Categories of Homeric Wordplay

American Philological Association
Categories of Homeric Wordplay Author(s): Bruce Louden Source: Transactions of the American Philological Association (1974-), Vol. 125 (1995), pp. 2746 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/284344 . Accessed: 10/01/2014 09:28
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125 (1995) 27-46 Association Transactions oftheAmerican Philological
Categories of HomericWordplay*
Bruce Louden Universityof Texas at El Paso Wordplayscomprisea significant partof Homerictechnique.The thematic in Odysseus'encounter withPolyphemos and thereO;t5; /gi'j-t;associations peated linkageof his name and *0bvjcjojat are but two famousexamples. have notedthefrequency While commentators of wordplay and its importance in particular episodes,' we can establishbroaderpatterns its use. regarding This essay presents a roughsystem of classification forthephenomenon. By "wordplay," a deliberately broad and neutral term(cf. pun,calembour, paronomasia, and the like), I mean the following:a connectionbetweentwo similar-sounding words which investsthe relationship betweenthemwith additional meaning. wordsof similar Although soundmaybe attracted to each otherin the Homericpoems fora variety of reasons,such as the generative process of reformulating phrases and formulae,2 the historical tendency of ArchaicGreekto cluster together wordsfrom thesame root,and even chance, I shall focuson how thepoemsmake literary use of such wordplay, a central concernof Homericcompositional techniques. My emphasisis more on an thantheoretical empirical analysisof thedata. I do notclaimparticular explanI present atory powerforthestructure buthope to open a windowontosome of theprevalent formations foundin Homericepic. SectionI delineatesthree broad categoriesof wordplay. SectionII shows how such classifications can providean interpretive tool forindividual passages, forcharacterization, and forlarger thematic issues. 1. Names in particular tendto generate or affect portions of thetextaroundthem through assonance, provoking words which through theirmeaningsand/or
* I should liketothank Carolyn Higbie andTAPA's andreferees editor for their helpful comments andsuggestions. 1 The most useful relevant studies areSulzberger, Stanford 1939,andRank.See alsoDeroy, Dimock1956,Austin, Bright, Haywood, Peradotto, Higbie, andobiter dictain therecent Homeric commentaries. On -grt/ov and*4v qa in particular, see, among others, Rank52-61, Stanford 1952,Podlecki, Brown, Schein, Mariani, andCasevitz. 2 I distinguish wordplay from other patterned similarity ofsounds suchas theparallel formulaenoted byParry 72 ff., e.g.,XxiXwn tixvrev/Xai7Xout Oi'xov, andNagler1,44, 76. It is lesslikely that an audience would haveinmind suchparallel instances than themore closely related pairs discussed herein.
28
BruceLouden
through words, holdsas well: certain The converse soundsevokethosenames.3 or not suggestassociatedpropernames whether theirsounds and meanings, notesthesignifipointin thetext.Peradotto at that thosenamesare enunciated cance of names in Archaicepic: ". . . nowheredoes Homericand Hesiodic about but especially the Odyssey, seem to be more self-conscious poetry, names"(94-5). thanwhenit comesto proper to things languageand itsrelation names are closely associated with theiridentity, For Homeric characters, Dimock, in discussingthe a warrior'sfame,or wife's reputation.4 whether of theOdys"thewholeproblem that suggests of thenameOdysseus, meaning (1956: 106). Similararguments sey is forOdysseusto establishhis identity" Telemakhos such as Akhilleus, could be made forotherHomericcharacters and Penelope. withvariouskinds of associationand Homericwordplayis concerned in of wordplay twoor morewords.Most instances between meaning reciprocal Perhapsthe largestinvolvesa Homericepic fall intothreebroad categories. In its meaning of a name,orfigura etymologica. play upon theetymological of the recollection use it need not involvenames,e.g., Polyphemos' broadest (9.509-10): Odysseus'arrival predicting prophecy ego Eop-ogi86, ?S tayvoa'UviEICEICaUTo Ti'X
iatl gaV6I)0gEVOK
vaTYtpa K1cXCDf0OXEGtV-
inprophecy whoexcelled sonofEurymides, Telemos, the Cyclopes.5 oldamong andas a prophet grew
wordsfrom nonetheless juxtaposesdifferent Polyphemos Thougha monster, a figurefavoredthroughout the same root,Aavtoaivi / gavtvu6evos, epic.6 Homeric names as the involveproper of thisfigure instances The mostintriguing charactermakingthe association recognizes,and expects his audience to of thename.As manynamesare transparently theassumedmeaning recognize, between often makesassociations character or another thenarrator meaningful,
3 Fora recent hedoesnotspecifically though 102ff., see Peradotto effect, tothis discussion assonance. with phenomenon the connect 4 On this passim. seeHigbie, ingeneral topic respeceditions andAllen'sandStanford's Monroe arefrom herein quotations S Homeric noted. otherwise unless aremine translations Homeric tively. inofdiscourse several as heemploys types speaker is a not-unsophisticated 6 Polyphemos behind skillandselection below.On theimplicit as discussed andpun, curse, prayer, cluding avoids Homer noteLowenstam's (35) that point figure, etymological of Homeric examples tobe clumsy. thought instances certain
Categories of Homeric Wordplay
29
the same root.Well-known a name and otherwordsfrom examplesoccur in playson Hektor's name,e.g.,Sarpedon'schallenge,
'EK?op, w & tot l giVo; oi1Vtat O plv eK?5ce; 7co& ?p Xa0v EO6XIV ~FV I6' ?I1KO-6pov pilo
Hektor where hasyour which strength heldbefore? gone, youalways You saidthat the youwould holdthe without host orallies city alone. (II. 5.472-3, cf.Sulzberger 1939:100) 398,Stanford
Additional instances includethenarrator's of Hektor, description aXX' ixrvIJ QI Et%0o ?aXo (13.679).7 Both speakers assume, Ira tp Yra ivIXa; whether or sincerely, that thenameHektor is meaningful ironically as an agent noun derivedfrom?CIo), The Holder.8 The derivation of '0uVaC?V6; from 0 uaogal, claimedat Od. 19.407 (and implied at 1.62,5.340, 19.275),falls into this category.The argued derivation is validated,the folk etymology meaningful, its use by such wilyspeakersas Autolykos, through and Athene, Leukothea (5.334). Whilesubstantial characters suchas Hektor or Odysseusgenerate patterns of suchwordplay, someminor characters owe their entire existence to a figura as in thenarrator's etymologica, following grim joke (II. 12.183-6),
6oupI POUEv
.8..
6ar?
U piv gegoai5Ta-
a6a(aov KI0Vq
1&& xakcoiroxapio
a spear With hestruck Subduer the through bronze-cheeked helmet

... and subdued himthough he was eager.
