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

Beauty and Love, A Wedding Song

Theognis, fr. 1-18

“Lord, son of Leto, child of Zeus, I will never
Forget you when beginning or ending my song.
But I sing you first and last and in the middle too
Hear me now and grant me good things.

Lord Phoebus, when the goddess Leto first gave birth to you,
The finest of the gods, she was holding close to the palm tree
with her slight arms, next to the curve of the lake—
and all of Delos was overwhelmed with a divine scent
as the expansive earth laughed beneath,
and the see delighted in its salty depths.

Artemis, slayer of beasts, daughter of Zeus, the one
Agamemnon honored with a temple as he sailed to Troy in swift ships
Hear me as I pray to you—ward off the evil spirts of death.
It is a minor thing for you, goddess; but a big deal for me.”

Muses and Graces, daughters of Zeus, who once
Went to the marriage of Kadmos and sang this beautiful line:
“Whatever is beautiful is loved; and what isn’t beautiful isn’t loved’
That’s the line that rang from your immortal mouths.”

῏Ω ἄνα, Λητοῦς υἱέ, Διὸς τέκος, οὔποτε σεῖο
λήσομαι ἀρχόμενος οὐδ’ ἀποπαυόμενος,
ἀλλ’ αἰεὶ πρῶτόν τε καὶ ὕστατον ἔν τε μέσοισιν
ἀείσω· σὺ δέ μοι κλῦθι καὶ ἐσθλὰ δίδου.

Φοῖβε ἄναξ, ὅτε μέν σε θεὰ τέκε πότνια Λητώ
φοίνικος ῥαδινῆις χερσὶν ἐφαψαμένη
ἀθανάτων κάλλιστον ἐπὶ τροχοειδέι λίμνηι,
πᾶσα μὲν ἐπλήσθη Δῆλος ἀπειρεσίη
ὀδμῆς ἀμβροσίης, ἐγέλασσε δὲ Γαῖα πελώρη,
γήθησεν δὲ βαθὺς πόντος ἁλὸς πολιῆς.

῎Αρτεμι θηροφόνη, θύγατερ Διός, ἣν ᾿Αγαμέμνων
εἵσαθ’, ὅτ’ ἐς Τροίην ἔπλεε νηυσὶ θοῆις,
εὐχομένωι μοι κλῦθι, κακὰς δ’ ἀπὸ κῆρας ἄλαλκε·
σοὶ μὲν τοῦτο, θεά, σμικρόν, ἐμοὶ δὲ μέγα.

Μοῦσαι καὶ Χάριτες, κοῦραι Διός, αἵ ποτε Κάδμου
ἐς γάμον ἐλθοῦσαι καλὸν ἀείσατ’ ἔπος,
‘ὅττι καλόν, φίλον ἐστί· τὸ δ’ οὐ καλὸν οὐ φίλον ἐστί,’
τοῦτ’ ἔπος ἀθανάτων ἦλθε διὰ στομάτων.

Small clay figure of larger divine woman holding human male in arms.
Artemis Kourotrophos. Small terracotta . 430-400 BC. Archaeological Museum of Brauron.

How Many Angels on the Head of a Pin? How Many Oarsmen on Achilles’ Ships?

Scholia T ad Homer Iliad 16.170

“Achilles, dear to Zeus, had fifty ships which he led to Troy. In each of the ships there were fifty companions at the benches.” How, people ask, is it that the Poet who typically augments Achilles elsewhere, diminishes him in this passage? Is it because there is no excellence in numbers?

Aristarchus, however, says that there are fifty rowers [only] because of the phrase “on the benches”, meaning sailors as support crew. Dionysus, still, claims that the greatest number of rowers possible was 120 and that most ships had between these two numbers, so that the average amount was 86 men.”

πεντήκοντ᾽ ἦσαν νῆες θοαί, ἧισιν ᾽Αχιλλεὺς ἐς Τροίην ἡγεῖτο διίφιλος· ἐν δὲ ἑκάστηι πεντήκοντ᾽ ἔσαν ἄνδρες ἐπὶ κληῖσιν ἑταῖροι] πῶς, φασίν, ἐν ἅπασιν αὔξων ᾽Αχιλλέα τούτωι μειοῖ; τινὲς μὲν οὖν, ὅτι οὐκ ἐν πλήθει ἡ ἀρετή … ᾽Αρίσταρχος δέ φησιν ν̄ ἐρέτας εἶναι διὰ τὸ ῾ἐπὶ κληῖσιν᾽ ἢ ναύτας πρὸς ὑπηρεσίαν. Διονύσιος δὲ τὸν μέγιστον ἀριθμὸν ρ̄κ̄ τιμᾶι, τὸ δὲ λοιπὸν ἐν τῶι μεταξὺ τούτων ἄγεσθαι, ὡς φθάνειν πάσας ἀπὸ π̄ε̄ ἀνδρῶν.

Ah, another case study of that “morbus Graecorum”

Seneca, De Brevitate Vitae 13

“It would be annoying to list all the people who spent their lives pursuing board games, ball games, or sunbathing. Men whose pleasures are so busy are not at leisure. For example, no one will be surprised that those occupied by useless literary studies work strenuously—and there is great band of these in Rome now too.

This sickness used to just afflict the Greeks, to discover the number of oarsmen Odysseus possessed, whether the Iliad was written before the Odyssey, whether the poems belong to the same author, and other matters like this which, if you keep them to yourself, cannot please your private mind; but if you publish them, you seem less learned than annoying.”

Persequi singulos longum est, quorum aut latrunculi aut pila aut excoquendi in sole corporis cura consumpsere vitam. Non sunt otiosi, quorum voluptates multum negotii habent. Nam de illis nemo dubitabit, quin operose nihil agant, qui litterarum inutilium studiis detinentur, quae iam apud Romanos quoque magna manus est. Graecorum iste morbus fuit quaerere, quem numerum Ulixes remigum habuisset, prior scripta esset Ilias an Odyssia, praeterea an eiusdem essent auctoris, alia deinceps huius notae, quae sive contineas, nihil tacitam conscientiam iuvant sive proferas, non doctior videaris sed molestior.

Cemetery of Ancient Thera. 3rd quarter of the 6th cent. BC Archaeological Museum of Thera.
Photo A. de Graauw, May 2015.

