There has been an interesting thread going on in OUSA Classics on First Class about colour perception in different languages and what Homer meant by epi oinopa ponton ("over the wine-faced sea"). How is the sea like wine? Is it the same colour? Book 3 is full of colours or words that seem to refer to colours - but the question whether Homer understood the concept of "blue" or "red" has not been settled yet. Some translators (e.g. my Hungarian version) goes for "blue-haired" Poseidon (logical: god of the sea), while Lattimore is more cautious and has "dark-haired" (kyanokhaitē, l. 6). The bulls sacrificed to him are described as pammelanas ("all black", l. 6). Well, dark. Later, when Nestor and his family sacrifice a cow to Athene, they let flow its "black blood" (melan haima, l. 455). OK, so the sea is like wine (not necessarily red, it seems, but dark? dense? murky? opaque?) and blood is black (dark?). I'm looking forward to some future references of blue or red to be able to formulate some kind of theory. Another interesting issue in Book 3 (in Books 1-2 as well) is the belief that your success is partly due to your actions and partly to the god(s) helping you. When Telemachos is approaching the feasting party on the seashore, Athene tells him not to worry too much about how to address Nestor: "some of it you yourself will see in your own heart, / and some the divinity will put in your mind" (ll. 26-27). Crediting only yourself with your success was rather unwise in the Iliad, if I remember correctly; the gods detest boasting and arrogance and will take action if some fool deludes themselves. In Book 3, fortunately, everybody knows how to behave properly and they show the gods due respect: all through the book they keep pouring the first portion of the mixed wine as libation to the gods (Poseidon, in this instance) and burning bones and fat for them. On the other hand, I personally feel that Athene is meddling in things all the time. She is such a dominant character and is always there manipulating. This, I think, is a very good picture of her. This whole chapter is dedicated to the dream about the good society. There is a king with sons and daughter(s?), a lavish feast which is also a sacrifice (abundance of food, hospitality as it should be and worship of the gods), social bonding (I wonder how this 'greeting with their hands' happened [l. 35], is that just waving or hugging? - and they are led to the feast, l. 37: Nestors' son Peisistratos 'took them both by the hands') starting with invitation to join the celebration, then mutual introductions followed by story-telling which reveals how the two parties are connected to each other. Nestor acknowledges this tie by noticing how Telemachos takes after Odysseus (while also acknowledging, I guess, his right to succeed him). There is also respect shown for old age (v. suitors' attitude) - Athene is very pleased when Peisistratos passes the golden goblet to her as Mentor, an old man, and not to Telemachos. We also get an exhaustive description of religious rituals, especially prayers. Interestingly, Athene is the one who is asked to say prayers to Poseidon (the god she is plotting against). She asks for all sorts of blessings for the host and his family and for themselves she prays for success to achieve "you know what". A bit secretive, but apparently you didn't have to reveal anything about yourself to your hosts before eating, it was enough to make a few hints to keep them guessing until the end of the meal. When dinner is over, Nestor turns to them and asks, somewhat provocatively, if they are pirates. This reminded me of a very similar feasting scene in Beowulf, where the guests are first subjected to some taunts or made to answer some allegations, giving them the chance to defend themselves, the logic being (I think) that if you do it to defend yourself, that's not boasting. So you can impress without the risk of making someone jealous. (Obviously, that scene is not so peaceful, with some not-so-hidden aggression coming into play and dark fate lurking in the background.) This is followed by an act of supplication, customarily performed by clenching someone's knees (ll. 92-101). The language of supplication is very similar to that of prayer: Telemachos implores Nestor ('tell me') performing a symbolic but physical act (a certain position of the body, especially the hands), reminding him of all the good turns Odysseus has done him in the past (one good turn deserves another - the same really with the gods!). As it turns out, Nestor is happy to spin a yarn. He becomes a rhapsode or the rhapsode reciting the Odyssey becomes him - or rather they become one for a short while. Nestor tells the story of the homecomings of the heroes: the Iliad started with a quarrel, now there is a quarrel again. There always is. After describing the sea voyage back, wrought with dangers, Nestor explains what happened to Menelaos and why he was not in a position to stop the killing of Agamemnon or fight the usurper Aigisthos. He goes on to tell how Orestes came and took revenge; Homer/Nestor glosses over the killing of Klythaimnestra though, just mentions that Orestes arranged for a grave mound to be made for both. It was carefully left out from the earlier account in Book 1 too. I don't want to jump to conclusions, but possible political motives/propaganda in the Odyssey? Orestes for Prime Minister. Wars are not good. You go away to fight, and usurpers divide up your property and eat it away (ll. 315-316). Chaos, disorder, everything falls apart. It is a lot better to be sitting on the seashore without a care in the world. Telemachos knows it well (am I right in thinking that his name means "battle far away"?). Interesting side issue is the comparison of Klythaimnestra and Penelope. They were in the same situation, husband away in the war, both wooed by other men, one of them succumbed (after the rhapsode entrusted to keep watch on her was left to die on a desert island, what do you make of this?), the other persevered. That said, what did Penelope gain apart from time? Her tricks haven't really worked and her husband's estate is getting devoured by ravenous youth. She doesn't give in, true, but she is powerless just as Klythaimnestra is powerless. I don't see what choice these women have. This is getting very long, so I'll just mention a few things in passing:
1. There is a very powerful passage about the dangers of the sea (ll. 317-322). The stormwinds bash you about until you find yourself with 'no hope of returning', on the open sea, 'big and terrible'. A metaphor of what? 2. Why is Athene called Tritogeneia (thrice-born)? I was too lazy to find out. 3. 'Lovely Polykaste' bathing Telemachos (ll. 464-469). This was a bit unexpected. I wonder if it was normally part of the guest-friendship scenario? Something similar will happen (SPOILER!) later with Odysseus - guy with no clothes on meets king's daughter. 4. The book ends with a description of horses and chariots (much coveted by the Greeks), and they run 'unreluctant' through a plain 'full of wheat'. This is what a Homeric commercial would be like.
7 Comments
Alan Carson
9/29/2010 01:46:11 pm
Olga,
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Linda
9/30/2010 04:26:19 am
I looked up the reason for Athena being called Tritogenia and several sources say that it was because she was born from Zeus's head and is linked to Lake Triton. See for example Stewart, Michael. "People, Places & Things: Tritogeneia", <i>Greek Mythology: From the Iliad to the Fall of the Last Tyrant</i>. <a href="http://messagenetcommresearch.com/myths/ppt/Tritogeneia_1.html">http://messagenetcommresearch.com/myths/ppt/Tritogeneia_1.html</a>
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Olga
9/30/2010 07:29:09 am
Alan,
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Olga
9/30/2010 07:31:34 am
Thanks Linda for this. I wonder if the translation 'thrice-born' is a mistake in light of this?
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Alan
9/30/2010 10:07:36 am
Regarding Athene being 'thrice-born'.
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Alan
10/5/2010 01:10:48 am
Hi Olga,
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Olga
10/5/2010 01:10:38 pm
Hi Alan,
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AuthorHave studied A219 Exploring the Classical World and A275 Reading Classical Greek at the Open University. Currently studying for a Psychology degree. ImagesPlease click on any image to be taken to its source.
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