Epic and Myth
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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 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 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. -
Open Skoutelas Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF CLASSICS & ANCIENT MEDITERRANEAN STUDIES THE CARTOGRAPHY OF POWER IN GREEK EPIC: HOMER’S ODYSSEY & THE RECEPTION OF HOMERIC GEOGRAPHIES IN THE HELLENISTIC AND IMPERIAL PERIODS CHARISSA SKOUTELAS SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Classics & Ancient Mediterranean Studies and Global & International Studies with honors in Classics & Ancient Mediterranean Studies Reviewed and approved* by the following: Anna Peterson Tombros Early Career Professor of Classical Studies and Assistant Professor of Classics and Ancient Mediterranean Studies Thesis Supervisor Erin Hanses Lecturer in Classics and Ancient Mediterranean Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT As modern scholarship has transitioned from analyzing literature in terms of its temporal components towards a focus on narrative spaces, scholars like Alex Purves and Donald Lateiner have applied this framework also to ancient Greek literature. Homer’s Odyssey provides a critical recipient for such inquiry, and Purves has explored the construction of space in the poem with relation to its implications on Greek epic as a genre. This paper seeks to expand upon the spatial discourse on Homer’s Odyssey by pinpointing the modern geographic concept of power, tracing a term inspired by Michael Foucault, or a “cartography of power,” in the poem. In Chapter 2 I employ a narratological approach to examine power dynamics played out over specific spaces of Odysseus’ wanderings, and then on Ithaca, analyzing the intersection of space, power, knowledge, and deception. The second half of this chapter discusses the threshold of Odysseus’ palace and flows of power across spheres of gender and class. -
Antrocom 4(2) 10
Antrocom 2008 - Vol 4 - n. 2 145-157 Antropologia storica Literary anthroponymy: decοding the characters of Homer’s Odyssey MARCY GEORGE-KOKKINAKI Abstract. Over the generations, people never cease to be fascinated by the epic journeys of Odysseus. Scholars seem to be divided by the vivid descriptions of Odyssey’s exotic unknown lands, extreme nature’s forces, encounters with gods, semi-gods, unusual people and mythic monsters. The present paper examines the ancient texts and demonstrates a number of original tables in order to support the etymological and grammatical analysis of the characters. Aim of this research paper is to provide a highly original and yet accurate Linguistic and Etymological Analysis of the names of the main Heroes and Peoples of Odyssey. Then Autolycus said: “My daughter’s husband and my daughter, give him whatsoever name I say. For I have been angered with many over the fruitful earth, therefore let the child be named “Odysseus”. Odyssey, Rhapsody 19, Vss 407-410 1. Introduction The most skeptical researchers consider that Odyssey is an imaginary Epic, yet written in a distinguished, articulate manner. Other researchers set their faith in Homer, and initiate a number of researches, both in ancient texts, and excavations, in a way similar to the German Archaeologist, Heinrich Schliemann (1822-1890) who as a young boy, decided to visit Asia Minor to excavate Troy, and thus confirm the reality beneath Homer’s epic writings. Finally, a third group of researchers is skeptical about the ancient epics, but would be willing to change their mind should tangible evidence be found, either in the form of archaeological findings or logical conclusions from historical evidence. -
23 Hero-Without-Nostos.Pdf
1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science +Business Media Dordrecht. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Int class trad DOI 10.1007/s12138-014-0367-6 ARTICLE A Hero Without Nostos: Ulysses’ Last Voyage in Twentieth-Century Italy Francesca Schironi © Springer Science+Business Media Dordrecht 2015 Abstract The article reviews the reception of Ulysses’ last voyage in twentieth- century Italy. Ulysses’ last voyage is used by Italian authors to discuss different and often opposing views of the ideal human life as well as the intellectual and exis- tential angsts of the twentieth century. In addition, the Italian twentieth-century Ulysses becomes part of a metapoetic discourse, as going back to the Homeric and Dantesque myths of Ulysses for an artist also means interrogating oneself on the possibility of creating something new within a long tradition. This metaliterary dimension adds to the modern Italian reception of Ulysses, making it a unique case of the intersection of many different layers of reception both in chronological and thematic terms. -
Illinois Classical Studies
LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 880 V.2 Classics renew phaH=«= SS^S^jco The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN m\ k m OCT IS 386 Air, 1 ? i!;88 WOV 1 5 988 FEB 19 19! i^f' i;^ idi2 CLASSICS L161 — O-1096 ILLINOIS CLASSICAL STUDIES VOLUME II •977 Miroslav Marcovich, Editor UNIVERSITY OF ILLINOIS PRESS Urbana Chicago London 1 1977 by the Board of Trustees of the University of Illinois Manufactured in the United States of America ISBN :o-252-oo629- O ^ Xl^ Preface Volume II (1977) o( Illinois Classical Studies is a contribution of the clas- sicists from the University of Illinois to the celebration of the Bicentennial of the American Revolution (1776-1976). It comprises twenty-one select contributions by classical scholars from Ann Arbor, Berkeley, Cambridge (England), Cambridge (Massachusetts), Chicago, London, New York, Philadelphia, Providence, St. Andrews, Stanford, Swarthmore, Toronto, Urbana and Zurich. The publication of this volume was possible thanks to generous grants by Dean Robert W. Rogers (Urbana-Champaign) and Dean Elmer B. Hadley (Chicago Circle). Urbana, 4 July 1975 Miroslav Marcovich, Editor .. : Contents 1 The Nature of Homeric Composition i G. p. GOOLD 2. The Mare, the Vixen, and the Bee: Sophrosyne as the Virtue of Women in Antiquity 35 HELEN F. -
Laestrygonians in the Odyssey
Laestrygonians in the odyssey Continue '... we have come to the high citadel of Lamus, even to Telepilus Laestraigonia, where the shepherd calls the shepherd when he leads in his flock, and other answers as he leads him forward. Odyssey 10.81ff. (online text: Eng., Grk.) Here and below the quotes are selective; Follow the links for the full excerpts Boreads Haunting Harpies About the steep mount of Fawn and the rugged Etne on the island of Ortigia and people sprang from Lastrationon, who was the son of the widely ruling Poseidon. (online text: Eng. »fr. 40a on this site) Thucydides, The history of the Peloponnese War 6.2.1 It (Sicily) was inhabited in the old time, thus, and it was the peoples who held it: The oldest inhabitants in its part are said to have been cyclops and laestrigones, from which the reserves and from where they came from or where they were removed I can not say anything . (online text: Eng., Grk.) Apollonius of Rhodes, Argonautics 4.964ff. ... the heroes caught the wind and sped forward; and quickly they passed mid Trinasia, where kin Helios fed. (online text: Eng., Grk.) Mullus crates, fr. 50 Broggiato Crates Mallus thought that the Lystragons lived in the north, based on the Gomorese reference to the long days in Telepylus. Horace, Oda 3.16.34ff., 3.17.1ff. 3.16: While it is true, Calabrian bees do not bring me/their honey, and no laestrygonian wine-jar/mellows for me... Latin: nec Laestrygonia Bacchus in amphora / languescit mihi (online text: Eng., Lat.) 3.17: Aelius, the ancient name of Lamus..../No doubt you trace your line from it,/Who stretch'd his power o'er Formiae (online text: Eng., Lat.) Cicero, Letters to Atticus 2.13.2 When you come to Estrigony's distant gate - I mean Formiae - what a loud noise! what evil souls! what an unpopularity for our friend Magnus! (online text: Eng., Lat.) Ovid, Metamorphosis 14.233-234, Fasti 4.69 Met.: (Makarei, the surviving companion of the Odyssey, found in Cumae): From there, he said, we swam until we reached the ancient city of Lamus, Laestrygon. -
A View of the Odyssey
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1983 Volume II: Greek and Roman Mythology A View of The Odyssey Curriculum Unit 83.02.02 by Anna K. Baker I plan to teach Homer’s Odyssey to a high school English class on an intermediate-advanced level. I teach at High School in the Community, where students are divided according to ability, interest and, at times, maturity rather than by grade level. I expect to have in my class sophomores, juniors, and seniors and perhaps a scattering of freshmen. The purpose of this unit is to help students see themselves in the mirror that mythology holds up to us all. Times have changed and so has the pace of our lives; but people are confronted by the same basic choices today as when Homer decided to put the story of the wanderings, tribulations, and homecoming of Odysseus into his own words. Students who study this great epic poem which tells a fundamental myth of our civilization will read of witches, cannibals, and monsters as well as of Olympian gods, human princesses, and dead spirits out of the underworld. These students will also read a story about human beings, Odysseus, Telemachus, Penelope, and Nausicaa, as well as about others who have experienced many of the same difficulties around growing up, making choices and becoming mature that people of today experience as they leave their childhood and enter the world of adolescence and adulthood. Today’s high school students are faced with a world that presents ever more complex choices: for example, careers, family, morality, and so forth. -
Animal Similes and Gender in the Odyssey and Oresteia
