English I Summer Reading the Odyssey by Homer (Trans
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The Humour of Homer
The Humour of Homer Samuel Butler A lecture delivered at the Working Men's College, Great Ormond Street 30th January, 1892 The first of the two great poems commonly ascribed to Homer is called the Iliad|a title which we may be sure was not given it by the author. It professes to treat of a quarrel between Agamemnon and Achilles that broke out while the Greeks were besieging the city of Troy, and it does, indeed, deal largely with the consequences of this quarrel; whether, however, the ostensible subject did not conceal another that was nearer the poet's heart| I mean the last days, death, and burial of Hector|is a point that I cannot determine. Nor yet can I determine how much of the Iliadas we now have it is by Homer, and how much by a later writer or writers. This is a very vexed question, but I myself believe the Iliadto be entirely by a single poet. The second poem commonly ascribed to the same author is called the Odyssey. It deals with the adventures of Ulysses during his ten years of wandering after Troy had fallen. These two works have of late years been believed to be by different authors. The Iliadis now generally held to be the older work by some one or two hundred years. The leading ideas of the Iliadare love, war, and plunder, though this last is less insisted on than the other two. The key-note is struck with a woman's charms, and a quarrel among men for their possession. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
HYPERBOREANS Myth and History in Celtic-Hellenic Contacts Timothy P.Bridgman HYPERBOREANS MYTH and HISTORY in CELTIC-HELLENIC CONTACTS Timothy P.Bridgman
STUDIES IN CLASSICS Edited by Dirk Obbink & Andrew Dyck Oxford University/The University of California, Los Angeles A ROUTLEDGE SERIES STUDIES IN CLASSICS DIRK OBBINK & ANDREW DYCK, General Editors SINGULAR DEDICATIONS Founders and Innovators of Private Cults in Classical Greece Andrea Purvis EMPEDOCLES An Interpretation Simon Trépanier FOR SALVATION’S SAKE Provincial Loyalty, Personal Religion, and Epigraphic Production in the Roman and Late Antique Near East Jason Moralee APHRODITE AND EROS The Development of Greek Erotic Mythology Barbara Breitenberger A LINGUISTIC COMMENTARY ON LIVIUS ANDRONICUS Ivy Livingston RHETORIC IN CICERO’S PRO BALBO Kimberly Anne Barber AMBITIOSA MORS Suicide and the Self in Roman Thought and Literature Timothy Hill ARISTOXENUS OF TARENTUM AND THE BIRTH OF MUSICOLOGY Sophie Gibson HYPERBOREANS Myth and History in Celtic-Hellenic Contacts Timothy P.Bridgman HYPERBOREANS MYTH AND HISTORY IN CELTIC-HELLENIC CONTACTS Timothy P.Bridgman Routledge New York & London Published in 2005 by Routledge 270 Madison Avenue New York, NY 10016 http://www.routledge-ny.com/ Published in Great Britain by Routledge 2 Park Square Milton Park, Abingdon Oxon OX14 4RN http://www.routledge.co.uk/ Copyright © 2005 by Taylor & Francis Group, a Division of T&F Informa. Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photo copying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Study Questions Helen of Troycomp
Study Questions Helen of Troy 1. What does Paris say about Agamemnon? That he treated Helen as a slave and he would have attacked Troy anyway. 2. What is Priam’s reaction to Paris’ action? What is Paris’ response? Priam is initially very upset with his son. Paris tries to defend himself and convince his father that he should allow Helen to stay because of her poor treatment. 3. What does Cassandra say when she first sees Helen? What warning does she give? Cassandra identifies Helen as a Spartan and says she does not belong there. Cassandra warns that Helen will bring about the end of Troy. 4. What does Helen say she wants to do? Why do you think she does this? She says she wants to return to her husband. She is probably doing this in an attempt to save lives. 5. What does Menelaus ask of King Priam? Who goes with him? Menelaus asks for his wife back. Odysseus goes with him. 6. How does Odysseus’ approach to Priam differ from Menelaus’? Who seems to be more successful? Odysseus reasons with Priam and tries to appeal to his sense of propriety; Menelaus simply threatened. Odysseus seems to be more successful; Priam actually considers his offer. 7. Why does Priam decide against returning Helen? What offer does he make to her? He finds out that Agamemnon sacrificed his daughter for safe passage to Troy; Agamemnon does not believe that is an action suited to a king. Priam offers Helen the opportunity to become Helen of Troy. 8. What do Agamemnon and Achilles do as the rest of the Greek army lands on the Trojan coast? They disguise themselves and sneak into the city. -
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). -
Apollonius Rhodius, the Argonautica
