Hymning the Praises of Women and Men: A Lost Singer in the Odyssey

Homer Odyssey 3. 265-72

“Shining Klytemnestra was resisting the shameful deed
Previously, for she had use of some good advice for her mind.
See, a man was there beside her, a singer whom Agamemnon
Ordered much to safeguard his wife when he went to Troy.
But when the fate of the gods was bound to overcome him,
Then [he*] packed off the singer to some lonely island
And left him there as food and booty for the birds
And he, willingly, took her willing to his own home”

ἡ δ’ ἦ τοι τὸ πρὶν μὲν ἀναίνετο ἔργον ἀεικές,
δῖα Κλυταιμνήστρη· φρεσὶ γὰρ κέχρητ’ ἀγαθῇσι·
πὰρ δ’ ἄρ’ ἔην καὶ ἀοιδὸς ἀνήρ, ᾧ πόλλ’ ἐπέτελλεν
᾿Ατρεΐδης Τροίηνδε κιὼν εἴρυσθαι ἄκοιτιν.
ἀλλ’ ὅτε δή μιν μοῖρα θεῶν ἐπέδησε δαμῆναι,
δὴ τότε τὸν μὲν ἀοιδὸν ἄγων ἐς νῆσον ἐρήμην
κάλλιπεν οἰωνοῖσιν ἕλωρ καὶ κύρμα γενέσθαι,
τὴν δ’ ἐθέλων ἐθέλουσαν ἀνήγαγεν ὅνδε δόμονδε.

*note how carefully the Homeric text leaves the subject of the action in doubt until the final line.

Schol. EM ad Od. 3.267

“In olden days, singers used to hold the position of philosopher, everyone used to consider them wise and they entrusted their kind to them to be educated. When gathering in festivals and to rest for many days, they used to listen to them if any famous or noble deed had happened. So, the singer who was left with Klytemnestra was trying to hinder wicked thoughts from happening by narrating the virtues of men and women. And she was acting prudently as long as that singer was present. Some people say that the singer did not have genitals, wrongly. Some named him Khariades, others call him Demodokos, others Glaukos.”

τὸ ἀρχαῖον οἱ ἀοιδοὶ φιλοσόφου τάξιν ἐπέσχον καὶ πάντες αὐτοῖς προσεῖχον ὡς σοφοῖς, καὶ παιδευθῆναι τούτοις παρεδίδοσαν τοὺς ἀναγκαίους· ἔν τε ταῖς ἑορταῖς ἔν τε ταῖς ἀναπαύσεσιν ἐπὶ πολλὰς ἡμέρας συλλεγόμενοι τούτων ἤκουον εἴ που γέγονεν ἐπιφανὲς ἢ καλὸν ἔργον. καὶ ὁ καταλειφθεὶς οὖν παρὰ τῇ Κλυταιμνήστρᾳ ᾠδὸς πονηρὰς ἐπινοίας ἐγγίνεσθαι ἐκώλυε, διηγούμενος ἀνδρῶν καὶ γυναικῶν ἀρετάς. καὶ ἕως τούτου ἐσωφρόνει ἕως αὐτῇ παρῆν οὗτος. τινὲς ἀοιδὸν τὸν μὴ αἰδοῖα ἔχοντα, κακῶς. τοῦτόν τινες Χαριάδην, οἱ δὲ Δημόδοκον καλοῦσιν, οἱ δὲ Γλαῦκον.

Woodcut illustration of Clytemnestra and Aegisthus murdering Agamemnon and their subsequent deaths at the hand of Orestes
https://commons.wikimedia.org/wiki/File:Woodcut_illustration_of_Clytemnestra_and_Aegisthus_murdering_Agamemnon_and_their_subsequent_deaths_at_the_hand_of_Orestes_-_Penn_Provenance_Project.jpg

Schol MQV 3.267

“A singer was stationed with her too. For in ancient times, singers used to have the position of philosophers. Some people who know things badly report that he was a Eunuch”

συμπαρῆν γὰρ αὐτῇ καὶ ᾠδός. τὸ γὰρ ἀρχαῖον οἱ ᾠδοὶ φιλοσόφων τάξιν ἐπεῖχον. τινὲς δὲ κακῶς νοήσαντες τὸν εὐνοῦχον ἀπέδοσαν.

Schol. M. ad Od. 3.367

“There some people report he was a Eunuch from the alpha privative morios and aidoios for singer, that his genitals were removed.”

ἐνταῦθα δέ τινες ἀοιδὸν τὸν εὐνοῦον νοοῦσιν ἐκ τοῦ α στερητικοῦ μορίου καὶ τοῦ αἰδοίου, τὸν ἐστερη-μένον τῶν αἰδοίων.

Schol P. ad Od. 3.367

“Some say that the singers were tragedians. For the ancients treated these people with honor. And others say that the singer he mentions was a eunuch”

ἀοιδὸς] οἱ μὲν ἀοιδοὺς λέγουσι τοὺς τραγῳδούς. διὰ τιμῆς γὰρ οἱ παλαιοὶ τούτους ἦγον· οἱ δὲ …. φασὶν εἶναι εὐνοῦχον λέγοντα τὸν ἀοιδὸν εἶναι τῆς Κλυταιμνήστρας.

Schol. EHMQR Ad Od. 3.267

“Demetrius of Phalerum has as follows: “Menelaos, when he went with Odysseus to Delphi asked about the expedition which was about to happen against Troy. At that time, in fact, Kreon was running the nine-year contest of the Pythian games. The Spartan Demodokos won, a student of Automedon of Mycenae who was the first who composted the Battle of Amphritryon against the Teleboans and the Conflict of Kithairon and Helikon for whom the mountains in Boiotia are named. He was also a student of Perimedes the Argive who taught the Mycenean Automedes himself along with Likymnios the Bouprasian and Sinis along with Dôrieus, the Laconian Pharides and the Spartan Probolos.

At that time, Menelaos dedicated the expedition for Helen to Athena thanks to forethought. Agamemnon led Demodokos to Mycenae and ordered him to watch over Klytemnestra.

People used to honor singers excessively as teachers of the gods and other ancient acts of good men and they used to delight in the lyre beyond the other instruments. Klytemnestra clearly honored him—she didn’t have him murdered but instead ordered him to be exiled. Timolaus suggest that he was the brother of Phemios who accompanied Penelope to Ithaca to keep a watch over her. He sang for the suitors under compulsion.”

οὕτω Δημήτριος ὁ Φαληρεύς· Μενέλαος ἅμα τῷ ᾿Οδυσσεῖ ἐλθὼν εἰς Δελφοὺς τὸν θεὸν ἤρετο περὶ τῆς μελλούσης ἔσεσθαι εἰς ῎Ιλιον στρατείας. τότε δὴ καὶ τὸν ἐνναετηρικὸν τῶν Πυθίων ἀγῶνα ἀγωνοθετεῖ Κρέων, ἐνίκα δὲ Δημόδοκος Λάκων μαθητὴς Αὐτομήδους τοῦ Μυκηναίου, ὃς ἦν πρῶτος δι’ ἐπῶν γράψας τὴν ᾿Αμφιτρύωνος πρὸς Τηλεβόας μάχην καὶ τὴν ἔριν Κιθαιρῶνός τε καὶ ῾Ελικῶνος, ἀφ’ ὧν δὴ καὶ τὰ ἐν Βοιωτίᾳ ὄρη προσαγορεύεται· ἦν δὲ καὶ αὐτὸς μαθητὴς Περιμήδους ᾿Αργείου, ὃς ἐδίδαξεν αὐτόν τε τὸν Μυκηναῖον Αὐτομήδην, καὶ Λικύμνιον τὸν Βουπράσιον καὶ Σίνιν, καὶ τὸν Δωριέα, καὶ Φαρίδαν τὸν Λάκωνα, καὶ Πρόβολον τὸν Σπαρτιάτην. τότε δὴ Μενέλαος τῇ προνοίᾳ τῆς ῾Ελένης ἀνέθηκεν ὅρμον ᾿Αθηνᾷ. τὸν δὲ Δημόδοκον εἰς Μυκήνας λαβὼν ᾿Αγαμέμνων ἔταξε τὴν Κλυταιμνήστραν τηρεῖν. ἐτίμων δὲ λίαν τοὺς ᾠδοὺς ὡς διδασκάλους τῶν τε θείων καὶ παλαιῶν ἀνδραγαθημάτων, καὶ τῶν ἄλλων ὀργάνων πλέον τὴν λύραν ἠγάπων. δηλοῖ δὲ καὶ Κλυταιμνήστρα τὴν εἰς αὐτὸν τιμήν· οὐ γὰρ φονεύειν, ἀλλ’ ἀφορίζειν αὐτὸν ἐκέλευσε. Τιμόλαος δὲ ἀδελφὸν αὐτόν φησιν εἶναι Φημίου, ὃν ἀκολουθῆσαι τῇ Πηνελόπῃ εἰς ᾿Ιθάκην πρὸς παραφυλακὴν αὐτῆς· διὸ καὶ βίᾳ τοῖς μνηστῆρσιν ᾄδει.

Schol. EQ ad. Od. 3.367

“The music of rhapsodes applied so much to political matters that people report that the city of Sparta used it especially to encourage like-mindedness and preservation of the customs. They also say that once the Pythia, when a disturbance developed, told people to listen a Lesbian song and stop their rivalry.”

