Summary
Odysseus and Telemachus remove the weapons from the hall. Melantho abuses the beggar again and is rebuked.
Penelope questions the stranger. He tells another Cretan tale, claiming to have entertained Odysseus twelve days on his way to Troy, and describes his clothing and his brooch in exact detail. She weeps, and the poem compares her tears to snow melting on the mountains. He swears Odysseus will return within the month.
Penelope orders the old nurse Eurycleia to wash his feet. Washing them she finds the scar of a boar's tusk on his thigh; the poem breaks off for some seventy lines to tell how he got it hunting on Parnassus with his grandfather Autolycus, and how Autolycus named him. She drops his foot into the basin; he seizes her throat and swears her to silence. Athena keeps Penelope's attention elsewhere.
Penelope tells a dream: an eagle kills her twenty geese and then speaks in Odysseus's voice. She then describes the two gates of dreams, of horn and of ivory, and doubts her own. Finally she announces the contest of the bow and the axes for the next day.
Narrative function
The poem's central psychological encounter, and the point at which the contest that ends the poem is set in motion.
Greek concepts in this book
- sēma
- Sign, token. The scar is the poem's paradigm sēma: a mark on the body, older than the disguise and impossible to counterfeit.
- anagnōrisis
- Recognition. Eurycleia's is involuntary, physical, and immediately suppressed.
- homophrosynē
- Like-mindedness between husband and wife — named earlier in the poem as the greatest good. Book 19 is where the audience sees it operating before either party admits it.
Connections to other books
Book 21
The contest announced here is held in Book 21 and is the mechanism of the killing.
Book 23
Penelope's testing here anticipates the test of the bed, which is on her own terms and which he fails to anticipate.
Book 24
The suitor Amphimedon later claims among the dead that Odysseus instructed Penelope to set the contest — an account the narrative does not support.
Source notes
The scar flashback (19.393-466) is the passage Erich Auerbach analysed in the opening chapter of Mimesis (1946) to characterise Homeric style as a foreground with no perspective — everything fully illuminated, nothing left in shadow. It remains the standard starting point for discussion of Homeric narration.
Reading it responsibly
Whether Penelope recognises her husband during this interview is the oldest live question in Odyssey criticism and it is not settled. The case for it: she announces the contest immediately after a stranger tells her Odysseus is near, and the contest is one only he can win. The case against: the poem shows her genuinely uncertain in Book 23, and Athena is repeatedly said to be managing her attention. This platform does not choose. Adaptations must choose, and the choice is one of the most consequential an adaptation makes.