; such as, perhaps, could not be easily paralleled. I question if
there be a passage, either in ancient or modern tragedy, so truly
terrible as this seeming levity of Ulysses, in the moment when he was
going to begin the slaughter.
The Annotated Edition
; such as, perhaps, could not be easily paralleled. I question if by Homer
Read aloud in ~1 minOpen reading mode →
This passage captures the tense moment right before Ulysses (Odysseus) starts his brutal killing spree against the suitors in Homer's *Odyssey*.
- Poet
- Homer
- Themes
- courage, death, fear
§01Quick summary
What this poem is about
This passage captures the tense moment right before Ulysses (Odysseus) starts his brutal killing spree against the suitors in Homer's *Odyssey*. The narrator reflects on how Ulysses hides his murderous intentions beneath a facade of calm — a "seeming levity" — which makes the scene even more horrifying than any overt display of anger. It explores the idea that a composed, silent threat can be more terrifying than anything seen in ancient or modern tragedy.
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
there be a passage, either in ancient or modern tragedy, so truly terrible as this seeming levity of Ulysses
Editor's note
The narrator dares the reader to identify any moment in all of tragedy—whether Greek, Roman, or modern—that can compare to the horror of this scene. Here, *terrible* is employed in its original, more intense meaning: something that evokes real terror, not merely sadness or pity. This assertion is both bold and intentional.
in the moment when he was going to begin the slaughter.
Editor's note
The phrase "going to begin" captures a moment just before violence erupts. Ulysses hasn't struck yet; he's ready to act. This pause — that breath held before the killing begins — is what the narrator sees as the source of the scene's distinctive strength. The term *slaughter* is straightforward and harsh, removing any heroic embellishments.
§04Tone & mood
How this poem feels
The tone is both awed and combative. The narrator expresses the confidence of someone who has explored extensively and is truly moved by their discoveries. There's no sense of distance here — this is a reader engaged in a direct dialogue with the text, asserting that something remarkable has just unfolded on the page.
§05Symbols & metaphors
Symbols & metaphors
- Seeming levity
- The calm and almost light demeanor that Ulysses shows before the killing reveals a dangerous kind of power—one that keeps itself hidden. The contrast between his easygoing exterior and the impending violence is where all the real terror lies.
- The slaughter
- The massacre of Penelope's suitors in the great hall of Ithaca marks a moment of reckoning. After years of patience, disguise, and suffering, everything culminates in one powerful act of retribution.
- Ancient and modern tragedy
- The whole tradition of dramatic literature is used as a benchmark. By elevating this Homeric moment above everything else, the narrator indicates that epic poetry can explore emotional depths that staged drama simply can't.
§06Historical context
Historical context
Homer's *Odyssey*, written around the 8th century BCE, recounts the decade-long journey of Odysseus (known as Ulysses in Latin) as he returns home after the fall of Troy. The story reaches its peak in Books 21–22, where Odysseus, disguised as a beggar, successfully strings his bow during a contest set up by his wife Penelope, then uses it against the suitors who have taken over his household. The moment captured here — his composed demeanor just before the chaos erupts — has intrigued readers and critics for centuries. This passage feels less like poetry and more akin to a piece of literary analysis or a translator's note, likely influenced by commentary from the 18th or 19th century, in the style of critics such as Alexander Pope or Thomas De Quincey, who passionately explored the emotional impact of Homeric scenes.
§07FAQ
Questions readers ask
It describes the moment in the *Odyssey* when Odysseus, just before killing the suitors, seems outwardly calm or even relaxed. He doesn't show rage or make threats — he is strikingly composed. This stark contrast between his calmness and the impending violence is what the narrator finds so frightening.
Greek and later European tragedy set the benchmark for capturing profound human suffering and fear. When the narrator asserts that this Homeric moment exceeds all of tragedy, they are making a bold statement about Homer's prowess as a storyteller.
Ulysses is the Latin name for Odysseus, the hero in Homer's *Odyssey*. After twenty years away from home—ten spent fighting at Troy and another ten lost at sea—he comes back to find his house overrun by suitors who have been eating his food, pushing his wife Penelope to remarry, and scheming to kill his son Telemachus. The slaughter that ensues is his act of revenge.
It feels like a piece of literary commentary—similar to the passionate, argumentative writing that 18th- and 19th-century critics used when discussing Homer. It asserts a critical point (this scene stands out above all in tragedy) instead of telling a story directly. It's not clear from the text itself whether it was originally called a poem or taken from a longer critical essay.
When a character expresses their rage openly, the audience knows exactly what to expect. But when a character remains calm while getting ready to commit something horrific, it creates suspense — the audience can perceive the difference between the character's outward demeanor and their hidden intentions, and that difference is where dread resides. Ulysses' lightheartedness leads both the suitors and the reader to underestimate what is on the horizon.
Odysseus strings the mighty bow that none of the suitors could manage to bend and shoots an arrow through twelve axe-heads as a challenge. Then he aims the bow at the suitors. With assistance from his son Telemachus and two faithful servants, he takes down every suitor in the hall in one of the bloodiest scenes in ancient literature.
'Slaughter' suggests a one-sided killing instead of a fair fight. The suitors, caught off guard and unarmed, stand little chance. Using 'slaughter' honestly reflects the power imbalance and removes any illusion that this is a heroic duel.
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