[1]: Odyssey 11.489–91. Odysseus is being addressed by Achilles in Hades.

[2]: Iliad 20.64–5. Hades is afraid that the earth will split open and reveal what his home is like.

[3]: Iliad 23.103–4.Achilles speaks these lines as the soul of the dead Patroclus leaves for Hades.

[4]: Odyssey 10.493–5. Circe speaking to Odysseus about the prophet Tiresias.

[5]: Iliad 16.856–7.The words refer to Patroclus, who has just been mortally wounded by Hector.

[6]: Iliad 23.100.The soul referred to is that of Patroclus.

[7]: Odyssey 14.6–9. The souls are those of Penelope’s suitors, whom Odysseus has killed.

[8]: “Cocytus” means river of wailing or lamenting;“Styx,” river of hatred.\

[9]: Iliad 24.3–12.

[10]: Iliad 18.23–4.

[11]: Iliad 22.414–5.

[12]: Iliad 18.54. Thetis, the mother of Achilles, is mourning his fate among the Nereids.

[13]: Iliad 22.168–9. Zeus is watching Hector being pursued by Achilles.

[14]: Iliad 16.433–4.

[15]: Iliad 1.599–600.

[16]: Odyssey 17.384.

[18]: Iliad 4.412. Agamemnon has unfairly rebuked Diomedes for cowardice. Diomedes’ squire protests, but Diomedes quiets him with these words. By obeying, the squire exhibits the kind of moderation that most people can come to possess.

[19]: A mix of Iliad 3.8 and 4.431.

[20]: Iliad 1.225.Achilles is insulting his commander,Agamemnon.

[21]: Odyssey 9.8–10.

[22]: Odyssey 12.342. Eurylochus urges the men to slay the cattle of Helios in Odysseus’ absence.

[23]: Iliad 14.294–341.

[24]: Odyssey 8.266ff.

[25]: Odyssey 20.17–8.The speaker is Odysseus.

[26]: The source of the passage is unknown. Cf. Euripides, Medea 964.

[27]: Iliad 9.602–3.

[28]: Iliad 19.278ff., 24.594.

[29]: Iliad 22.15, 20.

[30]: Iliad 21.232ff.

[31]: Iliad 23.151–2.

[32]: Iliad 14.14–8.

[33]: Iliad 23.175.

[34]: According to some legends,Theseus and Peirithous abducted Helen and tried to abduct Persephone from Hades.

[35]: See 380b8–383c7.

[36]: Thought to be from Aeschylus’ lost play Niobe.

[38]: Iliad 1.15ff.

[39]: Apollo as at 393a1 and 394a3.

[40]: See Glossary of Terms s.v. dithyramb.

[41]: Metabolê: variation in general, but also a technical term in music for the transition from one harmony to another.

[42]: As was traditionally done to statues of the gods.

[44]: Phthongos, prosôdia: phthongos is a human voice, an animal cry, or more generally sound of some sort; prosôdia is the tone or accent of a syllable, or a song accompanied by music.

[45]: See Glossary of Terms s.v. flute. It is characterized as multi-stringed because of the number of different notes it is capable of producing.

[46]: After Athena had invented the flute, she discarded it because playing it distorted her features. It was picked up by the satyr Marsyas, who was foolish enough to chal- lenge Apollo (inventor of the lyre) to a musical contest. He was defeated, and Apollo flayed him alive. Satyrs were bestial in their behavior and desires—especially their sexual desires.

[47]: Nê ton kuna: probably the dog-headed Egyptian god Anubis, as at Gorgias 428b5.

[48]: Rhythm is poetic meter, and the elements are the metrical feet.

[49]: Probably those in which the foot is divided in the ratio of: (1) 2:2—e.g., the dactyl (¯ ˘ ˘) or the spondee (¯ ¯); (2) 3:2—e.g., the paeon (˘ ˘ ˘ ¯); (3) 1:2 or 2:1—e.g., the iamb (˘ ¯) or the trochee (¯ ˘).

[50]: The precise reference is unclear.

[51]: Reading daktulikÒn with Jackson and Waterfield.

[52]: The foot being described is probably the dactyl (¯ ˘ ˘): it is warlike and heroic, because Greek heroic poetry was written in dactylic hexameter; complex, because it consists of a long syllable and two short ones; equal up and down in the interchange of long and short, because a long syllable is equal in length to two short ones; and fingerlike, because the first joint on a finger is roughly equal in length to the other two.

[53]: See 348c12 note.

[55]: Fish was a luxury item in Plato’s Athens. See James Davidson, Courtesans and Fish- cakes:The Consuming Passions of Classical Athens (NewYork: St. Martin’s, 1998).

[56]: Corinthian prostitutes enjoyed an international reputation in the Classical period.

[57]: See Glossary of Terms s.v. judge.

[58]: At Iliad 11.580ff. Eurypylus is wounded, but not treated in this way (see 11.828–36). However, Machaon, the son of Asclepius, does receive this treatment at 11.624–50.

[59]: Phocylides of Miletus was a mid-sixth–century elegiac and hexameter poet best known for his epigrams.

[60]: Iliad 4.218–9. In the extant text, Machaon is acting alone.

[61]: See Glossary of Terms s.v. judge.

[62]: See 341e4–6.

[64]: Iliad 17.588.

[65]: Misologos: the opposite of a philosopher, who is a philologos, a lover of argument. See Laches 188c4–189b7, Phaedo 89d1–91b7.

[66]: Tragikôs: The participles Socrates has used at 413b1–2—klapentes (theft), goê- teuthentes (sorcery), biasthentes (compulsion)—are, like much tragic poetry, both met- aphorical and grand.

[68]: Apparently a reference, first, to the legend of the Phoenician hero, Cadmus, who sowed the earth with dragon’s teeth from which giants grew; and, second, to the Odyssey, and the tales Odysseus tells to the Phaeacians.