THE ODYSSEY by Homer

Total Page:16

File Type:pdf, Size:1020Kb

THE ODYSSEY by Homer THE ODYSSEY by Homer Adapted by Christine Foster A SMITH SCRIPT This script is protected by copyright laws. No performance of this script – IN ANY MEDIA – may be undertaken without payment of the appropriate fee and obtaining a licence. For further information, please contact SMITH SCRIPTS at [email protected] THE ODYSSEY (a stage adaptation of Homer’s Classic Poem) by Christine Foster Synopsis: Having angered Poseidon with his victory over Troy, Odysseus faces ten years of the god's rage, including tempests, whirlpools, enchanted islands, the Cyclops, the Sirens, and the seductive wiles of Circe and Calypso as he struggles to return home to Ithaca and his wife and son. Or... is the real bar to his homecoming his own ego, his endless tricks and overbearing pride? The Play is One Act running time of approx. 70 mins. The Setting: The Mediterranean World of Bronze Age Greece including: ITHACA, The shore, The Palace ISLE OF THE CYCLOPS THE FLOATING ISLAND OF AEOLIS CIRCEʼS ISLE OF ENCHANTMENT CALYPSOʼS ISLE OF SILENCE THRINACIA, ISLAND OF THE GOLDEN CATTLE OF HELIOS The Humans: ODYSSEUS, King of Ithaca TELEMACHUS, his son PENELOPE, his wife EURYCLEA, Odysseusʼ old nurse EUMAEUS, A faithful swineherd ANTINOUS, LEODES and POLYBUS, suitors to Penelope ANTINOUS JR., LEODES JR. and POLYBUS JR. their MURDEROUS SONS ELPENOR, POLITES, EURYLOCHUS, PERIMEDES : Odysseusʼs crewmembers IMMORTALS ZEUS ATHENA POSEIDON HELIOS POLYPHEMES, a Cyclops AEOLUS, Keeper of the Winds and his twin daughters TIKKI and TAKKI TERESIUS, the blind prophet CIRCE KALYPSO Nymphs and Sirens All actors except Odysseus perform multiple roles.! 1 SCENE ONE The rocky shore below the palace in Ithaca. Two nymphs (dancers) cavort with long strips of silk, depicting wind and waves. There is the SOUND OF A RAMʼS HORN, blown. The nymphs freeze and look round, listening. INVOCATION: Odysseus: (Offstage-Voice Over) Sing in me, sweet muse, and lift once more the great song of The Wanderer: deep-hearted Odysseus, that man of twists and turns, who plundered the hallowed heights of Troy. (TELEMACHUS, 21, enters and stands gazing out to sea) Odysseus: Sing of his departure, heart high for home, only to be caught in bitter, storm-tossed nights and days, as angry gales blow his ship groaning oʼer the fishcold seas. Call forth dazzling Athena, Protector of Warriors, her grey eyes shining like the deep. (ATHENA, dressed in Greek soldierʼs attire, with her helmet in one hand and her spear in the other, enters and looks down on Telemachus.) Odysseus: She watches Odysseus, her favourite, as he fights the towering waves and rages of the gods and vows to bring his shipmates home. (Distant PARTY SOUNDS can be heard from the palace, and the nymphs run off.) TELEMACHUS: Father! ATHENA: (echoing him) Father! (ZEUS comes on, grumpily behind her, startling her) ZEUS: Well, what is it this time? ATHENA: Oh Zeus...my lord, I never called you! ZEUS: Call? You bellowed! I heard you all the way up on Mt. Olympus, Athena. Clearly you get your lungs from me. (He turns to go) ATHENA: Wait! Now youʼre here, look...Heʼs back again. See? 2 ZEUS: Who? Where? ATHENA: This is the rock bound shore of Ithaca. And he is Prince Telemachus gazing at the wine dark sea... ZEUS: (sees the sea creatures, cheers up) Heʼs not gazing at the sea, heʼs gazing at those nymphs. ATHENA: (impatient) Heʼs looking for his father. ZEUS: (peering) Why? Is he swimming with the nymphs? ATHENA: No! His father is the great Odysseus, the hero who brought down the towers and walls of Troy! ZEUS: So thatʼs Telemachus? Yes, he does look like that rogue Odysseus. No one could ever believe a word he said. I always liked him for that. ATHENA: Odysseus set sail after ten years battling at Troy. For