Homer's Parents, Country, and True Name

An ancient ‘encyclopedia entry’

Some more material to consider in addressing our 99 Homeric Problems. The Suda is a Byzantine era compendium of knowledge. In this entry, it provides a summary of many of the contrary things said about Homer in antiquity.

Suda, omicron 251

“Homer, a poet. The son of Meles the river, in Smyrna, and the nymph Kritheis. Some people say that he was the son of Apollo and the muse Kalliope. But Kharaks the historian claims his father was Maion or Metius and his mother was Eumetis or Eumetis. According to others, he was the son of Telemachus and Nestor’s daughter Polykaste.

The line of his genealogy according to the historian Kharaks goes like this: Aithue of Thtrace was Linus’ mother, the father of Pieros, the father of Oegros, the father of Orpheus, the father of Dres, the father of Euklees, the father if Idmonides, the father of Philoterpes, the father of Melanopus, the father of Apelles, the father of Maion. Maion lived at the same time that the Amazons arrived at Smyrna. He married Eumetis, the daughter of Euepes, the son of Mnesigenes, and he fathered Homer.

There’s additional doubt about his country, because the greatness of his nature provided some disbelief about whether or not he was a mortal. Different people say he came from Smyrna, Chios, Colophon, Uos, Cyme, Troy,, the region around Cenchreae, Ludia, Athens, Egypt, Ithaca, Cyprus, Knossos, Salamis, Mycenae, Thessaly, italy, Lucania, Gryne, Rome and Rhodes.

He was actually called Melesigenes, because his mother gave birth to him next to the river Meles, according to genealogy provided in Smyrna. He was called Homer because when there was a war between Smyrna and Colophon he was made a hostage (homeros), or because when Smyrna’s people were debating he was divinely inspired and provided war advice to the assembly..

Homer lived 57 years before the the first Olympiad; but Porphyry claims in his History of Philosophy that it was 132 years before. The first Olympiad happened 407 years following the sack of Troy. Some claim that Homer was born mere 160 years after the capture of Troy; but Porphyry just mentioned says it was 275 years after

In Chios he married Gnostor of Cyme’s daughter. Aresiphone. They had two sons and a daughter who then married to Stasinus of Cyprus Their sons were Eriphon and Theolaus.

The Iliad and Odyssey are Homer’s undebated works. But he did not write the Iliad all at once or in sequence, as it now stands. Instead, he composed  and performed individual rhapsodies as he traveled round the cities making a living. He, left them behind; and later on  they were assembled and ordered by many hands, especially Pisistratus the tyrant of Athens.

Other poems are attributed to Homer: the Amazonia; Little Iliad; Nostoi; Epicichlides; Ethiepactos (or Iambi); Battle of the Frogs; Battle of the Mice and Frogs; Battle of the Spiders; Battle of the Cranes; Cerameis; The Expulsion of Amphiaraus; Paegnia; The Capture of Sicily; epithalamia; Cycle; hymns; Cypria.

He was very old when he died and was buried in Ios. He was blind, they say, from the time he was a child, but in reality he was not a slave of desire or ruled by his eyes, and this is where the story of his blindness comes from. On his tomb is the elegy, later composed by the people of Ios: ‘At this spot, the earth covers the sacred head, that divine director of heroic men, Homer.”

Ὅμηρος ὁ ποιητής, Μέλητος τοῦ ἐν Σμύρνῃ ποταμοῦ καὶ Κριθηί̈δος νύμφης, ὡς δὲ ἄλλοι Ἀπόλλωνος καὶ Καλλιόπης τῆς Μούσης: ὡς δὲ Χάραξ ὁ ἱστορικὸς Μαίονος ἢ Μητίου καὶ Εὐμήτιδος μητρός: κατὰ δὲ ἄλλους Τηλεμάχου τοῦ Ὀδυσσέως καὶ Πολυκάστης τῆς Νέστορος. ἔστι δὲ ἡ τοῦ γένους τάξις κατὰ τὸν ἱστορικὸν Χάρακα αὕτη: Αἰθούσης Θρᾴσσης Λίνος, τοῦ δὲ Πίερος, τοῦ δὲ Οἴαγρος, τοῦ δὲ Ὀρφεύς, τοῦ δὲ Δρής, τοῦ δὲ Εὐκλέης, τοῦ δὲ Ἰδμονίδης, τοῦ δὲ Φιλοτερπής, τοῦ δὲ Εὔφημος, τοῦ δ’ Ἐπιφράδης, τοῦ δὲ Μελάνωπος, τοῦ δὲ Ἀπελλῆς, τοῦ δὲ Μαίων, ὃς ἦλθεν ἅμα ταῖς Ἀμαζόσιν ἐν Σμύρνῃ καὶ γήμας Εὔμητιν τὴν Εὐέπους τοῦ Μνησιγένους ἐποίησεν Ὅμηρον. ὁμοίως δὲ καὶ τὴν πατρίδα ἀμφίβολος διὰ τὸ ἀπιστηθῆναι ὅλως εἶναι θνητὸν τῷ μεγέθει τῆς φύσεως. οἱ μὲν γὰρ ἔφασαν γενέσθαι Σμυρναῖον, οἱ δὲ Χῖον, οἱ δὲ Κολοφώνιον, οἱ δὲ Ἰήτην, οἱ δὲ Κυμαῖον, οἱ δὲ ἐκ Τροίας ἀπὸ χωρίου Κεγχρεῶν, οἱ δὲ Λυδόν, οἱ δὲ Ἀθηναῖον, οἱ δὲ Αἰγύπτιον, οἱ δὲ Ἰθακήσιον, οἱ δὲ Κύπριον, οἱ δὲ Κνώσσιον, οἱ δὲ Σαλαμίνιον, οἱ δὲ Μυκηναῖον, οἱ δὲ Θετταλόν, οἱ δὲ Ἰταλιώτην, οἱ δὲ Λευκανόν, οἱ δὲ Γρύνιον, οἱ δὲ Ῥωμαῖον, οἱ δὲ Ῥόδιον.

