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.
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.
The Wanderings of Odysseus from The Odyssey Homer Translated by Robert Fitzgerald Book Nine: new Coasts and poseidon’s son ―What shall I say first? What shall I keep until the end? What conflict is introduced in Odysseus’ initial statements at the banquet? The gods have tried1 me in a thousands ways. What do these statements indicate about the kind of journey he has had? But first my name: Let that be known to you, 5 and if I pull away from pitiless death, friendship will bind us, though my land lies far. Now this was the reply Odysseus made: . ―I am Laertes‘ son, Odysseus. How are Odysseus’ comments about himself during his speech at Men hold2 me Alcinous’ banquet appropriate for an epic hero? formidable for guile in peace and war: this fame has gone abroad to the sky‘s rim. 10 My home is on the peaked seamark of Ithaca under Mount Neion‘s windblown robe of leaves, in sight of other islands—Doulikhion, Same, wooded Zakynthos—Ithaca being most lofty in that coastal sea, 15 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, Odysseus refers to two beautiful goddesses, Calypso and Circe, who have though I have been detained long by Calypso, delayed him on their islands. (Details about Circe appear in Book 10.) loveliest among goddesses, who held me Notice, however, that Odysseus seems nostalgic for his own family and 20 in her smooth caves, to be her heart‘s delight, homeland.
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.
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.
The Burning of Troy, 1606. Pieter Schoubroeck. 944 Archivo Iconografico, S.A./CORBIS UNIT FIVE Epic and Myth Looking Ahead Many centuries ago, before books, magazines, paper, and pencils were invented, people recited their stories. Some of the stories they told offered explanations of natural phenomena, such as thunder and lightning, or the culture’s customs or beliefs. Other stories were meant for entertainment. Taken together, these stories—these myths, epics, and legends—tell a history of loyalty and betrayal, heroism and cowardice, love and rejection. In this unit, you will explore the literary elements that make them unique. PREVIEW Big Ideas and Literary Focus BIG IDEA: LITERARY FOCUS: 1 Journeys Hero BIG IDEA: LITERARY FOCUS: 2 Courage and Cleverness Archetype OBJECTIVES In learning about the genres of epic and myth, • identifying and exploring literary elements you will focus on the following: significant to the genres • understanding characteristics of epics and myths • analyzing the effect that these literary elements have upon the reader 945 Genre Focus: Epic and Myth What is unique about epics and myths? Why do we read stories from the distant past? answer. He thought that in order for us to under- Why should we care about heroes and villains long stand the people we are today, we have to learn dead? About cities and palaces that were destroyed about those who came before us. One way to do centuries before our time? The noted psychologist that, Jung believed, was to read the myths and and psychiatrist Carl Jung thought he knew the epics of long ago.
The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Virgil, Priest of Apollo? W. Warde Fowler The Classical Review / Volume 27 / Issue 03 / May 1913, pp 85 - 87 DOI: 10.1017/S0009840X00004790, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00004790 How to cite this article: W. Warde Fowler (1913). Virgil, Priest of Apollo?. The Classical Review, 27, pp 85-87 doi:10.1017/S0009840X00004790 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 130.216.129.208 on 10 Apr 2015 THE CLASSICAL REVIEW VIRGIL, PRIEST OF APOLLO ? NOTES ON MR. RAPER'S RECENT Thrace. But in the story of these three, PAPER. as we have it in Ovid, there is hardly a mention of Thrace, and the scene is not MY old friend Mr. Raper will, I know, laid there. Then in Georg. 2. 37, forgive me for these notes. Let me Virgil ' shows wild joy at the thought assure him that he gave me excellent of re-arraying his ancestral Ismarian employment during one of the many mountain-sides with the glory of the wet days of last February. He took vine': ' iuvat Ismara Baccho Conserere ' me through a number of passages, none . but go on, and you read ' atque the less delightful for being familiar: olea magnum vestire Taburnum.' Now and what better occupation can a man Taburnus was not in Thrace, but in have than the leisurely contemplation Campania, and if Virgil loved Thrace, of old friends' faces, even if he be unable he loved Campania at least as much.
