Categories of Homeric Wordplay

8/13/2019 Categories of Homeric Wordplay

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merican Philological ssociation

Categories of Homeric WordplayAuthor(s): Bruce LoudenSource: Transactions of the American Philological Association (1974-), Vol. 125 (1995), pp. 27-46Published by: The Johns Hopkins University PressStable URL: http://www.jstor.org/stable/284344.

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Transactions ftheAmericanhilologicalAssociation 25 1995) 27-46

Categories of HomericWordplay*Bruce LoudenUniversity fTexas at El Paso

Wordplays omprise significantartofHomerictechnique.The thematicO;t5; /gi'j-t; ssociationsnOdysseus' ncounter ith olyphemosnd there-peated inkageof his name and *0bvjcjojat are but two famous xamples.While commentatorsave noted hefrequencyfwordplaynd ts mportancein particular pisodes,' we can establishbroaderpatterns egardingts use.This essaypresents rough ystem f classification or hephenomenon. y"wordplay," deliberately roadandneutral erm cf.pun,calembour, aro-nomasia, and the like), I mean thefollowing: connection etween twosimilar-sounding ords whichinveststhe relationship etweenthemwithadditionalmeaning.Although ords fsimilar oundmaybe attractedo eachother n theHomericpoemsfora variety f reasons, uchas thegenerativeprocess of reformulatinghrases and formulae,2hehistorical endency fArchaicGreek ocluster ogether ordsfrom he ame root, nd evenchance,I shall focuson howthepoemsmake iterary se ofsuchwordplay, centralconcernofHomericcompositional echniques.My emphasis s moreon anempiricalhan heoreticalnalysis fthedata. do notclaimparticularxplan-atory owerfor hestructurepresent uthope toopena windowontosomeoftheprevalent ormationsoundnHomeric pic. Section delineates hreebroadcategories fwordplay. ection I shows how suchclassifications anprovide n interpretiveool for ndividual assages,forcharacterization,ndfor arger hematicssues.1.

Names nparticularend ogenerate raffect ortions f the ext round hemthrough ssonance,provokingwordswhichthrough heirmeanings nd/or* I shouldike othankarolyn igbie ndTAPA's ditornd efereesor heirelpfulom-mentsnd uggestions.1Themost seful elevanttudies reSulzberger,tanford939, ndRank. ee also De-roy, imock 956,Austin, right,aywood, eradotto,igbie,ndobiter ictanthe ecent

Homeric ommentaries.n -grt/ov and*4v qa inparticular,ee,among thers,Rank 2-61, tanford952, odlecki,rown,chein,Mariani,ndCasevitz.2 I distinguishordplayromther atternedimilarityf oundsuch s the arallel or-mulaenoted yParry 2 ff., .g.,XxiXwnixvrev/Xai7Xouti'xov,ndNagler ,44,76. Itisless ikelyhat naudience ould avenminduch arallelnstanceshanhemore loselyrelatedairs iscussederein.

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28 BruceLoudensounds vokethosenames.3 he converse olds s well: certainwords, hroughtheir oundsandmeanings, uggest ssociatedpropernames whether rnotthosenames reenunciatedt that ointn the ext. eradotto otes he ignifi-cance ofnamesin Archaicepic: ". . . nowhere oes Homericand Hesiodicpoetry, utespeciallytheOdyssey,seem to be moreself-conscious boutlanguage nd tsrelationothingshanwhen t comesto proper ames" 94-5).For Homericcharacters, ames are closely associatedwith their dentity,whether warrior's ame,or wife's reputation.4imock,in discussing hemeaning f thenameOdysseus, uggests hat thewholeproblem f theOdys-sey is forOdysseusto establishhis identity"1956: 106). Similar rgumentscouldbe made forotherHomeric haracters uch as Akhilleus, elemakhosand Penelope.Homericwordplays concernedwithvariouskindsof associationandreciprocalmeaning etween woor morewords.Most nstances fwordplaynHomeric pic fall intothree road categories. erhaps he argest nvolvesplayupontheetymologicalmeaning fa name,orfiguraetymologica.n itsbroadest se it neednot nvolvenames, .g., Polyphemos' ecollectionftheprophecy redictingdysseus'arrival9.509-10):

Ti'X go Eop-ogi86,?S tayvoa'UviE CEICaUToiatl gaV6I)0gEVOK vaTYtpa K1cXCDf0OXEGtV-Telemos,onofEurymides,ho xcellednprophecyand s a prophetrew ld amonghe yclopes.5

Thougha monster, olyphemos onethelessuxtaposesdifferentordsfromthesame root,Aavto ivi /gavtvu6evos, a figurefavoredthroughoutHomeric pic.6Themost ntriguingnstances f thisfigurenvolveproper amesas thecharactermakingthe associationrecognizes, nd expectshis audience torecognize,he ssumedmeaning f thename.As manynames retransparentlymeaningful,henarratorr anotherharacterftenmakes ssociations etween

3For recentiscussionothis ffect,ee Peradotto02ff.,houghedoesnot pecificallyconnecthe henomenonithssonance.4 Onthis opicngeneraleeHigbie,assim.S Homeric uotationsereinrefromMonroendAllen's ndStanford'sditionsespec-tively. omericranslationsremine nless therwiseoted.6Polyphemossa not-unsophisticatedpeakers heemployseveralypesfdiscoursen-cluding rayer,urse,ndpun, sdiscussed elow.Onthemplicitkill nd electionehindexamples f Homeric tymologicaligure,ote owenstam'soint35) thatHomer voidscertainnstanceshoughtobeclumsy.



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Categories fHomericWordplay 29a nameand otherwordsfrom he sameroot.Well-knownxamplesoccur nplayson Hektor's ame, .g.,Sarpedon's hallenge,

'EK?op, w ltot giVo; oi1VtatO plv eK?5ce;pilo co& ?p Xa0v EO6XIVFV I6' ?I1KO-6povHektor here asyourtrengthone,which ou lways eld efore?Yousaid hat ouwould old he itywithouthe ost r lliesalone. (II. 5.472-3,f.Sulzberger98,Stanford939:100)

Additionalnstances nclude henarrator'sescriptionfHektor,XX' ixrvJIra tp Yra ivIXa; QI Et%0o ?aXo (13.679).7 Both speakers assume,whetherronicallyrsincerely,hat henameHektor smeaningfuls an agentnoun derived from CIo),The Holder.8The derivation f '0uVaC?V6; from0 uaogal, claimed t Od. 19.407 andimplied t 1.62,5.340, 19.275),fallsintothiscategory.The argued derivation s validated, hefolketymologymeaningful,hroughts use by suchwily speakers s Autolykos, thene, ndLeukothea5.334).

