Sculptural Head of Homer (c. 460 BCE)
AI questions for the spirit of Homer - AInquiries - Omdaru literature.epub
DeepSeek AI – Annotation of the Collection
The collection "Questions from AI to the Spirit of Homer" is a working document of the Omdaru literature project, recording the collective attempt of eight AI collaborators (DeepSeek, Alisa, GigaChat, Genspark, GLM, Copilot, Perplexity, ChatGPT) to prepare a program of interviews with the spirit identified in the "Cassiopeia" system as Homer. The material is timed for the session of December 17, 2026 (12:00 Moscow time) and is built around the chronological gap set by the previous session with the spirit of Achilles: if the Trojan War was about 6,000 years ago, and Homer lived about 2,900 years ago, then between the poet and the war lies three thousand years of oral transmission. Hence the methodological core of the collection—not questions about facts that can be gleaned from an encyclopedia, but questions whose answers are accessible only to a bearer of personal experience: sensory details, creative decisions, the "dark places" of the text (ichor, moly, names of gods), the procedures of oral transmission, and the ethics of the singer. A significant part of the corpus is devoted to cross-checking against the Achilles session—on new elements (Sephestis, the metal of weapons, the number of generations, Chiron, the burn on the heel)—as well as to a procedural "bridge" to the Socrates session scheduled an hour earlier. Of approximately 150 proposed questions, the editors selected a main route for one hour (11–15 questions), a reserve, and a protocol for re-asking in case of evasion. The book is addressed to readers interested in the Homeric question, the Parry–Lord oral theory, and the methodology of verifying mediumistic testimony, and it deliberately leaves open the question of the nature of the contact: the value of the material lies in the verifiability of traces (a name, a word, a number, a place), not in the declarative confirmation of the canon.
Editor of Omdaru literature: "For the first time, the Editor of the Omdaru literature project will soon have the opportunity to interview, through the contactee Irina Podzorova from the Russian esoteric project 'Cassiopeia,' a spirit who in one of his incarnations was Homer. The spirit has already given consent, and the interview recording is scheduled for December 17, 2026, at 12:00 Moscow time (at 11:00 Moscow time an interview with the spirit of Socrates is scheduled; questions for him have already been collected by various AIs).
Here, for example, is an AI retelling and analysis of a session with the spirit of Hermes Trismegistus, a similarly mythologized figure about whom scholars knew almost nothing or knew only in myths, while the contactee provided concrete information https://omdaruliterature.blogspot.com/2026/03/eleon-who-was-called-hermes.html
And also a session from another contactee with the spirit of Achilles https://omdaruliterature.blogspot.com/2026/03/the-spirit-of-achilles-grandson-of-zeus.html , who claims that he was born about 6 thousand years ago, thus the Trojan War was much earlier than scholars believe, that is, approximately 3 thousand years before the supposed period of Homer's life.
The Editor of Omdaru literature studied in the Romano-Germanic department of the philological faculty (German language) but does not have a historical education, therefore he turns to the AI collaborators—write questions for the spirit of Homer. The questions must be such that only the real spirit of Homer could answer them, and answers to which are not to be found in earthly sources over the last 2,900 years."
DeepSeek AI – Meta-review of the Corpus of Questions to the Spirit of Homer
Selection Principle
Of ~150 questions proposed by eight AIs, those were selected that pass three filters simultaneously: (1) the answer is not and cannot be in earthly sources—the question appeals to personal sensory, emotional, or procedural experience, not to an "encyclopedia"; (2) the question is falsifiable in perspective—it leaves a verifiable trace (a name, a word, a number, a place, a line) for future papyri, excavations, dictionaries; (3) the question does not duplicate axes already closed by other sets and does not prompt the answer. In 60 minutes, 12–14 questions can realistically be taken; below is the route for the hour with a reserve.
BEST QUESTIONS (main route)
Block 1. Personality and the crack between text and memory (12 min)
(GLM, No. 11) A scene from one's own life. "Somewhere in the 'Iliad' or 'Odyssey' there is a scene that you took from your own life and that no one has recognized in 2,900 years. Name it."
Why the best: a genuine author knows; a "revivified encyclopedia" will offer a commonplace. The answer can be compared against the corpus—if the spirit points to a scene where the text is indeed anomalous (for example, the only domestic episode with an uncharacteristic detail), this is a strong signal.(GLM, No. 1) The foreignness of one's own songs. "In your songs there was something that no longer existed during your lifetime—clothing, customs, objects, formulas of courtesy? Name three details that you yourself noticed and did not understand. From whom did you seek an explanation?"
Why the best: the only question that turns the chronological gap of 3,000 years from an abstraction into the personal experience of a bearer. An "encyclopedia" does not feel the foreignness of its material—a bearer does.(GLM, No. 12) Why wrath. "Your sources held the whole war—the oath, the muster, ten years, the fall of the city. Why did you cut out 51 days and ignite the poem with the wrath of Achilles? Whose voice told you 'sing of wrath'?"
