Alcman, Poetic Etymology Tradition and Innovation (Muses Sirens Καλλιόπα) - Evanthia T. Vasalos

Accademia Editoriale
ALCMAN: POETIC ETYMOLOGY TRADITION AND INNOVATION

Author(s): Evanthia Tsitsibakou - Vasalos
Source: Rivista di cultura classica e medioevale, Vol. 43, No. 1 (gennaio-giugno 2001), pp. 15-
38
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Evantma Tsitsibakoi" - Vasalos
ALCMAN: POETIC ETYMOLOGY

TRADITION AND INNOVATION 1
Ancient poetic etymologizing, a fascinating though elusive subject, has

served as an ancilla to science on an interdisciplinary basis, from mythology and
religion to philosophy, from philology to linguistics. Homer and Hesiod in par
ticular, have offered ample scope for etymological research and theorizing. By
contrast, lyric poetry, with the exception of that of Pindar, and Alcman to a cer
tain extent, perhaps because of its fragmentary state of transmission, the short
ness of the poems, its occasionality and function within the city, has posed ques
tions mostly of textual, literary and historical nature. Etymology is usually in
voked with the purpose of clarifying the meaning and constitution of specific
words, while little attention is paid to the conscious use of it for poetic purposes.
With such an approach, meaningful associations and messages, clad in an ety
mological garb, are often circumvented or ignored, although instrumental for
the appreciation of archaic poetry in general and of the individual poets in par
ticular. A convenient, though noncommittal, term often used is «wordplay»,
which is non-specific as regards the function of poetic etymology. Poets play
with words, indeed, but it is important to investigate the reason for and the ef
fect of such a treatment of words, especially since it is commonly acknowledged
nowadays that ancient poetry is sophisticated and complex and the use of lan
guage is engaging and allusive. Words and especially proper names are, as I
hope to show, impregnated with a deeper meaning. Names, words and narrative
are found in a state of reciprocal motivation, support and validation. The design
of ancient poets becomes evident when they insist on the words, analyze them
into their components, and flank them with clusters of cognates, synonyms,
epexegeses, or paraphrases as if to stress their significance and focal status in a
certain context. The purpose of these etymologizing patterns is not necessarily
coextensive with mere linguistic elucidation, although this is true of some ob
scure archaic words. It extends to the level of concepts, and intimates the role of
1 I would like to thank Prof. Robert Maltby. Prof. Claude Calame, Prof. P.E. Easterlinc. Prof.
Ch. Tzitzilis, Dr. M. Margariti-Ronca, Dr. P. Kotzia and Dr. H. Peraki- Kyriakidou for their valua
ble comments on an earlier version of this study. My thanks also go to Prof. Philippe Rousseau and
the audience at the Centre de Recherche Philologique (Université Charles-de-Gaulle, Lille 3),
where I presented part of my study, and last but not least, to the editorial committee of the «RCCM»
for their most helpful suggestions.
Rivista di Cultura Classica e Medioevale - η. 1 - 2001
16 Evanthia Tsitsibakou - Vasalos
poetic etymology as a vehicle for the ideas the p

light. In this work I intend to explore the functi
poetry, searching for signs tliat would suggest his r
présent. Consequently, the study of Alcman's ind
indispensable, as is récognition of the influence e
porary socio-religious Spartan reality, the ultima
stamp of his originality. This bifocal vision of t
présent in seventh century B.C. Sparta, will hopef
emerge so as to accord him his rightful position
Our evidence with regard to Alcman's etymolog
that is, the ancient testimonia and his extant
former category involve: (a) gentile or ethnie d
and naming of peoples or places or events aft
as Κάρνεος (PMGF 52=213 C), or Γραικός (PM
etymologies of spécifie words in Alcman provid
whose main purpose was to clarify the meaning
exception of ύποπετριδίων (PMGF 1. 49), wh
context and which the scholiasts explicitly as
πτερόν (PMGF 1. 49 with test, and Sch. A,
most dérivations of this type 4 rest on corrupt
are detached from their context, making vérificatio
An additional disadvantage is the fact that they
himself may have thought. It is futile, for exam
for the name of Thetis (PMGF 5=81 C), desp
τίθημι or ίΐέσις the poet cannot be safely cr
doctrines attributed to him by the scholiast
the dérivation of words is transmitted to us thr
or imaginative commentators, whose degree of
Alcmanic text cannot be safely estimated, since
1 The quotations and numbering follow M. Dames. Poet

menta. Oxford 1991, and C. Calame, Alcman, Rome 1983. See χ]
5 fr. 2 ii. 25 = 81 C. cfr. PMGF 11 fr. 35). See D. Pace. Poeta
ter PMG ): D. A. Campbell, Greek lyric , II. Loeb ed., Cambr
eurs de jeunes filles en Grèce archaïque. 2 vols. Rome 1977. 1
pp. 104-6. Πιτάνην-Πιτανάτισι (PMGF 11. fr. 35 col. i [c] [b]+
κής Χαλκίδος ... Χαλκιδεϊς (PMGF 11 fr. 35 ii [g] + [i]. 20 [26]-2
(PMGF 149=182 C): Άννίχωρον- Άννίχωροι,- Άννίχωρες (
(PMGF 152 =185 C).
For formations resulting from vowel or consonant changes
etc.) consult C. Calame. lit virologie u;n Genuinum: Les citati
reafter EGen C). 15 no. 15; 17 no. 23: 18 no. 27: 19 no. 34; 2
fr. 193]: 31 no. 91; 33 no. 100: 33 no. 101. 36 no. 116: 39 n
130=187 C.
4 E. g. PMGF 32=208 C (φιλόψιλος), 33=200 C (όμοστοίχους); 61=218 C ("Ακμών); 63=9

(Ναίδες τε Λαμπάδες τε Θυιάδες τε): 69=96 C (μέγας). 83=156 C (εϊκω, οίκος): 97=198 C (μάστ
113=145 C (ύλακόμωροι); 116=128 C, EGen C, p. 39 no. 132 (όλοοίτροχος-όλοός); 126=146 C (Κ
βήσιος, -ov); 133=191 C (δόρκος-δέρκομαι): 170=263 C (ρύτειρα).
° See C. M. Bowra, Greek Lyric Poetiy. Oxford 19612. pp. 25, 26 with n. 1: H. Frànkel. Ea
Greek Poetiy and Philosophy. trans. M. Hadas and J. Willis. London 1975, p. 253 with n. 2: M
West, Three Presocratic Cosmologies. «CQ» 1963, pp. 154-5. and Campbell, Greek Lyric, II (n.
p. 393. perhaps here we do not have the goddess. but the abstract «Création (=Attic θέσις)».
6 G. W. Most. Alcman's «Cosmogonie» Fragment (Fr. 5 P. SI C.) . «CQ» 1987. pp
1-19.
Alcman: Poetic Etymology 17
often coloured by the notions of the philosophical sc
exponents adhered.
The latter category of evidence, on which I shall focus h
etymologies traced in Alcman's text itself, can be classed r
sions, presented here in an escalating order according to th
ity and sophistication, although their boundaries are flex
lele will be pointed out, although I shall be frugai and judic
the plethora of pertinent paradigms.
1. Etymological Wordplayt
A. Use of paronomasia
Paronomasia or figura etymologica or schema etymolog

popular etymologizing technique ever since Homer, Hesio
chaic lyric poets. Alcman could hardly be an exception: par
are exemplified in φώς-φαίνην (PMGF 1. 40, 43; cfr. φόωσδ
4; φάος-φαίνοντ' Od. 19. 34, 39); φάρος-φεροίσαις (ih. 61; cf
258); άοιδοτέρα-[άείδ]ει (ih. 97, 99?), άοιòé-à£Ìòr\\(PM
άοιδός-άείδω-άοιδή Od. 8. 62, 64, 73, 83, 87; Hes. ir. 357
έρώ-έρατάς (PMGF 1. 88, 91) is a connnonplace in epic and
pears in many combinations in which εράω, εραμαι, 'ίμερος αίρ
ερως, χάρις are interlaced or associated with Aphrodite, t
over έράν . The etymological connection of Ξάνθω-ξανθα
100-1) is subtly alluded to: both words are associated with
beauty and sexuality 10.
Juxtaposing σηραφόρωι (the trace-horse) and Σηρηνίδω
Alcman illuminâtes what the epos left in the dark. He plays on
the Sirens from σειρά (cord, rope), only implied by Home
naine of the Sirens with words signifying binding and un
7 Dérivations such as Κολαξαΐος (PMGF 1. 59), Φοιβαΐα (.PMGF 5

nymics or patronymics such as Λατοΐδα (PMGF 48=118 C). Ίπποκοωντίδα
formations are not analyzed in the présent studv as being self-evident.
8 Paronomasia is έτυμολογική or έτυμολογικός τρόπος: sch. II. 14. 176
Erbse 4: 600: Eust. 348. 30-32, 975. 55-60 and passim, cfr. 211. 22-24.
sed with a rather generic terni, wordplay. On the définition of wordplay t
tuation and dissention among scholars. since it can be used both for non
of naines, and for etymological connections. These two types are often i
lapping. For an outline of the issue see B. Louden, Catégories of Homeric
p. 27 and passim.
q See II. 3. 64: 14. 315-7: Od. 4. 13-4: Hes. Theog. 908-9: fr. 30.
422-5.
10 See C. A. Clark, The Gendering of the Body in A le man 's Partheneion I: Narrative, Sex and
Social Order in Archaic Sparta. «Helios» 1996. p. 167 n. 88, «this kind of witty and sophisticated
verbal play is a marked characteristic of Alcman s poetry». On the etymology of Xanthos see E.
Tsitsibakoi-Vasalos, Πηλεγών - Σκάμανδρος (II. 21. I39-3S3). Etymological Patterns in Homer,
«BICS» 2000. fortheoming.
11 Cfr. δησάντων, δεσμοΐσι διδέντων, δεσμφ δήσαχ', εδησαν, δεσμοΐσι δέον. Od. 12. 50-4, 160-1,
164. 178-9. 196: άνήφθω, άνήπτον. ib. 51. 179; λϋσαι. ib. 53. 163. 193. For the etymology of the Si
rene see Zwicker. Sirenen. RE III. A 1927. pp. 288-90. esp. 289. 50-68: Hdn. II 159. 13, Lentz p.
this is the fastening of Odysseus on the mast or

Sirens, which is the leitmotif of this Homeric epis
the baneful qualities of the Homeric Sirens whe
Σηρηνίδων salient parts of a eulogy addressed to
leading and singing talents. I shall discuss this
The nexus άγει-άγών (PMGF 3. 8=26 C) evokes
cfr. II. 23. 654), while τυρόν έτύρησας [PMGF 56
poetry. Two impressive paronomastic pairs, πάλ
(.PMGF 65: Sch. II. 1. 222, Dind. 1: 36=107 C)
πάλος, the équivalent of the epic κλήρος, first
Sapph. 33, Campb. Greek Lyric , I), and here in
a smooth paronomasia. In the second pair, th
δαίμων in Alcrnan enables the Homeric scholias
the double dérivation of δαίμων front *δάω (learn
LSJ B) 13, since Alcrnan, according to the schol
<καί> τάς διαιρέσεις αύτών». Scholars oscillate
view of the meagre contextual evidence and the
δαίμων, I agree with Calarne about the validity
translate, «and divided the deities [that is], the
divisions ».
B. Treatment of compounds
On the pattern of the epic analyzing of compoun
579. σειρήν: παρά γαρ τό ε'ι'ρω τό σημαίνον τό συμπλέκω γίνεται