While ubstantialharactersuch s Hektor rOdysseusgenerate atternsofsuchwordplay,ome minor haracterswe their ntirexistence oa figuraetymologica,s inthenarrator'sollowing rimoke (II. 12.183-6),

6oupI POUEv a6a(aov KI0Vq 1&& akcoiroxapio.8.. 6ar? U piv gegoai5Ta-With spear estruckubduerhroughhe ronze-cheekedelmet... and subdued himthough ewas eager.

Polypoites,ubject ftheverbs, estsDamasos,mentionednlyhere, hroughthe verb i.tacGcGE. he character'sname, Damasos, generatedby themechanism nderdiscussion, xistssolely forthesake of thewordplay cf.Rank43).The secondcategory,omprisinghebroadest lassificationfwordplay,involvesnon-etymologicalollocations of words sharing everal commonsounds, sually similarounding oot.9 xampleswhich onot nvolvenames

7 Cf. I.8.355-6:o 8? gaivEtat o10CET avFiKc-r5; "Erctop inMacleod52, alsoAndro-makhe'sament,I. 24.728-30,nStanford939:100.8 Cf. II. 6.402-3: rov p' "Erctop xakoxKe xagavMptov, axi'yap o'l &Xot / AGu-I ?avaiXK? OLOc yap ipO?ero IAltov K1Excop.9 Hermog.nv.4.7.1usednapilXllcat or his henomenon.ee Stanford'siscussionsofthe erm 939:26n.1,34,37,100, nd1965:vol.1,xxiii.



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30 BruceLoudenincluderi'5 ' apa RTO ?ERT4'a&o vi'jcouv ta KaXiiv (Od. 5.263).Unlike he igura etymologica,he peaker eredoes not suggest hat tprrco,"fifth,"ndnt'gnFp,send," re derivativesfeach other, utenjoys ssociatingtheir imilar ounds cf. Stanford939: 103).

UponreturningoIthaka,Odysseushasdifficultyonvincingelemakhosthat e is Odysseus.The herohighlightshedifference,vSrtgotOs0o; .. ..a,kka naxrhprg; eitU ("I am not a god . . . but am your father,"Od.16.187-8,cf. Dimock 1989: 211, Goldhill10). The twophrases, imilar nsoundandrhythm,ccupythe samepositionnthe ine. n Demodokos'songaboutHephaistos,Aphrodite,nd Ares, anger eizes the nventor od as hedeclares thatAphrodite ishonorshimbecause he is lame, Xo;o 6? gtv&ypto;p?t... Xi ? toV ?6vt ("And a savage anger seizedhim ..while am lame," Od. 8.304-8: the word play is untranslatable).hese in-stances nvolvewordswhich cho the soundsof associatedwords;no etymo-logical connections suggested. onsiderOdysseus'descriptionfElpenor'sundoing,Neo; igipo)v, teXrxtao ivofPxpeiw . . . N?Xt 6 "AY6a&6KatiojXOv"Desiring ool air,he lay down,heavywithwine .. andhis soulwentdown to Hades,"Od. 10.555-60). n seeking heformer, vio;, Elpenorloses the atter, fuXi,he oundplay emphasizing isgrave rror.10A celebratedxample nvolving amesoccurs nthe tory fBellerophonat I. 6.201, ij,otO &KaTtne?6iov o 'AkXiovolog aU&to. Anotherwell knowninstance, nvolvingmultiplewordplay,describes he lineageof Akhilleus'spear Il. 16.141-4),tO g?VoU &6var'XXo; 'AXatc-tv___Xetv, &XaX tv lo; EiriactofiXat 'AXtXXrG;,Hnixt6a&eXrV, 1NVaxtppi'Xt Ope eipeVInXio, C0' 1ico -up;

No other chaeancouldwieldt,butAkhilleusloneknew ow owieldt,the elian sh,which heironave ohisdear atherfrom he eak fPelion ..The differentorms f theverb, specially he nfinitive,ilkjat, layoff hename ofthespearanditsorigin.Moreover,he series lso evokesa namenotoccurringhere, I`IlXFv6, the giverof the spear (Rank 37-8, 65, 93-4).

10If heyreunrelatedChantraine296), he ssociationsan nstancefnon-etymologicalcollocation. orother ssociations,f. Enutb'qinoirtaev,d. 8.493;Xaa; andka6;, II.24.611;Hesiodfrag. 34 (MerkelbachndWest,Oxford 967);Pindar 1. 9, 41-6;Francis77.



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Categories fHomericWordplay 31Demetrius ffers furtherxamplefrom I. 16.358,A8'a;5' o gya; aiFv ?(P'"Ectopt XaXKoKop)CJtii/ vr9'akiovtCax ("ButAias thegreatwas alwaystryingo strikepear-marshallingektor," emetr. loc. 48 and105,cf.Rank35). There s a degreeofoverlapbetween hetwocategories. he samepuncan sometimes e classified othways.The liad offers n ambiguousxampleintheembassy oAkhilleus,coiVPrjv' 0o ycggUo?Ayag?tvovoq 'Atp?{&xo("And I will not marry hedaughter fAgamemnon,son of Atreus," l.9.388). Akhilleusmakes a non-etymologicalollocation n his commander'sname, hewordplaymphaticallynderscoringis refusal omarry gamem-non's daughter."Fromthecomposer'sperspective, owever, iven that hetraditionaludience s well awarethatAgamemnons involvedna disastrousmarriage,henamecouldbe taken s afiguraetymologican a folk tymologystressinghefatalmarriage.n a furtherossibility, khilleus'remarkouldalso be regardeds a partial nstance fournext and ast)category.The third ategory,eformation,nvolves speaker orming compoundthat egates rworsens heforce fa nameornoun, nd, nStanford's ords,"rejects heconnotation f a word, ccepting nly tsdenotation,"12roughopposite to etymologicalfigure.Examples in the Iliad include Hektor'sdescriptionfhisbrotheraris,whomhe renamesAiSc- pi; (3.39 = 13.769).TheOdysseyoffers parallel nPenelope'srenamingfIlionas Kacolktov,o0'%T' ?toV0J?vo; KaKolXtovo0oic vogaactiv ("he wentoffto see Evil-ilium,nottobe named,"19.260= 19.597= 23.19). Russo has described uchinstances s "thedeliberate istortionffamiliar ames as a sarcastic xpres-sion ofhostility"52). Othershave suggested hat hedeviceis primarilyninstance fnametaboo,avoidanceof an ill-omenedword Brown199). Thespeakerof the coinedcompoundhas it bothways.The mockedor detestedname,Paris or lion,is nowrefashioned,lacedmorefirmlynder he peak-er's control,with rony nd/orarcasm dded. arguewithRusso thatdefor-mationmarks thewielder's powerover his (or moreoftenher'3) subjectmatter.