τοσοῦτον δὲ καὶ πρὸς τὰ πολιτικὰ διέτεινεν ἡ τῶν κιθαρῳδῶν μουσικὴ ὡς τῶν Σπαρτιατῶν τὴν πόλιν ὠφελεῖσθαι λέγουσιν ὑπὸ τούτων τῶν ἀνδρῶν τὰ μέγιστα καὶ πρὸς ὁμόνοιαν καὶ πρὸς τὴν τῶν νόμων φυλακήν. ὡς καὶ τὴν Πυθὼ, αὐτόθι φυομένης ταραχῆς, εἰπεῖν, τὸν Λέσβιον ᾠδὸν ἀκούειν καὶ παύσασθαι τῆς φιλονεικίας. ὃ καὶ γέγονεν. E.Q.

Don’t Eat Brains: Zombie-Tydeus for Werewolf Week

In the spirit of the week before Halloween, below are the major accounts of Diomedes’ father, Tydeus, who was rejected by Athena after eating brains. 

Hom. Il. 5.801

“Tydeus was a little man, but a fighter.”

Τυδεύς τοι μικρὸς μὲν ἔην δέμας, ἀλλὰ μαχητής·

Schol. AbT ad Il. 5.126

“They say that when Tydeus was wounded by Melanippos Astakos’ son, he got pretty upset. And Amphiarus, after he killed Melanippus, gave his head to Tydeus. Like a beast, Tydeus ripped it open and slurped up his brains to his fill. Athena happened to be there at that time, bringing some immortal medicine to him from heaven, and she turned back out of disgust. When he saw her, he asked that she favor his son with the divine favor. That’s Pherecydes’ story.”

Τυδέα τρωθέντα ὑπὸ Μελανίππου τοῦ ᾿Αστακοῦ σφόδρα ἀγανακτῆσαι. ᾿Αμφιάρεων δὲ κτείναντα τὸν Μελάνιππον δοῦναι τὴν κεφαλὴν Τυδεῖ. τὸν δὲ δίκην θηρὸς ἀναπτύξαντα ῥοφᾶν τὸν ἐγκέφαλον ἀπὸ θυμοῦ. κατ’ ἐκεῖνο δὲ καιροῦ παρεῖναι ᾿Αθηνᾶν ἀθανασίαν αὐτῷ φέρουσαν ἐξ οὐρανοῦ καὶ διὰ τὸ μύσος ἀπεστράφθαι. τὸν δὲ θεασάμενον παρακαλέσαι κἂν τῷ παιδὶ αὐτοῦ χαρίσασθαι τὴν ἀθανασίαν. ἱστορεῖ Φερεκύδης (FGrHist 3, 97). A b (BC) T

Schol. in Pind. Nem. 11.43b

“That Melanippos was Theban and stood in battle against Tydeus. It seems that Tydeus took his head in rage, smashed it, and gulped up his brains. For this reason, Athena turned back even though she was bringing him a revitalizing drug.”

(FHG I O M, I 117 J). ὁ δὲ Μελάνιππος οὗτος Θηβαῖος ἦν ἐπὶ τοῦ πολέμου συστὰς τῷ Τυδεῖ. τούτου δοκεῖ διὰ τὴν ὀργὴν λαβὼν ὁ Τυδεὺς τὴν κεφαλὴν καὶ ῥήξας ἐκροφῆσαι τὸν ἐγκέφαλον· διὸ καὶ ἀπεστράφη ἡ ᾿Αθηνᾶ τότε κομίζουσα αὐτῷ
τὴν ἀθανασίαν…

Schol. in Theoc. Proleg. 15-18b

“From man-eating Tydeus: For that Tydeus ate Melannipus’ brains down to the marrow.”

Τυδέως τοῦ ἀνδροβρῶτος—ἔφαγε γὰρ οὗτος ὁ Τυδεὺς τὴν κεφαλὴν τοῦ Μελανίππου καταρροφήσας τὸν ἐν αὐτῇ μυελόν.

Schol ad. Lyk. 1066 1-7

“Of the head-munching Tydeus: the story goes that during the Theban war, Tydeus ate up Melanippus’ head. Thus, Tydeus is called “head-muncher” and his child is Diomedes.”

τοῦ κρατοβρῶτος
τοῦ Τυδέως, ἐπειδὴ ἐν τῷ
Θηβαϊκῷ πολέμῳ λέγεται ὁ
Τυδεὺς τὴν κεφαλὴν τοῦ Μελα-
νίππου κατεδηδοκέναι. κρα-
τοβρῶτος οὖν ὁ Τυδεύς,
παῖς δὲ αὐτοῦ ὁ Διομήδης.

Kallierges (Etym. Magn.)

“Tydeus, from tuthon (“a little”); for he was small for his age group.”

Τυδεύς: Παρὰ τὸ τυτθόν· μικρὸς γὰρ ἦν τῇ ἡλικίᾳ.

Note the variations in the narrative Apollodorus introduces by bringing all the details together: Amphiarus becomes the villain here!

Apollodorus, 3.76-77

“Melanippus, the last of Astacus’ children, wounded Tydeus in the stomach. While he was lying there half-dead, Athena brought him medicine she had begged from Zeus in order to make him immortal. But when Amphiarus perceived this, because he hated Tydeus for persuading the Argives to march against Thebes against his own judgment, he cut off Melanippus’ head and gave it to him (Tydeus killed him when he was wounded). He drew out the brains and gobbled them up. When Athena saw him, she was disturbed, and withheld and kept the medicine.”

Μελάνιππος δὲ ὁ λοιπὸς τῶν ᾿Αστακοῦ παίδων εἰς τὴν γαστέρα Τυδέα τιτρώσκει.
ἡμιθνῆτος δὲ αὐτοῦ κειμένου παρὰ Διὸς αἰτησαμένη ᾿Αθηνᾶ φάρμακον ἤνεγκε, δι’ οὗ ποιεῖν ἔμελλεν ἀθάνατον αὐτόν. ᾿Αμφιάραος δὲ αἰσθόμενος τοῦτο, μισῶνΤυδέα ὅτι παρὰ τὴν ἐκείνου γνώμην εἰς Θήβας ἔπεισε τοὺς ᾿Αργείους στρατεύεσθαι, τὴν Μελανίππου κεφαλὴν ἀποτεμὼν ἔδωκεν αὐτῷ (τιτρωσκόμενος δὲ Τυδεὺς ἔκτεινεν αὐτόν). ὁ δὲ διελὼν τὸν ἐγκέφαλον ἐξερρόφησεν. ὡς δὲ εἶδεν ᾿Αθηνᾶ, μυσαχθεῖσα τὴν εὐεργεσίαν ἐπέσχε τε καὶ ἐφθόνησεν.

temple-relief-from-pyrgi-b

Sextus Empiricus, Pyrrhoniae Hypotyposes 3.208

“We consider eating human flesh to be wrong; but it is a matter of ambivalence among the barbarians. But why should we even speak of ‘barbarians’ when Tydeus is said to have eaten an enemy’s brains and when the Stoics claim it is not strange for someone to eat another’s flesh or his own?”

ἀγαθῷ τινι τούτῳ χρῆσθαι τῷ κακῷ πυνθανόμεθα. ἀλλὰ καὶ τὸ ἀνθρωπείων γεύεσθαι σαρκῶν παρ’ ἡμῖν μὲν ἄθεσμον, παρ’ ὅλοις δὲ βαρβάροις ἔθνεσιν ἀδιάφορόν ἐστιν.

καὶ τί δεῖ τοὺς βαρβάρους λέγειν, ὅπου καὶ ὁ Τυδεὺς τὸν ἐγκέφαλον τοῦ πολεμίου λέγεται φαγεῖν, καὶ οἱ ἀπὸ τῆς Στοᾶς οὐκ ἄτοπον εἶναί φασι τὸ σάρκας τινὰ ἐσθίειν ἄλλων τε ἀνθρώπων καὶ ἑαυτοῦ;

Dabbling in the Occult: Odysseus, Necromancer

It is the right time of the year for raising the dead. A student paper on the Elpenor Pelike at the MFA in Boston drew my attention to the following passage.

Servius ad Aen. 6.107

“For this reason the place is named without joy since, as people claim, it would not have been there but for necromancy or spell-craft. For, Aeneas completed these sacred rites when Misenus was killed and Ulysses did it with the death of Elpenor.

This very scene Homer himself presented falsely from the detail of its location which he specifies along with the length of time of the journey. For he claims that Ulysses sailed for one night and came to the place where he completed these sacrifices. For this reason it is abundantly clear that he doesn’t mean the ocean but Campania.”

sine gaudio autem ideo ille dicitur locus, quod necromantia vel sciomantia, ut dicunt, non nisi ibi poterat fieri: quae sine hominis occisione non fiebant; nam et Aeneas illic occiso Miseno sacra ista conplevit et Vlixes occiso Elpenore. quamquam fingatur in extrema Oceani parte Vlixes fuisse: quod et ipse Homerus falsum esse ostendit ex qualitate locorum, quae commemorat, et ex tempore navigationis; dicit enim eum a Circe unam noctem navigasse et ad locum venisse, in quo haec sacra perfecit: quod de Oceano non procedit, de Campania manifestissimum est.

The relevant passages from the Odyssey don’t give any hint that Elpenor was intentionally killed for black magic. When Odysseus actually does summon the dead, now that gets a little dark.

