DOCSLIB.ORG

A Live Roleplaying Game for 14-18 Players

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Live Roleplaying Game for 14-18 Players Ulysses A live roleplaying game for 14-18 players. Dedicated to Ruth Harper. © Stephanie Pegg, 2019. Published by the Flying Monkeys Collective. Sample file Smite the sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. —Alfred, Lord Tennyson In the year 3029, Star Seeker Ulysses returned to Habitat Ithaca after twenty years of journeying, slew the many suitors of his faithful wife Penelope, and restored himself to the throne and obligations of ruler, spouse and father. Now he calls to him the comrades who were left behind on his long journey home; to set forth on one last expedition, beyond the Western Stars of the Spiral Arm: to strive, to seek, to find, and not to yield. Will you join him? Or will you remain in the world of women: the housekeepers and wives, the daughters, the thought-sibyls, the goddesses, the technomancers... Do you want to? Will they let you? Ulysses is a classical Greek tragedy IN SPACE!!! for 14-18 characters, written by Stephanie Pegg. Note: Ulysses is a larp inspired by ancient Greek epics—there are a lot of big feelings, like rage, love, and hate, and family disputes typically don't end until someone is bleeding on the floor. There is a strong gender divide, and the game has no gender-neutral or ambiguous characters. Cross-dressing is welcome. The game has cultural norms consistent with the canon, such as slavery, violence, and a sexual double standard. There are some background non- graphic incidents of non-consent or dubious- consent sex that may be discussed in the game, but not roleplayed. Much of the game is thinking about what life is like living in a different time, what it means to be transgressive, and dealing with the consequences of your actions. Sample file For the Organiser Contents Introduction ........................................................................................................ 4 You’re Reading This And You’ve Never Larped Before ......................................... 5 You’re Reading This And You’re Unfamiliar With Homer’s Odyssey ...................... 6 Staging Notes ..................................................................................................... 7 Casting ............................................................................................................ 7 Printing and Props ........................................................................................... 8 Physical Setup ................................................................................................. 9 During The Run ............................................................................................. 10 Game Mechanics ............................................................................................... 11 Special Abilities ............................................................................................. 11 Consent Issues .................................................................................................. 13 Plot Overview ................................................................................................... 14 The Face That Launched A Thousand Ships ................................................... 14 The Long Journey Home ................................................................................ 15 The Death of the Suitors ................................................................................ 15 The Republic of Women ................................................................................ 16 The Cattle of the Sun ..................................................................................... 17 The Gods ....................................................................................................... 18 Pollution ....................................................................................................... 18 The Greek Ideal ............................................................................................. 18 Credits .............................................................................................................. 20 Sample file 3 For the Organiser Introduction The first time I heard Homer’s Odyssey , I felt like I’d been punched in the face. This was not the first time I had heard of it—The Odyssey is one of those cultural osmosis texts that permeate Western culture. But I knew it as an adventure story with a chorus of colourful monsters, the loose outline of a quest to get back to a loving family that is a common design pattern in popular culture, and as the inspiration for some literary texts that felt like they would be a lot of work to read. I heard it for the first time in 2018, shortly after a lot of fuss was being made about Emily Wilson’s newly published translation. Wilson had made poetic choices to use frank contemporary language and tightly written verse, to help the reader feel as an ancient Greek might when listening to Homer’s archaic and stylised language; more than that, she is a translator who is also a woman. A friend of a mine staged a group reading of the new text, and what I had thought of as an adventure story turned out to be a sordid family drama with an absentee father, a housewife struggling to hold on to her home, an angry young man frustrated because his life does not match his ambition, servants choosing sides with blood on the line, hero-kings who needle each other, cocks of the walk torn between self-interest and following their own nature, women who follow the rules and are possessions, women who flout the rules and get away with it, and the eternal contradictory whims of the divine, by whom any action, no matter how chaotic