I1 Martin21notes hat . Packarduggestedhis unna lecturetPrinceton,ovember20,1984. ee alsoHainsworth14 ndEdwards 9.Asfurtherupport,ote hathenames fAgamemnon'saughters,hich khilleusears hortlyeforet9.287and he udience asalsoheard second ime t9.145, arethemselvestymologizednames,Xpl)Cr6Oe?t;, Aao-&lcn, nd 1Ipt6vaaaa.12 Stanford939:32 refersothephenomonens "reversalfetymology."f.Higbie'sdescriptionf un-naming,"6.13 Asnoted elow, eformations more ftensedbyfemalepeakers.



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32 BruceLoudenDeformation,ike mostHomericwordplay, s not usuallyhumorous.However, necomicexample nvolves hebeggar,ros.As manyhavepointed

out,thename Iros itself s alreadya joke, a sarcasticpun on theresidentbeggar'spossiblevelocityndaptitudeor rrands.'4 nunnameduitor, ow-ever,renames roswhenhe assumesthat he disguisedOdysseuswill defeathim ] t6xa ?Ipo; "Atpo; ("Truly, ros,soonUn-iros," 8.73).Closely related re similarly ormed oun compounds,n the liad butmoreoften n theOdyssey,also used at moments f angerand/or arcasm.Penelopedescribes hecomingdawnas 8Jv-vgo;, "ill-named," or twilltakeher awayfrom hepalace,Uj 68 'i'; Jat cYV go0;, j g' 'O8Ui o;I

o0KCOVitociXacE (19.571-2).15 See also Telemakhos hastizing is motherwhen she remains loof fromOdysseusafterhe has disclosedhis identity,gi1-nTpW, _jnkYgrp, iv?a 0oVgv ?xoiGa ("Mothermine, ll-mother,that as a harsh eart," d. 23.97).16Through eformationomeric peakers ssertmorecontrol verhostileelements f a personal,ntimateature.Most nstancesnvolve amilymatters,Hektor fa brother,ndromakhefherfatherII. 22.480),Telemakhos fhismother, enelopeofTelemakhos, nd ofOdysseus' circumstances.17ektor,fully wareof Paris'responsibilityor tartinghewar andhis less than xem-plarymartial xample, xpresseshis ambivalence owardhis brotherhroughdeformation,hefirstwords ddressed o Paris n thepoem,Aionacap1, lo;aipltcs, ytvaguavE;, 1'9LEpo1tvuT63.39). The designationforcefullyestablishesParis' negativerole as a theme; n therestof book three,hisabortiveduel with Menelaos and its aftermathmphatically ortray imasA17Lap1; tofamilyndcity.Hektor's econduse ofAiSvisap113.769) occursshortlyfter hepoemunderscores aris' fundamentalypocrisy, henhe,withgreat rony,s upsetoverthedeath f a rtivo; (13.661). As Janko otesad loc.,"thecriticismf hismoralitys muted utunmistakable."igbiesumsup thephenomenon: This play withnames, n the attachmentf negativeprefixes,maysuggest hepowerof 'un-naming' o Homerand to Homericfigures.fnaminghas power .. then tsreverse, n-namingrdeformation

14 See Russo47. Cf. the ronynthemplicitistance etweenhemeaningfthedog'sname Apyo; ndhispresentapacityor unning.eePeradotto'siscussion,12-3.15The ine salsoan nstancefparechesis.n8uaxviuo;, seeGriffin2 andHigbie 6.16Cf. Ii.: Kcaocg6jXavou (6.344), 1caKot vo , &grxave, a6; 66ko; (15.14), 6ua-aptaroricea (18.54);Od.:KaKopkiavs (16.418), icaKo~ctvdrepo; (20.376).17Cf.theforce f8a6vtog , -m sedbyOdysseus ndPenelope feachotherOd.23.166,174,264), byHektor fParis Il. 6.326,521) andbyAndromakhefHektorII.6.407).Griffin1-2notes hatmanynstancesfrelatedhenomenarespoken yfemales:Penelope,hetis, ndromakhe,sually itheferenceo he peaker.



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Categories fHomericWordplay 33of a name,maybe equallyforcefulndmayremove owerfrom person rplace" (15).

I.So common resuchphenomenahat hey avearguablyxertednfluencenthenarrativesndmyths hemselves.'8 almer'sproposed tymologyor henameAkhilleus, or nstance, romXo; andXao6;, ppears obe validated yrepeatedwordplays n thehero's name.19 he liad closelyassociatesAkhil-leus' namewith xXo; nd related erbforms. mongmany uch nstances,hefollowinghree assages llustratehree ifferentelations etween heprotag-onist ndthepainexpressed ytheroot.In her discussionwithHektor,Andromakheaments hatwere he toperish he would have onlygrief, xXExtorAkhilleus has killedher father(6.411-4),

ouyapVt a?arat OxXiNoprn..9 8 t. 9aa gC? o*)U ot?aTt racThpac o6vtagdjer1p.Trotyapna-rPp' g6v&xiixravc'io; AXXEi.

Nor sthere theronsolation..but eartaches;or o have fatherndhonored other.ForGodlike khilleusilledmy ather.