Odyssey, 10.552–560

“I could not even lead my companions unharmed from there.
The youngest of my companions was a certain Elpênor,
He was neither especially brave in battle or composed in his thoughts.
He separated himself from the companions in Kirkê’s holy home
Because he needed some air; then he fell asleep because he was drunk.
When he heard the noise and trouble of our companions moving out,
He got up immediately and it completely escaped his thoughts
To climb down again by the long ladder—
So he fell straight from the roof and his neck
Shattered along his spine; then his spirit flew down to Hades.”

οὐδὲ μὲν οὐδ’ ἔνθεν περ ἀπήμονας ἦγον ἑταίρους.
᾿Ελπήνωρ δέ τις ἔσκε νεώτατος, οὔτε τι λίην
ἄλκιμος ἐν πολέμῳ οὔτε φρεσὶν ᾗσιν ἀρηρώς,
ὅς μοι ἄνευθ’ ἑτάρων ἱεροῖσ’ ἐν δώμασι Κίρκης,
ψύχεος ἱμείρων, κατελέξατο οἰνοβαρείων·
κινυμένων δ’ ἑτάρων ὅμαδον καὶ δοῦπον ἀκούσας
ἐξαπίνης ἀνόρουσε καὶ ἐκλάθετο φρεσὶν ᾗσιν
ἄψορρον καταβῆναι ἰὼν ἐς κλίμακα μακρήν,
ἀλλὰ καταντικρὺ τέγεος πέσεν· ἐκ δέ οἱ αὐχὴν
ἀστραγάλων ἐάγη, ψυχὴ δ’ ῎Αϊδόσδε κατῆλθεν.

Elpênor appears twice more in the epic: 11.51–80 (Odysseus meets Elpênor’s ghost when he summons the dead); 12.9-15 (Odysseus buries Elpênor).

picture of red figure vase with three figures. the ghost of elpenor on the left, odysseus in the middle, and hermes on the right

MFA Boston, Accession Number 34.79; Caskey-Beazley, Attic Vase Paintings (MFA), no. 111; Highlights: Classical Art (MFA), p. 070-071.

Nekuomanteia, glossed by Hesychius as nekromanteia (i.e. “necromancy”) is an alternate name for the Nekyuia, the parade of the dead in book 11 of the Odyssey. From the Greek Anthology: ᾿Εν τῷ Η ἡ τοῦ ᾿Οδυσσέως νεκυομαντεία· (3.8); Scholia to the Odyssey, Hypotheses: Λ. Νεκυομαντεία, ἢ, Νεκυία. Cf. Eustathius, Comm. Ad Od. 1.396.10

The Haters of Odysseus

Sophocles, fr. 965

“I am called Odysseus for evil deeds correctly:
For many who have been my enemy hate me.”

ὀρθῶς δ’ ᾿Οδυσσεύς εἰμ’ ἐπώνυμος κακῶν•
πολλοὶ γὰρ ὠδύσαντο δυσμενεῖς ἐμοί

Pausanias, Description of Greece Phocis 31

“If you look again to the higher part of the painting, you will see Ajax from Salamis right next to Actaeon and near to him, Palamedes and Thersites playing a game with dice, something Palamedes invented. The other Ajax is watching as they play. This Ajax’s skin is the color of a shipwrecked sailor with salt still raised on his skin.

Polygnotos has put together all of the enemies of Odysseus into one place. Ajax, son of Oileus, started to hate Odysseus because he encouraged the Greeks to stone Ajax for the rape of Kassandra. I learned from the epic verses of the Kypria that Palamedes was drowned when he went after a catch of fish—Diomedes and Odysseus killed him.”

Εἰ δὲ ἀπίδοις πάλιν ἐς τὸ ἄνω τῆς γραφῆς, ἔστιν ἐφεξῆς τῷ Ἀκταίωνι Αἴας ὁ ἐκ Σαλαμῖνος, καὶ Παλαμήδης τε καὶ Θερσίτης κύβοις χρώμενοι παιδιᾷ, τοῦ Παλαμήδους τῷ εὑρήματι· Αἴας δὲ ὁ ἕτερος ἐς αὐτοὺς ὁρᾷ παίζοντας. τούτῳ τῷ Αἴαντι τὸ χρῶμά ἐστιν οἷον ἂν ἀνδρὶ ναυαγῷ γένοιτο ἐπανθούσης τῷ χρωτὶ 2ἔτι τῆς ἅλμης· ἐς δὲ τὸ αὐτὸ ἐπίτηδες τοῦ Ὀδυσσέως τοὺς ἐχθροὺς ἤγαγεν ὁ Πολύγνωτος· ἀφίκετο δὲ ἐς Ὀδυσσέως δυσμένειαν ὁ τοῦ Ὀιλέως Αἴας, ὅτι τοῖς Ἕλλησιν Ὀδυσσεὺς παρῄνει καταλιθῶσαι τὸν Αἴαντα ἐπὶ τῷ ἐς Κασσάνδραν τολμήματι· Παλαμήδην δὲ ἀποπνιγῆναι προελθόντα ἐπὶ ἰχθύων θήραν, Διομήδην δὲ τὸν ἀποκτείναντα εἶναι καὶ Ὀδυσσέα ἐπιλεξάμενος ἐν ἔπεσιν οἶδα τοῖς Κυπρίοις

Pindar, Nemean 7.20-21

“I think that the story of Odysseus’ suffering was exaggerated by sweet-worded Homer”

ἐγὼ δὲ πλέον’ ἔλπομαι
λόγον ᾿Οδυσσέος ἢ πάθαν
διὰ τὸν ἁδυεπῆ γενέσθ’ ῞Ομηρον·

The Quarrel of Odysseus and Ajax

A Tunic of Flesh and Kirke [#Circe] as an Allegory

Plutarch’s Moralia Fr. 200

“Our fated nature is identified by Empedocles as the force behind this remaking, “wrapping [us] in a tunic of strange flesh” and transferring souls to a new place. Homer has called this circular revolution and the return of rebirth by the name Kirke, a child of Helios, the one who unites every destruction with birth and destruction again, binding it endlessly.

The Island Aiaia is that place which revives the person who dies, a place where the souls first step when they are wandering and feel like strangers to themselves as they mourn and cannot figure out which direction is west nor where the “sun which brings life to people over the land / descends again into the earth.”

These souls long for their habits of pleasure and their life in the flesh and the way they lived with their flesh and they fall again into that mixture where birth swirls together and truly stirs into one the immortal and moral, the material of thought and experience, elements of heaven and earth. The souls are enchanted but also weakened by the pleasures that pull them to birth again. At that time, souls require a great amount of good luck and much wisdom to find some way to resist and depart from their worst characters and become bound to their most base parts or passions and take up a terrible and beastly life.”

Αὐτῆς γὰρ τῆς μετακοσμήσεως εἱμαρμένη καὶ φύσις ὑπὸ Ἐμπεδοκλέους δαίμων ἀνηγόρευται σαρκῶν ἀλλογνῶτι περιστέλλουσα χιτῶνι καὶ μεταμπίσχουσα τὰς ψυχάς, Ὅμηρος δὲ τὴν ἐν κύκλῳ περίοδον καὶ περιφορὰν παλιγγενεσίας Κίρκην προσηγόρευκεν, Ἡλίου παῖδα τοῦ πᾶσαν φθορὰν γενέσει καὶ γένεσιν αὖ πάλιν φθορᾷ συνάπτοντος ἀεὶ καὶ συνείροντος. Αἰαίη δὲ νῆσος ἡ δεχομένη τὸν ἀποθνήσκοντα μοῖρα καὶ χώρα τοῦ περιέχοντος, εἰς ἣν ἐμπεσοῦσαι πρῶτον αἱ ψυχαὶ πλανῶνται καὶ ξενοπαθοῦσι καὶ ὀλοφύρονται καὶ οὐκ ἴσασιν ὅπῃ ζόφος οὐδ᾿ ὅπῃ ἠέλιος φαεσίμβροτος εἶσ᾿ ὑπὸ γαῖαν,ποθοῦσαι δὲ καθ᾿ ἡδονὰς τὴν συνήθη καὶ σύντροφον ἐν σαρκὶ καὶ μετὰ σαρκὸς δίαιταν ἐμπίπτουσιν αὖθις εἰς τὸν κυκεῶνα, τῆς γενέσεως μιγνύσης εἰς ταὐτὸ καὶ κυκώσης ὡς ἀληθῶς ἀίδια καὶ θνητὰ καὶ φρόνιμα καὶ παθητὰ καὶ ὀλύμπια καὶ γηγενῆ, θελγόμεναι καὶ μαλασσόμεναι ταῖς ἀγούσαις αὖθις ἐπὶ τὴν γένεσιν ἡδοναῖς, ἐν ᾧ δὴ μάλιστα πολλῆς μὲν εὐτυχίας αἱ ψυχαὶ δέονται πολλῆς δὲ σωφροσύνης, ὅπως μὴ τοῖς κακίστοις ἐπισπόμεναι καὶ συνενδοῦσαι μέρεσιν ἢ πάθεσιν αὑτῶν κακοδαίμονα καὶ θηριώδη βίον ἀμείψωσιν.

Aristotle, Physiognomics 808b

“[in this case] the soul and the body would experience things together, but they would not have the same reactions as one another. But, now, it is entirely clear that one follows another. This is especially obvious from the following. For madness seems to be a matter of the mind; doctors, however, respond to it by cleansing the body with medicines and also by telling them to pursue certain habits in life which may relieve the mind of madness.

