Perceiving and Knowing in the "Iliad" and "Odyssey" Author(S): J
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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. -
The Open-Mouthed Condition: Odysseus’ Transition from Warrior to Ruler
Sund 1 The Open-Mouthed Condition: Odysseus’ Transition from Warrior to Ruler By S. Asher Sund, M.A. Every text has a background. To know where one stands not only in his or her story but also in relation to the subtext is to know, in essence, under which god one consciously lives. This (albeit simplified) process of post-Jungian archetypal psychology of seeing through any experience to the god at core might be equally understood in terms of figurative language, and most particularly metaphor. Metaphor in Greek means “to transfer” or to “carry over” and when we get stuck in any one story (or on any one side of the sentence), we miss the subtexts (sub- gods), and lose our ability to make effective transitions. Thus we find our hero, Odysseus, staring out at sea, trapped on the paradisiacal island of Ogygia with the queenly nymph Calypso (“cover”). The problem here is not with Calypso— Odysseus concedes her beauty above all others, including his long-waiting Penelope—but with her promise of immortality. Odysseus’ epic prototype Gilgamesh, in questing after immortality, will meet up for a beer with Siduri, the tavern-keeper goddess at the edge of the world, who will tell him to give up on the possibility of immortality and to live life to the fullest every day—the best any mortal can hope for. Unlike Gilgamesh, Odysseus will find immortality, but the larger truth—more so than Siduri’s carpe diem—is that immortality is a stuck place, too, if not the most stuck place of all. -
How to Cite Complete Issue More Information About This Article
Ilha do Desterro ISSN: 2175-8026 Universidade Federal de Santa Catarina Harper, Margaret Dobbs and the Tiger: The Yeatses’ Intimate Occult Ilha do Desterro, vol. 71, no. 2, 2018, May-August, pp. 205-218 Universidade Federal de Santa Catarina DOI: 10.5007/2175-8026.2018v71n2p205 Available in: http://www.redalyc.org/articulo.oa?id=478359431013 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative DOI: http://dx.doi.org/10.5007/2175-8026.2018v71n2p205 DOBBS AND THE TIGER: THE YEATSES’ INTIMATE OCCULT Margaret Harper* University of Limerick, Limerick, Ireland Abstract he mediumistic relationship between W. B. Yeats and his wife George (née Hyde Lees) is an important guide to the creative work produced by the Irish poet ater their marriage in 1917. heir unusual collaboration illuminates the esoteric philosophy expounded in the two very diferent versions of Yeats’s book A Vision (1925 and 1937). It is also theoretically interesting in itself, not only in the early period when the automatic experiments produced the “system” expounded in A Vision, but also in the 1920s and 1930s, when the Yeatses’ relationship had matured into an astonishingly productive mature partnership. his essay analyses symbols the Yeatses themselves used to conceive of their joint work, particularly the symbolic structures and constructed selves of the collaborators, and particularly in the later period. he authors’ own terminology and understanding shed light on their joint authorship; that collaboration produced not only texts but also meaning, as can be seen by the example of the poem “Michael Robartes and the Dancer.” Keywords: W. -
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. -
A Philosophical Inquiry Into the Development of the Notion of Kalos Kagathos from Homer to Aristotle
The University of Notre Dame Australia ResearchOnline@ND Theses 2006 A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle Geoffrey Coad University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Coad, G. (2006). A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle (Master of Philosophy (MPhil)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/13 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. A PHILOSOPHICAL INQUIRY INTO THE DEVELOPMENT OF THE NOTION OF KALOS KAGATHOS FROM HOMER TO ARISTOTLE Dissertation submitted for the Degree of Master of Philosophy Geoffrey John Coad School of Philosophy and Theology University of Notre Dame, Australia December 2006 TABLE OF CONTENTS Abstract iv Declaration v Acknowledgements vi INTRODUCTION 1 CHAPTER 1: The Fish Hook and Some Other Examples 6 The Sun – The Source of Beauty 7 Some Instances of Lack of Beauty: Adolf Hitler and Sharp Practices in Court 9 The Kitchen Knife and the Samurai Sword 10 CHAPTER 2: Homer 17 An Historical Analysis of the Phrase Kalos Kagathos 17 Herman Wankel 17 Felix Bourriott 18 Walter Donlan 19 An Analysis of the Terms Agathos, Arete and Other Related Terms of Value in Homer 19 Homer’s Purpose in Writing the Iliad 22 Alasdair MacIntyre 23 E. -
