Book V: ODYSSEUS NYMPH and SHIPWRECK SCENE: Ogygia CHARACTERS: Odysseus, Calypso, Athena, Zeus, W

Total Page：16

File Type：pdf, Size：1020Kb

Book V: ODYSSEUS NYMPH and SHIPWRECK SCENE: Ogygia CHARACTERS: Odysseus, Calypso, Athena, Zeus, W

Book V: ODYSSEUS NYMPH AND SHIPWRECK SCENE: Ogygia CHARACTERS: Odysseus, Calypso, Athena, Zeus, Poseidon, A sea nymph. Ino/Leucothoe: A goddess of the sea who saves Odysseus. PAY ATTENTION TO: • Odysseus weeping, his longing for home. • The council of the Gods. (Note that it seems to introduce this section in a similar way to how the assembly in the Book 1 introduces the “Telemachia.”) • The lushness of the island, the beauty of Calypso. • Hermes' appreciation of the lushness, his tact, his businesslike manner. • Calypso reluctant acceptance of the ruling of Zeus. • Her agreeing to help Odysseus with tools and other gifts. • Odysseus' tact when he explains to Calypso why he so wants to go home. • The sexual nature of their relationship. • Odysseus' purposefulness in building the raft. • The wrath of Poseidon. • Ino's gift and Odysseus' mistrust of it. • Athena's aid and Odysseus' survival skills. • Odysseus' prayer to the unnamed river god. • What Odysseus does to make sure he survives his first night back on land. EPITHETS: Who is . • "lustrous goddess, Queenly nymph?" • "the guide and giant killer?" • "long enduring?" • "god of the earthQuake?" QUESTIONS: 1. How long does Odysseus stay on Calypso's island? 2. What is the source of Calypso's power over Odysseus? 3. What do we learn of Calypso's feelings for Odysseus? 4. What will Calypso give Odysseus if he stays with her? 5. Calypso asks Odysseus to compare her with Penelope; does Odysseus respond satisfactorily? 6. How would you characterize the making of the raft, and the departure of Odysseus? 7. For how many days does Odysseus swim? 8. Why does Zeus, despite his liking of Odysseus, allow Poseidon to make this journey such an ordeal? 9. Ino‐Leucothea, in the guise of a seabird, gives him her veil. Why veil? 10. Why does Odysseus return Ino's veil to the sea? 11. After two days of swimming, note several phases of decision‐making. Does Odysseus accomplish his rescue on his own? .

