The Annotated Edition
Argument by Homer
This is the opening book of Homer's *Odyssey*, which lays the groundwork for the entire epic: the gods agree it's finally time for Ulysses (Odysseus) to return home after a decade of wandering since the fall of Troy.
- Poet
- Homer
- Core theme
- Growing-up
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Muse make the man thy theme, for shrewdness famed / And genius versatile, who far and wide
Editor's note
This is the famous invocation — Homer asks the Muse to narrate the tale of a man distinguished not by sheer strength but by his wit. From the start, we see that the hero's journey has come at a great cost: his men are dead, he faces an endless delay in returning home, and much of this is due to his crew's disastrous choice to eat the sacred cattle of the Sun god. The poet makes it clear that the men brought their own downfall.
The rest, all those who had perdition 'scaped / By war or on the Deep, dwelt now at home;
Editor's note
Everyone else who survived the Trojan War has returned home. Only Ulysses remains trapped on the island of Ogygia, held there by the goddess Calypso, who desires him for herself. He longs for home so intensely that he would prefer death over staying with her. This stark contrast between Ulysses' isolation and the comfort of the others highlights the injustice of his predicament.
Yet all the Gods, with pity moved, beheld / His woes, save Neptune;
Editor's note
The gods are sympathetic to Ulysses — except for Neptune (Poseidon), who is angry because Ulysses blinded his son, the Cyclops Polyphemus. Neptune's anger is what keeps sending Ulysses off course time after time. Fortunately, Neptune is currently away enjoying a feast with the Ethiopians, allowing the other gods a chance to intervene.
Alas! how prone are human-kind to blame / The Pow'rs of Heav'n!
Editor's note
Jupiter (Zeus) begins the divine council with a speech focused on human accountability, citing Aegisthus as an example. Aegisthus, who seduced Agamemnon's wife and killed Agamemnon upon his return from Troy, ignored the gods' warnings. Orestes later avenged his father by killing Aegisthus. This narrative serves as a parallel throughout the *Odyssey*, warning about the consequences of disregarding divine guidance and subtly positioning Telemachus as a potential Orestes figure.
But with a bosom anguish-rent I view / Ulysses, hapless Chief!
Editor's note
Minerva (Athena) shifts the discussion to Ulysses. She describes him vividly, stuck on a forested island and yearning for home so intensely that he would accept death. With her rhetorical question to Jupiter — hasn't Ulysses given enough to deserve your favor? — she subtly but firmly challenges the king of the gods to take action at last.
What word hath pass'd thy lips, Daughter belov'd? / Can I forget Ulysses?
Editor's note
Jupiter makes it clear: he hasn't forgotten about Ulysses. The issue lies with Neptune's grudge against the Cyclops. However, Jupiter acknowledges that the moment has arrived — Neptune can't resist the united will of all the gods indefinitely. He gives the go-ahead: send Hermes to inform Calypso to free Ulysses, and let Minerva head to Ithaca to motivate Telemachus.
Myself will hence to Ithaca, meantime, / His son to animate, and with new force
Editor's note
Minerva shares her strategy: she will travel to Ithaca in disguise as a mortal, encourage Telemachus to summon an assembly and challenge the suitors, and send him on a journey to Pylos and Sparta to learn about his father. This voyage is not just about gathering information; it’s also a crucial step for Telemachus to discover his own identity and bravery.
This said, her golden sandals to her feet / She bound, ambrosial, which o'er all the earth
Editor's note
Homer takes a moment to detail Minerva's divine gear — her winged sandals and her impressive bronze-tipped spear — before she heads down to Ithaca. This description highlights the contrast between her divine strength and the shabby situation she’s about to face: a palace filled with freeloading suitors.
Long ere the rest Telemachus himself / Mark'd her, for sad amid them all he sat,
Editor's note
Telemachus is introduced sitting away from the suitors, deep in thought about his father. His instinct to greet the stranger right away — before anyone else catches on — shows his natural decency and hospitality. He stands out from the crowd around him, even if he’s still unsure how to handle them.
My inmate and my friend! far from my lips / Be ev'ry word that might displease thine ear!
