Collective Decision-Making in Homer's Odyssey
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Homer, Or Another Poet of the Same Name: Four Translations of the Iliad
Wesleyan University The Honors College Homer, or Another Poet of the Same Name: Four Translations of the Iliad by Jonathan Joseph Loya Spira Class of 2016 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Classics Middletown, Connecticut April, 2016 I owe thanks for this thesis and to my graduation to my mother and father, who made me into the person I am through a loving dedication to the numerous thousands of things I have decided are my ‘true calling.’ I would not just be a different person without them, I genuinely do not think I would have survived myself. To my sister, whom I trust with everything important. I don’t think I’ll ever have a friend quite like her. To my advisor, Professor Andy, who has lived through many poorly written drafts, week in and week out. I owe him a debt of gratitude for trusting in me to bring it all together here, at the end of all things. To my first friend, Michael, and to my first friend in college, Sarah. To Gabe, who I have lived with for thousands of miles, only 40 of them being excessive. Frequently, they are the three who keep me together as a person, which is to say that they are the people who I fall apart on the most. To my friends of 50 Home: Sam, Liz, Adi, Johnny, Sarah: I try every day to be as good a friend to you as you are to me; and to those outside our quiet street: Mads, Avi, Jason; and the Classics friends I have made who have defined my senior year: Shoynes, Beth, Sharper, Jackson, Mackenzie, Maria; to Ward, who I love like a brother, and to Professor Visvardi, the professor I did not have the first three years and am incredibly grateful to have had since. -
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. -
HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
ODYSSEUS UNBOUND Labor of Intimidation and Vengeful Violence
ANGELAKI journal of the theoretical humanities volume 19 number 4 december 2014 n a speech delivered in Belfast on 5 March I 1981, Margaret Thatcher famously remarked: “There is no such thing as political murder, pol- itical bombing or political violence. There is only criminal murder, criminal bombing and criminal violence.”1 The visceral and deeply moving por- trait of Bobby Sands – the first of the ten men who starved themselves to death in their struggle for “political status” in the infamous Maze Prison – in Steve McQueen’s critically acclaimed movie Hunger provides an excellent exposition of the untruth of Thatcher’sstatement.2 In Hunger, we are dragged into the prison of banu bargu a liberal-democratic state, a prison where the only law is the sovereign will, performing and reproducing itself through the security forces’ ODYSSEUS UNBOUND labor of intimidation and vengeful violence. sovereignty and sacrifice in This sovereign will is donned with the legiti- macy of the law, but the law now appears like hunger and the dialectic of a bad copy of itself, a broken façade that scar- cely hides the duel between an existing sover- enlightenment eign in whose hands it is used to criminalize, discredit, and thereby neutralize its opponents, criminal. Unable to bend the prisoners to its on the one side, and a movement whose own will, the state folds back upon and crimina- violent struggle for national liberation is no lizes itself, in the face of the moral and political less than its own law, on the other. And yet, indictment put forth by the violent self-destruc- Downloaded by [Banu Bargu] at 12:14 22 December 2014 even with the help of special legislation directed tion of the prisoners themselves. -
Not the Same Old Story: Dante's Re-Telling of the Odyssey
religions Article Not the Same Old Story: Dante’s Re-Telling of The Odyssey David W. Chapman English Department, Samford University, Birmingham, AL 35209, USA; [email protected] Received: 10 January 2019; Accepted: 6 March 2019; Published: 8 March 2019 Abstract: Dante’s Divine Comedy is frequently taught in core curriculum programs, but the mixture of classical and Christian symbols can be confusing to contemporary students. In teaching Dante, it is helpful for students to understand the concept of noumenal truth that underlies the symbol. In re-telling the Ulysses’ myth in Canto XXVI of The Inferno, Dante reveals that the details of the narrative are secondary to the spiritual truth he wishes to convey. Dante changes Ulysses’ quest for home and reunification with family in the Homeric account to a failed quest for knowledge without divine guidance that results in Ulysses’ destruction. Keywords: Dante Alighieri; The Divine Comedy; Homer; The Odyssey; Ulysses; core curriculum; noumena; symbolism; higher education; pedagogy When I began teaching Dante’s Divine Comedy in the 1990s as part of our new Cornerstone Curriculum, I had little experience in teaching classical texts. My graduate preparation had been primarily in rhetoric and modern British literature, neither of which included a study of Dante. Over the years, my appreciation of Dante has grown as I have guided, Vergil-like, our students through a reading of the text. And they, Dante-like, have sometimes found themselves lost in a strange wood of symbols and allegories that are remote from their educational background. What seems particularly inexplicable to them is the intermingling of actual historical characters and mythological figures. -
