Lying and poetry from Homer to Pindar.

Abstract

This dissertation examines the problem of lying ($\Psi\varepsilon\\upsilon\delta o\varsigma$) and deception ($\acute\alpha\pi\acute\alpha\tau\eta$) within archaic poetics. It argues against the prevailing view that archaic poetry is firmly committed to truth, suggesting instead that $\Psi\varepsilon\acute\upsilon\delta\varepsilon\alpha$ and $\alpha\pi\acute\alpha\tau\eta$ are not excluded from poetry, as long as these preserve truth at the ethical level. That is, archaic poetry must be $\kappa\alpha\tau\grave\alpha$ $\kappa\acute o\sigma\mu o\nu$, $\kappa\alpha\lambda\acute o\varsigma$, and $\pi\rho\varepsilon\pi\acute\eta\varsigma$, but not necessarily $\alpha\lambda\eta\Theta\acute\eta\varsigma$ or $\acute\varepsilon\tau\upsilon\mu o\varsigma$. The first chapter examines the Greek words $\Psi\varepsilon\\upsilon\delta o\varsigma$ and $\alpha\pi\acute\alpha\tau\eta$ and discusses attitudes toward lying and deception expressed in archaic poetry. While condemning certain kinds of falsehood, particularly distortions of ethical truth, the poets also recognize positive functions for $\Psi\varepsilon\\upsilon\delta o\varsigma$ and $\alpha\pi\acute\alpha\tau\eta$, when properly employed by the intelligent. $\Psi\varepsilon\acute\upsilon\delta\varepsilon\alpha$ which preserve ethical truth provide a model for an appropriate use of falsehood in poetry. The second chapter discusses the affinity between liars and poets created by both figures' possession of the same kind of skillful intelligence and persuasive effect. The poets embrace powers that are most evident when used to persuade that the unreal is real, the false true and the unbelievable believable, but are careful to insist on the harmlessness of their deployment of these powers. The third chapter argues against the view that hexameter embraces a poetic of truth. Rather, poetry is associated with a domain that includes both truth and lies: with pleasure, beauty and persuasion. The all-knowing Muses do not guarantee that all poetry is true, but only that the poet does not err. Their boast at Theogony 27-8 permits the deliberate use of $\Psi\varepsilon\acute\upsilon\delta\varepsilon\alpha$. The $\alpha\\iota\nu o\varsigma$ is an example of an acceptable use of deliberate $\Psi\varepsilon\acute\upsilon\delta\varepsilon\alpha$; it preserves truth on an ethical but not on a literal level. Likewise, in their preservation of $\kappa\lambda\acute\varepsilon\alpha$, the poets are allowed certain kinds of distortion as long as they preserve ethical truth. The fourth chapter discusses truth and lies in lyric poetics. It examines (1) aenigmatic speech, which extends the principles of the $\alpha\ i\nu o\varsigma$, (2) critiques of the poetic tradition, which show a preoccupation with ethical but not with literal truth, and (3) truth and lies in epinician where again ethical truth is of primary concern.