II 175. 8. Lentz p. 579. s. ν. σειρά: παρά τό ε'ίρω τό σημαίνον
boliche dell· ape nella Grecia antica. Firenze 1998. pp. 41-59
svmbolic and linguistic level: both are associated witli hone
fied corpses. and both are «esseri dell aldilà». On the eviden
rens and the bees as sonorous and swarming (Σειρήνων/μελ
Od. 12. 41-2. 158-9. 187. 198). he links σειρήν with the Ved
«una base onomatopeica del susurro». Hence the Sirens are «
della morte e della rinascita». D. MUSTI. I Tele lì ini. Le Sir
surveys the three current etymologies. i. e. <the semitic sir (
or «paralizzare»), or <seirios (incandescente) and <seira. wh
malia (exercised by both the Telchines and the Sirens) and
favore the semitic alternative which corresponds to the natu
ding Sirens. whose «parenti stretti» are the Telchines (ib. pp.
Θελγΐνες-Τελχΐνες).
12 So G. K. Gresseth. The Homeric Sirens . «ΤΑΡΑ» 1
13 See Sch. II. 1. 222. Dind. 1: 36. οΰτως δαίμονας καλεί τους θ
τηταί είσι και διοικηταί τών ανθρώπων, ώς 'Αλκμάν ό λυρικός φησι
εδάσσατο». τούς μερισμούς, (καί add. Maas) τάς διαιρέσεις α
app. crit. in FM G 65. PMGF 65. and Calame. Alcrnan. p. 50
p. 441. «and iliade tlie distributions (δαιμονάς). i. e. their ap
or less allusivelv. suggests the double etymology of δαίμων: τέκτ
15.411-2.418: δαίμων άμμε διακρίνη. II. 7. 292. 378. 397. the
cfr. τίς δαίμων τόδε πήμα προσήγαγε δαιτός άνίην: Ocl. 17. 4
and associated with δαίω-δαίνυμι. Cfr. also Hes. Theog. 655. δ
ÌVD 126. πλουτοδόται (<δαίω) Pl. Cra. 398b-c associâtes δαίμ
tlv with δαίω. when he speaks of the great μοΐραν and h
death.
their componente (cfr. αμετροεπής, II. 2. 212-3; άρχεκάκους,
II. 16. 260-1, etc) 14, Alcman analyzes πολυμμελές, giving onl
μέλος (PMGF 14 [a] =4 C); cfr. ίαρόφωνοι-ίαρός όρνις (PMGF
tial analysis of compounds recurs in the phrase κυβερνάται... κ[ή
94-5), κυβερνήτης being «the one who steers the boat». T
closely connected and used in an originally nautical context
283, 9. 78). Ancient etymologists have pointed out this relat
exemplifies the pattern of compositio or «etymology by contr
at length by Allen . A comparable practice is attested in Hom
κτας, 11. 9. 470; οίνον οίνοχοεϋντες, Od. 3. 472; ποδάνιπτρα π
εννήμαρ... ήμαρ, Od . 10. 28).
On the epic model of juxtaposing two compound words wh
one component (e. g. τανυσίπτεροι ... τανύγλωσσοί τε κορώναι I
θαλάσσια εργα μέμηλεν ... τετάνυστο, Od. 5. 65-8; άλίησιν ... άλιο
Od. 4. 437-43), Alcman fashions his άλκυόνεσσι-άλιπόρφυρος
αλς being their common element, entertaining at the sanie t
άλκυών (cfr. κύμα) 1<>:
ού μ' ετι, παρσενικαί μελιγάρυες ιαρόφωνοι,

γυΐα φέρην δύναται' βάλε δή βάλε κηρύλος ε'ίην
δς τ' επί κύματος άνθος άνθος άμ' άλκυόνεσσι ποτήχαι
νηδεές ήτορ έχων, άλιπόρφυρος ίαρός όρνις
In the sanie fragment, the phrase μελιγάρυες ιαρόφωνοι exem

mologizing technique by which the poet juxtaposes compound
tically équivalent. As if with the intention of glossing or com
archaizing compound, μελι-γάρυες (sweet - νoiced, LSJ ), Alc
compound, ίαρό-φωνοι (with sacred voice, LSJ ) 17, replacin
14 On this technique of epexegesis or paraphrase of naines see L. P. Rank, E

Verwante Verschijnselen bij Homerus . Diss. Utrecht 1951. pp. 76-95.
1 ° For the ancient etymology of κυβερνήτης see EM 543. 2-5: κυμερνήτην λέ
νάν τά κύματα, και προς αυτά ίθύνειν την ναΰν (italics are mine). For the pri
«etymology by contraction» see W. S. Allen. Ancient Ideas on the Origin an
guage. «Trans, of the Philological Society» London 1948. pp. 35-60. esp. 54-5.
is undecided: see s. ν. κυβερνάω in: F. Bechtel, Lexilogus zu H ο mer. Halle
traine, Dict. Etym. de la langue grecque, p. 594: H. Frisk. Griechisches etymo
Heidelberg 1973. 2: 38: LfgrE, p. 1571: O. J. L. Szemerényi, Etyma Graec
Maritima Tria, in Festschrift fur E. Risc h. Berlin and New York 1986, pp
16 Cf. Ar. Frogs 1309-10, παρ' άενάοις θαλάσσης κύμασι. For the dérivation
II. 9. 561-2a1. Άλκυόνην καλέεκον: άντί τοΰ αλκυόνα, παρά τό έν άλί κύειν: sim
sch. II. 11. 20a. Erbse 3: 126 (Cinyras' daughters) άλέσθαι εις θάλασσαν κα
βληθήναι. Breathing is a determining factor when dérivations are evaluated. b
ded with or without explanation. For the former see sch. II. 15. 365a. b.
152b, Erbse 5: 27: ίήϊος <ιημι, εσις (βελών), or ίήϊος <ιασις, ίέναι; see also αρα
16. 161c1, c2: 18. 411a. b: άρσαντες: II. 1. 136a: 16. 211a, b. etc. For the latt
252. Dind. 1: 265, 267: ίκρίον-ϊκρια <ίκνέομαι: Or. 111. 16-25: όρκος <επαρκεΐν
781. Lass.-Livad., p. 265: άλέα<ήλιος. Breathing as dialectal peculiarity: sch
532. εις ιδιότητα "Αμαξαν έψίλωσαν οί πρό ημών... 'Αττικοί... δασύνουσιν, Ι'σως δι
διά τό φιληδείν τή δασείςι. ΕΜ 377. 38-48 ερσαι: ... άποέρσει. Γίνεται δέ παρά τό ε'ί
Οθεν και είρκτή παρά τό ερκος' και ερχθέντα ... Ψιλοΰται. παρά τό ε'ίργω ... Άττικ
sch. II. 20. 114c1, άμυδις ... έψιλώθη Αίολικώς. For the breathing in Alcman se
cfr. Hesych. Κ 93 καθαΰσαι: D. Page. Alcman. The Partheneion. Oxford 1
1 Cfr. LSJ ίερόφωνος. «f. 1. for ίμερό- in Aleni. 26. 1». «probably read for
20 Evanthia Tsitsibakou - Vascilos
γήρυς with a synonym, φωνή. This kind of explanat

in Homer (μοιρηγενές, όλβιόδαιμον, Il . 3. 182; ε
τοπαγείς, νεοτευχέες, II. 5. 194, etc). The illumi
λίγηρυς as a unit by another unit, the epithet ίαρό
rather complex technique of treating etymolog
pairs of words, the équivalence of which, in part
put to the test.
The closest parallel regarding the équivalence
our epithets is the Homeric, οί δέ γέροντες ήατ'... Εε
εν χέρσ' εχον ήεροφώνων (II. 18. 504-6), which al
confusion between «holy» and «strong» (ίερφ and
and second the explanation of a noun (κηρύκων) b
ifies it (ήεροφώνων). The latter is a well-attested
luminâtes both the constitution and semantics o
and lexicographers front at least the first centur
the noun κήρυξ front γαρύω or γήρυς-γάρυς
oc
18, th
curs here as the second component of ήερο-φώνων.
in κηρύκεσσι λιγυφθόγγοισι (II. 2. 50-1), φθόγγο
TU;,, ™tv
lent of γάρ
above parad
precedent o
équation o
équivalence
The epithet
in Homer (π
song of Pan
(h. Pan [19]
Μούσα εν στ
Muses, Hes.
γλυκερή οί
lyzed). The
the latter w
and the de
505»: LSJ ήερ