Editor's note
Seated privately with his hidden divine guest, Telemachus shares his feelings. He is filled with bitterness and sorrow: his father is likely dead, the suitors are consuming his inheritance, and his mother is caught in a state of false hope. His words are raw and sincere — the voice of a young man who has felt powerless for far too long.
I will with all simplicity of truth / Thy questions satisfy. Behold in me / Mentes,
Editor's note
Minerva, disguised as Mentes, provides Telemachus with a thoughtful cover story — she claims to be an old family friend on a trading journey — and then shares the crucial news: his father is alive, being held captive somewhere, and he will eventually make his way home. She also observes the striking resemblance between Telemachus and Ulysses, subtly reinforcing the young man's heritage and fate.
Stranger! I tell thee true; my mother's voice / Affirms me his, but since no mortal knows
Editor's note
Telemachus' reply takes a surprisingly philosophical turn: no one can really know who their father is, relying only on what their mother says. This reflects a sad truth that also speaks to his own shaky understanding of identity. He wishes he could be the son of a luckier man — a subtle acknowledgment of the deep impact his father's absence has had on him.
To-morrow, summoning the Grecian Chiefs / To council, speak to them, and call the Gods
Editor's note
Minerva provides Telemachus with a clear action plan: hold a public assembly, formally ask the suitors to leave, and then travel to Pylos and Sparta to seek information from Nestor and Menelaus about Ulysses. This advice is both practical and political—it encourages Telemachus to engage in public life and assert his authority instead of remaining in quiet resentment.
For thou art now no child, nor longer may'st / Sport like one.
Editor's note
Minerva's final remarks are a clear challenge for Telemachus to mature. She presents Orestes as an example — a young man who avenged his father and achieved lasting glory. This comparison is both motivating and daunting: it suggests that Telemachus might one day need to take equally drastic action. After she disappears, Telemachus quickly feels that he has been in the presence of a deity.
The youthful Hero to the suitors then / Repair'd; they silent, listen'd to the song
Editor's note
The bard Phemius is singing about the Greeks' tragic return from Troy — a song that deeply distresses Penelope, prompting her to come downstairs in tears and ask him to stop. Telemachus, with a gentle yet assertive tone, tells his mother to return to her room and let him handle things in the hall. This marks his first act of authority, though small, it carries weight and surprises everyone in the room.
To-morrow meet we in full council all, / That I may plainly warn you to depart
Editor's note
Telemachus confronts the suitors face to face for the first time, warning them that he will call a public assembly the next day to demand they leave. He threatens them with divine consequences if they don’t comply. The suitors are taken aback — this isn’t the passive boy they’re accustomed to. Antinous and Eurymachus react with a blend of ridicule and reluctant respect.
There lay Telemachus, on finest wool / Reposed, contemplating all night his course
Editor's note
The book ends softly with Telemachus lying awake, contemplating the journey that Minerva has laid out for him. The last scene — a young man on the brink of sleep, reflecting on the path before him — feels intimate and relatable after the grand workings of the council scenes. His shift from passive sorrow to taking charge of his destiny is the true focus of this opening book.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The wandering / the sea voyage
- Ulysses' years of wandering on the sea symbolize the challenges one must face before finding their way home — not just in a physical sense, but as a complete individual. The sea serves as both a barrier and a place for growth.
- Minerva's disguise as Mentes
- The goddess, taking on a human form to guide Telemachus, illustrates that wisdom and courage frequently arrive through others — be it a mentor, a stranger, or a friend — rather than through direct divine intervention. This disguise makes the guidance feel like something earned rather than simply bestowed.
- The suitors feasting in Ulysses' hall
- The suitors consuming Ulysses' food, drinking his wine, and vying for his wife represent disorder, a lack of respect for hospitality, and the chaos that arises in the absence of authority. They embody what occurs when rightful order is missing for too long.
- The smoke of Ithaca
- Ulysses' desire to see the smoke rising from his own hearth captures a deeply human sentiment in the poem. The smoke from a home fire symbolizes belonging, warmth, and the everyday life that heroism demands from those who pursue it.
- Orestes as parallel figure
- The tale of Orestes avenging his father Agamemnon's murder weaves through this book like a shadow. It serves as a cautionary tale about the consequences of delayed justice and as a blueprint for the kind of man Telemachus may need to become.
