In an Octopus' Garden: a Story from Lesbos

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In an Octopus' Garden: a Story from Lesbos In an octopus' garden: a story from Lesbos The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2015.12.12. "In an octopus' garden: a story from Lesbos." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/in-an-octopuss-garden- a-story-from-lesbos/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39666420 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 » In an octopus’s garden: a story from Lesbos In an octopus’s garden: a story from Share This Lesbos December 12, 2015 By Gregory Nagy listed under By Gregory Nagy 1 Comment Edit This In Plutarch’s Banquet of the Seven Sages, the author imagines a remote time when conversations took place in the city of Corinth at a dinner party hosted by the tyrant of that city, Periandros, a historical figure whose lifetime can be dated to the late seventh and early sixth century BCE. The dramatic setting for this imagined dinner party coincides with the era of Sappho and Alcaeus, both originating from the city of Mytilene in Lesbos —and both belonging to a canonical set of nine masters of classical “lyric” songmaking. 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. Editor Keith Stone [email protected] Search for: Search Subscribe Now! Subscribe to this site to receive email updates about the latest research—just one or two notices per week. EU/EEA Privacy Disclosures Email Address Terracotta stirrup jar with octopus, ca. 1200–1100 BCE, The Metropolitan Museum of Art, 53.11.6, Purchase, Louise Eldridge McBurney Gift, 1953. Photo courtesy of the Museum’s Open Access for Scholarly Content program, Subscribe www.metmuseum.org. §1. In Plutarch’s Banquet of the Seven Sages, the author imagines a remote time when conversations took place in the city of Corinth at a dinner party hosted by the tyrant of that city, Periandros, a historical figure Now Online whose lifetime can be dated to the late seventh and early sixth century BCE. The dramatic setting for this imagined dinner party coincides with the era of Sappho and Alcaeus, both originating from the city of Mytilene in Lesbos—and both belonging to a canonical set of nine masters of classical “lyric” songmaking (the other seven are Alcman, Stesichorus, Ibycus, Anacreon, Simonides, Pindar, Bacchylides). Among the notable guests attending the dinner party of Periandros were seven sophoi ‘wise’ men known in Greek mythmaking traditions as the Seven Sages of Greece, and at least some of these sages are likewise historical figures whose lifetimes can similarly be dated to the late seventh and early sixth century BCE— such as Pittakos of Mytilene in Lesbos, reputed to be the lawgiver of that city (the other six of the Seven Sages in Plutarch’s narrative are Thales of Miletus, Bias of Priene, Solon of Athens, Chilon of Sparta, Kleoboulos of Rhodes, and Anacharsis the Scythian). Plutarch’s story features Pittakos in the act of telling a most interesting earlier story about Lesbos in Banquet of the Seven Sages 163a–d. §2. It is a story about a human sacrifice that was performed once upon a time by Greeks who were sailing in the Aegean Sea and heading toward the island of Lesbos on a mission of establishing an apoikia or ‘site to be colonized’ there (Banquet of the Seven Sages 163b). An oracle had ordered these Greeks to offer sacrifice by throwing overboard two victims at a herma or ‘sea­reef’ named Mesogeion, and these victims were (1) a bull to be offered as sacrifice to the sea­god Poseidon and (2) a parthenos or ‘girl’ to be offered as sacrifice to the sea­goddess Amphitrite and to her attending nymphs, described here as Nērēïdes or ‘Nereids’ (again, 163b). Chosen by lot as the girl to be thrown overboard was the daughter of Smintheus, one of the seven kings who were leaders of the mission (again, 163b). When the sea voyage of the seven kings finally reached the sea­reef where the sacrifice was ordained to take place, everything was made ready: before proceeding to throw the girl into the watery depths below, the sacrificers adorned (kosmeîn) her by dressing her in the finest fabrics and bedecking her with golden jewelry (again 163b). §3. But here a new character intervenes in the story. Sailing together with the kings on this sea voyage was a young man of noble birth named En­halos. This Enhalos, whose name means ‘he who is in the sea’, was passionately in love with the girl who was about to be sacrificed (Banquet of the Seven Sages 163b–c). Just as the girl was about to be thrown overboard, Enhalos rushed to her side and, embracing her, he jumped into the watery depths below, together with the girl (163c). §4. At this point, after their dual dive into the Aegean Sea, the doomed couple somehow experience a mysteriously happy outcome. The story­teller, in the person of Pittakos, says that the rest of the story is about komidē ‘recovery’ and sōtēria ‘salvation’ (Banquet of the Seven Sages 163c). These two words signal that there is a mystery at work here. I start with sōtēria. As I argue in H24H 24§1, the noun sōtēria ‘recovery, salvation’ and the corresponding verb sōzein ‘recover, save’ can be used in the mystical sense of ‘bringing (someone) back to life’. Similarly, as I argue in H24H 24§40, the noun komidē ‘recovery’ and the corresponding verb komizein ‘recover’ can be used in the mystical sense of ‘bringing (someone) back to light and life’, parallel to the mystical sense of the noun nostos, ‘return to light and life’. Top Posts & Pages §5. At this point in the storytelling of Plutarch’s Banquet of the Seven Sages (163c), there is a shift in the ownership of the story. Up to now, Pittakos has been the imagined story­teller, but from this point onward the story is attributed by Pittakos himself to hearsay, which in turn is further attributed to what was said by Enhalos himself—that is, by the same character who dove into the Aegean Sea while embracing the girl he The Last Words of Socrates at loved. Sometime after the dive, according to hearsay, Enhalos appeared in an epiphany (phanênai) to the the Place Where He Died people of Lesbos, and then Enhalos himself told them what happened, which is, that he and the girl were actually rescued by dolphins that carried both of them to safety on land (again, 163c). Who is the best of heroes, Achilles or Odysseus? And which §6. In this version of the story, as retold by the figure of Pittakos, both Enhalos and the girl are carried ashore by dolphins. In another version, however, the girl never comes back ashore, and even Enhalos is the best of epics, the Iliad or reappears on land only once, for the sole purpose of announcing to the people of Lesbos that he and the the Odyssey? girl have taken up a new habitat, in the depths of the sea. The source for this divergent version of the story A Roll of the Dice for Ajax is Anticleides of Athens in Book 16 of his Nostoi (FGrH 140 F 4), as reported by Athenaeus 11.466c. The story starts the same way before it diverges from the version I already summarized from my reading of Plutarch’s Banquet of the Seven Sages, though Athenaeus gives a few more details.
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