φώνων τον αέρ
18 R. Rehzens
1964. p. 163. 1.
Ον.. Sturz. 520.
22 s. ν. όρκος:
φωνοι... οΐ και
παρά τό γήρυς,
λέγω...
10 See Eust. 686. 21-22 on II. 7. 384. ότι τό «μετεφώνεεν ήπύτα κήρυξ», ο έστι φωνητικός, τρόπος
εστίν ετυμολογικός. Κήρυξ τε γάρ άπό τοΰ γαρύειν λέγεται, ο έστι φωνεΐν, και ήπύτης άπό τοΰ ήπύειν. και τό
μετεφώνεε δε τούτοις εστί σύστοιχον. Cfr. II. 17. 324-5. Περίφαντι έοικώς I κήρυκι Ήπυτίδη: Periphas is
provided with a patronymic (<ήπύω). which is the synonym of both bis proper name (<περί+φημί or
φαίνω) and his professional appellation (κήρυξ). Both proper names are fictional and vocational: see
M. Sl'LZBERGER. ΟΝΟΜΑ ΕΠΩΝΥΜΟΝ. Les noms propres chez Homère et dans la mythologie grecque,
«REG» 1926. p. 396: W. B. Stanford. Ambiguity in Greek Literature. Oxford 1939. pp. 100-1 with
n. 1: Raxk (n. 14) p. 132 with n. 12: H. Mî hlestein. Homerische Namenstudien . «Beitrage zur
klassischen Philologie» 1987. pp. 18 n. 29. 28. 94.
and knowledge of mundane things are blurred, and it is in
figures in such a context. In the metaphor of song-honey
hexametric and also later poetry "°, honey functions as th
larity of profane and sacred. Thus μέλι, the metaphysical
tions of which have been pointed out 21, is juxtaposed to a com
Ιαρός: both belong to the realxn of the holy and both, formin
mous and interchangeable epithets, qualify the sweet-voic
form tlieir song with a strong voice in the framework o
val 22.
The motivation for the use of μελιγάρυες, an epithet charged with religious
connotations, in a partheneion should be explored in view of the roles of the
Muses and the Sirens and their relevance to the poetry of Alcman. While the
Muses' song aims at glorifying Apollo and endowing tnen with a divine quality,
the μελίγηρυς οψ of the Sirens is permeated by an ambiguity that corresponds to
the ambiguity of their own nature and status. The Homeric Sirens possess a uni
versal knowledge, including the Trojan cycle (hence they figure as competitors
of the Muses), and also exhibit a perilous seductiveness (cfr. θέλγουσιν, Od. 12.
40, 44; τερπόμενος, 52; τερψάρ,ενος, 188, verbs used of poetry and sex), «that
overcomes masculine reason» "3. Although both the Muses (II. 2. 594-600; Od.
8. 63-4) and the Sirens pose a threat to men (Od. 12. 39-46, 155-9), the Muses
appear as the authorized sources of inspiration of epic and lyric poetry. while
the Sirens share the characteristics of the other hybrid créatures of the West. By
the time of Alcman, however, their originai function has been muffled and «civ
ilized», and they are incorporated into the ways of human life. The Siren is
identified with the Muse in a verse apud Aristides, ά Μώσα κέκλαγ' ά λίγηα Σηρήν
20 See L. Lehm s, Z/ Inno a Pan di Pindaro. Milano 1979, pp. 167-79. esp. 172 with n. 23. In
such a context, the presence of Pindar as the prophet of the Muses is meaningful.
21 On μέλι and prophecv see M. L. West, Hesiod Theogony, Oxford 1966. p. 183 ad v. 83. «Be
sides imparting sweetness. honev is also associated with true prophecy». G. Germain. The Sirens
and the Temptation of Knowledge . in Homer. A Collection of Criticai Essays. G. Steiner and R. Fa
gles (eds), Englewood Cliffs 1962. pp. 91-97, associâtes Σειρήν with σειρήν the bee [Arist. H. A .
623b 11], and the cult of bees as sources of knowledge and inspiration: approved by D. F. Bright, A
Homeric Ambiguity , «Mnemosyne» 1977, p. 425 n. 3. See also LfgrE s.v. μελίγηρυς, 106. 5-14: L.
KOEP. Piene, RLAC 1954. pp. 274-82. esp. 278-9. For the intimate relation of the bees with the
oracles of the Cretan Great Mother. Apollo and Trophonius as well as with the rhythm of nature
(birth and death) see Roscalla (n. 11), pp. 29-40: in his framework the epithet μελίγηρυς is not a
simple metaphor but indicates the nature of the Sirens (pp. 47-8).
22 See F. Μ. Pontani, Note alcmanee , «Maia» 1950, pp. 44-7; Calame. Alcman. p. 476. For a
compromising view where «lioly» and «strong» are united. see A. Giacomelli, Aphrodite and After .
«Phoenix» 1980, p. 11 with n. 30. where she surveys the dominant etymological approaches and
concludes that in Alcman s PMC 26 there are connotations of sexual potencv: «the fluid mobility of
the bird, which is paralleled by the flowing vigour of girls voices (παρσενικαί μελιγάρυες ίαρόφωνοι)
is ari image of youthful virility ... μένος partakes of this sort of holy strength» (italics are mine). The
confusion of strong/holy is noticeable in the lexicographical tradition regarding ήερόφωνος (n. 17,
above).
23 So L. McClire. Spoken like a IVoman. Speech and Gender in Athenian Drama. Princeton
1999. pp. 65-6. On θέλγειν-τέρπειν see G. Β. Walsh, The Varieties of Enchantaient. Chapel Hill and
London 1984. pp. 14-5: P. Picei, Odysseus Polutropos. Intertextual Readings in the Odyssey and
the Iliad , Ithaca and London 1987, pp. 194-201, 209-13. S. L. Schein, Female Représentations
and Interpreting the Odyssey, in The Distaff Side. Representing the Female in Homer's Odyssey, B.
Cohen (ed.), New York and Oxford 1995, pp. 20-1; R. Nìinlist, Poetologische Bildersprache in der
friihgriechischen Dichtung, Stuttgart and Leipzig 1998. pp. 131-4. For the deadlv and perilous
aspects of the Sirens see Roscalla (il 11).
[Or. 28. 51 [2. 158 K.c\\\=PMOF 30-86 C) J~\ and i

the attribute of the Muse, shrill-voiced (PMGF 14;
Aristides is éloquent regarding the relation of the cho
prays that he become ενεργός bv the Muse, but then
τοΰτο εκείνο χορός αυτός άντί της Μούσης γεγένη
above, function as the divine model to which Hages
(à δέ τάν Σηρηνίδων I άοιδοτέρα μ[έν ουχί, I σια
Sirens, the dangerous enchantresses, are transferred f
abode on the margins of the world, where thev liv
rounded by the mouldering bodies of men, into th
civic life. It is worth noting that the song of the
Spartan girls in criticai moments of their lives, wh
passage into adulthood and sexual maturity, which
civic body 26. The pertinence of the Sirens to such
with «social marginality and perilous transitions (es
to wifehood)» , is suggested by their sexual ambig
liminal phase of the girls. The Sirens in Alcman jo
tive role, becoming the patronesses of poetic art
aries are mutually penetrated when the human sin
in their mimesis appropriate the divine characteriz
poet as μελιγάρυες , in a context with unmistakab
"■* G. Cerri. Dal canto citarodico al coro tragico: La Palinodi

e le Sirene . «Dioniso» 1985. p. 164. speaking of PMGF 30. obser
Siren with the Muse and of the chorus members with the Muse/Siren. The Muses and Sirens share a
basic characteristic already in Homer: both speak the language of culture, authorized or unauthori
zed respectivelv: see L. E. Dohertv. Sirens. Muses, and Female Narratore in the Odyssey . in The
Distaff Side (n. 23). pp. 81-92: id. Siren Songs. Gender, Audiences, and Narratore in the Odyssey.
Ann Arbor 1995. pp. 60-3. 135. 138-9. Sopii, fr. 852 Radt. and Plut. Mor. 518b-c. are often cited
as witnesses of this identification. Yet it is more likely that Plutarch says that the only Muse and Si
ren of filose who busv themselves with the life of the others is this. i. e. their gossip.
2o Cerri (n. 24). p. 164. à propos of PMGF 1. 96-8. argues for a connection of the Sirens with
the performance of this particular genre, the partheneion. For a différent reading of the verses see
E. KAISER. Odissee - Szenen als Topoi, «MH» 1964. p. 113 with n. 13. cfr. p. 114 with n. 15. Cfr.
the objections of M. Pielma. Die Selbstbeschreibung des Choies in Alkmans grossem Partheneion -
Fragment. «ΜΗ» 1977. pp. 45-6 with η. 83.
2t> For the occasion of the performance of PMGF 1 see Calame. Les Choeurs. II: 139. tribal ini
tiation rite: so G. NAGY. Pindar's Homer. Baltimore and London 1990. p. 345: Clark (n. 10). pp.
144-5: Cfr. A. Griffithk. Alcman's Partheneion. The Morning after the Night before. «QL'CC»
1972. pp. 7-30. an epithalamium and Agido is the bride. B. Gentili, Il Partenio di Alcmane e Γ
amore omoerotico nei tiasi spartani . «Ql CC» 1976. pp. 59-67: id. Poetiy and its Public in Ancient
Greece. trans. A. T. Cole. Baltimore and London 1988. pp. 72-7. an epithalamium composed for an
initiation ritual within a thiasos of girls. Eva Stehle. Performance and Gender in Ancient Greece.
Princeton 1997. pp. 81-3. a public ceremony with «a composite character as préparation for har
vest and showing off of young women ready to marry» (p. 82). R. Monaldi. L' autodescrizione del
coro nel Partenio di Alcmane Fr. 1 Page = 3 Calame (ve. 39-105) . «SMSR» 1991. p. 284. a prénup
tial initiatory ritual in the cult of Hera-Aphrodite.
27 On this see Dohertv. Sirens. Muses (η. 24). p. 82 with nn. 8. 9. and passim: Stehle (n. 26).
pp. 94-7.
28 For the intimate relation of the chorus members and the Muse see Pi. Ne m. 3. 4-5. μένοντ'
έπ' Άσωπίψ μελιγαρύων τέκτονες I κώμων νεανίαι, σέϋεν [se. Μούσης] όπα μαιόμενοι: id. Pae. 5. 47. κε
λαδεννρ I σύν μελιγάρυϊ παι-1 άνος άγακλέος όμφρ. In Pindar compounds with μέλι- qualify the Muses,
the song or its performers. On Pindar s σειρήνα δέ κόμπον I αύλίσκων ΰπό λωτίνων 1 μιμήσομ' άοιδαΐς
(Partii . II. 13-5. l'r. 94b Sn.-M.) see L. Lehm s, Pindaro: Il Dafneforico per Agasicle (Fr. 94b Sn.
M.). «BICS» 1984. p. 80: this is a bold imitation of Alcnian and a decisive step towards the literarv
and proverbial topos of «voce di Sirena»: see also Cerri (il. 24). pp. 164-5.
references "9. The manipulation and secularization of the tr
and imagery illuminâtes the évolution of the Sirens and the poeti
well: poetry is both the product of invention and mimesis of the
(.PMGF 39, 40=91, 140 C) 30, the Sirens being their arch
figures.
The practice of elarifying the semantic range and the etymological make-up
of words, mostly compound, by means of other synonymous or cognate words,
recurs in Alcman's, Μωσ' αγε Καλλιόπα ... αρχ' έρατών έπέων, έπί δ' ιμερον I ΰμνιρ
και χαρίεντα τίθη χορόν (PMGF 27=84 C). This fragment instances a conscious
etymological wordplay on the name of Calliopa, whose traditional function of
singing-speaking is evoked. Alcman replaces the first component of her name
(καλός) with an approximate synonym (έρατός) and hints at the ambiguous
part, όψ, wliich can he associated with (a) voice (LSJ A, cfr. επος, ειπείν), or (b) =
οψις (eye, face LSJ Β), using an unequivocal word, έπέων, which is semantically
and etymologically akin only to the former alternative. Etymological clarity is
thus attained and the possibility of a confusion with a similarly ending word
(e.g. εύρύοπα) 31, is avoided. Undoubtedly this conception of Calliopa is later
corroborated by Cornutus, Καλλιόπη δέ ή καλλίφωνος και καλλιεπής ( 'Επιδρομή c.
14; see the beautiful - voiced, LSJ ). This is the first clear example of her ety
mology. Hesiod intimâtes the etymology of the names of the Muses using key
words descriptive of their function (Theog. 36-93), and Calliopa is only indi
rectly linked with όψ A (cfr. 41, 68 όπί καλή of the Muses collectively, 84 επε' of
the king) 32. In the h. Hom. 31. 2 and in the testimonia on Sappilo (Anth. Pai.
9. 189=test. 59 Campb.) Calliopa's name is associated with the generic terms
ΰμνος-ύμνειν, an eclio of lier verbal capacity and function. However, it is worth
noting tliat the vocabulary chosen by Alcman subtly evokes the names of the
20 Cfr. the ornithological metaphors in PMGF 1 (dove s. owl, swan). the kingfisher and the hal
cyons in PMGF 26. The κέκλαγ' in Alcman may evoke the image of a winged Siren: cfr. λέλακα of a
maiden as an owl in PMGF 1. 86-7: cfr. Calame, Les Choeurs. II: 88 η. 66; id. Alcman, pp. 467-8.
For the nature and forni of the Sirens see Zwicker (n. 11). pp. 288-308: Gresseth (n. 12). pp. 203
18; D. Buitron-Oliyer, Between Skylla and Penelope: Fernale Characters of the Odyssey in Archaic
and Classical Greek Art. in The Distaff Side (n. 23), pp. 30-4: ih. J. Neils, Les Femmes Fatales:
Skylla and the Sirens in Greek Art. pp. 175-84: Mi sti (n. 11), pp. 10-1 with n. 5.
20 For the «poetica ... euristico - imitativa» of Alcman and its adaptation to the changes in oc
casion and performance, see B. Gentili, I frr. 39 e 40 P. di Alcmane. in Studi Filologici e Storici. in
Onore di V. De Falco, Napoli 1971. pp. 59-67. See also W. J. Verdemi s, The Principles of Greek Li
terary Criticism. «Mnemosyne» 1983. pp. 54-5 with n. 187.
31 See LSJ εύρύοπα <εύρύς+όπ- οψομαι. wide-eyed . or οπ «voice» (cfr. Féjioç, οψ LSJ A, vox.
far-sounding . i. e. thundering . See sch. II. 1. 498 A. Dind. 1: 59. and Erbse 1: 137. Homer exploits
the derivational ambiguity of the adjective using it in contexts which suggest vision (II. 15. 147.
152; 24. 290-7. 331-7: Od. 2. 146-55): or speech/vision (II. 24. 98-106. cfr. οΐδα και αυτός. 105);
Od. 3. 288-9). Yet the clearest and most composite etymologizing is discerned in II. 16. 232-41.
where Achilles prays to εύρύοπα Zeus (241. cfr. Δια δ5 ού λάθε. 232 -vision / speech), who lives far
away (τηλόθι. 233, cfr. ευρύς) to listen to his word (επος 236. cfr. οψ LSJ A), as he did in the past.
and confer glory to Patroclus. On the ambiguity of the names of the Sirens (Agla-. Himer-,
Parthen-. Thelxi- +ope) see Misti (ii. 11). p. 20.
32 For the Hesiodean dérivation of the naines of the Muses through their function see P. Fried
lànder, Hesiodi Carmina recensuit Felix Jacoby, Pars I: Theogonia. in Studien zur antiken Litera
tur und Kunst. Berlin 1961. p. 92. «Hesiod also hat ... die Namen ... sorgsam vorbereitet. Kein
Naine erscheint, ohne eine Funktion auszudrucken». Similarly II. J. Lingohr. Die Bedeutung der
etymologischen Namenserklàrungen in den Gedichten Homers und Hesiods und in den homerischen
Hymnen, Diss. Berlin 1954, pp. 126- 32: West (n. 21) 180-1 ad w. 76-79: cfr. G. Arrichetti. Poeti,
Eruditi e Biografi, Pisa 1987. pp. 22-3.
Muses Erato (έρατών, ϊμερον, χαρίεντα), Polym