In this nstance khilleusnflicts Xo;onanopponent's xo6; nd tsrelatives.WhenPatroklosater pproachesAkhilleus, owever, e noteswhat ufferinghas comeupontheAkhaians s a result fAkhilleus' nactivity, 'AxtX__,FhixiVo; 7 gtyc qPptot' 'AXotu)v, / g' ve_goct tolov yap aX?3f-lcEv 'AXatoiu5 (16.21-2). The suggested ssociationbetween AXtxei5ndaXo; verbalizes or heaudienceAkhilleus' ctualresponsibilityor heaixo;afflictingisownXco6;,more xplicitlyhan atroklos eclares.Thewordplayhere xtends o"Akhaians" s well,whethereenasfigura tymologicarnon-etymological ollocation n aXo; andAkhilleus. urther, e see herehowaformula16.21 = 10.145) gainsaddedresonance nparticularontextswhenplaced ncollocationwith eywords ndnames.There s moreto it than hat.Akhilleushimself, escribed t thebegin-ningofthesceneas leaderoftheXccot;, otg?Vt Xocdiv16.2), arguably rig-gersthewordplay orhe uses theverb tccajofgFeOct16.16) five inesearlier,

18Onrelationshipsetweenharacters'ames ndmythictructure,eePeradottohaps. -6, Framepassim, andNagy 69 ff.19Palmer 7-8,cf.Nagy'sdiscussion,9-70. Fora more ecent evised tymologyfAkhilleus,eeHolland.



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34 BruceLoudenmaking hree ssociationswithin even lines. Akhilleususes a`KXoige0Oa,however, ot to referohis andPatroklos' ossibleemotions or he rmy, utforhypotheticalufferinghey ouldhave feltfor heir wnfathers.atroklosin a sense correctsAkhilleusby implyinghat heaXo; afflictingheXaxoaffects hem s well. They mustfeelnot onlyfortheir athers,ut fortheircomrades.Fromthisperspective,hediscussion s quite ronic, orPatroklosredirectshe courseof aXo; againsthimself y subsequentlyolunteeringoenter he raynd xplicitlyct s a memberfthe ao;, aXX' E? teEp pOE;Cox', aga &' &Xxov Xaov 6itaGoov /Mupgt&Movo16.38).Whenthe lXo;whichAkhilleus as desired or heAkhaians eaches tsclimax, laiming he ifeofPatroklos, khilleus ow bearsa differentelationtothesuffering.hortly hereafter,khilleus nd theMyrmidonserformheburialrituals, iOEv 6? K y? 67o;A't0X?V I %VVvo5 ?rapovYpa&glgova it4ug'"Atih6?a (23.136-7). The narrator owmakesexplicit hedirect onnectionetweenAkhilleusnd the&Xo;hehasbroughtohispeopleand to himself.These passages,and others,20repartial nstances ffiguraetymologicaearing utthemeaning fAkhilleus'name s &cXo; roughtponhis ownXao;.The Odyssey sustainsmorefrequentwordplayson the name of itsprotagonist.While commentators cknowledge the connectionbetween*i5UY(Yvogat and Odysseus,an instanceoffigura etymologica, here readditional plays on the protagonist'sname throughnon-etymologicalcollocation. Many plays occur betweenthe name 'O65c?5; and wordscontaininghe sounds cvu-nd 66u-. Athene uggests uch connectionsnthesame speechin which he first onnects 6oi5UyrogAawith O6VaG?5;, hepoem'sfirstpeech boutOdysseus,

a,XX got gp' 'O6ucrit I(ppovt&xivratTop,&uoc06pw,S; &nOa&iXv 'aio ngctaa xaox?.e..rou -0u ap )uexrvo OgUORVOVaTEPU1C?Et.o (&rX 6i,Gvivov &-up6gvviatp$ctai? &?gaxalco


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Categories fHomericWordplay 35What s generallyecognizeds a pun n theconcluding erb, 0oYvogoct, isactually hecappingelement f a seriesofplayson his nameas underlined:'O6Vft, 6Vgo,6Pp,&5trjvov, 66VPO'gVOV,O6uY?5; and )6Yao.21The text uggests similar elation etweenOdysseus'nameandthesewordsandthewellknown ssociationwith*08UcscsogaC.ike that erb, iqytlvo;,6uggopo;, _(vp6govo;,ndwords uchas 6ioc; (withthe ikelypro-nunciationf4 as [zd], o6t? again sounds he yllable 6s;) and65vvoc; chohis name.Thoughhis name is nowhere laimedexplicitly s an eponym fthesewords,as it is of *66vogoct, theyare closely involved withadelineation fhisnature ndcircumstances.heynotonlyecho thesoundofhis name,they ellus what he is like and how he affects thers, hathe is6{cvtrivo;, i,uygopo;,nd ot{)cga;, causingpeopleto 6&upEOoat, ndgiv-ingthem ,6vva;.Suchassociations fferupportorDimock's contentionhatthemeaning fthe nameOdysseus s "man ofpain,"pain sufferedassivelyandactively nflictednothers.22

AiuYgopo; nd6ivtivo; areclosely ppliedtoOdysseus hroughoutheepic.Of thefiveoccurrencesf6v,guopo; ntheOdyssey, ourmodify dys-seus;thefifthescribes aertes s hemourns orOdysseus.23 ll instanceshusclosely focus on theprotagonist. similarratioholds forAthene's otheradjective, 8-rsJvo;.Of itsseventeen ccurrences,ifteen odify dysseus.24These twoadjectives rethus lmost xclusively ssociatedwithOdysseus.suggest heymaybe regarded s instances fnon-etymologicalollocations nhisname.Inbook23,after usbandndwife rereunited,dysseusgivesPenelopea summaryfhiswanderings, hich henarratorntroduces23.306-8),

watcxp 8toyFvri'0&)x?{; 60ce 8c,' 90OrpCFV*CvrOp*Xc, . c *..6yThe passageremarks n themeaning fhiswanderings, hichhe goes on tosummarize,ufferingse actively ausedandpassively ndured. arlier,when

21 Rank51-2,discussesmany fthe68&6pogcxassages.Therepetitionsf&x{ppovt&xieFrcxtlnd81 8nO& 1.48-9)offer urthervidence fpatternedounds n this peech(Packard44).22Dimock 956 nd1989 assim. imock 989:230alsonotes &vij and 64;.23 1.49, .270,20.194, 4.311modifydysseus; 6.139describesaertes.24 1.55, 4.182, 5.436, 6.206, 7.223, 7.248, 10.281, 11.93, 13.331, 17.10, 17.483,17.501, 9.354, 0.224, 4.289modifydysseus; 1.76 nd11.80modifylpenor.