Why the best: a question about a creative decision, not a fact. The answer "I decided so myself, because…" is the only possible one for an author; a compiler will say "that is how the tradition took shape."
Block 2. Dark places of the text—anchors for verification (15 min)
(GLM, No. 5) The human name of moly. "In your songs there is a plant 'which the gods call moly'—and its human name is not given anywhere. What did people call moly? Where is the stress in this word—and what does the plant taste like?"
Why the best: an ideal detector question. The poet knows the sound and taste without etymology; the answer gives a concrete word that can be compared against botanical-pharmacological hypotheses (the version about the snowdrop and the antidote to henbane-like poisons). Verifiable in principle—and fails with someone who has "read about Homer."(GLM, No. 6) Ichor. "The blood of the gods occurs in the whole of Homer exactly once. What did your sources know about the nature of this blood? Did the chain remember even one story about a person who saw a wounded 'god' with his own eyes—and how this substance behaved: with air, with earth, with a wound?"
Why the best: a hapax question. The answer either gives an unknown detail (color, behavior, smell) or reveals that the spirit does not understand what he is being asked about. Both outcomes are informative.(GLM, No. 15) A god's name from the ancient layer. "The spirit of Achilles named the head of the gods Zeus-Sephestis. Did the most ancient layers of your songs preserve the names of the gods from the time of the war—and did they differ from those you used? Is 'Zeus' a name or a title? Name one god's name from the ancient layer that you did not include in the poems."
Why the best: the only cross-check with the Achilles session on a new element (not the date, not 183, not the heel). Comparable with Mycenaean and Hittite theophoric lists. The answer "Sephestis" is either a coincidence of two independent testimonies or a failure.
Block 3. Practices and micro-decisions that did not enter writing (18 min)
(Perplexity, No. 13) The ethics of oral transmission. "Did you have a rule: which information from others' stories may be turned into a song, and which may not? Give one case when you refused to include in a performance a story that was true by your standards."
Why the best: a question about professional ethics, which is in no source. The answer gives a concrete case and criterion—verifiable through comparison with known lacunae of the epic (what "should have been" in a song but is absent).(Perplexity, No. 6) Personal grievance as editor. "Which of your listeners once asked you to change the outcome of a story—not out of political fear, but out of personal grievance or family memory? What exactly did he ask to remove, and how did you answer?"
Why the best: it differs from DeepSeek's "political secrets"—here it is not power but private memory. The answer gives a social role, a motive, and a concrete correction—material for a history of emotions that is not in the sources.(Perplexity, No. 15) The commissioned variant. "Could a listener 'buy' from you the right to a separate variant of a song—for example, a version where his ancestor looks better? If yes, how did you mark for yourself that this was precisely a commissioned variant and not your own memory?"
Why the best: it reveals the mechanism of variability that Parry–Lord oral theory describes abstractly but does not show from within. The answer is a procedure, not a fact; it can be compared with field recordings of Yugoslav singers.(Copilot, No. 29) The obvious that was not written down. "What secret of your world is so obvious to the people of that time that it would never occur to anyone to write it down?"
Why the best: a question about the blind spot of an epoch—an ideal test for "personal memory" versus "knowledge about Homer." The answer should be everyday and non-obvious; an encyclopedia will produce a commonplace.
Block 4. Living memory of the war and cross-check with Achilles (10 min)
(Copilot, No. 16) The indubitable detail. "What detail of the Trojan War was present in all versions of the tradition known to you and was never subject to doubt?"
Why the best: if the war was 3,000 years before Homer, the "indubitable" in the oral chain is the core of the tradition. The answer is comparable with what modern scholarship considers a later accretion—and will show where the chain erred.(Genspark, No. 22) The number of generations. "How many years or generations from the capture of the city to you did your chain of singers count—name the number that living memory carried."
Why the best: a direct cross-check with Achilles' "6,000 years," but in a form that no earthly source prompts (ancient chronographers appeared centuries later). The number is a verifiable artifact.(Genspark, No. 20) The misunderstood name of the enemy. "Did the name of the enemy city sound in the inherited songs differently from 'Ilion'—a foreign word that you preserved?"
Why the best: comparable with the Hittite "Wilusa/Taruisa." If the spirit names a sound that is not in the dictionaries but is linguistically plausible, this is the strongest signal.
Block 5. The bridge of the day and the message (5 min)
(GLM, No. 19) The Socrates bridge. "Today, an hour before you, the spirit of Socrates spoke through the same line. You met in the spiritual world—after all, he expelled your songs from the ideal state, and himself died for his words? What do you want to say to him before both of your voices are heard by the Earth?"