(χορόν). This may be considered a sign of Alcm
Theog . 63-70, 78-9), or rather an allusion to th
coordination of différent capacities on a perform
with epic overtones (dactylic tetrameter), giace, l
δέ και άνθρώπους παρθένια, Proclus Chrest. 32
twined, thus summarizing the genre conventions
2. Use and adaptation of heroic proper names
Alcman proves to be sensitive to the allusions o

adopts, but also amplifies the overtones of the re
3. 39, 13. 769) intensifying the disparagement w
biguous adjective (βωτιάνειρα): Δύσπαρις Αίνόπαρις
{PMGF 77 [Sch. II. 3. 39a, Erbse 1: 365]=97 C). Al
while in Homer Δύσπαρις, in the vocative, intro
Paris by Hector for causing the destruction of T
fate of Greece. In order to appreciate better the
lyric poet, we should take a closer look at the mean
type, the Homeric Δύσπαρις.
Lexicographers render the naine as infaustus, i
or unhappy Paris, Paris of ili omen (LSJ ); or Sc
scholars consider this Homeric coinage a notable
they cali «reversai of etymologv», or «déformation
pal effect of which is the négation of the force of a
speaker over the mocked or detested name, with iro
Yet the degree of control dépends on the nature of
here is the etymologv and the semantics of «Pa
From as early as the Hellenistic period the sch
play of Πάρις-Δύσπαρις etymological, judging fr
scribe it: «name, ill-named, paronomasia», ali of
ogv ,r. For Eustathius, formations such as Δύσπαρις
33 For the scientific etymologies of «Paris» see H. von Ka

Gòttingen 1982. 82 (pp. 340-1): cfr. 66 (p. 190): Δύσ-παρι
ples of Greek Elymolog}·. London 1886. 1: 278 (pp. 333-4) con
πλακ). with Πάρι-ς, translated as Αλέξανδρος «champion»,
nent». On Paris-Alexandros see also Rank (n. 14). pp. 15 n. 30
δυσ- «jeu sur les noms propres: Δύσιταρις «Paris de malheur
Πάρις «Wolil illyrisch. aber etymologisch selbst-verstàndlich m
33 See Stanford (n. 19). pp. 32. 102: C. Hicbie. Heroes ' Na
Lord Studies in Oral Tradition. New York 1995. pp. 14-6:
' ' For the motivation of formations like Δύσπαρις. or Κακοΐ
Homer's Odyssey Oxford 1990-92. 3: 52. «the deliberate disto
stic expression of hostilitv»: C. S. Broun. Odysseus and Po
«Comparative Literature» 1966. p. 199. the avoidance of an il
taboo.
36 Loiden (n. 8). p. 31.

37 Δύσπαρι: επί κακφ άνομασμένε Πάρι, κακέ Πάρι (sch. A I
σίας προσέρριψε δυσχεραινόντων τφ ονόματι (ih. sch. T.); or δύσπ
(Ap. S. 60. 31): similarly KM 292. 30: Suda Σ 1681. p. 152. E
Alcman: Poetic Etymologyγ 25
by suffering people who attack the proper names, καν μή ειεν
name Δύσπαρις is useful for ψόγος because it means ότι έπί κακψ κα
I εκλήθη Πάρις (379. 37-41, cfr. 1863. 26). This particular phrase
since for one branch of ancient theory and practice the name is
to nature and is inherently linked with the signified subject wh
qualities it reveals 38. We are thus justified in exploring first the se
negated name (Πάρις), since this is the carrier of the negated q
ond the purpose of this reversai of etymology (Δύσπαρις) in the lig
context. It is obviously true, that the negativity discharged by Δύσ
valid and make sense only if Πάρις denotes something positive.
Our ancient scholiasts and lexicographers apparently see this p
in Πάρις when they etymologize his name either from the πήρα, in
saved, or from escaping death [i.e.< πάρειμι] after being exposed
alternatives the name of Paris is linked with his salvatimi and p
with his exposition in the wilderness [as if <παρίημι?], then the
nounces this salvation and strikes at the heart of his very ident
'saved' man, is denigrated with the characterization Δύσπαρις,
to [our] disaster), and, as a creature of the uncultured periphery
dissociated, excommunicated front the city life. If the etymology o
renounced and reversed, so is the naming motivation, that is, th
salvation: Paris is given back to death verbally and almost mag
knowing the name of a per son gives one power and control over th
is exactly what Hector wishes for, α'ίθ' δφελες άγονος τ' εμεναι άγαμ
(II. 3. 40), whether άγονος (see Kirk, The Iliadi, 1: 271) refers to
childlessness, which is a substitute for death, at any rate it imp
tinction for archaic man. The abduction of Helen by Paris prove
πήμα for both his family and his city (3. 50), and a χάρμα to th
Ilad the Trojans not been timid, they would bave already stoned
(3. 56-7). Yet Paris expresses his optimism with a subtle wordpla
πάρα γάρ θεοί είσι και ήμΐν (3. 440). Iliad 13. 773 closes with a s
toi σώς αίπύς όλεθρος. The detailed rejection of Paris' past, prés
(3. 39-57) itemizes the annihilation which is dramatically en
single appellation, Δύσπαρις. In both passages (II. 3 and 13) we
παρονομασία and παρονομάζω after «οί παλαιοί» to signpost etymology. On the

nologv see RANK (n. 14). pp. 136-43. esp. 141 with n. 23.
,!ì On tlie issue of naturai or conventional naraing see T. M. S. Baxter, The
Critique of Naming, Leiden 1992, pp. 130-9. For its application in Homer see E
los. Gradations of Science . Modem Etymology versus ancient. Nestor: Comparis
«Ciotta» 1997/98, pp. 117-32.
iq See sch. II. 3. 325b. A (Dind): Πάρις ό 'Αλέξανδρος εκλήθη παρά τό έκτεθήναι
αυτόν έν τή "Ιδη ευθύς τεχθέντα και αΰξηθέντα παρελθεΐν τόν μόρον [i. e. <πάρειμ
(Dind): έκλήθη ουν Πάρις οΰχ ώς τίνες φασίν, ότι έν πήρρ έτράφη, άλλ' ότι τόν μόρον
δέ 'Αλέξανδρος, ότι τή πατρίδι ήλέξησεν, ο έστιν έβοήθησε, πολεμίων έπελθόντων
παρά τό παριέναι τόν μόρον, τουτέστιν έκφυγειν τόν θάνατον- ή παρά την πήραν, ο σημ
άπό του έν τή ποιμαντική πήρρ άνατραφήναι: sch. Eur. Andr. 293. και αΰτό [se. τό τεχ
έν τή πήρρ τέθεικεν, όπως διατρέφοι' διό και Πάρις ώνομάσθη, ό έν τή πήρρ τραφεί
τινές δέ τόν Πάριν εΐπον ώνομάσθαι έπί του έμ πήρρ έκτεθήναι, άλλοι δέ από του πη
ορώντας αυτόν. Apollod. 3. 12. 5: 'Αλέξανδρος προσωνομάσθη, ληστάς αμυνόμενος
άλεξήσας: cfr. Varrò, L. L . 82, Euripides calls Paris «Alexandrum ab eo ... a qu
cognominatum άλεξίκακον, ab eo quod defensor esset lioniinum». For the associ
the pastoral life and the wild places see also Pu. Rousseau, L' Egarement de Pari
XXIV, 25 - 30, in «Uranie. Mythes et Littératures. 8» 1999 (?), pp. 33-49, es
conceptual ring that opens with Δύσπαρις and