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. http://books.google.com 600078481Y ". By the same Author. TALES OF THE GODS AND HEROES. With 6 Landscape Illustrations engraved on Wood from Drawings by the Author. Ecp. 8vo. price 5*. AMONG the tales supplied by the vast stores of Greek legend, some are exceedingly simple in their character, while others are very complicated. In the series entitled Tales from Greek Mytho logy -, care was taken not to include any tales involving ideas which young children would not readily understand ; but most of the stories given in this volume cannot be told without a distinct reference to deified heroes and the successive dynasties of the Hellenic gods. The present work consists of tales, many of which are among the most beautiful in the mythology common to the great Aryan family of nations. The simplicity and tenderness of many of these legends suggest a comparison with the general cha racter of the Northern mythology ; while others tend in a great measure to determine the question of a patriarchal religion, of which the mythical tales of Greece are supposed to have preserved only the faint and distorted conceptions. * The tales are recounted with a ■ Mb. Cox's first set of stories were scholarly ease and grace which entitle told in such a way that every child de them to high commendation as a book for lighted to hear them, and at the same time youthful students.
Myth Made Fact Lesson 18: Odysseus in Wonderland with Dr
Myth Made Fact Lesson 18: Odysseus in Wonderland with Dr. Louis Markos Outline: Odysseus in Wonderland Books 9-12 are filled with monsters and myths, but that whole scene is a flashback. This flashback is heavily based on the story of Jason and the Argonauts. Odysseus son of Laertes, husband of Penelope and father of Telemachus. It has been 20 years since he has seen Penelope. They built a giant horse out of wood and left the belly of the horse empty and hollow in order to hide inside. The rest of Greek army was to hide. The Trojans came out and saw the horse and thought the world was over, and they brought the horse into the city. They drank and ate until many passed out. When everyone was asleep, the soldiers got out of the horse and sacked the city of Troy. They burnt down the city and brought down the wrath of the gods. Odysseus is seeking his island home of Ithaca. Some islanders attacked his body and some his soul. o On the island of Ismarus, Odysseus’ men wanted to eat and drink on the shore. They lost many lives. o Next they came to the island of Lotus eaters. They invited them onto the island and gave them to eat the Lotus. Odysseus stayed away from the Lotus, because if you eat you will forget your home and family. Odysseus grabbed his men and forced them back on the boat. o Next they came to an island that was still in the Golden Age. The people living there were monsters and cannibals.
The Haberdashers’ Aske’s Boys’ School Occasional Papers Series in the Humanities Occasional Paper Number Forty Persephone’s Odyssey: Nature and the Supernatural in the Odyssey and Homeric Hymn 2 A.C. Gray graycaidan@gmail.com November 2020 1 A Haberdashers’ Aske’s Occasional Paper. All rights reserved. Haberdashers’ Aske’s Occasional Paper Number Forty November 2020 All rights reserved Persephone’s Odyssey Nature and the Supernatural in the Odyssey and Homeric Hymn 2 A.C. Gray Abstract Although Homeric Hymn 2 (Εἲς Δημήτραν) is not often read for its similarities to the Odyssey, it is impossible to deny that the two poems have myriad details in common. In this paper, I consider one fairly complex axis for comparison: the poems share a similar view of death, the natural world, and the supernatural. This interrelationship provides one way to examine archaic Greek religion in the pre-philosophic era, proposing patterns that may have been consistent in early Greek thought regarding the danger of divine elements in nature, the dead and consumption in the underworld, and morality and “evil” among the gods. The unifying thread is the interaction between human beings and the supernatural, that is to say, natural elements that go above and beyond their ordinary capabilities. 1. Introduction Most people are familiar with the story of the Odyssey, at least, in the broadest strokes. Odysseus is a Greek soldier (from Ithaca) who took part in the Trojan War as described in Homer's Iliad. He spends many years trying to get home following the end of the war, continually thwarted by the god Poseidon, who nurses a grudge against him.