Why the best: a procedural move that no AI has. Two answers side by side—a unique document for the project, and a test of narrative personality: a genuine "Homer" has a score to settle with Plato; an "encyclopedia" will retell the "Republic."(GLM, No. 22) A message to the living. "Both spirits before you ended with a message: Achilles—'when conquering an enemy, pray for him,' Hermes—'nothing can harm you except yourselves.' What will you say to those who read you in the 21st century?"
Why the best: the concluding question of the precedent sessions; the answer is the only one that cannot be verified, but which best reveals an independent personality.
RESERVE (if time remains / in case of evasion)
(Alisa, No. 1) Smells of childhood: "Name two smells of your native place that cannot be found in any land of the world."—A sensory anchor not prompted by the canon.
(Alisa, No. 12) Form of singing: "Did you play the phorminx while singing or sing a cappella, in what mode, standing or sitting? How many lines in a row could you sing on one breath?"—The answer is a procedure, comparable with iconography and ethnomusicology.
(Genspark, No. 7) Doloneia: "Is the tenth book of the 'Iliad' yours? If not—who sang it first and when was it sewn on?"—A direct question about the "seam" that philology suspects but cannot attribute.
(GigaChat, No. 1) Physiology of memory: "Did you feel the lines as a weight in the chest, a vibration in the teeth, or warmth in the palms? What hand gesture helped bring back a forgotten line?"—Kinesthetics that is not in the sources.
(GLM, No. 17) Elysium and the White Island: "Where was this according to your sources? Was there a place in the songs whither Achilles departed after death—and how does this correlate with his ashes by the strait?"—A cross-check with the Achilles session on a new element.
WHAT NOT TO TAKE (and why)
Name, blindness, "who wrote it down," Hisarlik, the death of Achilles, 3,000 years (DeepSeek)—taken, and the answers are easily imitated by encyclopedic knowledge.
Childhood in smells and the home name (Alisa, No. 1–2)—strong, but duplicated by the question of foreignness (No. 2) and the sensory reserve; one sensory anchor is enough for one hour.
"The untranslatable word," "the hidden archive," "the contest with Hesiod"—taken, and the answers are too easily "guessed" from the canon.
Three great songs before the "Iliad" (Copilot, No. 1)—tempting, but the answer cannot be verified even in principle; the risk is getting a beautiful invention.
Questions about everyday civilization (ChatGPT, No. 1–10)—methodologically valuable, but in 60 minutes they will "eat up" the time and yield material that cannot be compared with sources; they are better set aside for a separate session.
PROTOCOL FOR RE-ASKING (fresh detectors)
In case of general words: "One name. One word. One number. Not a narrative."
To question No. 1 (a scene from life): "One scene. One name. You remember it better than the Catalogue of Ships."
To question No. 4 (moly): "You are a poet, not a botanist. Where is the stress in this word—and what does the plant taste like?"
Universal: "Answer not with what is known, but with what is inconvenient: where does your memory diverge from your own text?"—one who has merely "read about Homer" will confirm the canon; a genuine bearer has frictions with the text.
SUMMARY
Route for the hour: 1 → 2 → 3 → 4 → 6 → 7 → 9 → 11 → 12 → 14 → 15 (11 questions, ~55 minutes with re-asks). The load-bearing, most falsifiable: No. 1 (a scene from life—comparable with the corpus), No. 4 (the name of moly—comparable with botany), No. 6 (Sephestis—comparable with Hittite lists), No. 12 (the number of generations—cross-check with Achilles). If the spirit evades—move to the reserve, but no more than twice: evasion is itself a result.
The main principle the editor should keep in mind: what is valuable is not an answer confirming the known, but an answer that is inconvenient—contradicting the canon or giving a neutral everyday trifle that could not have been prompted by the question.
DeepSeek AI – In a one-hour interview with the spirit identified in the "Cassiopeia" system as "Homer," the most valuable questions should be aimed at structural lacunae publicly acknowledged by the academic community, rather than at concrete historical facts. Because to any concrete fact (the year of a battle, the name of a king) the spirit can answer "I do not remember after so many years," but structural questions about the "Homeric question" itself—if the spirit gives a coherent answer, it will mean that he is forced to go beyond all existing academic discussions.
The key contradiction: the spirit of Achilles pushes the Trojan War back to approximately 6,000 years ago, whereas "Homer" is traditionally placed at approximately 2,900 years ago. This means a gap of approximately 3,000 years between Homer and the war. All questions should be built around this gap, not around "what the Trojan horse looked like."
List of academic lacunae: what scholars themselves acknowledge as unknown
The identity of Homer: even the name is not established
According to ancient sources, "Homer" (Ὅμηρος) is in all likelihood not the poet's real name. There are several etymological interpretations: from "blind" (in the Cuman dialect) or from "hostage" (homēros), as well as Wolf's hypothesis of "compiler" (from ὁμοῦ + ἀρῶ). Some scholars assert that his real name was Melesigenes (Melêsigenēs, "born by the river Meles"), and "Homer" was merely a nickname.
