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The ''Odyssey'' (; ) is one of two major epics of ancient Greek literature attributed to Homer. It is one of the oldest surviving works of literature and remains popular with modern audiences. Like the ''Iliad'', the ''Odyssey'' is divided into 24 books. It follows the heroic king of Ithaca, Odysseus, also known by the Latin variant Ulysses, and his homecoming journey after the ten-year long Trojan War. His journey from Troy to Ithaca lasts an additional ten years, during which time he encounters many perils and all of his crewmates are killed. In Odysseus's long absence, he is presumed dead, leaving his wife Penelope and son Telemachus to contend with a group of unruly suitors competing for Penelope's hand in marriage.

The ''Odyssey'' was first written down in Homeric Greek around the 8th or 7th century BC; by the mid-6th century BC, it had become part of the Greek literary canon. In antiquity, Homer's authorship was taken as true, but contemporary scholarship predominantly assumes that the ''Iliad'' and the ''Odyssey'' were composed independently, forming as part of long oral traditions. Given widespread illiteracy, the poem was performed for an audience by an or rhapsode.

Key themes in the epic include the ideas of (; 'return', homecoming), wandering, (; 'guest-friendship'), testing, and omens. Scholars still explore on the narrative significance of certain groups in the poem, such as women and slaves, who have larger roles than in other works of ancient literature. This focus is especially remarkable when contrasted with the ''Iliad'', which centres the exploits of soldiers and kings during the Trojan War.

The ''Odyssey'' is regarded as one of the most significant works of the Western canon. The first English translation of the ''Odyssey'' was in the 16th century. Adaptations and re-imaginings continue to be produced across a wide variety of media. In 2018, when ''BBC Culture'' polled experts around the world to find literature's most enduring narrative, the ''Odyssey'' topped the list.

Background

Composition

Many suggestions have been made for dating the ''Odyssey'' composition, but there is no consensus. The Greeks began adopting a modified version of the Phoenician alphabet to create their own language during the 8th century BC. The Homeric poems may have been one of the earliest products of that literacy; if this is so, they would have been composed towards the late 8th century BC. Inscribed on a clay cup found in Ischia, Italy, are the words "Nestor's cup, good to drink from". Some scholars, such as Calvert Watkins, have tied this cup to a description of King Nestor's golden cup in the ''Iliad.'' If the cup is an allusion to the ''Iliad'', that poem's composition can be dated to at least 700–750 BC.

Dating is similarly complicated by the fact that the Homeric poems, or sections of them, were performed regularly by rhapsodes for several hundred years. The ''Odyssey'' as it exists today is likely not significantly different. Aside from minor differences, the Homeric poems gained a canonical place in the institutions of ancient Athens by the 6th century. In 566 BC, Peisistratos instituted a civic and religious festival called the Panathenaia, which featured performances of Homeric poems. These are significant because a "correct" version of the poems had to be performed, indicating that a particular version of the text had become canonised.

Textual tradition

In the 2nd and 3rd centuries BC, scholars affiliated with the Library of Alexandria—particularly Zenodotus and Aristarchus of Samothrace—edited the Homeric poems, wrote commentaries on them, and helped establish them as canonical texts. Alexandrian scholar Didymus's commentary divided ancient editions of the Homeric texts into ''city editions'' or ''individual editions''. City editions were likely created within the city (perhaps as "official" versions) while individual editions were independently prepared by scholars. He mentions individual versions owned by Antimachus, Aristophanes of Byzantium, and Sosigenes; there is a record of city editions existing in Argos, Chios, Crete, Cyprus and Marseille. Many editions were stored in the Library of Alexandria. Throughout antiquity, both ''Iliad'' and ''Odyssey'' were widely copied and used as school texts in lands where the Greek language was spoken. They were probably a core part of the ancient Greek education system, certainly for the elite of Classical Athens.

Their influence in non-Greek territories fluctuated. The Roman Empire readily absorbed Homer into its own culture, spreading it east and west. The subjects of both poems—Trojan War and its participants—were already critical historical and mythological references for Romans. Alexander the Great's conquests spread Hellenistic cultural influence throughout the Eastern Mediterranean and it became read by every school child in the Greek world.