E Wanderings
Model the Skill ("'#!"%&# #*)&, "+!$!!#%' "!#&'('( ODiscuss the various ways that stu- *#%)!#%%#*" dents can monitor comprehen- "*" #"+%&"&&#"& sion while reading a long work * "%#('%#("''$#"'#'! such as the Odyssey: paraphras- ing, summarizing, and asking #%"#%!'#!&$&&#!*% questions. '% &""%&)"&#''"! )""'"%'#& #) O Point out that identifying causes ' '#&$'#%+&&(& and effects is an important part ('#&#"%"# "%#( of summarizing the sequence, or "&''%)"' !&#% order, of events. Explain that a ' &'#"&#*" " cause makes something happen. &$" ## An effect is what happens. OModel how to identify causes and effects in a story. Say, for example: “To identify a cause, I ask why something happened. To identify an effect, I ask what happened.” Use a simple chain-of-events chart to show the causes and effects that move the action along in Book 5. $$ '-$(%(!!$)(,'')'/''$#!")' !")''#'&#((&&##+$&!$&' Chain-of-Events Chart (&+$'#*&&()&#&$"((#,&&$#& Athena asks Zeus sends Odysseus $,,'')'+$)!!'('"''##($# Zeus to help Hermes to fi nally leaves #+1&'("(,'')'# $$ $(%' Odysseus. tell Calypso Calypso’s %&'$#&$()()!$'' !,%'$0$!'$!&'# to release island. Odysseus. '%& ''%#((#,&''*#$("' !,%'$/'#$( #(&!,)#+!!#%(*(&,#($($" 0 $'' (#'')%%$&(#!%,'')'$#' Guided Practice: Apply !$#$)&#,$+''&(&)'($!%&*$&( Guide students in identifying other "$&(!#)'&''#'("''#&$&"'($ causes and effects that propel the !,%'$/''!#($$&&,'')'&!' !($) !,%'$' action forward in Part One. Write the #$('&'*!&')(*&"'.*#&%&$"''$ events in a chain-of-events chart. -
Homer's Odyssey in the Hands of Its Allegorists: Many Paths to Explain the Cosmos
Safari Grey Homer’s Odyssey in the Hands of its Allegorists: Many Paths to Explain the Cosmos Summary The allegorical exegetic tradition was arguably the most popular form of literary criticism in antiquity. Amongst the ancient allegorists we encounter a variety of names and philo- sophic backgrounds spanning from Pherecydes of Syros to Proclus the Successor. Many of these writers believed that Homer’s epics revealed philosophical doctrines through the means of hyponoia or ‘undermeanings’.Within this tradition was a focus on cosmological, cosmogonical and theological matters which attracted a variety of commentators despite their philosophical backgrounds. It is the intention of this paper to draw attention to two writers: Heraclitus, and Porphyry of Tyre. This paper also intends to demonstrate that the tradition of cosmic allegorical exegesis is still practiced in modern scholarship. Keywords: Homer; literary criticism; allegory; Heraclitus; Porphyry; cosmology; metaphor Die allegorische exegetische Tradition war wohl die populärste Form der Literaturkritik in der Antike. Unter den antiken Allegorien begegnen wir einer Vielzahl von Namen und phi- losophischen Hintergründen, die von Pherecydes von Syros bis zu Proclus der Nachfolger reichen. Viele dieser Autoren glaubten, Homers Epen enthüllten philosophische Lehren durch Hyponoie oder ,Unterschätzung‘. In dieser Tradition lag der Fokus auf kosmologi- schen, kosmogonischen und theologischen Fragen, die trotz ihrer philosophischen Hinter- gründe eine Vielzahl von Kommentatoren anzogen. -
The Odyssey and the Desires of Traditional Narrative
The Odyssey and the Desires of Traditional Narrative David F. Elmer* udk: 82.0-3 Harvard University udk: 821.14-13 [email protected] Original scientific paper Taking its inspiration from Peter Brooks’ discussion of the “narrative desire” that structures novels, this paper seeks to articulate a specific form of narrative desire that would be applicable to traditional oral narratives, the plots of which are generally known in advance by audience members. Thematic and structural features of theOdyssey are discussed as evidence for the dynamics of such a “traditional narrative desire”. Keywords: Narrative desire, Peter Brooks, Odyssey, oral tradition, oral literature In a landmark 1984 essay entitled “Narrative Desire”, Peter Brooks argued that every literary plot is structured in some way by desire.1 In his view, the desires of a plot’s protagonist, whether these are a matter of ambition, greed, lust, or even simply the will to