In the following passage Kassandra prophesies Odysseus’ travails in returning home. Although she seems to refer to a few events not in our Odyssey (fast rocks, talking meat), what I find interesting is the possible poetic engagement with Kassandra’s presentation in the Odyssey where she is not mentioned as the cause of Athena’s anger or marked as a prophet.
Euripides, Trojan Women 424–447
“Really, a clever servant. Why do heralds have
the name they have, when one hatred is common to people:
the servants of tyrants and their regimes?
You say that my mother will arrive at
Odysseus’ home? Where then are Apollo’s words
which say—when I have translated them—
that she will die here? I will not insult her with the rest.
The wretched man, he doesn’t know what suffering awaits him—
how even these Phrygian horrors of mine will seem
golden to him. For ten years after sailing out added to ten
spent here he will finally arrive at his fatherland alone
where the swiftest rocks [make] the passage narrow,
and dreadful Charybdis, near the man-eating, cliff-walking [Skyla],
The Kyklops, and the Ligurian, swine-witch
Kirkê, and shipwrecks over the salted-sea,
lusts for lotus, and the sacred cattle of Helios,
whose flesh will sing in human voice one day
a bitter song for Odysseus—I will cut this short:
he will go into Hades still alive and though feeling the water’s flow
he will come home and find countless evils at home.
But why do I enumerate the toils of Odysseus?
Take me right away, let me marry a bridegroom for Hades’ home.
You are evil and you will be evilly buried at night, not at day
Captain of the Danaid women, believing you are doing something good.”
Κα. ἦ δεινὸς ὁ λάτρις. τί ποτ’ ἔχουσι τοὔνομα
κήρυκες, ἓν ἀπέχθημα πάγκοινον βροτοῖς,
οἱ περὶ τυράννους καὶ πόλεις ὑπηρέται;
σὺ τὴν ἐμὴν φὴις μητέρ’ εἰς ᾿Οδυσσέως
ἥξειν μέλαθρα; ποῦ δ’ ᾿Απόλλωνος λόγοι,
οἵ φασιν αὐτὴν εἰς ἔμ’ ἡρμηνευμένοι
αὐτοῦ θανεῖσθαι; τἄλλα δ’ οὐκ ὀνειδιῶ.
δύστηνος, οὐκ οἶδ’ οἷά νιν μένει παθεῖν·
ὡς χρυσὸς αὐτῶι τἀμὰ καὶ Φρυγῶν κακὰ
δόξει ποτ’ εἶναι. δέκα γὰρ ἐκπλήσας ἔτη
πρὸς τοῖσιν ἐνθάδ’ ἵξεται μόνος πάτραν
†οὗ δὴ στενὸν δίαυλον ὤικισται πέτρας†
δεινὴ Χάρυβδις ὠμοβρώς τ’ ὀρειβάτης
Κύκλωψ Λιγυστίς θ’ ἡ συῶν μορφώτρια
Κίρκη θαλάσσης θ’ ἁλμυρᾶς ναυάγια
λωτοῦ τ’ ἔρωτες ῾Ηλίου θ’ ἁγναὶ βόες,
αἳ σαρξὶ φοινίαισιν ἥσουσίν ποτε
πικρὰν ᾿Οδυσσεῖ γῆρυν. ὡς δὲ συντέμω,
ζῶν εἶσ’ ἐς ῞Αιδου κἀκφυγὼν λίμνης ὕδωρ
κάκ’ ἐν δόμοισι μυρί’ εὑρήσει μολών.
ἀλλὰ γὰρ τί τοὺς ᾿Οδυσσέως ἐξακοντίζω πόνους;
στεῖχ’ ὅπως τάχιστ’· ἐν ῞Αιδου νυμφίωι γημώμεθα.
ἦ κακὸς κακῶς ταφήσηι νυκτός, οὐκ ἐν ἡμέραι,
ὦ δοκῶν σεμνόν τι πράσσειν, Δαναϊδῶν ἀρχηγέτα.
κἀμέ τοι νεκρὸν φάραγγες γυμνάδ’ ἐκβεβλημένην
ὕδατι χειμάρρωι ῥέουσαι νυμφίου πέλας τάφου
θηρσὶ δώσουσιν δάσασθαι, τὴν ᾿Απόλλωνος λάτριν.
Kassandra is most famous in ancient art and myth for the sexual violence she suffers at Oilean Ajax’s hands. But when there is an opportunity to refer to this, the Odyssey avoids it. Instead, it creates a new reason for Ajax to suffer: