In this often overlooked scene we find an unnamed slave at the end of a long night’s work.
[Odysseus] carried it outside and then prayed
while raising his hands to Zeus,
“Zeus, father, if you have willingly led me
over the soil and swell to this land,
after you have made me a much lesser man,
let someone of those gathered within utter my fame
and let some other sign of Zeus appear without.”
So he spoke while praying and Zeus the advisor was listening to him.
He immediately thundered from shining Olympus
high above from the clouds. And brilliant Odysseus smiled.
A woman from the house near the mill released a sound [phêmê]
where the twelve mills were set for the shepherd of the host.
There were twelve women working there
regularly working the barley and the wheat, men’s marrow.
The others were sleeping, since they had finished grinding their grain.
But she alone was not yet stopping, since she was the weakest of all.
But then she stopped her mill and spoke, a sign for her master.
“Zeus, father, you who rule over the gods and people,
how you have thundered from the starry sky
where there is no cloud! In this you show your sign.
Now grant to wretched me this word which I speak:
may this be the last and final day on which the suitors
take their lovely feast in the halls of Odysseus.
These men wear the knees of tired, heart-pained me
as I make their meal. Let them dine now for the last.”
So she spoke and Odysseus took pleasure in the speech and the thunder. For he was thinking that he would pay the guilty back.”
θῆκε θύραζε φέρων, Διὶ δ’ εὔξατο χεῖρας ἀνασχών·
“Ζεῦ πάτερ, εἴ μ’ ἐθέλοντες ἐπὶ τραφερήν τε καὶ ὑγρὴν
ἤγετ’ ἐμὴν ἐς γαῖαν, ἐπεί μ’ ἐκακώσατε λίην,
φήμην τίς μοι φάσθω ἐγειρομένων ἀνθρώπων
ἔνδοθεν, ἔκτοσθεν δὲ Διὸς τέρας ἄλλο φανήτω.”
ὣς ἔφατ’ εὐχόμενος· τοῦ δ’ ἔκλυε μητίετα Ζεύς,
αὐτίκα δ’ ἐβρόντησεν ἀπ’ αἰγλήεντος ᾿Ολύμπου,
ὑψόθεν ἐκ νεφέων· γήθησε δὲ δῖος ᾿Οδυσσεύς.
φήμην δ’ ἐξ οἴκοιο γυνὴ προέηκεν ἀλετρὶς
πλησίον, ἔνθ’ ἄρα οἱ μύλαι εἵατο ποιμένι λαῶν.
τῇσιν δώδεκα πᾶσαι ἐπερρώοντο γυναῖκες
ἄλφιτα τεύχουσαι καὶ ἀλείατα, μυελὸν ἀνδρῶν·
αἱ μὲν ἄρ’ ἄλλαι εὗδον, ἐπεὶ κατὰ πυρὸν ἄλεσσαν,
ἡ δὲ μί’ οὔ πω παύετ’, ἀφαυροτάτη δὲ τέτυκτο·
ἥ ῥα μύλην στήσασα ἔπος φάτο, σῆμα ἄνακτι·
“Ζεῦ πάτερ, ὅς τε θεοῖσι καὶ ἀνθρώποισιν ἀνάσσεις,
ἦ μεγάλ’ ἐβρόντησας ἀπ’ οὐρανοῦ ἀστερόεντος,
οὐδέ ποθι νέφος ἐστί· τέρας νύ τεῳ τόδε φαίνεις.
κρῆνον νῦν καὶ ἐμοὶ δειλῇ ἔπος, ὅττι κεν εἴπω·
μνηστῆρες πύματόν τε καὶ ὕστατον ἤματι τῷδε
ἐν μεγάροισ’ ᾿Οδυσῆος ἑλοίατο δαῖτ’ ἐρατεινήν,
οἳ δή μοι καμάτῳ θυμαλγέϊ γούνατ’ ἔλυσαν
ἄλφιτα τευχούσῃ· νῦν ὕστατα δειπνήσειαν.”
ὣς ἄρ’ ἔφη, χαῖρεν δὲ κλεηδόνι δῖος ᾿Οδυσσεὺς
Ζηνός τε βροντῇ· φάτο γὰρ τείσασθαι ἀλείτας.
αἱ δ’ ἄλλαι δμῳαὶ κατὰ δώματα κάλ’ ᾿Οδυσῆος
ἐγρόμεναι ἀνέκαιον ἐπ’ ἐσχάρῃ ἀκάματον πῦρ.
This scene illustrates the extent to which minor characters exist and in fact suffer pointlessly for Odysseus’ benefit: we get the briefest glimpse into the life and suffering of one of the mill-working women in order to satisfy Odysseus’ own desire to hear that he is remembered. For me, this scene is a metonym for the narrative’s use of marginalized peoples in the generic instrumentalization of another’s pain to satisfy Odysseus’ narrative ends.