 καὶ προσηγορεύετο μὲν κυρίως Μελησιγένης: καὶ γὰρ ἐτέχθη παρὰ τῷ Μέλητι ποταμῷ κατὰ τοὺς Σμυρναῖον αὐτὸν γενεαλογοῦντας. ἐκλήθη δὲ Ὅμηρος διὰ τὸ πολέμου ἐνισταμένου Σμυρναίοις πρὸς Κολοφωνίους ὅμηρον δοθῆναι, ἢ ὅτι βουλευομένων Σμυρναίων δαιμονίᾳ τινὶ ἐνεργεία φθέγξασθαι καὶ συμβουλεῦσαι ἐκκλησιάζουσι περὶ τοῦ πολέμου. καὶ γέγονε δὲ πρὸ τοῦ τεθῆναι τὴν πρώτην ὀλυμπιάδα πρὸ ἐνιαυτῶν νζ#: Πορφύριος δὲ ἐν τῇ Φιλοσόφῳ ἱστορίᾳ πρὸ ρλβ# φησίν. ἐτέθη δὲ αὕτη μετὰ τὴν Τροίας ἅλωσιν ἐνιαυτοῖς ὕστερον υζ#. τινὲς δὲ μετὰ ρξ# ἐνιαυτοὺς μόνους τῆς Ἰλίου ἁλώσεως τετέχθαι ἱστοροῦσιν Ὅμηρον: ὁ δὲ ῥηθεὶς Πορφύριος μετὰ σοε#. 

γήμας δ’ ἐν Χίῳ Ἀρησιφόνην τὴν Γνώτορος τοῦ Κυμαίου θυγατέρα ἔσχεν υἱεῖς δύο καὶ θυγατέρα, ἣν ἔγημε Στασῖνος ὁ Κύπριος: οἱ δὲ υἱεῖς Ἐρίφων καὶ Θεόλαος. ποιήματα δὲ αὐτοῦ ἀναμφίλεκτα Ἰλιὰς καὶ Ὀδύσσεια. ἔγραψε δὲ τὴν Ἰλιάδα οὐχ ἅμα οὐδὲ κατὰ τὸ συνεχές, καθάπερ σύγκειται, ἀλλ’ αὐτὸς μὲν ἑκάστην ῥαψῳδίαν γράψας καὶ ἐπιδειξάμενος τῷ περινοστεῖν τὰς πόλεις τροφῆς ἕνεκεν ἀπέλιπεν. ὕστερον δὲ συνετέθη καὶ συνετάχθη ὑπὸ πολλῶν καὶ μάλιστα ὑπὸ Πεισιστράτου τοῦ τῶν Ἀθηναίων τυράννου. ἀναφέρεται δὲ εἰς αὐτὸν καὶ ἄλλα τινὰ ποιήματα: Ἀμαζονία, Ἰλιὰς μικρά, Νόστοι, Ἐπικιχλίδες, Ἠθιέπακτος ἤτοι Ἴαμβοι, Βατραχομαχία, Μυοβατραχομαχία, Ἀραχνομαχία, Γερανομαχία, Κεραμεῖς, Ἀμφιαράου ἐξέλασις, παίγνια, Σικελίας ἅλωσις, ἐπιθαλάμια, Κύκλος, ὕμνοι, Κύπρια. γηραιὸς δὲ τελευτήσας ἐν τῇ νήσῳ τῇ Ἴῳ τέθαπται, τυφλὸς ἐκ παίδων γεγονώς: 

τὸ δὲ ἀληθές, ὅτι οὐχ ἡττήθη ἐπιθυμίας ἣ διὰ τῶν ὀφθαλμῶν ἄρχεται, καὶ παρὰ τοῦτο ἱστορήθη τυφλός. ἐπιγέγραπται δὲ ἐν τῷ τάφῳ αὐτοῦ τόδε τὸ ἐλεγεῖον, ὃ ὑπὸ τῶν Ἰητῶν ἐποιήθη χρόνῳ: ἐνθάδε τὴν ἱερὰν κεφαλὴν κατὰ γαῖα καλύπτει ἀνδρῶν ἡρώων κοσμήτορα θεῖον Ὅμηρον.

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Some additional information from the Scholia to Pindar

Schol. Ad Pin. Nem. 2.1  var.

“Just as the Homeridae”: They used to say in ancient times that the Homeridae were the descendants of Homer who used to sing his poetry in turns. But later on, the rhapsodes no longer attributed their lineage to Homer. But once the performers around Kynaithos became well-known—those ones who people claim composed many verses and inserted them into Homer’s poetry. Kynaithos’ was from Khios and he is said to have composed the Hymn to Apollo among those poems attributed to Homer. This Kynaithos was the first to sing the poems of Homer as a rhapsode among the Syracusians during the sixty-ninth Olympiad, as Hippostratus claims.

 ῞Οθεν περ καὶ ῾Ομηρίδαι: ῾Ομηρίδας ἔλεγον τὸ μὲν ἀρχαῖον τοὺς ἀπὸ τοῦ ῾Ομήρου γένους, οἳ καὶ τὴν ποίησιν αὐτοῦ ἐκ διαδοχῆς ᾖδον· μετὰ δὲ ταῦτα καὶ οἱ ῥαψῳδοὶ οὐκέτι τὸ γένος εἰς ῞Ομηρον ἀνάγοντες. ἐπιφανεῖς δὲ ἐγένοντοοἱ περὶ Κύναιθον, οὕς φασι πολλὰ τῶν ἐπῶν ποιήσαντας ἐμβαλεῖν εἰς τὴν ῾Ομήρου ποίησιν. ἦν δὲ ὁ Κύναιθος τὸ γένος Χῖος, ὃς καὶ τῶν ἐπιγραφομένων ῾Ομήρου ποιημάτων τὸν εἰς ᾿Απόλλωνα γεγραφὼς ὕμνον ἀνατέθεικεν αὐτῷ. οὗτος οὖν ὁ Κύναιθος πρῶτος ἐν Συρακούσαις ἐραψῴδησε τὰ ῾Ομήρου ἔπη κατὰ τὴν ξθ′ ᾿Ολυμπιάδα, ὡς ῾Ιππόστρατός φησιν (FHG IV 433).

