6 Odyssey: “Sailing from Troy” and “Lotus-Eaters”

Total Page：16

File Type：pdf, Size：1020Kb

#6 Odyssey: “Sailing from Troy” and “Lotus-Eaters” “Sailing” (p. 983-984) Summary: Odysseus longs to go home to his family in Ithaca, even though he was captured by the lovely nymphs Calypso and Circe who wanted him to stay with them. After Odysseus sailed from Troy, he lands on Cicones, where his crew plunders and enslaves to resupply for their journey. Odysseus commands his men to leave after they have had their fill, but they rebel and continue to drink, butcher, and feast. Fugitives escape and call upon reinforcements. Drunk and out-numbered, 72 men are killed during the battle. Before they set sail, Odysseus’s men grieve and cry over their lost friends. Conflicts Traits (line #) Theme/Connections Odysseus vs. his men Humble/Loyal/Filial (34-36) Themes: Odysseus vs. fugitives Homesick (35-36) -Carelessness breeds trouble. Odysseus vs. Calypso/Circe Formidable (19) -Intoxication/Greed/Temptation leads to self- Odysseus vs. Cicone soldiers Cunning/Crafty (19) destruction. Odysseus vs. mutiny Cruel/Cold (43-44) -Obey the authority and wisdom of superiors to Odysseus vs. grief Insightful (46-47) avoid disaster. Odysseus vs. gluttony Sympathetic (65) -Better to be safe than sorry. Sensible (46-47) Fearless (43) Connections (Archetypes/Allusions): Scornful (47-48) -Temptation vs. Morals Self-disciplined (25, 30) -Focus vs. Ignorance Cautious (46) -Mob mentality/Mutiny Powerful (43-44) -Daedalus and Icarus=ignoring orders of caution Weak/Unauthoritative (46-47) -WWII Invasions (unexpected attacks) Regretful (65) -Star Wars: mutiny punished Wise (47) -Lord of the Flies: Ralph / Odysseus as sensible Focused (46-47) leader that is ignored and tribe/crew succumbs Brazen (43) to gluttony (hunting, feasting); crew destroys Sentimental (65-67) island and themselves in the process of mutiny Resilient/Courageous (55-60) “Lotus-Eaters” (p. 984-985) Summary: Conflicts Traits (line #) Theme/Connections .

Copy Link

Recommended publications

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.
[Show full text]
Odysseus and Feminine Mêtis in the Odyssey Grace Lafrentz
Vanderbilt Undergraduate Research Journal, Vol. 11 Weaving a Way to Nostos: Odysseus and Feminine Mêtis in the Odyssey Grace LaFrentz Abstract. My paper examines the gendered nature of Odysseus’ mêtis, a Greek word describing characteristics of cleverness and intelligence, in Homer’s Odyssey. While Odysseus’ mêtis has been discussed in terms of his storytelling, disguise, and craftsmanship, I contend that in order to fully understand his cleverness, we must place Odysseus’ mêtis in conversation with the mêtis of the crafty women who populate the epic. I discuss weaving as a stereotypically feminine manifestation of mêtis, arguing that Odysseus’ reintegration into his home serves as a metaphorical form of weaving—one that he adapts from the clever women he encounters on his journey home from Troy. Athena serves as the starting point for my discussion of mêtis, and I then turn to Calypso and Circe—two crafty weavers who attempt to ensnare Odysseus on their islands. I also examine Helen, whom Odysseus himself does not meet, but whose weaving is importantly witnessed by Odysseus’ son Telemachus, who later draws upon the craft of weaving in his efforts to help Odysseus restore order in his home. The last woman I present is Penelope, whose clever and prolonged weaving scheme helps her evade marriage as she awaits Odysseus’ return, and whose lead Odysseus follows in his own prolonged reentry into his home. I finally demonstrate the way that Odysseus reintegrates himself into his household through a calculated and metaphorical act of weaving, arguing that it is Odysseus’ willingness to embrace a more feminine model of mêtis embodied by the women he encounters that sets him apart from his fellow male warriors and enables his successful homecoming.
