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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. -
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. -
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. -
A Level Classical Civilisation Candidate Style Answers
Qualification Accredited A LEVEL Candidate style answers CLASSICAL CIVILISATION H408 For first assessment in 2019 H408/11: Homer’s Odyssey Version 1 www.ocr.org.uk/alevelclassicalcivilisation A Level Classical Civilisation Candidate style answers Contents Introduction 3 Question 3 4 Question 4 8 Essay question 12 2 © OCR 2019 A Level Classical Civilisation Candidate style answers Introduction OCR has produced this resource to support teachers in interpreting the assessment criteria for the new A Level Classical Civilisation specification and to bridge the gap between new specification’s release and the availability of exemplar candidate work following first examination in summer 2019. The questions in this resource have been taken from the H408/11 World of the Hero specimen question paper, which is available on the OCR website. The answers in this resource have been written by students in Year 12. They are supported by an examiner commentary. Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible mark/level for each response, when marking these answers in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the marks/levels awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
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. -
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. -
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. -
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. -
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. -
The Prehistory of Bomolochia
The Prehistory of Bomolochia The Greek word bomolochia [βωμολοχία], which is attested first in the context of fifth century B.C.E. comedy and evolved into a general term for buffoonery, reveals in its etymology important tensions in the Greek sacrifice that were already present in very early Greek poetry. Etymologically, bomolochia means “lying in ambush at an altar,” presumably to cadge a portion of meat at a sacrificial banquet. The comic poets’ dramaturgy explains how this term came to mean buffoonery. In Aristophanes’ Birds, for instance, characters repeatedly use buffoonish tactics to wheedle shares of sacrificial meat from Pisthetaerus after he has set up his regime of birds. This comic motif of trying to get shares of sacrificial banquets lasts into New Comedy. The laughter that arises from attempts to get portions at a sacrificial banquet accords with two major theories of laughter: incongruity theory and superiority theory. Superiority theory maintains that laughter is an expression of derisory contempt by a superior towards an inferior (Ruch 2008). When the bomolochos attempts to attain a portion denied to him by his inferior status, superiors laugh at him in derision. Incongruity theory claims that laughter arises when two incongruous interpretive frames for the same phenomena conflict (Ruch 2008). We may laugh when dogs act like a humans because the interpretive frame created in appearance—that they are human—incongruously conflicts with the reality that they are dogs. Detienne, Vernant, and Saīd have established that sacrificial banqueting outlines a social order; it marks people’s social position by excluding them from or including them in sacrificial feasts, and, among those who are included, the portion received marks social rank: better portions indicate better rank. -
Penelope, Odysseus, and the Teleologies of the Odyssey
Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey Emily Hauser Helios, Volume 47, Number 1, Spring 2020, pp. 39-69 (Article) Published by Texas Tech University Press DOI: https://doi.org/10.1353/hel.2020.0001 For additional information about this article https://muse.jhu.edu/article/765967 [ Access provided at 28 Dec 2020 07:35 GMT from University of Washington @ Seattle ] Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey EMILY HAUSER Abstract Book 1 of the Odyssey presents us with the first bard-figure of the poem, singing what in many ways is an analogue to the Odyssey with “the return of the Greeks”; yet when Penelope appears, it is to attempt to put an end to his song. I use this scene as a starting point to suggest that Penelope is deeply implicated in narrative endings in the Odyssey. Looking at the end or τέλος of the poem through a system- atic study of its “closural allusions,” I argue that a teleological analysis of Penelope’s character in relation to endings may both resolve some of the issues in her inter- pretation thus far, and open up new avenues for the reading of the Odyssey as a poem informed by endings. I. Introduction Penelope’s first appearance in the Odyssey (1.325–144) is to make a request of Phe- mius the bard, who is singing the tale of the Greeks’ return from Troy, the Ἀχαιῶν νόστος (1.326). Phemius’s song of the Greek νόστος (return), of course, mirrors the plot of the Odyssey itself, which has opened only a few hundred lines before with the plea to the Muse to sing of Odysseus and his companions’ return (νόστος, 1.5) from Troy.1 Penelope, however, interrupts the narrative flow and asks the bard to cease singing because of the pain his tale is causing her (1.340–342): ‘ταύτης δ᾽ ἀποπαύε᾽ ἀοιδῆς λυγρῆς, ἥ τέ μοι αἰεὶ ἐνὶ στήθεσσι φίλον κῆρ τείρει . -
Trevino Uchicago 0330D 14659.Pdf
THE UNIVERSITY OF CHICAGO INSPIRATION AND NARRATIVE IN THE HOMERIC ODYSSEY A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CLASSICS BY NATALIE TREVINO CHICAGO, ILLINOIS MARCH 2019 Contents LIST OF TABLES ......................................................................................................................... iv ACKNOWLEDGEMENTS ............................................................................................................ v ABSTRACT .................................................................................................................................. vii INTRODUCTION .......................................................................................................................... 1 I.1 Innovation, Aberration, and Metanarrative ............................................................................ 1 I.2 Scholarly Opinions, A History of Devaluation ...................................................................... 2 I.3 Decoding the Inscrutable: Genre, Inspiration, and The Poet ................................................. 6 I.4 Methodology: Studies in the Inspiration of Poets and Prophets, and Narratology .............. 14 I.5 Chapter Summaries .............................................................................................................. 18 I.6 Glossary ..............................................................................................................................