Abstract

Lycophron’s riddling poem “Alexandra” is infamous for hardly ever calling anything by its proper name, but rather employing obscure and erudite metaphors, periphrases, and mythological allusions for people and events as well as local cult epithets for divinities. This article attempts to explain the fact that epithets for gods occur only rarely in isolation, but usually in clusters ranging from two to six different appellations. Assuming that this repetition of information is not merely empty redundancy, Hellenistic extravagance, or an ostentatious demonstration of erudition, it is argued that the clustering also serves a communicative function: Since these epithets are often of regional rather than pan-Hellenic origin, the poet could not expect his readers to be familiar with all of them (and probably used a compilation himself), so by providing several riddling circumlocutions he could increase the chance of his audience’ being able to identify one of them and thus ensure understanding and enjoyment of his poem.