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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. -
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. -
Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica
Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica Christina Marie Bartley A thesis submitted in partial fulfillment of the requirements for the Master’s degree in Classical Studies Department of Classics and Religious Studies Faculty of Arts University of Ottawa © Christina Marie Bartley, Ottawa, Canada, 2021 Table of Contents Abbreviations ..................................................................................................................... iii Abstract .............................................................................................................................. vi Acknowledgements ........................................................................................................... vii Introduction ..................................................................................................................... viii 1. The Structural Markers of the Aethiopica .......................................................................1 1.1.Homeric Strategies of Narration ..........................................................................................2 1.1.1. In Medias Res .................................................................................................................3 1.2. Narrative Voices .................................................................................................................8 1.2.1. The Anonymous Primary Narrator ................................................................................9 1.2.2. Calasiris........................................................................................................................10 -
Rotting Ships and Bloodied Water Anthony Vivian
UNIVERSITY OF CALIFORNIA Los Angeles Rotting Ships and Bloodied Water: Destructive Liquids and Thucydides’ Skepticism of Naval Imperialism A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Anthony Vivian 2020 © Copyright by Anthony Vivian 2020 ABSTRACT OF THE DISSERTATION Rotting Ships and Bloodied Water: Destructive Liquids and Thucydides’ Skepticism of Naval Imperialism by Anthony Vivian Doctor of Philosophy in History University of California, Los Angeles, 2020 Professor David Daniel Phillips, Chair Thucydides’ construction of liquids and solids undermines both the rhetoric of Athenian characters within his History and the consensus reading of this text. This dissertation analyzes Thucydides’ depiction of liquids as active and destructive and contextualizes it within Greek history and literature. From the oldest extant Greek texts, authors have described all sorts of liquids as active, mutable, and in motion. Their activeness is the fundamental quality that separates them from solids. One major subcategory of liquid activeness in Greek literature is liquid destructiveness. Greek authors consistently show the sea and other liquids to be dangerous, destructive, and deadly. These authors developed this theme as Greek seafaring and naval warfare consistently !ii increased in the Aegean from the end of the eighth century up through the fifth century BCE and beyond. Thucydides writes within these well-established traditions. He portrays the motion and activeness of liquids in scenes of changing topography. He maps the binary between active liquids and inert solids onto his important dichotomy between Athens and Sparta. The Athenians, who control a naval empire, are active, mutable, and loquacious; the land-based Spartans are stable, conservative, and laconic. -
The Entelechy of Telemachy 237
2 : The Entelechy of Telemachy 237 AI tel 2:02 P.M. 14/ 2: The Entelechy of Telemachy B-sides riding storys ware he-rows disap- pear INT.0 Himalayus, Ulysses also had a strange propensity for space travel. Left < = a door painting Us made in late ‘80s, prior to his trans-Sibeerun trip, a piece dat god d-stroyed in the apartment fire after witch he renounces painting + 2D art + turnt 2 ‘conceptual’ art + making objets + writing, nada perishable. In anudder of his storeys entitled “FA(R)THER FROM THE TRUTH”: a lone man out in space is working on a broken solar panel outside of the USS CONSTITUTION space stay- shun when there’s an xplosion + the probe he’s in spins off out of orebit. Dare ain’t nada no 1 can do. Contack is kept w/ hym for 3 hrs before his damedged communecake- shun unit kaputs. Ground cuntrol observes the probe for 3 days before it disappears from vu. Sighingtists estimate dat the sub- jet [Ulysses]122 cd of survived for 6 hrs [ Apollo 14 (on riserve enurgey from probes soler pan- FEBruary 1971 ] els) b4 he froze to deaf. 5 yrs + 20 dayz later the probe returns... as in a prior “Stranger in a Strange Land” tail we endid last edisope on, Us d-tales ∀ll sorts of hand- waving tech- + politickle jargon (clocks in at over 6 pgs, single spaced) + this probe defies all expectations of modurn sighence by returning to earth in a cuntrolled calm manner, creating an intl scandul dat again almost sparks WWIII. -