Polypoites, subjectof theverbs, bestsDamasos,mentioned onlyhere,through the verb i.tacGcGE. The character's name, Damasos, generatedby the mechanism underdiscussion, exists solely forthe sake of the wordplay(cf. Rank43). The secondcategory, comprising thebroadest classification of wordplay, involves non-etymological collocationsof words sharingseveral common sounds, usuallya similar sounding root.9 Exampleswhichdo notinvolvenames
7 Cf.II.8.355-6:o 8? gaivEtat o10CET avFiKc-r5;/ "Erctop in Macleod52, also Andromakhe's lament, II. 24.728-30, inStanford 1939:100.
I
8 Cf. II. 6.402-3: rov p' "Erctop xakoxKe

OLOc yap
?
xagavMptov,
axi'yap o'l &Xot / AGu-
9 Hermog. Inv.4.7.1 usednapilXllcat forthisphenomenon. See Stanford's discussions oftheterm 1939:26 n. 1,34, 37, 100,and1965:vol. 1,xxiii.
avaiXK?
ipO?ero
IAltov K1Excop.
30
BruceLouden
6' apa include ri'5 6ta KaXiiv (Od. 5.263). RTO ?ERT4'a&o vi'jcouv that heredoes notsuggest thespeaker figura etymologica, Unlikethe ntprrco, butenjoysassociating of each other, "send,"are derivatives "fifth," and nt'gnFp, 1939: 103). sounds(cf. Stanford their similar Telemakhos convincing to Ithaka, Odysseushas difficulty Upon returning ..... ovS Os0o; thedifference, that he is Odysseus.The herohighlights rot -rtg Od. a,kka naxrhp 'rg; eitU ("I am not a god . . . butI am your father," 16.187-8, cf. Dimock 1989: 211, Goldhill 10). The two phrases,similarin in theline. In Demodokos' song occupythesame position soundand rhythm, and Ares, angerseizes the inventor god as he about Hephaistos,Aphrodite, declares thatAphroditedishonorshim because he is lame, Xo;o 6? gtv ("And a savage anger seized him . .. ?6vt Xi ? toV &ypto; gp?t... These inwhile I am lame," Od. 8.304-8: the word play is untranslatable). stancesinvolvewordswhichecho thesoundsof associatedwords;no etymoof Elpenor's ConsiderOdysseus' description is suggested. logical connection "AY6a&6 N?Xt 6 . . . teXr xtao igipo)v, undoing, Neo; oivofPxpeiw KatiojXOv ("Desiringcool air, he lay down,heavywithwine ... and his soul wentdownto Hades," Od. 10.555-60).In seekingtheformer, Nvio;, Elpenor his graveerror.10 thesoundplay emphasizing loses thelatter, NfuXi, of Bellerophon namesoccursin thestory A celebrated exampleinvolving well known at II. 6.201, ij,ot O &KaTtne?6iovto 'AkXiovolog aU&to. Another instance,involvingmultipleword play, describesthe lineage of Akhilleus' spear(Il. 16.141-4),
tO g?V oU &6var' aXXo; 'AXatc-tv olo; Eiriacto xfiXat 'AXtXXrG;, &XaX gtv geX XeipeV naxtp(pi'Xt6Ope irV, 1NV Hnixt6a& X 10' C 1ico -up; InXio,
___Xetv,
Achaean No other howtowield aloneknew Akhilleus it, couldwield it,but Cheiron Pelianash,which gavetohisdearfather the from the peakofPelion...
of theverb,especiallythe infinitive, forms play offthe The different nilkjat, theseriesalso evokes a namenot nameof thespear and its origin. Moreover, occurringhere, I`IlXFv6, the giver of the spear (Rank 37-8, 65, 93-4).
10 Ifthey ofnon-etymological is aninstance association the 1296), (Chantraine areunrelated Od. 8.493; Xaa; and ka6;, II. cf. 'Enutb'q ?inoirtaev, associations, For other collocation. 01. 9, 41-6;Francis Oxford 1967);Pindar andWest, 234 (Merkelbach 24.611;Hesiodfrag. 77.
of Homeric Categories Wordplay
31
Demetrius offers a further II. 16.358,A 8'a; 5' o gya; aiFv ?(P' examplefrom aax ("But Aias thegreatwas always "Ectopt XaXKoKop)CJtii/ 'vr9' akiovtC trying to strike Demetr. Eloc. 48 and 105,cf.Rank spear-marshalling Hektor," 35). Thereis a degreeof overlapbetweenthetwo categories. The same pun can sometimes be classified bothways.The Iliad offers an ambiguous example in theembassyto Akhilleus, 6' 0o ycggUo? icoiVPrjv 'Atp?{&xo 'Ayag?tvovoq ("And I will not marrythe daughter of Agamemnon,son of Atreus,"Il. 9.388). Akhilleus makesa non-etymological collocationon his commander's name,thewordplay emphatically his refusal underscoring to marry Agamemnon's daughter."Fromthe composer'sperspective, however,given thatthe traditional audienceis well awarethat is involvedin a disastrous Agamemnon marriage, thenamecouldbe taken as afiguraetymologica on a folketymology stressing thefatalmarriage. In a further Akhilleus'remark possibility, could also be regarded as a partial instance of ournext(and last) category. The third category, deformation, involvesa speaker a compound forming that negatesor worsens theforceof a nameor noun,and,in Stanford's words, "rejectsthe connotation of a word,acceptingonly its denotation,"12 a rough opposite to etymologicalfigure.Examples in the Iliad include Hektor's description of his brother Paris,whomhe renames AiSc-api; (3.39 = 13.769). The Odysseyoffers a parallelin Penelope's renaming of Ilion as Kacolktov, o0'%T' ?toV0J?vo; KaKolXtov o0oic ovogaactiv ("he wentoffto see Evililium,notto be named,"19.260 = 19.597 = 23.19). Russo has described such instances as "thedeliberate distortion of familiar names as a sarcastic expression of hostility" (52). Othershave suggested thatthe device is primarily an instanceof name taboo, avoidanceof an ill-omened word (Brown 199). The speakerof the coined compoundhas it bothways. The mocked or detested name,Paris orIlion, is now refashioned, placed morefirmly underthespeaker's control, withironyand/or sarcasmadded. I arguewithRusso thatdeformationmarksthe wielder's power over his (or more oftenher'3) subject matter.
I1 Martin 221 notes that D. Packard suggested this punina lecture atPrinceton, November 20, 1984.See also Hainsworth 114andEdwards 59. As further support, note that the names of Agamemnon's daughters, which Akhilleus hears shortly before at9.287 andtheaudience has also heard a secondtimeat 9.145, arethemselves etymologizednames, Xpl)Cr6Oe?t;, Aao&lcn,and '1Ipt6vaaaa. 12 Stanford 1939: 32 refers to thephenomonen as "reversal of etymology." Cf.Higbie's description of"un-naming," 16. 13 As noted below, deformation is more often usedbyfemale speakers.