“In addition: The rhapsodes etymologize “rhapsodes” because they proceed through Homeric poetry with the rhabdos . Callimachus writes, “I am forever singing the story woven on a rhabdos as a received it…”

Other people claim that Homeric poetry was not brought together into one corpus, but that it was spread around and separated into pieces. When they would act as rhapsodes, they would make something like a series or a stitch as they brought it together into the same composition.

This is what Pindar means too. Some people claim that previously each of the competitors sang whatever part of the separated poem he wanted and that the prize for the victors was a lamb which is why the performers was called “lamb-singers” but that once each of the poems was introduced, the competitors would listen to one another’s parts and go through the whole poem, they were called rhapsodes. Dionysios the Argive claims these things. But Philokhoros says that they were called this from the collocation and stitching of song. Hesiod clearly writes: “Homer and I were then the first singers / who performed at Delos, stitching together song among the new hymns / for Phoibos Apollo, of the golden sword whom Leto bore”. Nikokles says that Hesiod was the first to rhapsodize. Menaikhmos records that rhapsodes were called stikhodes because rhabdoi are called stikhoi by some.

ἄλλως. τοὺς ῥαψῳδοὺς οἱ μὲν ῥαβδῳδοὺς ἐτυμολογοῦσι διὰ τὸ μετὰ ῥάβδου δηλονότι τὰ ῾Ομήρου ἔπη διεξιέναι.
Καλλίμαχος (fr. 138)·
καὶ τὸν ἐπὶ ῥάβδῳ μῦθον ὑφαινόμενον / ἠνεκὲς ἀείδω δεδεγμένος.
οἱ δέ φασι τῆς ῾Ομήρου ποιήσεως μὴ ὑφ’ ἓν συνηγμένης, σποράδην δὲ ἄλλως καὶ κατὰ μέρη διῃρημένης, ὁπότε ῥαψῳδοῖεν αὐτὴν, εἱρμῷ τινι καὶ ῥαφῇ παραπλήσιον ποιεῖν, εἰς ἓν αὐτὴν ἄγοντας. οὕτω καὶ ὁ Πίνδαρος ἐκδέδεκται. οἱ δὲ, ὅτι κατὰ μέρος πρότερον τῆς ποιήσεως διαδεδομένης τῶν ἀγωνιστῶν ἕκαστος ὅ τι βούλοιτο μέρος ᾖδε, τοῦ δὲ ἄθλου τοῖς νικῶσιν ἀρνὸς ἀποδεδειγμένου προσαγορευθῆναι τότε μὲν ἀρνῳδούς, αὖθις δὲ ἑκατέρας τῆς ποιήσεως εἰσενεχθείσης τοὺς ἀγωνιστὰς οἷον ἀκουμένους πρὸς ἄλληλα τὰ μέρη καὶ τὴν σύμπασαν ποίησιν ἐπιόντας, ῥαψῳδοὺς προσαγορευθῆναι. ταῦτά φησι Διονύσιος ὁ ᾿Αργεῖος (FHG III 26). Φιλόχορος (FHG I 417) δὲ ἀπὸ τοῦ συντιθέναι καὶ ῥάπτειν τὴν ᾠδὴν οὕτω φησὶν αὐτοὺς προσκεκλῆσθαι. δηλοῖ δὲ ὁ ῾Ησίοδος λέγων (fr. 265)·
ἐν Δήλῳ τότε πρῶτον ἐγὼ καὶ ῞Ομηρος ἀοιδοὶ
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον ᾿Απόλλωνα χρυσάορον, ὃν τέκε Λητώ.
ῥαψῳδῆσαι δέ φησι πρῶτον τὸν ῾Ησίοδον Νικοκλῆς (FHG IV 464). Μέναιχμος δὲ ἱστορεῖ τοὺς ῥαψῳδοὺς στιχῳδοῦς καλεῖσθαι διὰ τὸ τοὺς στίχους ῥάβδους λέγεσθαι ὑπό τινων.

“Another version is this: the Homeridai were once the children of Homer and then later on the rhapsodes around Kunaithos. These are the people who remembered the Homeric poetry that had been scattered around and they performed it. But they totally ruined it. They always begin their poems by making a proem to Zeus. And sometimes the Muses.

Ἄλλως. ῾Ομηρίδαι πρότερον μὲν οἱ ῾Ομήρου παῖδες, ὕστερον δὲ οἱ περὶ Κύναιθον ῥαβδῳδοί· οὗτοι γὰρ τὴν ῾Ομήρου ποίησιν σκεδασθεῖσαν ἐμνημόνευον καὶ ἀπήγγελλον· ἐλυμήναντο δὲ αὐτῇ πάνυ. αἰεὶ οὖν τὴν ἀρχὴν ὡς ἐπὶ τὸ πλεῖστον ἐκ Διὸς ἐποι-οῦντο προοιμιαζόμενοι, ἐνίοτε δὲ καὶ Μουσῶν.

Some links on this passage: Greg Nagy in classical inquiries;  Derek Collins in Master of the Game; Nagy again in Homer the Preclassic; and José M González, ., The Epic Rhapsode and His Craft: Homeric Performance in a Diachronic Perspective.

photograph of ancient sewing needles
Ancient Greek sewing needles. Greek Gallery, Altes Museum, Berlin, Germany. Complete indexed photo collection at WorldHistoryPics.com

Medicine and Pain

Euripides, fr. 1079

“Mortals have no other medicine for pain
Like the advice of a good man, a friend
Who has experience with this sickness.
A man who troubles then calms his thoughts with drinking,
Finds immediate pleasure, but laments twice as much later on.”

Οὐκ ἔστι λύπης ἄλλο φάρμακον βροτοῖς
ὡς ἀνδρὸς ἐσθλοῦ καὶ φίλου παραίνεσις.
ὅστις δὲ ταύτῃ τῇ νόσῳ ξυνὼν ἀνὴρ
μέθῃ ταράσσει καὶ γαληνίζει φρένα,
παραυτίχ’ ἡσθεὶς ὕστερον στένει διπλᾶ.

Anacreonta 56

“The one who strengthens someone in pain,
Who comforts a young one in love,
Who makes the dancer beautiful over drinks,
That god has descended to the ground,
Offering a calming lovespell for mortals,
A medicine against grief,
The vine’s child, wine.