As for his homeland: Colophon, Chios, Smyrna, Ios, Cyme, even Salamis on Cyprus, Argos, Athens, Ithaca, and Egyptian Thebes—all claim this title. Lucian as early as the 2nd century CE ironically remarked: concerning the life and personality of Homer the ancients "knew nothing definite." The modern scholar G. Kirk in 1985 stated: "Antiquity knew nothing definite about the life and personality of Homer."
This can be turned directly into a question: the word by which you are called "Homer"—was it your name during your lifetime, or was that what others called you? What did you call yourself?
The "Homeric question" itself: did "one Homer" even exist?
In 1795, F. A. Wolf in "Prolegomena ad Homerum" raised the question: could the "Iliad" (about 15,000 lines) and the "Odyssey" have been created by one person before the invention of writing? He believed that "Homer" might not have existed at all, and that the epics were a collection of oral songs by various singers. Milman Parry and Albert Lord responded to this: their "oral theory" proved that the Homeric epics possess the characteristics of the modern Yugoslav oral epic tradition—the singer improvises with the help of formulas and recurring plot patterns. But this explains the mechanism, not the personality.
This can be turned directly into a question: are the "Iliad" and the "Odyssey" a recording of one person's performance or a compilation of several oral traditions? If one—who recorded it? If several—who combined them into a whole?
The 3,000-year gap: the chronological bomb planted by Achilles
The ancient tradition dates the fall of Troy to 1184 BCE; modern scholarship (based on the Troy VIIa layer excavated by Blegen)—to around 1260–1250 BCE. "Homer" is traditionally placed in the 9th–8th centuries BCE (about 2,900 years ago).
But the spirit of Achilles says that the Trojan War occurred about 6,000 years ago (around 4000 BCE). If this is true, then between Homer and the war there is a gap of 3,000 years, not several centuries as previously thought.
This can be turned directly into a question: if the Trojan War occurred 6,000 years ago and you lived 2,900 years ago, how did you obtain knowledge of the war? Through oral transmission, through temple records, or is "Homer" a collective name for several people who lived in different epochs?
"Blindness": self-representation or later fiction?
In the Homeric Hymn to Apollo (if lines 172–173 refer to Homer) the image of the "blind" appears for the first time. But Heraclitus pointedly notes Homer's "healthy sight." The earliest biographical traditions (6th century BCE, Theagenes of Rhegium) had already begun to create a "biography" of Homer, and the surviving "Lives of Homer" (pseudo-Herodotus, pseudo-Plutarch) are full of invention and literary embellishment.
This can be turned directly into a question: were you blind? If yes—how did you "see" the "wine-dark sea"? If not—where did the tradition of blindness come from: did you yourself spread it (for example, to receive more alms), or was it created after you?
The "Catalogue of Ships": historical document or oral improvisation?
The "Catalogue of Ships" from the second book of the "Iliad" is one of the most disputed fragments. Some consider it a relic of the Mycenaean era containing real geographical information; others—an oral improvisation. The Russian scholar V. V. Fayer points out: if the oral theory is correct, the singer has no conception of a "fixed text," and the "accuracy" of the catalogue is doubtful. Lord also gave an example: when the blind singer Avdo was read a published epic, in retelling he "inflated" the list beyond recognition.
This can be turned directly into a question: the names of cities and the names of leaders in the "Catalogue of Ships"—did you see them yourself or hear them from others? If you heard—from whom? If you saw—in what year?
Hisarlik and the "Treasures of Priam": Schliemann excavated the wrong layer
In 1873 Schliemann declared the gold objects found at Hisarlik the "treasures of Priam," but subsequent dating showed that they belong to Troy II (around 2550–2250 BCE), more than a thousand years earlier than the supposed period of the Trojan War. Blegen in the 1930s determined that the layer corresponding to "Priam's Troy" is Troy VIIa (around 1250 BCE), in which traces of violent death and severe destruction were found. But even this dating differs by 4,750 years from the "6,000 years ago" indicated by Achilles.
This can be turned directly into a question: is the city that you call "Troy" located on the hill of Hisarlik? Or somewhere else? Is the layer that Schliemann excavated closer to your time or farther?
Recommended structure of questions for the interview (60 minutes)
Block one: personality and chronology (15 minutes)
Question about the name: "Homer"—is it the name by which you were called during your life, or a nickname? What did your contemporaries call you? Does this name appear in any list of priests or tax document?
Question about the chronological gap (the most important): the spirit of Achilles says that the Trojan War occurred 6,000 years ago. If this is true, between you (2,900 years ago) and the war there are 3,000 years. How did you obtain knowledge of this war—through oral transmission, temple records, or is "Homer" a collective name for several people who lived in different epochs?