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. -
Optima Carme: a Reexamination of the Nurse in the Ciris By
OPTIMA CARME: A REEXAMINATION OF THE NURSE IN THE CIRIS BY CASEY LYNN HUGHES Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts Chairperson: Dr. Tara Welch Dr. Anthony Corbeill Dr. Pamela Gordon Date defended: 10 May 2017 The Thesis Committee for CASEY LYNN HUGHES certifies that this is the approved version of the following thesis: OPTIMA CARME: A REEXAMINATION OF THE NURSE IN THE CIRIS Chairperson: Dr. Tara Welch Date approved: 10 May 2017 ii ABSTRACT This thesis examines the Ciris, a Pseudo-Vergilian epyllion of uncertain date, and analyzes the figure of the nurse Carme, a character who has largely been ignored in previous studies of the poem. The Ciris narrates the story of Scylla of Megara and how she betrayed her father, King Nisus, because of her love for Minos, King of Crete. While nurses are typical stock characters in Greek and Roman literature, I will show how the character of Carme becomes more than Scylla’s nurse. Although she embodies the qualities of many nurses from various genres before her, the Ciris poet also expands her role, briefly transforming an otherwise minor character into a second heroine. iii TABLE OF CONTENTS Chapter One: Introduction 1 Chapter Two: Influential Nurses 11 Chapter Three: The Heroine Nurse 32 Conclusion 53 Bibliography 57 Appendix A 60 Appendix B 61 iv Chapter One Introduction The Ciris is a first century B.C. or first century A.D. epyllion about Scylla, who betrays her father Nisus, king of Megara, because of her love for Minos, king of Crete. -
Homer and Hesiod
University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 1-1-1997 Homer and Hesiod Ralph M. Rosen University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classical Literature and Philology Commons Recommended Citation Rosen, R. M. (1997). Homer and Hesiod. Retrieved from https://repository.upenn.edu/classics_papers/7 Postprint version. Published in A New Companion to Homer, edited by Barry Powell and Ian Morris, Mnemosyne: Bibliotheca classica Batava, Supplementum 163 (New York: Brill, 1997), pages 463-488. The author has asserted his right to include this material in ScholarlyCommons@Penn. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/7 For more information, please contact [email protected]. Homer and Hesiod Abstract One of the most frustrating aspects of Homeric studies is that so little literary material outside the Homeric corpus itself survives to enhance our understanding of the cultural landscape of the period. Recent scholarship suggests that a large and diverse poetic tradition lay behind the figure we refer to as "Homer," but little of it survives. Indeed we have little continuous written Greek for another century. The one exception is Hesiod, who composed two extant poems, the Theogony and Works and Days, and possibly several others, including the Shield of Heracles and the Catalogue of Women. As we shall see, while Hesiodic poetry was not occupied specifically with heroic themes, it was part of the same formal tradition of epic, sharing with Homer key metrical, dialectal, and dictional features. -
Homer the Iliad
1 Homer The Iliad Translated by Ian Johnston Open access: http://johnstoniatexts.x10host.com/homer/iliadtofc.html 2010 [Selections] CONTENTS I THE QUARREL BY THE SHIPS 2 II AGAMEMNON'S DREAM AND THE CATALOGUE OF SHIPS 5 III PARIS, MENELAUS, AND HELEN 6 IV THE ARMIES CLASH 6 V DIOMEDES GOES TO BATTLE 6 VI HECTOR AND ANDROMACHE 6 VII HECTOR AND AJAX 6 VIII THE TROJANS HAVE SUCCESS 6 IX PEACE OFFERINGS TO ACHILLES 6 X A NIGHT RAID 10 XI THE ACHAEANS FACE DISASTER 10 XII THE FIGHT AT THE BARRICADE 11 XIII THE TROJANS ATTACK THE SHIPS 11 XIV ZEUS DECEIVED 11 XV THE BATTLE AT THE SHIPS 11 XVI PATROCLUS FIGHTS AND DIES 11 XVII THE FIGHT OVER PATROCLUS 12 XVIII THE ARMS OF ACHILLES 12 XIX ACHILLES AND AGAMEMNON 16 XX ACHILLES RETURNS TO BATTLE 16 XXI ACHILLES FIGHTS THE RIVER 17 XXII THE DEATH OF HECTOR 17 XXIII THE FUNERAL GAMES FOR PATROCLUS 20 XXIV ACHILLES AND PRIAM 20 I THE QUARREL BY THE SHIPS [The invocation to the Muse; Agamemnon insults Apollo; Apollo sends the plague onto the army; the quarrel between Achilles and Agamemnon; Calchas indicates what must be done to appease Apollo; Agamemnon takes Briseis from Achilles; Achilles prays to Thetis for revenge; Achilles meets Thetis; Chryseis is returned to her father; Thetis visits Zeus; the gods con-verse about the matter on Olympus; the banquet of the gods] Sing, Goddess, sing of the rage of Achilles, son of Peleus— that murderous anger which condemned Achaeans to countless agonies and threw many warrior souls deep into Hades, leaving their dead bodies carrion food for dogs and birds— all in fulfilment of the will of Zeus. -