survive, determine the plot’s very readability or intelligibility. Moreover, for Brooks the various desires represented within narrative figure the desires that drive the production and consumption of narrative. He finds within the narrative representation of desire reflections of the desire that compels readers to read on, to keep turning pages, and ultimately of an even more fundamental desire, a “primary human drive” that consists simply in the “need to tell” (Brooks 1984, 61). The “reading of plot,” he writes, is “a form of desire that carries us forward, onward, through the text” (Brooks 1984, 37). When he speaks of “plot”, Brooks has in mind a particular literary form: the novel, especially as exemplified by 19th-century French realists like Honoré de Balzac and Émile Zola. -
Crossing the Boundaries in Kushner and Shakespeare Grant Williams, University of Pittsburgh
Crossing the Boundaries in Kushner and Shakespeare Grant Williams, University of Pittsburgh Both the theater and criticism depends upon the production of the new and the reappropriation of the old. -Charles R. Lyons (97) […] the need to rehearse and renegotiate the relationship with memory and the past is nowhere more specifically expressed in human culture than in theatrical performance. -Marvin Carlson (167) arold Bloom says, “Genre, frequently metaphoric in Shakespeare, is particularly uneasy in Troilus and H Cressida, variously termed satire, comedy, history, tragedy, or what you will” (327). Moving forward to Tony Kushner’s two- part epic, Angels in America, we find another work that refuses simple classification. David Savran says of it, “Angels is a promiscuously complicated play that is very difficult to categorize […] evoking characteristics that are usually associated with both comedy and tragedy” (15). Many of the reasons for their categorical elusiveness obviously differ, but both plays employ an idea of disease as means by which corruption and politics of exclusion are problematized and changed. In Troilus and Cressida, the audience is confronted with an honored society that, underneath a noble façade, possesses a “Most putrefied core” (5.9.1). Shakespeare uses disease as a thematic tool to align theatrical entertainment with society’s own use of marginalization in order to build a connection between the characters onstage and the audience. Kushner uses disease, vis-à-vis the politics surrounding AIDS, as a platform to remedy the historical tendency to marginalize the sick. While Shakespeare’s play can be seen as a dark satire culminating in a spread of corruption, the topos of disease reveals more about the theatre than it does the legend of Troy. -
'The Judgement of Paris' from Robert Graves
Extract, regarding ‘The Judgement of Paris’, from Robert Graves, The Greek Myths: Volume Two. h. Paris's noble birth was soon disclosed by his outstanding beauty, intelligence, and strength: when little more than a child, he routed a band of cattle-thieves and recovered the cows they had stolen, thus winning the surname Alexander.1 Though ranking no higher than a slave at this time, Paris became the chosen lover of Genone, daughter of the river Oeneus, a fountain-nymph. She had been taught the art of prophecy by Rhea, and that of medicine by Apollo while he was acting as Laomedon's herdsman. Paris and Oenone used to herd their flocks and hunt together; he carved her name in the bark of beech-trees and poplars.2 His chief amusement was setting Agelaus's bulls to fight one another; he would crown the victor with flowers, and the loser with straw. When one bull began to win consistently, Paris pitted it against the champions of his neighbours' herds, all of which were defeated. At last he offered to set a golden crown upon the horns of any bull that could overcome his own; so, for a jest, Ares turned himself into a bull, and won the prize. Paris's unhesitating award of this crown to Ares surprised and pleased the gods as they watched from Olympus; which is why Zeus chose him to arbitrate between the three goddesses.3 i. He was herding his cattle on Mount Gargarus, the highest peak of Ida, when Hermes, accompanied by Hera, Athene, and Aphrodite, delivered the golden apple and Zeus's message: 'Paris, since you are as handsome as you are wise in affairs of the heart, Zeus commands you to judge which of these goddesses is the fairest.' Paris accepted the apple doubtfully. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
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.