or malignant, can simply be waved away as “a God put the thought into my head.” Over everything is a model of consumption, of eating or being eaten up, in a world whose values are both alien and familiar. There are two other primary sources. The poem Ulysses , by Alfred, Lord Tennyson, is another of those cultural artefacts that I had the wrong idea about—eminently quotable verse at the end of the poem about a hero’s journey, against the backdrop of a man who has struggled for a long time to get to his home, finds it dull, and immediately wants to leave again. The Gate to Women’s Country by Sheri Tepper is a work of angry feminism that I had struggled with as a teenager. I understand it better now that I have a working knowledge of Greek tragedy under my belt: she writes a future where a peaceful human society is possible only if men and women live Samplestrictly separate and regimented lives.file As a young girl living a reasonably happy life in a modern democracy, Tepper’s premise seemed overblown to me; as an older woman better able 4 For the Organiser to take Homer on his own terms, having reached an age in which #MeToo is just another sally in the gender wars, the casus belli of the novel becomes more explicable. Three confronting texts that cannot agree with each other make the perfect basis for larp, an artform where there is no such thing as a unified point of view. So travel to Ithaca. Embrace what you find there and accept the gifts your host may choose to give you. Honour your own and others’ gods, pour the libation from your cup, make peace with your loved ones or do not. And then leave. You’re Reading This And You’ve Never Larped Before Live roleplaying (larp) is a way of acting out stories. The participants take on characters who have a history, an emotional life and relationships with the other characters in the game, and then act out what feels right for the character. As an art form, it is more immediate than theatre; as a roleplaying form, it is held more in the body and more in the moment of time than the ‘tabletop’ kind where you simply narrate what your character is doing. Larps can be silly or serious or anywhere between. Ulysses uses the form to give up to 18 players a role in the world of The Odyssey one week after its hero has finally reached his home. The game takes about three hours to run, with two hours of in- character time, and pre and post-game workshops to help people get in and out of character. There are rules that govern how characters can engage in physical conflict without anybody getting hurt in real life. The game has a two-act structure. The first act is a regular day in the lives of the characters in which they can talk or have minor scuffles, after this is a five-minute break in which the characters are ‘resting’ for the night; this is followed by the finale—a fateful day that the gods are witnessing: all fights are mortal, all oaths are significant, and the ships of Ithaca will sail out to the Western Stars (which heroes Samplewill go is for the players to decide.) file 5 For the Organiser You’re Reading This And You’re Unfamiliar With Homer’s Odyssey The Odyssey and its companion text The Iliad are two of the oldest works in Western literature. They were written around the 8 th or 7 th century BCE, combining the new literacy with a rich oral tradition that seems to recall the lavish fallen courts of Mycenae and Crete, and perhaps an even earlier memory of nomadic life on inland steppes. Homer’s works (there is scholarly debate about whether the author referred to by archaic Greeks as ‘The Poet’ was an individual or a team) quickly became a collective identity-forming canon shared across the Greek speaking world; they were admired and incorporated into Roman literature; from there they have been continually repeated, translated and adapted into the 21 st century.
Load more

Recommended publications
  • Land of Myth Odyssey Players
    2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis The Land of Myth Mechanics: A Rules-Light Version ...................... 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this game is still
    [Show full text]
  • Eumaeus, Evander, and Augustus: Dionysius and Virgil on Noble Simplicity*
    Eumaeus, Evander, and Augustus: Dionysius and Virgil on Noble Simplicity* Casper C. de Jonge Introduction Eumaeus might not be the first character to come to mind when we think of Homeric epic as Princes’ Mirror. To be sure, Eumaeus is of royal descent: his father was Ctesius, son of Ormenus, king of the island Syria.1 But Eumaeus is also a slave: as a child he was sold to Laertes and, having been raised together with Odysseus’ sister Ctimene, he became the family’s swineherd.2 Eumaeus is one of the lower-status figures to which the Odyssey pays more attention than the Iliad. Like Eurycleia, the other prominent lowly character, Eumaeus is portrayed as a loyal servant. During Odysseus’ absence he takes good care of his master’s animals (Od. 14.5–28, 524–533), although he is defenceless against the suitors, who continually force him to send in pigs for their feasts (Od. 14.17– 20). The detailed description of Eumaeus’ pig-farm (Od. 14.7–22) brings out its modesty in comparison with the luxurious palaces of kings like Menelaus, Alcinous, and Odysseus. But with its vestibule (πρόδομος), courtyard (αὐλή), and defensive wall the farm adequately fulfils its function.3 When Odysseus arrives in Ithaca, Eumaeus gives him hospitality and offers him a double meal (Od. 14.72–111 and 14.410–454) and a bed (Od. 14.454–533), not yet knowing that his guest is actually his master. The next day the host and his guest share * The research for this paper was funded by a grant awarded by the Netherlands Organization for Scientific Research (nwo).
