DOCSLIB.ORG

Troy Scripts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Troy Scripts Script 1 The Trojan Palace Cast needed: Priam, Hecuba, Alexandros (Paris), Calchas King Priam: Ah Hecuba my queen. You’re looking lovely this morning! Queen Hecuba: Good Morning King Priam, ruler of Troy, one of the most powerful city-states in the world. I do feel good because I’m pregnant again. Of course, you know I have lots of babies: 12 sons and several daughters, or something like that. But then that pales in comparisons to all the children you’ve sired with your various other women! Fifty sons in total!! You are really the man! But I digress. I’m a little tired because last night I had a nightmare. King Prima: A nightmare! Much like my belief in love and women, I’m also a strong believer in the gods and the fact that they speak through dreams. What did you dream of? Queen Hecuba: I dreamed that Troy was burning. King Priam: Ye Gads! I better fetch our local prophet/seer to discover what this can mean. Where is Calchas? Calchas: Here Sire! What seems to be the problem? King Priam: My lovely Hecuba, whom you can see is great with child, has had a dream that Troy was burning. Calchas: Ye Gads! This can only mean one thing, naturally. The child you carry will be the end of Troy. You must destroy it. King Priam: Cool with me. I’ve got sons to spare. Queen Hecuba: Ye Gads! I’m going into labor!! Prince Alexandros: Waa! Waa! I’ve just been born! King Priam: Go figure. It’s a boy. That only proves my studliness in that I keep siring boy children. Let’s name him Alexandros and then let’s kill him. Calchas: Your majesty. I wouldn’t do that. Remember the furies will get after you if you kill him. I suggest that you wrap him in a distinctive cloth and abandon him on a mountaintop. Hopefully, he won’t be discovered by a bear or wolf and raised in the wild, and hopefully, he won’t be picked up by a wandering shepherd who will raise him as his own. King Priam: Sound good. Here is a distinctive wrap with the house of Troy emblazoned on it. Wrap the child in it and abandon him on the mountain. Script 2 Mt. Olympus Cast needed: Peleus, Thetis, Zeus, Hera, Aphrodite, Athena, Hermes, Achilles Peleus: Wow, I really enjoyed my time with Jason on the Argo. The adventures were swell, but even better was checking out that hot Nereid, Thetis. Thetis: Hi Peleus! You’re looking well for a mortal, and you’re a pretty good conversationalist. Let’s get married. Peleus: I like an assertive woman. I’m ready. When should we tie the knot? Thetis: Just let me put some wedding plans together. We have to rent the hall, hire the caterers, talk to Orpheus about the music, discuss wine selections with Dionysus, send out the guest list. Peleus: It’ a good thing you’re immortal and can handle all of these things. I’m going back to Aegina, my hometown. While I’m waiting, I’ll kill my stepbrother Phocus and be banished to Iolcus. I might marry a couple of times, but don’t worry, when you’re ready, I’ll be free. Thetis: Okay sweetie! See you soon. Time passes. Soon there is a wedding on Mt. Olympus Peleus: Well Thetis, you’ve outdone yourself. Everything looks great. The gods and goddesses are all happy. We couldn’t ask for a better day to be married! But what’s this? Thetis: It’s a golden apple that someone has thrown into the middle of the dance floor. Look, there’s something written on it. It says “To the fairest.” I guess that means that the most beautiful woman in the room should get this apple. But who would have thrown this here? Zeus: Hey Thetis. Did you invite Eris, the goddess of Discord? Thetis: Oh my gracious lord, king of all gods. No, of course I didn’t invite her! What do you take me for? A complete moron? Why would I invite the goddess of discord to a wedding? That’s just asking for trouble. After all discord means lack of agreement. Married people are supposed to agree on things. Zeus: Well, that’s her handwriting on the apple. It looks like the old Apple of Discord trick. This seems very much like something she would do. I remember her sister doing something similar at Sleeping Beauty’s christening party when she was not invited. Thetis: I don’t understand. It’s just a nice present for the most beautiful woman here. How could it cause discord and strife? Hera: You’re right Thetis. It can’t. It’s a no-brainer. Seeing as I’m obviously the fairest in the land (and queen of the gods, and your wife—Zeusy poo), I’ll take that apple. Aphrodite: Just back the junk in the trunk up there Hera. I’m the goddess of love and beauty and obviously the most beautiful one here. I’ll take the apple. Athena: Just to make this fun, I think I’ll throw my helmet in the ring. Daddy, Daddy! I want the pretty apple! Zeus: See what I mean about the apple of discord? Thetis: Yes I do, and it’s spoiling my wedding. What can we do? Why don’t you decide and be done with this? Zeus: What, are you nuts!? You want me to come between these three in a beauty contest? No way! Peleus: Well can you suggest someone else? Someone