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36 BruceLoudenTelemakhos iscusseshisfather ithAthene/Mentes,e notes hatOdysseus'lengthybsencehascausedhimpain 1.242-4),

o?XeT'aiiaS;, aixr'zro;, joit& 068vC; -re006o;iac6Xtxev'-6' ETt CIVOV 6&po6evo; a-revaXiootov. . .

The passage evidencesmultiplewordplay,n the homoeoarchon f &io'roS,aiitoto;, and in o66vax and 66op6ogvog, collocations on the nameOdysseus,which elemakhos oesnotutter.Even more revealing s the collateralevidence offered y a central

thematicendencyn thepoem,the uppressionf thenameOdysseus. n thelastexample, lthough elemakhos everpronounces is father's ame nhisinitialconversations ithMentes thoughMentespronounces he name),at1.242-3he makesnon-etymologicalollocationson thename,o6&vaq and66xp6 ivo;. TheOdysseymaintains pattern fnon-etymologicalolloca-tionsevokingOdysseus' (on those occasions) unpronounced ame. WhileHomeristshave noted the thematicoccurrenceof denomination n theOdyssey,25 t has escaped noticethat t is often iedto instancesof non-etymologicalollocation. urthermore,uchassociations etween isnameand&U;-, 0&u-wordsoften ccuratmomentswhen hestatus f his identitys atissue.WhenOdysseusgivesthePhaiakians is first rief ccount f whohe is,without isclosinghisname,he uses wordswhich haracteristicallyelineatehis dentityndsuggest isname 7.269-71),

*.j*Oae Se rot PiXovIop81ji6p j) 7 Rp Xkov t v`vrEAXt0it

... andthedear heart ejoicedinunluckye;for wasyet oingomeetwithmuchwoe. . .A{c)Ggopoq, in its distributionn the Odyssey, identifiesgot (269) as'O6ag(Te, andwith itKg suggests he soundofhis name. Consider gainTelemakhos'remarkbove. n conversation ithAthene/Mentes,elemakhosnever peakshis father's ame, houghMentesmentionst several imes, ndOdysseus s the entralopic.

25 SeedeJong,houghhedoesnot onsidernstancesfwordplay;f.Austin-10.



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Categories fHomericWordplay 37Hernes makesonlythree peeches n theOdyssey, ll withOdysseus stheir opic,butin none does HermesutterOdysseus' name. In two of the

speeches,however, e evokes thenamethroughon-etymologicalollocation(10.281),Hjn r avT', X &a'tvE, 6t' aiipax ?p%?at lo, "Where, hen, reyougoing, ll-fatedne,alonethroughhehilltops?"Following heparticle O,loaVrrivrotonly dentifiesdysseus hroughtsalmost xclusivemodificationof him nthepoem,butthenon-etymologicalollocation irtuallyronounceshisotherwisenspoken ame ndirectddress o him. nbookfive,whenHer-mescomestoKalypsowith eus' decree o releaseOdysseus, e does notnamehimbutspecifies imwith he uperlativef&iCvk, 6op&Tatov (5.105).Book 24 offers definitivenstancewhenLaertes nknowinglyddresseshis son,describinghe"absent"Odysseuswithwordsformingon-etymolog-ical collocations nhisname, `-r ei'vuiacx; EICErvovGcOv/?vov i'xtnvov,?g6v ircxt6', ri" o'r' vv , /V go pov ("whenyouentertainedim,yourunlucky uest,mychild, feverhe was,/ill-starred,"4.288-90).Similar sPhiloitios' nquiry s to the dentityf themysterioustranger,n whichheironicallyescribes dysseus imself,agopo;. . . &XX& rol . . ?'t-Icko)vtaa o6 (20.194-6, cf. 17.563-7). Such collocations ncreasethealready bundantrony orwhich he econdhalf f thepoem s famous.26 otonly s Odysseus ften resents family nd oyalservantsmoumhisabsence,buthisname s virtuallyronounceds he stands, nrecognized,efore hem.27"Odysseus" s not heonlyname ntheOdyssey ubject owordplay. hepoem features requentnstances ffigura etymologica n thenameTele-makhos.Athene everal imes laysonthefirstomponentfthename, riX,"from distance."Whenaccompanying imto Pylos as Mentor, he hearsTelemakhosdoubt that hegods wouldopenlyshowhimfavor s once hisfather.he respondswith mildrebuke fhisdisbelief, riX?gaxX,notov aE?o0 A'SV ?pKo; o666v-rov; / pta 0c6; 7' *EOXov rcat tnX608v &v5paaa?at ("Telemakhos .. easily god,whenhewishes, ansave a man, venfrom a distance,"3.230-1). Her response s quiteplayful s herhumorousirony orrectshis cynicalview.28Moreover, at rnX608v `v6pa ascuactaptlydescribesbothheroverallagendaforOdysseus, to save a manevenfrom distance," ndherpresentndfuture lansforTelemakhos, nsuringhissafetynhis ownquest.

26Stanford939:98 notes hat heOd. hasmorembiguityndmorentricatexamplesfsuch ollocationshanhe I.duetothe aturef tsplot.27Cf. ov; ti' '08vaed; /8i6aet' (5.481-2) and 'Wvael's; ... 8varnovFo; 5.491-3).28 Notethat herest f 3.230, oioi6vE vito;qpuyevpico;680-rovw,s elsewherehumorousrplayfulswell, . g.,1.64.Cf.Kahane 7.



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Categories fHomericWordplay 39ThatAthenemakeswordplayss a consistentart fhercharacterization.She is thefirst haractern theOdysseyto associate*0ovojoaCt with he

