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THE ODYSSEY of HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD and in NEW YORK by E·P·DUTTON & CO to the RIGHT HONOURABLE
THE ODYSSEY OF HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD AND IN NEW YORK BY E·P·DUTTON & CO TO THE RIGHT HONOURABLE COUNTESS DOWAGER SPENCER THE FOLLOWING TRANSLATION OF THE ODYSSEY, A POEM THAT EXHIBITS IN THE CHARACTER OF ITS HEROINE AN EXAMPLE OF ALL DOMESTIC VIRTUE, IS WITH EQUAL PROPRIETY AND RESPECT INSCRIBED BY HER LADYSHIP’S MOST DEVOTED SERVANT, THE AUTHOR. THE ODYSSEY OF HOMER TRANSLATED INTO ENGLISH BLANK VERSE BOOK I ARGUMENT In a council of the Gods, Minerva calls their attention to Ulysses, still a wanderer. They resolve to grant him a safe return to Ithaca. Minerva descends to encourage Telemachus, and in the form of Mentes directs him in what manner to proceed. Throughout this book the extravagance and profligacy of the suitors are occasionally suggested. Muse make the man thy theme, for shrewdness famedAnd genius versatile, who far and wideA Wand’rer, after Ilium overthrown,Discover’d various cities, and the mindAnd manners learn’d of men, in lands remote.He num’rous woes on Ocean toss’d, endured,Anxious to save himself, and to conductHis followers to their home; yet all his carePreserved them not; they perish’d self-destroy’dBy their own fault; infatuate! who devoured10The oxen of the all-o’erseeing Sun,And, punish’d for that crime, return’d no more.Daughter divine of Jove, these things record,As it may please thee, even in our ears.The rest, all those who had perdition ’scapedBy war or on the Deep, dwelt now at home;Him only, of his country and his wifeAlike desirous, in her hollow grotsCalypso, Goddess beautiful, detainedWooing him to her arms. -
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. -
The Role of Emotions in Modern Receptions of Homeric Epic
Tales for All Time: The Role of Emotions in Modern Receptions of Homeric Epic Karen Anne Possingham January 2021 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Karen Anne Possingham 2021 All Rights Reserved 1 This thesis is the original work of the author. Word count: 98,683. 2 Acknowledgements First of all, I would like to acknowledge that this research was supported by an Australian Government Research Training Program Scholarship. My primary supervisor, Elizabeth Minchin, the Best of the Homerists, whose inspiration, support, and dedication helped bring out the best in my work. My secondary supervisors Greta Hawes and Lucy Neave for their sound advice, scholarship and kind encouragement. To my children Nick and Alex, their partners Steph and Tiah, colleagues at ANU and friends for seeing the world through Homer with me for the last four and a half years. Finally, my husband Hugh for his continued patronage of the Arts and for his pithy and witty remarks on the content and progress of this thesis. 3 Abstract The poet we call Homer stands at the intersection of a long oral tradition and the emergence of literacy. The poems associated with his name have exercised a continuing appeal, across time; and yet they can also be unsettling, challenging our ideas of Ancient Greek values and expectations. This has had an impact on the reception of the poems from antiquity to the present day. I have argued in this thesis that, in the cases I have studied, Lorna Hardwick’s idea of ‘faultlines’ in Homeric epic can be adapted to examine the powerful, often contradictory, emotions portrayed in the Iliad and the Odyssey: namely personal and place attachment, grief, and the anger that can lead to acts of retribution or to acts of mercy that rely on the emotion of pity. -
Durham E-Theses
Durham E-Theses `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 RICHARDS, FRANCESCA,MARIA How to cite: RICHARDS, FRANCESCA,MARIA (2016) `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11522/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘Dangerous Creatures’: Selected children’s versions of Homer’s Odyssey in English 1699–2014 Abstract This thesis considers how the Odyssey was adapted for children, as a specific readership, in English literature 1699-2014. It thus traces both the emergence of children’s literature as a publishing category and the transformation of the Odyssey into a tale of adventure – a perception of the Odyssey which is still widely accepted today (and not only among children) but which is not, for example, how Aristotle understood the poem. -
Tying up Loose Ends: the Metapoetics of Closure in Odyssey 22’
Beck, B. (2013) ‘Tying Up Loose Ends: The Metapoetics of Closure in Odyssey 22’ Rosetta 13: 1-15. http://www.rosetta.bham.ac.uk/issue_13/beck_metapoetics.pdf Rosetta 13. http://www.rosetta.bham.ac.uk/issue_13/beck_metapoetics.pdf Tying Up Loose Ends: The Metapoetics of Closure in Odyssey 22 Bill Beck University of Pennsylvania When we read Book 22 of the Odyssey we feel that we have reached an end-point.1 Just as the narrative of the Iliad seems to move inexorably toward the highly-anticipated meeting between Hector and Achilles in Iliad 22, so too our anticipation of Odysseus’ triumph over the suitors – the moment he reclaims his oikos – provides the momentum that propels the first twenty-two books. But insofar as it is a climax it is also a deflation. As W.B. Stanford notes, in Books 23 and 24 ‘we are made to feel that the supreme crisis is past: the turbulence is only such as follows a storm.’2 Book 22 (the Mnesterophonia) occupies an awkward place in the narrative; it is an end-point but it is not the end of the poem. I argue that the poet, mindful of Book 22’s narrative weight, calls attention to an end that is not The End and in so doing calls attention to the poem’s persistent resistance to closure, even in a book that is preoccupied with the very idea of closure. In this paper I demonstrate how, in anticipating the end of the Odyssey, the poet (1) represents binding and other acts of tying, closing, and delimiting as parallel with the process of concluding a poem; (2) connects narrative space with physical space; and (3) poses epic poetry as an art without end. -