ferring to his death. It is not accidentai that th
naming of the sanie person. The etymology of
ανδρος, is cunningly alluded to and partially r
virtues of a typical αγαθός are critically dispar
his raison d'être. The meaning of the progamm
ally as his «biographical» information is laid ont
for his death. It is trae that «if naming has power
or déformation of a name, may be equallv forceful
a person or a place», as Higbie argues 4l, and, I
complex situations like the contextualized poet
Dusparis is a notable example, this process c
beings.
This conclusion is validated in Alcman as well, judging from his décision
first to accentuate the negativitv surrounding Πάρις-Δύσπαρις with the addition
of an even stronger terni, Αίνό-παρις, direful Paris, the author of ili (LSJ ), or
«saved to [our] horror», I would add; and second to shift the focus from the Tro
jans to the Greeks using a significant epithet, βωτιάνειρα (man - feeding, nurse
of heroes, LSJ ). This is an hapax in Homer (II. 1. 155), employed by Achillee,
who ascribes his participation in the war not to a personal vendetta against the
Trojans, ουδέ ποτ' έν Φθίρ έριβώλακι βωτιανείρΐ] I καρπόν έδηλήσαντ', but to a
charis done to the Atreides (όφρα σύ χαίρης, 158). The association of βωτιάνειρα
with destruction is established in early hexametric poetry: πύθευ έπι χθονί βω
τιανείρη I ... κακόν δήλημα βροτοΐσιν, says Apollo to the dragoness who had ac
cepted as a nurse Τυφάονα πήμα βροτοΐσιν (h. Αρ. 363-4, 352; see also h. Aphr.
265); Hesiod connecte χθονί βωτιανείρηι with βίη τ' άνδροκτασίη τ[ε (fr. 165. 16-7
M.-W.). The démarcation line between the earth that nourishes people and is
nourished by them through death is indeterminate. With κακόν Ελλάδι βω
τιανείραι Alcman not only gives an emotional and patriotic tenor to the verse, but
also exploits the grim connotations released bv the adjective (cfr. λώβη, πήμα of
Paris in II. 3. 42, 50), to suggest that Δύσπαρις-ΑΕνόπαρις was not δυσμενέσιν
χάρμα as Homer said (II. 3. 51), but generated for Greece, the nurse of heroes,
the Trojan war, an evil (effectively condensed into the word κακόν) that was a
national calamity. indeed!
To summarize the etymological habits of Alcman so far, it lias, I hope, been
shown that our poet draws on a common poetic tradition with which he shares
practices such as paronomastic wordplays, analyses of compounds, use of syn
onymous compounds, and self-explanatory hints. In some cases (Calliopa), he
reaffirms what is implicit in the epos, but updates it taking into account the
genre requirements of choral lvric performed by a singing and dancing chorus.
In others (Sirens), he goes beyond the Homeric model, making the Muse/Siren
40 See II. 3. 45. άλλ' ουκ εστι βίη φρεσίν ούδέ τις άλκή: cfr. ! 1. 390: 13. 774-7. 785-6: cfr. the
compromise in 6. 521-3. έπεί αλκιμός έσσι' I αλλά έκών μεθιεΐς τε και ούκ εθέλεις. See Mi iilestein (n.
19). p. 88. «Es gibt die beiden Parischaraktere. den Sieger und den Feigling». A. Siter. Αύαπαρι, εί
δος άριστε.... «Ql.CC» 1991. pp. 7-30. notices that this différence in character is conveyed by the
names Alexandros and Paris respectively. and on the evidence of tlie formulaic analvsis. she argues
that «Paris» is posterior and motivated by the relocation of part of the Iliadic narrative within Tro
jan contexts. and the desire to recharacterize Paris and présent him as an erotic figure and an object
of abuse. The figure of Paris is undergoing a reworking in II. 6. 521-9.
41 Hicbie (n. 34). p. 15.
the symbol of both his poetics and contemporary socio-religio
while in others (Δύσπαρις, Αΐνόπαρις, βωτιάνειρα), he adumbra
in a pithy but forceful way.
3. Names άπό τον σνμβεβηκότος or οικεία
Alcman, not unlike Homer and Hesiod, présents a number

whose etymological motivation becomes transparent through
«biographical» circumstances of their bearers, their social stat
organized civic groups, and finally their appearance. Yet it sh
mind that unlike the epic poets, Alcman composes poetry to
public by choruses of young people singing and dancing duri
monies or other community célébrations. The occasionai and
ter of Alcman's poetry and the spécifie genre requirements proba
the great number of proper names, referring in ail likelihood
Spartan personalities, attested in his fragments. The historici
jority of them escapes us and ail we can aspire to is to outline
incorporâtes them in his poetic canvas.
A. Personal lot in life, that is, καλή αϊσα, seems to unde
Κάλαισος, in, ού γαρ πολυπήμων Κά- I λα]ισος άνήρ πεδ' άν
(PMGF 5 fr. 2 col. ii. 9-10=80 C), although its reading is disp
Laconian formation in -σος équivalent to Κάλαιθος (cfr. Λύκα
Καλαιθίς, Theocr. V. 15), says the first editor 42. Unfortunately
cannot be corroborated for Calaithos-Calaisos from an indepe
like «Lycaithos» (Apollod. 3. 10. 5). Moreover, its scholiast
suggests otherwise, as we shall soon see. This name is more li
pound from καλός+αίσα 43. A key to its dérivation can be found
the ambiguity of which is notorious. Did Alcman write πολυπάμω
as recorded by the scholiast? We cannot teli, since the présen
our only source of information for this passage. The two epit
liave consistently: the word πάμα (*πάομαι, πέπαμαι, πολυπάμω
with long alpha in ali dialects, while πήμα (πημαίνω. πολυπήμ
serves its età even in Dorie dialects (Chantraine and LS.f s. ν. πήμ
In Theocritus (Syririx 12) the Arithology (AP . 15. 21) gives t
Πάρις, a varia lectio of πάμα Π. (Bue.). By contrast to the an
loc. (πάμα δέ τό κτήμα), Gow endorses πήμα, «for πήμα .penalty,
Doric and πάμα here would therefore présent no ambiguity»
haps πήμα, interlaced with «Paris», is chosen here as an echo
any rate, the two forms are not interchangeable.
The oscillation between η/α has led to the following derivat
tic possibilities: Alcman has presumablv written either (a) π
ateci with πολύς+*πάομαι, πέπαμαι, i.e. rich, wealthy (LSJ) ; or
So E. Lobel, The Oxyrhynchus Papyri. voi 24, London 1957, p. 54.

So M. L. West. Alcmanica, «CQ» 1965, p. 188 with n. 5.
"H West (n. 43). p. 188: Lobel (n. 42), p. 54; Calame, Alcman. p. 433. On t
μαμ πέπαμαμ πάμα, πολυπάμων words see D. BiCK. The Greek Dialects. Chi
repr. 1973, p. 127 (162. 12): cfr. Chantbalne. Dict. Étym.. s. ν. πέπαμαμ πήμα
IVort., s. ν. πέπαμαμ πημα. LSJ s. ν. πήμα.
derived from πολύς+πήμα, considered to be (b1) trans

woe, banefu! (LSJ) 4o, or (Ir) intransitive, i. e. mu
frequently cited Homeric πολυπάμων (II. 4. 433) cle
passage embracing Πολυπημονίδαο (Od. 24. 305) is
the aftermath of killing the suitors, Odysseus, in
prétends to be Έπήριτος, a man of Strife, υιός Άφείδ
τος, that is, the son of «Spare-not», who is the of
Moreover, the passive «Suffer-a-lot» would be also
w. 325-6: the Itero pays back the evils he has recei
as if in a ring composition, the hero's life programma
prooemium of the Odyssey.
At this point we may evaluate the interprétatio
whom we are indebted for this passage. When he rend
τίον. ούκ έστί πολυπήμων ό Κάλαισο[ς ά]λλ' ευδαίμων
10-13), he seems to consider πολυπήμων and ευδαί
reads, or copies at least, πολυπήμων, and as his contin
it neither the etymology (a) nor (b1), but definite
sons: alternative (a) is tautological with one of
(wealthy) 48, in which case the negative ού would d
τοΰ εναντίου τό εναντίον, and neglect the adversative
(b1) fails to contply with the semantics of ευδαίμω
scholiastic paraphrase of ού πολυπήμων makes sens
(LSJ), that is, having experienced no suffering (h")
mean wild, savage (LSJ), but sintply a man living
abode is not urban, whence perhaps ούδ' άγριος m
ments and stimuli of the cultured circles of the ci
(cfr. ούδ' άγρεΐος PMGF 16) 4<l. At least on the sch
a glimpse at the motivation of the name «Calaisos»
with καλός+αίσα. Calaisos is a man of good fortun
also wealth may be relevant, a καλότυχος or καλόμοιρ
privilèges of urban life.
4:1 See Lobel (η. 42). p. 54. ««Not hurtful nor harsh» is prima
words». J. N. Richardson. The Homeric Hymn to Demeter, Ox
bell. Greek Lyric. II. p. 389. «a man of much hurt». and. comm
tion is improbable: Alcinan must bave meant «not hurtful no
So F. J. Ci AHTF.RO. Alcman y Esparta. «BIEH» 1972. p. 14 wi
interlaces the notion of opulence when he makes Calaisos the f
with gold; LSJ. rev. Suppl. 1996 (ed. P. G. W. Glare). «much -
(n. 42). p. 54. ««haring many hurts» seems not to recur till Ma
seriis adflictus» male interpretabantur»: Calame. Alcman. p. 433.
85 (4th c. A. D.).
^ On Od. 24. 304-6 see Α. Ηειέεοκ, A Commentaiy on Homer
Fernandez-Galiano. A. Heubeck (eds.), Oxford 1992. 3: 395-6.
Stanford (il 19). p. 104: Rane (n. 14). p. 134-5: J. Peradotto. Ma
1990. p. 144.
48 For the importance of riches for the archaic concept of happiness see Calame. Alcman. p.
433.
4" Alcaeus (1.30B) epitomizes his μοίραν άγροϊωτίκαν in exile as the state of being isolated and
deprived of the joys that. derive from of an active participation in the socio-cultural life of the city.
On this subject see L. Sbardella. Il poeta e il bifolco. Il percorso poetico di uno schema oppositivo
da Saffo a Teocrito. «MD» 1997. pp. 127-41.
B. The alleged ideas of Aleman about social propriety and b
terns socially permitted to the two sexes are inserted by Aelius Ar
cussion about class distinctions and proper conduct: τί δέ ό
επαινετής τε και σύμβουλος λέγει ό Λακεδαιμόνιος ποιητής; Πολλαλέγ
γνναικί δέ Πασιχάρηα. πολλά, φησίν, ό άνήρ λεγέτω, γυνή δέ οις αν
Or. 45. 32=PMGF 107=152 C) 50. We cannot tell if these naines
contemporary Spartane, but they sound invented, perhaps m
Homeric Ούκαλέγων (II. 3. 148). If so, they are «speaking» nam
pose is to caricature or advise. At least Aristides seems to
such.
C. Choral function, in conjunction with royal or aristocrat
been recognized as motivation for nomenclature. Calarne argue
tion in civic groups of young singers and dancers confers great glo
and this reflects in the cliosen names. The name of Κλησιμβρότ
obviously derived from κλέος - κλέω + βροτός (and contextuallv su
traces of κληνόν, PMGF 4. 9-11=57 C) , has been explained in
is «celebrée par les mortels»; she is presumably a choral leader o
person in the framework of the chorus . Timasimbrota (παι[
PMGF 5 fr. 2 col. ii. 16=80 C) 53 has also been considered either
or something analogous to Agido (PMGF 1). In either case she
cant name, she is «bonored by people» 54. The names of Clesim
brota, Aenesimbrota and Cleesithera (see below) exemplify the
βροτος compounds, the primary meaning of which is transiti
chora, Hagesidamus) . Yet in poetry this distinction is not defi
not compromise the poetic vision which is multi-levelled, and ev
variables and ambiguities that enlarge its literary space.
Group function again motivâtes the name of Hagesidamus, χ
δαμε κλεε[νν]έ Δαμοτιμίδα (PMGF 10 [6] fr. 5 col. ii. 11-12=8
chorus leader bears a name descriptive of his role in a civic gro
δήμος) , and of his attachaient to a genos in that he shares par
name (<δήμος+τιμή) -a documented naming practice among th
°° Cfr. Bowra (n. 5). pp. 24-5. perhaps <πόλλ' άλέγων. «Care-much». playin
sibility of the man by contrast to the careless woman. who enjoys everything. S
p. 13Ò: A. Garzya. Note ad Alcmane, «AFLN» 1952. pp. 8-10. For other alterna
tino and 0. Vox. Lirica Greca. Bari 1996. 1: Prontuari e Lirica Dorica, pp. 203-
Lyric, II (n. 2). p. 469.
° See Suda s.v. κλήτος" δόξα: Campbell. Greek Lyric II, fr. 122. pp. 478-
enimi, fr. 165. pp. 588-9 on κλεΐτος - κλήτος.
See Calame, Alcman, pp. 425-6, 435; id. Les Choeurs, II: 96 n. 91. on the
simbrota appears in a musical context (γαρύματα μαλϋακά[ I νεόχμ5, w. 5-6). wh
ject of PMGF 14 (a), (b). and 59 (b), «sans doute cette jeune fille assumerait-el
chorège».
°3 For Timasimbrota's descent see Calame, Les Choeurs, I: 384 with n. 51: M. L. West. Al
cman and the Spartan Royalty, «ZPE» 1992. pp. 1-7.
54 Calame. Les Choeurs. I: 384. II: 96 with n. 91. 141. and id. Alcman, pp. 425-6. 435, «qui
honore les mortels», or better as passive, «honorée par les mortels». On the status of Timasimbrota
see also Ciartero (n. 46), p. 14.
0> See T. Knecht. Geschichte der griechischen Komposita rorn Typ τερψίμβροτος. Diss. Zurich
1946. p. 9 on φαεσίμβροτος. «die Menschen sehend». or «den Menschen erscheinend. leuchtend»; p.
45 for Cleesithera and Aenesimbrota. and passim.
°6 See Calame. Alcman. p. 457; NAGY. PindaCs Homer (n. 26). p. 347.
probably suggests not only a high status, but also