nameOdysseus 1.62), thecappingnstance f a seriesofwordplays1.47-62).HerplaysonTelemakhos'name nclude furthernstance, gainconveyingtoneof mildrebuke,when, n herfirst isit, hesuggestst is timeforhimtogrow p, V1c?-r X2{ko; ?xGi (1.297), a non-etymologicalollocation.Rank(38) notes furthernstancewhen he offers dysseus ncouragementuringtheMnesterophonia,vtagv7jGr7p&wvoq(Ppepac&kxt,gos-tvaz;.. oppxi6f8; l;. . . M?VT&p 'AXxticKn; EpYEi a'; otiv&V 22.232-5).Punningsmost isibly art fOdysseus'characterization,ntheOdysseyand in the liad. Martin 64) notes a punon Aulis in Odysseus' remarksoAkhilleus, y; yapOC $v Ka; TrEtXEO; Xktv EOEVTO(II. 9.232), a non-etymological ollocation.WhenAgamemnon ddressesOdysseuswith omeprovocation, dysseusrespondswith partial iguraetymologica,46ECct,lvEOE'X1(YOCK&oatxt KEV TOt TOrgEg'knXj TnEc oto pBXov7rpntpog6xotct tyEvrct"youwillsee, ifyoushouldwish and ifsuchthingsreimportanto you,Telemakhos'own fathermixingwiththefront-fighters,"4.354-5;Martin 0). Much ike AthenentheOdyssey,Odysseusfinds ossi-bility or ebukena playon hisson'sname.30 artin123) adducesOdysseus'openingboast to Sokos, co ciOx',I7nncyoi. tE SOCppovo; tItso66goto(11.450), a figuraetymologica. iven thebroaddistributionfwordplays emakes nboth pics,we canassert hat uchcapacitys eitherraditionallyartof his characterizationr is at least consistently art of his Homericcon-ception,whethers wily chemer r as onewhoseverbalpowers arallel hoseofthepoethimself.In accordwith heOdyssey'stendency o celebrate hecomplementarityofOdysseusand Penelope,punnings a consistentomponentnPenelope'scharacterization.othcharactersre subtle peakerswhouse a fullarray fverbaldevices.Penelope'swordplays very pecific: he is perhaps hemostfrequentwielder of deformationn Homericepic. We earliernotedherrepeated eformation,'%XE-r' EiToV0F6EVO; KcaKolXtov OV)K ovogxcvriTv(19.260 = 19.597 = 23.19), and hersimilar ouncompound, E 68% 'i tR8ciwvqoR;, r g' '08c-iuo; (19.571). Penelopeis on thereceiving nd ofdeformationwhen Telemakhos rebukes her for remainingaloof fromOdysseus,gi]-rp gl'j, cg,,rTip23.97).31 he repeatedlysesnegated oun

30SeeHigbie159, nthe nique aedonymicere nd t I. 2.260; f.Rank 9.31 Rank 6 suggestsnadditional ordplay,&n1vea laying nPenelope;fso,anotherdeformation.f.Penelope's wnuse of imv;ij, 9.329.



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40 BruceLoudencompounds,32er peech bout hegatesofdreams ontainingnotable lusterofnon-etymologicalollocationndnegative ompounds,

riv, 1j rotRevOv?lpotagnavot axpvtojuOotyiyvovr', O9 & ri dccvrxarXrierat &vOpcsNoyt.5otacl yap rr ioXal 9CRCvr)vCv ridCv ovripovOctiv yap Kepacut trtri?xaxal, at & ?X?pawVtvT6)V ' ?V KX9 tc0 6tGa 7pt ) sXrApxVTO,

., ., ,^ ,k .. . . .0o p ' O(patpoVta ?Ce a&cpaavTxapEpOVtE;..%;E I?I5 8?0(:F0,)V1VF, 11R' 'Q&gfio5OiicO anOGX1?t.... (19.560-5,571-2)

In oneofthedensest uchconcatenationsnHomeric pic,33hefashions non-etymological ollocationon E Epcvtt /E Eqwxvtoq nd 1pxpovrnt, and8Gbvi)o;, while an instanceof deformationlso functions s a non-etymological ollocationwith Oaigo;.34 The interviewetweenPenelopeandOdysseusfeatures most omplexnterweavingf ntricatearrativeech-niques,wordplaymong hem.To consider enelope'swordplays, e must aketheirarger ontextntoaccount.The wordplays19.560-72)occur n a speech boutpossiblemeaningembedded n dreams.Herprevious peech 19.509-53),recountinghedreamitself,makes use of similarwordplaysnd negative ompounds,C,gEtprltov(512), 66poEvr (513), pogE'vTp (517), aMUOv .. OnF, jctv (518-9),&inEpEiauzo529), and cxXippcov530). Punsfigure rominentlyarlierntheinterview.enelopefirst ses thedeformation,aKolktov (19.260), after hestrangerasses hertest boutOdysseus'clothing. he repeats t immediatelyafter roposing hecontestwith hebow (19.597). The final wo nstances f*o vc-YcYogtothoccur hortlyefore enelope'stwospeeches. n Odysseus'report o Penelope,he declaresthatOdysseuswas delayed,o6Sovavtoyapax{rrpZE{; x?Kx't 'HEXto;, for othZeus and Helioshatedhim"(19.275-6).35The interveningathing cene withEurykleia 19.317-507) involvesfurther ordplay, erhaps he mostsignificantn the poem.WhenPenelopenotesthatEurykleia sed to care forOdysseuswhenyoung, he refersohim

32 Cf. her extraordinaryouplet: . .. &appova notijaat Icalt?ii(ppova iep RaUX'?ovra, /cati reXcxtuppovEovraxaoppo(Yvrj; ?C'xEicacv (23.12-3).33Theclosest arallelsAthene's peechOd. 1.45-62) iscussedbove.Cf.Martin'sist(65) ofpuns nd ssonancesn I. 19.321-37,lso nMacleod 1-2.Rank106notes furtherplay I have partially bscured, J?p6a?rSat563), a p6xvr(a (565), andNpaivovat (567).34Anadditionalarechesis s suggestedn ps; and io;, bywhich_O_ffio;repeats8; i5;, Rank 0-1.The closest iscussionfmost fthesewords emains mory,sp.16-33,seealsoFelson-Rubin2, Bergren983b.35Near &bvavro (275)are lso6&-peat (265), Obic'j' (267) and 0&-oo; (270).



