Synopsis of Homer's Odyssey, Adapted from Charlotte Higgins, It's
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Sample Odyssey Passage
The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country. -
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. -
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. -
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. -
The Centrality of Human Misery in the Odyssey
Philomathes Heroics, Home, and Heartbreak: The Centrality of Human Misery in the Odyssey he Odyssey is, first and foremost, about a man who suffers. T The most famous part of the poem, after all, is the four-book journey of the protagonist across treacherous waters and through various trials. But his suffering is not limited to his physical trials on the sea — when we first meet him on Calypso’s island, he’s crying a river (or perhaps, an ocean), and even after returning home he suffers abuse after abuse by the suitors as they wander through his halls. This paper focuses on Odysseus’ identity as a “man of suffering.” An understanding of suffering in the Odyssey helps us comprehend not only Odysseus’ near-universal appeal but also what makes him exceptional among the poem’s characters; that is, what makes him a hero. This examination also gives anthropological insight to how Homer1 and his audience viewed how suffering works on a communal level. I take a twofold approach: first I will offer some reflections on his character based on a close examination of the language used to describe him, and then I will elaborate further upon how his suffering is tied to his house, the οἶκος, in order to offer one view of how his suffering plays a role in the larger web of characters and in the entire poem. 1 “Homer” as used in this paper refers to whatever creative mind (or minds) was behind the Iliad and the Odyssey, used if nothing else as convenience to stand in for the whole of these poems’ oral tradition (cf. -
S Mythological Network
RESEARCH ARTICLE The Odyssey's mythological network Pedro Jeferson Miranda1, Murilo Silva Baptista2, Sandro Ely de Souza Pinto1* 1 Department of Physics, State University of de Ponta Grossa, ParanaÂ, Brazil, 2 Institute for Complex System and Mathematical Biology, SUPA, University of Aberdeen, Aberdeen, United Kingdom * [email protected] Abstract In this work, we study the mythological network of Odyssey of Homer. We use ordinary sta- a1111111111 a1111111111 tistical quantifiers in order to classify the network as real or fictional. We also introduce an a1111111111 analysis of communities which allows us to see how network properties shall emerge. We a1111111111 found that Odyssey can be classified both as real and fictional network. This statement is a1111111111 supported as far as mythological characters are removed, which results in a network with real properties. The community analysis indicated to us that there is a power-law relation- ship based on the max degree of each community. These results allow us to conclude that Odyssey might be an amalgam of myth and of historical facts, with communities playing a OPEN ACCESS central role. Citation: Miranda PJ, Baptista MS, de Souza Pinto SE (2018) The Odyssey's mythological network. PLoS ONE 13(7): e0200703. https://doi.org/ 10.1371/journal.pone.0200703 Editor: Satoru Hayasaka, University of Texas at Austin, UNITED STATES Introduction Received: April 3, 2018 The paradigm's shift from reductionism to holism stands for a stepping stone that is taking researcher's interests to the interdisciplinary approach. This process is accomplished as far as Accepted: July 2, 2018 the fundamental concepts of complex network theory are applied to problems that may arise Published: July 30, 2018 from many areas of study. -
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. -
The Iliad of Homer by Homer
The Project Gutenberg EBook of The Iliad of Homer by Homer This eBook is for the use of anyone anywhere 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 http://www.gutenberg.org/license Title: The Iliad of Homer Author: Homer Release Date: September 2006 [Ebook 6130] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ILIAD OF HOMER*** The Iliad of Homer Translated by Alexander Pope, with notes by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. ix POPE'S PREFACE TO THE ILIAD OF HOMER . xlv BOOK I. .3 BOOK II. 41 BOOK III. 85 BOOK IV. 111 BOOK V. 137 BOOK VI. 181 BOOK VII. 209 BOOK VIII. 233 BOOK IX. 261 BOOK X. 295 BOOK XI. 319 BOOK XII. 355 BOOK XIII. 377 BOOK XIV. 415 BOOK XV. 441 BOOK XVI. 473 BOOK XVII. 513 BOOK XVIII. 545 BOOK XIX. 575 BOOK XX. 593 BOOK XXI. 615 BOOK XXII. 641 BOOK XXIII. 667 BOOK XXIV. 707 CONCLUDING NOTE. 747 Illustrations HOMER INVOKING THE MUSE. .6 MARS. 13 MINERVA REPRESSING THE FURY OF ACHILLES. 16 THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES. 23 THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER. 27 THETIS ENTREATING JUPITER TO HONOUR ACHILLES. 32 VULCAN. 35 JUPITER. 38 THE APOTHEOSIS OF HOMER. 39 JUPITER SENDING THE EVIL DREAM TO AGAMEMNON. 43 NEPTUNE. 66 VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS. -
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 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.