    [Show full text]
  • THE LAND of MYTH MECHANICS: This Adventure Was Designed As a ‘One Shot’ (I.E
    2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis About This Adventure Module .............................................................. 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this
    [Show full text]
  • Homer's Odyssey (1911)
    HOMERS ODTSSET HOMER'S ODYSSEY " Flashing she fell to the earth from THE GLITTERING HEIGHTS OF OlYMI - Eco HOMER'S ODYSSEY A LINE^FOR-LINE TRANSLATION IN THE METRE OF THE ORIGINAL BY H, B, COTTERILL M.A. EDITOR OF "SELECTIONS FROM THE INFERNO" GOETHE'S "1PHIGENIE" MILTON'S " AREOPAGITICA " MORE'S "UTOPIA" VIRGIL'S "AENE1D" I & VI ETC WITH TWENTY-FOUR ILLUSTRATIONS BY PATTEN WILSON %c I 4 y LONDON : GEORGE G. HARRAP & COMPANY 9 PORTSMOUTH STREET KINGSWAY W.C. MCMXI PRINTED BY BALLANTYNE & COMPANY LTD AT THE BALLANTYNE PRESS TAVISTOCK ST. COVENT GARDEN LONDON TO MY WIFE AND DAUGHTER AND TO ALL THOSE WHOSE LOVE FOR HOMER AND FOR WHATEVER ELSE IN ART IS TRUE AND BEAUTI- FUL GAVE ME THE COURAGE TO UNDERTAKE AND THE ENDURANCE TO COMPLETE THIS VERSION OF THE ODYSSEY * dvr<o "Hroi /xef ttoX\o>v embevofiai dXAd fioi aef-ovatv ii >* i 6(oi, a> "Epyuv fi'if t entfiifJivu). PREFACE 'N his Lectures on Translating Homer Matthew Arnold advises the translator to Preface have nothing to do with side questions—such as the question whether Homer ever existed. I should rather say that, however much interest he may take in antiquarian, or philological, or other side questions, it is best for him to give .a wide berth to theoretics and polemics. Indeed, if the translator is one who ' fulfils Matthew Arnold's requirements by reading Homer perpetually for the ' sake of his poetry — if he has experienced the happiness of long and continuous intimacy with what is so beautiful and so restful—he will shrink with pain the Babel of feel from and the acrimony literary disputation, and will much inclined to say nothing at all, knowing full well that, whatever he may say or may leave unsaid, his work will have to speak for itself.
    [Show full text]
  • The Adventures of Odysseus and the Tales of Troy
    The Adventures Of Odysseus And The Tales Of Troy By Padriac Colum The Adventures Of Odysseus And The Tales Of Troy I This is the story of Odysseus, the most renowned of all the heroes the Greek poets have told us of—of Odysseus, his wars and his wanderings. And this story of Odysseus begins with his son, the youth who was called Telemachus. It was when Telemachus was a child of a month old that a messenger came from Agamemnon, the Great King, bidding Odysseus betake himself to the war against Troy that the Kings and Princes of Greece were about to wage. The wise Odysseus, foreseeing the disasters that would befall all that entered that war, was loth to go. And so when Agamemnon's messenger came to the island of Ithaka where he was King, Odysseus pretended to be mad. And that the messenger, Palamedes, might believe he was mad indeed, he did a thing that no man ever saw being done before—he took an ass and an ox and yoked them together to the same plough and began to plough a field. And when he had ploughed a furrow he sowed it, not with seeds that would grow, but with salt. When Palamedes saw him doing this he was nearly persuaded that Odysseus was mad. But to test him he took the child Telemachus and laid him down in the field in the way of the plough. Odysseus, when he came near to where the child lay, turned the plough aside and thereby showed that he was not a mad man.
