Erin Daly Mythomemology for the Odyssey
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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. -
Homer, Or Another Poet of the Same Name: Four Translations of the Iliad
Wesleyan University The Honors College Homer, or Another Poet of the Same Name: Four Translations of the Iliad by Jonathan Joseph Loya Spira Class of 2016 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Classics Middletown, Connecticut April, 2016 I owe thanks for this thesis and to my graduation to my mother and father, who made me into the person I am through a loving dedication to the numerous thousands of things I have decided are my ‘true calling.’ I would not just be a different person without them, I genuinely do not think I would have survived myself. To my sister, whom I trust with everything important. I don’t think I’ll ever have a friend quite like her. To my advisor, Professor Andy, who has lived through many poorly written drafts, week in and week out. I owe him a debt of gratitude for trusting in me to bring it all together here, at the end of all things. To my first friend, Michael, and to my first friend in college, Sarah. To Gabe, who I have lived with for thousands of miles, only 40 of them being excessive. Frequently, they are the three who keep me together as a person, which is to say that they are the people who I fall apart on the most. To my friends of 50 Home: Sam, Liz, Adi, Johnny, Sarah: I try every day to be as good a friend to you as you are to me; and to those outside our quiet street: Mads, Avi, Jason; and the Classics friends I have made who have defined my senior year: Shoynes, Beth, Sharper, Jackson, Mackenzie, Maria; to Ward, who I love like a brother, and to Professor Visvardi, the professor I did not have the first three years and am incredibly grateful to have had since. -
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. -
ODYSSEUS UNBOUND Labor of Intimidation and Vengeful Violence
ANGELAKI journal of the theoretical humanities volume 19 number 4 december 2014 n a speech delivered in Belfast on 5 March I 1981, Margaret Thatcher famously remarked: “There is no such thing as political murder, pol- itical bombing or political violence. There is only criminal murder, criminal bombing and criminal violence.”1 The visceral and deeply moving por- trait of Bobby Sands – the first of the ten men who starved themselves to death in their struggle for “political status” in the infamous Maze Prison – in Steve McQueen’s critically acclaimed movie Hunger provides an excellent exposition of the untruth of Thatcher’sstatement.2 In Hunger, we are dragged into the prison of banu bargu a liberal-democratic state, a prison where the only law is the sovereign will, performing and reproducing itself through the security forces’ ODYSSEUS UNBOUND labor of intimidation and vengeful violence. sovereignty and sacrifice in This sovereign will is donned with the legiti- macy of the law, but the law now appears like hunger and the dialectic of a bad copy of itself, a broken façade that scar- cely hides the duel between an existing sover- enlightenment eign in whose hands it is used to criminalize, discredit, and thereby neutralize its opponents, criminal. Unable to bend the prisoners to its on the one side, and a movement whose own will, the state folds back upon and crimina- violent struggle for national liberation is no lizes itself, in the face of the moral and political less than its own law, on the other. And yet, indictment put forth by the violent self-destruc- Downloaded by [Banu Bargu] at 12:14 22 December 2014 even with the help of special legislation directed tion of the prisoners themselves. -
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. -
Homer and Collective Memory: the End of the Odyssey
Homer and Collective Memory: The End of the Odyssey This paper will approach the end of the Odyssey (starting at 24.412) by using the interpretive tools that research on collective memory has presented to us. This approach ultimately will enable us to better understand the self-awareness of the Odyssey. Building on the work of Maurice Halbwachs and Pierre Nora, research in practically every discipline of the humanities has directed its attention to the role collective memory plays in the shaping of how all kinds of sociological groups perceive themselves and their surroundings in terms of how they perceive their past, how they assess their present situation and what plans they are making for their future. This theoretical approach is also applied in Classics - not limited to, but especially in ancient history. Studies