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| Laertes and Odysseus, Theodor van Thulden (1606-1669) |
I found compelling a detail I had forgotten since I first read The Odyssey in full some twenty years (!) ago. Penelope has declared that she will marry the suitor who can string the bow of her supposedly absent husband. Of course everyone tries, everyone fails, and Odysseus prevails. But in the midst of the prevailing, we are given an extraordinarily lovely detail, a prolonged hesitation between the stringing of the bow and the vengeful launching of the arrows. Colum's version reads: "For long Odysseus stood with the bow in his hands, handling it as a minstrel handles a lyre when he stretches a cord or tightens a peg. Then he bent the great bow; he bent it without an effort, and at his touch the bow-string made a sound that was like the cry of a swallow."
Here's how George Chapman's translation (c. 1615) lingers further with this same pause:
But when the wise Ulysses once had laid
His fingers on it, and to proof survey’d
The still sound plight [pliability] it held—as one of skill
In song and of the harp, doth at his will,
In tuning of his instrument, extend
A string out with his pin, touch all, and lend
To ev’ry well-wreath’d string his perfect sound,
Struck all together—with such ease drew round
The king the bow. Then twang’d he up the string,
That—as a swallow in the air doth sing
With no continu’d tune, but, pausing still,
Twinks out her scatter’d voice in accents shrill—
So sharp the string sung when he gave it touch,
Once having bent and drawn it.
Listen to how Chapman stretches these lines beyond their endings—"extend / A string out with his pin," "drew round / The king the bow." Those two extended similes likewise draw out the tension before the conclusive outburst of violence.
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| Apollo with lyre and arrows |
The great philologist Erich Auerbach famously opens his study Mimesis with a comparison between Homeric style and the Genesis account of the sacrifice of Isaac. Auerbach insists upon the "externalization" of phenomena in Homer, characterizing the narrative as concentrating on "foreground" instead of being "fraught with background": "the element of suspense is very slight in the Homeric poems; nothing in their entire style is calculated to keep the reader or hearer breathless." Perhaps true on the whole, but I'm not so certain that's the case here in this felicitous conflation of warrior and artist. The poem itself was likely sung to the accompaniment of a lyre—savvily, Elizabeth brought an autoharp to our first session, so that our crew could strum along while she recited. The epic is lyrical. What a wonderfully self-conscious moment, then, to say that Odysseus re-familiarizing himself with his bow is somehow akin to a singer tuning a harp (and to say this via lyrics themselves performed with a lyre). As Shakespeare's Ulysses puts it, when discussing "degree" (order and hierarchy), "Take but degree away, untune that string, / And hark what discord follows." Odysseus' kingdom is a mess; it's out of tune. It's time to re-pair it. And the power compressed in the singular stringing of that bow chimes with the power compressed within the poet's lyre. Pluck it, and the string sings.
(p.s. an enigmatic line from the later Greek philosopher Heraclitus (who thought Homer should be flogged) also fixes upon this productive tautness: "that which differs with itself is in agreement: harmony consists of opposing tension, like that of the bow and the lyre" and elsewhere: "the name of the bow is life, but its work is death.")