Close Reading of Book Nine, “In the OneEyed Giant’S Cave,” Pp
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Odysseus, Athena, Nausicaa, Alcinous, A
/ . Book VII Reading Guide — Scene: lhe island of Scheria, land of the Phaeacians. Characters: Odysseus, Athena, Nausicaa, Alcinous, Arete I low are the Phaecians portrayed in the opening lines otthe book? (p. 179, lines 5, 12) What qualities is Arete known for? (p. 181) What does the description of Alcinous’s palace suggest about the Phaeacians’ relationships with the gods? (p. 182-183) I low does Odysseus approach Arete? (p. 184) l-low does Alcinous act as a host? (p. 185-186) What decision does Aicinous make about aiding Odysseus’s voyage home? (p. 189) “Calypso” “Nausicaa” Mv name is Calypso I \valkcd the ocean daily \nd I have lived alone I prayed to every deity I live on an island linallv the ocean gave me \nd I waken to the dawn \vhat it should never take away A long rime ago I watched him struggle with the sea You were just like a god I knew that he was drowning You stepped out from a cloud And I brought him into me but by the ftrst thing you said Now today I knew I’d never share your bed Come morning light lie sails away Couldn’t we possibly be each other’s? After one last night Isn’t there a somewhere to be lovers? I let him go. Why did you have to be for another? Why can’t I come with you as a lover? My name is Calypso My garden overflows ! walk back long the ocean Thick and wild and hidden I watch where your footsteps have been Is the sweetness there that grows Should I trust the gods of destiny My hair it blows long or throw myself into the sea? As I sing into the wind My name is Calypso Couldn’t we possibly be each other’s? And I have lived alone Isn’t there a somewhere to be lovers? I live on an island \Vhy did you have to be for another? [tell of nights Why can’t I come with you as a lover? Where I could taste the salt on his skin Salt of the waves And of tears And though he pulled away I kept him here for years I let him go. -
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 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. -
Another Penelope: Margaret Atwood's the Penelopiad
Monica Bottez ANOTHER PENELOPE: MARGARET ATWOOD’S THE PENELOPIAD Keywords: epic; quest; hybrid genre; indeterminacy; postmodernism Abstract: The paper sets out to present The Penelopiad as a rewriting of Homer’s Odyssey with Penelope as the narrator. Using the Homeric intertext as well as other Greek sources collected by Robert Graves in his book The Greek Myths and Tennyson‟s “Ulysses,” it evidences the additions that the new narrative perspective has stimulated Atwood to imagine. The Penelopiad is read as propounding a new genre, the female epic or romance where the heroine’s quest is analysed on analogy with the traditional romance pattern. The paper dwells on the contradictory and parody- like versions of events and characters embedded in the text: has Penelope been the perfect patient devoted wife, a cunning lustful pretender, or the High Priestess of an Artemis cult? In conclusion, the reader can never know the truth, being tied up in the utterly puzzling indeterminacy of meaning specific to postmodernism. The title of Margaret Atwood‟s novella makes the reader expect a rewriting of Homer‟s Odyssey, which is precisely what the author does in order to enrich it with new interpretations; since myths and legends are the repository of our collective desires, fears and longings, their actuality can never be exhausted: Atwood has used mythology in much the same way she has used other intertexts like folk tales, fairy tales, and legends, replaying the old stories in new contexts and from different perspectives – frequently from a woman‟s point of view – so that the stories shimmer with new meanings. -
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 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. -
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. -
Download Circe and Odysseus in Ancient
Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield). -
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. -
The Concealed Threat of Odysseus to the Phaeacians
Danger and Deferral: The Concealed Threat of Odysseus to the Phaeacians The Phaeacian episode of the Odyssey clarifies Odysseus as a hero of homecoming and hospitality, despite his fame as city destroyer and wandering hero. However helpful the Phaeacians may be in Odysseus‟ nostos, they become apparent victims of Poseidon's wrath as foretold in Nausithous‟ prophecy, wherein their island is to be covered by a great mountain (Od. 8.569 et alia; μέγα δ᾽ ἧμιν ὄρος πόλει ἀμφικαλύψειν) as a result of their painless conveyance of strangers (Od. 8.566, πομποὶ ἀπήμονές). The verb ἀμφικαλύπτω is heavily associated with recurrences of this prophecy but remains unconnected to the related and unexplored contexts of Odysseus‟ arrival to Scheria and Demodocus‟ introduction of Odysseus by way of the Trojan horse. I argue that a phraseological confluence of destructive images alerts the traditionally astute audience that Odysseus, not Poseidon, presents the greater danger to Scheria. Moreover, this destructive expectation is characteristically suspended and deferred by the poet in the unresolved conclusion of the Phaeacian episode, leaving the audience to question Odysseus‟ heroic identity, a revelation that is developed and delayed up to the poem‟s telos. The verb ἀμφικαλύπτω, for its implication in the destruction of the Phaeacians, lies at the intersection of two complex interpretive issues: Homeric theodicy and manuscript variation. In terms of theodicy, critics, both ancient and modern, have debated the appropriateness of the seemingly honorable Phaeacians‟ annihilation (Friedrich 1989, Allan 2006), and a significant manuscript variant attributed to Aristophanes of Byzantium at Od. 13.158 even suggests an alternate negation of the destruction (Friedrich 1989, Nagy 2002, Marks 2008). -
Circe Readers' Guide
Women’s Prize for Fiction 2019 Reading Group Guide Circe Also by Madeline Miller: by Madeline Miller The Song of Achilles (2011) Bloomsbury Publishing About the book In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe has neither the look nor the voice of divinity, and is scorned and rejected by her kin. Increasingly isolated, she turns to mortals for companionship, leading her to discover a power forbidden to the gods: witchcraft. When love drives Circe to cast a dark spell, wrathful Zeus banishes her to the remote island of Aiaia. There she learns to harness her occult craft, drawing strength from nature. But she will not always be alone; many are destined to pass through Circe’s place of exile, entwining their fates with hers. The messenger god, Hermes. The craftsman, Daedalus. A ship bearing a golden fleece. And wily Odysseus, on his epic voyage home. There is danger for a solitary woman in this world, and Circe’s independence draws the wrath of men and gods alike. To protect what she holds dear, Circe must decide whether she belongs with the deities she is born from, or the mortals she has come to love. About the author Madeline Miller is the author of The Song of Achilles, which won the Orange Prize for Fiction 2012, was shortlisted for the Stonewall Writer of the Year 2012, was an instant New York Times bestseller, and was translated into twenty-five languages. Madeline holds an MA in Classics from Brown University, and she taught Latin, Greek and Shakespeare to high school students for over a decade. -
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.