During the Middle Ages, the ''Iliad'' and the ''Odyssey'' remained widely studied; as with Classical Athens, they were used as school texts within the Byzantine Empire. The Byzantine scholar and archbishop Eustathios of Thessalonike () wrote exhaustive commentaries on both of the Homeric epics that were seen as authoritative by later generations; his commentary on the ''Odyssey'' alone spans nearly 2,000 oversized pages in a twentieth-century edition. The first printed edition of the ''Odyssey'', known as the ''editio princeps'', was produced in 1488 by the Greek scholar Demetrios Chalkokondyles, who had been born in Athens and had studied in Constantinople. His edition was printed in Milan by a Greek printer named Antonios Damilas.

Since the late 19th century, many papyri containing fragments of the ''Odyssey'' have been found in Egypt, some with content different from later medieval versions. In 2018, the Greek Cultural Ministry revealed a clay tablet discovered near the Temple of Zeus at Olympia, containing 13 verses from the ''Odyssey'' 14th book. While it was initially reported to date from the 3rd century AD, the date is unconfirmed.

Influences

Scholars have seen strong influences from Near Eastern mythology and literature in the ''Odyssey''. Martin West notes substantial parallels between the ''Epic of Gilgamesh'' and the ''Odyssey''. Both Odysseus and Gilgamesh are known for traveling to the ends of the earth and on their journeys go to the land of the dead. On his voyage to the underworld, Odysseus follows instructions given to him by Circe, who is located at the edges of the world and is associated through imagery with the sun. Like Odysseus, Gilgamesh gets directions on how to reach the land of the dead from a divine helper: the goddess Siduri, who, like Circe, dwells by the sea at the ends of the earth, whose home is also associated with the sun. Gilgamesh reaches Siduri's house by passing through a tunnel underneath Mt. Mashu, the high mountain from which the sun comes into the sky. West argues that the similarity of Odysseus' and Gilgamesh's journeys to the edges of the earth are the result of the influence of the Gilgamesh epic upon the ''Odyssey''.

In 1914, paleontologist Othenio Abel surmised the origins of the Cyclops to be the result of ancient Greeks finding an elephant skull. The enormous nasal passage in the middle of the forehead could have looked like the eye socket of a giant, to those who had never seen a living elephant. Classical scholars, on the other hand, have long known that the story of the Cyclops was originally a folk tale, which existed independently of the ''Odyssey'' and which became part of it at a later date. Similar stories are found in cultures across Europe and the Middle East. According to this explanation, the Cyclops was originally simply a giant or ogre, much like Humbaba in the ''Epic of Gilgamesh''. Graham Anderson suggests that the addition about it having only one eye was invented to explain how the creature was so easily blinded.

Geography

Scholars are divided on whether any of the places visited by Odysseus are real. The events in the main sequence of the ''Odyssey'' (excluding Odysseus's embedded narrative of his wanderings) have been said to take place across the Peloponnese and the Ionian Islands.Strabo, ''Geographica'', 1.2.15, cited in Many have attempted to map Odysseus's journey, but largely agree that the landscapes—especially those described in books 9 to 11—include too many mythical elements to be truly mappable. For instance, there are challenges ascertaining whether Odysseus's homeland of Ithaca is the same island that is now called (modern Greek: ); the same is true of the route described by Odysseus to the Phaeacians and their island of Scheria. British classicist Peter Jones writes that the poem was likely updated many times by oral story-tellers across several centuries before it was written down, making it "virtually impossible" to say "in what sense he poemreflects a historical society or accurate geographical knowledge". Modern scholars tend to explore Odysseus's journey metaphorically rather than literally.

Synopsis

Exposition (Books 1–4)

The ''Odyssey'' begins after the end of the ten-year Trojan War. Odysseus, the king of Ithaca, has not returned home because he angered the sea god Poseidon. Odysseus's son, Telemachus, is about 20 years old and shares his absent father's house on the island of Ithaca with his mother Penelope. With Odysseus presumed dead, the suitors of Penelope—a crowd of 108 boisterous young men—try to persuade Penelope for her hand in marriage while partying in the king's palace.