[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]
The Story of Orpheus and Eurydice in Coetzee and Rilke
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Debrecen Electronic Archive ACTA UNIVERSITATIS SAPIENTIAE, PHILOLOGICA, 8, 1 (2016) 41–48 DOI: 10.1515/ausp-2016-0003 The Story of Orpheus and Eurydice in Coetzee and Rilke Ottilia VERES Partium Christian University (Oradea, Romania) Department of English Language and Literature [email protected] Abstract. J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre. Keywords: Orpheus, Eurydice, encounter, intersubjectivity. J. M. Coetzee’s seventh novel, The Master of Petersburg (1994), is a novel about the trauma of losing a son; it is a mourning text both in the sense that in it the protagonist Dostoevsky tries to work through the trauma of loss (and through him Coetzee tries to work through the trauma of the loss of his own son1) and in the sense that the novel textually performs the work of mourning by trying – and failing – to understand this loss.
[Show full text]
2017 Released Items Grade 10 English Language Arts/Literacy Literary Analysis Task
Partnership for Assessment of Readiness for College and Careers Grade 10 English Language Arts/Literacy Literary Analysis Task 2017 Released Items English Language Arts/Literacy 2017 Released Items: Grade 10 Literary Analysis Task The Literary Analysis Task requires students to read two literary texts that are purposely paired. Students read the texts, answer questions for each text and for the texts as a pair, and then write an analytic essay. The 2017 blueprint for PARCC’s grade 10 Literary Analysis Task includes six Evidence-Based Selected Response/Technology-Enhanced Constructed Response items as well as one Prose Constructed Response prompt. Included in this document: • Answer key and standards alignment • PDFs of each item with the associated text(s) Additional related materials not included in this document: • Sample scored student responses with annotations and practice papers • PARCC Scoring Rubric for Prose Constructed Response Items • Guide to English Language Arts/Literacy Released Items: Understanding Scoring • PARCC English Language Arts/Literacy Assessment: General Scoring Rules for the 2015 Summative Assessment English Language Arts/Literacy PARCC Release Items Answer and Alignment Document ELA/Literacy: Grade 10 Text Type: LAT Passage(s): from The Lotos-Eaters / from The Odyssey Item Code Answer(s) Standards/Evidence Statement Alignment VH134881 Item Type: EBSR RL 10.1.1 Part A: B RL 10.4.1 Part B: C VH134907 Item Type: EBSR RL 10.1.1 Part A: D RL 10.3.2 Part B: B, F VH134914 Item Type: EBSR RL 10.1.1 Part A: B RL 10.4.1 Part B: A RL 10.5.1 VH135543 Item Type: EBSR RL 10.1.1 Part A: D RL 10.3.2 Part B: B, F VH134985 Item Type: EBSR RL 10.1.1 Part A: B L 10.5.1 Part B: D VH134990 Item Type: EBSR RL 10.1.1 Part A: A RL 10.5.1 Part B: A VH134951 Item Type: PCR RL 10.1.1 Refer to Grade 10 Scoring Rubric RL 10.9.1 English Language Arts/Literacy Today you will read and analyze passages from two poems.
[Show full text]
Pause in Homeric Prosody
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-26 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof.
[Show full text]
Mechanical Miracles: Automata in Ancient Greek Religion
Mechanical Miracles: Automata in Ancient Greek Religion Tatiana Bur A thesis submitted in fulfillment of the requirements for the degree of Master of Philosophy Faculty of Arts, University of Sydney Supervisor: Professor Eric Csapo March, 2016 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Tatiana Bur, March 2016. Table of Contents ACKNOWLEDGMENTS ....................................................................................................... 1 A NOTE TO THE READER ................................................................................................... 2 INTRODUCTION ................................................................................................................ 3 PART I: THINKING ABOUT AUTOMATION .......................................................................... 9 CHAPTER 1/ ELIMINATING THE BLOCAGE: ANCIENT AUTOMATA IN MODERN SCHOLARSHIP ................. 10 CHAPTER 2/ INVENTING AUTOMATION: AUTOMATA IN THE ANCIENT GREEK IMAGINATION ................. 24 PART II: AUTOMATA IN CONTEXT ................................................................................... 59 CHAPTER 3/ PROCESSIONAL AUTOMATA ................................................................................
