῆρσι δὲ φαίνετʼ ὄλεθρος  
has shown you how he will fulfill it: destruction is revealed for the suitors,

**558** πᾶσι μάλʼ, οὐδέ κέ τις θάνατον καὶ κῆρας ἀλύξει.  
for every one of them, and none will escape death and the fates.
> The fates (kēres): Kēres are the death-spirits, dark agents of doom. Paired with thanatos ('death'), the phrase doubles the certainty of the suitors' end.

**559** τὸν δʼ αὖτε προσέειπε περίφρων Πηνελόπεια·  
Then thoughtful Penelope answered him in turn:

**560** ξεῖνʼ, ἦ τοι μὲν ὄνειροι ἀμήχανοι ἀκριτόμυθοι  
Stranger, dreams are baffling and their speech is hard to judge,
> Of unclear speech: Akritómythoi describes dreams whose 'words cannot be sorted out' — confused and undecipherable. Penelope is skeptical of easy interpretation.

**561** γίγνοντʼ, οὐδέ τι πάντα τελείεται ἀνθρώποισι.  
and not everything in them comes to pass for mortals.

**562** δοιαὶ γάρ τε πύλαι ἀμενηνῶν εἰσὶν ὀνείρων·  
For there are two gates of insubstantial dreams:
> Insubstantial: Amenēna means 'feeble, strengthless' — the same word used of the powerless dead. Dreams here are as fleeting and bodiless as ghosts.

**563** αἱ μὲν γὰρ κεράεσσι τετεύχαται, αἱ δʼ ἐλέφαντι·  
the one is fashioned of horn, the other of ivory.

**564** τῶν οἳ μέν κʼ ἔλθωσι διὰ πριστοῦ ἐλέφαντος,  
Of these, the ones that come through the sawn ivory

**565** οἵ ῥʼ ἐλεφαίρονται, ἔπεʼ ἀκράαντα φέροντες·  
deceive us, carrying words that will not be fulfilled;

**566** οἱ δὲ διὰ ξεστῶν κεράων ἔλθωσι θύραζε,  
but those that come out through the polished horn

**567** οἵ ῥʼ ἔτυμα κραίνουσι, βροτῶν ὅτε κέν τις ἴδηται.  
bring true things to pass, whenever a mortal sees them.

**568** ἀλλʼ ἐμοὶ οὐκ ἐντεῦθεν ὀΐομαι αἰνὸν ὄνειρον  
But I do not think my dread dream came to me

**569** ἐλθέμεν· ἦ κʼ ἀσπαστὸν ἐμοὶ καὶ παιδὶ γένοιτο.  
from there — though it would be welcome to me and to my son.

**570** ἄλλο δέ τοι ἐρέω, σὺ δʼ ἐνὶ φρεσὶ βάλλεο σῇσιν·  
Another thing I will tell you, and lay it up in your heart:
> Lay it up in your heart: The phrenes are the seat of thought and feeling, located near the chest. 'Cast it into your phrenes' is a recurring formula urging close attention.

**571** ἥδε δὴ ἠὼς εἶσι δυσώνυμος, ἥ μʼ Ὀδυσῆος  
this coming dawn is the ill-named one, that will part me
> Ill-named: Dysōnymos, 'of evil name', marks the dawn as ominous. Penelope dreads the day that will force her decision.

**572** οἴκου ἀποσχήσει· νῦν γὰρ καταθήσω ἄεθλον,  
from the house of Odysseus; for now I will set up a contest,
> Contest: Aethlon is a trial or contest, often athletic, with a prize at stake. Here the prize is Penelope's hand — the bow-and-axes challenge that drives the climax.

**573** τοὺς πελέκεας, τοὺς κεῖνος ἐνὶ μεγάροισιν ἑοῖσιν  
the axes, which in his own halls that man

**574** ἵστασχʼ ἑξείης, δρυόχους ὥς, δώδεκα πάντας·  
used to set up in a row, like the props of a ship, twelve in all;

**575** στὰς δʼ ὅ γε πολλὸν ἄνευθε διαρρίπτασκεν ὀϊστόν.  
then standing far off he would shoot an arrow through them.

**576** νῦν δὲ μνηστήρεσσιν ἄεθλον τοῦτον ἐφήσω·  
Now I will set this contest before the suitors:

**577** ὃς δέ κε ῥηΐτατʼ ἐντανύσῃ βιὸν ἐν παλάμῃσι  
whoever most easily strings the bow in his hands
> Strings the bow: Entanyō means to draw tight and string a bow. The verb anticipates the test no suitor can pass and only Odysseus will.

**578** καὶ διοϊστεύσῃ πελέκεων δυοκαίδεκα πάντων,  
and shoots an arrow through all twelve axes,

**579** τῷ κεν ἅμʼ ἑσποίμην, νοσφισσαμένη τόδε δῶμα  
him I will follow, forsaking this house,

**580** κουρίδιον, μάλα καλόν, ἐνίπλειον βιότοιο·  
my bridal home, so beautiful and full of livelihood;
> Bridal home: Kouridios refers to what belongs to lawful first marriage. Penelope mourns leaving the house of her wedded life.

