The Odyssey Homer Translated by Robert Fitzgerald
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Sophocles, Ajax, Lines 1-171
SophoclesFourTrag-00Bk Page 2 Thursday, July 26, 2007 3:56 PM Ajax: Cast of Characters ATHENA goddess of wisdom, craft, and strategy ODYSSEUS a Greek commander from Ithaca AJAX the son of Telamon and a Greek commander from Salamis CHORUS of Salaminian warriors TECMESSA a Phrygian captive, wife of Ajax MESSENGER from the Greek camp, loyal to Teucer TEUCER the half-brother of Ajax, son of Telamon and Hesione, a Trojan MENELAUS the youngest son of Atreus and a Greek commander from Sparta AGAMEMNON the eldest son of Atreus from Mycenae and the supreme commander of the Greeks at Troy Nonspeaking Roles EURYSACES the young son of Ajax and Tecmessa ATTENDANTS Casting In the original production at the Theatre of Dionysus, the division of roles between the three speaking actors may have been as follows: 1. Ajax, Agamemnon 2. Athena, Messenger, Teucer 3. Tecmessa, Menelaus, Odysseus After line 1168, a nonspeaking actor played the role of Tecmessa. This translation is based on a version developed by Peter Meineck for the Aquila Theatre Company in 1993 for a U.S. tour. The original cast included Donald T. Allen, Tony Longhurst, James Moriarty, Yasmin Sidhwa, and Andrew Tansey. Division of roles: The parts can also be divided as follows: (1) Ajax, Teucer; (2) Odysseus, Tecmessa; (3) Athena, Messenger, Menelaus, Agamemnon. 2 SophoclesFourTrag-00Bk Page 3 Thursday, July 26, 2007 3:56 PM Ajax SCENE: Night. The Greek camp at Troy. It is the ninth year of the Trojan War, after the death of Achilles. Odysseus is following tracks that lead him outside the tent of Ajax. -
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. -
Not the Same Old Story: Dante's Re-Telling of the Odyssey
religions Article Not the Same Old Story: Dante’s Re-Telling of The Odyssey David W. Chapman English Department, Samford University, Birmingham, AL 35209, USA; [email protected] Received: 10 January 2019; Accepted: 6 March 2019; Published: 8 March 2019 Abstract: Dante’s Divine Comedy is frequently taught in core curriculum programs, but the mixture of classical and Christian symbols can be confusing to contemporary students. In teaching Dante, it is helpful for students to understand the concept of noumenal truth that underlies the symbol. In re-telling the Ulysses’ myth in Canto XXVI of The Inferno, Dante reveals that the details of the narrative are secondary to the spiritual truth he wishes to convey. Dante changes Ulysses’ quest for home and reunification with family in the Homeric account to a failed quest for knowledge without divine guidance that results in Ulysses’ destruction. Keywords: Dante Alighieri; The Divine Comedy; Homer; The Odyssey; Ulysses; core curriculum; noumena; symbolism; higher education; pedagogy When I began teaching Dante’s Divine Comedy in the 1990s as part of our new Cornerstone Curriculum, I had little experience in teaching classical texts. My graduate preparation had been primarily in rhetoric and modern British literature, neither of which included a study of Dante. Over the years, my appreciation of Dante has grown as I have guided, Vergil-like, our students through a reading of the text. And they, Dante-like, have sometimes found themselves lost in a strange wood of symbols and allegories that are remote from their educational background. What seems particularly inexplicable to them is the intermingling of actual historical characters and mythological figures. -
Another Penelope: Margaret Atwood's the Penelopiad
Monica Bottez ANOTHER PENELOPE: MARGARET ATWOOD’S THE PENELOPIAD Keywords: epic; quest; hybrid genre; indeterminacy; postmodernism Abstract: The paper sets out to present The Penelopiad as a rewriting of Homer’s Odyssey with Penelope as the narrator. Using the Homeric intertext as well as other Greek sources collected by Robert Graves in his book The Greek Myths and Tennyson‟s “Ulysses,” it evidences the additions that the new narrative perspective has stimulated Atwood to imagine. The Penelopiad is read as propounding a new genre, the female epic or romance where the heroine’s quest is analysed on analogy with the traditional romance pattern. The paper dwells on the contradictory and parody- like versions of events and characters embedded in the text: has Penelope been the perfect patient devoted wife, a cunning lustful pretender, or the High Priestess of an Artemis cult? In conclusion, the reader can never know the truth, being tied up in the utterly puzzling indeterminacy of meaning specific to postmodernism. The title of Margaret Atwood‟s novella makes the reader expect a rewriting of Homer‟s Odyssey, which is precisely what the author does in order to enrich it with new interpretations; since myths and legends are the repository of our collective desires, fears and longings, their actuality can never be exhausted: Atwood has used mythology in much the same way she has used other intertexts like folk tales, fairy tales, and legends, replaying the old stories in new contexts and from different perspectives – frequently from a woman‟s point of view – so that the stories shimmer with new meanings. -
A Level Classical Civilisation Candidate Style Answers
Qualification Accredited A LEVEL Candidate style answers CLASSICAL CIVILISATION H408 For first assessment in 2019 H408/11: Homer’s Odyssey Version 1 www.ocr.org.uk/alevelclassicalcivilisation A Level Classical Civilisation Candidate style answers Contents Introduction 3 Question 3 4 Question 4 8 Essay question 12 2 © OCR 2019 A Level Classical Civilisation Candidate style answers Introduction OCR has produced this resource to support teachers in interpreting the assessment criteria for the new A Level Classical Civilisation specification and to bridge the gap between new specification’s release and the availability of exemplar candidate work following first examination in summer 2019. The questions in this resource have been taken from the H408/11 World of the Hero specimen question paper, which is available on the OCR website. The answers in this resource have been written by students in Year 12. They are supported by an examiner commentary. Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible mark/level for each response, when marking these answers in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the marks/levels awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