    [Show full text]
  • Odysseus Unbound: the Search for Homer’S Ithaca Robert Bittlestone Index More Information
    Cambridge University Press 0521853575 - Odysseus Unbound: The Search for Homer’s Ithaca Robert Bittlestone Index More information Homeric index Quotations from the Iliad and the Odyssey are listed here by their book and opening line references (based on the Greek text of the poems), followed by an introductory extract from the quoted passage. Alternative translations of the same line give rise to multiple entries. The translations are by James Diggle except where otherwise indicated. Iliad 425 With much on his mind Telemachos made Book 2 for bed 190, 522 625 Men from Doulichion and the sacred 443 Wrapped in a fleece of wool 114 isles 264, 265, 270, 528 Book 2 631 And Odysseus led the great-hearted 1 As soon as rosy-fingered Dawn appeared 191; Cephallenians (Murray) 70 see also 13.18 631 Next Odysseus led his Cephallenian 9 When all were gathered in the meeting companies (Fagles) 69 place 191, 308 631 Odysseus led the gallant Cephallenians 25, 12 Athene shed on him a heavenly grace 191, 242, 244, 265, 285, 286, 513 308 632 From Ithaca and leaf-quivering Neriton 25, 14 The elders yielded him his father’s seat 127, 242, 244, 265, 513 191, 308 Book 6 146 So spoke Telemachos. In answer Zeus 191, 167 He shrank from killing him 321 523 174 When the tenth rosy-fingered dawn 260 Telemachos went to the shore, apart from appeared 321 the others 192 Book 8 297 Did not wait long, when he had heard her 562 A thousand fires burned in the plain 33 voice 193 Book 12 389 Dragged the swift ship to the sea, and stored 228 This is the way a soothsayer would in
    [Show full text]
  • Illinois Classical Studies
    Eumaeus and Odysseus—Covert Recognition and Self-Revelation? HANNA M. ROISMAN For Mordechai Gichon When Odysseus first returns to Ithaca, he reveals his identity explicitly only to Telemachus. All the other members of the household see him only as a ragged beggar. Telemachus is probably granted this formal recognition not only out of paternal sentiment, or because Athena commanded it (16. 167- 71), but because he is the safest confidant in the household. His youth, naivete, and filial relation to Odysseus all favor his trustworthiness, and besides that he needs Odysseus to protect his life and property. Moreover, were Telemachus to violate Odysseus' confidence and reveal his identity to the suitors, Odysseus could readily deny it. Telemachus is the only character Odysseus meets at the beginning who cannot confirm his identity because he was a baby when his father left and has no memory of him.^ Yet despite Odysseus' insistence on withholding his identity^ the leitmotiv of covert self-revelation runs through the epic. To get the help he will need in reestablishing his place in his home, Odysseus must obtain the support of key figures who are potentially less reliable than his son. He needs Eumaeus as a loyal servant in a distant farmstead with a footing in the palace. He needs Eurycleia as an ally in the house.^ Since they are slaves, however, their loyalty cannot be taken for granted. As Eumaeus attests, the gods take half a man's arete the day he enters servitude (17. 322-23). ^ In fact, Odysseus appears to his son in a way that should have caused Telemachus to question his self-disclosure.