So, the form of the body is relieved by treatments to the body at the very same time that the soul is freed from madness. Since they are both relieved together, it is clear that their reactions are in synchrony. It is also clear from this that the forms special to the body are similar to the capabilities of the mind, with the result that all similarities in living things are clear signs of some kind of sameness.”

ἡ ψυχή τε καὶ τὸ σῶμα συμπαθῆ, οὐ μέντοι συνδιατελοῦντα ἀλλήλοις. νῦν δὲ καταφανὲς ὅτι ἑκάτερον ἑκατέρῳ ἕπεται. μάλιστα μέντοι ἐκ τοῦδε δῆλον γένοιτο. μανία γὰρ δοκεῖ εἶναι περὶ ψυχήν, καὶ οἱ ἰατροὶ φαρμάκοις καθαίροντες τὸ σῶμα καὶ διαίταις τισὶ πρὸς αὐτοῖς χρησάμενοι ἀπαλλάττουσι τὴν ψυχὴν τῆς μανίας. ταῖς δὴ τοῦ σώματος θεραπείαις καὶ ἅμα ἥ τε τοῦ σώματος μορφὴ λέλυται καὶ ἡ ψυχὴ μανίας ἀπήλλακται. ἐπειδὴ οὖν ἅμα ἀμφότερα λύονται, δῆλον ὅτι συνδιατελοῦσιν ἀλλήλοις. συμφανὲς δὲ καὶ ὅτι ταῖς δυνάμεσι τῆς ψυχῆς ὅμοιαι αἱ μορφαὶ τοῖς σώμασιν ἐπιγίνονται, ὥστ᾿ ἐστὶν ἅπαντα ὅμοια ἐν τοῖς ζῴοις τοῦ αὐτοῦ τινὸς δηλωτικά.

Here is another allegorical interpretation of the Odyssey attributed to Porphyry.

from Stobaeus, i. 44. 60 

Τοῦ αὐτοῦ (sc. Πορφυρίου)·

“The things that Homer says about Kirkê contain a wonderful theory about the soul. The interpretation runs as follows:

Some have the heads, voice, head and skin of swine, but the mind remains constant as it was before. This myth is similar to the riddle about the soul presented by Pythagoras and Plato, that it is indestructible in nature and unseen but that it is not safe from harm or unchangeable. In what is called its destruction or death, it undergoes a change and then a transference into different kinds of bodies pursuing an appearance and fit according to pleasure, by similarity and practice to how it lived life. In this, each person draws a great advantage from education and philosophy, since the soul has a memory of noble things, judges the shameful harshly, and is able to overcome the unnatural pleasures. This soul can pay attention to itself, and guard that it might not accidentally become a beast because it has grown attracted to an hideously shaped, unclean body regarding virtue, a body that excites and nourishes uncultured and unreasoning nature rather than increasing and nourishing thought.

Τὰ δὲ παρ᾿ Ὁμήρῳ περὶ τῆς Κίρκης λεγόμενα θαυμαστὴν ἔχει τὴν περὶ ψυχὴν θεωρίαν. λέγεται γὰρ οὕτως,

οἱ δὲ συῶν μὲν ἔχον κεφαλὰς φωνήν τε τρίχας τε καὶ δέμας· αὐτὰρ νοῦς ἦν ἔμπεδος ὡς τὸ πάρος περ. ἔστι τοίνυν ὁ μῦθος αἴνιγμα τῶν περὶ ψυχῆς ὑπό τε Πυθαγόρου λεγομένων καὶ Πλάτωνος, ὡς ἄφθαρτος οὖσα τὴν φύσιν καὶ ἀίδιος, οὔ τι μὴν ἀπαθὴς οὐδ᾿ ἀμετάβλητος, ἐν ταῖς λεγομέναις φθοραῖς καὶ τελευταῖς μεταβολὴν ἴσχει καὶ μετακόσμησιν εἰς ἕτερα σωμάτων εἴδη, καθ᾿ ἡδονὴν διώκουσα τὸ πρόσφορον καὶ οἰκεῖον ὁμοιότητι καὶ συνηθείᾳ βίου διαίτης· ἔνθα δὴ τὸ μέγα παιδείας ἑκάστῳ καὶ φιλοσοφίας ὄφελος, ἂν μνημονεύουσα τῶν καλῶν ἡ ψυχὴ καὶ δυσχεραίνουσα τὰς αἰσχρὰς καὶ παρανόμους ἡδονὰς δύνηται κρατεῖν καὶ προσέχειν αὑτῇ καὶ φυλάττειν μὴ λάθῃ θηρίον γενομένη καὶ στέρξασα σώματος οὐκ εὐφυοῦς οὐδὲ καθαροῦ πρὸς ἀρετὴν φύσιν ἄμουσον καὶ ἄλογον καὶ τὸ ἐπιθυμοῦν καὶ θυμούμενον μᾶλλον ἢ τὸ φρόνιμον αὐξάνοντος καὶ τρέφοντος.

“Once the soul is translated, that which is fated and nature, which Empedocles named the divine force that “wraps us in a foreign robe of flesh”, also re-fits the soul.  Homer has named this circular journey and return of rebirth Kirkê, the child of the sun because the sun binds every destruction to birth and every birth in turn to destruction, always weaving them together. The Island Aiaia is also that place allotted to receive one who dies—where the souls first arrive as they wander, and suffer alienation as they mourn and they do not know which way is west nor “where the sun which brings mortals light comes upon the earth”.

As they long for their habits of pleasure—their shared life in the flesh and their way of life with the flesh—they provide the draught with its character again: it is the drink where birth is mixed and stirs together what is truly immortal and mortal, the thoughts and sufferings, the ethereal and the earthbound. The souls are enchanted and weakened by the pleasures that will lead them back to birth again. At this time, souls require great luck and great wisdom in order to avoid pursuing their worst aspects or passions and dedicate themselves to a cursed and beastly life”.

Αὐτῆς γὰρ τῆς μετακοσμήσεως εἱμαρμένη καὶ φύσις ὑπὸ Ἐμπεδοκλέους δαίμων ἀνηγόρευται “σαρκῶν ἀλλογνῶτι περιστέλλουσα χιτῶνι”καὶ μεταμπίσχουσα τὰς ψυχάς, Ὅμηρος δὲ τὴν ἐν κύκλῳ περίοδον καὶ περιφορὰν παλιγγενεσίας Κίρκην προσηγόρευκεν, Ἡλίου παῖδα τοῦ πᾶσαν φθορὰν γενέσει καὶ γένεσιν αὖ πάλιν φθορᾷ συνάπτοντος ἀεὶ καὶ συνείροντος. Αἰαίη δὲ νῆσος ἡ δεχομένη τὸν ἀποθνήσκοντα μοῖρα καὶ χώρα τοῦ περιέχοντος, εἰς ἣν ἐμπεσοῦσαι πρῶτον αἱ ψυχαὶ πλανῶνται καὶ ξενοπαθοῦσι καὶ ὀλοφύρονται καὶ οὐκ ἴσασιν ὅπῃ ζόφος “οὐδ᾿ ὅπῃ ἠέλιος φαεσίμβροτος εἶσ᾿ ὑπὸ γαῖαν” ποθοῦσαι δὲ καθ᾿ ἡδονὰς τὴν συνήθη καὶ σύντροφον ἐν σαρκὶ καὶ μετὰ σαρκὸς δίαιταν ἐμπίπτουσιν αὖθις εἰς τὸν κυκεῶνα, τῆς γενέσεως μιγνύσης εἰς ταὐτὸ καὶ κυκώσης ὡς ἀληθῶς ἀίδια καὶ θνητὰ καὶ φρόνιμα καὶ παθητὰ καὶ ὀλύμπια καὶ γηγενῆ, θελγόμεναι καὶ μαλασσόμεναι ταῖς ἀγούσαις αὖθις ἐπὶ τὴν γένεσιν ἡδοναῖς, ἐν ᾧ δὴ μάλιστα πολλῆς μὲν εὐτυχίας αἱ ψυχαὶ δέονται πολλῆς δὲ σωφροσύνης, ὅπως μὴ τοῖς κακίστοις ἐπισπόμεναι καὶ συνενδοῦσαι μέρεσιν ἢ πάθεσιν αὑτῶν κακοδαίμονα καὶ θηριώδη βίον ἀμείψωσιν.

For it is right that it is called and considered a crossroad in the underworld around which the parts of the soul split: the rational, the emotional, and the desirous. Each of these produces a force or an inducement to the life appropriate to itself. This is no longer myth or poetry but truth and a story of nature. In this transformation and rebirth, when the aspect of desire overpowers and takes control, [Homer] is claiming that because of the dominance of pleasure and gluttony, they transform into the bodies of donkeys and pigs and receive unclean lives on the ground. The interpretation runs as follows.

Whenever a soul has an emotional component that has grown completely savage because of harsh rivalries or murderous savagery developing from some disagreement or vendetta, that soul finds a second birth which is full of bitterness and angry thoughts and falls into the shape of a wolf or a lion, embracing this body as if it were a tool of vengeance for his controlling passion. For this reason, one must keep clean when near death as if for a religious rite and restrain from every kind of base pleasure, put every harsh emotion to bed, and to withdraw from the body by suppressing envies, enmities, and rages down deep. This “Hermes of the golden-staff” happens to be that very reasoning which indicates clearly the good and either wholly restrains or saves it from the deadly draught should it drink—it preserves the soul in a human life and character for as long a time as is possible.”