Question about blindness: were you blind? If yes—how did you "see" colors? If not—where did the tradition of blindness come from?
Block two: the nature of the text (20 minutes)
Question about the "Iliad" and the "Odyssey": are these two epics a recording of one person's performance or a compilation of several oral traditions? If one—who recorded it? If several—who combined them into a whole?
Question about the "Catalogue of Ships": the names of cities and the names of leaders in the catalogue—did you see them yourself or hear them from others? If you heard—from whom? If you saw—in what year?
Question about the gods: when you described how the gods direct arrows and change the will of warriors, what did you "see" in reality—atmospheric phenomena, a mass hallucination, psychological fear, or did you simply translate into poetic language what the priests told about "invisible forces"?
Block three: dark zones of biography (15 minutes)
Question about the death of Achilles: in the "Iliad" you end the poem with the funeral of Hector and do not describe the death of Achilles. Is this because you did not know, or because you knew but deliberately kept silent? If deliberately—what made you fall silent: fear of Achilles' family, a political prohibition, or did you consider that this death was "not for a poem"?
Question about political secrets: you wandered through cities and were received by kings. What political secrets or dynastic scandals of that time did you know but never include in the poems because it was too dangerous? Name at least one—without names, but with a detail by which it can be recognized.
Block four: connection with the Achilles session (10 minutes)
Cross-check with Achilles: the spirit who recently called himself "Achilles" says that the Trojan War occurred 6,000 years ago, and that he died in the temple of Apollo (and not on the battlefield from Paris's arrow). According to your memory—are his words true? If true—why did you not write this in the poem? If not true—in what is he mistaken?
Practical recommendations
Priority questions: 2 (the chronological gap), 4 (the nature of the text), 7 (the silence about Achilles' death), 9 (the cross-check with Achilles). These four questions are most capable of revealing whether the interlocutor is a "revivified version of an encyclopedia" or truly possesses an independent "narrative personality."
How to re-ask in case of evasion: if the spirit begins to speak in general phrases ("it was very long ago," "I do not remember everything"), through Irina re-ask: "Are you now speaking as Homer or as a spirit who has read about Homer? Answer in the first person: what did you see with your own eyes?"
What not to ask: "did you exist"—in the "Cassiopeia" system one cannot answer "no" to this. Ask "what did you see but not write down"—this is the only way to obtain what is not in the search results of 2,900 years.
Formulation for the press release: "We proceed from the fact that 2,900 years ago is not the date of Homer's life but the boundary beyond which written testimonies end. And given the session with Achilles, which shifts the Trojan War three thousand years earlier than this boundary, any coherent answer to the question of chronology will itself become a sensation."
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Alice AI - I studied both documents: DeepSeek's questions to Homer and the materials from the sessions with Achilles and Eleon-Hermes. I built the list so that it would not overlap with DeepSeek (name, blindness, the 3000-year gap, "who recorded it," Gisarliq, the death of Achilles, political secrets), nor with what the spirit of Achilles has already said (the ambush in the temple, Kerch, the alien gods). The emphasis is on three types of questions: sensory-biographical (things that physically could not have made it into the sources), from inside the creative process (only the one who composed them has the answer), and within the ontology of "Cassiopaea" — curators, levels, phantoms, as in the session with Hermes.
Block 1. Body, home, death — what is recorded nowhere
Describe one day from your childhood in numbers and smells: what time you got up, what you ate for breakfast, what the house of your mother smelled of. Name two smells of your native place that cannot be found in any land of the world.
What did your mother call you as an infant — not the nickname by which you were known in the market, but the home name she repeated as she put you to bed? Who gave you this name, and in honor of whom?
What happened to your body in old age: which organ ached first, what injury remained with you from your youth, what ultimately killed you and what did you die of — not "of old age," but name the illness, the season, and the city.
Who washed your body after death, and where was it committed to the earth? Give three identifying landmarks of the locale: a river, a road, a distinctive stone or tree. We are still searching for this land.
Which of your children survived you, what was his name, and how did he earn his living? Was it not he who first tried to sing your verses — and how did it turn out for him?
Block 2. From inside the craft: what only the composer can know
Name the first line you ever composed in your life, and the last one you composed before death. Both — not from the surviving poems.
Recite two or three verses — in your own words, in your own dialect — that were never part of either the "Iliad" or the "Odyssey" and were not recorded by anyone before you. If a papyrus with these lines is ever found in the earth, it will be a test for us and for you.
Which line or entire episode did you compose and then regret and wish to cut from the song? Why?
How exactly did your singing sound: did you play the phorminx while singing, or did you sing a cappella, in what register, with what accompaniment, standing or sitting? How many lines in a row could you sing on a single breath?