Structure As Interpretation in the Homeric Odyssey Erwin F
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Trinity University Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 2014 Structure as Interpretation in the Homeric Odyssey Erwin F. Cook Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Cook, E.F. (2014). Structure as interpretation in the Homeric odyssey. In D. Cairns & R. Scodel (ed.), Defining Greek Narrative (pp. 75-101). Edinburgh: Edinburgh University Press. This Contribution to Book is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Structure as Interpretation in the Odyssey ‘Defining Greek Literature’ poses an interesting challenge for Homerists, like myself, committed to the proposition that the epics reflect the compositional practices of oral poetry the world over.1 In terms of formal approaches, many scholars, including contributors to this volume, have found it productive to apply narratology to elucidate Homer, a methodology with greater universalizing assumptions than oral theory. Nevertheless, an aspect of the epics that I believe is distinctive, and in certain respects unique, is the ways in which they manipulate traditional conventions so as to guide reception. Although Scodel rightly cautions against assuming homogenous audiences of epic connoisseurs, the practice does, I think, imply audience members able to recognise the patterns and respond to the manipulation. -
Nordlit 33, 2014 OLD WOMEN in the ODYSSEY Minna Skafte Jensen
OLD WOMEN IN THE ODYSSEY Minna Skafte Jensen Introduction As an old woman celebrating a friend on her way to becoming an old woman, I should perhaps have chosen a text which describes old age in a positive light. Homer, I’m afraid, does not romanticise this stage of human life.1 The normal prose word for old age, geras, occurs regularly in Homeric language,2 and the epithets attached to it are ‘baneful’ (lygron), ‘hated’ (stygeron), ‘destructive’ (oloon), ‘hard to bear’ (chalepon), and ‘even-handed’ (homoiion), this last probably in the sense that old age does not distinguish between high and low, male and female, but is an evil common to all. Old age is not a topic to be discussed; instead, as is typical for Homeric style, its nature is exemplified by means of characters in the poems. Among them appear some important old men and women. At one end of the spectrum is the happy and harmonious Nestor, who already in the Iliad is presented as respected for his wisdom and former courageous deeds, and in the Odyssey is depicted as enjoying a peaceful old age in Pylos together with his wife Eurydice and surrounded by a large number of flourishing adult sons. At the other end is the Trojan royal couple, Priam and Hecuba, who once ruled a rich and prosperous community, but in the Iliad gradually decline into the quintessence of a miserable old age, in which everything of importance has been lost – power, wealth, sons – and if you should be killed, your dead body will be a shameful sight (XXII. -
Clytemnestra and Penelope in the Odyssey
Δολόμητις Πηνελόπεια: Clytemnestra and Penelope in the Odyssey This paper re-examines the motif of the nostos of Agamemnon in Homer’s Odyssey in terms of the relationship between Penelope and Clytemnestra. It has often been recognized that the story recurs with surprising frequency and in bewildering variation in the Odyssey, but earlier scholarship tended to read Agamemnon’s nostos as a straightforward foil for Odysseus’ that emphasizes the contrast between their fates (e.g. Macknail 1936; D’Arms and Hulley 1946; Clarke 1967: 10). More recent scholarship, however, has questioned this view and shown that the text uses the story of Agamemnon and Clytemnestra to raise doubts about Penelope’s fidelity and ability to resist the suitors (Murnaghan 1986: 107-108; Olson 1990, passim but esp. 62-65; Katz 1991: 29-53; Felson-Rubin 1994: 95-107). In this view, the specter of Clytemnestra lurks behind Penelope throughout most of the poem until the shade of Agamemnon himself resolves the comparison between the two women with an exoneration of Penelope as Clytemnestra’s polar opposite. This interpretation takes Agamemnon’s conclusion at face value, but in this paper I will quetsion that assumption by showing that the relationship between Clytemnestra and Penelope is not as antithetical as Agamemnon claims and that the poet resolves the narrative tension between the two characters more subtly than has sometimes been supposed. As Olson has shown, the texts depicts Odysseus and Telemachus as potential re-figurings of both Agamemnon and Orestes, returning home either to meet death by ambush or to avenge themselves on the traitors (1990, passim but esp.