ἡ γὰρ λεγομένη καὶ νομιζομένη τῶν ἐν Ἅιδου τρίοδος ἐνταῦθά που τέτακται περὶ τὰ τῆς ψυχῆς σχιζομένη μέρη, τὸ λογιστικὸν καὶ θυμοειδὲς καὶ ἐπιθυμητικόν, ὧν ἕκαστον ἀρχὴν ἐξ αὑτοῦ καὶ ῥοπὴν ἐπὶ τὸν οἰκεῖον βίον ἐνδίδωσι. καὶ οὐκέτι ταῦτα μῦθος οὐδὲ ποίησις ἀλλ᾿ ἀλήθεια καὶ φυσικὸς λόγος. ὧν μὲν γὰρ ἐν τῇ μεταβολῇ καὶ γενέσει τὸ ἐπιθυμητικὸν ἐξανθοῦν ἐπικρατεῖ καὶ δυναστεύει, τούτοις εἰς ὀνώδη καὶ ὑώδη σώματα καὶ βίους θολεροὺς καὶ ἀκαθάρτους ὑπὸ φιληδονίας καὶ γαστριμαργίας φησὶ γίνεσθαι τὴν μεταβολήν. ὅταν δὲ φιλονεικίαις σκληραῖς καὶ φονικαῖς ὠμότησιν ἔκ τινος διαφορᾶς ἢ δυσμενείας ἐξηγριωμένον ἔχουσα παντάπασιν ἡ ψυχὴ τὸ θυμοειδὲς εἰς δευτέραν γένεσιν ἀφίκηται, πλήρης οὖσα προσφάτου πικρίας καὶ βαρυφροσύνης ἔρριψεν ἑαυτὴν εἰς λύκου φύσιν ἢ λέοντος, ὥσπερ ὄργανον ἀμυντικὸν τὸ σῶμα τῷ κρατοῦντι προσιεμένη πάθει καὶ περιαρμόσασα. διὸ δεῖ μάλιστα περὶ τὸν θάνατον ὥσπερ ἐν τελετῇ καθαρεύοντα παντὸς ἀπέχειν πάθους φαύλου τὴν ψυχὴν καὶ πᾶσαν ἐπιθυμίαν χαλεπὴν κοιμήσαντα καὶ φθόνους καὶ δυσμενείας καὶ ὀργὰς ἀπωτάτω τιθέμενον τοῦ φρονοῦντος ἐκβαίνειν τοῦ σώματος. οὗτος ὁ χρυσόρραπις Ἑρμῆς ἀληθῶς ὁ λόγος ἐντυγχάνων καὶ δεικνύων ἐναργῶς τὸ καλὸν ἢ παντάπασιν εἴργει καὶ ἀπέχει τοῦ κυκεῶνος, ἢ πιοῦσαν2 ἐν ἀνθρωπίνῳ βίῳ καὶ ἤθει διαφυλάσσει πλεῖστον χρόνον, ὡς ἀνυστόν ἐστι.

Epictetus, Fr. 26

“Epictetus used to say, ‘you’re a tiny soul lugging around a corpse’.”

Ψυχάριον εἶ βαστάζον νεκρόν, ὡς Ἐπίκτητος ἔλεγεν.

Wright Barker (British, 1863-1941) – “Circe” c.1889Color photograph of an oil painting. A woman, nude to the waste, gestures towards the viewer from the top of marble steps. Lions and wolves gather around her

Achilles’ Name(s), When He Was A Girl

From the Fragments of the Greek Historians–Mythical traditions record that Thetis hid Achilles at Skyros to prevent him from getting taken to fight at Troy where she knew he would die. Most retellings of this focus on how Odysseus tricked him into revealing himself. But it turns out Achilles also took on a girl’s name while he was there.

BNJ 57 F 1 Ptolemy Chennos, Novel History, Book 1 Photios, Bibliotheca 190, 147a18

Aristonikos the Tarentinian reports that Achilles, when he was living among the girls at Lykomedes’ place, was named Kerkusera, and Issa and Pyrrha. He was also called Aspetos and Promêtheus.

ὡς ᾽Αχιλλέα μὲν ᾽Αριστόνικος ὁ Ταραντῖνος διατρίβοντα ἐν ταῖς παρθένοις παρὰ Λυκομήδει Κερκυσέραν καλεῖσθαί φησιν καὶ ῎Ισσα καὶ Πύρρα· ἐκαλεῖτο δὲ1 καὶ ῎Ασπετος καὶ Προμηθεύς.

The names he takes on surely deserve a little more contemplation. Why did he also have male names while he was there?

Ken Dowden, in his commentary on this fragment, provides the following explanation of the female names:

“The name Pyrrha (red-head, like Pyrrhos the alternative name of his son Neoptolemos) is also found in Hyginus, Fabulae 96. The name Kerkysera is held to be a ‘joke’ (i.e., of Ptolemy Chennos) by A. Cameron, Greek Mythography in the Roman World (Oxford 2004), 141, presumably by association with κέρκος (a tail or penis). M. van der Valk, Researches on the Text and Scholia of the Iliad (Leiden 1963), 369 n. 228, regards the name as corrupt–it should, according to him, be Κερκουρᾶς (Kerkouras) ‘he who urinates by means of his tail’. Even if this is right, it does not, of course, show that the name was invented by Ptolemy Chennos. Cameron, Mythography, 141, views Issa as an out-of-place Latin term of endearment. But it appears in Greek as the name of a Dalmatian island and, more appropriately to Achilles, of a city on Lesbos (named after a daughter of MakarSteph. Byz., s.v. Issa). ‘There is also a feminine form Issas on Lesbos found in Partheniosin his Herakles’ (ἔστι καὶ θηλυκὸν Ἰσσάς ἐπὶ τῆς Λέσβου παρὰ Παρθενίῳ ἐν Ἡρακλεῖ) according to Steph. Byz. ibid. A real Aristonikos, given the range of possible dates (see Biographical Essay), might well have been reading Parthenios, or even vice-versa.”

This text is from Brill’s new Jacoby, a collection of the Fragments of the Greek historians

A poor photograph of a Byzantine mosaic with stylized princesses and a king facing the viewer.
Achilles at the court of Lycomedes; Late Roman (Byzantine), 4th–5th century AD
Dallas Museum of Art, Dallas, Texas; anonymous loan; object number 4.1993.1.

here’s a song composed set in that time period

I really wish antiquity had bequeathed to us this entire poem…

Bion, The Wedding song of Achilles and Deidamia

Mursôn
Lukidas, will you sing me some sweet Sicilian song,
A love song full of sweetness and longing—the very kind
The Kyklôps Polyphemos once sang on the shore for Galatea?

Lucidas
I’d love to play too, Myrsôn, but what should I sing?

Mursôn
The love story of Skyros, which you used to be praised for singing,
Peleus’ son’s secret kisses, his secret love affair,
how the boy dressed in a robe to disguise his form
And how among those daughters of Lucomêdes who had no worries
Dêidameia knew Achilles in her bedroom.

Lucidas
When the cowboy Paris kidnapped Helen and took her to Ida
It was terrible for Oinônê. And Sparta was filled with rage,
Enough to gather the whole Achaean host—no Greek
From Mycenaea or Elis or Sparta was staying
At his own home to flee miserable Ares.

But Achilles all alone escaped notice among the daughters of Lykomêdes
Where he learned about weaving instead of weapons
And held a maiden’s tools in his white hand—he looked just like a girl.
For he acted as feminine as the daughters did—the bloom
Which reddened on his white cheeks was as great, he walked
With a maiden’s step, and he covered his hair with a veil.

But he possessed a man’s heart and he had a man’s lust too.
From dawn until dusk he used to sit next to Deidameia—
Then he used to kiss her hands and often he would
Lift the fine warp and compliment her intricate weaving,
He never ate with another friend and did everything he could
To get her to sleep with him. He actually used to say this to her,

“Other sisters sleep in bed with one another,
But I sleep alone and you, princess, you sleep alone.
We are two girls of the same age, two beautiful girls,
But we sleep along in separate beds—that wicked
Space keeps me carefully distant from you…”

ΜΥΡΣΩΝ
Λῇς νύ τί μοι, Λυκίδα, Σικελὸν μέλος ἁδὺ λιγαίνειν,
ἱμερόεν γλυκύθυμον ἐρωτικόν, οἷον ὁ Κύκλωψ
ἄεισεν Πολύφαμος ἐπ’ ᾐόνι <τᾷ> Γαλατείᾳ;

ΛΥΚΙΔΑΣ
κἠμοὶ συρίσδεν, Μύρσων, φίλον, ἀλλὰ τί μέλψω;

ΜΥΡΣΩΝ
Σκύριον <ὅν>, Λυκίδα, ζαλώμενος ᾆδες ἔρωτα,
λάθρια Πηλεΐδαο φιλάματα, λάθριον εὐνάν,
πῶς παῖς ἕσσατο φᾶρος, ὅπως δ’ ἐψεύσατο μορφάν,
χὤπως ἐν κώραις Λυκομηδίσιν οὐκ ἀλεγοίσαις
ἠείδη κατὰ παστὸν Ἀχιλλέα Δηιδάμεια.