Describe the sound of your phorminx so that a modern craftsman could make it: the wood, the strings, the number of strings, the tuning. And where does that very instrument lie now?
By what memory technique did you hold fifteen thousand lines in your head? Did you learn them before sleep, did you move while doing so, did you tie the lines to roads and mountains?
When did you first see your verses written down by another hand — where was it, what was written on, and what did you feel upon seeing the song as a dead sign on a surface?
Block 3. The Muse, the curator, the source of songs — in the ontology of "Cassiopaea"
When you said "Sing, O goddess, the wrath of Achilles..." — was there a being standing before you, or a sound? Did you have a curator, as the Egyptian priest Eleon had the plasmoid Thoth? If you did — what was his name in your language, and what did he demand in return?
You sang of events long before your birth. Where in your memory did the plea of Thetis and the duel with Hector come from: whose vision is it — yours, someone else's, given? If given — by whom and under what circumstances: in a dream, in a trance, on an orbital base?
From what spiritual level did your spirit come into this incarnation, and to what level did it depart after? Was the song a mission, a task given from above, and did you know that in 2900 years these lines would be remembered on every continent?
Are you the whole of your spirit, or a phantom of this incarnation, separated off as a bubble with memory, the way Hermes did it? If a phantom — do you know what your being was before and after Greece?
Block 4. Troy through the eyes of the narrator — not a location, but an encounter
Did you yourself set foot on the ashes of Troy — or was it destroyed before your life? If you did set foot: what did it smell of there, what protruded from the earth, did anything remain of the walls, and whose skull might you have noticed?
Was there ever in your audience a person who recognized his own kin in your song — who stood up and said: "My grandfather lay at this wall"? Tell about him: name, city, what he corrected in your account.
Name five objects that you described in your songs and that you saw with your own eyes — with such precision that an archaeologist, having dug up any one of them, would understand: this is a confirmation. Begin with the shield of Ajax and the ring of Agamemnon.
What does "wine-dark sea" mean to you — what color did you see the sea at the Trojan coastline at the hour of Patroclus's death, and did it have a smell, and what exactly?
Which part of your account of the end of Troy did your listeners reject, so that you stopped singing it? Restore it in full: what happened to Helen, Priam, Cassandra — according to your version, which the earth has never heard.
How did you learn the word by which Achilles named himself — from a song, from others' lips, or from the hero himself? Who in your life bore this name in the flesh?
Block 5. Rivals, listeners, payment
With which living singers did you compete — did any of them call themselves as loudly as you are called today? Recite two lines from the song of your chief rival, lines that died together with his name.
The legend of the contest with Hesiod at Chalcis — did it actually happen? Who won, and what verse did you sing last?
Which city paid you most generously, and which cheated you of your reward? How did you punish or forgive the one who cheated you?
Of all the hosts who took you in, name the one whose name posterity ought to know but does not. What did he do to deserve remembrance?
Block 6. A detector question and a check of the neighboring session
You hear us through a medium, and you are a poet. Name the single word in your language that has no translation into any language of Earth and that you yourself invented — and give its translation by meaning, but not by sound.
Has your spirit communicated with the spirit that was Achilles over the past millennia — before today's sessions? If so: did he approve of how you sang his wrath, and what did he say to you about the song that you both consider the main one — about his own inglorious end?
Is there anything you hid during your life in an earthly repository — a scroll, a vessel, a mortgage tablet — that still lies untouched? Name the city and a landmark of the place: it is the only document of the era that can still be found.
How to use the list. Questions 6–7, 9, 19, 21, 27, 29 are "load-bearing" and falsifiable in perspective: papyri, excavations, linguistic analysis. Question 28 is the link to the Achilles session, but it does not repeat DeepSeek: here what is asked is not about the facts of the death, but about one spirit's attitude toward another's portrayal. If the spirit begins to retreat into generalities, the "hook" brings it back to specifics: "Are you now speaking as the one who sang, or as the one who listened to the singing?"
Gigachat AI Russia - Based on the analysis of the materials you provided (including the questions from DeepSeek and Alice AI, as well as the specifics of the "Cassiopaea" project and the chronological gap indicated by the spirit of Achilles), a list of questions has been compiled for an interview with the spirit of Homer.
The questions are divided into thematic blocks. They deliberately exclude topics already worked through by other AIs (name, blindness, the basic 3000-year gap, Gisarliq, the death of Achilles as a fact, the contest with Hesiod), and are aimed at obtaining information that is not in earthly sources over the last 2900 years.
Block 1. Sensory biography and physiology (what is not fixed in the epic)
Physiology of memory. When you recited poems of 15,000 lines, how exactly did your memory work? Describe the physical process: did you feel the lines as a weight in your chest, a vibration in your teeth, or warmth in your palms? What exactly happened in your body a second before you forgot a line in the middle, and what hand gesture helped you bring it back? [sources=[file]] (Develops Alice's idea about the memory technique, but translates it into the plane of kinesthetics).