who is known as a fair, even- minded judge? What about Minos king of Crete? He was always open-minded. Zeus: No, Minos is busy judging souls in Hades. And you know Hades doesn’t like to give his help vacations. But I do have an idea. There’s a shepherd outside of Troy who is known for his even temper and fair judgment. He used to be a prince, Prince Alexandros, but his parents abandoned him and he was picked up by a shepherd and named Paris. I’ll dump this problem in Paris’ lap. Where’s Hermes? Hermes: Here boss! Zeus: Take this apple and these ladies to Paris of Troy and let him decide who is fairest. Hermes: Okay ladies. Let’s go! ( Hermes, Aphrodite, Hera and Athena exit.) Thetis: Things really happen fast in god time. Peleus, did you know I’m pregnant? In fact, I’m going to give birth right now! Oh look! We have a baby boy! Peleus: Nice looking kid. Let’s name him Achilles. Too bad he can’t be immortal. Thetis: I’ll dip him in the river Styx so he’ll be immortal. Peleus: Okay, but be careful. If you miss a spot, he might be susceptible. Thetis: Don’t worry honey; I’ve got this under control. Script 3 Sparta Cast needed: Tyndareus, Leda, Clytemnestra, Helen, Agamemnon, Menelaus, Odysseus Tyndareus: I’m so relieved that I’m marrying our oldest daughter Clytemnestra off to Agamemnon, king of Mycenae. It’s the most powerful kingdom in Greece, so she’ll be set. So what if he’s a ruthless thug who’s just hungry for land, money and women. Women in ancient Greece are considered items to be bought and sold. I’m just complying with the times. Leda: Oh goody! A wedding party! As queen, I get to be in charge of decorating. Since I’m a fairly empty headed woman, and even if I wasn’t I would have no say in the matter of marrying off my daughter, so I agree. If only we could get her little sister Helen married as well. She’s so pretty. I’m surprised that you haven’t lined someone up for her. Tyndareus: Well, first of all, she’s the daughter of a swan. Right, I know, you said it was Zeus in the form of a swan, but either way, it’s a little wacky. Second, she’s so pretty that no matter who I pick there will be a war. Some other bloke will think I should have picked him as husband, and all kinds of fighting will break out. It’s too bad her brothers Castor and Pollux can’t be here to help out, but they keep getting into trouble. Leda: What about that nice Theseus man? He’s a king and he had a real interest in Helen. Tyndareus: You moron! He kidnapped her! Besides, he’s dead now. Leda: I know! At Clytemnestra’s wedding, we can have some kind of contest and let the suitors themselves decide. Tyndareus: Great idea Leda. Here come the suitors now. Hey suitors, I’ve decided to let you guys decide for yourself who gets to marry Helen. Clytemnestra: Hey! I thought this was my wedding! This is supposed to be about my special day. What’s going on here!? Leda: Oh hush Clytemnestra. You’ve always had more spunk than is appropriate for a Greek woman. Learn your place and be quiet. Agamemnon: Although I’m a boorish prig and would like nothing better than to have multiple wives, even I see the how this would be a bad decision to marry sisters on one day. But who gets her? Odysseus: I have an idea Agamemnon. But first let me tell you a little about myself. I’m king of Ithaca, a small island off the western cost of Greece, and I have a wife named Penelope.
Load more

Recommended publications
  • Essay 2 Sample Responses
    Classics / WAGS 23: Second Essay Responses Grading: I replaced names with a two-letter code (A or B followed by another letter) so that I could read the essays anonymously. I grouped essays by levels of success and cross-read those groups to check that the rankings were consistent. Comments on the assignment: Writers found all manner of things to focus on: Night, crying, hospitality, the return of princes from the dead (Hector, Odysseus), and the exchange of bodies (Hector, Penelope). Here are four interesting and quite different responses: Essay #1: Substitution I Am That I Am: The Nature of Identity in the Iliad and the Odyssey The last book of the Iliad, and the penultimate book of the Odyssey, both deal with the issue of substitution; specifically, of accepting a substitute for a lost loved one. Priam and Achilles become substitutes for each others' absent father and dead son. In contrast, Odysseus's journey is fraught with instances of him refusing to take a substitute for Penelope, and in the end Penelope makes the ultimate verification that Odysseus is not one of the many substitutes that she has been offered over the years. In their contrasting depictions of substitution, the endings of the Iliad and the Odyssey offer insights into each epic's depiction of identity in general. Questions of identity are in the foreground throughout much of the Iliad; one need only try to unravel the symbolism and consequences of Patroclus’ donning Achilles' armor to see how this is so. In the interaction between Achilles and Priam, however, they are particularly poignant.