ΛΥΚΙΔΑΣ
ἅρπασε τὰν Ἑλέναν πόθ’ ὁ βωκόλος, ἆγε δ’ ἐς Ἴδαν,
Οἰνώνῃ κακὸν ἄλγος. ἐχώσατο <δ’> ἁ Λακεδαίμων
πάντα δὲ λαὸν ἄγειρεν Ἀχαϊκόν, οὐδέ τις Ἕλλην,
οὔτε Μυκηναίων οὔτ’ Ἤλιδος οὔτε Λακώνων,
μεῖνεν ἑὸν κατὰ δῶμα φυγὼν δύστανον Ἄρηα.
λάνθανε δ’ ἐν κώραις Λυκομηδίσι μοῦνος Ἀχιλλεύς,
εἴρια δ’ ἀνθ’ ὅπλων ἐδιδάσκετο, καὶ χερὶ λευκᾷ
παρθενικὸν κόρον εἶχεν, ἐφαίνετο δ’ ἠύτε κώρα·
καὶ γὰρ ἴσον τήναις θηλύνετο, καὶ τόσον ἄνθος
χιονέαις πόρφυρε παρηίσι, καὶ τὸ βάδισμα
παρθενικῆς ἐβάδιζε, κόμας δ’ ἐπύκαζε καλύπτρῃ.
θυμὸν δ’ ἀνέρος εἶχε καὶ ἀνέρος εἶχεν ἔρωτα·
ἐξ ἀοῦς δ’ ἐπὶ νύκτα παρίζετο Δηιδαμείᾳ,
καὶ ποτὲ μὲν τήνας ἐφίλει χέρα, πολλάκι δ’ αὐτᾶς
στάμονα καλὸν ἄειρε τὰ δαίδαλα δ’ ἄτρι’ ἐπῄνει·
ἤσθιε δ’ οὐκ ἄλλᾳ σὺν ὁμάλικι, πάντα δ’ ἐποίει
σπεύδων κοινὸν ἐς ὕπνον. ἔλεξέ νυ καὶ λόγον αὐτᾷ·
“ἄλλαι μὲν κνώσσουσι σὺν ἀλλήλαισιν ἀδελφαί,
αὐτὰρ ἐγὼ μούνα, μούνα δὲ σύ, νύμφα, καθεύδεις.
αἱ δύο παρθενικαὶ συνομάλικες, αἱ δύο καλαί,
ἀλλὰ μόναι κατὰ λέκτρα καθεύδομες, ἁ δὲ πονηρά
†νύσσα† δολία με κακῶς ἀπὸ σεῖο μερίσδει.
οὐ γὰρ ἐγὼ σέο. . . . .”

Achilles’s offspring came from this interlude

Eustathius, on Homer, Odyssey, 11.538, 1696.40

“You should know that while Homer and many other authors say that the only child of Achilles and Deidameia was Neoptolemos, Demetrios of Ilion records that here were two, Oneiros [“dream”] and Neoptolemos.

They say that Orestes killed him in Phôkis accidentally and when he recognized that he did, he built him a tomb near Daulis. He dedicated the sword he killed him with there and then went to the “White Island”, which Lykophron calls the “foaming cliff”, and propitiated Achilles.”

ἰστέον δὲ ὅτι ῾Ομήρου καὶ τῶν πλειόνων ἕνα παῖδα λεγόντων Δηιδαμείας καὶ ᾽Αχιλλέως τὸν Νεοπτόλεμον, Δημήτριος ὁ ᾽Ιλιεὺς δύο ἱστορεῖ, ῎Ονειρόν τε καὶ Νεοπτόλεμον· ὃν ἀνελών φησιν ἐν Φωκίδι ᾽Ορέστης ἀγνοίαι, ὕστερον δὲ γνούς, τάφον αὐτῶι ἐποίησε περὶ Δαυλίδα, καὶ ἀναθεὶς τὸ ξίφος ὧι ἀνεῖλεν αὐτὸν ἀπῆλθεν εἰς τὴν Λευκὴν νῆσον, ἣν ὁ Λυκόφρων (Al. 188) ῾φαληριῶσαν σπῖλον᾽ καλεῖ, καὶ τὸν ᾽Αχιλλέα ἐξιλεώσατο.

BNJ 59 F 1b Ptolemy ChennosNovel History, Book 3 = Photios, Bibliotheca 190, 148b21

“And [he says] that there were two children of Achilles and Deidamia, Neoptolemos and Oneiros. Oneiros was killed accidentally by Orestes in Phôkis while they fighting over erecting a tent.”

καὶ ὡς ᾽Αχιλλέως καὶ Δηιδαμίας δύο ἐγενέσθην παῖδες Νεοπτόλεμος καὶ ῎Ονειρος· καὶ ἀναιρεῖται κατ᾽ ἄγνοιαν ὑπὸ ᾽Ορέστου ἐν Φωκίδι ὁ ῎Ονειρος, περὶ σκηνοπηγίας αὐτῶι μαχεσάμενος.

Odysseus, a Deer?

Homer, Iliad 11.473-486.

They found Odysseus, dear to Zeus, swarmed
by Trojans, like when light-brown mountain jackals
crowd round an antlered deer a man’s struck
with an arrow. The deer bolted from him,
scooting while its blood was warm and knees limber.
But when the fast arrow does the deer in,
flesh-eating jackals snarf it down in a glade’s
shade. But a god leads a lion against them,
a hungry one: jackals scurry, lion sups.
Just so, round wise and deft Odysseus
many able Trojans swarmed, but the hero,
flashing his spear, saw off the cruel day.
Ajax with his tower-like shield came
and stood before him. The Trojans scurried pell-mell.

εὗρον ἔπειτʼ Ὀδυσῆα Διῒ φίλον· ἀμφὶ δʼ ἄρʼ αὐτὸν
Τρῶες ἕπονθʼ ὡς εἴ τε δαφοινοὶ θῶες ὄρεσφιν
ἀμφʼ ἔλαφον κεραὸν βεβλημένον, ὅν τʼ ἔβαλʼ ἀνὴρ
ἰῷ ἀπὸ νευρῆς· τὸν μέν τʼ ἤλυξε πόδεσσι
φεύγων, ὄφρʼ αἷμα λιαρὸν καὶ γούνατʼ ὀρώρῃ·
αὐτὰρ ἐπεὶ δὴ τόν γε δαμάσσεται ὠκὺς ὀϊστός,
ὠμοφάγοι μιν θῶες ἐν οὔρεσι δαρδάπτουσιν
ἐν νέμεϊ σκιερῷ· ἐπί τε λῖν ἤγαγε δαίμων
σίντην· θῶες μέν τε διέτρεσαν, αὐτὰρ ὃ δάπτει·
ὥς ῥα τότʼ ἀμφʼ Ὀδυσῆα δαΐφρονα ποικιλομήτην
Τρῶες ἕπον πολλοί τε καὶ ἄλκιμοι, αὐτὰρ ὅ γʼ ἥρως
ἀΐσσων ᾧ ἔγχει ἀμύνετο νηλεὲς ἦμαρ.
Αἴας δʼ ἐγγύθεν ἦλθε φέρων σάκος ἠΰτε πύργον,
στῆ δὲ παρέξ· Τρῶες δὲ διέτρεσαν ἄλλυδις ἄλλος.

From the Scholia:

Schol. ad Il. bT. 11.475a.

475. crowded round an antlered deer: Odysseus is likened to a deer, but he is not pathetic. The demonstrable force of the comparison is not that; rather, it is their similar suffering. It [the simile] likens him to the dying deer in order to emphasize the danger [he, Odysseus, is in].

475 α. άμφ’ ελαφον (κεραόν βεβλημένον): où δειλός ό Όδυσσευs, ότι έλάφω εϊκασται · où yàp Ισχύος δηλωτικὸν τό της παραβολής, άλλα των όμοιων παθημάτων. Θανούσῃ δέ αύτόν έλάφῳ εικάζει, Ινα αύξησῃ τον κίνδυνον.

Color photograph of an oil painting of a deer with antlers in its death throes
Edwin Henry Landseer
Dying Stag (ca.1830)
Metropolitan Museum of Art, NY.

 

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

An Improper Proposal? No Bridegifts for Kassandra

Schol. bT ad Il. 13 365-6 ex

“He was asking to marry the most beautiful of Priam’s daughters without a bridegift”

This is also foreign. For we can find no place in Greece where they go to war for pay and posit before that they will not be allies without a contract. Also, consider the payment. For he came, asking for the girl, not because she was royal, but because she was the most beautiful. Certainly the most intemperate suitors among the Greeks “strive because of [her] excellence” [Od 2.366] But “without bridegifts” [Il.13.366] is cheap: even the most unjust suitors offer bridegifts to Penelope.”

ex. ᾔτεε δὲ Πριάμοιο <θυγατρῶν εἶδος ἀρίστην / Κασσάνδρην ἀνάεδνον>: βαρβαρικὸν καὶ τοῦτο· οὐδέποτε γὰρ εὑρήσομεν παρ’ ῞Ελλησι τὸ ἐπὶ μισθῷ στρατεύειν καὶ πρότερον αἰτεῖν καὶ χωρὶς ὑποσχέσεως μὴ συμμαχεῖν. ὅρα δὲ καὶ τὸν μισθόν· κόρης γὰρ ἐρῶν ἧκεν, οὐχ ὅτι βασιλική, ἀλλ’ ὅτι εἶδος ἀρίστη. καίτοι παρ’ ῞Ελλησιν οἱ ἀκολαστότατοι μνηστῆρές φασιν „εἵνεκα τῆς ἀρετῆς ἐριδαίνομεν” (β 206). καὶ τὸ ἀνάεδνον (366) γλίσχρον, ὅπου γε οἱ ἀδικώτατοι μνηστῆρες ἕδνα τῇ Πηνελόπῃ προσφέρουσιν.