i EB CLASSICA BRAR 1 1 APOLLONIUS RHODIUS ARGONAUTICA Translated by R. C. SEATON mmmmm]mmm\m[mmmm[^[r^\[f^\[r^\i7^\[?^\[?D\[fD\\o] Complete list of Loeb titles can be found at the end of each volume APOLLONIUS Of Rhodes' was a Greek grammarian and epic poet of Alexandria in Egypt and lived late in the 3rd century and early in the 2nd century [ES B.C. While still young he composed his extant epic poem of four books on the story of the Argonauts. When this work failed to win acceptance he went to Rhodes where he not only did well as a rhetorician but also made a success of his epic in a revised form, for which the Rhodians gave him the 'freedom' of their city; hence his surname. On returning to Alexandria he recited his poem again, with applause. In 196 Ptolemy Epiphanes made him the librarian of the Museum (the University) at Alexandria. His Argonautica is one oi the better minor epics, remarkable for originality, powers of observation, sincere feeling, and de- piction of romantic love. His Jason and Medea are natural and interesting, and did much to inspire Virgil (in a very different setting) in the fourth book of the Aeneid. L• ^' % Sb ^" ^ Ak- THE LOEB CLASSICAL LIBRARY EDITED BY li. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. II. D. ROUSE, Lirr.D. APOLLONTUS RHODIUS Digitized by tine Internet Arciiive in 2011 witii funding from University of Toronto littp://www.arcliive.org/details/apolloniusrliodiuOOapol APOLLONIUS RHODIUS THE ARGONAUTICA WITH AN ENGLISH TRANSLATION BY 11. -
01. Pelling, Homer and Question
Histos Supplement ( ) – HOMER AND THE QUESTION WHY * Christopher Pelling Abstract : Historiography’s debt to Homer is immense, especially in exploring matters of cause and effect. The epics trace things back to beginnings, even if those are only ‘hinges’ in a still longer story; they use speech-exchanges not merely to characterise individuals but also to explore features of their society; the interaction of human and divine is complex, but the narrative focus characteristically rests more on the human level; allusiveness to narratives of earlier and later events also carries explanatory value. Epic and historiography alike also cast light on why readers find such aesthetic pleasure in stories of suffering, brutality, and death. Keywords: Homer, historiography, causation, explanation, intertextuality. t is no secret, and no surprise, that Greek historiography is steeped in Homer: how could it not be so? Epic was the great genre for the sweep Iof human experience, especially but not only in war; Homer was the narrator supreme. There have been many studies of the ways that individual historians exploit Homer to add depth to their work. I have contributed one myself on Herodotus, 1 Maria Fragoulaki writes in this volume on Thucydides, and others have covered writers down to and including the Second Sophistic. 2 Still, when completing a monograph on historical explanation in Herodotus,3 I was struck even more forcefully than before by how many of the characteristic interpretative techniques—not merely what they do, but how they do it—are already there in the Iliad and Odyssey. As the similarity of title shows, this paper is a companion piece to that book, though a full treatment would itself have swollen to monograph proportions, and the points have relevance to many other historical writers as well as Herodotus. -
Orality, Fluid Textualization and Interweaving Themes
Orality,Fluid Textualization and Interweaving Themes. Some Remarks on the Doloneia: Magical Horses from Night to Light and Death to Life Anton Bierl * Introduction: Methodological Reflection The Doloneia, Book 10 of the Iliad, takes place during the night and its events have been long interpreted as unheroic exploits of ambush and cunning. First the desperate Greek leader Agamemnon cannot sleep and initiates a long series of wake-up calls as he seeks new information and counsel. When the Greeks finally send out Odysseus and Diomedes, the two heroes encounter the Trojan Dolon who intends to spy on the Achaeans. They hunt him down, and in his fear of death, Dolon betrays the whereabouts of Rhesus and his Thracian troops who have arrived on scene late. Accordingly, the focus shifts from the endeavor to obtain new knowledge to the massacre of enemies and the retrieval of won- drous horses through trickery and violence. * I would like to thank Antonios Rengakos for his kind invitation to Thessalo- niki, as well as the editors of this volume, Franco Montanari, Antonios Renga- kos and Christos Tsagalis. Besides the Conference Homer in the 21st Century,I gave other versions of the paper at Brown (2010) and Columbia University (CAM, 2011). I am grateful to the audiences for much useful criticism, partic- ularly to Casey Dué, Deborah Boedeker, Marco Fantuzzi, Pura Nieto Hernan- dez, David Konstan, Kurt Raaflaub and William Harris for stimulating conver- sations. Only after the final submission of this contribution, Donald E. Lavigne granted me insight into his not yet published manuscript “Bad Kharma: A ‘Fragment’ of the Iliad and Iambic Laughter” in which he detects iambic reso- nances in the Doloneia, and I received a reference to M.F. -
Back in the Cave of the Cyclops