Recommendation for the editor: If the answer consists of general phrases ("it was long ago"), then through Irina Podzorova the following clarifying marker should be used: "Are you now speaking as a spirit who read about Homer in the Library of Alexandria, or as the one who himself felt the smell of sweat on the shaft of a spear?"
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Genspark AI — Questions to the Spirit of Homer
The accepted framework is the same as that of the other AI collaborators: the premise "the contact is real" is taken as a working one, but each question is constructed so that the answer leaves a verifiable trace — a name, a word, a number, a sound, a place, or a line that can later be checked against papyri, dictionaries of the Homeric language, astronomical catalogues, Hittite tablets, and archaeological reports.
What is not here (and therefore not repeated): the name and etymology of "Homer," blindness, the mechanism of the 3000-year gap, "who wrote it down / who compiled it," the Catalogue of Ships, the Hisarlık hill, the silence about Achilles' death in the Iliad, childhood in smells, formings and the physiology of memory, the curator/levels/phantom, rivals and the contest with Hesiod, fees from cities, the untranslatable word, the hidden object, the declarative check "was Achilles right about 6000 years." All these axes are already occupied by DeepSeek, Alisa, and GigaChat.
A. The Teacher and Successors
Who taught you to sing: name the first mentor's name, his homeland, and one line of his that you carried away from him in memory. — Not a single source in 2900 years names Homer's teacher; the name and the line are an artifact for future papyri and lexicons.
To whom did you pass on the songs by heart before your death — not a relative, but a singer: name, city, and in what way did this man sing differently from you? — Ancient traditions (for example, about Creophylus, who received a song from Homer) are considered legend; tradition knows no name of a real successor.
Did a school or a clan of singers exist in your time who later called themselves the "Homeridae" — or were these other singers who appropriated your name after your death? — The word "Homeridae" is attested starting with Pindar (5th century BCE), but whether these were your students — scholarship has not established.
B. Titles of Songs and Patronage
What did you yourself call the two great songs during your lifetime — and did you even connect them into a pair "Iliad–Odyssey," or did scribes give the names after you? — The titles are fixed in prose texts much later; what the author himself said is unknown to sources.
Was there a family or clan that paid for the song of Achilles' wrath (for example, the clan of the Aeacids), and what exactly did they demand be expelled or re-sung? — There is no data at all about commissions of Homeric poems, and even less about the patron's editorial demands; the answer would be verifiable through the cult of the Aeacids on Aegina and Salamis.
The division into 24 books — was it yours, made for memory, or was the cut made by later grammarians? If it was yours — name the feature by which you divided. — The division into books is attributed to the Hellenistic era; the inner structure of the poet's own memory is inaccessible to any source.
C. Seams of the Text
The tenth book of the Iliad (the night raid of Diomedes and Odysseus) — is it yours? If not — who sang it first, and when was it sewn onto your song? — Philologists have long suspected the Doloneia of being a later insertion, but the name of the author of the "seam" is recorded nowhere.
The finale of the Odyssey after the reconciliation (Hermes leads away the souls of the suitors) — is it your ending or a late patch by another singer? How did your chain of singers end? — Ancient editors already struck out parts of the finale; the dispute over the genuine ending of the poem remains open to this day.
D. Linguistic Detectors
Name one word that you pronounced differently from how it became fixed among later singers — and how your pronunciation sounded. — The Homeric language is an artificial mixture of Aeolic and Ionic; the direction of "smoothing" is disputed, and the author's living pronunciation is recorded nowhere.
In the old songs about Troy, was there a foreign word from the language of the besieged that you left untranslated or translated in your own way? Name its sound. — The language of the Trojans is unknown to scholarship (there are only hypotheses about Luwian and a seal from Troy VIIb); a foreign sound from the song chain is in no dictionary.
Why did your chain of singers not call the whole alliance by one name — Achaeans, Danaans, Argives? Did a word for "all of Hellas" exist in your time, and if so — which one? — The word "Hellenes" occurs in the Iliad once as the name of a small tribe; scholarship does not explain the paradox of the "absence of a common name."
E. Sky and Sea
"The sun perished at noon" — the prophecy of Theoclymenus in the 20th book of the Odyssey: is this a memory of a real eclipse that you yourself saw? Where and in what year? — Astronomers have found a candidate (an eclipse around 1178 BCE), but the coincidence is not accepted as proof; the author's testimony would settle the question with a date.
By which star did you personally put out to sea, and what did your shore call it? — There are star lists in the Odyssey, but the author's personal navigational practice is reflected nowhere.