Iliad 13 (361–369):

“There, though his hair was partly grey, Idomeneus called
Out to the Danaans and drove the Trojans to retreat as he leapt.
For he killed Othryoneus who was there from Kabesos—
He had just arrived in search of the fame of war.
He asked for the most beautiful of Priam’s daughter’s
Kassandra, without a marriage-price, and he promised a great deed,
That he would drive the sons of the Achaians from Troy unwilling.
Old Priam promised this to him and nodded his head
That he would do this. Confident in these promises, he rushed forth.”

῎Ενθα μεσαιπόλιός περ ἐὼν Δαναοῖσι κελεύσας
᾿Ιδομενεὺς Τρώεσσι μετάλμενος ἐν φόβον ὦρσε.
πέφνε γὰρ ᾿Οθρυονῆα Καβησόθεν ἔνδον ἐόντα,
ὅς ῥα νέον πολέμοιο μετὰ κλέος εἰληλούθει,
ᾔτεε δὲ Πριάμοιο θυγατρῶν εἶδος ἀρίστην
Κασσάνδρην ἀνάεδνον, ὑπέσχετο δὲ μέγα ἔργον,
ἐκ Τροίης ἀέκοντας ἀπωσέμεν υἷας ᾿Αχαιῶν.
τῷ δ’ ὁ γέρων Πρίαμος ὑπό τ’ ἔσχετο καὶ κατένευσε
δωσέμεναι· ὃ δὲ μάρναθ’ ὑποσχεσίῃσι πιθήσας.

Image result for Ancient Greek Cassandra vase

Agamemnon makes a similar promise to Achilles in book 9.145–6=287–8 (Χρυσόθεμις καὶ Λαοδίκη καὶ ᾿Ιφιάνασσα, / τάων ἥν κ’ ἐθέλῃσι φίλην ἀνάεδνον ἀγέσθω; offering any of three daughters without a bride gift). When Apollo is described as taking Stratonikê thus at Hes. Fr. 26.23 (βῆ δὲ φέ[ρ]ων ἀνάε̣[δ]ν̣[ον ἐύζωνον ]Στ[ρ]α̣[τ]ον̣ί̣κ̣ην) it would be fair to say that the ‘extra-ritual’ act is clearly rape.

Here’s Beekes:

hedna

Introducing Painful Signs

I am moving some essays and longer projects to a substack called “Painful Signs, Or, Joel’s Substack.” I am experimenting with this space for a few reasons: (1) wordpress has gotten a little annoying; (2) I’d like to try something different; (3) substack seems to make it easier to raise funds we can donate to good causes. Here’s the summary on the first page from the site:

It is an extension of the sententiaeantiquae.com multiverse designed for longer essays, threaded projects, and revision and renewal of older ideas. I have spent over a decade building a website bringing together translations and commentary on ancient Greece and Rome with great collaborators and partners. This site will feature only my own work and, in its first months/years, focus in particular on the Iliad.

As sententiaeantiquae.com nears 10,000 posts and the twitter feed @sentantiq dies a Musk-fueled death, this new space provides something of a tabula rasa to think again about writing outside of the cycle of academic publication, about public engagement, about how to think and write about the past, and how to develop and sustain new projects.

This site will have free and paid subscriptions. Free subscriptions get access to regular shorter posts; longer posts and the archive go to paid subscriptions.

All funds generated by paid subscriptions will be donated to non-profit groups working to support the study of the ancient world and emphasizing public engagement. I will make annual statements about where funds are sent.

I have trouble imagining too many people doing paid subscriptions, but anything we get from the other site will be sent to groups and initiatives we have supported in the past.. Sententiaeantiquae.com isn’t going anywhere. I won’t cross-post much from substack, so check it out and subscribe (for free or otherwise!)

Why “Painful Signs?”

“Painful Signs” is my loose translation of the description of the message Proitos sends along with Bellerophon in book 6 of the Iliad when he sends him to Lykia, with the hopes his father-in-law will murder him. (Proitos’ wife was in love with Bellerophon, but he refused her, so she told Proitos that Bellerophon raped her. Because they were guest-friends, however,  Proitos could not have him killed in his country).

Homer, Iliad 6.168-170

“Then he sent him to Lykia and he gave him painful signs,
He marked many heart-rending things on a folded table,
Which he told him to show to his father-in-law, so he would die.”

πέμπε δέ μιν Λυκίην δέ, πόρεν δ’ ὅ γε σήματα λυγρὰ
γράψας ἐν πίνακι πτυκτῷ θυμοφθόρα πολλά,
δεῖξαι δ’ ἠνώγειν ᾧ πενθερῷ ὄφρ’ ἀπόλοιτο.

This is the only apparent reference to writing in Homeric epic, but most sources believe it is not actually so. Here are ancient scholars’ comments:

Schol. T ad Hom. Il. 6.168 ex

Murderous signs: letters.

“It would be strange if people who developed every kind of craft would not know about letters. Some people claim these are like the sacred images of the Egyptians, used to communicate actions.”

     σήματα λυγρά: γράμματα…ἄτοπον γὰρ τοὺς πᾶσαν τέχνην εὑρόντας οὐκ εἰδέναι γράμματα. τινὲς δὲ ὡς παρ’ Αἰγυπτίοις ἱερὰ ζῴδια, δι’ ὧν δηλοῦται τὰ πράγματα.

Schol. A. ad Hom. Il. 6.169 ex

“written on a folded tablet”: this appears to use letters. But it does not mean this-instead to scrape [graphein] means to ‘smooth’ out. This is really the impression of images through which Proitos’ father-in-law may understand”

γράψας ἐν πίνακι πτυκτῷ: ὅτι ἔμφασίς ἐστι τοῦ τῆς λέξεως γράμμασι χρῆσθαι. οὐ δεῖ δὲ τοῦτο δέξασθαι, ἀλλ’ ἔστι γράψαι τὸ ξέσαι· οἷον οὖν ἐγχαράξας εἴδωλα, δι’ ὧν ἔδει γνῶναι τὸν πενθερὸν τοῦ Προίτου

Schol. D ad Hom. Il. 6.168

“Signs: symbols and shapes through which he communicates a plan. For there was no use of writing [letters]”

σήματα: σημεῖα καὶ τύπους δι᾿ ὧν δηλοῖ τὴν ἐπιβουλήν. οὐδὲ γὰρ ἦν τῶν γραμμάτων χρῆσις

Schol. D ad Hom. Il. 169

“After he wrote”: after he sketched out signs and symbols. For heroes did not know about writing.”

γράψας: χαράξας σημεῖα τινὰ καὶ συμβόλαια. τοὺς γὰρ ἥρωας μὴ ἑπίστασθαι γράμματα

I like this phrase “painful signs” and its use in the Iliad because it conveys (to me) some sense of the peril of secret messages, of the potential dangers of a fixed communication, of the insidious side of language. There’s something telling in the way that the message’s bearer does not know its contents and their implications.

So, I am taking this phrase as a bit of a thematic tuning for the beginning of a return to thinking about the Iliad . I think it is probably tenuous to claim that this tablet taken from the Peloponnese to Asia Minor is in away a symbol for epic itself, but I don’t think its too much to say that the episode shows a poetic concern with what effects signs have on the world, and how they have different meaning depending on who you are.

color photograph from a museum catalog.Waxed ivory writing tablet: one of a set of sixteen writing tablets hinged together as a folding set. It is scored on the back and front to receive the wax surface, which would have been inscribed in cuneiform with a stylus.
Waxed ivory tablet from British Museum. #131952. Neo Assyrian, 8th Century BCE

Circe’s Island Is Really about Reincarnation: An Allegorical Reading of Odyssey 10

Here is another allegorical interpretation of the Odyssey attributed to Porphyry.

from Stobaeus, i. 44. 60 

Τοῦ αὐτοῦ (sc. Πορφυρίου)·

“The things that Homer says about Kirkê contain a wonderful theory about the soul. The interpretation runs as follows:

Some have the heads, voice, head and skin of swine, but the mind remains constant as it was before. This myth is similar to the riddle about the soul presented by Pythagoras and Plato, that it is indestructible in nature and unseen but that it is not safe from harm or unchangeable. In what is called its destruction or death, it undergoes a change and then a transference into different kinds of bodies pursuing an appearance and fit according to pleasure, by similarity and practice to how it lived life. In this, each person draws a great advantage from education and philosophy, since the soul has a memory of noble things, judges the shameful harshly, and is able to overcome the unnatural pleasures. This soul can pay attention to itself, and guard that it might not accidentally become a beast because it has grown attracted to an hideously shaped, unclean body regarding virtue, a body that excites and nourishes uncultured and unreasoning nature rather than increasing and nourishing thought.