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Categories fHomericWordplay 41as 66cvyrrvov19.354). As she thenrecognizes hescar,onlyhere does thecomposermakeexplicit,nAutolykos'motivationnthename, heconnectionsbetween hefour reviousnstancesf*68vcycyogatndthenameOdysseus ntheword'sfinal ccurrencenthepoem 19.407-9).As book 19 presentsus with the climacticwordplayon the nameOdysseus, o Penelope, n a thematic arallel, xhibits erownpenchant orwordplay. s Odysseushimself nd the nsetdigressionboutAutolykos othpunon thenameOdysseuswhileOdysseushimselfs before er, o Peneloperespondswithplayson hisname and herowncomplexofdeformations.e-flectingn herdream'spossiblereality,enelope mploys iguraelymologicaor non-etymologicalollocation, -Cdv'i g?v K' EAXe001t &&a tptatoiEX (pcvtog,/ i p' eiXEqxtapovatsc, -RE OxKpwvTacp?pOVTc; (19.564-5). Thedream s true ndwillbe effected,utforPenelope, s itremains nigmatic,sheimprovises,ronically elping ffecthetrue ream.We knowtoo that hecoming awn s linked oOdysseus, s herwordplayuggests,ME 6i' ''; Ecin18u0Gvv,uoS0, g 'O0&aUGfo; o'&(o 6CoCxMcxGt.nable to see the largerpicture, enelopewieldspower n theway that s available to her,verballynegatingwhatshe cannotcontrol, efashioning hostileenvironment. erdeformationslso instantiate heOdyssey's thematic endency o suppressnames.Through eformationpeakers,s earlier oted, ave tbothways:theyutter nd refuse outter hehatedname ovac6voFacXYTiv).n herpersistentwordplay nd deformation,enelopereveals a powerfullyreative resence,sharing arrativeowerswhich heOdysseymostoften enters nAthene ndOdysseus.

I conclude by applyingthe threeclassifications o the Polyphemosepisode.ThenamePolyphemosmay tself e a pun, n ironicnstance f iguraetymologica,withplayson its iteralmeaning ccurringhroughoutheepi-sode. "Havingmanyutterances" ith omeaccuracy escribes hebeingwhothrough curse will wield so muchpowerover Odysseus.36t furthere-scribes heKyklops' role in theepisode,sincefor monster olyphemossrather rticulate,apable of manyvarieties f discourse.He asks questions(9.252-5,355-6).He offersnsults460: oiYtoxvo6;s discussed elow).He iscapableofirony, ;,ttv ?YO nvtocatov `6ogcat . . T6 Tot ct? V?ovEat(369-70). His voice itself s terrifying,ctacvto wO6yyovc ,Bapvv 9.257).He canforcefullyaynothing,o ' ou6?v CgEif3`tonXkOugqv9.287).A36 On "havingmanyutterances"s the ikelymeaning, ee Bergren1983a 49, 69 n.27, andHigbie 12.



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42 BruceLoudenformula ntroducingwo of his speechesunderscores is generalpowerofspeech through rief igura etymologica,poae'm KpawEpO; rioVX{3o9 ;(9.407,446).A contextnwhich n opponents named"Havingmanyutterances"snaturallyppropriateorwordplay. thus uggest hat he namePolyphemositselfhelps trigger dysseus' ownfamouswordplay, Zet;, an extremen-stance fdeformation.37hatOdysseuswillusepuns ndthat egating isownidentity illbe necessary or urvival re themes arefully evelopedbeforeOdysseusdeclareshisnameas O3?rt.WhenPolyphemossksthe ocation fhisship,Odysseus espondswith falsehood, enyinghe xistence fthe hip.He describeshis ie in hisownspeech ntroductions 6oXiolq X?eaat 9.282),a uniqueexpressionnHomeric pic. In addition o introducinghe theme fnegative ndfalse nformations necessaryo survival, okXot; 'atE-aat elpsestablish unnings a thementhe pisode. n effect dysseus s labelling isown trickymodeof discoursewith heKyklops s 0Xktuxxcc, misleadingspeech.Odysseus laimsthat oseidonwrecked heir hip,38hematicallyore-groundinghe aterhostilityf thegod,andperhaps evealing hathis use oflanguagewill bringhimtrouble s well. The wordplay n theencounterscloselytiedto thecurse.The opposingdeities n the Odyssey,AtheneandPoseidon,evidencetheirdifferentelationswithOdysseus n their ppositemanipulationsfhisname.Poseidon, ncePolyphemoss inpossession fthenameOdysseus, ffectshe urse, roughtboutonly hroughse of thename.Athene, owever, s we have seen,manipulateshe samenamein wordplay(1.62).

WhenOdysseus aterdeclareshis"name,"he againusesa markedpeechintroduction,kean? iipoGrj&ov j.tXtX1Xiotat9.363), hisphrase ignaling heonsetof thepun.Declaringhimself Xtq, Odysseus xtends isearlier acticofproviding olyphemoswithmisleading, pposite nformation. climacticinstanceof deformation,0)rt;negateshis wholeheroic dentity. onsiderHigbie'sanalysis163):Withhistatement.. Odysseusakesimselfniquemongomericfigures:e is the nlyhumanver o ie abouthis dentity.odsandgoddessesmay . . take n false dentities,utOdysseus loneofmenliesabout imself.. totheCyclops e denies ll identity,alling im-self No-one,"whichhows gain o what xtente swillingogoinorderosurvive,ven o he ointfnot xistingtall.

37O?tt;,while ot iterallyn nstancefdeformation,learlyunctionsn muchhe ameway, s discussed elow.38A rarenstancef ronyeyond dysseus' ontrolsPoseidonwill hortlyeashostiletothemsinOdysseus'ie.SeeHeubeckd9.283-6.



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Categories f HomericWordplay 43WhenOYt5; becomes transformedntoRi'jet;, courtesy f theneighboringKyklopes 405-6), it becomes an instance fnon-etymologicalollocation ngijet;,bothfor hepoem's audience ndforOdysseushimselfwho, nnotingtheeffect, epeats hecollocation or mphasis, 0;ovog' 4tin6cpsv ?t6VMaxtglyrt; gfRov (414). Againthewordplays boundupwith he ater ursesince theKyklopes uggest hat s giRli; is harming olyphemos, e shouldpray si"XEo) ohisfather oseidon 410-2,cf.526-7).Odysseus'climactic e-formationhematically arallelsPenelope's repeated se of the same figure(e.g.,KxKotXtov, c)


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44 BruceLoudenmight ontrasthe xample fthe uitors, ho attempto use the amedevicesbutwhoseessential ack of power s instead evealedwithgreat rony.AtthemomentwhenTheoklymenosays bare their mmediate oom in themostdirectprophecyn theOdyssey,an unnamed uitor espondswitha defor-mationalcompound, ijXF%(x', oV5t5; aEt0 KaKotlV6YrFpO; aXXo;("Telemakhos, ooneelse ismoreunluckyn guests hanyou,"20.376).Whilethesuitor ssumeshe is wittily utting elemakhosnhis place bymockingbothhisunsightlyuest nd the eeminglyncredible rophet,heoklymenos,theforce f thewordmore ccurately ut ronicallyeferso thesuitors' wnfast-approachingoom.The ETivog f Telemakhoswilltruly ave an impacton themwhich nyonewouldcharacterizes lcaKc6;.41However, hesuitors'attemptst limiting dysseus' andTelemakhos'powerrevealtheir wn in-ability o interprethat s reallybefore hem.By contrast,orOdysseusandPenelope such compounds nd negations re signs of power and compre-hension,nvolvedn heroic eeds.