ten more years he has wandered, desperately seeking his way home. Thatʼs twenty years, he hasnʼt seen his family! His only son has grown to manhood without his care. ZEUS: And for this he blames the Gods. Humans always do. ATHENA: You could help, Father, you know you could! TELEMACHUS: (calls) Father, will you never return? (Athena puts on her helmet and climbs down to Telemachus) ZEUS: And what in the name of Hades are you up to? ATHENA: I shall be Captain Mentes, a friend of his father, home from the Trojan War. I shall offer him some peace of mind. ZEUS: No peace of mind ever came from interfering in the lives of humans. (A drumstick flies over the palace wall and lands on shore. PARTY SOUNDS FROM THE PALACE SWELL.) Mind you, they do know how to throw a party. (ZEUS EXITS as Athena approaches Telemachus who kicks aside the drumstick, not seeing her) ATHENA: Greetings. Am I in Ithaca? 3 TELEMACHUS: You are, stranger, and welcome in the name of my father, Odysseus, who was always honoured guests, even uninvited ones. So, please, stay the night, raise a cup... or stay a year, and drink my cellars dry. ATHENA: Your cellars? Are you the master of this House? TELEMACHUS: If my father, is lost, as they say he is, then I am master here...but if he is lost, then I am lost as well. ATHENA: I knew your father, Odysseus. TELEMACHUS: I wish I had. ATHENA: You have his eyes. TELEMACHUS: Iʼd rather have his strength. Our Home is full of men, Lords of the Islands, shouting orders, courting my mother, urging her to marry one of them. And because she will not choose they stay and eat and belch their way through all we have. ATHENA: I fought alongside your father...at Troy. TELEMACHUS: (eager) Then you have news of him? ATHENA: He was alive when we all set out for home. TELEMACHUS: That was ten years ago. (Another SWELL of music as Three Suitors, LEODES, ANTINOUS, POLYBUS, approach, laughing, loutish. They wear half masks) LEODES: Iʼm tired of this music. I want something I can dance to. POLYBUS: Oh look, Itʼs widdle iddle Telemachus...whereʼs your mummy, tubby Telly? TELEMACHUS: At her loom. ANTINOUS: In her room, at her loom. That woman is beyond boring. POLYBUS: But rich, Antinous. Rich. LEODES: She smiled at me today. From her window. POLYBUS: You mean she laughed at you. ANTINOUS: Wake up and smell the tsatsiki, brothers. Iʼm younger than the both of you. Put together. POLYBUS: You have bad teeth. 4 LEODES: You have bad breath! (They are starting to shove each other when a lone harper starts. After a few notes PENELOPE appears with EURYCLEA) EURYCLEA: Even vultures bow their heads when a lady appears! (They freeze and bow. Penelope claps her hands and calls) PENELOPE: Sing no more this bitter tale that wears my heart away! (The music stops. Penelope turns and goes back inside. Euryclea sees Telemachus with the Stranger and comes down to them, curious) ATHENA: What was the Harperʼs song about that so upset the Queen? ALL: Troy! LEODES: Thereʼs no Hero like a dead Hero. POLYBUS: Of course it still upsets Her. ANTINOUS: But itʼs time to forget all that...move on! LEODES: I shall go comfort her... POLYBUS: No...I will, I will! TELEMACHUS: (an outburst) Why donʼt you clear off once and for all? For Three Years you have turned this palace into a pigsty...If my father were here he would drive you out like the swine that you are! ANTINOUS: Are you calling us pigs, boy? POLYBUS: You and who else? Your bodyguard there? ANTINOUS: A wild boar nearly killed your father when he was a lad. Beware our tusks... LEODES: And teeth! And tricks! POLYBUS: Weʼre trickier than Tricky Odickeous! ANTINOUS: Or as heʼs known round here, that sissy O-dyss-eus! (They go off, giggling madly at their wit, back to the party) EURYCLEA: Itʼs true about the wild boar...I was the one who bound your fatherʼs wound...and