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Homer’s aims are structural and thematic, the man and his burial fixed economically in our minds by the planting of the oar. The event itself celebrates the Trojans’ final arrival-after may false starts-at their new homeland and ends by focusing on the landscape again. Vergil’s Misenus, on the other hand, comes alive for us in the affectionate biography that precedes his burial. By bringing him back to our attention, however briefly, the poet tunes our ears for the crew’s much more catastrophic failure of self-control with the cattle of the sun and, with the final image of the oar, Odysseus’s own death far in the future. We get the impression that Homer is not interested in Elpenor, except as an example of the perils of low self-control. His full description of the rites adds a solemn air to the passage, while situating the burial in the Italian landscape. Vergil’s style is much more lyrical, softening the stark reality of the death that occasions it. 24.43–97), Homer’s style here is relatively spare and workmanlike: weeping, the crew members gather wood, burn the body, then heap up the funeral mound and plant an oar on top. While he is expansive in other descriptions of burial ( Il. Comparing the two passages is a lesson in how tone and structure can influence our perception of character. 6.156–182 212–235), a somber recollection of the dead man’s life, followed by a meticulous account of the rites themselves. Vergil’s version of this episode in the Aeneid, the burial of Misenus, covers fifty verses ( Aen. The poet seems intent on moving on, leaving the grim darkness behind, speeding toward the next part of the story. The next six verses cover the funeral and burial of Elpenor, a swift conclusion to that bifurcated episode. Circe reappears as a boundary figure like Siduri the barkeep on the edge of the “waters of death” in The Epic of Gilgamesh, with each figure marking the entrance to and exit from the Underworld. Odysseus sends his men back to the “house of Circe” to retrieve the body of Elpenor (9) and we note the closing of the circle that began with the first ill-fated visit in Book Ten (10.203–243). We landed there and drove the ship up on the sandĭrifting off to sleep to await bright Dawn.īut when early born, rosy fingered Dawn appeared… Ἦμος δ᾽ ἠριγένεια φάνη ῥοδοδάκτυλος Ἠώς.īut when the ship left the streams of the Ocean,Īnd came to the waves of the wide-running seaĪnd the island of Aiaia, where lie the house of early DawnĪnd her dancing spaces and the rising of Helios, The book begins with the soothing rhythms of familiar traditional language, as if to mark a return to the comfort of the human world as Odysseus and the crew left it when they went into the Underworld: We have yet to discover how that happened.
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And we learned in the first few verses of the poem that Helios did away with the rest of the crew because they ate his sacred cattle. Meanwhile, when Odysseus reaches Calypso’s island, he is alone. So perhaps the homecoming is on the horizon, but probably not right away. We also know that this poet likes nothing better than to delay fulfilling expectations he has stirred in us, keeping us engaged. That Odysseus will return and take revenge on those men? Is this not your plan, as you have counseled it, My child, what is this word that has escaped your teeth?
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We suspect that Ithaka cannot be too far in the distance at this point, and we might be getting eager to move on to the showdown with the suitors, which Homer has been dangling before us since Zeus’s reply to Athena in Book Five: read full essay After the extraordinary encounters with the dead, there might well be a letdown in dramatic tension and thus in the audience’s attention. Odysseus recounts his adventures to Circe.īringing his hero back from Hades, the poet faces some challenges. Odysseus and his crew return to Circe’s island and bury Elpenor.