both father and son in contemporary Spartan soci
A most transparent and elaborate etymology
known as the Astymelousa poem. Here the poet em
the dérivation is presented in two complementaiy
and unequivocal etymology of the name of Astyme
leader, or a girl engaged in sacrai activities carryin
having paved the wav for this naming with the acc
détails that make lier name almost inévitable. T
Astymelousa covers the greatest part of the extan
the chorus is described in highly emotive terms with
melting and limb-loosening (61-3):
λυσιμελεϊ τε πόσωι, τακερώτερα

δ' ϋπνω και σανάτω ποτιδέρκεχαΐ'
ουδέ τις μαψιδίως γλυκ ήνα
Her appearance is equally dazzling: she passes bv

glittering sky, like a golden branch or a soft feath
scription of this intense erotic yearning culminâ
name analysis: Ά]στυμέλοισα κατά στρατόν I Ιμέλη
5) °9, and the image of the lover as suppliant (79-8
broken down into its componente in a very skilful
with λυσι-μελεΐ πόσωι (61) 01 is resumed and brou
diffusion of the erotic dominion of the girl is illustra
three semantically équivalent words (αστυ, στρατός
tivating love power is evoked through a non-etymolog
1)7 See Calame. Les Choeurs. Il: ί 4 I -42: id. Alcman, p. 457. Ν
nanic Hagesidanius «bv wav of its semantic componente, seems
Spartan rovai lineage of the Agiadai».
,s For the πυλεών see Calame. Les Choeurs. Ih 91-2. 104-5
îlot only a wreath offered to Hera. but an ornement of a beautif
involve necessarily the cult of Aphrodite-Hera. but a ritual of in
gos like Hagesichora. See also W. Peek. Dos neue Alkman - Par
Cfr.. however. C. 0. Pavese. Il grande Partenio di Alcmane. L
Steiile (il 26). p. 90 n. 64.
°l> Lobel (il. 42). p. 16. «μέλημα δάμωι looks like an interprétat
as άστει μέλουσα». So A. Giannini. Alcmane POx. 23S7. «RIL» 1
Ih 106-7: id. Alcman. p. 414: id. The Craft of Poetic Speech in
Ithaca and London 1995. p. 182. Astymelousa is «object of solic
poet takes apart lier naine ... attributing to ber the signified ind
is now «the object of everyone s affection»». Naca. Pindar's H
Astymelousa is «a striking semantic parallel» to those of Hages
«generie name is actually translated in the song itself».
60 See M. Davies. Alcman and the Lover as Suppliant. «ZP
01 The poet exploits μέλημα - μέλω: see Ρκκκ (n. 58). p. 175:
caica. Ricerche I. Roma 1965. p. 109 n. 37: S. Nannini. Note a
3. 67. 68-9. For μέλημα as a topos in erotic, poetry see De Mar
169. See also Hes. Theog. 65-6. γυιοβόρους μελεδωνας poured bv A
Latin love elegy.
For the synonymity of στρατός-λαός-δημος see Calame. L
cman. pp. 414-5: R. Renehan. Greek Lexicographical Notes .
τός. the communs, peuple = λαός, δήμος».
Alamari: Poetic Etymology 31
and έλοΐσα < αίρέω, a verb signifying seizing or conquering and o
die function of love and sleep (e. g. II. 3. 446 = 14. 328; Od. 9.
4-5). Astymelousa, as far as our fragmentary text permits us
not after lier choral or sacral activities, but after her emotion
fect on the public: such a girl, of unchallenged beauty, cannot
care of the entire town!
The context of our poem suggests that Alcman entertains here a cunning ex
ploitation of the etymological and semantic ambiguity of λυσι-μελής, Άστυ
μέλοισα, μέλημα δάμωι. At the beginning of our extant text the erotic setting and
in particular the proximity of τακερώτερα I δ' ύπνω και σανάτω ... γλυκ ήνα (61-3)
favor the pertinence of λυσιμελής as limò - relaxing (LSJ) 63 desire. In the se
quence, our poet, stili playing with μέλ-, makes Astymelousa the object of care of
the city. Yet the wish of the female speaker that Astymelousa may return her
love and touch her hand, upon which she would become Astvtnelousa's suppli
ant (79-81), imprégnâtes the passage with subtle overtones: Âstymelousa's con
sent to love would alleviate and disperse the erotic pains and concerns - μέλημα,
and would make lier appear as potentially or at least wishfully concerned - μέλει
- with the girl, a member of the άστυ. The poet subtly alludes to the reciprocity
of affection between Astymelousa, the girl and the public. Hence, the prospect
of satisfaction of desire accords λυσιμελής also the nuance of «care-loosening» on
the pattern of Homeric etymologizing (γλυκύς ύπνος) λυσιμελής ... λύων μελεδήματα
θυμού {II. 23. 62, Od. 20. 56-7, 23. 342-3).
The contextualization of Astymelousa's name is instructive for the approach
of PMGF 59 (b)=149 C, preserved by way of Athenaeus (13. 601a), who draws
on Chamaeleon and tbrough him on Archytas: λέγει δε και ώς της Μεγαλοστράτης
ού μετρίως έρασθείς [se. Αλκμάν], ποιήτριας μέν ούσης δυναμένης δέ και διά τήν
όμιλίαν τούς έραστάς προσελκύσασθαι- λέγει δ' ούτως περί αύτής·
χοΰτο Καδειδν έδειξε Μωσδν

δώρον μάκαιρα παρθένων
ά ξανθά Μεγαλοστράτα
This fragment of Alcman contains no etymological hints whatsoever regard

ing Megalostrata's name, since it only praises the singing or choreutic skills of
the girl as well as her beauty. Tlie verb εδειξε, if taken as «teach, instruct», sug
gests her pedagogical rôle within the choral group and the public character of
the performance. Viewed against this background and the involvement of a
great civic group, the meaning and etymology of her name, especially if it is pos
sesive (cfr. Eteocles), becomes clear: Megalostrata <μεγάλος+στρατός, signifies
the one who wields wide power over the body of citizens. Yet, when Athenaeus
says that Alcman fell in love with Megalostrata, a poetess who was «able to at
tract lovers to lier by her conversation» (Loeb), he is in ali probability entertain
ing a subtle and fanciful wordplay on Megalostrata's name plaving upon her
popularity among men. Perhaps the semantic richness and the sexual connota
tions of όμιλέω {LSJ IV) and ομιλία (LSJ I. 2) allowed such a manipulation.
However, there is a strong possibility that Athenaeus or his sources approached
w This is the prevailing interprétation of the adjective. For its semantic development see H.
Koller. Melos. «Ciotta» 1965. pp. 31-6. who thinks that Alcman uses here λυσιμελής in the sense of
«gliederlòsend. gliederzerstòrend» (pp. 34-5).
the ancient text with biographical intentions: as

PMGF 59 (a) was identifiée! with the poet, so her
and lier name perhaps acquires a certain colourin
of this fragment is the observation that «M
melousa», shares a component (στρατός, άστυ) w
choral leaders or recognizable figures in Spartan
bear a functionally motivated name IH. This sugg
case of Άνδαισι-στρότα 6o, who seems to be a c
μήδεσ[ι, Pi. Partii. II. fr. 74b. 71-2 Sn.-M.). Andai
άνδάνω+στρατός, makes the parallelism with Me
able 6Ó, and, in the light of the similarities observe
and Pindar 67, it suggests that here we may have
tradition.
In the Louvre Partheneion, a cohort of maiden
hearing distinctive names. To start with the girls
70-2), the dérivation of their names is not spelle
transparent: the names are connected with virtu
naturai plant world (Συλακίς, Άσταφίς, Ριανθεμίς),
and civic virtue (Δαμαρέτα). The naine of Νανν
diminutive of doli [<νανίον, τό, pupus] °8. Here
bution of «patronizing», names, mostly vegetab
and of compounds whose parts markedly associat
of the world of males b9. Αίνησιμβρότα'β name
vated: whether she is the mother of the girls (7
school for chorus maidens 70; or the leader of a c
64 See Calame, Les Choeurs. II: 96 η. 91: id. Alcman. p. 561