The Untold Death of Laertes. Revaluating Odysseus's Meeting
The untold death of Laertes. Revaluating Odysseus’s meeting with his father Abstract This article discusses the narrative function and symbolism of the Laertes scene in the twenty- fourth book of the Odyssey. By pointing out the scene’s connections to other passages (the story of Penelope’s web, the first and second nekuia , the farewellto the Phaeaceans, the Argus scene, but also the twenty-fourth book of the Iliad) and by tackling some of the textualproblems that it poses (the apparent cruelty of Odysseus’s lies to his father, the double layers of meaning in his fictions, the significance of the sèma of the trees), this article aims to point out how the Laertes scene is tightly woven into the larger thematic and symbolicaltissue of the Odyssey. Odysseus’s reunion with his father is conclusive to the treatment of some important themes such as death and burial, reciprocalsense of love and duty and the succession of generations. It willbe argued that the untold death of Laertes becomes paradigmatic for the fate Odysseus himself chooses, and for the way in which the epic as a whole deals with the problem of mortality. Keywords Odyssey, Laertes, symbolism, mortality, burial, reciprocity Laertes, the old father of Odysseus, is a somewhat forgotten character. He is mostly considered to be of minor importance to the plot of the Odyssey, and his reunion with his son in the twenty-fourth book is often seen as a more or less dispensable addendum to the realclimax, the recognition scene with Penelope. In this article, I aim to readjust this view by exploring the context and significance of this final meeting. -
23 Hero-Without-Nostos.Pdf
1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science +Business Media Dordrecht. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Int class trad DOI 10.1007/s12138-014-0367-6 ARTICLE A Hero Without Nostos: Ulysses’ Last Voyage in Twentieth-Century Italy Francesca Schironi © Springer Science+Business Media Dordrecht 2015 Abstract The article reviews the reception of Ulysses’ last voyage in twentieth- century Italy. Ulysses’ last voyage is used by Italian authors to discuss different and often opposing views of the ideal human life as well as the intellectual and exis- tential angsts of the twentieth century. In addition, the Italian twentieth-century Ulysses becomes part of a metapoetic discourse, as going back to the Homeric and Dantesque myths of Ulysses for an artist also means interrogating oneself on the possibility of creating something new within a long tradition. This metaliterary dimension adds to the modern Italian reception of Ulysses, making it a unique case of the intersection of many different layers of reception both in chronological and thematic terms. -
The Iliad by Homer (Discussion on Some Relevant Issues)
DEPT. OF ENGLISH, SEM-IV, CC8, THE ILIAD (ATASI SAHOO) The Department of English Raja N. L. Khan Women’s College (Autonomous) Midnapore, West Bengal Study Material--3 On The Iliad by Homer (Discussion on Some Relevant Issues) For Course: English Hons. SEM: IV Paper: HCC8 Session: 2019-2020 Prepared by Atasi Sahoo Guest Teacher Department of English Raja N.L. Khan Women’s College (Autonomous) Date: 23rd April, 2020 23rd April, 2020 1 DEPT. OF ENGLISH, SEM-IV, CC8, THE ILIAD (ATASI SAHOO) The story of Homer’s The Iliad is based on the Trojan War and the central theme is the ‘wrath of Achilles’. In the following paragraph the major themes and some relevant issues are discussed. ❖ Analysis of Important Issues and Characters: • Main Focus of The Iliad: According to Aristotle, Homer didn’t want to depict the whole Trojan War of almost ten years, rather his narrative is based on a single theme—the wrath of Achilles. How that anger is originated and its aftermath are illustrated in the epic. The very first line of Book 1 declares the anger and reason behind that anger of Achilles is depicted in Book 1. The whole story is based on the lives of the aristocratic people, the aristocratic heroes. The human actions in the story take place in the Greek camps, or in the battlefield or in Ilium whereas the gods and goddesses stay on the Mount Olympus and they continue to engage themselves internally or externally in the human affairs. Though the narrative illustrates only a few weeks in the last year of the Trojan War, Homer generates the impression that he is covering the whole war, and even the times before and after it, as we can come to know many of the events that took place many years ago and it also foretells the upcoming events towards the end of the narrative. -
