
The Old Man's shapes
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ἡμεῖς δὲ ἰάχοντες ἐπεσσύμεθʼ, ἀμφὶ δὲ χεῖρας βάλλομεν· οὐδʼ ὁ γέρων δολίης ἐπελήθετο τέχνης, ἀλλʼ ἦ τοι πρώτιστα λέων γένετʼ ἠυγένειος, αὐτὰρ ἔπειτα δράκων καὶ πάρδαλις ἠδὲ μέγας σῦς· γίγνετο δʼ ὑγρὸν ὕδωρ καὶ δένδρεον ὑψιπέτηλον· ἡμεῖς δʼ ἀστεμφέως ἔχομεν τετληότι θυμῷ.
We rushed upon him with a shout, and flung our arms around him; but the old man did not forget his crafty art. First of all he became a great-maned lion, then a serpent, a leopard and a huge boar; he turned to flowing water and a lofty-leafed tree. But we held on unflinchingly, with enduring hearts.
The men have waited for the god to fall asleep. Now they spring — and Proteus runs through his repertoire of shapes to shake them off: lion, serpent, leopard, boar, running water, a towering tree.
This is the wrestling-match at the heart of the Proteus episode. The moment the men seize him, the Old Man of the Sea runs through his changes — lion, serpent, leopard, boar — then abandons animal shape altogether for running water and a towering tree. Each form is a bid to make the grip unbearable or absurd, and each fails against four men who were told exactly what to expect.
The undercurrent is what it takes to hold a god to the truth. Proteus is knowledge itself: he will not answer until he is pinned in his own shape, and the price of the answer is refusing to let go through terror, revulsion, and finally the sheer strangeness of grappling water and wood. Menelaus wins prophecy the way the poem values everything — by endurance, τετληότι θυμῷ, the steadfast heart that is Odysseus's own signature virtue.
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