As a man cooking a paunch chockful of fat and blood
on a fierce blazing fire will turn it to and fro,
determined to get it cooked through as fast as he can,
so Odysseus tossed this way and that, trying to work out
how he was going to lay hands on the shameless suitors,
one man against so many.
This simile was much reviled by neoclassical critics. In his translation of 1726 Alexander Pope couldn’t bring himself to mention the sausage, and produced instead one of his prissiest euphemisms: ‘As one who long with pale-ey’d famine pin’d,/The sav’ry cates on glowing embers cast.’ Odysseus has returned to Ithaca and is still disguised as a beggar, which is the reason he can be compared to a humble cooker of sausages. He is trying at this moment to do what The Odyssey as a whole attempts to do: to make deliberative inaction into something heroic. He has just overheard the slave girls of his household giggle as they head off to assignations with the suitors, who are eating all the prime cuts of his pigs and cattle. Should he kill the slave girls immediately or allow them one more gaudy night? He tells himself to swallow his anger. As Emily Wilson has it in her sprightly rendering:
‘Be strong, my heart. You were
hounded by worse the day the Cyclops ate
your strong companions. But you kept your nerve,
till cunning saved you from the cave; you thought
that you would die there.’
And so, having reached a decision not to kill the slave girls, Odysseus lies writhing like a man impatient for his sausage to be cooked. It’s an unusually extended example of the way the author of The Odyssey (whom we call Homer, but who probably dates from at least half a century after the person or persons who wrote The Iliad) does interior psychology. Two options are clearly stated (kill now, or kill later). The hero decides, and bides his time. But all the energy of the resisted option fizzles and spits within him.
The sneeze in The Odyssey is a bit different, but it also indicates how complicated the psychology of this poem can appear to be. Odysseus’ son, Telemachus, sneezes immediately after Odysseus’ wife, Penelope, has (in Peter Green’s literal translation) said this:
‘there is no man here
such as Odysseus once was, to keep ruin from our house.
But were Odysseus to come back home, then he and his son
would at once exact vengeance for these men’s violent acts.’
So she spoke. Tēlemachos now sneezed, loudly. The whole
house echoed ringingly round them. Penelopē laughed,
and at once addressed Eumaios with winged words, saying:
‘Please go now and bring the stranger [the disguised Odysseus] here before me!
Don’t you see how my son just sneezed at everything I said.’
A footnote in Green’s translation tells us that sneezes were regarded as omens in antiquity, and so, implicitly, Telemachus does not ‘sneeze at’ Penelope’s speech in the modern sense of regarding it as nothing, but rather as a sign that it will all come true. Odysseus will indeed return and wreak vengeance on the suitors. This historical explanation for the sneeze has been common at least since Eustathius’s commentary from the 12th century. But Telemachus’ sneeze also invites other kinds of explanation. His mother has just said in public and in front of him that there is no man around like his father, Odysseus. But she has also said that when Odysseus returns his son will join him in vengeance. Attention is turned on Telemachus in a way that both makes him big and belittles him. Then he sneezes. Does the sneeze express awkwardness or embarrassment as well as being a portent?
The sneeze is a kind of reprise of an earlier outburst from the youthful Telemachus, who doesn’t quite know if he is a man or not, or if he can take control of his father’s household or not. In Book 1 Penelope tells the bard Phemius to stop singing about the return of the heroes from Troy because it makes her weep. This prompts Telemachus to give his mother a dressing-down, which concludes (this time in Anthony Verity’s careful and unshowy translation):
‘Go back to your rooms and take charge of your own tasks,
the loom and the distaff, and order your women servants
to go about their work. Talk must be men’s concern, all of
them, and mine especially, for the power in the house is mine.’
The anxious young man asserts himself here in a remarkable way. He virtually quotes an earlier hero, and that makes it particularly hard to assess the tone of his speech. In Book 6 of The Iliad Hector told his wife, Andromache, to go back to her weaving and leave war to men. Telemachus uses the same phrases as Hector, but substitutes the word ‘talk’ or ‘speech’ (muthos) for ‘war’ (polemos). Aristarchus, one of Homer’s earliest editors, regarded this as a sign that Telemachus’ rebuke to his mother was an interpolation by a later author. More recent editors have shared his suspicion because the same form of words is repeated much later in the poem in a context that seems more appropriate. But along with the sausage and the sneeze, Telemachus’ attempt here to sound like the hero Hector – a man uncompromisingly in control of his household, and who is talking to his wife, rather than to a mother who may be about to remarry – shows something significant about the psychological and poetic methods of The Odyssey, as well as demonstrating how difficult it is to be sure about what is going on in the poem. A sneeze or a quotation from The Iliad can convey power and awkwardness at once. Lines from The Iliad repeated in a new context may show a young man trying to replicate earlier heroism by quoting it, or the Odyssey-poet making a slightly clumsy use of the tradition inherited from the Iliad-poet, or they might have been added by an enthusiastic scribe or editor. Being a hero after or before the battlefield, in the close environment of a household or – worst of all – in front of your mum, isn’t easy. And describing behaviour in a household in an oral formulaic idiom fashioned principally to represent action on the battlefield can simultaneously generate enigmas, awkwardness of tone, and suggestions of psychological depth.
All of this makes The Odyssey much harder to translate than The Iliad. One person’s interpolation or historical curiosity will be another person’s moment of deep psychological insight. That problem is compounded by . . .