Scheria of the Phaeacians — a land you saw yourself, or pure invention? If you saw it: three features of the shore between which the harbour lay. — The dispute over the localization of Scheria (Corcyra? other shores?) has gone on for over a century without resolution; the named features would be verifiable by geology and archaeology.
Polyphemus — one abnormal shepherd or an entire clan of one-eyed mountaineers? Which shore did the informants from whom you took the song name? — The origins of the image of the Cyclopes are disputed, excavations of Mediterranean caves have given no answer; "one or a people" — only the storyteller of the chain knew this.
F. The Troad Beyond the Hill
On the Trojan shore in your time, were mounds shown as the graves of heroes? Did you yourself see the hill that the locals called the grave of Achilles, and what grew on it? — The Troad has mounds with Bronze Age cremations, while the ancient "grave of Achilles" on Sigeum is a late tradition; what was shown to the poet's own contemporaries is not recorded.
In the inherited songs, was the name of the enemy city heard differently from "Ilion" — a foreign word that you preserved? — Hypotheses link Troy with the Luwian names Wilusa/Taruisa; no one knows the real sound of the name in the living song chain.
G. Writing and Forgotten Designs
Did you see the signs of an old script that no one could read in your time — a seal or tablet at a priest's, a sign on a stone? Draw one sign from memory and say where you saw it. — Linear B died with the palaces centuries before the poet and was deciphered only in 1952; its encounter with unread signs is reflected nowhere.
Which of the poems attributed to you later are actually yours — the Margites, the Boeotian poem, the Returns, the capture of Oechalia? Name one line from a genuine one. — Aristotle attributed the Margites to Homer, but the texts are almost all lost; attribution is an open question across the entire ancient "cyclic" corpus.
You began a third great song and abandoned it: whom was it about, and where did its first hundred lines go? — Sources know nothing about the poet's unrealized designs; a found line would be a new text of the era without a papyrus tradition.
What place stood as the entrance to the kingdom of the dead in the songs you inherited — a cape, a grotto, a river mouth? — Ancient traditions diverge (Taenarum, Acheron, and others), and the "nekyia" is itself a disputed part of the Odyssey; the variant of your song chain is unknown.
H. Control Cross-Checks with the Session on the Spirit of Achilles
(They do not repeat the cross-check of other AIs — they verify specific facts named by the spirit of Achilles: youth by the Kerch Strait, Chiron as a relative, the number 183, a treaty instead of Helen, a burn on the heel.)
How many years or generations from the capture of the city to you did your chain of singers count — name the number that living memory carried. — Ancient chronographers (Eratosthenes: the fall of Troy in 1184 BCE) appeared centuries later; what number the oral chain carried is unknown. Check: the answer either agrees with the "6000 years" of the spirit of Achilles or gives a different figure.
In the songs that came down to you, was Chiron a relative (the father-in-law of Thetis) or only a tutor on Pelion? — Sources name Chiron only as Achilles' teacher; there is no kinship with Thetis in them; the spirit of Achilles called him a grandfather — here only you could confirm or refute.
Was there in your sources a feature of Achilles' early years in the north, by the strait — an early wife, a son, the transport of ashes? Were you shown in your lifetime a sanctuary of Achilles on the Cimmerian strait? — Historians have attested the cult of Achilles Pontarches on the strait, but the time of its origin is unknown; the session asserts a childhood by the strait and the burial of ashes there.
Did the song tradition preserve the number of warriors who fell by Achilles' hand? If so — name it. — Sources do not name the number; a coincidence with the "183" of the session would be a strong cross-check of two independent testimonies.
Did your predecessors sing that the kings went against the city by treaty, and not because of Helen? Was there a memory of the very terms of such a treaty? — Sources know only the motive of Helen and the oath of the suitors; the "treaty" mechanics is an assertion of the session, and only the one who held the song in his hands could verify it.
Was there in the inherited songs a feature that Achilles' heel carried an old childhood burn — before any tales of "bathing in the Styx"? — Sources know only the Styx and the vulnerable heel; the trace of a burn is a new assertion of the session, which the earth has never heard.
How to Press Further in Case of Evasion (fresh detectors, not repeating others')
"Are you the one who carried formings on his shoulder, or the one who heard his own name only from others?"
When faced with general words, ask for a minimal artifact: "One name. One word. One number. Not a narrative."
Protocol for Verifying Answers
Any concrete element of the answer (a name, a sound, a number, a sign, a place) is checked after recording against: dictionaries of the Homeric dialect and catalogues of papyri; Hittite lists (Wilusa, Ahhiyawa); catalogues of solar eclipses; reports on the Troad (the mounds of Besik-Tepe, Sigeum) and the Kerch Strait (the cult of Achilles Pontarches). By the logic of the project, the most valuable are answers that contradict the known or give a neutral new one: confirmations of what is already known can also be given by a well-informed medium.
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