|184 δεῦρ’ ἄγ’ ἰών, πολύαιν’ Ὀδυσεῦ, μέγα κῦδος Ἀχαιῶν, |185 νῆα κατάστησον, ἵνα νωϊτέρην ὄπ’ ἀκούσῃς. |186 οὐ γάρ πώ τις τῇδε παρήλασε νηῒ μελαίνῃ, |187 πρίν γ’ ἡμέων μελίγηρυν ἀπὸ στομάτων ὄπ’ ἀκοῦσαι, |188 ἀλλ’ ὅ γε τερψάμενος νεῖται καὶ πλείονα εἰδώς. |189 ἴδμεν γάρ τοι πάνθ’, ὅσ’ ἐνὶ Τροίῃ εὐρείῃ |190 Ἀργεῖοι Τρῶές τε θεῶν ἰότητι μόγησαν, |191 ἴδμεν δ’ ὅσσα γένηται ἐπὶ χθονὶ πουλυβοτείρῃ.
|184 Come here, Odysseus, you of many riddling words [ainoi], you great glory to the Achaean name, |185 stop your ship so that you may hear our two voices. |186 No man has ever yet sailed past us with his dark ship |187 without staying to hear the sweet sound of the voices that come from our mouths, |188 and he who listens will not only experience great pleasure before homecoming [néesthai] but will also be far more knowledgeable than before, |189 for we know everything that happened at Troy, that expansive place, |190 —all the sufferings caused by the gods for the Argives [= Achaeans] and Trojans |191 and we know everything on earth, that nurturer of so many mortals—everything that happens.
Part 1. The two Sirens—there are only two of them in the Odyssey—declare here that they know everything in general—but they also declare that they know everything about the Trojan War in particular. By knowing everything, they are like the Muses. The repeated word idmen ‘we know’ at O.10.189/191 is comparable to what the Muses say to the Narrator in Hesiod Theogony 27/28, idmen ‘we know’. Also comparable is what the Narrator says to the Muses at I.02.485: iste te panta ‘you know everything’. By knowing everything about the Trojan War, the Sirens are like the Muses of the Iliad, as at I.02.485. It may be said that the Sirens are the false Muses of the Iliad.
Part 2. The Song of the Sirens is relevant to I.09.413, where Achilles says he will have to choose between a nostos, which is a safe ‘homecoming’, and the kleos or ‘glory’ of the poetry that will be his if he dies young at Troy. See the comment on I.09.410–416. Achilles will have to forfeit nostos in order to achieve his kleos or ‘glory’ as the central hero of the Iliad. By contrast, Odysseus must have both kleos ‘glory’ and nostos ‘homecoming’ in order to merit his own heroic status in the Odyssey (BA 36-40). For him, the nostos is not only a ‘homecoming’ but also a ‘song about a homecoming’, and that song is the Odyssey. It is the kleos or ‘glory’ of that song that will be his—if his quest for a homecoming is to succeed.
Part 3. (What follows is epitomized from H24H 9§14.) The narrative of the kleos or ‘glory’ of song that Odysseus earns in the Odyssey cannot be the Iliad, which means ‘tale of Troy’ (Ilion is the other name for Troy). The Iliad establishes Achilles as the central hero of the story of Troy, even though he failed to destroy the city—while Odysseus succeeded, by devising the stratagem of the Wooden Horse. Because of the Iliad tradition, “the kleos of Odysseus at Troy was preempted by the kleos of Achilles” (BA 41). Thus the kleos that Odysseus should get for his success in destroying Troy is elusive, by contrast with the kleos that Achilles gets in the Iliad, which is permanent. So, Odysseus cannot afford to dwell on his success at Troy, because the kleos he may get for that success will become permanent only if it extends into the kleos that he gets for achieving a successful homecoming. Odysseus, then, must get over the Iliad.
Part 4. As we see from the wording of the Sirens’ Song here in the Odyssey, O.12.184–191, the sheer pleasure of listening to a song about the destruction of Troy will be in vain if there is no nostos, no safe return home from the faraway world of epic heroes; and, by extension, the Iliad itself will become a Song of the Sirens without a successful narration of the Odyssey (BA [1999] xii).
Part 5. (What follows in Parts 5 and 6 is epitomized from H24H 10§§19–20.) So, to repeat, Odysseus must get over the Iliad. But, to get over the Iliad, he must sail past it. His ongoing story, which is the Odyssey, must be about the seafarer who is making his way back home, not about the warrior who once fought at Troy. The kleos of Odysseus at Troy cannot be the master myth of the Odyssey, since the kleos of Achilles at Troy has already become the master myth of the Iliad. As I already noted, the kleos or poetic ‘glory’ of Achilles in the Iliad has preempted a kleos for Odysseus that centers on this rival hero’s glorious exploits at Troy. For the hero of the Odyssey, the ongoing kleos of his adventures in the course of his nostos is actually threatened by any past kleos of his adventures back at Troy. Such a kleos of the past in the Odyssey could not rival the kleos of the more distant past in the Iliad. It would be a false Iliad. That is why Odysseus must sail past the Island of the Sirens. The Sirens, as false Muses, tempt the hero by offering to sing for him an endless variety of songs about Troy in particular and about everything else in general.
Part 6. The sheer pleasure of listening to the songs of the Sirens threatens not only the nostos, ‘homecoming’, of Odysseus, who is tempted to linger and never stop listening to the endless stories about Troy, but also the soundness of his ‘thinking’, his nóos. And it even threatens the ongoing song about the hero’s homecoming, that is, the Odyssey itself (BA [1999] xii). Accordingly, the use of the verb néesthai ‘return, have a homecoming’ at O.12.188 signals what is at stake for both the nostos ‘homecoming’ and the nóos ‘mind’ of Odysseus, and it is no accident that these two nouns are actually both derived from that verb.