- Penelope's veil
- Penelope appearing veiled before the suitors expresses her grief, modesty, and defiance. The veil creates a barrier between her personal sorrow and the public turmoil of the hall — she is there but not truly accessible, mourning yet not completely subdued.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Why is the poem called 'Argument'?
In older literary tradition, an 'argument' refers to a short prose or verse summary at the beginning of a book or canto that informs the reader about what to expect. In this context, it pertains to Book I of the Odyssey as a complete unit—the term is used similarly to how Milton applies it at the start of each book in Paradise Lost. It does not signify a disagreement or debate.
Who is Ulysses and why hasn't he gone home yet?
Ulysses is the Roman name for Odysseus, the king of Ithaca and a notable Greek hero from the Trojan War. After the fall of Troy, he has been struggling to return home for ten years, but the sea god Neptune (Poseidon) is angry with him for blinding his son, the Cyclops Polyphemus. As a result, Neptune keeps steering him off his path. Additionally, the goddess Calypso has kept him on her island, desiring him as her lover.
What is the significance of the suitors?
The suitors are noblemen from Ithaca and nearby islands who have taken over Ulysses' palace, believing he is dead. They are vying to marry his wife Penelope, hoping to gain control of the kingdom. While they linger, they consume Ulysses' food, drink his wine, and show disdain for his household. They embody the chaos and injustice that have arisen during Ulysses' absence — and they will ultimately face a violent reckoning.
Why does Minerva go to Telemachus instead of just helping Ulysses directly?
Minerva does both — she sends Hermes to tell Calypso to let Ulysses go, and she visits Ithaca herself to encourage Telemachus. The Telemachus storyline is important because the Odyssey explores a son's journey to embrace his father's legacy. Telemachus must learn to stand beside Ulysses when he eventually comes home. Minerva's visit sparks the change that transforms him from a passive, grieving boy into someone who can take action.
Why does Jupiter bring up Aegisthus at the start of the divine council?
The tale of Aegisthus — who disregarded divine warnings, killed Agamemnon, and was ultimately slain by Agamemnon's son Orestes — serves as a recurring theme in this book. Jupiter references it to highlight human responsibility: individuals inflict additional suffering on themselves by ignoring wise advice. This narrative also positions Orestes as a role model for Telemachus and hints at the grim fate that awaits the suitors who are likewise ignoring all warnings.
What does Telemachus mean when he says no mortal can truly know his own father?
When Mentes (Minerva in disguise) asks if he is truly Ulysses' son, Telemachus replies that his mother claims he is, but he can't be sure — only a mother can know her child's parentage with absolute certainty. This might sound like a philosophical observation, but it also highlights how profoundly his father's absence has shaken his sense of identity. He struggles with who he is because he has never truly known who his father was.
Why does Telemachus tell his mother to go back to her room?
Penelope comes downstairs and asks the bard to stop singing about the Greeks' return from Troy, as it reminds her of her sorrow for Ulysses. Telemachus, in a gentle yet firm manner, tells her to go back upstairs and let him handle things in the hall. This marks his first public claim to authority—sparked by Minerva's visit—and signifies his shift from boyhood to manhood. It also highlights the social norms of ancient Greece, where the public sphere was seen as a male domain.
Is this a poem or a prose summary?
The text here features William Cowper's 1791 blank verse translation of Book I of Homer's Odyssey. The opening paragraph in prose is Cowper's own prefatory 'argument' — essentially a summary of the book's contents — a common practice in 18th-century translations of classical epics. Following this is the actual translation of Homer's Greek.
Citation
Cite this poem
MLA
Homer. "Argument." Storgy, https://storgy.com/poems/argument-homer/.
APA
Homer. (n.d.). Argument. Storgy. https://storgy.com/poems/argument-homer/
Row A — Thesis
1 ptIn Book I of the Odyssey, Homer does not simply introduce a hero delayed from home; he constructs a theology of deserved suffering in which divine governance and human choice exist in productive tension. The invocation's insistence that the …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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Available on any Storgy plan — model paragraphs, band callouts, and common student errors for every poem.
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