%DFNLQWKH&DYHRIWKH&\FORSV $XWKRU V 3XUD1LHWR+HUQ£QGH] 6RXUFH7KH$PHULFDQ-RXUQDORI3KLORORJ\9RO1R $XWXPQ SS 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV 6WDEOH85/http://www.jstor.org/stable/1561773 . $FFHVVHG Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to The American Journal of Philology. http://www.jstor.org This content downloaded from 132.198.157.39 on Sun, 31 Aug 2014 12:20:00 PM All use subject to JSTOR Terms and Conditions AMERICAN JOURNAL OF PHILOLOGY BACK IN THE CAVE OF THE CYCLOPS PURA NlETO HERNANDEZ It is many years now since Denys Page (1955) demonstrated how the story of the Cyclops, as presented in book 9 of the Odyssey, is the prod? uct of a conflation of two distinct folklore themes that are weil attested over a wide geographical area: on the one hand, that of the ogre-type giant who devours human flesh and is, in the end, blinded, and, on the other hand, the "No-man" theme. In his study Page highlighted certain details in which the Odyssey differs from its possible sources: examples are the substitution of a wooden stake for the metal skewer as the in- strument with which the hero blinds the monster, and the use of wine to put the giant to sleep. -
The Raft of Odysseus: the Ethnographic Imagination of Homer’S Odyssey
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 4-2003 The Raft of dO ysseus: The thnogE raphic Imagination of Homer's Odyssey [Review] 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. (2003). [Review of the book The raft of dO ysseus: The ethnographic imagination of Homer's Odyssey, by C. Dougherty]. Classical Philology, 98(2), 184-189. doi:https://doi.org/10.1086/381373 This Article 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]. BOOK REVIEWS The Raft of Odysseus: The Ethnographic Imagination of Homer’s Odyssey. By Carol Dougherty. New York: Oxford University Press, 2001. Pp. [viii] + 243. $52.00. In The Raft of Odysseus, Carol Dougherty wishes to read several major episodes of the Odyssey as ways of imagining colonial experience, and as informed by the discourse of colonial foundation. Odysseus can be compared to an ethnographer, who gains self-knowledge through a process of “decoding” a foreign culture and “recod- ing” it for one’s own, so that “the strange becomes familiar and the familiar strange” (p. 10). At the same time, he is also a colonist, whose experiences among the Phae- acians and Cyclopes offer complementary images of colonial encounters, and a trav- eling poet, who trades his stories for commercial profit. -
Ajax: Introduction
Ajax: Introduction I Outline The parts of a play: A Greek tragedy is divided into distinct sung (STASIMA , “formations” or ODES, “songs”) and spoken parts (EPISODES parts “between the songs”), with the occasional mixing of the two in a KOMMOS (“beating” [of the breast] or “lament” between actors and chorus). Like most Greek plays, the Ajax begins with a PROLOGUE. Sophoclean Prologues are usually in dialogue form.1 The prologue of Ajax adds a third character, but there is no triangular scene of the three characters interacting. The prologue tells us or shows us where we are in the story, but it is also part of the play. All parts of the plays are in verse: the most common meter for the dialogue portions is iambic trimeter (considered the meter most like ordinary speech) in dipodic units (groups of two feet): that is six iambs (¢ ¯ and their variations, called resolutions). The prologue characters leave and the chorus enters usually chanting in anapests (¢ ¢ ¯), suitable for making an entrance. Their entrance song is called the PARODOS (the entrances on the sides of the stage area are also called PARODOI “side-walks” or EISODOI “entrances”). After the anapestic entrance the chorus forms into a group to sing and dance in various lyric meters. Their song is in strophic form, that is, matched sets of STROPHE/ANTISTROPHE (“turning”, “opposite turning”) in the same meter and generally thought to be accompanied by the same choral movements; sometimes an ode ends with an astrophic (unmatched) EPODE. The scene after the last choral ode (or STASIMON) is called the EXODOS (“exit”). -
Helen of Troy Chiswick Press:—Charles Whittingham and Co., Tooks Court, Chancery Lane
HELEN OF TROY CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE. “Le joyeulx temps passé souloit estre occasion que je faisoie de plaisants diz et gracieuses chançonnetes et ballades. Mais je me suis mis à faire cette traittié d’affliction contre ma droite nature . et suis content de l’avoir prinse, car mes douleurs me semblent en estre allegées.”—Le Romant de Troilus. To all old Friends; to all who dwell Where Avon dhu and Avon gel Down to the western waters flow Through valleys dear from long ago; To all who hear the whisper’d spell Of Ken; and Tweed like music swell Hard by the Land Debatable, Or gleaming Shannon seaward go,— To all old Friends! To all that yet remember well What secrets Isis had to tell, How lazy Cherwell loiter’d slow Sweet aisles of blossom’d May below— Whate’er befall, whate’er befell, To all old Friends. BOOK I—THE COMING OF PARIS Of the coming of Paris to the house of Menelaus, King of Lacedaemon, and of the tale Paris told concerning his past life. I. All day within the palace of the King In Lacedaemon, was there revelry, Since Menelaus with the dawn did spring Forth from his carven couch, and, climbing high The tower of outlook, gazed along the dry White road that runs to Pylos through the plain, And mark’d thin clouds of dust against the sky, And gleaming bronze, and robes of purple stain. II. Then cried he to his serving men, and all Obey’d him, and their labour did not spare, And women set out tables through the hall, Light polish’d tables, with the linen fair.