to this very day he has the scar just here, on his thigh. In the shape of a new moon. 5 TELEMACHUS: Had, Euryclea. Bones donʼt have scars. EURYCLEA: Donʼt you believe heʼs alive? TELEMACHUS: I donʼt know...I need proof! ATHENA: Then go seek him, find out the truth, take my ship! Iʼve left it prepared, itʼs waiting now... (Another SWELL of PARTY SOUNDS) TELEMACHUS: I canʼt leave my mother alone with THEM! ATHENA: Time is running out for Ithaca. EURYCLEA: And for your mother. She will have to choose. ATHENA: There must be a King. Or there will never be peace. EURYCLEA: And when she chooses... You think the new King will let you live? TELEMACHUS: I canʼt fight them all alone! ATHENA: Then find your father! (Walking away) I will be the wind beneath your wings as you depart! (After Athena disappears there is a LOUD FLUTTER of STRONG WINGS . And/or the Hoot of an owl.) TELEMACHUS: (shading his eyes, looking up) A Great Owl!? EURYCLEA: It wasnʼt a human at all...it was one of Them! TELEMACHUS: (exultant) A Goddess in person..sweet Euryclea, it was Athena! (Euryclea goes to scream, but Telemachus claps his hand over her mouth swiftly) TELEMACHUS: Donʼt tell mother til I have gone...it will nearly break her heart with worry. (He starts off, Euryclea follows behind, arguing) EURYCLEA: But I must tell her...this proves heʼs alive! TELEMACHUS: No! The Goddess didnʼt say that. EURYCLEA : Why would she tell you to go seek your father if she didnʼt know for a fact he was alive? 6 TELEMACHUS: How would I know..? Iʼve never met a Goddess before! (As they go we become aware that Penelope is back at her window, gazing out at the sea.) PENELOPE: (with great longing) Odysseus...husband...Where are you? The horizon is as flat as the edge of the cloth I weave.
Recommended publications
  • Sample Odyssey Passage
    The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country.
    [Show full text]
  • The Argonautica, Book 1;
    '^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College
    Bridgewater Review Volume 2 | Issue 2 Article 13 Mar-1984 Research Note: A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College Recommended Citation Stanton, Judith (1984). Research Note: A New Perspective on Revenge and Justice in Homer. Bridgewater Review, 2(2), 26-27. Available at: http://vc.bridgew.edu/br_rev/vol2/iss2/13 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Cultural Commentary Continued table for more moves, brings it out a third RESEARCH NOTE time for a last look and then manipulates it for the last time under the table, finally achieving cubical perfection. A New Perspective on Revenge Is this game playing spirit, native to all of us, at the heart of mathematics? Is and Justice in Homer Judith Stanton mathematics a sort of game, albeit with Assistant Professor of English serious applications? I think that it is. I am reminded of Jacob Bronowski who Most of us are aware that our idea of considers this question in his beautiful work, justice comes largely from Ancient Greece. so optimistic for mankind, The Ascent of But we might be surprised at how old Greek Man. At one point Bronowski is explaining justice really is. Classical Athens (490·323 symmetry in nature and art. He takes us to B.C.), to which we owe much of our the Alhambra, where in the baths of the understanding of justice, was itself heir to a harem we see motifs of "wind-swept" system of revenge justice that was older still triangles in perfect hexagonal collaboration -- perhaps as old as Hie Mycenaean period filling the walls.
    [Show full text]
  • Llt 121 Classical Mythology Lecture 32 Good Morning
    LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL.
    [Show full text]
  • FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13
    805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle.