The Odyssey, by Homer
The Project Gutenberg EBook of The Odyssey, by Homer This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: The Odyssey Author: Homer Translator: Samuel Butler Release Date: April, 1999 [EBook #1727] Last Updated: November 10, 2019 Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE ODYSSEY *** Produced by Jim Tinsley HTML file produced by David Widger The Odyssey by Homer rendered into English prose for the use of those who cannot read the original Contents PREFACE TO FIRST EDITION PREFACE TO SECOND EDITION THE ODYSSEY BOOK I. BOOK II. BOOK III. BOOK IV. BOOK V. BOOK VI. BOOK VII. BOOK VIII. BOOK IX. BOOK X. BOOK XI. BOOK XII. BOOK XIII. BOOK XIV. BOOK XV. BOOK XVI. BOOK XVII. BOOK XVIII. BOOK XIX. BOOK XX. BOOK XXI. BOOK XXII. BOOK XXIII. BOOK XXIV. FOOTNOTES: AL PROFESSORE CAV. BIAGIO INGROIA, PREZIOSO ALLEATO L’AUTORE RICONOSCENTE. PREFACE TO FIRST EDITION This translation is intended to supplement a work entitled “The Authoress of the Odyssey”, which I published in 1897. I could not give the whole “Odyssey” in that book without making it unwieldy, I therefore epitomised my translation, which was already completed and which I now publish in full. -
CL2346 HOMER (IN TRANSLATION) What You Need to Buy
CL2346 HOMER (IN TRANSLATION) What you need to buy • Iliad, translated by Richmond Lattimore (University of Chicago Press, £11.50 new; also online at Chicago Homer, http://homer.library.northwestern.edu – to turn off the Greek click Options and set your preferences, then click Browse to return to the text and re-click Retrieve). You don’t need to have the revised (2011) edition, though the new introduction and notes by Richard Martin are good; the actual translation is unchanged. • Odyssey, translated by Walter Shewring (Oxford World’s Classics, £7.99 new; also on Kindle) These are the only books you need to buy. The course provides its own mausoleum-sized exclusive companions to both poems in PDF, Kindle, and ePub formats, each comprising a detailed book-by- book outline and full literary commentary; advance roughcut versions of these are available on request from NJL. What you need to do with it This is a deep-drill course. You’ll read all the way through both epics at least four times, each time with a different accompanying guide provided. Here’s how it works: Over the vacation: read or re-read the Iliad straight through with the + Reading the Epics “Reading the Epics” notes on each book. Do the same for the Odyssey over (included below) Christmas. You don’t need to use the prescribed translations for this pass if you already have a favourite version – but you do for the subsequent readings, which I’m including here so you can see how it plays out. Before each lecture: re-read the two or three books scheduled for that lecture + outline with the detailed outline included with the companion volume. -
The Return of Ulysses ‘Only Edith Hall Could Have Written This Richly Engaging and Distinctive Book
the return of ulysses ‘Only Edith Hall could have written this richly engaging and distinctive book. She covers a breathtaking range of material, from the highest of high culture to the camp, cartoonish, and frankly weird; from Europe to the USA to Africa and the Far East; and from literature to film and opera. Throughout this tour of the huge variety of responses that there have been to the Odyssey, a powerful argument emerges about the appeal and longevity of the text which reveals all the critical and political flair that we have come to expect of this author. It is all conveyed with the infectious excitement and clarity of a brilliant performer. The Return of Ulysses represents a major contribution to how we assess the continuing influence of Homer in modern culture.’ — Simon Goldhill, Professor of Greek Literature and Culture, University of Cambridge ‘Edith Hall has written a book many have long been waiting for, a smart, sophisticated, and hugely entertaining cultural history of Homer’s Odyssey spanning nearly three millennia of its reception and influence within world culture. A marvel of collection, association, and analysis, the book yields new discoveries on every page. In no other treatment of the enduring figure of Odysseus does Dante rub shoulders with Dr Who, Adorno and Bakhtin with John Ford and Clint Eastwood. Hall is superb at digging into the depths of the Odyssean character to find what makes the polytropic Greek so internationally indestructible. A great delight to read, the book is lucid, appealingly written, fast, funny, and full of enlightening details. -
Julia Roberts- Mythomemology for the Odyssey