    [Show full text]
  • AGAMEMNON PROLOGUE: Lines 1-39
    AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit.
    [Show full text]
  • Miscellanea Paris/Alexandros in Homer
    MISCELLANEA PARIS/ALEXANDROS IN HOMER AND EURIPIDES The origins of the two names used by Homer for Paris/Alexandros (henceforth 'P/A') have been much discussed by scholars'). The purpose of the present article is not to contribute to the debate about the origins of the two names, but to investigate whether there is any difference in their significance either in Homer or in Euripides. I. J. F. de Jong has argued in a recent issue of this journal that, in the Iliad, Homer consistently uses 'Paris' as P/A's Trojan name and 'Alexan- dros' as his international name2). She writes: "the Greeks and the gods call P/A 'Alexandros', the Trojans 'Paris', except when they are address- ing Greeks. In the narrator text, we find 'Alexandros' when a Greek or divine point of view, 'Paris' when a Trojan point of view is represented. Speaking from his own point of view the narrator mainly uses 'Alexan- dros', but occasionally turns to 'Paris' when he wishes to draw attention to some particular aspect of his character: his Trojan nationality, his per- sonal point of view or his position as son of Priamos"3). The facts are as follows. The name 'Alexandros' is used 45 times altogether in the Iliad, 19 times in direct speech. 'Paris' is used 11 times, twice in direct speech. The compound 'Dusparis' is used twice, both times in direct speech. In direct speech, 'Alexandros' is used ten times by Greeks, six times by Trojans, and three times by gods. All four uses of 'Paris' (including 'Dusparis') in direct speech are by Hector (3.39; 6.280; 13.769; 22.359).
    [Show full text]
  • Trojan Women: Introduction
    Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers.
    [Show full text]
  • COMMENTARY Calchas on the Basis of an Omen Declares That Troy Must
    COMMENTARY 1-20 Calchas on the basis of an omen declares that Troy must be taken by trickery. It is easy to assert 1 that Q. has combined the traditional detail2 of Odysseus' device ofthe Horse with Sinon's claim in Virg. A. 2. 185f. that Calchas 'ordered' the Greeks to build it. Even if the detail is Virg. 's own 3, in Q. Calchas' intervention is grounded in reality, is based on a wholly dif­ ferent set of circumstances, is strategically necessary (an effective method of crushing the stiff opposition put up by the god-fearing Neoptolemos, a motif certainly not of Q. 's own devising: 66-103n. ), and must be viewed against the background of a tradition in which oracles, prophecies and portents abound4 , and in which Calchas came to assume an increasingly dominant role 5 • Q. 's Calchas indeed (for his teaming up with Odysseus cf. the n. on 360-88, § 4 (a) (ii)) is a leading light in decision making both before and after the fall of Troy6 • His Trojan counterpart Helenos, so popular elsewhere, is virtually driven out of the action: he is a fighter viii. 252f., xi. 348f.; a seer, though not explicitly so, only in the chaotic prophecy of Hera at x. 346f. Calchas is on the scene at this point in the saga in Dictys 5. 7: he predicts that Troy will fall into Greek hands on the basis of an omen involving an eagle carrying a victim's entrails. The doubly inept Triph. 172f. is worth a passing glance: the 'aged' Calchas is in the Horse, and in his capacity as a seer he is well aware ( EU Elow~) that the Greeks were at long last going to take Troy.-Triph.
    [Show full text]
  • Getting Acquainted with the Myths Search the GML Advanced
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way.
    [Show full text]
  • 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.