    [Show full text]
  • The Odyssey and the Desires of Traditional Narrative
    The Odyssey and the Desires of Traditional Narrative David F. Elmer* udk: 82.0-3 Harvard University udk: 821.14-13 [email protected] Original scientific paper Taking its inspiration from Peter Brooks’ discussion of the “narrative desire” that structures novels, this paper seeks to articulate a specific form of narrative desire that would be applicable to traditional oral narratives, the plots of which are generally known in advance by audience members. Thematic and structural features of theOdyssey are discussed as evidence for the dynamics of such a “traditional narrative desire”. Keywords: Narrative desire, Peter Brooks, Odyssey, oral tradition, oral literature In a landmark 1984 essay entitled “Narrative Desire”, Peter Brooks argued that every literary plot is structured in some way by desire.1 In his view, the desires of a plot’s protagonist, whether these are a matter of ambition, greed, lust, or even simply the will to survive, determine the plot’s very readability or intelligibility. Moreover, for Brooks the various desires represented within narrative figure the desires that drive the production and consumption of narrative. He finds within the narrative representation of desire reflections of the desire that compels readers to read on, to keep turning pages, and ultimately of an even more fundamental desire, a “primary human drive” that consists simply in the “need to tell” (Brooks 1984, 61). The “reading of plot,” he writes, is “a form of desire that carries us forward, onward, through the text” (Brooks 1984, 37). When he speaks of “plot”, Brooks has in mind a particular literary form: the novel, especially as exemplified by 19th-century French realists like Honoré de Balzac and Émile Zola.
    [Show full text]
  • The Odyssey Homer Translated Lv Robert Fitzç’Erald
    I The Odyssey Homer Translated lv Robert Fitzç’erald PART 1 FAR FROM HOME “I Am Odysseus” Odysseus is in the banquet hail of Alcinous (l-sin’o-s, King of Phaeacia (fë-a’sha), who helps him on his way after all his comrades have been killed and his last vessel de stroyed. Odysseus tells the story of his adventures thus far. ‘I am Laertes’ son, Odysseus. [aertes Ia Men hold me formidable for guile in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca 4 Ithaca ith’. k) ,in island oft under Mount Neion’s wind-blown robe of leaves, the west e ast it C reece. in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I (I 488 An Epic Poem I shall not see on earth a place more dear, though I have been detained long by Calypso,’ 12. Calypso k1ip’sö). loveliest among goddesses, who held me in her smooth caves, to be her heart’s delight, as Circe of Aeaea, the enchantress, 15 15. Circe (sür’së) of Aeaea e’e-). desired me, and detained me in her hail. But in my heart I never gave consent. Where shall a man find sweetness to surpass his OWfl home and his parents? In far lands he shall not, though he find a house of gold.
    [Show full text]
  • "Then Said the Lady Circe: 'So: All Those Trials Are Over. Listen With
    5 beauty to ! woe to th( He will nc in ioy, cro the Sirens on their s~ of dead m and flayec keep well with bees should he let the m~ and {oot, so you m shout as your crex and keep What th~ and you plan the tell you, and dart roars ar. the gods Not eve i 30 lies betx piercing dissolvi to sho~ 35 NO toOl as land so shee "Then said the Lady Circe: Midwa ’So: all those trials are over. 2-3 in Circe opens t Listen with care valuable ally, In tl 40 this in lines, she describes in your rr to this, now, and a god will arm your mind. danger that he a~ Square in your ship’s path are Sirens, crying meet on their way home, would UNIT SIX PART 1: THE ODYSSEY 5 beauty to bewitch men coasting by; woe to the innocent who hears that sound! He will not see his lady nor his children in joy, crowding about him~ home from sea; the Sirens will sing his mind away 10 on their sweet meadow lolling. There are bones of dead men rotting in a pile beside them and flayed skins shrivel around the spot. 12 flayed: torn off; stripped. Steer wide; keep well to seaward; plug your oarsmen’s ears with beeswax kneaded soft; none of the rest 14 kneaded (n~’dYd): squeezed and is should hear that song. pressed. But if you wish to listen, 15-21 Circe suggests a way for Odysseus to hear the Sirens safely.