32
BruceLouden
like most Homeric wordplay,is not usually humorous. Deformation, Iros. As manyhave pointed one comicexampleinvolvesthebeggar, However, out, the name Iros itselfis alreadya joke, a sarcasticpun on the resident howsuitor, An unnamed forerrands.'4 and aptitude beggar'spossiblevelocity defeat will ever,renamesIros whenhe assumesthatthe disguisedOdysseus himi] t6xa ?Ipo; "Atpo; ("Truly,Iros, soon Un-iros,"18.73). in the Iliad but noun compounds, formed Closely relatedare similarly sarcasm. of angerand/or more oftenin the Odyssey,also used at moments forit will Penelope describesthe comingdawn as 8Jv-vgo;, "ill-named," cYV go0;,{j g' 'O8Ui o;I thepalace, Uj 68 'i'; Jat takeheraway from his mother chastizing Telemakhos also See (19.571-2).15 o0KCOV &itociXacE identity, his when she remainsaloof fromOdysseus afterhe has disclosed 0oVgv ?xoiGa ("Mothermine,ill-mother, gi1-nTp W, _jnkYgrp,&iv?a Od. 23.97).16 has a harsh heart," that overhostile Homericspeakersassertmorecontrol deformation Through matters, involvefamily Most instances nature. intimate of a personal, elements of his (II. 22.480), Telemakhos of herfather Andromakhe of a brother, Hektor Hektor, circumstances.17 of and Odysseus' of Telemakhos, Penelope mother, thewar and his less thanexemforstarting awareof Paris' responsibility fully through towardhis brother example,expresseshis ambivalence plarymartial wordsaddressedto Paris in thepoem,Aionacap1, Jlo; thefirst deformation, (3.39). The designation forcefully aipltcs, ytvaguavE;, 1'9LEpo1tvuT6 establishesParis' negativerole as a theme;in the rest of book three,his him as portray emphatically abortiveduel withMenelaos and its aftermath (13.769) occurs and city.Hektor'sseconduse of AiSvisap1 A17Lap1; to family when he, hypocrisy, Paris' fundamental afterthe poem underscores shortly notes As Janko of a the death over (13.661). is withgreatirony, upset rtivo; Higbie sums butunmistakable." is muted of his morality ad loc., "thecriticism of negative "This play withnames, in the attachment up the phenomenon: may suggestthe power of 'un-naming'to Homer and to Homeric prefixes, or deformation un-naming If naminghas power . .. thenits reverse, figures.
14 See Russo47. Cf.the ofthedog's themeaning between distance in theimplicit irony 112-3. See Peradotto's for discussion, running. capacity andhispresent name"Apyo; 15 Thelineis also an instance 42 andHigbie16. On 8uaxviuo;, see Griffin ofparechesis. 16 Cf. Ii.: Kcaocg6jXavou (6.344), 1caKot vo , &grxave, a6; 66ko; (15.14), 6ua(18.54); Od.: KaKopkiavs (16.418), icaKo~ctvdrepo; (20.376). aptaroricea (Od. 17Cf. theforce and Penelopeof each other of 8a6vtog , -mused by Odysseus (II. of Hektor of Paris(Il. 6.326, 521) and by Andromakhe 23.166, 174, 264), by Hektor arespoken byfemales: ofrelated instances phenomena many that 41-2 notes 6.407). Griffin tothespeaker. reference with usually Andromakhe, Thetis, Penelope,
33
of a name,may be equallyforceful and may removepowerfrom a personor place" (15). I. So commonare suchphenomena thatthey have arguably exerted influence on the narratives and myths themselves.'8 forthe Palmer'sproposedetymology name Akhilleus, forinstance, from appearsto be validated aXo; and Xao6;, by repeatedwordplays on thehero's name.19 The Iliad closelyassociatesAkhilleus' namewith!xXo; and related verbforms. Amongmanysuchinstances, the three three different following relations passages illustrate between theprotagonistand thepain expressed by theroot. In her discussion with Hektor,Andromakhe lamentsthatwere he to perishshe would have only grief, for Akhilleus has killed her father axXExt (6.411-4),
?arat OxXiNoprn ... c o6vta aa gC? o*) ot?aTt racThp OU Kac gdjer1p. yap &xiixravc 'AXXEi. &g6v 6'io; Trot na-rPp'
.. 9 8 t 9
ou yap Vt a
Noris there other consolation ... but nor do I havea father heartaches; andhonored mother. ForGodlike Akhilleus killed myfather.
In thisinstance Akhilleus inflicts and itsrelatives. Xxo6; xXo;on an opponent's WhenPatroklos laterapproaches Akhilleus, he noteswhatsuffering however, has come upon the Akhaiansas a resultof Akhilleus'inactivity, X 'AxtX__, 7 gtyc qPptot' 'AXotu)v, / g' ve_goct tolov yap aX? ?3fFhixiVo; and lcEv 'AXatoiu5 (16.21-2). The suggestedassociationbetween 'AXtxei5 aXo; verbalizesfortheaudienceAkhilleus'actualresponsibility fortheaixo; afflicting his ownXco6;, moreexplicitly thanPatroklos declares.The wordplay hereextends to "Akhaians" as well,whether seen as figuraetymologica or nonetymological collocationon aXo; and Akhilleus. Further, we see herehow a formula (16.21 = 10.145) gains added resonancein particular contexts when placed in collocation with keywordsandnames. Thereis moreto it thanthat.Akhilleus himself, described at thebeginningof thescene as leaderof theXccot;, (16.2), arguablytrigRotg?Vt Xocdiv gersthewordplay forhe uses theverbatccajofgFeOct (16.16) fivelines earlier,
18 On relationships between characters' names andmythic
19Palmer37-8,cf.Nagy'sdiscussion, 69-70.For a morerecent revised etymology of see Holland. Akhilleus,
6, Framepassim, and Nagy 69 ff.
seePeradotto structure, 4chaps.
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BruceLouden
makingthreeassociationswithinseven lines. Akhilleususes a`KXoige0Oa, but forthearmy, possibleemotions to his and Patroklos' notto refer however, own fathers. Patroklos theycould have feltfortheir suffering forhypothetical the Xaxo thatthe aXo; afflicting Akhilleusby implying in a sense corrects but fortheir themas well. They mustfeel not only fortheirfathers, affects the discussionis quite ironic,forPatroklos comrades.Fromthisperspective, to volunteering by subsequently the courseof aXo; againsthimself redirects
oftheXao;, actas a member andexplicitly enter thefray

Cox', aga &' &Xxov Xaov 6itaGoov
(16.38). /Mupgt&Movo
aXX' E?