    [Show full text]
  • The Application of Greco-Roman Mythology Learning in English Vocabulary Teaching from the Perspective of Etymology
    International Journal of Languages, Literature and Linguistics, Vol. 7, No. 1, March 2021 The Application of Greco-Roman Mythology Learning in English Vocabulary Teaching from the Perspective of Etymology Jia Fan and Sun Yu mythology account for nearly 30% of the total‖ [3]. As one Abstract—Language is the carrier of culture and culture of the sources of European civilization, in the process of nourishes language. According to statistics, 56% of the English language development, Greco-Roman mythology commonly used 10,000 English words are adopted from Latin greatly enriches English vocabulary, and injects fresh blood and ancient Greek, which are the carrier languages of Roman civilization and Greek civilization respectively. Greco-Roman into English expression. A large quantity of words and mythology, with its rich cultural connotation, permeates all phrases derived from Greco-Roman mythology entered into aspects of people's social life in English-speaking countries and English vocabulary. Therefore, it is of great practical becomes a source of vitality for the expansion of English significance to integrate Greco-Roman mythological vocabulary. Etymology, the scientific study of the origin of learning into English vocabulary learning. words, is crucial in English vocabulary teaching, as etymological study improves vocabulary learning. This paper B. Research Objective adopts the methodology of literature research to gather materials about English vocabulary teaching methods, This paper aims to classify English vocabulary from etymology theory, and Greco-Roman mythological origin of Greco-Roman mythology systematically and apply English vocabulary. In order to better explain the cultural Greco-Roman mythology to English vocabulary teaching connotation of words in English vocabulary teaching, this from the perspective of etymology, so as to further promote paper proposes method of applying Greco-Roman mythology vocabulary teaching and learning.
    [Show full text]
  • Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation
    Faculteit Letteren & Wijsbegeerte Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation Jonathan Cornil Scriptie voorgedragen tot het bekomen van de graad van Master in de Taal- en letterkunde (Latijn – Engels) 2011-2012 Promotor: Prof. Dr. W. Verbaal ii Table of Contents Table of Contents iii Foreword v Introduction vii Chapter I. De Excidio Trojae Historia: Philological and Historical Comments 1 A. Dares and His Historia: Shrouded in Mystery 2 1. Who Was ‘Dares the Phrygian’? 2 2. The Role of Cornelius Nepos 6 3. Time of Origin and Literary Environment 9 4. Analysing the Formal Characteristics 11 B. Dares as an Example of ‘Rewriting’ 15 1. Homeric Criticism and the Trojan Legacy in the Middle Ages 15 2. Dares’ Problematic Connection with Dictys Cretensis 20 3. Comments on the ‘Lost Greek Original’ 27 4. Conclusion 31 Chapter II. Translations 33 A. Translating Dares: Frustra Laborat, Qui Omnibus Placere Studet 34 1. Investigating DETH’s Style 34 2. My Own Translations: a Brief Comparison 39 3. A Concise Analysis of R.M. Frazer’s Translation 42 B. Translation I 50 C. Translation II 73 D. Notes 94 Bibliography 95 Appendix: the Latin DETH 99 iii iv Foreword About two years ago, I happened to be researching Cornelius Nepos’ biography of Miltiades as part of an assignment for a class devoted to the study of translating Greek and Latin texts. After heaping together everything I could find about him in the library, I came to the conclusion that I still needed more information. So I decided to embrace my identity as a loyal member of the ‘Internet generation’ and began my virtual journey through the World Wide Web in search of articles on Nepos.
    [Show full text]
  • The General Stud Book : Containing Pedigrees of Race Horses, &C
    ^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view.
    [Show full text]
  • 1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
    Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
    [Show full text]
  • English I Summer Reading the Odyssey by Homer (Trans
    English I Summer Reading the Odyssey by Homer (trans. Robert Fagles, Penguin Classics) READ the Odyssey. Then answer all questions on a separate piece of paper, and be prepared for a quiz the first week of school. Even though the highlighted questions have been answered for you, you are still responsible for knowing the information. The numbers in parentheses indicate the book and the line where the answer can be found, i.e., 1.71 is book/chapter one, line 71). Books 1-4 1. What is the Greek word that is used to describe Odysseus? [ANSWER: from review article posted—polutropos ] 2. Give two examples of how polutropos could be translated into English. [ANSWER: much- turned, much-turning, wily, resourceful, complicated, contradictory. Robert Fagles translated it “man of twists and turns,” which carries a rich meaning with it, a man of many talents and interests, richly blessed and oft cursed, good at times, not so good other times.] 3. How does the poem start? [ANSWER: en medias res—in the middle of it all; that’s how the Greeks always do their storytelling.] Why start in the middle of the story? 4. At what time in Odysseus’s adventures abroad are we when the poem starts? (Remember, he will spend twenty years abroad: 10 years fighting at Troy and 10 years wandering.) 5. How are we left feeling about the suitors? Name one of them. 6. Orestus is ______________________’s son. He killed _____________________. [ANSWER: Agamemnon; Orestus killed Aegisthus.] Be sure to check out the fantastic index of characters in the back of the book.
    [Show full text]