ABSTRACT Title of Document: ANIMAL SIMILES AND GENDER IN THE ODYSSEY AND ORESTEIA Johanna Leah Braff, M.A., 2008 Directed By: Professor Lillian Doherty, Department of Classics This thesis offers an overview of a selection of the animal similes within the Odyssey and the Agamemnon. I examine the ways in which the animal similes, reverse similes, and overall character portrayal are depicted within each work. I argue that these tools are used in order to reflect the genres of the two works and how neither completely adheres to the expectations of the gender roles, that is, what is expected of the male and female characters. The gender roles are more stable in the Odyssey as Penelope relies on her homophrosune with Odysseus, while the Agamemnon captures the chaos that occurs when the female does not remain within the female sphere. ANIMAL SIMILES AND GENDER IN THE ODYSSEY AND ORESTEIA By Johanna Leah Braff Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Professor Lillian Doherty, Chair Professor Eva Stehle Professor Judith Hallett © Copyright by Johanna Leah Braff 2008 Dedication To my Grandma Nettie, the inspiration and muse behind my endeavors in the Classics. ii Table of Contents Dedication…………………………………………………………………………….ii Table of Contents…………………………………………………………………….iii Introduction…………………………………………………………………………...1 Chapter 1: Women in the Odyssey……………………………………………………2 Chapter 2: Animal Similes in the Odyssey…………………………………………..20 Chapter 3: The Oresteia, Gender and Sexuality……………………………………..32 Chapter 4: Animal Similes in the Agamemnon……………………………………....54 Conclusion…………………………………………………………………………...73 Bibliography…………………………………………………………………………76 iii INTRODUCTION It has long been stated that Homer’s works were the main influence for Aeschylus’ dramas. -
The Nordic Origins of the Iliad and Odyssey: an Up-To-Date Survey of the Theory
Athens Journal of Mediterranean Studies- Volume 3, Issue 2 – Pages 163-186 The Nordic Origins of the Iliad and Odyssey: An Up-to-date Survey of the Theory By Felice Vinci An up-to-date survey of the theory proposed in "The Baltic Origins of Homer’s Epic Tales" is presented here. The real setting of the Iliad and Odyssey can be identified not as the Mediterranean Sea, where it proves to be undermined by many incongruities, but rather in the north of Europe. The oral sagas that originated the two poems came from the Baltic regions, where the Bronze Age flourished in the 2nd millennium BC and where many Homeric places, such as Troy and Ithaca, can still be identified today. The blond seafarers who founded the Mycenaean civilization in the Aegean in the 16th century BC brought these tales from Scandinavia to Greece after the end of the climatic optimum. These peoples then rebuilt their original world – where the Trojan War and many other mythological events had taken place – farther south in Mediterranean waters, transferring significant names from north to south. Through many generations, they preserved the memory of the heroic age and the feats performed by their ancestors in their lost Hyperborean homeland, until the oral tradition was put into written form around the 8th Century BC, when alphabetical writing was introduced in Greece. This new prospect can open new developments as to the European prehistory and the dawn of the Greek civilization. Keywords: Homer, Bronze Age, Nordic, Iliad, Odyssey The Northern Features of Homer’s World Northern Features of Climate, Clothes, Food, and Vessels Homer’s world presents northern features. -
Greek Tragedy and the Epic Cycle: Narrative Tradition, Texts, Fragments
GREEK TRAGEDY AND THE EPIC CYCLE: NARRATIVE TRADITION, TEXTS, FRAGMENTS By Daniel Dooley A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2017 © Daniel Dooley All Rights Reserved Abstract This dissertation analyzes the pervasive influence of the Epic Cycle, a set of Greek poems that sought collectively to narrate all the major events of the Trojan War, upon Greek tragedy, primarily those tragedies that were produced in the fifth century B.C. This influence is most clearly discernible in the high proportion of tragedies by Aeschylus, Sophocles, and Euripides that tell stories relating to the Trojan War and do so in ways that reveal the tragedians’ engagement with non-Homeric epic. An introduction lays out the sources, argues that the earlier literary tradition in the form of specific texts played a major role in shaping the compositions of the tragedians, and distinguishes the nature of the relationship between tragedy and the Epic Cycle from the ways in which tragedy made use of the Homeric epics. There follow three chapters each dedicated to a different poem of the Trojan Cycle: the Cypria, which communicated to Euripides and others the cosmic origins of the war and offered the greatest variety of episodes; the Little Iliad, which highlighted Odysseus’ career as a military strategist and found special favor with Sophocles; and the Telegony, which completed the Cycle by describing the peculiar circumstances of Odysseus’ death, attributed to an even more bizarre cause in preserved verses by Aeschylus. These case studies are taken to be representative of Greek tragedy’s reception of the Epic Cycle as a whole; while the other Trojan epics (the Aethiopis, Iliupersis, and Nostoi) are not treated comprehensively, they enter into the discussion at various points.