Copy Link

Recommended publications

The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10.
[Show full text]
Sample Odyssey Passage
The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country.
[Show full text]
Ornithological Approaches to Greek Mythology: the Case of the Shearwater
Ornithological Approaches to Greek Mythology: The Case of the Shearwater In the Odyssey 5.333-337, Ino-Leucothea rescues Odysseus from a terrifying storm while in the shape of an αἴθυια (aithyia) and gives him a magic veil so he can reach the land of the Phaeacians. But what bird is an aithyia, and, perhaps more importantly, can this information help us understand this passage of the Odyssey and other ancient texts where the bird appears? Many attempts at identifying Ino-Leucothea’s bird shape have been made. Lambin (2006) suggests that the name of byne that is occasionally (e.g. Lyc. Al. 757-761) applied to the goddess highlights her kourotrophic functions. In a more pragmatic way, Thompson (1895) suggests that the aithyia is a large gull such as Larus marinus. This identification is based on Aristotle (H.A. 7.542b) and Pliny (10.32) who report that the bird breeds in rocks by the sea in early spring. However, in a response to Thompson’s identification of a different bird, the ἐρωδιός (erôdios) as a heron, Fowler stresses that this bird nests in burrows by the sea (Pliny 10.126-127) and therefore must be Scopoli’s shearwater, Puffinus kuhli, now renamed Calonectris diomedea. The similarities between the aithyia and the erôdios prompted Thompson not only to reconsider his identification of the erôdios as a shearwater but also to argue that other bird names such as aithyia, memnôn, and mergus must also correspond to the shearwater. Thompson (1918) comes to this conclusion by taking a closer look at the mythological information concerning these birds.
[Show full text]
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.
[Show full text]
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
[Show full text]
Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 10-2014 Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. (2014). Theban walls in Homeric epic. Trends in Classics, 6(2), 278-296. doi:10.1515/tc-2014-0015 This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. TC 2014; 6(2): 278–296 Corinne Pache Theban Walls in Homeric Epic DOI 10.1515/tc-2014-0015 Throughout the Iliad, the Greeks at Troy often refer to the wars at Thebes in their speeches, and several important warriors fighting on the Greek side at Troy also fought at Thebes and are related to Theban heroes who besieged the Boeotian city a generation earlier. The Theban wars thus stand in the shadow of the story of war at Troy, another city surrounded by walls supposed to be impregnable. In the Odyssey, the Theban connections are less central, but nevertheless significant as one of our few sources concerning the building of the Theban walls. In this essay, I analyze Theban traces in Homeric epic as they relate to city walls. Since nothing explicitly concerning walls remains in the extant fragments of the Theban Cycle, we must look to Homeric poetry for formulaic and thematic elements that can be connected with Theban epic.
[Show full text]
Open Skoutelas Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF CLASSICS & ANCIENT MEDITERRANEAN STUDIES THE CARTOGRAPHY OF POWER IN GREEK EPIC: HOMER’S ODYSSEY & THE RECEPTION OF HOMERIC GEOGRAPHIES IN THE HELLENISTIC AND IMPERIAL PERIODS CHARISSA SKOUTELAS SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Classics & Ancient Mediterranean Studies and Global & International Studies with honors in Classics & Ancient Mediterranean Studies Reviewed and approved* by the following: Anna Peterson Tombros Early Career Professor of Classical Studies and Assistant Professor of Classics and Ancient Mediterranean Studies Thesis Supervisor Erin Hanses Lecturer in Classics and Ancient Mediterranean Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT As modern scholarship has transitioned from analyzing literature in terms of its temporal components towards a focus on narrative spaces, scholars like Alex Purves and Donald Lateiner have applied this framework also to ancient Greek literature. Homer’s Odyssey provides a critical recipient for such inquiry, and Purves has explored the construction of space in the poem with relation to its implications on Greek epic as a genre. This paper seeks to expand upon the spatial discourse on Homer’s Odyssey by pinpointing the modern geographic concept of power, tracing a term inspired by Michael Foucault, or a “cartography of power,” in the poem. In Chapter 2 I employ a narratological approach to examine power dynamics played out over specific spaces of Odysseus’ wanderings, and then on Ithaca, analyzing the intersection of space, power, knowledge, and deception. The second half of this chapter discusses the threshold of Odysseus’ palace and flows of power across spheres of gender and class.
[Show full text]
The Thebaid Europa, Cadmus and the Birth of Dionysus