Τὰ δὲ παρ᾿ Ὁμήρῳ περὶ τῆς Κίρκης λεγόμενα θαυμαστὴν ἔχει τὴν περὶ ψυχὴν θεωρίαν. λέγεται γὰρ οὕτως,

οἱ δὲ συῶν μὲν ἔχον κεφαλὰς φωνήν τε τρίχας τε καὶ δέμας· αὐτὰρ νοῦς ἦν ἔμπεδος ὡς τὸ πάρος περ. ἔστι τοίνυν ὁ μῦθος αἴνιγμα τῶν περὶ ψυχῆς ὑπό τε Πυθαγόρου λεγομένων καὶ Πλάτωνος, ὡς ἄφθαρτος οὖσα τὴν φύσιν καὶ ἀίδιος, οὔ τι μὴν ἀπαθὴς οὐδ᾿ ἀμετάβλητος, ἐν ταῖς λεγομέναις φθοραῖς καὶ τελευταῖς μεταβολὴν ἴσχει καὶ μετακόσμησιν εἰς ἕτερα σωμάτων εἴδη, καθ᾿ ἡδονὴν διώκουσα τὸ πρόσφορον καὶ οἰκεῖον ὁμοιότητι καὶ συνηθείᾳ βίου διαίτης· ἔνθα δὴ τὸ μέγα παιδείας ἑκάστῳ καὶ φιλοσοφίας ὄφελος, ἂν μνημονεύουσα τῶν καλῶν ἡ ψυχὴ καὶ δυσχεραίνουσα τὰς αἰσχρὰς καὶ παρανόμους ἡδονὰς δύνηται κρατεῖν καὶ προσέχειν αὑτῇ καὶ φυλάττειν μὴ λάθῃ θηρίον γενομένη καὶ στέρξασα σώματος οὐκ εὐφυοῦς οὐδὲ καθαροῦ πρὸς ἀρετὴν φύσιν ἄμουσον καὶ ἄλογον καὶ τὸ ἐπιθυμοῦν καὶ θυμούμενον μᾶλλον ἢ τὸ φρόνιμον αὐξάνοντος καὶ τρέφοντος.

“Once the soul is translated, that which is fated and nature, which Empedocles named the divine force that “wraps us in a foreign robe of flesh”, also re-fits the soul.  Homer has named this circular journey and return of rebirth Kirkê, the child of the sun because the sun binds every destruction to birth and every birth in turn to destruction, always weaving them together. The Island Aiaia is also that place allotted to receive one who dies—where the souls first arrive as they wander, and suffer alienation as they mourn and they do not know which way is west nor “where the sun which brings mortals light comes upon the earth”.

As they long for their habits of pleasure—their shared life in the flesh and their way of life with the flesh—they provide the draught with its character again: it is the drink where birth is mixed and stirs together what is truly immortal and mortal, the thoughts and sufferings, the ethereal and the earthbound. The souls are enchanted and weakened by the pleasures that will lead them back to birth again. At this time, souls require great luck and great wisdom in order to avoid pursuing their worst aspects or passions and dedicate themselves to a cursed and beastly life”.

Αὐτῆς γὰρ τῆς μετακοσμήσεως εἱμαρμένη καὶ φύσις ὑπὸ Ἐμπεδοκλέους δαίμων ἀνηγόρευται “σαρκῶν ἀλλογνῶτι περιστέλλουσα χιτῶνι”καὶ μεταμπίσχουσα τὰς ψυχάς, Ὅμηρος δὲ τὴν ἐν κύκλῳ περίοδον καὶ περιφορὰν παλιγγενεσίας Κίρκην προσηγόρευκεν, Ἡλίου παῖδα τοῦ πᾶσαν φθορὰν γενέσει καὶ γένεσιν αὖ πάλιν φθορᾷ συνάπτοντος ἀεὶ καὶ συνείροντος. Αἰαίη δὲ νῆσος ἡ δεχομένη τὸν ἀποθνήσκοντα μοῖρα καὶ χώρα τοῦ περιέχοντος, εἰς ἣν ἐμπεσοῦσαι πρῶτον αἱ ψυχαὶ πλανῶνται καὶ ξενοπαθοῦσι καὶ ὀλοφύρονται καὶ οὐκ ἴσασιν ὅπῃ ζόφος “οὐδ᾿ ὅπῃ ἠέλιος φαεσίμβροτος εἶσ᾿ ὑπὸ γαῖαν” ποθοῦσαι δὲ καθ᾿ ἡδονὰς τὴν συνήθη καὶ σύντροφον ἐν σαρκὶ καὶ μετὰ σαρκὸς δίαιταν ἐμπίπτουσιν αὖθις εἰς τὸν κυκεῶνα, τῆς γενέσεως μιγνύσης εἰς ταὐτὸ καὶ κυκώσης ὡς ἀληθῶς ἀίδια καὶ θνητὰ καὶ φρόνιμα καὶ παθητὰ καὶ ὀλύμπια καὶ γηγενῆ, θελγόμεναι καὶ μαλασσόμεναι ταῖς ἀγούσαις αὖθις ἐπὶ τὴν γένεσιν ἡδοναῖς, ἐν ᾧ δὴ μάλιστα πολλῆς μὲν εὐτυχίας αἱ ψυχαὶ δέονται πολλῆς δὲ σωφροσύνης, ὅπως μὴ τοῖς κακίστοις ἐπισπόμεναι καὶ συνενδοῦσαι μέρεσιν ἢ πάθεσιν αὑτῶν κακοδαίμονα καὶ θηριώδη βίον ἀμείψωσιν.

For it is right that it is called and considered a crossroad in the underworld around which the parts of the soul split: the rational, the emotional, and the desirous. Each of these produces a force or an inducement to the life appropriate to itself. This is no longer myth or poetry but truth and a story of nature. In this transformation and rebirth, when the aspect of desire overpowers and takes control, [Homer] is claiming that because of the dominance of pleasure and gluttony, they transform into the bodies of donkeys and pigs and receive unclean lives on the ground. The interpretation runs as follows.

Whenever a soul has an emotional component that has grown completely savage because of harsh rivalries or murderous savagery developing from some disagreement or vendetta, that soul finds a second birth which is full of bitterness and angry thoughts and falls into the shape of a wolf or a lion, embracing this body as if it were a tool of vengeance for his controlling passion. For this reason, one must keep clean when near death as if for a religious rite and restrain from every kind of base pleasure, put every harsh emotion to bed, and to withdraw from the body by suppressing envies, enmities, and rages down deep. This “Hermes of the golden-staff” happens to be that very reasoning which indicates clearly the good and either wholly restrains or saves it from the deadly draught should it drink—it preserves the soul in a human life and character for as long a time as is possible.”

ἡ γὰρ λεγομένη καὶ νομιζομένη τῶν ἐν Ἅιδου τρίοδος ἐνταῦθά που τέτακται περὶ τὰ τῆς ψυχῆς σχιζομένη μέρη, τὸ λογιστικὸν καὶ θυμοειδὲς καὶ ἐπιθυμητικόν, ὧν ἕκαστον ἀρχὴν ἐξ αὑτοῦ καὶ ῥοπὴν ἐπὶ τὸν οἰκεῖον βίον ἐνδίδωσι. καὶ οὐκέτι ταῦτα μῦθος οὐδὲ ποίησις ἀλλ᾿ ἀλήθεια καὶ φυσικὸς λόγος. ὧν μὲν γὰρ ἐν τῇ μεταβολῇ καὶ γενέσει τὸ ἐπιθυμητικὸν ἐξανθοῦν ἐπικρατεῖ καὶ δυναστεύει, τούτοις εἰς ὀνώδη καὶ ὑώδη σώματα καὶ βίους θολεροὺς καὶ ἀκαθάρτους ὑπὸ φιληδονίας καὶ γαστριμαργίας φησὶ γίνεσθαι τὴν μεταβολήν. ὅταν δὲ φιλονεικίαις σκληραῖς καὶ φονικαῖς ὠμότησιν ἔκ τινος διαφορᾶς ἢ δυσμενείας ἐξηγριωμένον ἔχουσα παντάπασιν ἡ ψυχὴ τὸ θυμοειδὲς εἰς δευτέραν γένεσιν ἀφίκηται, πλήρης οὖσα προσφάτου πικρίας καὶ βαρυφροσύνης ἔρριψεν ἑαυτὴν εἰς λύκου φύσιν ἢ λέοντος, ὥσπερ ὄργανον ἀμυντικὸν τὸ σῶμα τῷ κρατοῦντι προσιεμένη πάθει καὶ περιαρμόσασα. διὸ δεῖ μάλιστα περὶ τὸν θάνατον ὥσπερ ἐν τελετῇ καθαρεύοντα παντὸς ἀπέχειν πάθους φαύλου τὴν ψυχὴν καὶ πᾶσαν ἐπιθυμίαν χαλεπὴν κοιμήσαντα καὶ φθόνους καὶ δυσμενείας καὶ ὀργὰς ἀπωτάτω τιθέμενον τοῦ φρονοῦντος ἐκβαίνειν τοῦ σώματος. οὗτος ὁ χρυσόρραπις Ἑρμῆς ἀληθῶς ὁ λόγος ἐντυγχάνων καὶ δεικνύων ἐναργῶς τὸ καλὸν ἢ παντάπασιν εἴργει καὶ ἀπέχει τοῦ κυκεῶνος, ἢ πιοῦσαν2 ἐν ἀνθρωπίνῳ βίῳ καὶ ἤθει διαφυλάσσει πλεῖστον χρόνον, ὡς ἀνυστόν ἐστι.

 

 

Circe
*oil on canvas
*148 x 92 cm
*1891