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In many cases, ancient citations in this index are inclusive of shorter citations as well. For example, if Odyssey 11.13-z2 is discussed in one place in the book and Odyssey 11.13-19 in another, page references to both passages will be listed under the single entry of Odyssey 11.13-z2.
TEXTS
INSCRIPTIONS
Inscriptions that are not part of corpora are listed under the name of their editor. For further information, see the bibliography.
i. Hdt. 5.9z1, slightly adapted.
z. E. Alc. 354-55•
3. For a review of some of the most prominent works, see Metcalf and Huntington, esp. the introduction and ch. i.
4. From A. D. Nock, "The Cult of Heroes. II," originally published in HThR 37 (1944); rpt. in Nock, 575-6oz; quotation from p. 581. Nock does concede, in a footnote to the portion quoted, that the Greeks were not completely free of the fear of ghosts, either, but the dominant tone of the discussion is that of the "joyous festival."
5. Nilsson 1940, III.
6. Dodds 1971, ch. to. He occasionally discusses the return of the dead in The Greeks and the Irrational as well, but always in the service of other topics.
7. The article appears under the title "Death, Attitudes to." It is co-written by Robert Garland and John Scheid, the latter of whom deals with the Roman evidence. Robert Garland's 1985 book The Greek Way of Death only briefly discusses the possibility of interaction between the living and the dead.
8. Several revised editions and translations followed Psyche's original publication, including an English translation in 19z.5 (Psyche: The Cult of Souls and Belief in Immortality among the Ancient Greeks).
i. See Winkler, 15 on ghosts, and compare the eloquent statement made by Bottero at the end of his discussion of Mesopotamian ideas about death and the afterlife (p. z86): "The typical aspect of all mythological thought, in contrast to logical thought, is that it provides different answers to the same question, even opposing answers, because the answers are imaginary, exact, and calculated, toties quoties, without concern for coherence."
z. Sourvinou-Inwood 1995 uses this model passim, applying it to different issues as they arise, but stating it most explicitly in the methodological appendix (e.g., 416-17).
3. I should note that I am in general agreement with most current scholars in assuming that the Homeric poems reached more or less their present form in the mid to late eighth century, after several centuries of development, but that changes continued to be made until the late seventh or early sixth century; see, e.g., Nagy 1992, 52; 1990, 17-18 (but cf. Kirk 1-so; M. L. West 1995). For a good treatment of the relationship between vase paintings and the problem of dating the poems, see Lowenstam, who also provides an extensive bibliography of earlier scholarship. For a discussion of the implications of this dating for interpreting the poems and the societal forms that they reflect, see Seaford 1994, 1-10, 144-54. I should also note here, however, that it is my view that the absence from the poems of phenomena that are well attested in later sources must be understood to reflect an absence of those phenomena in the societies in which the poems developed, unless other cogent explanations for their absence can be found within the thematic concerns of the poet, for example; this view governs my analysis of Homeric ideas and practices regarding the dead. I shall discuss this approach in some depth at the end of this chapter but for now will proceed on the assumption that if the poems do not mention ideas about the dead that are amply attested in later sources, this is because the ideas were not available at the time that poems underwent their main development.
4. Sword holds dead at bay: Od. 11.48-50 (cf. the interesting twist on this scene at B. 5.68-84). Teiresias speaks clearly: 11.96. Teiresias explains the system: 11.146-49 (but cf. 10.49z-95, where it is said Teiresias can speak clearly because Persephone granted him the special boon of a clear mind even after death). Odysseus's mother: 11.140-44, 15z-54. Agamemnon: 11.385-90.
5. Aphradeis: e.g., Od. --.476. This idea is expressed as well by Circe's description of all of the dead except for Teiresias as being without intelligence at 1o.49z-95.
6. Odysseus attempts to hug his mother: Od. 11.206-z4. Shadows, smoke, and dreams: e.g., Od. 10.495; Od. 11.207; Il. 23.100-101.
7. Od. 11.i55-59.
8. On Circe's significance in this role, see Marinatos.
9. R. 23.65-74; Od. 11.71-78. In other passages, however, Homer describes the unburied dead as making a "squeaking" or "hissing" noise (trizo): R. z3.Io1; Od. 24.5, 9. This seems to align with an alternative belief that the dead in general, rather than being completely voiceless, made inarticulate sounds: see Soph. fr. 879; D.L. 8.z1; Bremmer 1983, 85. It is uncertain whether the phrase "uncanny cry," thespesiei iachei, used of the dead at Od. 11.43, refers to an articulate or inarticulate sound; in Homer, it is used both of divine voices (e.g., II. z.6oo; Od. 12.158) and of the noises made by inanimate things, such as the wind blowing through the trees (Il. 16.769). In some cases, it seems simply to mean "deafening" or "overpowering" (e.g., Il. 8.159), which is probably the meaning intended here.