Ancient Greeee. trans. D. Collins and J. Orion. Lanhain. Bou
De Martino and Vox (n. 50). 1: 198-9.
On Andaisistrota s rôle see Calame. Les Choeurs. 1: 121
rico (n. 28). p. 83.
66 Lehnts (n. 28). p. 83. considers Andaisistrota's naine
riero e aristocratico», comparable to Protomache (Pindar's
95).
67 See M. Lefkomitz. First - Persoti Fictions. Pindar's Poetic T. Oxford 1991. pp. 11-25.
Lehnts (n. 28). pp. 80-1.
"8 Calame. The Craft of Poetic Speech (n. 59). p. 180. Areta «excellence». Nanno «the little
doli». Pliilulla «the beloved cliild». Sulakis «poppy heart». Astaphis «raisin». Vianthemis «violet».
Damareta «excels in the heart of the demos». Kleesithera «fanions in hunting»; id. Alcman. pp. 336
9: J. Herington. Poetty into Drama . Berkeley. Los Angeles. London 1985. p. 238 n. 38.
60 See Calame. The Craft of Poetic Speech (n. 59). p. 176: 0. Masson. Remarques sur les noms
de femmes en grec. «MH» 1990. pp. 129-38.
70 LT. von Wilamowitz-Moellendohf. Der Chor der Hagesichora. «Hermes» 1897, p. 260, ino
ther or owner of a μουσοπόλων οικία: see Page, The Partheneion (n. 16). pp. 65-6: Bowra (n. 5). p.
57: Calame. Les Choeurs. II: 96-7: id. Alcman. p. 337. perhaps the director of a school analogous to
that of Sappilo: cfr. id. The Craft of Poetic Speech (n. 59). p. 180. a persoli with magical powers or
the leader of a rival chorus: Gentili. Poetty and Public (n. 26). p. 75. a mistress of the thiasos: Pa
vese (n. 58). p. 86. the leader of a βοΰα. that is. a βουαγός.
71 R. C. Ki li la. Alkmans Partheneion. Ein Beitrag zum lakonischen Artemiskulte. «Philolo
gue» 1907. p. 212: F. Dornseiff. Alkmans Màdchenlied fiir Orthia, «Die Antike» 1933. p.
128.
μακεύτρια procuring love potions 72, she enjoys an exalted
nificant name denoting public praise (<αίνέω+βροτός) 73.
The names o£ the two outstanding girls in our Parthene
gesichora, have been also subjected to an etymological anal
ity of the text has led to a rather unbalanced situation: H
naine formation are pretty well established by contrast to
drifting between prerequisites imposed by family and/or chor
39-46, notorious for their complexity, are indispensable fo
logical enterprise:
39 έγών δ' άείδω

Άγιδώς xò φως' όρώ
F' ωχ' άλιον, δνπερ αμιν
Άγιδώ μαρχύρεχαι
φαίνην έμέ δ' οΰχ' έπαινήν
οΰχε μωμήσθαι νιν ά κλεννά χοραγός
45 ούδ' άμώς έήΐ" δοκεϊ γαρ ήμεν αΰχά
έκπρεπής...
The etymology of the two proper names dépends on the understanding of vlv,
à κλεννά χοραγός and αύτά. Scholars almost unanimously comtect the pronoun
vlv (44) with Agido, but greatly disagree with the identification of ά κλεννά χορ
αγός (44) and αυτά (45). A full scale analysis is beyond the scope of this study,
but for the moment suffice it to say that the majority of scholars, with some ex
ceptions 7_t, identify ά κλεννά χοραγός with Hagesichora 75, the girl to be named
later (53, 57, 77, 79, 90), and qualified as chorostatis (84), while some others
are sceptical 7b.
This identification is the most likely, since the élaboration on Hagesichora's
choreutic qualities (84-101) confirms a posteriori her name and function. The
girl, who has been more often than not identified with the κλεννά χοραγός or
72 West (η. 43). p. 200; Pielma (η. 25). pp. 40-1: J. T. Hooker. The Unity of Alcman's Parthe
neion, «RhMus» 1979. p. 220.
7i For the parallel fontiatiou of the names of Aenesimbrota. Clesimbrota and Timasimbrota
see Calame, Les Choeurs. II: 51. 96 n. 91: id. Alcrnan. pp. 425-6. 435: id. The Craft of Poetic
Speech (n. 59) p. 180. «praised among people».
7-1 Agido is the choragos: F. Blass, Dus aeg\ptische Fragment des Alkman, «Hermes» 1878, p.
30: A. D'Errico, Il Partenio di Alcmane, «AFLN» 1957, p. 24 with n. 66, Agido is the choragos of
the one sentichoir, and Hagesichora of the other: similarly T. Rosenmeïer. Alcrnan 's Partheneion re
considered. «GRBS» 1966. pp. 338, 340 with n. 63; Pielma (n. 25), pp. 24-5; Cfr. Pavese (n. 58),
p. 88 witli n. 76. For a survey of interprétations of w. 44-5 see Calame. Les Choeurs, II:
47-8.
7o Hagesichora is the choragos: B. A. van Gronlncen, The Enigma of Alcrnan 's Partheneion.
«Mnemosyne» 1935-6, pp. 247-8; Bowra (n. 5), p. 49: Page (n. 16), pp. 22. 44-9; A. Garzya, Al
cmane. I Frammenti. Napoli 1954, pp. 41, 44-5 with η. 1. 75; Calame, Les Choeurs, passim; C. Se
gal, Sirius and the Pleiades in Alcrnan 's Louvre Partheneion. in Aglaia. The Poetry of Alcrnan, Sap
pho. Pindar, Bacchrlides, and Corinna. Lanham. Bottlder, New York, Oxford 1998, pp. 22, 29: et
alii.
76 Cfr. C. O. Pavese, Alcmane, il Partenio del Louvre, «QUCC» 1967. p. 124: id. (n. 58), pp.
51-2, 58-60: H. Eisenberger, Zu Alkmans Partheneion fr. 3 Calame, «Philologus» 1991. pp. 277
80, 286-7, identifies the choragos with Hagesichora, but also entertains the idea a third person. De
Martino and Vox, Lirica Greca. 1: 159, the choragos remains anonymous, but is not Hagesi
chora.
χοροστάτις, is aptlv called Άγησιχόρα (<ήγέομαι+

ally motivated and conforms with the above-me
alization that makes Hagesichora's name the una
scription: in self-deprecation the chorus maidens
chorostatis, they screech like an owl from the r
gesichora the girls trod the path of serenity; th
horses obey their trace-horse and as the sailors ob
(90-5). The talents that make Hagesichora fit for
praised (96-101) as if to establish and solidify th
ality. As with Astymelousa before, so now with
tralinguistic reference (pragmatic information) a
text hints at the motivation for the nomenclature.
The name of Άγιδώ has been connected etymologically with the Spartan dy
nasty of the Agiadae derived from T Αγις-Άγις <αγω) 8, and/or the verb άγέομαι
ήγέομαι 79, the former being genealogically, the latter functionally motivated, al
though both go back to a common root (άγ-) figuring with a long or short initial
α or η. Hence, both alternatives are compatible with the prosodical require
ments of the text (-U- for «Άγιδώ» w. 40, 42, 58, 80; (Τΐ'.Άγι,ς-Άγις, χοραγός,
Άγησιχόρα, ήγέομαι etc.).
Το start with the former, it is expected that Agido must belong to the upper
class of citizens in order to participate in this choral activity, although her royal
blood can neither he proved nor disproved. It is worth noting that, with the ex
77 WiLAMOvnTZ (η. 70), p. 260. «Hagesichora fiihrt den Chor wie Hagesilaos das Volk ... sie
branchi nicht mehr als Vortânzerin zu sein, und Agido kann Kurznarae so gut von diesem wie von
jeneni sein»; T. Berck. Poetae Lyrici Graeci. Pars III. Poetae Melici. Lipsiae 1914. pp. 38-9: B. La
yagnini, Aglaia. Nuova Antologia della lirica greca. Patavia, Torino 1947. p. 181: Calame, Les Cho
eurs. II: 46 with η. 2. sees in the name «le trait sémantique de «conduite du choeur»»., and attribu
tes to the bearer «la fonction qu' il signifie»: A. d'ERRico (n. 74), p. 24, «un nome d" arte»; Gentili.
Poetry and Public (n. 26). p. 73: G. Nagy. Early Greek Views of Poets and Poetiy. in The Cam
bridge History of Literary Criticism, G. A. Kennedy (éd.). vol 1, Cambridge 1989. p. 50. «her verv
name, Hagesikhora. récapitulâtes the meaning «leader of the chorus»»; Griffitms (n. 26). p. 24.
«her name sounds like a title: chorus-leader», «super-human», «a demi-goddess or heroine, then.
who presided over Spartan marriage cérémonies». Cfr. Pavese (n. 58), pp. 51-2. the girl is aceiden
tallv called Hagesichora: her name does not implv participation in the chorus; she may have been a
chorodidaskalos. or «la maestra di coro», but choragos and chorostatis must he another unnamed
girl.
78 So Berck (n. 77), p. 38. «Nomen Άγιδώ ... a nomine *Αγις descendit». Ki ki la (n. 71). pp.
205-6. Agido and Hagesichora are the daughters of Agesidas of the line of the Agiadae; Lavagmni
(n.77). pp. 181-2. «Agido sia una fanciulla di sangue reale. <*Αγις. «il condottiero»»: Calame, Les
Choeurs. II: 140-2: So J. Peron, Demi - Choeurs chez Alcman: Part. /, ν. 39 - 59. «GB» 1987. p. 51
with η. 67. See F. Bechtel. Die historischen Personennamen des Griechischen bis zur Kaizerzeit.
Halle 1917. p. 188.
7g Calame. The Craft of Poetic Speech (η. 59). p. 181. the name Agido is associated with
ήγεϊσθαι ... and with Agis. For Pielma (n. 25). pp. 16 with n. 38, 23 with n. 53, 24-5, Agido is a
«Respektsperson». presiding over a mystery, and lier name is «sprechend». «Er wird mit etvmologi
schein Spiel in der Wendung ά κλεννά χοραγός ν. 44. der sich nur auf Agido beziehen kann aufge
nommen». Nagy (n. 77). p. 51 with n. 80. «Like Hagesikhora ... the féminine name Agido ... seems
to be generic ... it fits into the naming pattern owned by the Spartan rovai lineage of the Agiadae ...
the role-model defined by a choral leader can be expressed in ternis of royalty as well as divinity ...
the rôles of choral leadership indicated bv uames such as Agido or Agesidamos demand to be filled.
in performance, by real royalty or aspiring royalty». D. CLAY. Alcman s Partheneion, «QICC»
1991. p. 49. choragos and chorostatis is Hagesichora. while Agido is «another wontan with a speak
ing name». E. Robbins. Alcman's Partheneion: Legend and Choral Ceremony, «CQ» 1991. p. 8.
«both names are. either accidentallv or intentionallv, derived front words that mean «lead»».
ception of the founder of the dynasty, Agis, other reputed mem
ily, such as Timasimbrota and Agesidamus figuring in Alcma
side it 80, have compound names signifying individuai quali
alone in having a bare family root, in contrast to the rest of her
other influential choral figures (Clesimbrota, Megalostrata,
nesimbrota, and Hagesichora).
The validity of the latter etymology (<ήγέομαι), dépends on
ing of w. 39-49 and is contingent upon the possibility that
κλεννά χοραγός of ν. 44, or the leader of a semichorus, or even
the Peleiades, a supposedly rival chorus. However, the role of
specified with certainty. She has been considered a pries
sumed royal lineage is relevant for holding this office; a neo-
goes the period of integration and is presented to the world
cially to would-be husbands 82; or the exemplary newly-ma
embodies the aspirations of the parthenoi for sexual and po
tion 83. Besides, the overwhelming praise of the choral talen
weakens the possibility that similar claims are also pressed
fects the viability of this etymological option. Hagesichora's
field is after ali indisputable and imprinted on her name.
If Agido were a priestess, her name might be linked with the r
signifies religious awe, respect, and reverence, and which anc
necte with Alcman (PMGF 128=180 C): άζαλέην· ξηράν ή σκλη
τό ξηραίνω ... ό δέ Ήρωδιανός εν τώι περί Παθών λέγει ότι παράγω
άγος άγίξω και κατά συγκοπήν αζω ... πόθεν δέ δήλον; έκ τοΰ τόν '
ίσδεο, αντί τοΰ αζεο, «revere» (Campbell, Greek Lyric. II: 483
the initial α of the αζομαι, άγος family of words is also debatab
μαι), but does not affect the prosody of Agido, especially s
gained a réputation for being a resourceful and enterprising
TB13 xiii, xiv) 84. The name of Άγιδώ would then evoke her p
suggest «The Reverent», or «Revering». Yet also this proposai
ifiable assumption, the sacerdotal status of Agido.
80 A list of names in Hdt. 8. 131. See also West (n. 53), p. 2.

