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A Re-Invocation of the Muse for the Homeric Iliad

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A Re-Invocation of the Muse for the Homeric Iliad A re-invocation of the Muse for the Homeric Iliad The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2018. "A re-invocation of the Muse for the Homeric Iliad." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/a-re-invocation-of-the- muse-for-the-homeric-iliad/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41046591 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. Classical Inquiries is published under a Creative Commons Attribution-NonCommercial 4.0 In- ternational License. Every efort is made to use images that are in the public domain or shared under Creative Commons licenses. Copyright on some images may be owned by the Center for Hellenic Studies. Please refer to captions for information about copyright of individual images. Citing Articles from Classical Inquiries To cite an article from Classical Inquiries, use the author’s name, the date, the title of the article, and the following persistent identifer: http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. For example: Nagy, G. 2019.01.31. “Homo Ludens at Play with the Songs of Sappho: Experiments in Comparative Reception Teory, Part Four.” Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Classical Inquiries Studies on the Ancient World from CHS Home About People Home » By Gregory Nagy, H24H, Homer commentary » A re‐invocation of the Muse for the Homeric Iliad A re-invocation of the Muse for the Share This Homeric Iliad August 16, 2018 By Gregory Nagy listed under By Gregory Nagy, H24H, Homer commentary Comments off Edit This 2018.08.16 | By Gregory Nagy §0. Working on A sampling of comments on the Homeric Iliad and Odyssey, I have made revisions, concentrating on the need to fill some gaps in my analysis of Homeric poetry. Here I focus on a set of revisions centering on the Muse who is invoked by the Master Narrator in Iliad 1, at the very beginning of the epic. What led to these particular revisions in the first place was a question I was asking myself: why does this singular Muse in Iliad 1 get re­invoked in Iliad 2 as a set of multiple Muses? I have no solution as of yet, but at least the revisions I have made in my comments point toward a hoped­for answer from the re­invoked Muse herself. The illustrations that I have chosen for my post here are suggestive of the answer I am hoping for: possibly the singular Muse is Calliope, divine mother of Orpheus. I am not the first, and I will surely not be the last, to argue that Calliope is the originating Muse of the Iliad, but my reasoning, however tentative, has its own merits, I think. Classical Inquiries (CI) is an online, [Essay continues here…] rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. Editor Keith Stone [email protected] Search for: Search Subscribe Now! Subscribe to this site to receive email “The Muse Calliope” (about 1730). Charles­Antoine Coypel (1694–1752). Image via Wikimedia Commons. updates about the latest research—just one or two notices per week. §1. In my comments on I.01.001–012, I list among the subject headings: “Muse as goddess of poetic inspiration.” Then I go on to say that the Master Narrator begins his narration by focusing on the anger of EU/EEA Privacy Disclosures Achilles, and that he invokes a Muse, as a goddess of inspiration whom he addresses here simply as theā ‘goddess’, to sing this anger, I.01.001. Then, in the same set of comments, with reference to the idea of the Muse(s) as the goddess(es) of poetic inspiration, I cross­refer to a general comment on I.02.484– 487 and to two special comments on I.02.484 and on I.02.761. Before leaving my comments on I.01.001– 012, I add this obvious comment on I.01.001: By saying ‘sing, goddess [theā]’, the Master Narrator is saying that the song that he will perform is something that he hears from the Muse. Now Online Top Posts & Pages Central medallion of the Vichten mosaic (about 240 CE). National Museum of History and Art, Luxembourg. Image via Flickr, under a CC BY­SA 2.0 license. §2. Now I turn to my general comment on I.02.484–487. Here I list among the subject headings: “Muse(s) as goddess(es) of poetic inspiration.” Then I go on to say… The immediacy of the Master Narrator’s The Last Words of Socrates at performance here is counterbalanced by an attitude of remoteness from the composition. Such a the Place Where He Died counterbalance indicates the Narrator’s deference to the epic tradition of Homeric poetry. The Narrator does not claim that he knows the tradition: instead, he says he just ‘hears’ it from the Muses, goddesses of A Roll of the Dice for Ajax poetic inspiration, and this act of ‘hearing’ is kleos, I.02.486, derived from the verb kluein ‘hear’. The literal Penelope’s great web: the violent meaning of kleos as ‘the thing heard’ has an enormous prestige that translates into the idealized meaning of ‘glory, fame’ as applied to the composition and performance of Homeric poetry. The Narrator of Homeric interruption poetry is proud of his capacity to ‘hear’. To hear what? To hear ‘the thing heard’, which is kleos. This capacity translates into ‘glory, fame’ not only for Homeric poetry but also for the poet who performs the poetry. Such a poet claims access to both the form and the content of what he ‘hears’ the Muses tell him. Most Common Tags §3. Then I offer a specific comment on I.02.484, and I list there among the subject headings: “re­ invocation of Muse(s).” Here is the wording of I.02.484: ἔσπετε νῦν μοι Μοῦσαι Ὀλύμπια δώματ’ ἔχουσαι ‘tell me now, you Muses who have your dwellings on Mount Olympus’. In this context, I signal for the first time the poetics of re­invocation, referring to further comments on I.02.761, Ι.11.218, I.14.508, I.16.112. For Achilles Aphrodite apobatēs Ariadne now, it suffices to observe that the re­invocation of the Muses here at I.02.484 pictures these goddesses in Aristotle Artemis Athena Athens the plural, by contrast with the singular Muse who had been initially invoked at I.01.001. There will be Catullus Chalcis chariot fighting another invocation of the singular Muse at I.02.761, to be followed by invocations of plural Muses at Ι.11.218, I.14.508, and I.16.112. In the case of each invocation, there is a heightened level of poetic self­ Delphi awareness about the importance of what is about to be narrated. Here at I.02.484, for example, the Master Commentary Narrator shows his concern about the need for accuracy in re­creating a comprehensive catalogue of Demodokos Dionysus etymology essentially all the cultural ancestors of the Greek­speaking world. On other occasions of re­invocation, there Euripides Gregory Nagy H24H HAA are comparable poetic concerns. travel-study Helen Hera Herodotus Hippolytus Homer Homeric epic Iliad Jean Bollack lament Lelantine War mimesis Minoan Empire Mycenae Odysseus Odyssey Pausanias Phaedra Pindar Plato Poetics Posidippus Sappho Theseus weaving Zeus Archives Archives Users Log out Homer’s medium is imagined here as writerly, not performative, but such historical inaccuracies do not bother me. After all, the artist imagines Homeric reception in terms of a reading public. More bothersome is the representation of writing here as vertically running down the scroll instead of across the scroll. “Calliope” (1869). Giuseppe Fagnani (1819–1873). Image via Wikimedia Commons. The medium for the reading of Homer here is imagined as a codex, not as a scroll: compounding of anachronisms. “Calliope, Muse of Epic Poetry” (1620). Giovanni Baglione (1566– 1643). Image via Wikimedia Commons. §4. I come to my second specific comment for now, on I.02.761, where the subject headings include, again, “re­invocation of Muse(s).” Unlike what we see at I.02.484, Ι.11.218, I.14.508, I.16.112, where the Muses are invoked as plural goddesses, the Muse here at I.02.761 is invoked as a singular goddess.
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