He is guarding it safe,
Within the vines’ bunches of grapes,
So, whenever they cut the fruit,
Everyone remains free of sickness,
Healthy with shining skin
And a sweet-hearted mind,
Until the passing of another year.”

ὁ τὸν ἐν πόνοις ἀτειρῆ,
νέον ἐν πόθοις ἀταρβῆ,
καλὸν ἐν πότοις χορευτὴν
τελέων θεὸς κατῆλθε,
ἁπαλὸν βροτοῖσι φίλτρον,
πότον ἄστονον κομίζων,
γόνον ἀμπέλου, τὸν οἶνον,
ἐπὶ κλημάτων ὀπώραις
πεπεδημένον φυλάττων,
ἵν᾿, ὅταν τέμωσι βότρυν,
ἄνοσοι μένωσι πάντες,
ἄνοσοι δέμας θεητόν,
ἄνοσοι γλυκύν τε θυμὸν
ἐς ἔτους φανέντος ἄλλου.

Pliny, Letters 8.19

“I have so much joy and comfort in literature that there’s nothing that can’t be made happier because of it and there’s nothing sad enough to detract from its effect. I am so troubled by the sickness of my wife and the danger to my household, even the threat of death, that I have fled to my study as the only distraction from pain. I may sense my troubles more in this way but I yet bear them more easily. ”

Et gaudium mihi et solacium in litteris, nihilque tam laetum quod his laetius, tam triste quod non per has minus triste. Itaque et infirmitate uxoris et meorum periculo, quorundam vero etiam morte turbatus, ad unicum doloris levamentum studia confugi, quae praestant ut adversa magis intellegam sed patientius feram.

Drugs as therapy for pain

Morphine, “Cure for Pain” (1993)
“Where is the ritual
And tell me where where is the taste
Where is the sacrifice
And tell me where where is the faith
Someday there’ll be a cure for pain
That’s the day I throw my drugs away…”

Homer, Odyssey 4.219–232

“But then Zeus’ daughter Helen had different plans.
She immediately cast into the wine they were drinking a drug,
A pain neutralizer and anger reducer, an eraser of all evils.
Whoever consumes this drug once it is mixed in the wine,
Could not let a single tear loose upon their cheeks for a whole day.
Not even if their mother or father died,
Nor again if they lost their brother and dear son,
Cut down by bronze right their in front of their own eyes.
These are the kinds of complex drugs, good ones, Zeus’s daughter
Possesses. Polydamna, the wife of Thôn, gave them to her
In Egypt where the fertile land grows the most drugs—
Many there are mixed fine; but many cause pain too.
Each man there is a doctor whose knowledge surpasses most men,
For they are the offspring of Paieon.”

ἔνθ’ αὖτ’ ἄλλ’ ἐνόησ’ ῾Ελένη Διὸς ἐκγεγαυῖα·
αὐτίκ’ ἄρ’ εἰς οἶνον βάλε φάρμακον, ἔνθεν ἔπινον,
νηπενθές τ’ ἄχολόν τε, κακῶν ἐπίληθον ἁπάντων.
ὃς τὸ καταβρόξειεν, ἐπὴν κρητῆρι μιγείη,
οὔ κεν ἐφημέριός γε βάλοι κατὰ δάκρυ παρειῶν,
οὐδ’ εἴ οἱ κατατεθναίη μήτηρ τε πατήρ τε,
οὐδ’ εἴ οἱ προπάροιθεν ἀδελφεὸν ἢ φίλον υἱὸν
χαλκῷ δηϊόῳεν, ὁ δ’ ὀφθαλμοῖσιν ὁρῷτο.
τοῖα Διὸς θυγάτηρ ἔχε φάρμακα μητιόεντα,
ἐσθλά, τά οἱ Πολύδαμνα πόρεν, Θῶνος παράκοιτις,
Αἰγυπτίη, τῇ πλεῖστα φέρει ζείδωρος ἄρουρα
φάρμακα, πολλὰ μὲν ἐσθλὰ μεμιγμένα, πολλὰ δὲ λυγρά,
ἰητρὸς δὲ ἕκαστος ἐπιστάμενος περὶ πάντων
ἀνθρώπων· ἦ γὰρ Παιήονός εἰσι γενέθλης.

From the Suda

“Pharmakon [medicine]: conversation, consoling, it comes from pherein [bringing] akos [relief/cure]. But it is also said to come from flowers.”

Φάρμακον: παραμυθία, ὁμιλία, εἴρηται δὲ ἀπὸ τοῦ φέρειν τὴν ἄκεσιν: εἴρηται δὲ ἀπὸ τῶν ἀνθέων

still life oil painting. striped table cloth, plate with pears, wine jug and glass.
Adolphe Joseph Thomas Monticelli, “Still Life with Food and Wine” 1874

Stitching the Songs Together

On the substack Painful signs, I posted the Suda’s entry on Homer to go along with a post from yesterday, 99 Homeric problems

Pindar, Nemean 2.1-5

“Just as the Homeridae in fact,
Those singers who stitch songs together,
Begin with a prayer to Zeus
So too has this man welcomed the first of his victories
In the holy contests in the much-sung grove of Nemean Zeus.”

Ὅθεν περ καὶ Ὁμηρίδαι
ῥαπτῶν ἐπέων τὰ πόλλ᾿ ἀοιδοί
ἄρχονται, Διὸς ἐκ προοιμίου, καὶ ὅδ᾿ ἀνήρ
καταβολὰν ἱερῶν ἀγώ-
νων νικαφορίας δέδεκται πρῶτον Νεμεαίου
5ἐν πολυυμνήτῳ Διὸς ἄλσει.

Schol. Ad Pin. Nem. 2.1  var.

Just as the Homeridae”: They used to say in ancient times that the Homeridae were the descendants of Homer who used to sing his poetry in turns. But later on, the rhapsodes no longer attributed their lineage to Homer. But once the performers around Kynaithos became well-known—those ones who people claim composed many verses and inserted them into Homer’s poetry. Kynaithos’ was from Khios and he is said to have composed the Hymn to Apollo among those poems attributed to Homer. This Kynaithos was the first to sing the poems of Homer as a rhapsode among the Syracusians during the sixty-ninth Olympiad, as Hippostratus claims.

