Pronunciation Guide for Names and Places in the Odyssey

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Pronunciation Guide for Names and Places in The Odyssey Ithaca Ith-a-ca Theoclymenus Thee-ock-lih-men-us Ogygia O-gig-e-ah Piraeus Pir-ah-us Odysseus O-dis-e-us Autolycus Au-toll-ih-cuss Telemachus Teh-lem-a-cuss Ctesippus The-sip-puss Penelope Pen-el-o-pee Eurytion U-rye-shun Athena Ah-thee-nah Leodes Lee-oh-dees Poseidon Po-sigh-uh-den Messene Meh-seen-ee Zeus Zoose Dolius Dah-lee-us Antinous An-tin-us Eupithes U-pih-these Eurymachus U-rim-a-cuss Melanthius Meh-lan-thee-us Amphinomus Am-fin-o-muss Melantho Meh-lan-tho Eumaeus U-may-us Calypso Cah-lip-so Eurycleia U-rick-lee-uh Polyphemus Poh-liff-e-muss Hermes Her-mees Circe Sirse Scheria Scare-e-uh Cicones Kih-ko-knees Phaeacians Faye-e-shuns Laertes Lay-er-tease Sirens Sigh-rens Tiresias Tye-ree-see-us Hades Hey-dees Nestor Ness-tor Scylla Skill-uh Menelaus Men-e-lay-uss Charybdis Chuh-rib-dis Helen Hell-inn Phemius Fem-e-us Agamemnon Ag-ah-mem-non Demodicus Dem-o-di-cuss Nausicaa Naw-sick-ah Halitherses Hal-li-ther-seas Alcinous Al-sin-uss Pisistratus Pie-sis-trat-us Arete Air-e-tea Iphthime If-thigh-mee Ares Air-ease Aphrodite Af-ro-die-tea Hephaestus Hef-a-stus Laodamas Lay-oh-dah-mahs Aeolus Ay-oh-luss Aeolia Ay-o-leah Laestrygonians Lay-strih-go-knee-ans Antiphates An-tiff-ah-tease Anticleia An-tick-leah Thrinacia Thrin-a-cee-ah Cimmerians Chi-mare-e-ans Neoptolemus Knee-op-toll-e-muss Heralces Hair-ah-clease Minos Min-ose Sisyphus Sigh-siff-uss Tantalus Tan-tal-uss Eurylochus U-rill-o-cuss Aeaea Ay-ay-uh Elpenor Elp-e-nor .

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Odyssey Glossary of Names
GLOSSARY OF NAMES GLOSSARY OF NAMES [Note, the following is raw output from OCR software, and is otherwise unedited.] (First appearance noted by book and line number.) Achaeans (A-kee'-unz): General term used by Homer to reFer to Greeks. 2.139 Acheron (A'-ker-on): River in the Underworld, land of the dead. 10.537 Achilles (A-kil'-eez): Son of Peleus and Thetis. He is the heroic leader of the Myrmidons in the Trojan War and is slain by Paris. Odysseus consults him in the Underworld. 3.117 Aeaea (Ee-ee'-a): Island on which Circe lives. 9.34 Aegisthus (Ee-jis'-thus): Son of Thyestes and Pelopia. He seduces Clytemnestra, wife of Agamemnon, while Agamemnon is away fighting the Trojan War and helps her slay Agamemnon when he returns. Orestes avenges this action years later by murdering both Clytemnestra and Aegisthus. 1.35 GLOSSARY OF NAMES Aegyptus (Ee-jip'-tus): The Nile River. 4.511 Aeolus (Ee'-oh-lus): King of the island Aeolia and keeper of the winds. 10.2 Aeson (Ee'-son): Son oF Cretheus and Tyro; father of Jason, leader oF the Argonauts. 11.262 Aethon (Ee'-thon): One oF Odysseus' aliases used in his conversation with Penelope. 19.199 Agamemnon (A-ga-mem'-non): Son oF Atreus and Aerope; brother of Menelaus; husband oF Clytemnestra. He commands the Greek Forces in the Trojan War. He is killed by his wiFe and her lover when he returns home; his son, Orestes, avenges this murder. 1.36 Agelaus (A-je-lay'-us): One oF Penelope's suitors; son oF Damastor; killed by Odysseus.
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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.