Eidothea, a Daughter of Proteus, That Great Power, the Old Man of the Sea
Eidothea, a daughter of Proteus, that great power, the Old Man of the Sea. My troubles must have moved her to the heart when she met me trudging by myself without my men. They kept roaming around the beach, day in, day out, fishing with twisted hooks, their bellies racked by hunger. Well, she came right up to me, filled with questions: ‘Are you a fool, stranger—soft in the head and lazy too? Or do you let things slide because you like your pain? Here you are, cooped up on an island far too long, with no way out of it, none that you can find, while all your shipmates’ spirit ebbs away.’ So she prodded and I replied at once, ‘Let me tell you, goddess—whoever you are— I’m hardly landlocked here of my own free will. So I must have angered one of the deathless gods who rule the skies up there. But you tell me— you immortals know it all—which one of you blocks my way here, keeps me from my voyage? How can I cross the swarming sea and reach home at last?’ And the glistening goddess reassured me warmly, ‘Of course, my friend, I’ll answer all your questions. Who haunts these parts? Proteus of Egypt does, the immortal Old Man of the Sea who never lies, who sounds the deep in all its depths, Poseidon’s servant. He’s my father, they say, he gave me life. And he, if only you ambush him somehow and pin him down, will tell you the way to go, the stages of your voyage, how you can cross the swarming sea and reach home at last. -
Illinois Classical Studies
LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 880 V.2 Classics renew phaH=«= SS^S^jco The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN m\ k m OCT IS 386 Air, 1 ? i!;88 WOV 1 5 988 FEB 19 19! i^f' i;^ idi2 CLASSICS L161 — O-1096 ILLINOIS CLASSICAL STUDIES VOLUME II •977 Miroslav Marcovich, Editor UNIVERSITY OF ILLINOIS PRESS Urbana Chicago London 1 1977 by the Board of Trustees of the University of Illinois Manufactured in the United States of America ISBN :o-252-oo629- O ^ Xl^ Preface Volume II (1977) o( Illinois Classical Studies is a contribution of the clas- sicists from the University of Illinois to the celebration of the Bicentennial of the American Revolution (1776-1976). It comprises twenty-one select contributions by classical scholars from Ann Arbor, Berkeley, Cambridge (England), Cambridge (Massachusetts), Chicago, London, New York, Philadelphia, Providence, St. Andrews, Stanford, Swarthmore, Toronto, Urbana and Zurich. The publication of this volume was possible thanks to generous grants by Dean Robert W. Rogers (Urbana-Champaign) and Dean Elmer B. Hadley (Chicago Circle). Urbana, 4 July 1975 Miroslav Marcovich, Editor .. : Contents 1 The Nature of Homeric Composition i G. p. GOOLD 2. The Mare, the Vixen, and the Bee: Sophrosyne as the Virtue of Women in Antiquity 35 HELEN F. -
Part One of Book, Pp1-66 (PDF File, 1.82
GREECE BOOKS AND WRITERS This publication has been sponsored By the Hellenic Cultural Heritage S.A., the organising body of the Cultural Olympiad. PUBLICATION COMMITTEE VANGELIS HADJIVASSILIOU STEFANOS KAKLAMANIS ELISABETH KOTZIA STAVROS PETSOPOULOS ELISABETH TSIRIMOKOU YORYIS YATROMANOLAKIS Sourcing of illustrations SANDRA VRETTA Translations JOHN DAVIS (sections I-III), ALEXANDRA KAPSALI (sections IV-V) JANE ASSIMAKOPOULOS (sections VI-VII) ANNE-MARIE STANTON-IFE (introductory texts, captions) Textual editing JOHN LEATHAM Secretariat LENIA THEOPHILI Design, selection of illustrations and supervision of production STAVROS PETSOPOULOS ISBN 960 - 7894 - 29 - 4 © 2001, MINISTRY OF CULTURE - NATIONAL BOOK CENTRE OF GREECE 4 Athanasiou Diakou St, 117 42 Athens, Greece Tel.: (301) 92 00 300 - Fax: (301) 92 00 305 http://www.books.culture.gr e-mail:[email protected] GREECE BOOKS AND WRITERS NATIONAL BOOK CENTRE OF GREECE MINISTRY OF CULTURE GREECE - BOOKS AND WRITERS – SECTION I Cardinal BESSARION (black and white engraving 17 X 13 cm. National Historical Museum, Athens) The most celebrated of the Greek scholars who worked in Italy was Cardinal BESSARION (1403-1472). An enthusiastic supporter of the union of the Eastern and Western Churches, he worked tirelessly to bring about the political and cultural conditions that would allow this to take place. He made a major contribution to the flowering of humanist studies in Italy and played a key role in gathering and preserving the ancient Greek, Byzantine and Latin cultural heritage By systematically collecting and copying manuscripts of rare literary and artistic value, frequently at great personal expense and sacrifice and with the help of various Greek refugee scholars and copyists (Conati autem sumus, quantum in nobis fuit, non tam multos quam optimos libros colligere, et sin- gulorum operum singula volumina, sicque cuncta fere sapien- tium graecorum opera, praesertim quae rara errant et inventu dif- ficilia, coegimus).