 ῞Οθεν περ καὶ ῾Ομηρίδαι: ῾Ομηρίδας ἔλεγον τὸ μὲν ἀρχαῖον τοὺς ἀπὸ τοῦ ῾Ομήρου γένους, οἳ καὶ τὴν ποίησιν αὐτοῦ ἐκ διαδοχῆς ᾖδον· μετὰ δὲ ταῦτα καὶ οἱ ῥαψῳδοὶ οὐκέτι τὸ γένος εἰς ῞Ομηρον ἀνάγοντες. ἐπιφανεῖς δὲ ἐγένοντοοἱ περὶ Κύναιθον, οὕς φασι πολλὰ τῶν ἐπῶν ποιήσαντας ἐμβαλεῖν εἰς τὴν ῾Ομήρου ποίησιν. ἦν δὲ ὁ Κύναιθος τὸ γένος Χῖος, ὃς καὶ τῶν ἐπιγραφομένων ῾Ομήρου ποιημάτων τὸν εἰς ᾿Απόλλωνα γεγραφὼς ὕμνον ἀνατέθεικεν αὐτῷ. οὗτος οὖν ὁ
Κύναιθος πρῶτος ἐν Συρακούσαις ἐραψῴδησε τὰ ῾Ομήρου ἔπη κατὰ τὴν ξθ′ ᾿Ολυμπιάδα, ὡς ῾Ιππόστρατός φησιν (FHG IV 433).

“In addition: The rhapsodes etymologize “rhapsodes” because they proceed through Homeric poetry with the rhabdos . Callimachus writes, “I am forever singing the story woven on a rhabdos as a received it…”

Other people claim that Homeric poetry was not brought together into one corpus, but that it was spread around and separated into pieces. When they would act as rhapsodes, they would make something like a series or a stitch as they brought it together into the same composition.

This is what Pindar means too. Some people claim that previously each of the competitors sang whatever part of the separated poem he wanted and that the prize for the victors was a lamb which is why the performers was called “lamb-singers” but that once each of the poems was introduced, the competitors would listen to one another’s parts and go through the whole poem, they were called rhapsodes. Dionysios the Argive claims these things. But Philokhoros says that they were called this from the collocation and stitching of song. Hesiod clearly writes: “Homer and I were then the first singers / who performed at Delos, stitching together song among the new hymns / for Phoibos Apollo, of the golden sword whom Leto bore”. Nikokles says that Hesiod was the first to rhapsodize. Menaikhmos records that rhapsodes were called stikhodes because rhabdoi are called stikhoi by some.

ἄλλως. τοὺς ῥαψῳδοὺς οἱ μὲν ῥαβδῳδοὺς ἐτυμολογοῦσι διὰ τὸ μετὰ ῥάβδου δηλονότι τὰ ῾Ομήρου ἔπη διεξιέναι.
Καλλίμαχος (fr. 138)·
καὶ τὸν ἐπὶ ῥάβδῳ μῦθον ὑφαινόμενον / ἠνεκὲς ἀείδω δεδεγμένος.
οἱ δέ φασι τῆς ῾Ομήρου ποιήσεως μὴ ὑφ’ ἓν συνηγμένης, σποράδην δὲ ἄλλως καὶ κατὰ μέρη διῃρημένης, ὁπότε ῥαψῳδοῖεν αὐτὴν, εἱρμῷ τινι καὶ ῥαφῇ παραπλήσιον ποιεῖν, εἰς ἓν αὐτὴν ἄγοντας. οὕτω καὶ ὁ Πίνδαρος ἐκδέδεκται. οἱ δὲ, ὅτι κατὰ μέρος πρότερον τῆς ποιήσεως διαδεδομένης τῶν ἀγωνιστῶν ἕκαστος ὅ τι βούλοιτο μέρος ᾖδε, τοῦ δὲ ἄθλου τοῖς νικῶσιν ἀρνὸς ἀποδεδειγμένου προσαγορευθῆναι τότε μὲν ἀρνῳδούς, αὖθις δὲ ἑκατέρας τῆς ποιήσεως εἰσενεχθείσης τοὺς ἀγωνιστὰς οἷον ἀκουμένους πρὸς ἄλληλα τὰ μέρη καὶ τὴν σύμπασαν ποίησιν ἐπιόντας, ῥαψῳδοὺς προσαγορευθῆναι. ταῦτά φησι Διονύσιος ὁ ᾿Αργεῖος (FHG III 26). Φιλόχορος (FHG I 417) δὲ ἀπὸ τοῦ συντιθέναι καὶ ῥάπτειν τὴν ᾠδὴν οὕτω φησὶν αὐτοὺς προσκεκλῆσθαι. δηλοῖ δὲ ὁ ῾Ησίοδος λέγων (fr. 265)·
ἐν Δήλῳ τότε πρῶτον ἐγὼ καὶ ῞Ομηρος ἀοιδοὶ
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον ᾿Απόλλωνα χρυσάορον, ὃν τέκε Λητώ.
ῥαψῳδῆσαι δέ φησι πρῶτον τὸν ῾Ησίοδον Νικοκλῆς (FHG IV 464). Μέναιχμος δὲ ἱστορεῖ τοὺς ῥαψῳδοὺς στιχῳδοῦς καλεῖσθαι διὰ τὸ τοὺς στίχους ῥάβδους λέγεσθαι ὑπό τινων.

“Another version is this: the Homeridai were once the children of Homer and then later on the rhapsodes around Kunaithos. These are the people who remembered the Homeric poetry that had been scattered around and they performed it. But they totally ruined it. They always begin their poems by making a proem to Zeus. And sometimes the Muses.

Ἄλλως. ῾Ομηρίδαι πρότερον μὲν οἱ ῾Ομήρου παῖδες, ὕστερον δὲ οἱ περὶ Κύναιθον ῥαβδῳδοί· οὗτοι γὰρ τὴν ῾Ομήρου ποίησιν σκεδασθεῖσαν ἐμνημόνευον καὶ ἀπήγγελλον· ἐλυμήναντο δὲ αὐτῇ πάνυ. αἰεὶ οὖν τὴν ἀρχὴν ὡς ἐπὶ τὸ πλεῖστον ἐκ Διὸς ἐποι-οῦντο προοιμιαζόμενοι, ἐνίοτε δὲ καὶ Μουσῶν.