Feasting in Homeric Epic 303
HESPERIA 73 (2004) FEASTING IN Pages 301-337 HOMERIC EPIC ABSTRACT Feasting plays a centralrole in the Homeric epics.The elements of Homeric feasting-values, practices, vocabulary,and equipment-offer interesting comparisonsto the archaeologicalrecord. These comparisonsallow us to de- tect the possible contribution of different chronologicalperiods to what ap- pearsto be a cumulative,composite picture of around700 B.c.Homeric drink- ing practicesare of particularinterest in relation to the history of drinkingin the Aegean. By analyzing social and ideological attitudes to drinking in the epics in light of the archaeologicalrecord, we gain insight into both the pre- history of the epics and the prehistoryof drinkingitself. THE HOMERIC FEAST There is an impressive amount of what may generally be understood as feasting in the Homeric epics.' Feasting appears as arguably the single most frequent activity in the Odysseyand, apart from fighting, also in the Iliad. It is clearly not only an activity of Homeric heroes, but also one that helps demonstrate that they are indeed heroes. Thus, it seems, they are shown doing it at every opportunity,to the extent that much sense of real- ism is sometimes lost-just as a small child will invariablypicture a king wearing a crown, no matter how unsuitable the circumstances. In Iliad 9, for instance, Odysseus participates in two full-scale feasts in quick suc- cession in the course of a single night: first in Agamemnon's shelter (II. 1. thanks to John Bennet, My 9.89-92), and almost immediately afterward in the shelter of Achilles Peter Haarer,and Andrew Sherrattfor Later in the same on their return from their coming to my rescueon variouspoints (9.199-222). -
Odysseus and Feminine Mêtis in the Odyssey Grace Lafrentz
Vanderbilt Undergraduate Research Journal, Vol. 11 Weaving a Way to Nostos: Odysseus and Feminine Mêtis in the Odyssey Grace LaFrentz Abstract. My paper examines the gendered nature of Odysseus’ mêtis, a Greek word describing characteristics of cleverness and intelligence, in Homer’s Odyssey. While Odysseus’ mêtis has been discussed in terms of his storytelling, disguise, and craftsmanship, I contend that in order to fully understand his cleverness, we must place Odysseus’ mêtis in conversation with the mêtis of the crafty women who populate the epic. I discuss weaving as a stereotypically feminine manifestation of mêtis, arguing that Odysseus’ reintegration into his home serves as a metaphorical form of weaving—one that he adapts from the clever women he encounters on his journey home from Troy. Athena serves as the starting point for my discussion of mêtis, and I then turn to Calypso and Circe—two crafty weavers who attempt to ensnare Odysseus on their islands. I also examine Helen, whom Odysseus himself does not meet, but whose weaving is importantly witnessed by Odysseus’ son Telemachus, who later draws upon the craft of weaving in his efforts to help Odysseus restore order in his home. The last woman I present is Penelope, whose clever and prolonged weaving scheme helps her evade marriage as she awaits Odysseus’ return, and whose lead Odysseus follows in his own prolonged reentry into his home. I finally demonstrate the way that Odysseus reintegrates himself into his household through a calculated and metaphorical act of weaving, arguing that it is Odysseus’ willingness to embrace a more feminine model of mêtis embodied by the women he encounters that sets him apart from his fellow male warriors and enables his successful homecoming. -
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. -
Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com. -
Download Circe and Odysseus in Ancient
Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield). -
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting. Volume One of Two Submitted by Ioannis Souris to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Performance Practice In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death. -
(2018). Gazing at Helen with Stesichorus. in A. Kampakoglou, & A
Finglass, P. J. (2018). Gazing at Helen with Stesichorus. In A. Kampakoglou, & A. Novokhatko (Eds.), Gaze, Vision, and Visuality in Ancient Greek Literature (pp. 140–159). (Trends in Classics Supplements; Vol. 54). Walter de Gruyter GmbH. https://doi.org/10.1515/9783110571288-007 Peer reviewed version License (if available): CC BY-NC-ND Link to published version (if available): 10.1515/9783110571288-007 Link to publication record in Explore Bristol Research PDF-document This is the accepted author manuscript (AAM). The final published version (version of record) is available online via De Gruyter at DOI 10.1515/9783110571288-007. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ GAZING AT HELEN WITH STESICHORUS P. J. Finglass οἳ δ’ ὡς οὖν εἴδονθ’ Ἑλένην ἐπὶ πύργον ἰοῦσαν, 155 ἦκα πρὸς ἀλλήλους ἔπεα πτερόεντ’ ἀγόρευον· οὐ νέμεσις Τρῶας καὶ ἐϋκνήμιδας Ἀχαιοὺς τοιῆιδ’ ἀμφὶ γυναικὶ πολὺν χρόνον ἄλγεα πάσχειν· αἰνῶς ἀθανάτηισι θεῆις εἰς ὦπα ἔοικεν· ἀλλὰ καὶ ὧς τοίη περ ἐοῦσ’ ἐν νηυσὶ νεέσθω, 160 μηδ’ ἡμῖν τεκέεσσί τ’ ὀπίσσω πῆμα λίποιτο. Hom. Il. 3.154-60 When they saw Helen on her way to the tower, they began to speak winged words quietly to each other. ‘It is no cause for anger that the Trojans and well-greaved Achaeans should long suffer pains on behalf of such a woman.