teEpipOE;
has desiredfortheAkhaiansreachesits WhenthealXo; whichAkhilleus relation now bears a different Akhilleus climax,claimingthelifeof Patroklos, the perform and theMyrmidons Akhilleus Shortly thereafter, to thesuffering. I ?rapov 67o; %VVvo5 A't0X?V y? 8 6iOEv 6? K burialrituals, ;Yp now makes explicitthe a&glgova it4ug' "Atih6?a (23.136-7). The narrator to his people and the&Xo; he has brought between Akhilleus connection direct offigura are partialinstances and to himself.These passages, and others,20 of Akhilleus'nameas &cXo; upon brought outthemeaning bearing etymologica his own Xao;. wordplayson the name of its The Odyssey sustains more frequent acknowledge the connection between protagonist.While commentators *i5UY(Yvogat and Odysseus, an instanceof figura etymologica,thereare additional plays on the protagonist's name throughnon-etymological and words collocation. Many plays occur between the name 'O65c?5; in the suchconnections and 66u-. Athenesuggests thesounds cvucontaining connects*6oi5UyrogAawith'O6VaG?5;,the same speech in whichshe first speechaboutOdysseus, poem's first
&I(ppovt&xivrat a,XX gotagp' 'O6ucrit iTop, e &nOa& &uoc06pw, piXv 'aio ngctaa xaox?.e.. ?S; to -0u ( ap 6i,Gvivov i&rX )uexrvo rou 6&-up6gvviatp$ct KaTEPU1C?Et. OgUORVOV ai? &? gaxalco<t icat algvuxiotatX6yotat 'I310 ?;TtXGVTat. s axrnap 'OCasG?U; ?
a7toop4alcowra vofllsal tEgFVO; Kat catVO%v t' . . OUSVUo 'XO6UGs{; IEt?pETat s ya1T ;, OaVes'tV
VI ot tOV covc Tpoin?V?UP?i; 'T
'Apyei(oViapa
vII1
%apUeto
kp& p?ow
ao,
(1.48-9,55-9,60-2)
Zsi5;
,EtOavXv a&a:xtiev,
20 Cf.II. 1.240-1,19.55-7, thesameassociation, etc.The Od. maintains 20.282-3, xg 'AytXX (11.486); cf. Rank 42.
35
Whatis generally as a pun in theconcluding recognized verb, 0oYvogoct, is actuallythe cappingelementof a seriesof plays on his name as underlined: 'O6Vft, 6Vgo,6Pp, &5trjvov, 66VPO'gVOV,'O6uY?5; and )6Yao.21 The textsuggests a similar relation betweenOdysseus'name and thesewords and thewell knownassociationwith*08UcscsogaC. Like thatverb,8iqytlvo;, and words such as (withthe likelypro6ioc; _(vp6govo;, 6uggopo;, nunciation of 4 as [zd], o6t? againsoundsthesyllable-6s;) and 65vvoc;echo his name. Thoughhis name is nowhereclaimedexplicitly as an eponymof these words, as it is of *66vogoct, they are closely involved with a delineation of his nature and circumstances. Theynot onlyecho the soundof his name, theytell us whathe is like and how he affects thathe is others, and ot{)cga;, causingpeople to 6&upEOoat,and giv6{cvtrivo;, i,uygopo;, ingthem6,6vva;. Such associations offer forDimock's contention support that themeaningof thename Odysseusis "man of pain,"pain suffered passively and actively on others.22 inflicted the AiuYgopo;and 6ivtivo; are closelyappliedto Odysseusthroughout epic. Of thefiveoccurrences of 6v,guopo;in theOdyssey, fourmodify Odysseus; thefifth describes Laertesas he mourns All instances forOdysseus.23 thus closely focus on the protagonist. A similarratio holds for Athene's other adjective,68-rsJvo;.Of its seventeen fifteen occurrences, modify Odysseus.24 These two adjectivesare thusalmostexclusively associatedwithOdysseus.I suggest they maybe regarded as instances ofnon-etymological collocations on his name. In book 23, after husband and wifeare reunited, OdysseusgivesPenelope a summary of his wanderings, whichthenarrator introduces (23.306-8),
watcxp6 8toyFvri''0&)x?{;
* CvrOp , *Xc,
.c
60ce18c,' 90OrpCFV * ..6y
The passage remarks on themeaning of his wanderings, whichhe goes on to summarize, sufferings he actively caused andpassivelyendured. Earlier, when
21 Rank51-2,discusses many of the68&6pogcx passages.The repetitions of &x{ppovt and 81 8nO& (1.48-9) offer &xieFrcxtl further evidenceof patterned soundsin thisspeech (Packard 244). 22 Dimock1956and1989 passim. Dimock1989:230 also notes 6&vij and?64;. 23 1.49,7.270,20.194,24.311modify Odysseus; 16.139describes Laertes. 24 1.55, 4.182, 5.436, 6.206, 7.223, 7.248, 10.281, 11.93, 13.331, 17.10, 17.483, 17.501,19.354, 20.224,24.289modify Odysseus; 11.76and 11.80modify Elpenor.
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he notesthatOdysseus' withAthene/Mentes, Telemakhosdiscusseshis father absencehas causedhimpain(1.242-4), lengthy

o?XeT'aiiaS;, aixr'zro;, Ejoit & 068vC; -re 7006o;e o-6' ETt CIVOV 6&po6evo; a-revaXio iac6Xtxev'
otov. . .
in the homoeoarchonof &io'roS, wordplay, The passage evidencesmultiple aiitoto;, and in o66vax and 66op6ogvog, collocations on the name does notutter. which Telemakhos Odysseus, Even more revealingis the collateral evidence offeredby a central of thename Odysseus.In the in thepoem,thesuppression tendency thematic namein his his father's neverpronounces Telemakhos last example,although the name), at withMentes(thoughMentespronounces initialconversations collocationson the name, o6&vaq and 1.242-3 he makes non-etymological collocaof non-etymological a pattern 66xp6 ivo;. The Odysseymaintains name. While tions evoking Odysseus' (on those occasions) unpronounced Homerists have noted the thematicoccurrence of denominationin the Odyssey,25it has escaped notice thatit is oftentied to instancesof nonhis nameand between suchassociations Furthermore, collocation. etymological is at of his identity status when the moments occur at often words 0&u&U;-, issue. brief accountof who he is, his first WhenOdysseusgivesthePhaiakians delineate disclosinghis name,he uses wordswhichcharacteristically without his name(7.269-71), and suggest his identity
81ji6p
Se rot(PiXov nIop *.j*Oae ' g Xkov t v`vrEAXt 60it j) 7 yRp

rejoiced ... and thedear heart
with much tomeet I wasyet going inunlucky me;for

woe. . .