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The Rhythm of the Gods' Voice. the Suggestion of Divine Presence
T he Rhythm of the Gods’ Voice. The Suggestion of Divine Presence through Prosody* E l ritmo de la voz de los dioses. La sugerencia de la presencia divina a través de la prosodia Ronald Blankenborg Radboud University Nijmegen [email protected] Abstract Resumen I n this article, I draw attention to the E ste estudio se centra en la meticulosidad gods’ pickiness in the audible flow of de los dioses en el flujo audible de sus expre- their utterances, a prosodic characteris- siones, una característica prosódica del habla tic of speech that evokes the presence of que evoca la presencia divina. La poesía hexa- the divine. Hexametric poetry itself is the métrica es en sí misma el lenguaje de la per- * I want to thank the anonymous reviewers and the editors of ARYS for their suggestions and com- ments. https://doi.org/10.20318/arys.2020.5310 - Arys, 18, 2020 [123-154] issn 1575-166x 124 Ronald Blankenborg language of permanency, as evidenced by manencia, como pone de manifiesto la litera- wisdom literature, funereal and dedicatory tura sapiencial y las inscripciones funerarias inscriptions: epic poetry is the embedded y dedicatorias: la poesía épica es el lenguaje direct speech of a goddess. Outside hex- directo integrado de una diosa. Más allá de ametric poetry, the gods’ special speech la poesía hexamétrica, el habla especial de los is primarily expressed through prosodic dioses es principalmente expresado mediante means, notably through a shift in rhythmic recursos prosódicos, especialmente a través profile. Such a shift deliberately captures, de un cambio en el perfil rítmico.
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Homer and Collective Memory: the End of the Odyssey
Homer and Collective Memory: The End of the Odyssey This paper will approach the end of the Odyssey (starting at 24.412) by using the interpretive tools that research on collective memory has presented to us. This approach ultimately will enable us to better understand the self-awareness of the Odyssey. Building on the work of Maurice Halbwachs and Pierre Nora, research in practically every discipline of the humanities has directed its attention to the role collective memory plays in the shaping of how all kinds of sociological groups perceive themselves and their surroundings in terms of how they perceive their past, how they assess their present situation and what plans they are making for their future. This theoretical approach is also applied in Classics - not limited to, but especially in ancient history. Studies in classical literature should also avail themselves more of the tools that researchers have developed for the study of the role and the behavior of collective memories. The key for this paper will be Od. 24.484f. Zeus promises Athena that the gods will make the people of Ithaca forget that brothers and children were slain. Then, Zeus claims, people will be friends again. At the moment of this prophecy, Ithaca is at the verge of civil war. Eupeithes is trying to gather an alliance for the sake of punishing Odysseus for having lost so many comrades while he was away and for having killed all of the suitors who were members of noble families. Not all of the citizens of Ithaca want to join Eupeithes since Halitherses in particular reminds the Ithacans of the guilt of the suitors.
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A Level Classical Civilisation Candidate Style Answers
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The Greatest Mirror: Heavenly Counterparts in the Jewish Pseudepigrapha
The Greatest Mirror Heavenly Counterparts in the Jewish Pseudepigrapha Andrei A. Orlov On the cover: The Baleful Head, by Edward Burne-Jones. Oil on canvas, dated 1886– 1887. Courtesy of Art Resource. Published by State University of New York Press, Albany © 2017 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY www.sunypress.edu Production, Dana Foote Marketing, Fran Keneston Library of Congress Cataloging-in-Publication Data Names: Orlov, Andrei A., 1960– author. Title: The greatest mirror : heavenly counterparts in the Jewish Pseudepigrapha / Andrei A. Orlov. Description: Albany, New York : State University of New York Press, [2017] | Includes bibliographical references and index. Identifiers: LCCN 2016052228 (print) | LCCN 2016053193 (ebook) | ISBN 9781438466910 (hardcover : alk. paper) | ISBN 9781438466927 (ebook) Subjects: LCSH: Apocryphal books (Old Testament)—Criticism, interpretation, etc. Classification: LCC BS1700 .O775 2017 (print) | LCC BS1700 (ebook) | DDC 229/.9106—dc23 LC record available at https://lccn.loc.gov/2016052228 10 9 8 7 6 5 4 3 2 1 For April DeConick . in the season when my body was completed in its maturity, there imme- diately flew down and appeared before me that most beautiful and greatest mirror-image of myself.