    [Show full text]
  • Odysseus in Democratic Athens Aara Lauren Suksi a Thesis Subrnitted In
    Odysseus in Democratic Athens Aara Lauren Suksi A thesis subrnitted in confbnriity with the requirements for the degree of PhD Graduate Department of Classics University of Toronto O Copyright by Aara Lauren Suksi 1999. National Library Bibliothéque nationale B*m of Canada du Canada Acquisitions and Acquisitions et Bibiiograp hic Services services bibliographiques 395 Wellington Street 395. rue W8Miingtm Ottawa ON KI A ON4 OriawaON K1A ON4 CaMda Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distribuer ou copies of this thesis in microfoxm, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Odysseus in Democratic Athens PhD 1999 Gara Lauren Suksi Graduate Department of Classics University of Toronto This is a study of the many-faceted usage of the traditional character Odysseus by the culture of democratic Athens. Evidence is drawn largely from texts of and about dramatic productions. Athens in the fifth and eariy fourth centuries BC maintained a remarkable equilibrium arnid the sociopolitical tensions between the democratic and egalitarian interests of the majonty of citizens and the elitist concerns of an aristocracy recently deposed from an institutionalized position of power, but still vital to the successful management of the polis.
    [Show full text]
  • The Odyssey of Homer
    rnia THE ODYSSEY OF HOMER TRANSLATED BT GEORGE HERBERT PALMER ALFORD PROFESSOR OF PHILOSOPHY IN HARVARD UNIVERSITY BOSTON AND NEW YORK HOUGHTON MIFFLIN COMPANY ttmcrs'i&c press Cambridge COPYRIGHT, 1884, l39'. &110 I9 IJ BY O. H. PALMER ALL RIGHTS RESERVED IT bf ibfril>r prr CAMBRIDGE . MASSACHUSETTS PRINTED IN THE U.SJU SRLF URL OTTOrSo) irpWTOV 1] fWt 7TOT6 Sw/fOS i8t<T0ai PREFACE. IN this translation of the Odyssey I have had the following aims : To give to the thought of Homer a more direct and simple expression than has hitherto been judged ad- missible ; to be at once minutely faithful to the Greek original and to keep out of sight the fact that either translator an original or a exists ; to present especially the objective, unreflective, realistic, and non-literary features of the primitive story ; to report in all their delicacy the events which Homer reports, to exhibit his attitude of mind toward them, and to produce again the impression produced by him that things so in to did happen just ; the wording, discard origi- nality and to make free use of the fortunate phrases f preceding translators ; but to employ persistently the veracious language, the language of prose, rather than the dream language, the language of poetry; and still to confess that the story, unlike a bare record of fact, is throughout, like poetry, illuminated with an of to this underglow joy ; mark gently permeating joy by a simple rhythm, a rhythm so unobtrusive and so free from systematic arrangement that no one need *1 PREFACE.
    [Show full text]
  • The Odyssey by Stanley P
    Homer’s The Odyssey By Stanley P. Baldwin, M.A. IN THIS BOOK ■ Learn about the Life and Background of the Author ■ Preview an Introduction to the Epic ■ Study a graphical Character Map ■ Explore themes and literary devices in the Critical Commentaries ■ Examine in-depth Character Analyses ■ Reinforce what you learn with CliffsNotes Review ■ Find additional information to further your study in CliffsNotes Resource Center and online at www.cliffsnotes.com IDG Books Worldwide, Inc. An International Data Group Company Foster City, CA • Chicago, IL • Indianapolis, IN • New York, NY About the Author Publisher’s Acknowledgments Stanley P. Baldwin is a writer and teacher living in Editorial Nebraska. Project Editor: Tracy Barr Acquisitions Editor: Greg Tubach Glossary Editors: The editors and staff of Webster’s New World Dictionaries Editorial Assistant: Michelle Hacker Production Indexer: York Production Services, Inc. Proofreader: York Production Services, Inc. IDG Books Indianapolis Production Department CliffsNotes Homer’s The Odyssey Published by Note: If you purchased this book without a cover, you IDG Books Worldwide, Inc. should be aware that this book is stolen property. It was reported as "unsold and destroyed" to the publisher, and An International Data Group Company neither the author nor the publisher has received any pay- 919 E. Hillsdale Blvd. ment for this "stripped book." Suite 400 Foster City, CA 94404 www.idgbooks.com (IDG Books Worldwide Web site) Library of Congress Cataloging-in-Publication Data www.cliffsnotes.com (CliffsNotes Web site) Baldwin, Stanley P. CliffsNotes Homer’s The Odyssey / Stanley Copyright © 2000 IDG Books Worldwide, Inc. All rights reserved. No part of this Baldwin.