in the Odyssey, identifiesgot (269) as A{c)Ggopoq, in its distribution and with6itKg suggeststhe soundof his name. Consideragain 'O6ag(Te, Telemakhos withAthene/Mentes, above. In conversation Telemakhos'remark it severaltimes,and Mentesmentions name,though neverspeakshis father's topic. Odysseusis thecentral
25 See de Jong, 5-10. cf.Austin ofwordplay; instances shedoesnotconsider though
37
Hernes makesonlythree speechesin theOdyssey,all withOdysseusas theirtopic, but in none does HermesutterOdysseus' name. In two of the he evokes thenamethrough speeches,however, collocation non-etymological (10.281), Hjn 8r avT', X &a'tvE, 6t' aiipax ?p%?atolo, "Where,then,are you going,ill-fated thehilltops?"Following theparticle one, alone through CO, loaVrrivr notonlyidentifies itsalmost Odysseusthrough exclusive modification of himin thepoem,butthenon-etymological collocation virtually pronounces his otherwise unspoken namein direct address to him.In book five,whenHermes comesto Kalypsowith Zeus' decreeto releaseOdysseus, he does notname himbutspecifies himwiththesuperlative of &iCvk, &6op&Tatov (5.105). Book 24 offers a definitive instance whenLaertesunknowingly addresses his son, describing the"absent"Odysseuswithwordsforming non-etymological collocations on his name,0`-r ei'vuiacx; EICErvov /GcOv 6i'xtnvov, 4/?vov ?g6v ircxt6', ri" o'r' yv IV ("when you entertained him,your v , / go pov unlucky guest,my child,if ever he was, / ill-starred," 24.288-90). Similaris Philoitios'inquiry as to the identity of themysterious in whichhe stranger, ironically describes Orol . . . ?'tOdysseus himself, Hagopo;. . . &XX& Icko)vtaa o6 (20.194-6, cf. 17.563-7). Such collocationsincreasethe alreadyabundant forwhichthesecondhalfof thepoem is famous.26 irony Not onlyis Odysseusoften as family present and loyal servants moumhis absence, buthis nameis virtually pronounced as he stands, unrecognized, before them.27 "Odysseus"is nottheonlynamein theOdysseysubjectto wordplay. The poem features frequent instancesof figura etymologica on the name Telemakhos.Atheneseveraltimes playson thefirst component of thename,-riX, "froma distance."When accompanying him to Pylos as Mentor, she hears Telemakhosdoubtthatthe gods would openlyshow him favoras once his father. She responds witha mildrebuke of his disbelief, TriX?gaxX,notov aE
?o0
A'SV
?pKo;
o666v-rov;
aa?at ("Telemakhos . .. easilya god,whenhe wishes,can save a man,even froma distance,"3.230-1). Her responseis quite playfulas her humorous ironycorrects his cynical view.28Moreover,vat rnX608v `v6pa ascuact aptlydescribesboth her overall agenda forOdysseus,"to save a man even froma distance,"and herpresent and future plans forTelemakhos, ensuring his safety on his ownquest.
26 Stanford 1939:98 notes that theOd. hasmore andmore ambiguity intricate of examples such collocations than the II. duetothe ofitsplot. nature
/ pta 0c6;
7'
*EOXov
rcat tnX608v
&v5pa
Note thattherestof 3.230, oioi6v (E vito; qpuyev epico; 680-rovw, is elsewhere humorous orplayful as well,e. g., 1.64.Cf.Kahane67.
27 Cf. ov; ti' '08vaed;

28
/ 8i6aet' (5.481-2) and 'Wvael's; ... 8varnovFo; (5.491-3).
38
BruceLouden
As Rank (69) notes, she repeatsa variationof this wordplayin book home (15.10), fifteen, waminghimthathe has spentenoughtimeaway from i o~ ("Telemakhos, no a 6 ov axo if X' &Xqact TiiX4tax' OVIcr conthe declaration home"). As before, longeris it good to wanderfarfrom possible meaning more negative a The phrasealso suggests veysa mildrebuke. in Telemakhos' name. An unnamedsuitormakes the same associations(cf. of Telemakhos'voyage,he hopes forhis Dimock 1989: 35-6), when,learning died(2.332-3), has already death, evenas he assumesOdysseus
KE icorlS X x al),roicov I5 Kl 'atic at 0Xcvo! !6; i ep '0O,uxacl; fiXX (DiXcva&6ok'a
ship on hishollow going himself ifhe(Telemakhos) Butwhoknows justas Odysseus? hisfamily, from far wandering perish might
of of Telemakhos'nameand thecharacteristic The suitor playson themeaning far of dying thename allows forthepossibility Odysseuswhichit signifies: fromhome. Melanthios makes a similar etymologicalplay. Having struck the a Eumaiospraythat and then hearing grove, Odysseusin thenymphs' disguised his own utters the goatherd the wrongdoing, avenge might Odysseus retuming (17.251-3), prayer/curse
01REPOV EV RYapot;, i1tIM gvlctrlpct 8acgEirl, &iAo rixp. ye nnXoZ vo6Grtgov b; 'vO&xijt
akXot ipyup6oxoo;'AMokXXv at yap gn?kwaXov
strike Telemakhos silver-bowed Apollomight Forifonly orhe weresubdued inthe bythesuitors, palace, today down, is lostforfar Odysseus. off dayofhomecoming justas the
Both membersof the suitors' partyassert that Telemakhos' name could and distant buthis failure heroiccapabilities nothis father's describe ironically to a theremarks conform death(cf. Dimock 1989: 220-1). As such,however, makingan backfire, wherebya suitor's words ironically pattern persistant of which but unintended intoa greater irony, intended clever,bitingremark which the audience but unaware comprehends.29 is thesuitor
29 Further (by 19.86ff. (byEurykleia), 2.363ff. nameinclude on Telemakhos' wordplays ownirony, their tocontrol as unable below).On thesuitors and 1.297(discussed Odysseus), see below.
39
ThatAthene is a consistent makeswordplays partof hercharacterization. in the Odyssey to associate *0ovojoaCt withthe character She is the first of a seriesof wordplays nameOdysseus(1.62), thecappinginstance (1.47-62). Her plays on Telemakhos'nameincludea further a instance, again conveying toneof mildrebuke, it is timeforhimto when,in herfirst visit,she suggests grow up,oV1c?-r X2{ko; ?xGi (1.297), a non-etymological collocation.Rank (38) notesa further instance whenshe offers Odysseusencouragement during the &vta gv7jGr7p&wv . .. oppx Mnesterophonia, *-tvaz; Xoq(Ppepac&kxt,gos 6n; (22.232-5). i6f8; ol;. . . M?VT&p 'AXxticK otiv&V EpYEi a'; Punning is mostvisibly in theOdyssey partof Odysseus'characterization, and in theIliad. Martin(64) notes a pun on Aulis in Odysseus' remarks to Akhilleus, ?y; $v Ka; TrEtXEO; yap vOC &XktviEOEVTO (II. 9.232), a nonetymological collocation.When Agamemnon addressesOdysseuswithsome provocation, Odysseusresponds witha partial figura etymologica, 046ECct, ilv Xc oto pBXov 7rp EOE'X1(YOCK&;oat ixt KEV TOt TOr gEg'knXj TnE ("you will see, if you shouldwishand if suchthings are ntpog6xotct ptyEvrct important to you, Telemakhos' own father mixingwiththe front-fighters," 4.354-5; Martin 70). Much like Athenein theOdyssey, Odysseusfindspossiforrebuke in a playon his son's name.30 bility Martin (123) adducesOdysseus' opening boast to Sokos, co ciOx',I7nncyoi.itE SOCppovo; tItso66goto (11.450), a figura etymologica. Given thebroaddistribution of wordplays he makesin bothepics,we can assert that suchcapacity is either traditionally part of his characterization or is at least consistently part of his Homeric conception, whether as wilyschemer or as one whoseverbalpowersparallelthose of thepoethimself. In accordwiththeOdyssey'stendency to celebrate thecomplementarity of Odysseusand Penelope,punning is a consistent component in Penelope's characterization. Both characters are subtlespeakerswho use a fullarrayof verbaldevices. Penelope's wordplay is veryspecific:she is perhapsthemost frequentwielder of deformation in Homeric epic. We earlier noted her (19.260 = 19.597 = 23.19), and her similar noun compound, E 68% 'i tR is on the end of (19.571). receiving Penelope g' 8ciwvqoR;, r '08c-iuo; deformationwhen Telemakhos rebukes her for remaining aloof from Odysseus,gi]-rp igl'j, cg,,rTip (23.97).31She repeatedly uses negated noun
30 See Higbie159,on the unique paedonymic here andatII. 2.260;cf.Rank69. 31 Rank66 suggests an additional wordplay, a&n1vea playing on Penelope;
repeateddeformation, o'%XE-r' EiToV0F6EVO;
KcaKolXtov
OV)K ovogxcvriTv
deformation. Cf.Penelope's ownuseof imv;ij, 19.329.