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The Penelopiad
THE PENELOPIAD Margaret Atwood EDINBURGH • NEW YORK • MELBOURNE For my family ‘… Shrewd Odysseus! … You are a fortunate man to have won a wife of such pre-eminent virtue! How faithful was your flawless Penelope, Icarius’ daughter! How loyally she kept the memory of the husband of her youth! The glory of her virtue will not fade with the years, but the deathless gods themselves will make a beautiful song for mortal ears in honour of the constant Penelope.’ – The Odyssey, Book 24 (191–194) … he took a cable which had seen service on a blue-bowed ship, made one end fast to a high column in the portico, and threw the other over the round-house, high up, so that their feet would not touch the ground. As when long-winged thrushes or doves get entangled in a snare … so the women’s heads were held fast in a row, with nooses round their necks, to bring them to the most pitiable end. For a little while their feet twitched, but not for very long. – The Odyssey, Book 22 (470–473) CONTENTS Introduction i A Low Art ii The Chorus Line: A Rope-Jumping Rhyme iii My Childhood iv The Chorus Line: Kiddie Mourn, A Lament by the Maids v Asphodel vi My Marriage vii The Scar viii The Chorus Line: If I Was a Princess, A Popular Tune ix The Trusted Cackle-Hen x The Chorus Line: The Birth of Telemachus, An Idyll xi Helen Ruins My Life xii Waiting xiii The Chorus Line: The Wily Sea Captain, A Sea Shanty xiv The Suitors Stuff Their Faces xv The Shroud xvi Bad Dreams xvii The Chorus Line: Dreamboats, A Ballad xviii News of Helen xix Yelp of Joy xx Slanderous Gossip xxi The Chorus Line: The Perils of Penelope, A Drama xxii Helen Takes a Bath xxiii Odysseus and Telemachus Snuff the Maids xxiv The Chorus Line: An Anthropology Lecture xxv Heart of Flint xxvi The Chorus Line: The Trial of Odysseus, as Videotaped by the Maids xxvii Home Life in Hades xxviii The Chorus Line: We’re Walking Behind You, A Love Song xxix Envoi Notes Acknowledgements Introduction The story of Odysseus’ return to his home kingdom of Ithaca following an absence of twenty years is best known from Homer’s Odyssey.
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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.
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Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com.
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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.
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THE ODYSSEY of HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD and in NEW YORK by E·P·DUTTON & CO to the RIGHT HONOURABLE
THE ODYSSEY OF HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD AND IN NEW YORK BY E·P·DUTTON & CO TO THE RIGHT HONOURABLE COUNTESS DOWAGER SPENCER THE FOLLOWING TRANSLATION OF THE ODYSSEY, A POEM THAT EXHIBITS IN THE CHARACTER OF ITS HEROINE AN EXAMPLE OF ALL DOMESTIC VIRTUE, IS WITH EQUAL PROPRIETY AND RESPECT INSCRIBED BY HER LADYSHIP’S MOST DEVOTED SERVANT, THE AUTHOR. THE ODYSSEY OF HOMER TRANSLATED INTO ENGLISH BLANK VERSE BOOK I ARGUMENT In a council of the Gods, Minerva calls their attention to Ulysses, still a wanderer. They resolve to grant him a safe return to Ithaca. Minerva descends to encourage Telemachus, and in the form of Mentes directs him in what manner to proceed. Throughout this book the extravagance and profligacy of the suitors are occasionally suggested. Muse make the man thy theme, for shrewdness famedAnd genius versatile, who far and wideA Wand’rer, after Ilium overthrown,Discover’d various cities, and the mindAnd manners learn’d of men, in lands remote.He num’rous woes on Ocean toss’d, endured,Anxious to save himself, and to conductHis followers to their home; yet all his carePreserved them not; they perish’d self-destroy’dBy their own fault; infatuate! who devoured10The oxen of the all-o’erseeing Sun,And, punish’d for that crime, return’d no more.Daughter divine of Jove, these things record,As it may please thee, even in our ears.The rest, all those who had perdition ’scapedBy war or on the Deep, dwelt now at home;Him only, of his country and his wifeAlike desirous, in her hollow grotsCalypso, Goddess beautiful, detainedWooing him to her arms.
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The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting. Volume One of Two Submitted by Ioannis Souris to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Performance Practice In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death.
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