    [Show full text]
  • Odyssey Companion (002)
    Homer II: handbook to the Odyssey Part I: Wanderings Books 1–4: The Telemachy outline commentary 1. Athene Visits Telemachus 1 21 2. The Debate in Ithaca 1 28 3. Nestor 2 32 4. Menelaus and Helen 3 38 Books 5–8: Scheria 5. Calypso 4 46 6. Nausicaa 4 52 7. The Palace of Alcinous 5 58 8. The Phaeacian Games 6 62 Books 9–12: Odysseus’ travels 9. The Cyclops 7 73 10. Circe 8 81 11. The Book of the Dead 8 86 12. The Cattle of the Sun 9 94 Part II: Ithaca Books 13–16: Eumaeus’ Farm 13. Odysseus Lands in Ithaca 9 99 14. In Eumaeus’ Hut 10 105 15. Telemachus Returns 11 111 16. Odysseus Meets his Son 11 118 Books 17–20: The Palace 17. Odysseus Goes to Town 12 124 18. The Beggar in the Palace 13 133 19. The Queen and the Beggar 14 139 20. Prelude to the Crisis 15 147 Books 21–24: The Showdown 21. The Contest of the Bow 16 153 22. The Battle in the Hall 16 160 23. Odysseus and Penelope 18 168 24. The Feud is Ended 18 173 Appendix Chronologies 183 Odyssey: outline Book 1. Athene Visits Telemachus line 1. The proem 1 2. The council of the gods 22 1. Zeus’s speech 32 2. Athene’s speech 44 3. Zeus’s reply 63 4. Athene’s reply 80 3. Athene goes to Ithaca 96 1. her reception 113 2. Athene and Telemachus 158 a) Telemachus’ questions 169 b) “Mentes” tells his story 178 c) Telemachus’ reply 213 d) Athene’s questions 221 e) Telemachus on the suitors 230 f) Athene’s advice 252 g) the parting speeches 306 3.
    [Show full text]
  • Early Greek Poets' Lives : the Shaping of the Tradition / by Maarit Kivilo
    Early Greek Poets’ Lives Mnemosyne Supplements Monographs on Greek and Roman Language and Literature Editorial Board G.J. Boter A. Chaniotis K.M. Coleman I.J.F. de Jong T. Reinhardt VOLUME 322 Early Greek Poets’ Lives The Shaping of the Tradition By Maarit Kivilo LEIDEN • BOSTON 2010 This is an open access title distributed under the terms of the prevailing CC-BY-NC License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched (KU). KU is a collaborative initiative designed to make high quality content Open Access for the public good. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Kivilo, Maarit. Early Greek poets' lives : the shaping of the tradition / by Maarit Kivilo. p. cm. – (Mnemosyne supplements : monographs on Greek and Roman language and literature ; 322) Includes bibliographical references. ISBN 978-90-04-18615-6 (hardback : alk. paper) 1. Poets, Greek–Biography–History and criticism. 2. Greek prose literature–History and criticism. 3. Greece–Biography–History and criticism. 4. Classical biography–History and criticism. 5. Hesiod. 6. Stesichorus. 7. Archilochus. 8. Hipponax, fl. 540-537 B.C. 9. Terpander. 10. Sappho. I. Title. II. Series. PA3043.K58 2010 881'.0109–dc22 [B] 2010017664 ISSN 0169-8958 ISBN 978 9004 18615 6 Copyright 2010 by Koninklijke Brill NV, Leiden, The Netherlands.
    [Show full text]