[Show full text]
Story 1: the Cicones
THE WANDERINGS OF ODYSSEUS – STORIES 1-11 STORY 1: THE CICONES THE WANDERINGS OF ODYSSEUS – STORIES 1-11 (OF 30) 1 2 3 4 5 6 7 8 9 10 11 THE CICONES SHIP AND CREW COUNT BEFORE AFTER 12 Ships 12 Ships 608 Men 536 Men After ten long years, the Trojan War is over. The ACHAEANS (a name for the Greeks) have defeated the Trojans. ODYSSEUS, his men, and their twelve ships, begin their journey home to ITHACA. The storm winds take them to the land of the CICONES where Odysseus and his men sack the main city Ismarus, attack their people, and steal their possessions. Odysseus and each of his men share the stolen riches equally. Odysseus urges that they leave. The crew do not listen. They slaughter the Cicones’ sheep and cattle, and drink their wine. The Cicones call for help. Now stronger and larger in number, the Cicones fight back with force. Odysseus loses six men from each of his twelve ships. He feels he and his men are being punished by ZEUS. Odysseus and the rest of his crew sail away before any more men are killed. BOOK AND LINE REFERENCES BOOK 9 (OF 24) Fagles (Fa) Fitzgerald (Fi) Lattimore (La) Lombardo (Lo) 9.44-75 9.43-73 9.39-66 9.42-68 NOTE: The numbers appearing after the Book Number (in this case, Book 9) are the specific line numbers for each translation. Although Book Numbers are the same across all four translations, line numbers are not. If you are using a prose translation (and line numbers aren’t provided), use the Book references provided above; the line numbers can be used to provide an approximate location in that Book for the particular passages.
[Show full text]
01. Pelling, Homer and Question
Histos Supplement ( ) – HOMER AND THE QUESTION WHY * Christopher Pelling Abstract : Historiography’s debt to Homer is immense, especially in exploring matters of cause and effect. The epics trace things back to beginnings, even if those are only ‘hinges’ in a still longer story; they use speech-exchanges not merely to characterise individuals but also to explore features of their society; the interaction of human and divine is complex, but the narrative focus characteristically rests more on the human level; allusiveness to narratives of earlier and later events also carries explanatory value. Epic and historiography alike also cast light on why readers find such aesthetic pleasure in stories of suffering, brutality, and death. Keywords: Homer, historiography, causation, explanation, intertextuality. t is no secret, and no surprise, that Greek historiography is steeped in Homer: how could it not be so? Epic was the great genre for the sweep Iof human experience, especially but not only in war; Homer was the narrator supreme. There have been many studies of the ways that individual historians exploit Homer to add depth to their work. I have contributed one myself on Herodotus, 1 Maria Fragoulaki writes in this volume on Thucydides, and others have covered writers down to and including the Second Sophistic. 2 Still, when completing a monograph on historical explanation in Herodotus,3 I was struck even more forcefully than before by how many of the characteristic interpretative techniques—not merely what they do, but how they do it—are already there in the Iliad and Odyssey. As the similarity of title shows, this paper is a companion piece to that book, though a full treatment would itself have swollen to monograph proportions, and the points have relevance to many other historical writers as well as Herodotus.