ifso, another
40
BruceLouden
a notablecluster containing herspeechaboutthegatesof dreams compounds,32 compounds, and negative collocation ofnon-etymological
riv,
1j
yiyvovr',
rotRev Ov?lpotagnavot axpvtojuOot O9 & ri dccvrxa 'rXrierat &vOpcsNoyt.

rr ioXal
9CRCvr)vCv ridCv
jiv yap Kepacut trtri?xaxal, at & ?X?pawVtv Oct 9 ) sXrApxVTO, K O' ?V EX9 1a 7pt &c0 t 6tG T6)V ... ' ?Ce a&cpaavTxa 0o p O(patpoVta (pEpOVtE;
., ., ,^ ,k 9 .. . 9 . .
5otacl yap
ovripov
%;E
I? I5 8?0(:F0,)V1VF,
11 R' 'Q&gfio5
OiicO anOGX1?t....
(19.560-5,571-2)
a nonshe fashions epic,33 in Homeric suchconcatenations In one ofthedensest 1pxpovrnt, and collocationon E Epcvtt / E Eqwxvtoqand etymological as a nonalso functions while an instanceof deformation 8Gbvi)o;, Penelope between interview The with 'Oaigo;.34 collocation etymological technarrative of intricate a mostcomplexinterweaving and Odysseusfeatures amongthem. niques,wordplay into context larger we musttaketheir Penelope'swordplays, To consider (19.560-72) occurin a speechaboutpossiblemeaning account.The wordplays the dream embeddedin dreams.Her previousspeech (19.509-53), recounting and negativecompounds, makes use of similarwordplays aC,gEtprltov itself, v (517), aMUOv... OnF, jctv (518-9), 66poEvr (513), (512), pogE'vTp earlierin the prominently (530). Puns figure &inEpEiauzo (529), and cxXippcov the KaKolktov (19.260), after uses thedeformation, Penelopefirst interview. She repeatsit immediately passes her testabout Odysseus' clothing. stranger of withthebow (19.597). The finaltwo instances thecontest after proposing Odysseus' In two speeches. before Penelope's bothoccurshortly *o vc-YcYogt to Penelope,he declares thatOdysseus was delayed,o6Sovavto yap report "for bothZeus andHelios hatedhim"(19.275-6).35 /ZE{; x? Kx't 'HEXto;, ax{rrp bathingscene with Eurykleia(19.317-507) involves The intervening in thepoem. When Penelope perhapsthe mostsignificant further wordplay, to him she refers used to care forOdysseuswhenyoung, notesthatEurykleia
32 Cf. her extraordinary couplet: . .. &appova notijaat Icalt ?ii(ppova iep RaUX' ?ovra, / cati re XcxtuppovEovra Gxaoppo(Yvrj; ?C'xEicacv (23.12-3). list above.Cf.Martin's discussed 33 Theclosest (Od. 1.45-62) speech is Athene's parallel
(563), a p6xvr(a (565), and Npaivovat (567). obscured, J?p6a?rSat play I have partially 34 An additional in ips; and-io;, bywhich'_O_ffio;repeats parechesisis suggested
a further also in Macleod51-2.Rank106notes inII. 19.321-37, (65) ofpunsandassonances remains esp. 16words Amory, ofthese ofmost discussion 8; i5;, Rank60-1.Theclosest 1983b. 32,Bergren 33, see alsoFelson-Rubin 35 Near6&bvavro (275) arealso 6&-peat (265), 'Obic'j' (267) and '0&-o xo; (270).
41
as 66cvyrrvov (19.354). As she thenrecognizesthe scar, only here does the in Autolykos' makeexplicit, in thename,theconnections composer motivation between thefour of *68vcycyogat instances and thenameOdysseusin previous theword'sfinaloccurrence in thepoem (19.407-9). As book 19 presentsus with the climactic wordplayon the name Odysseus,so Penelope,in a thematic her own penchant parallel,exhibits for wordplay. As Odysseushimself and theinsetdigression aboutAutolykos both pun on thename OdysseuswhileOdysseushimself is before her,so Penelope respondswithplays on his name and her own complexof deformations. Reflecting on herdream'spossiblereality, Penelopeemploys figuraelymologica or non-etymological o'i g?v K' EAXe001t &&a tptatoi collocation,t-Cdv EX (pcvtog, /oi p' eiXEqxtapovatsc,E-RE OxKpwvTacp?pOVTc; (19.564-5). The dreamis trueand will be effected, but forPenelope,as it remains enigmatic, she improvises, ironically effect helping thetruedream.We knowtoo that the coming dawnis linked to Odysseus, as herwordplay ME 6i' ''; Ecin1 suggests, 8u0Gvv,uoS0, g' 'O0&aUGfo; Unable to see the larger / o'&(o 6CoCxMcxGt. picture, Penelope wields power in the way thatis available to her,verbally negatingwhat she cannotcontrol, a hostile environment. refashioning Her deformations also instantiate the Odyssey's thematic to suppress tendency names.Through deformation speakers, as earlier noted, have itbothways:they utter and refuseto utter thehatedname (ovac 6voFacXYTiv). In her persistent wordplay and deformation, Penelope revealsa powerfully creativepresence, sharing narrative powerswhichtheOdysseymostoften centers in Athene and Odysseus. I conclude by applyingthe three classificationsto the Polyphemos episode.The namePolyphemos mayitself be a pun,an ironic instance offigura withplays on its literalmeaningoccurring etymologica, throughout theepisode. "Havingmanyutterances" withsome accuracydescribes thebeingwho through a curse will wield so much power over Odysseus.36 It further describesthe Kyklops' role in theepisode, since fora monster Polyphemos is rather articulate, capable of manyvarietiesof discourse.He asks questions (9.252-5, 355-6). He offers insults (460: oiYtoxvo6; is discussedbelow). He is capable of irony, . . . T6 O;,ttv ?YO nvtocatovE`6ogcat Tot ct? i V?ov Eat (369-70). His voice itself w is terrifying, Tc ,Bapvv(9.257). 6ctacvto pO6yyov & ' ou6?v CgEif3`to He can forcefully say nothing, 6o (9.287).A vnXk Ougqv