10. Od. 11.593-600; Alc. fr. 38; Thgn. 7oz-iz; Pherecyd. 3 F 119. Cf. Gantz, 173-76.
r2. The classical treatments are van Gennep, 146-65, and Hertz, esp. 46; see now also Metcalf and Huntington, passim, but esp. pt. z. Van Gennep 146 notes that the transitional state, during which the individual is neither fully alive or dead, is the most ceremonially elaborated in many cultures. The dangers inherent in this transitional stage, when the individual is "betwixt and between" normal roles, have been most famously explored by Victor Turner in his various works, including 1967, ch. 4.
iz. Od. II.7z-73; Ii. 2.2.358.
13. Review of evidence for the Greek belief and analysis at Garland 1985, 101-3; Bremmer 1983, 89-94. For other cultures, see the treatments cited in n. i x.
14. Od 11.42-43; cf. n. 9 above.
15. Johnston 1994; Bremmer 1983, 103; Lattimore 187; Merkelbach 1969, 189; Meuli 1975, 1: 316. Later in book ii, Odysseus meets several souls who should qualify as aoroi and biaiothanatoi by normal standards, and who thus should be stranded at the border rather than in Hades itself, most notably Epicaste (271-80), Phaedra, Procris, and Ariadne (321-25), Eriphyle (3z6), Agamemnon (387-464), and Ajax (550-67). Narrative convenience may have prompted the poet to break the "rules" he had already implicitly laid down by putting some restless dead at the entrance; this shows the ease with which conflicting eschatological models can coexist. And of course some of these individuals appear in passages that some scholars judge to be interpolations.
16. See further chapters 6 and 7.
17. For more detailed discussions of the nature of heroes, and discussions of the origin of their cult, see Seaford 1994, passim; Boedeker; Henrichs 1991, 191-93; Antonac- cio; de Polignac; Kearns; I. Morris 1988; Snodgrass 1988; Whitley and Fontenrose 1968. Rohde 1915, ch. 4, and Farnell 1921 are still very good collections of information from the ancient sources; see also Nock, 574-6oz.
zz. Od. 4.561-69; 11. zo.2-3z-35.
23. Pi. 0. z.57-58, frs. 129, 133; h. Cer. 481-8z may hint at punishments as well, although it says only that the uninitiated will have no share in the good things the myster ies provide. Generally on this topic, see Graf 1974a, go-1z6. Gold tablets A1.8, A4.4, A5.4; cf. Graf 1993; 1991a. See also the conclusions of Sourvinou-Inwood 1981 and 1995, 10-107, which are similar to mine here.
zo. A. Edwards; I. Morris 1989, 309-13; Richardson 1985.
zi. H. 24.614-17; A. Pr. z (called here Scythia).
&n
bsp; A. Sufferers: Od. 11.576-6o0. Menelaus: 4.561-69. Cf. Nagy, 167-71.
19. See Proclus's summary, lines z6-z8; and cf. A. Edwards.
z4. Od. 4-.561-64-
z5. Tityus's parentage varies according to source (in Pherecyd. 3FS and Simon. fr. Z34, for example, he is the son of Zeus and a minor goddess named Elara), but at Od. 11.576, he is called the son of Gaia alone, and this seems to be the most persistent tradition, with variations throughout antiquity. No parentage for Tantalus is given by Homer, but later tradition usually makes him the son of Zeus. Sisyphus, in contrast, was wholly mortal according to Il. 6.153-54, which makes him the son of the founder-hero Aeolus. Of course, this is absolutely necessary if the myth of his tricking death is to work at all.
2 6. The punishment later ascribed to the Danaids, however, is echoed by that threatened for some real people in the Underworld; see Graf 1974a, 107-zo. The idyllic afterlife described in some later sources, such as Pi. O. z.61-77 and fr. 1z9, does sound something like the paradise promised to Menelaus-balmy ocean breezes, warm weather-but these are such common elements of the good life (see Hes. Op. 111-z1, 169-73; Nagy, 167-73; Lincoln, z1-31) that it is hard to argue direct influence.
27. A. Edwards, esp. 118-i9; I. Morris 1989, 310.
z8. See the analysis of Sourvinou-Inwood 1981 and 1983, which together reach similar conclusions, although by a different route (which I did not know when I composed this section). She summarizes these arguments in 1995, 42.3-29-
z9. For a recent summary of the arguments regarding the relative date of Odyssey z4, see Sourvinou-Inwood 1995, 94-103 and 94 n. 139, with further bibliography.
30- Od. 24.98-204.
31. E.g., Il. 16.856, zz.36z; Od. 11.zzz. Cf. Sourvinou-Inwood 1995, 56-59.
3z. Minyas fr. 1 Davies (= Paus. io.z8.r). Cf. Sourvinou-Inwood 1995, 94-106, 303-61.
33• Od. 11.13-zz.
34 . Sourvinou-Inwood 1995, 103-7.
36. Cimmerians:Od. 11.13-19.
37. Heracles' descent is referred to already at Od. i i.6zz-z6.
38. I should note that I find it difficult to accept any attempts to date other poems in the epic cycle relative to the Odyssey and Iliad-there seems no secure means of resolving this issue. For my purposes, however, relative dating of the poems is unimportant, because the other cyclical poems do not offer information that contradicts that of the Iliad and Odyssey-indeed, they scarcely offer information about the dead at all.
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