The Thebaid Europa, Cadmus and the birth of Dionysus Caesar van Everdingen. Rape of Europa. 1650 Zeus = Io Memphis = Epaphus Poseidon = Libya Lysianassa Belus Agenor = Telephassa In the Danaid, we followed the descendants of Belus. The Thebaid follows the descendants of Agenor Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Agenor migrated to the Levant and founded Sidon • But see Josephus, Jewish Antiquities i.130 - 139 • “… for Syria borders on Egypt, and the Phoenicians, to whom Sidon belongs, dwell in Syria.” (Hdt. ii.116.6) The Levant Levant • Jericho (9000 BC) • Damascus (8000) • Biblos (7000) • Sidon (4000) Biblos Damascus Sidon Tyre Jericho Levant • Canaanites: • Aramaeans • Language, not race. • Moved to the Levant ca. 1400-1200 BC • Phoenician = • purple dye people Biblos Damascus Sidon Tyre Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Zeus appeared to Europa as a bull and carried her to Crete. • Agenor sent his sons in search of Europa • Don’t come home without her! • The Rape of Europa • Maren de Vos • 1590 Bilbao Fine Arts Museum (Spain) Image courtesy of wikimedia • Rape of Europa • Caesar van Everdingen • 1650 • Image courtesy of wikimedia • Europe Group • Albert Memorial • London, 1872. • A memorial for Albert, husband of Queen Victoria. Crete Europa = Zeus Minos Sarpedon Rhadamanthus • Asterius, king of Crete, married Europa • Minos became king of Crete • Sarpedon king of Lycia • Rhadamanthus king of Boeotia The Brothers of Europa • Phoenix • Remained in Phoenicia • Cylix • Founded
[Show full text]
Thebaid 2: Oedipus Descendants of Cadmus
Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway.
[Show full text]
Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles
Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades.
[Show full text]
Presents Semele
Presents __________________________________________________________________________ Semele By George Frideric Handel A RESOURCE PACK TO SUPPORT THE 2020 PRODUCTION The intention of this resource pack is to prepare students coming to see or taking part in tours or workshops focused on Semele Handel’s Semele Compiled by Callum Blackmore What is Opera? Opera is a type of theatre which combines drama, music, elements of dance or movement with exciting costumes and innovative set design. However, in opera, the actors are trained singers who sing their lines instead of speaking them. A librettist writes the libretto - the words that are to be sung, like a script. Often, the plots of the operas are taken from stories in books or plays. A composer writes the music for the singers and orchestra. An orchestra accompanies the singers. A conductor coordinates both the singers on stage and the musicians. An easy way to think of opera is a story told with music. In a lot of operas, the people on stage sing all the way through. Imagine having all your conversations by singing them! Opera Singers It takes a lot of training to become an opera singer. A lot of aspiring opera singers will take this route: Sing in choirs, volunteer for solos, take singing lessons, study singing and music at university, then audition for parts in operas. Opera singers hardly ever use a microphone, which means that they train their voices to be heard by audiences even over the top of orchestras. Singing opera can be very physical and tiring because of the effort that goes into making this very special sound.
[Show full text]
Homer's Ogygia: an Imaginary Or a Historiography?
Athens Journal of History - Volume 3, Issue 1 – Pages 49-70 Homer’s Ogygia: An Imaginary or a Historiography? By John Vella Epic poetry and legends are thought to be imaginary. Studies and science show that they may have a basis in history, yet the study of places-names – toponomy – supported by a multi-disciplinary approach provides sufficient tangible evidence as to enable the tracing of unwritten historic events and the description of forgotten contexts. In this paper, the researcher will conduct an analysis of Homer’s Ogygia, its character Calypso, and the events mentioned in the text. These factors provide enough details to classify and transform the perception of an imaginary story into a fact-based historic account – an early form of historiography – set on the island of Gozo-Malta. Introduction The author’s earlier research has argued that toponyms and associated legends backed by tangible evidence are silent witnesses to an unwritten history.1 This study departs from imaginaries instigated by ancient Greek epic poetry and a toponym. Homer’s Odyssey is the earliest written reference to the Maltese Islands. For centuries, the Iliad and its narrative of the aftermath of the Trojan War were considered fictional, but archaeology has proven otherwise. Though epic poetry has led to contrasting discussions, this study hopes to inspire historians and historiographers to revolutionise the interpretation of historic imaginary intangibles. The study provides a paradigm for the inclusion of both tangible and intangible factors in the construction of a more realistic narrative of the remote past. Toponym Definitions The term toponym is not restricted to the lexicographic definition as "a place name, especially one derived from a topographical feature".2 The author expands toponymy to include place-names derived from practices, functions, persons and historic events, rather than solely geographical or PhD Student, Mediterranean Institute, University of Malta, Malta.
[Show full text]