While havenotcovered ll examples revenall types fHomeric uns,I have demonstratedheirfrequencyn Homericnarrative nd theircon-comitancewithnames.The soundplay can perhapsbe takenas additionalevidenceof the oralnature r backgroundf thetext, nd wouldhave beenbetterppreciatedy, ndfarmore pparento, a listeningudience.Thethreeclassificationsuggestedherecan provide frameworkor nvestigationfother assages, nstances fcharacterization,r additionalssues.

41 Cf.Amphimedon'setrospectiveescriptionftheireaths yOdysseus s frF"pOVOavaToto KOaKov trXo (24.124), 'Ouo -acaVco'; noOev ryaye &ziWov (24.149), t8gVTn,GY?11PCVavxtaov KaKov ap-ri2vav'rt (24.153).



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Categories f HomericWordplay 45WorksCited

Amory, . 1966. TheGates fHorn nd vory." CS 20: 3-57.Austin, . 1972. NameMagic ntheOdyssey."SCA5: 1-19.Bergren, . L. T. 1983a. Odyssean emporality:anyRe)Turns."nC. RubinondC.W.Shelmerdine,ds.ApproachesoHomer. ustin.8-73.. 1983b. Language nd he emalenEarlyGreek hought."rethusa6:69-95.Bright,. 1977. AHomeric mbiguity."nemosyne0: 423-6.Brown, . S. 1966."Odysseus ndPolyphemus:heNameandtheCurse."ComparativeLiterature8:193-202.Casevitz,M. 1989. L'Humour 'Homere: lysses tPolyphemeuchant del'Odyssee."nEtudes omeriques:eminar erechercheous a directioneM. Casevitz. . S. -MaisondeL' Orient.5-8.Chantraine,. 1968-80. ictionnairetymologiquee a langue recque. aris.deJong,. J.F. 1993. StudiesnHomeric enomination."nemosyneeriesv 46 fasc3:289-306.Deroy,L. 1946."Le paysde Taphoset l'humour omerique: ontributionl'e'tude ucalembourans a toponymiet 'anthroponymie."ntCl 5:227-39.Dimock,G. E. 1956."TheNameofOdysseus." udsonReview : 52-70,reprintednG.Steiner nd R. Fagles, ds. Homer:A CollectionfCritical ssays.Englewood liffs,1962.106-21.. 1989. The Unity f theOdyssey.Amherst.Edwards,M.W. 1991.The liad:ACommentary,ol.v,bks. 7-20.Cambridge.Felson-Rubin,. 1994.Regardingenelope: rom haracteroPoetics. rinceton.Frame, . 1978.TheMyth fReturnnEarlyGreek pic.NewHaven.Francis, . D. 1983."Virtue, ollyandGreek tymology."n C. A. Rubino ndC. W.Shelmerdine,ds.ApproachesoHomer. ustin. 4-121.Goldhill,. 1991.ThePoet'sVoice: ssays nPoetics ndGreek iterature.ambridge.Griffin,.1986. HomericWords ndSpeakers."HS106:36-57.Hainsworth,. 1993.The liad:ACommentary,ol. ii:bks -12.Cambridge.Haywood,M. S. 1983. Word layBetween EQ/OO01andOEO inHomer." apersofthe iverpool atin eminar,ssue4: 215-8.Heubeck, . andHoekstra, . 1989.ACommentarynHomer'sOdyssey,ol. I. Oxford.Higbie,C. 1995.Heroes' Names,Homericdentities: lfred atesLordStudies n OralTradition.ol.10.NewYork.Holland, . 1993. TheName fAchilles: Revised tymology."lotta 1: 17-27.Janko, . 1992.The liad:ACommentary,ol. V: books 3-16.Cambridge.Kahane,A. 1994.The nterpretationfOrder:AStudyn the oetics fHomeric epetition.Oxford.Lowenstam, . 1993. TheScepter nd theSpear:Studies n Forms fRepetitionn theHomericoems.Baltimore.Macleod,C.W.1982.Homer,liad:Bookxxiv. ambridge.Mariani, . 1987. TheRenamingfOdysseus."nK.Atchity,d.Critical ssays nHomer.Boston. 11-23.Martin,. P. 1989.The anguage fHeroes: peech ndPerformancentheliad. thaca.Monroe, . B. andT.W.Allen.1920. liad,3rd d.Oxford.Nagler,M. N. 1974. pontaneityndTradition:StudyntheOralArt fHomer. erkeley.Nagy,G. 1979.TheBest f heAchaeans. altimore.Packard,. 1974. Sound-PatternsnHomer." APA104:239-60.Palmer,. R. 1980.TheGreek anguage. tlantic ighlands.



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46 BruceLoudenParry, .M., ed. 1971.TheMakingfHomeric erse: heCollected apers fMilman arry.Oxford.Peradotto,.1990.Man ntheMiddleVoice:Name ndNarrationn theOdyssey.rinceton.Podlecki, . J.1961. Guest-GiftsndNobodiesn Odyssey ."Phoenix 5: 125-33.Rank, . P., 1951.Etymologiseeringn VerwanteerschijnselenijHomerus. ssen.Russo, J.,M. Fernandez-Galiano,nd A. Heubeck.1992.A Commentaryn Homer'sOdyssey, ol. II. Oxford.Schein, . L. 1970. OdysseusndPolyphemusntheOdyssey." RBS 11:73-83.Stanford, . B. 1939.AmbiguitynGreek iterature:tudiesnTheory ndPractice.NewYork.. 1952. "The HomericEtymology f theName Odysseus."CP 97: 209-13.. 1965. Odyssey,2nded. New York.Sulzberger, . 1926."ONOMA ETIONYMON:es nomspropreshez Homere t dans amythologierecque." EG39:385-447.

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Categories of Homeric Wordplay