Wordplay is pretty common in early-to-classical Greek poetry. But ... don& #39;t think of it as puns.

When Odysseus tricks the Cyclops with the name & #39;Nobody& #39; (Outis) and calls that a metis -- μῆτις & #39;cunning trick& #39; ~ μή τις & #39;nobody& #39; -- it isn& #39;t a joke. Or, it isn& #39;t JUST a joke.
It& #39;s be more on the mark to think of it as word magic. It& #39;s like when the Derveni papyrus equates & #39;being beneficial& #39; and & #39;prophesying& #39;, because χρῆσαι can mean both. Or when it relates Kronos/Chronos to κρούω (& #39;collide& #39;). There& #39;s something mystical about it.
A famous one is in Aeschylus& #39; Agamemnon. At one point the chorus sings about evil Helen, and calls her

& #39;ship-destroyer, man-destroyer, city-destroyer& #39;
ἑλένας ἕλανδρος ἑλέπτολις
helenas helandros heleptolis
(Ag. 689)

This definitely isn& #39;t a comedy by the way.
But the biggest cluster of wordplays, I think, is around Odysseus. Odysseus& #39; name is a big deal in the Odyssey. He& #39;s anonymous in the proem (until line 21); he& #39;s anonymous to the Phaiakians for 3 books; he& #39;s literally Nobody to the Cyclops; he doesn& #39;t name himself to his son.
In fact when he does reveal himself to Telemachus, he says:

& #39;I am no god...
but I am your father& #39;

οὔ τίς τοι θεός εἰμι...
ἀλλὰ πατὴρ τεός εἰμι

ou tis toi tʰeos eimi...
alla pater teos eimi.

(Remember Outis = & #39;Nobody& #39;: & #39;I am no god& #39; ~ & #39;I am your Nobody& #39;.)
The wordplay famously becomes part of the story in book 19: he was called Odyss-eus because his grandfather & #39;angered& #39; (odyss-amenos) many people.

More striking, but obscured in translation: Athena& #39;s speech to Zeus in book 1 plays on his name with dys-, odys-, and de-/da- sounds.
Parry didn& #39;t call this & #39;wordplay& #39; -- he used the French term & #39;calembour& #39; instead. I guess that has more literary dignitas.

Further reading: Ahl, in Arethusa 35 (2002); Louden, TAPA 125 (1995); Olson, ICS 17 (1992); Austin, CSCA 5 (1972).
You can follow @PeterGainsford.
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