The reunion scene between Odysseus and Argos is among the most famous episodes in the
Odyssey and has been described as one of the most emotional scenes in
Western literature. There are three major elements of the scene to which scholarly attention has largely been paid: its placement in relation to other events in the poem, its emotional gravity (
pathos), and its employment as a metaphor for Odysseus and the state of his household ().
Narrative function in the Odyssey Argos's scene is placed in the middle of the seventeenth book of the poem and is a part of its larger visitation narrative, where Odysseus goes to meet his wife's suitors, and both the scene and the larger narrative are an inversion of the expected "hospitality ritual" (). The appearance of Argos begins a series of
anagnorises, and is the only anagnorisis in the
Odyssey where two characters recognize each other immediately and simultaneously. Argos is the only member of Odysseus's household to recognize him without
divine assistance or evidence provided by Odysseus himself. The revelation by
the narrator of Argos's death uses the
keynote phrase "in the twentieth year" (, ), which is usually reserved for when Odysseus reveals himself to another character or to signal the consequences of his absence. The narrative language depersonalizes Odysseus as "his master" (), using this
periphrastic construction in order to present the narrative as if
composed from Argos's perspective. Some authors, such as Bernhard Frank and
Maurice Bowra, have argued that the scene signals Odysseus's "true moment of homecoming" (), since it displays both how long he has been gone and how loyalty and affection have remained. An overarching purpose of the scene is to create "tension through retardation"; that is, the context in which the story takes place is given more
narrative tension by delaying the moment which would relieve that tension for the audience. In this case, this narrative device stalls Odysseus from confronting his wife's suitors in his own home.
As a symbol of Odysseus and his Scholars have emphasized the analogous relationship between Argos and Odysseus, as well as between Argos and Odysseus's . Argos is a major aspect of the "watchdog motif" found throughout the
Odyssey, where
watchdogs are used as symbols for something else; Argos represents the dilapidation of Odysseus's . Elements of Argos's story echo, sometimes word for word, parts of the poem related to Odysseus's son Telemachus. The poem states that Odysseus raised Argos, but "got no joy of him" (, ) since he left for Troy shortly thereafter. The exact same phrase is used in the previous book to describe the relationship between Odysseus and Telemachus, leading the audience to examine the relationships in parallel. Several authors have written that, in some ways, Argos represents Odysseus himself. Argos lies in piles of manure, which mirrors Odysseus's beggar disguise, and his body is infested with parasites, which mirrors how Odysseus views his wife's suitors as "
vermin" infecting his . Both Odysseus and Argos have their glorious pasts contrasted with their current poor conditions. In his response to Odysseus's inquiry about the dog, Eumaeus frames Argos as an analog for Odysseus himself; Argos's physical prowess and excellence in hunting are ascribed to Odysseus earlier in the poem and in the
Iliad. has argued that the episode with Argos contains parallels to the scene between Odysseus and his father
Laertes seven books later. Although still mobile, Laertes no longer travels into town and awaits only his son's return to Ithaca. Grief-ridden, he debases himself by wearing shoddy clothing and doing slave labor, mirroring the tick-ridden Argos. Laertes wears a goat-leather helmet ( [], which is derived from [] 'dog') and suffers miserably like Argos in Odysseus's absence.
Pathos (1633)|alt=Argus, sitting, nuzzles into Odysseus, who is walking past him with two other men. Scholars have identified several
literary devices which amplify the emotional impact (
pathos) of Argos on the story. Odysseus's recognition of Argos's combined faithfulness and destitution leads to his emotional response; the inability of both to act on their emotions – Argos, unable to walk, and Odysseus, unable to acknowledge him – encourages the audience to sympathize with both. The language surrounding Argos
treats him as a human character; he is given a name and an introduction. Argos's friendly behavior also invites the audience to experience anxious concern for Odysseus; if Eumaeus notices Argos behaving friendly towards an ostensible stranger, it might raise his suspicions as to Odysseus's identity before he is ready to reveal it. Argos's inability to move towards Odysseus thus provides the audience with relief – as Argos is unable to unwittingly betray his master's disguise – and further emotional turmoil, since the reunion cannot be fully consummated. The narrative contrasts Argos's past as an unequaled hunting dog with his current powerlessness, mirroring Odysseus's condition prior to confronting his wife's suitors which creates an
atmosphere of uncertainty around the possibility of Odysseus's chances of success against the suitors. Throughout the
Odyssey, Odysseus holds back or hides his tears from those around him, but upon seeing Argos, he cries; although the tears are hidden from Eumaeus, they are not hidden from the audience.
Death When Argos dies, the narrative of the poem uses language reserved for the noble deaths of warriors – the "solemn death
formula" – which elevates Argos as a noble and heroic figure. Argos's death fulfills Odysseus's hopes for his own death, adumbrated in book seven: "And let life leave me when I have once more seen my property, my servants, and my great high-roofed house." The timing of his death – immediately after seeing Odysseus – demonstrates his unwavering fidelity to his master and serves to further the pathos of the scene and Argos's inclusion in the larger narrative. Bernhard Frank argues, using Argos's destitution as a representation of Odysseus's, that Argos's death symbolizes the end of Odysseus's decline. Odysseus's restraint demonstrates his resolve to complete his mission: "thereby released from his weak self-image and the dangers of sentimentality [...] he is now free to move on". ==Adaptations==