Some links on this passage: Greg Nagy in classical inquiries;  Derek Collins in Master of the Game; Nagy again in Homer the Preclassic; and José M González, ., The Epic Rhapsode and His Craft: Homeric Performance in a Diachronic Perspective.

color photograph of ancient greek sewing needles, three of them
Ancient greek sewing needles. reek Gallery, Altes Museum, Berlin, Germany. Complete indexed photo collection at WorldHistoryPics.com

A Safeguard Against Grief

Anacreonta 56

“The one who strengthens someone in pain,
Who comforts a young one in love,
Who makes the dancer beautiful over drinks,
That god has descended to the ground,
Offering a calming lovespell for mortals,
A medicine against grief,
The vine’s child, wine.

He is guarding it safe,
Within the vines’ bunches of grapes,
So, whenever they cut the fruit,
Everyone remains free of sickness,
Healthy with shining skin
And a sweet-hearted mind,
Until the passing of another year.”

ὁ τὸν ἐν πόνοις ἀτειρῆ,
νέον ἐν πόθοις ἀταρβῆ,
καλὸν ἐν πότοις χορευτὴν
τελέων θεὸς κατῆλθε,
ἁπαλὸν βροτοῖσι φίλτρον,
πότον ἄστονον κομίζων,
γόνον ἀμπέλου, τὸν οἶνον,
ἐπὶ κλημάτων ὀπώραις
πεπεδημένον φυλάττων,
ἵν᾿, ὅταν τέμωσι βότρυν,
ἄνοσοι μένωσι πάντες,
ἄνοσοι δέμας θεητόν,
ἄνοσοι γλυκύν τε θυμὸν
ἐς ἔτους φανέντος ἄλλου.

still life oil painting. striped table cloth, plate with pears, wine jug and glass.
Adolphe Joseph Thomas Monticelli, “Still Life with Food and Wine” 1874

Poets, Hanging out with Kings

Sud.  Σ 439 “Simonides”

“Simonides, the son of Leoprepes, a citizen of Ioulos on the Island Keos. A lyric poet from the same time period as Stesichoris. He was called Melikertes because of his sweetness. He is also the one who founded the art of mnemonics. In addition to this, he invented long vowels, double consonants, and the third note on the lure. He was born during the 56th Olympiad (c. 556 BCE_ and lived into the 78th (468 BCE). 89 nine years altogether. He wrote in the Doric dialect, “The Kingdom of Kambyses and Darius” as well as “The Sea Battle Against Xerxes” and “The Battle at Artemisium” in elegiac verse. He added in lyric form, “The Sea Battle at Salamis” as well as dirges, eulogies, epigrams, paeans, tragedy and other things. This Simonides had a good memory…”

Σιμωνίδης, Λεωπρεποῦς, Ἰουλιήτης τῆς ἐν Κέῳ τῇ νήσῳ πόλεως, λυρικός, μετὰ Στησίχορον τοῖς χρόνοις· ὃς ἐπεκλήθη Μελικέρτης διὰ τὸ ἡδύ. καὶ τὴν μνημονικὴν δὲ τέχνην εὗρεν οὗτος· προσεξεῦρε δὲ καὶ τὰ μακρὰ τῶν στοιχείων καὶ διπλᾶ καὶ τῇ λύρᾳ τὸν τρίτον φθόγγον. γέγονε δ᾿ ἐπὶ τῆς πεντηκοστῆς ἕκτης ὀλυμπιάδος, οἱ δὲ ξβ΄ γεγράφασι. καὶ παρέτεινε μέχρι τῆς οη΄, βιοὺς ἔτη πθ΄. καὶ γέγραπται αὐτῷ Δωρίδι διαλέκτῳ †ἡ Καμβύσου καὶ Δαρείου βασιλεία καὶ Ξέρξου ναυμαχία καὶ† ἡ ἐπ᾿ Ἀρτεμισίῳ ναυμαχία, δι᾿ ἐλεγείας· ἡ δ᾿ ἐν Σαλαμῖνι μελικῶς· θρῆνοι, ἐγκώμια, πιγράμματα, παιᾶνες καὶ τραγῳδίαι καὶ ἄλλα. οὗτος ὁ Σιμωνίδης μνημονικός τις ἦν, εἴπερ τις ἄλλος . . .

Aristotle, Constitution of the Athenians, Ath. Pol. 18. 1

“Because of their reputations and their ages, Hipparchus and Hippias were in power, yet because Hippias was older and more political by nature as well as sensible, he oversaw the government. Hipparchus was more childish, lustful, and a devotee of the arts. He is the one who summoned Anakreon, Simonides, and the other poets to Athens.”

ἦσαν δὲ κύριοι μὲν τῶν πραγμάτων διὰ τὰ ἀξιώματα καὶ διὰ τὰς ἡλικίας Ἵππαρχος καὶ Ἱππίας, πρεσβύτερος δὲ ὢν ὁ Ἱππίας καὶ τῇ φύσει πολιτικὸς καὶ ἔμφρων ἐπεστάται τῆς ἀρχῆς. ὁ δὲ Ἵππαρχος παιδιώδης καὶ ἐρωτικὸς καὶ φιλόμουσος ἦν (καὶ τοὺς περὶ Ἀνακρέοντα καὶ Σιμωνίδην καὶ τοὺς ἄλλους ποιητὰς οὗτος ἦν ὁ μεταπεμπόμενος) . . .

Pausanias. 1. 2. 3

“At that time, poets took up residence in the halls of kings as earlier Anacreon stated with Polycrates the tyrant of Samos and Aeschylus and Simonides ended up going to Hiero of Syracuse.”

συνῆσαν δὲ ἄρα καὶ τότε τοῖς βασιλεῦσι ποιηταὶ καὶ πρότερον ἔτι καὶ Πολυκράτει Σάμου τυραννοῦντι Ἀνακρέων παρῆν καὶ ἐς Συρακούσας πρὸς Ἱέρωνα Αἰσχύλος καὶ Σιμωνίδης ἐστάλησαν.

Athenaeus, Deipnoshopists 14.646de

“Simonides was truly cheap and eager for profit, as Khamaileon notes. When he went to Syracuse and Hiero would send him daily gifts, Simonides would sell of most of it and put aside a little bit for himself. When he was asked the reason for this, he said “So that Hiero’s excess and my constraint are clear to all.”