in classical literature should also avail themselves more of the tools that researchers have developed for the study of the role and the behavior of collective memories. The key for this paper will be Od. 24.484f. Zeus promises Athena that the gods will make the people of Ithaca forget that brothers and children were slain. Then, Zeus claims, people will be friends again. At the moment of this prophecy, Ithaca is at the verge of civil war. Eupeithes is trying to gather an alliance for the sake of punishing Odysseus for having lost so many comrades while he was away and for having killed all of the suitors who were members of noble families. Not all of the citizens of Ithaca want to join Eupeithes since Halitherses in particular reminds the Ithacans of the guilt of the suitors. -
Anna Bonifazi, Homer's Versicolored Fabric. the Evocative Power of Ancient Greek Epic Word-Making
New England Classical Journal Volume 40 Issue 3 Pages 213-216 11-2013 Anna Bonifazi, Homer's Versicolored Fabric. The Evocative Power of Ancient Greek Epic Word-Making. Anne Mahoney Tufts University Follow this and additional works at: https://crossworks.holycross.edu/necj Recommended Citation Mahoney, Anne (2013) "Anna Bonifazi, Homer's Versicolored Fabric. The Evocative Power of Ancient Greek Epic Word-Making.," New England Classical Journal: Vol. 40 : Iss. 3 , 213-216. Available at: https://crossworks.holycross.edu/necj/vol40/iss3/5 This Book Review is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in New England Classical Journal by an authorized editor of CrossWorks. BOOK REVIEWS Anna Bonifazi, Homer's Versicolored Fabric. The Evocative Power of Ancient Greek Epic Word-Making. Washington, DC: Center for Hellenic Studies, 2012. Distributed by Harvard University Press. Pp. 350. Paper (ISBN 978-0-674- 06062-3) $24.95. his is a linguistic study of a1h6s and related words in epic, particularly the Odyssey but also the Iliad. Bonifazi considers first Thow a11T6s and EKE'ivos are contrasted when they refer to Odysseus, then how all the various av- words are similar. Her main tool is pragmatics, building on work by many scholars on discourse grammar in both Greek and Latin. Because she goes through a lot of basic background in this area of linguistics, with a copious bibliography, 25 pages, the book seems accessible to non-linguist classicists, though this is not really an introduction to pragmatics. In the introduction, Bonifazi says that "the general aim of this work is to contribute to an update of the grammatical accounts of some words in accord with notions and concepts from contemporary linguistics that are applicable to Homer" (10), observing that this kind of study adds precision to our understanding of pronouns, particles, and similar words, and that attention to the dialogue context can "shed more light on the standpoint of either the author or the internal characters" (11). -
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. -
Summary Ng from the Homecomi Homer Od from the Not Recognize His Father
Name Date from the ODYSSEY: PART 2 Summary THE HomecomiNG FROM THE ODYSSEY Homer Setting: Islands in the Mediterranean Sea, possibly around 1200 B.C. Book 16: Odysseus returns home dressed as a beggar. He meets Eumaeus, the faithful swineherd. Then he sees his son, Telemachus. Telemachus does not recognize his father. When Odysseus removes the disguise, Telemachus thinks he is a god. Finally, Telemachus recognizes his father. Father and son weep to be together again. Book 17: Odysseus returns to his palace still disguised as a beggar. Outside, he sees his dog, Argus, who has been treated badly while he was gone. Odysseus is angered by the dog’s poor condition. Book 21: Odysseus discovers that many suitors are at the palace. They want to marry Penelope. She has given up hope that Odysseus will return. She plans a contest. She will marry the winner. The men must string Odysseus’ bow. Then they must shoot an arrow through the holes in 12 ax heads. No one can string the bow. Still dressed as a beggar, Odysseus completes both tasks. Book 22: Odysseus takes off his disguise. He kills Antinous, the leader of the suitors. The remaining suitors decide they must fight with Odysseus. Telemachus and two servants join Odysseus in the fight. With the help of these men and Athena, Odysseus kills all the suitors. Book 23: Penelope is not sure the man is really Odysseus. She asks a servant to put his bed FROM outside his bedroom. Odysseus says that the bed cannot be moved. One of its posts is the from the trunk of an olive tree. -
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