**581** τοῦ ποτὲ μεμνήσεσθαι ὀΐομαι ἔν περ ὀνείρῳ.  
a house I think I will remember even in my dreams.

**582** τὴν δʼ ἀπαμειβόμενος προσέφη πολύμητις Ὀδυσσεύς  
Answering her, Odysseus of many devices said:

**583** ὦ γύναι αἰδοίη Λαερτιάδεω Ὀδυσῆος,  
Revered lady, wife of Odysseus son of Laertes,
> Son of Laertes: Laertiadēs is a patronymic in the genitive, 'of the son of Laertes', identifying Odysseus by his father. Patronymics are a standard part of Homeric naming.

**584** μηκέτι νῦν ἀνάβαλλε δόμοις ἔνι τοῦτον ἄεθλον·  
do not put off this contest any longer in your halls;

**585** πρὶν γάρ τοι πολύμητις ἐλεύσεται ἐνθάδʼ Ὀδυσσεύς,  
for Odysseus of many devices will come here

**586** πρὶν τούτους τόδε τόξον ἐΰξοον ἀμφαφόωντας  
before these men, handling the polished bow,

**587** νευρήν τʼ ἐντανύσαι διοϊστεῦσαί τε σιδήρου.  
can string its cord and shoot an arrow through the iron.

**588** τὸν δʼ αὖτε προσέειπε περίφρων Πηνελόπεια·  
Then thoughtful Penelope answered him in turn:

**589** εἴ κʼ ἐθέλοις μοι, ξεῖνε, παρήμενος ἐν μεγάροισι  
If you were willing, stranger, sitting beside me in the halls

**590** τέρπειν, οὔ κέ μοι ὕπνος ἐπὶ βλεφάροισι χυθείη.  
to give me pleasure, no sleep would be poured over my eyes.
> Sleep poured over the eyes: Homer pictures sleep as a liquid poured down upon the eyelids. The same image returns at the book's close when Athena sheds sleep on Penelope.

**591** ἀλλʼ οὐ γάρ πως ἔστιν ἀΰπνους ἔμμεναι αἰεὶ  
But it is not possible for people to be forever

**592** ἀνθρώπους· ἐπὶ γάρ τοι ἑκάστῳ μοῖραν ἔθηκαν  
sleepless; for the immortals have set a due measure
> A due measure: Moira is one's allotted portion or fate. Here it is the proper share of sleep apportioned to every mortal.

**593** ἀθάνατοι θνητοῖσιν ἐπὶ ζείδωρον ἄρουραν.  
for each thing for mortals upon the grain-giving earth.
> Grain-giving earth: Zeidōros aroura, 'the grain-giving plowland', is a fixed Homeric epithet for the cultivated earth that sustains mortal life.

**594** ἀλλʼ ἦ τοι μὲν ἐγὼν ὑπερώϊον εἰσαναβᾶσα  
But I, for my part, will go up to my upper chamber

**595** λέξομαι εἰς εὐνήν, ἥ μοι στονόεσσα τέτυκται,  
and lie down on my bed, which has become a place of groaning,
> A place of groaning: Stonoessa, 'full of groans', transfers Penelope's grief onto the bed itself. The couch is steeped in her mourning.

**596** αἰεὶ δάκρυσʼ ἐμοῖσι πεφυρμένη, ἐξ οὗ Ὀδυσσεὺς  
ever stained with my tears, ever since Odysseus

**597** ᾤχετʼ ἐποψόμενος Κακοΐλιον οὐκ ὀνομαστήν.  
went off to look on Evil-Ilion, not to be named.

**598** ἔνθα κε λεξαίμην· σὺ δὲ λέξεο τῷδʼ ἐνὶ οἴκῳ,  
There let me lie; but you lie down somewhere in this house,

**599** ἢ χαμάδις στορέσας ἤ τοι κατὰ δέμνια θέντων.  
either spreading bedding on the floor, or let them lay you a bed.

**600** ὣς εἰποῦσʼ ἀνέβαινʼ ὑπερώϊα σιγαλόεντα,  
So saying she went up to her shining upper rooms,

**601** οὐκ οἴη, ἅμα τῇ γε καὶ ἀμφίπολοι κίον ἄλλαι.  
not alone, for the other handmaids went with her.

**602** ἐς δʼ ὑπερῷʼ ἀναβᾶσα σὺν ἀμφιπόλοισι γυναιξὶ  
And going up to the upper room with her serving women

**603** κλαῖεν ἔπειτʼ Ὀδυσῆα, φίλον πόσιν, ὄφρα οἱ ὕπνον  
she then wept for Odysseus, her dear husband, until

**604** ἡδὺν ἐπὶ βλεφάροισι βάλε γλαυκῶπις Ἀθήνη.  
bright-eyed Athena cast sweet sleep upon her eyelids.
> Bright-eyed Athena: Glaukōpis, 'gleaming-eyed' or 'owl-eyed', is Athena's signature epithet. This formulaic name-plus-epithet fills the line's end and closes the book.

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Source text: public domain (Homer, ancient; Greek per the Murray/Allen text via the Perseus Digital Library, CC BY-SA 3.0). English translation: © 2026 1732 Studios, LLC — original line-aligned draft, pending editorial review. Word-by-word morphology and syntax derived from the Perseus Ancient Greek Dependency Treebank (CC BY-SA 3.0); English glosses and notes © 2026 1732 Studios, LLC.