81 So F. Schwenn, Zu Alkmans grofiem Partheneion Fragment, «RhM» 19
nincen (n. 75), p. 248. priestess or canephore; Lavacnini (n. 77), pp. 181-2; P.
chora, «RFIC» 1964. p. 62; Δ. ΛΥΠΟΥΡΛΗΣ, "Αρτεμις Όρ&ρίαι «EEThes
Puelma (η. 25). pp. 16 with η. 38, 23 with η. 52 (sacral duties); Hooker (n
Agido and Hagesichora are priestesses (neither one is the choir leader): Peron
74; Eisenbercer (n. 76), p. 277: Stehle (n. 26), pp. 30 with n. 17, 36 with
8~ See Calame, Les Choeurs , passim : see also n. 26, above.
88 So Monaldi (n. 26). pp. 266-7, 270, 273. 281-2, 284. also with a sacer
to that of the priestess of Hera-Aphrodite.
84 For the probleinatic prosody of the initial α of this family of words see
Wort. s. ν. άγιος, άγος (cfr. aind. âgas-ι ευαγής [Parm. 10. 2] and άγής [Emp.
ted with άγιος); Chantralne, Dict. Etym. s. ν. αγος (άγής, ευαγής, εΰάγητον ar
although some connect εΰάγητον [φύσιν] with ήγέομαι or αγω; so LSJ s. ν. άγής, ε
αζομαι. For the versatility of Alcman's metrics see in PMGF 1 the analyses of
σιν άλέγω 2, έν Άίδας 32, διαφάδαν 56); the lengthening of short svllables (Π
prob. Ένητικός 51); the synizesis (ίανογλεφάρων 69, σιαί 98: σιοίσι PMGF 56);
οΰχ 50); the use of metrically convenient words (Σηρηνίδων 96); the shorten
(Αίας PMGF 68. 69 [?]). not to mention the notorious problem with th
'OQ$QÌm(PMCF 1. 61).
The elusive background has affected the issue o

cast on the reality of the names of the chorus membe
pecially of Hagesichora and Agido. We are faced w
says, of whether these are actual names reflecting rea
perhaps of girls of certain families who have been
to their predetermined duties 6. Herington, on the
the names belong to real-life figures, the constant
«must automatically have become a kind of imper
récréation of that originai moment and those wo
names belong to «beauties who never were», he co
tious, then «the poem will have been a quite comp
even at the moment of its originai performance» 87. N
tion of these names (Hagesichora, Agido, Hagesida
fits into the naming pattern of the Spartan rovai l
role conditioned; «the figures named as Agido and
1 are ... not real people per se, but choral character
should not look at the Partheneion 1 «as if it were
given group of historically verifiable persons at o
time», but as a «seasonally recurring institutional m
models like divinities or royal ancestors» 88.
Despite the attractiveness of the above views, it i
unreservedly the notion of fiction and dramatic s
poem of Alcman in its originai setting, no matter h
become by the time of Sosibius (5 F 595 FGrHist.
reperformances. On the contrarv, Calarne speaks f
ens, who participate in a ritual set in time and sp
assigne a great iole to the enunciator/narrator, wh
rus members are grown up) compares the name gi
ual and its signifieds with reality. This holds for A
the self-referential utterance is confirmed by «an
cursive reference by associating certain of its poten
ties of the name bearer, now an adult ... This process
is combined with the internai reference impl
play» 89.
8'5 See Stehle (n. 26). p. 85. «These may be fictitious names with respect to any given perfor
mance. but thev are nonmvthic, so they refer to parthenoi like those singing»: ib. n. 48. «It is a ge
nerali}' accepted hypothesis that the names given are those of the chorus meinbers. But if this poem
was performed yearly, the names would not be those of the actual dancers».
80 Page (n. 16). p. 64 with n. 3. For the predeterniined qualities conveyed through names to he
verified in the future see Calame. The Craft of Poetic Speech (η. 59). pp. 179-85.
8^ Herincton (η. 68). pp. 55. 238 η. 38: approved bv D. J. Rayor. Compétition andEroticism In
Alcman's Partheneion [PMG 1], in APh. Assoc. Animal Meeting 19S7 Abstracts.
88 Nagy. Pindar's Homer (n. 26), pp. 347. 349: id. Poetiy as Performance, Cambridge 1996. p.
57, «archetvpal figures, including the primary figures named Hagesikhora and Agido, are models
being acted out by real chorus-menibers in performances held on a seasonally recurring basis. Even
their names designate models - either divine, like Hagesikhora. or royal, like Agido». So also Stehle
(n. 26), p. 82 with n. 39; Clark (n. 10). p. 143 n. 2.
80 Calame, The Craft of Poetic Speech (n. 59), pp. 181-3. Although the word «baptism» may
sound anachronistic in such a context because of its religious associations with Christianity, its me
tapliorical use is obvious.
The issue of namegiving in Alcman's contemporary Spar
tle because the majority of the proper names discussed ab
personalities in their dual capacity as mentbers of aristocr
choruses. Some of his names (Hagesidamus, Hagesichora, a
sound like «vocational» names, and are self-validating, th
semantic and extralinguistic test of royal and/or function
Others (Astymelousa, Megalostrata) play rather upon the h
tional impact of the name-bearers vis à vis the people (άστ
emes of «Timasimbrota», «Clesimbrota», and «Aenesimbrot
blood connections, signify their public (βροτός) fame and
αΐνέω) 90. The names of the members of the chorus prése
with compound and simple names. Damareta's name «sp
amidst the people, the damos. while Cleesithera's réputat
hunting. The rest «speak» of love, virtue, girlish playthi
(Nanno), or suggest the vegetable world. Both types (simp
flect real life practices.
The narrativized/contextualized names in Alcman sound
izations of societal expectations and values, and, if really so
conditioned and society-oriented naming practice. Hence
carriers of Spartan religious and social reality. It seems p
than coin the names-titles of his chorus leaders following
Alcman exploits the potential of the «baptismal» names. In
like Homer 91, provides his names with an identifying de
narrative are interwoven in a complementary manner.
Homer lies in his insistence on naming: the sheer numbe
proper names is impressive, and the reason for this should
lic and religious orientation of his poetry. In a dromenon
pletion of a rite of passage and the integration of the m
body, the «graduâtes» are identified by name and shown of
and, especially, to potential husbands. The maidens are the
miration and erotic desire. The abundant deictic pronoun
pecially the proper names themselves, enhance the degree
vi dualization and social integration 92. These names may e
purpose: the tutelary divinity is almost bound to reciprocate a
on those mentioned by name, and society is asked to recei
members. At the synchronie level the girls bear names sign
ancestry, yet these names become «classic» at the diachron
their validity as long as the community continues to practi
00 Calame, The Craft of Poetic Speech (η. 59). p. 181. considerili® the «r
réputation ... its appeal to feelings of affection... and its metaphors insp
concludes that the system of signifiers of these naines «seems to
norm».
1 For the narratrmation of proper names in epic poetry see G. Naca

eans. Baltimore 1979, p. 70 and passim : D. Frame, The Myth of Return
Haven and London 1978. passim: Calame, Craft of Poetic Speech, pp
nome, la persona. Saggio sulT etimologia antica , Genova 1987, pp. 1-
94-170; R. Maltby, The Limits of Etymologizing, «Aevum(ant)» 1993.
1)2 For the function of naming see Fràxkel (n. 5). pp. 161. 169. the ab
poetry make «its statements seem particularly real. for names identify
unequivocallv», while in Alcman thev «demonstrate a direct équation of nai
not to be surpassed».
These naines symbolize what Sparta stands for. T

and continuity is Consolidated: through its repré
here, now and in the future united at the divin

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ALCMAN: POETIC ETYMOLOGY TRADITION AND INNOVATION

ALCMAN: POETIC ETYMOLOGY

Ancient poetic etymologizing, a fascinating though elusive subject, has

Rivista di Cultura Classica e Medioevale - η. 1 - 2001

poetic etymology as a vehicle for the ideas the p

1 The quotations and numbering follow M. Dames. Poet

4 E. g. PMGF 32=208 C (φιλόψιλος), 33=200 C (όμοστοίχους); 61=218 C ("Ακμών); 63=9

Paronomasia or figura etymologica or schema etymolog

7 Dérivations such as Κολαξαΐος (PMGF 1. 59), Φοιβαΐα (.PMGF 5

this is the fastening of Odysseus on the mast or

On the pattern of the epic analyzing of compoun

579. σειρήν: παρά γαρ τό ε'ι'ρω τό σημαίνον τό συμπλέκω γίνεται

ού μ' ετι, παρσενικαί μελιγάρυες ιαρόφωνοι,

In the sanie fragment, the phrase μελιγάρυες ιαρόφωνοι exem

14 On this technique of epexegesis or paraphrase of naines see L. P. Rank, E

γήρυς with a synonym, φωνή. This kind of explanat

505»: LSJ ήερ

[Or. 28. 51 [2. 158 K.c\\\=PMOF 30-86 C) J~\ and i

"■* G. Cerri. Dal canto citarodico al coro tragico: La Palinodi

Muses Erato (έρατών, ϊμερον, χαρίεντα), Polym

2. Use and adaptation of heroic proper names

Alcman proves to be sensitive to the allusions o

33 For the scientific etymologies of «Paris» see H. von Ka

36 Loiden (n. 8). p. 31.

παρονομασία and παρονομάζω after «οί παλαιοί» to signpost etymology. On the

conceptual ring that opens with Δύσπαρις and

3. Names άπό τον σνμβεβηκότος or οικεία

Alcman, not unlike Homer and Hesiod, présents a number

So E. Lobel, The Oxyrhynchus Papyri. voi 24, London 1957, p. 54.

derived from πολύς+πήμα, considered to be (b1) trans

probably suggests not only a high status, but also

λυσιμελεϊ τε πόσωι, τακερώτερα

Her appearance is equally dazzling: she passes bv

χοΰτο Καδειδν έδειξε Μωσδν

This fragment of Alcman contains no etymological hints whatsoever regard

the ancient text with biographical intentions: as

64 See Calame, Les Choeurs. II: 96 η. 91: id. Alcman. p. 561

39 έγών δ' άείδω

χοροστάτις, is aptlv called Άγησιχόρα (<ήγέομαι+

80 A list of names in Hdt. 8. 131. See also West (n. 53), p. 2.

The elusive background has affected the issue o

1 For the narratrmation of proper names in epic poetry see G. Naca

These naines symbolize what Sparta stands for. T

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