Julia Roberts Epic Mythomemology (The Odyssey) Book 1 of The Odyssey The book starts with an invocation of the Muses. All the survivors from Troy return home safely, expect Odysseus. Trapped in the cave of the nymph Calypso, the goddess keeps Odysseus hostage longing for him as her husband. All the Gods has empathy for Odysseus. but Poseidon is enraged by Odysseus for killing the Cyclops Polyphemus . The God’s assemble in meeting, (except Poseidon who travels to the Ethiopians) and Zeus finds issue with the way the mortals always blame the Gods. Athena tells Zeus to let all those mortals die, but to help Odysseus, the man with a cursed fate. Zeus decides to work out a plan with the Gods to bring Odysseus back- disregarding the anger of Poseidon. Athena proposes for Hermes to go to Ogygia Island to the nymph Calypso and release Odysseus, while she goes to the house of Telemachus to send the young prince off to learn more about his father’s journey home. The Gods agree, and Athena goes off to the home of Telemachus disguised as Mentes, an old friend of Odysseus. Athena, as Mentes, makes a prophecy to Telemachus that his father is really alive and making plans for a journey home. Telemachus tells Mentes of the misfortunes of his family and the suitors who are trying to court his mother. Mentes tells Telemachus to drive the suitors out of his home, send his mother to her father’s home to arrange a new marriage (if she wishes), and to sail out in quest to find news of his father. -
The Character of Odysseus
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1956 The Character of Odysseus William Charles Schaefer Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Schaefer, William Charles, "The Character of Odysseus" (1956). Master's Theses. 1270. https://ecommons.luc.edu/luc_theses/1270 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1956 William Charles Schaefer mE CHARACTER OJ' ODIS8lWS b7 Willi.. ChaPl •• Sohaeter, S.J. A Th •• t. submitted to ~. Facult,. of the Gpaduate School of' Loyola Uni... epsl '7 1n Partial Pult111llent ot the RequiPement. tor the Degree ot MUte" of Art. JUne 19S6 LIFE William Charles Schaetar waa born in Cincinnati, OhIo, ~1 26, 1929. He was graduated trom st. Agnes Grammar School, pincinnatI, and attended saint XavIer High School in the same city tor tour years. He graduated trom Saint Xavier in June, 1947. In JUly, 1947, the author entered the Society ot Jesus at Milford, Ohio. He began his work for the degree ot Bachelor ot Art. at Xavier University. Cinoinnati (Miltord Division) and graduated from Loyola UniveraitT. (West Baden College, West Baden springs, Indiana) in June, 1952. In JUne, 19S4 he received the degree ot Licentiate in Philo.ophy from Loyola Univel'slt,'. -
The Social and Narrative Functions of Telemachus in the Odyssey
The Social and Narrative Functions of Telemachus in the Odyssey Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Dr. Joel Christensen, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Zachary B. Elliott May 2018 Copyright by Zachary B. Elliott © 2018 Acknowledgements This thesis would not exist were it not for the kindness, commitment, and generosity of those who supported me throughout its production. My advisor, Dr. Joel Christensen, saw the project through its nascent and amorphous stages in a course on the Odyssey to its completion as an MA thesis. He receives my greatest thanks for his, seemingly, endless patience and dedicated mentorship as he showed me what it means to be a scholar and a colleague. My readers, Dr. Ann Olga Koloski-Ostrow and Dr. Cheryl Walker, gave thoughtful comments and enjoyable conversation toward the final stages of the thesis, and both have served as exceptional teachers during my time in the MA program. I give my gratitude also to Dr. Andrew Koh for providing early support in the program, to Dr. Patricia Johnston for improving my Latin, and to Dr. Alex Ratzlaff for being a constant pillar of support and encouragement. I thank my graduate student colleagues for creating an environment of camaraderie and collegiality which has made my two years in the program remarkable on a personal and professional level. In particular, I thank my fellow Graduate Department Representatives during my time at Brandeis, Jim Martin, Erin Brantmayer, and Anna Krohn, who gave their time and dedication to making the program better. -
Taylor Smith Ms. Kelly Honors English I December 12Th, 2012 Do Unto
Smith 1 Taylor Smith Ms. Kelly Honors English I December 12th, 2012 Do Unto Others: Basic Tests of Character in The Odyssey One of the first Sunday school lessons a child learns is the old cliché to treat everyone else how he or she would want to be treated. For most, this means being treated well, which is often defined as receiving kindness and care from others. Bob Sutton certainly had these ideals in mind when he said, “The best judge of character is how he or she treats those with less power.” (“What is a true test of a person’s character?”) Sutton is stating that the ideal person treats everyone, whether they are the simplest, poorest beggar or the highest ruler, as well as he would want to be treated. It is a common theme within humans to “suck up” to those of greater power in order to achieve a selfish goal of gleaning some of the wealth and power from those people. The opposite is also disgustingly common among humans -- they treat those with less power as unequal and as inferior to themselves, and sometimes it can even turn into violence or torment, both physically and psychologically. However, Sutton says that the best people are able to look past the label of a person’s social status and treat them with all the kindness and care that they would treat themselves. Nowhere are these ideals more common than in Homer’s The Odyssey, where Odysseus, king of Ithaca, disguises himself as a beggar to learn more about how his kingdom and his people have changed while he has been gone.