Penelope and Her Guest (Pg
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 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. -
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. -
Reading Penelope and Molly: an Intertextual Analysis
Reading Penelope and Molly: An Intertextual Analysis A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors By Michelle L. Mitchell May 2004 Oxford, OH ii Abstract Reading Penelope and Molly: An Intertextual Analysis by Michelle L. Mitchell This thesis takes an intertextual approach to Homer’s Odyssey and James Joyce’s Ulysses. Intertextual analysis goes beyond examining the ways Joyce adopts Homer’s themes and characters in his own modern epic to also consider the ways in which a reading of Ulysses can affect one’s understanding of the Odyssey. Examining the reader’s role in the production and consumption of texts allows for a more realistic examination of how texts are actually processed. The focus of my interetextual analysis of both works is on the representation of women, particularly Penelope and Molly Bloom. iii iv An Intertextual Analysis of the Representations of Women in Homer’s Odyssey and Joyce’s Ulysses by Michelle L. Mitchell Approved by: _____________________________________, Advisor Judith de Luce _____________________________________, Reader Madelyn Detloff _____________________________________, Reader Kathleen Johnson Accepted by: _____________________________________, Director, University Honors Program v vi Acknowledgements Many thanks to my advisor, Judith de Luce, for her encouragement and guidance. Thanks also to Madelyn Detloff and Kathleen Johnson, my readers, for their suggestions. I would also like to thank the Office for the Advancement of -
The Prehistory of Bomolochia
The Prehistory of Bomolochia The Greek word bomolochia [βωμολοχία], which is attested first in the context of fifth century B.C.E. comedy and evolved into a general term for buffoonery, reveals in its etymology important tensions in the Greek sacrifice that were already present in very early Greek poetry. Etymologically, bomolochia means “lying in ambush at an altar,” presumably to cadge a portion of meat at a sacrificial banquet. The comic poets’ dramaturgy explains how this term came to mean buffoonery. In Aristophanes’ Birds, for instance, characters repeatedly use buffoonish tactics to wheedle shares of sacrificial meat from Pisthetaerus after he has set up his regime of birds. This comic motif of trying to get shares of sacrificial banquets lasts into New Comedy. The laughter that arises from attempts to get portions at a sacrificial banquet accords with two major theories of laughter: incongruity theory and superiority theory. Superiority theory maintains that laughter is an expression of derisory contempt by a superior towards an inferior (Ruch 2008). When the bomolochos attempts to attain a portion denied to him by his inferior status, superiors laugh at him in derision. Incongruity theory claims that laughter arises when two incongruous interpretive frames for the same phenomena conflict (Ruch 2008). We may laugh when dogs act like a humans because the interpretive frame created in appearance—that they are human—incongruously conflicts with the reality that they are dogs. Detienne, Vernant, and Saīd have established that sacrificial banqueting outlines a social order; it marks people’s social position by excluding them from or including them in sacrificial feasts, and, among those who are included, the portion received marks social rank: better portions indicate better rank. -
Penelope, Odysseus, and the Teleologies of the Odyssey
Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey Emily Hauser Helios, Volume 47, Number 1, Spring 2020, pp. 39-69 (Article) Published by Texas Tech University Press DOI: https://doi.org/10.1353/hel.2020.0001 For additional information about this article https://muse.jhu.edu/article/765967 [ Access provided at 28 Dec 2020 07:35 GMT from University of Washington @ Seattle ] Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey EMILY HAUSER Abstract Book 1 of the Odyssey presents us with the first bard-figure of the poem, singing what in many ways is an analogue to the Odyssey with “the return of the Greeks”; yet when Penelope appears, it is to attempt to put an end to his song. I use this scene as a starting point to suggest that Penelope is deeply implicated in narrative endings in the Odyssey. Looking at the end or τέλος of the poem through a system- atic study of its “closural allusions,” I argue that a teleological analysis of Penelope’s character in relation to endings may both resolve some of the issues in her inter- pretation thus far, and open up new avenues for the reading of the Odyssey as a poem informed by endings. I. Introduction Penelope’s first appearance in the Odyssey (1.325–144) is to make a request of Phe- mius the bard, who is singing the tale of the Greeks’ return from Troy, the Ἀχαιῶν νόστος (1.326). Phemius’s song of the Greek νόστος (return), of course, mirrors the plot of the Odyssey itself, which has opened only a few hundred lines before with the plea to the Muse to sing of Odysseus and his companions’ return (νόστος, 1.5) from Troy.1 Penelope, however, interrupts the narrative flow and asks the bard to cease singing because of the pain his tale is causing her (1.340–342): ‘ταύτης δ᾽ ἀποπαύε᾽ ἀοιδῆς λυγρῆς, ἥ τέ μοι αἰεὶ ἐνὶ στήθεσσι φίλον κῆρ τείρει . -
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. -
The Faculty Advisor to the Student Writing the Thesis Wishes to Claim Joint Authorship in This Work
WILLIAMS COLLEGE LIBRARIES Your unpublished thesis, submitted for a degree at Williams College and administered by the Williams College Libraries, will be made available for research use. You may, through this form, provide instructions regarding copyright, access, dissemination and reproduction of your thesis. _ The faculty advisor to the student writing the thesis wishes to claim joint authorship in this work. In each section, please check the ONE statement that reflects your wishes. 1. PUBLICATION AND QUOTATION: LITERARY PROPERTY RIGHTS A student author automatically owns the copyright to his/her work, whether or not a copyright symbol and date are placed on the piece. The duration of U.S. copyright on a manuscript--and Williams theses are considered manuscripts--is the life of the author plus 70 years. _ I/we do not choose to retain literary property rights to the thesis, and I wish to assign them immediately to Williams College. N",vnohllO the in no a s1lldent \,vo.rk: the studerv \VCHIJd} bO\Vevcf) need conLJct the in this case to also per'missir)D to sltilatlOn arose, the Archivcs wou!d be in had _I/we wish to retain literary property rights to the thesis for a period of three years, at which time the literary property rights shall be assigned to Williams College. Selectmg this the amhor a years to make use the in m><:o,mltI2 ,II/we wish to retain literary property rights to the thesis fer~ea of __":Y'88:F&;-Qf until my death, whichever is the later, at which time the literary property rights shall be assigned to Williams College. -
Inspiration and Τέχνη: Divination in Plato's
AARON LANDRY | 85 Inspiration INTRODUCTION and Τέχνη: In Plato’s Ion, inspiration functions in con- Divination in tradistinction to technē.1 Since Ion’s rhapso- dic expertise does not stand up to Socrates’ Plato’s Ion epistemological critique, his performances of Homer cannot stem from knowledge, but from elsewhere, from divine inspiration. The two are presented as a strict disjunction. Yet in both cases there is an appeal to divination. If rhapsody, and poetry by extension, cannot synthesize the two, why does Socrates seem 2 Aaron Landry to think that divination can? This puzzle has Humber College caused quite a bit of consternation about the 3 [email protected] value and subject matter of the dialogue. In particular, it is unclear what Socrates thinks about the nature of poetic and rhapsodic ins- piration. In this essay, I will argue that divi- nation constitutes an alternate, and improved, framework for Ion to model his expertise on. By clarifying the role and scope of divination in the Ion, I aim to show that Socrates’ disjunctive account – inspiration or technē – can actually be integrated. In so doing, I argue that there are in fact positive philosophical theses latent ABSTRACT in the dialogue. In part I, I rehearse the contrasting accoun- In Plato’s Ion, inspiration functions in ts of divination in the dialogue. In the first argumentative exchange, divination is refe- contradistinction to technē. Yet, paradoxically, in both cases, there is an appeal to divination. renced as a paradigmatic technē. The seer is I interrogate this in order to show how these best equipped to speak about the contrasting two disparate accounts can be accommodat- depictions of divination given by Homer and ed. -
The Anatomy of a Complex Astronomical Phenomenon Described in the ODYSSEY
6_PREKAS2_Layout 1 31/12/2013 9:04 πμ Page 1 Mediterranean Archaeology and Archaeometry, Vol. 13, No 2, pp. 69-82 Copyright @ 2013 MAA Printed in Greece. All rights reserved. ThE AnATOmY Of A COmplEx ASTROnOmiCAl phEnOmEnOn DESCRibED in ThE ODYSSEY St. p. papamarinopoulos1, p. preka-papadema2, p. Antonopoulos3*, h. mitropetrou1, A.Tsironi1 and p. mitropetros2 1University of Patras, Department of Geology, 26504 Rio Patras, Greece 2University of Athens, Department of Astrophysics, Astronomy and Mechanism, Faculty of Physics, 15784 Athens, Greece 3University of Patras, Department of Physics, 26504 Rio Patras, Greece Received; 1/6/2012 Corresponding author:[email protected] Accepted: 28/11/2012 AbSTRACT An intense meteor shower is described as dove’s feathers falling down during the Telemachus’ arrival in Ithaca mentioned by the Homeric epic. Additionally, in the next days, there are some other descriptions which are regarded from us as meteor activity (bolides, a meteorite, many erupted meteors in the atmosphere, and a glimmering in the sky due to intense dust). In accordance with the proposed by us new astronomical dating of Odysseus’ return to Ithaca (25 October 1207 B.C.), this meteor shower occurred in the last days of October 1207 B.C. The radiant point was near to Pleiades nebula of Taurus constellation. Consequently, two astronomical phenomena (a solar eclipse and a meteor shower) were hidden in the two Theoclymenus’ prophecies, marking clearly, the Odysseus’s return to Ithaca. KEYWORDS: Homer’s Odyssey; Theoclymenus’ prophecy; Meteor Shower 6_PREKAS2_Layout 1 31/12/2013 9:04 πμ Page 2 70 St. P. PAPAMAriNoPouloS et al 1. -
Odyssey Translated Byrobertfitzgerald Homer from the Xenia, Wasveryimportantingreek NOTES from the ANCHOR TEXT|EPICPOEM Odyssey, Part2 MULTIMEDIA SCAN FOR
ANCHOR TEXT | EPIC POEM from the Odyssey Homer translated by Robert Fitzgerald Part 2 The Return of Odysseus BACKGROUND The Greek concept of hospitality, xenia, was very important in Greek SCAN FOR culture and plays a role in Odysseus’ tale. Some scholars believe that MULTIMEDIA this value is based on Greek religious belief. Since the Greek gods could take multiple earthly forms, there was always the possibility that the stranger at the door was a god in disguise. Thus, Greeks opened their homes to strangers. In Part 2, as Odysseus returns home, it is clear that this cultural practice has created some problems. “Twenty years gone, and I am back again . .” NOTES Odysseus has finished telling his story to the Phaeacians. The next day, young Phaeacian noblemen conduct him home by ship. He arrives in Ithaca after an absence of twenty years. The goddess Athena appears and informs him of the situation © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson at home. Numerous suitors, believing Odysseus to be dead, have been continually seeking the hand of his wife, Penelope, in marriage, while overrunning Odysseus’ palace and enjoying themselves at Penelope’s expense. Moreover, they are plotting to from the Odyssey, Part 2 595 murder Odysseus’ son, Telemachus, before he can inherit his father’s NOTES lands. Telemachus, who, like Penelope, still hopes for his father’s return, has journeyed to Pylos and Sparta to learn what he can about 1. Eumaeus (yoo MEE uhs) his father’s fate. Athena disguises Odysseus as a beggar and directs him to the hut of Eumaeus,1 his old and faithful swineherd.