ὄντως δ᾿ ἦν ὡς ἀληθῶς κίμβιξ ὁ Σιμωνίδης καὶ αἰσχροκερδής, ὡς Χαμαιλέων φησιν ἐν Συρακούσαις γοῦν τοῦ Ἱέρωνος ἀποστέλλοντος αὐτῷ τὰ καθ᾿ ἡμέραν λαμπρῶς πωλῶν τὰ πλείω ὁ Σιμωνίδης τῶν παρ᾿ ἐκείνου πεμπομένων ἑαυτῷ μικρὸν μέρος ἀπετίθετο. ἐρομένου δέ τινος τὴν αἰτίαν· ὅπως, εἶπεν, ἥ τε Ἱέρωνος μεγαλοπρέπεια καταφανὴς ᾖ καὶ ἡ ἐμὴ κοσμιότης.

A painting of a group of people in a vicrtory procession at Olympia. There is a chariot with a singer carrying a lyre
James Barry, Crowning the Victors at Olympia – Hiero of Syracuse and victors, c. 1780

 

Beginning the Iliad, Once, Twice, and Again

Multiformity and Variation

In an earlier post on “the plan,” I promised to start with guidelines for how to read Homeric epic and I promise to do that, but I am including some random posts about the beginning of the epic to get warmed up. There will be a handful of posts about preparing for epic and then I will get started on book-specific posts, covering a book a week for the duration. If all goes according to plan, I’ll intersperse these posts with scholia, essays, and observations for each book during its week.

As I discussed in an earlier post the beginning of the Iliad contains thematically resonant language that engages with the larger poetic tradition while also informing audiences what to expect from this poem:

Hom. Iliad 1.1-8

Μῆνιν ἄειδε θεὰ Πηληϊάδεω ᾿Αχιλῆος
οὐλομένην, ἣ μυρί’ ᾿Αχαιοῖς ἄλγε’ ἔθηκε,
πολλὰς δ’ ἰφθίμους ψυχὰς ῎Αϊδι προΐαψεν
ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν
οἰωνοῖσί τε πᾶσι, Διὸς δ’ ἐτελείετο βουλή,
ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε
᾿Ατρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος ᾿Αχιλλεύς.

“Goddess, sing the rage of Pelias’ son Achilles,
Destructive, how it gave the Achaeans endless pains
And sent many brave souls of heroes to Hades—
And it made them food for the dogs
And all the birds as Zeus’ plan was being fulfilled.
Start from when those two first diverged in strife,
The lord of men Atreus’ son and godly Achilles.”

A few things to note from here: this is not the story of the Trojan War. Indeed, it is only clear that it is set in the Trojan War because of the naming of the heroes Achilles and Agamemnon and the invocation of the plan of Zeus. In a way, the proemia of epic poems (the “fore-songs”, if you will) function like the chyrons at the beginning of Star Wars films, inviting audiences to situate the story to be told in some kind of narrative frame.

check this out

When I read the Iliad or the Odyssey with students, I spend an inordinate amount of time on these introductory passages because they do so much to set up the stories to come, both through what they say and leave unsaid.

But what translations often lead out is that these famous lines aren’t the only ones we have for beginning the poems. The manuscript traditions of the Iliad provide in addition to the well-known 8 line proem, a few shorter, alternate beginnings:

D Scholia ad Hom. Il. Prolegomenon in Rom. Bibl. Nat gr. 6:

“An Iliad which appears to be ancient, called Apellicon’s, has this proem

I sing of the Muses and Apollo, known for his bow…

This is recorded by Nikanôr and Crates in his Critical Notes on the Text of the Iliad. Aristoxenus in the first book of his Praxidamanteia says that some had as the first lines:

Tell me now Muses who have Olympian Homes

How rage and anger overtook Peleus’ son

And also the shining son of Leto. For the king was enraged…”

ἡ δὲ δοκοῦσα ἀρχαία ᾿Ιλιάς, λεγομένη δὲ ᾿Απελλικῶνος, προοίμιον ἔχει τοῦτο·

Μούσας ἀείδω καὶ ᾿Απόλλωνα κλυτότοξον

ὡς καὶ Νικάνωρ μέμνηται καὶ Κράτης ἐν τοῖς διορθωτικοῖς. ᾿Αριστόξενος
δ’ ἐν α′ Πραξιδαμαντείων φησὶν κατά τινας ἔχειν·

῎Εσπετε νῦν μοι, Μοῦσαι ᾿Ολύμπια δώματ’ ἔχουσαι,
ὅππως δὴ μῆνίς τε χόλος θ’ ἕλε Πηλεΐωνα,
Λητοῦς τ’ ἀγλαὸν υἱόν· ὁ γὰρ βασιλῆι χολωθείς.

Obviously, these variant beginnings don’t signal a different poem, but they do set up the audience in different ways. The latter variants especially point to a greater emphasis (perhaps) on Apollo. There’s much written on this, but for a start see Vince Tomasso’s comments on these beginnings as rhapsodic alternatives, Greg Nagy’s overview of the importance of Apollo’s rage at the beginning of the Iliad and Casey Dué’s comments as part of a larger discussion of multiformity.

When it comes to these lines, the question is whether they derive from a performance tradition of the story of the rage of Achilles as more or less equally likely options to begin the epic poem we currently have, or they are variants left over from traditions of other Iliads. I am generally agnostic and think that the scholars I have mentioned above all have really good arguments.

I do note here that when I use the word multiform as opposed to variant I (think) I mean a more-or-less equally possible option from the performance tradition. When I use ‘variant’, I mostly mean a less-likely or aesthetically apt alternative (because variant implies a movement from something standard or already extant). But Casey Dué’s (free!) book Achilles Unbound is far more nuanced and informative in discussing these things. I also suggest José M. González’s The Epic Rhapsode and His Craft: Homeric Performance in a Diachronic Perspective

For those with access to modern editions of the Iliad, information like is crammed in the critical apparatus of Allen’s edition of the Iliad (1931):

A photograph of Allen's OCT of the Iliad, page 1

It is also to be found in West’s more recent edition (1998):

West Iliad 1