    [Show full text]
  • Year of Ulysses
    YEAR OF ULYSSES M VP By Stefan Krecsy and the Modernist Versions Project Team 2014 CC-BY TABLE OF CONTENTS I-III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII the centerpiece for the YoU, this tweets – the actual archive, as well Introduction retrospective affords pride of place as the visualization thereof, leaves I But who are all those people, to the sixteen twitter chats that much to be desired as a reading CHAL- dropped into the text by not these digitial publications inspired. copy. LENGEYOU much more than their names, During these chats, Joyceans of TO MAKE rapidly sketched features, ges- all stripes took to twitter to debate INSTANT tures, appearances and fragmen- and discuss the finer (and, at times, tary reactions? rougher) points of each episode; in SENSE OF THIS the hopes of celebrating as well as continuing the dialogue of YoU, these twitter chats are here pre- sented, with some editorial over- Does this relentlessly paran- Celebrating the 90th birthday sight, for your reading pleasure. tactical listing aggregate into of James Joyce’s Ulysses and its Prior to a brief discussion on anything with a claim to being incumbent Canadian emancipa- the necessity of this editorial understood as a narrative. In tion from copyright, the Year of engagement, I would like to thank #YoU Twitter Viz. Click to Enlarge. their sequence, the terse state- Ulysses (YoU) brought Joyce’s Dr. Jentery Sayer’s for his work in Warning: Bandwith Required ments appear as randomly masterpiece to the greatest possi- setting up an active twitter archive.
    [Show full text]
  • The Cyclops in the Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts
    THE CYCLOPS IN THE ODYSSEY, ULYSSES, AND ASTERIOS POLYP: HOW ALLUSIONS AFFECT MODERN NARRATIVES AND THEIR HYPOTEXTS by DELLEN N. MILLER A THESIS Presented to the Department of English and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts December 2016 An Abstract of the Thesis of Dellen N. Miller for the degree of Bachelor of Arts in the Department of English to be taken December 2016 Title: The Cyclops in The Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts Approved: _________________________________________ Paul Peppis The Odyssey circulates throughout Western society due to its foundation of Western literature. The epic poem thrives not only through new editions and translations but also through allusions from other works. Texts incorporate allusions to add meaning to modern narratives, but allusions also complicate the original text. By tying two stories together, allusion preserves historical works and places them in conversation with modern literature. Ulysses and Asterios Polyp demonstrate the prevalence of allusions in books and comic books. Through allusions to both Polyphemus and Odysseus, Joyce and Mazzucchelli provide new ways to read both their characters and the ancient Greek characters they allude to. ii Acknowledgements I would like to sincerely thank Professors Peppis, Fickle, and Bishop for your wonderful insight and assistance with my thesis. Thank you for your engaging courses and enthusiastic approaches to close reading literature and graphic literature. I am honored that I may discuss Ulysses and Asterios Polyp under the close reading practices you helped me develop.
    [Show full text]
  • The Cyclops Cave
    “The Cyclops” from the Odyssey by Homer In ancient Greece, heroes in epic poems like the Odyssey represented the highest values of Greek civilization. In Homer’s day, heroes were thought of as a special class of men, somewhere between the gods and ordinary human beings. As you read “The Cyclops,” see how Odysseus uses his special qualities to save himself and his men from becoming a monster’s meal. LITERARY FOCUS: HEROES AT LARGE Epics are long narrative poems that tell of the great deeds of a hero. In an epic, the main character is the hero. (In many epics the hero’s enemy is also a major character.) Heroes usually represent qualities that their society admires. Some people today, for example, see sports stars, popular singers, great scientists, or firefighters as their heroes. In epics told long ago, the heroes are often superhuman warriors, who set off on journeys to win something of great value for themselves and for their people. The conflicts, or struggles between opposing forces, in an epic are usually external, as the heroes battle armies, monsters, or the forces of nature. Epic heroes can also face internal conflicts—caused by fear, doubt, weakness, and so on. • First, read “The Cyclops” for enjoyment. Then, consider what the adven- ture reveals about the values of the ancient Greeks. READING SKILLS: MONITOR YOUR COMPREHENSION Good readers pause occasionally to make sure they understand what they have read. When you read a long, action-filled poem such as this one, it is Literary Skills important to stay on top of events—to understand what is happening.
    [Show full text]