[Show full text]
Ancient Thunder Study Guide 2021 1
BTE • Ancient Thunder Study Guide 2021 1 Ancient Thunder Study Guide In this study guide you will find all kinds of information to help you learn more about the myths that inspired BTE's original play Ancient Thunder, and about Ancient Greece and its infleunce on culture down to the present time. What is Mythology? ...................................................2 The stories the actors tell in Ancient Thunder are called myths. Learn what myths are and how they are associated with world cultures. When and where was Ancient Greece? ..................... 10 The myths in Ancient Thunder were created thousands of years ago by people who spoke Greek. Learn about where and when Ancient Greece was. What was Greek Art like? ..........................................12 Learn about what Greek art looked like and how it inspired artists who came after them. How did the Greeks make Theatre? .......................... 16 The ancient Greeks invented a form of theatre that has influenced storytelling for over two thousand years. Learn about what Greek theatre was like. What was Greek Music like? ..................................... 18 Music, chant, and song were important to Greek theatre and culture. Learn about how the Greeks made music. What are the Myths in Ancient Thunder? ................. 20 Learn more about the Greek stories that are told in Ancient Thunder. Actvities ........................................................................................................... 22 Sources ..............................................................................................................24 Meet the Cast .................................................................................................... 25 2 BTE • Ancient Thunder Study Guide 2021 What is Mythology? Myths are stories that people tell to explain and understand how things came to be and how the world works. The word myth comes from a Greek word that means story. Mythology is the study of myths.
[Show full text]
4. Icarus the Labyrinth from Which Theseus Escaped by Means of The
4. Icarus The labyrinth from which Theseus escaped by means of the clew of Ariadne was built by Daedalus, most skillful artificer. It was an edifice with numberless winding passages and turnings opening into one another, and seeming to have neither beginning nor end, like the river Maeander, which returns on itself, and flows now onward, now backward, in its course to the sea. Daedalus built the labyrinth for King Minos, but afterward lost the favor of the king, and was shut up in a tower. He contrived to make his escape from his prison, but could not leave the island by sea, as the king kept strict watch on all the vessels and permitted none to sail without being carefully searched. "Minos may control the land and sea," said Daedalus, "but not the regions of the air. I will try that way." So he set to work to fabricate wings for himself and his young son Icarus. He wrought feathers together, beginning with the smallest and adding larger, so as to form an increasing surface. The larger ones he secured with thread and the smaller ones with wax, and gave the whole a gentle curvature like the wings of a bird. Icarus, the boy, stood and looked on, sometimes running to gather up the feathers which the wind had blown away, and then handling the wax and working it over with his fingers, by his play impeding his father in his labors. When at last the work was done, the artist, waving his wings, found himself buoyed upward and hung suspended, poising himself on the beaten air.
[Show full text]
The Return of Odysseus: Discovering the Homeric Wisdom of Αἴ Σἴμα
The Return of Odysseus: Discovering the Homeric Wisdom of αἴ σἴμα Dennis R. Maust 24 January 2011 It is clear that the general origin of poetry was due to two causes, each of them part of human nature. Imitation is natural to man from childhood, . he is the most imitative creature in the world, and learns at first by imitation. And it is also natural for all to delight in works of imitation. The truth of this second point is shown by experience: . we delight to view the most realistic representations . The explanation is to be found in a further fact: to be learning something is the greatest of pleasures not only to the philosopher but also to the rest of mankind. Aristotle (Poetics: 1448b[3-15], or Ch. 4, 1-5) ἀμείνω δ’ αἴζιμα πάνηα. Homer (The Odyssey: Loeb, 7.310 and 15.71) Preface The motivation for this essay was a question that sometimes opens a seminar covering Odysseus’ departure from Calypso’s island of Ogygia: “Why did he say no?” That is, why did Odysseus reject Calypso’s offer of immortality and agelessness? One of my summer 2005 Literature seminars opened with this question. It has lingered with me since. I would like to think that this revised submission offers a more focused, succinct, and tightened-up discourse while also injecting relevant new material. However, not without some remorse do I relegate most previous Aristotelian references to footnotes and an appendix. Aristotle not only illuminates certain methods and purposes of Homer, but philosopher and poet share connections, perhaps even dependencies, that merit appreciation and deserve attention – albeit not here.
[Show full text]