36 On "havingmanyutterances" as thelikelymeaning,see Bergren1983a 49, 69 n. 27, and Higbie 12.
42
BruceLouden
his generalpower of two of his speeches underscores formulaintroducing figura etymologica, brief ipoae'm KpawEpO; rioVX{3o9 ; speech through (9.407, 446). is is named"Havingmanyutterances" in whichan opponent A context I thussuggestthatthename Polyphemos forwordplay. appropriate naturally in0Zet;, an extreme Odysseus' own famouswordplay, itselfhelps trigger his own negating ThatOdysseuswilluse punsand that stanceof deformation.37 developedbefore forsurvivalare themescarefully will be necessary identity asks thelocationof Odysseusdeclareshis name as O3?rt.WhenPolyphemos of theship. theexistence denying a falsehood, with his ship,Odysseusresponds as 6oXiolq?X?eaat (9.282), thislie inhis own speechintroduction He describes thethemeof to introducing in Homericepic. In addition a unique expression helps 'atE-aat to survival, 5okXot; necessary as information and false negative his Odysseusis labelling as a themein theepisode.In effect punning establish Fxcc, misleading mode of discoursewiththe Kyklopsas 0Xktux own tricky foretheir ship,38 thematically Poseidonwrecked speech.Odysseusclaimsthat thathis use of of thegod, and perhapsrevealing thelaterhostility grounding is language will bringhim troubleas well. The wordplayin the encounter closely tied to the curse. The opposingdeitiesin the Odyssey, Atheneand withOdysseus in theiropposite relations Poseidon, evidence theirdifferent is in possessionof the of his name.Poseidon,once Polyphemos manipulations use of thename. through about only brought the curse, effects Odysseus, name in wordplay name the same however,as we have seen, manipulates Athene, (1.62). speech his "name,"he again uses a marked WhenOdysseuslaterdeclares the (9.363), his phrasesignaling t iipoGrj&ov j.tXtX1Xiotat Ekean? introduction, his earliertactic onsetof thepun. Declaringhimself 0Xtq, Odysseusextends A climactic withmisleading, oppositeinformation. Polyphemos of providing Consider heroic whole his identity. negates O0)rt; instanceof deformation, (163): Higbie'sanalysis Homeric himself makes among unique ... Odysseus this statement With
Gods and everto lie abouthisidentity. he is theonlyhuman figures: aloneof men butOdysseus may. . . takeon falseidentities, goddesses himall identity, hedenies calling ... totheCyclops himself lies about to go in he is willing extent showsagaintowhat which self"No-one," atall. ofnot existing eventothe point tosurvive, order
thesame in much functions clearly 37 O?tt;,while ofdeformation, an instance notliterally below. way,as discussed be as hostile willshortly as Poseidon control ofirony Odysseus' beyond instance 38 A rare ad 9.283-6. lie. See Heubeck as inOdysseus' tothem
43
When OYt5; becomes transformed intoRi'jet;, courtesyof the neighboring of non-etymological Kyklopes(405-6), it becomesan instance collocationon for both for the and himself audience poem's Odysseus who,in noting gijet;, theeffect, repeatsthe collocationforemphasis, ?t6V 60; ovog' 4tin6cpsv Maxtglyrt; is boundup withthelatercurse &gfRov (414). Againthewordplay since theKyklopessuggest thatas giRl he should Polyphemos, ti; is harming pray(si"XEo) to his father Poseidon(410-2,cf.526-7). Odysseus'climactic deformation thematically parallelsPenelope's repeateduse of the same figure (e.g., KxKotXtov, their evidencing homophrosyne. &c)<Y*4vl4Lo;), It is notoften observed that Polyphemos himself can wielda pun.Having receivedOdysseus'nameas 0OZtt;, and havingused it severaltimes(369, 408, 455, 460) he twiceplayson thename,referring to OZtt; as oort&Cvo;,t60 Rot offigura etymologica. This maniolrt&vo%; no6pEv OZtt; (460), an instance pulationanticipates his latermanipulation of the real name Odysseus in his curse.In boththe in o'rt&avo6;and thelatercurse,he tries figuraetymologica to exertsome control overhis opponent by manipulating a name forhis own muchas Odysseushas done in concealing purposes, his true name.Ort&ov6o;, "of no account," is a confrontational, insulting word;its onlyother occurrence in theOdysseyis whenOdysseusso describesEuryalos(8.209), another violatorof hospitality.39 In spiteof his own verbaldexterity, however, Polyphemos is ironicallyinarticulate, victimizedby Odysseus,when the ozst;/R' tt;I/isjt; pun reaches full flower.He nonethelessgets the last laugh on Odysseus when he articulates his name in his curse. His own name, Polyphemos,is thusclearlymeaningful within thecontext of thismyth, signifying bothhis own powersof speech,especiallywithregard to thecurse,as well as his ironicdefeat at thehandsof a superior punster.40 Puns indicatemanipulation by the speaker.As in flyting speechesand curses,when Homericcharacters engage in wordplay, theysimilarly index theirpower, theirabilityto exert controlover hostile opponents.Athene, Odysseus and Penelope, among others, use wordplaysto theirbenefit. We
39 All three instances in the Iliad arein highly confrontational scenesas well(1.231,293, 11.390).Akhilleus refers to himself as o'rtxvo6; when hisownheroic identity is threatened withnegation by Agamemnon, detailby which 81?opf3po;,lxatX0;. The cannibalistic Akhilleus characterizes hiscommander offers a curious parallel with theort8avo6;Odysseus against the cannibal Cyclops. 40 Polyphemos occurs oncein the Iliad as a proper name(1.264),with possible wordplay, in Nestor's first in thepoem.The context mention is rich inreferences to speaking: Nestor is described as 8i-6i7rd; . . . Xt t; HvXxtov&yoprpi' , / roiv lcaKt&iot 7yXcrcrG; ,xvro; p??V avv68' (1.248-9). The occurrence 'yXlKcoV of thenamein thispassage maybe the composer's slyasideathischaracter's prolixity.
44
BruceLouden
to use thesame devices who attempt theexampleof thesuitors, contrast might At the with greatirony. butwhose essentiallack of poweris insteadrevealed lays bare theirimmediatedoom in the most momentwhen Theoklymenos directprophecyin the Odyssey, an unnamedsuitorrespondswitha defor-
mational compound,TijXF%(x',
thanyou,"20.376). While in guests no one else is moreunlucky ("Telemakhos, Telemakhosin his place by mocking putting the suitorassumeshe is wittily Theoklymenos, incredible prophet, guestand theseemingly bothhis unsightly to thesuitors'own refers butironically theforceof thewordmoreaccurately have an impact of Telemakhoswill truly doom. The ETivog fast-approaching the suitors' as However, on themwhichanyonewould characterize lcaKc6;.41 at limiting Odysseus' and Telemakhos' powerreveal theirown inattempts forOdysseusand whatis reallybeforethem.By contrast, abilityto interpret Penelope such compoundsand negationsare signs of power and comprein heroicdeeds. involved hension, puns, WhileI have notcoveredall examplesor even all typesof Homeric and theirconin Homeric narrative theirfrequency I have demonstrated comitancewithnames. The sound play can perhapsbe takenas additional of the text,and would have been evidence of the oral natureor background audience.The three to,a listening by,and farmoreapparent better appreciated of forinvestigation here can providea framework suggested classifications issues. or additional of characterization, other passages,instances
oV5 t5; aEt0
KaKotlV6YrFpO;
aXXo;
41
-a noOev OavaToto KOaKov trXo (24.124), 'Ouo icaVco'; KaKov ap-ri2vav'rt (24.153). Oavxtaov gVTn,GY?11PCV
as frF"pOV byOdysseus deaths oftheir description retrospective Cf.Amphimedon's

ryaye
&ziWov (24.149), t8
of Homeric Wordplay Categories
45
Works Cited
Amory, A. 1966."TheGatesofHornandIvory." YCS 20: 3-57. Austin, N. 1972."NameMagicintheOdyssey." CSCA 5: 1-19. Bergren, A. L. T. 1983a."Odyssean In C. Rubino andC. W. Temporality: Many(Re)Turns." toHomer. eds.Approaches Austin. Shelmerdine, 38-73. . 1983b. "Language andthe inEarly Female Greek Arethusa 16:69-95. Thought." Bright, D. 1977."A Homeric Ambiguity." 30: 423-6. Mnemosyne Brown, C. S. 1966."Odysseus and Polyphemus: The Nameand theCurse."Comparative Literature 18: 193-202. M. 1989."L'Humour Casevitz, etPolypheme au chant d'Homere: 9 de l'Odyssee." Ulysses In Etudes Homeriques: Seminar de recherche de M. Casevitz. sousla direction G. S. - Maison de L' Orient. 55-8. P. 1968-80. Chantraine, Dictionnaire de la langue etymologique Paris. grecque. de Jong, I. J.F. 1993."Studies in Homeric Denomination." iv 46 fasc3: series Mnemosyne 289-306. Deroy,L. 1946. "Le pays de Taphoset l'humour a l'e'tude du Homerique: contribution calembour dansla toponymie etl'anthroponymie." AntCl 15:227-39. Dimock,G. E. 1956."The Nameof Odysseus." HudsonReview9: 52-70,reprinted in G. Steiner and R. Fagles,eds. Homer:A Collection of Critical Essays.Englewood Cliffs, 1962. 106-21. Edwards, M. W. 1991.TheIliad: A Commentary, vol.v,bks.17-20.Cambridge. N. 1994.Regarding Felson-Rubin, From Character toPoetics. Penelope: Princeton. Frame, D. 1978.TheMyth inEarlyGreek ofReturn Epic.NewHaven. Francis, E. D. 1983. "Virtue, Follyand GreekEtymology." In C. A. Rubinoand C. W. eds.Approaches Shelmerdine, toHomer. Austin. 74-121. Goldhill, S. 1991.ThePoet'sVoice:Essays onPoetics andGreek Literature. Cambridge. J.1986."Homeric Griffin, Words andSpeakers." JHS 106:36-57. B. 1993.TheIliad:A Commentary, Hainsworth, vol.iii: bks9-12.Cambridge. M. S. 1983."WordPlayBetween Haywood, OEQ/OO01 andOEO in Homer." Papers of the Liverpool Latin Seminar, Issue4: 215-8. Heubeck, A. andHoekstra, A. 1989.A Commentary onHomer's Odyssey, vol. II. Oxford. Higbie,C. 1995. Heroes' Names,Homeric Identities: Alfred Bates Lord Studiesin Oral Tradition. vol. 10.NewYork. Holland, G. 1993."TheNameofAchilles: A Revised Etymology." Glotta 71: 17-27. R. 1992.TheIliad:A Commentary, Janko, vol.IV: books13-16.Cambridge. A. 1994.TheInterpretation Kahane, ofOrder: A Study in thePoeticsofHomeric Repetition. Oxford. Lowenstam, S. 1993. The Scepter and theSpear: Studieson Formsof Repetition in the Homeric Poems. Baltimore. Macleod,C.W. 1982.Homer, Iliad:Bookxxiv. Cambridge. Mariani, A. 1987."TheRenaming ofOdysseus." In K. Atchity, ed. Critical EssaysonHomer. Boston.211-23. R. P. 1989.TheLanguage Martin, ofHeroes:Speech andPerformance intheIliad.Ithaca. D. B. andT. W. Allen.1920.Iliad,3rded. Oxford. Monroe, Nagler, M. N. 1974.Spontaneity andTradition: A Study inthe OralArt ofHomer. Berkeley. G. 1979.TheBestofthe Nagy, Achaeans. Baltimore. D. 1974."Sound-Patterns Packard, inHomer." TAPA104:239-60. L. R. 1980.TheGreek Palmer, Language. Atlantic Highlands.
. 1989. The Unityof the Odyssey.Amherst.
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Parry. TheCollected PapersofMilman ofHomeric Verse: Parry, A. M.,ed. 1971.TheMaking Oxford. Princeton. Voice: NameandNarration inthe Odyssey. Middle J.1990.Maninthe Peradotto, 15: 125-33. in Odyssey 9." Phoenix A. J.1961."Guest-Gifts andNobodies Podlecki, Assen. en Verwante Rank, L. P., 1951.Etymologiseering Verschijnselen bijHomerus. on Homer's and A. Heubeck. 1992. A Commentary Russo, J., M. Fernandez-Galiano, vol. III. Oxford. Odyssey, in theOdyssey." andPolyphemus GRBS 11: 73-83. S. L. 1970."Odysseus Schein, in Theory in Greek Literature: Studies and Practice.New W. B. 1939.Ambiguity Stanford, York. chez Homereet dans la les nomspropres M. 1926. "ONOMA ETIONYMON: Sulzberger, REG 39: 385-447. grecque." mythologie
of theName Odysseus." CP 97: 209-13. . 1952. "The HomericEtymology . 1965. Odyssey,2nd ed. New York.

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American Philological Association

125 (1995) 27-46 Association Transactions oftheAmerican Philological