Odysseus's protectress Athena asks Zeus to finally allow Odysseus to return home when Poseidon is absent from Mount Olympus. Disguised as a chieftain named Mentes, Athena visits Telemachus to urge him to search for news of his father. He offers her hospitality, and they observe the suitors dining rowdily while Phemius, the bard, performs a narrative poem for them.

That night, Athena, disguised as Telemachus, finds a ship and crew for the true prince. The next morning, Telemachus calls an assembly of citizens of Ithaca to discuss what should be done with the insolent suitors, who scoff at Telemachus. Accompanied by Athena (now disguised as Mentor), the son of Odysseus departs for the household of Nestor on the Greek mainland. Telemachus rides to Sparta, accompanied by Nestor's son. There he finds a reconciled Menelaus and Helen, who say they returned to Sparta after a long voyage by way of Egypt. There, on the island of Pharos, Menelaus encounters the old sea god Proteus, who tells him that Odysseus was a captive of the nymph Calypso. Telemachus learns the fate of Menelaus's brother, Agamemnon, king of Mycenae and leader of the Greeks at Troy: he was murdered on his return home by his wife Clytemnestra and her lover Aegisthus. The story briefly shifts to the suitors, who realise Telemachus is gone. Angry, they formulate a plan to ambush his ship and kill him as he sails home. Penelope overhears their plot and worries for her son's safety.

Escape to the Phaeacians (Books 5–8)

Odysseus spends seven years as a captive of Calypso on the island Ogygia. She has fallen deeply in love with him, but he spurns her offers of immortality as her husband. She is ordered to release him by the messenger god Hermes, sent by Zeus in response to Athena's plea. Odysseus builds a raft and is given clothing, food, and drink by Calypso. When Poseidon learns that Odysseus has escaped, he wrecks the raft. Helped by a veil provided by the sea nymph Ino, Odysseus swims ashore on Scherie, the island of the Phaeacians. Naked and exhausted, he hides in a pile of leaves and falls asleep.

The next morning, awakened by girls' laughter, he sees the young Nausicaä, who has gone to the seashore with her maids after Athena told her in a dream to do so. He appeals for help and she encourages him to seek the hospitality of her parents, Arete and Alcinous. Alcinous promises to provide him a ship to return him home without knowing the identity of Odysseus. He remains for several days. Odysseus asks the blind singer Demodocus to tell the story of the Trojan Horse, a stratagem in which Odysseus had played a leading role. Unable to hide his emotion as he relives this episode, Odysseus at last reveals his identity. He then tells the story of his return from Troy.

Odysseus's account of his adventures (Books 9–12)

Odysseus recounts his story to the Phaeacians. After a failed raid against the Cicones, Odysseus and his twelve ships were driven off course by storms. Odysseus visited the lotus-eaters who gave his men their fruit which caused them to forget their homecoming. Odysseus had to drag them back to the ship by force.

Odysseus and his men landed on a lush, uninhabited island near the land of the Cyclopes. The men entered the cave of Polyphemus, where they found all the cheeses and meat they desired. Upon returning to his cave, Polyphemus sealed the entrance with a massive boulder and begins to eat Odysseus's men. Odysseus devised an escape plan in which he, identifying himself as "Nobody", plied Polyphemus with wine and blinded him with a wooden stake. Polyphemus cried for help but was left by his neighbours after Polyphemus claimed that "Nobody" had attacked him. Odysseus and his men finally escaped the cave by hiding on the underbellies of the Cyclops's sheep as they were let out of the cave.

As they escaped, Odysseus taunted Polyphemus and revealed himself. The Cyclops prayed to his father Poseidon, asking him to curse Odysseus to wander for ten years. After the escape, Aeolus gave Odysseus a leather bag containing all the winds except the west wind, a gift that should have ensured a safe return home. Just as Ithaca came into sight, the sailors opened the bag while Odysseus slept, thinking it contained gold. The winds flew out, and the storm drove the ships back the way they had come. Aeolus, recognizing that Odysseus had drawn the ire of the gods, refused to further assist him.

After the cannibalistic Laestrygonians destroyed all of his ships except his own, Odysseus sailed on and reached the island of Aeaea, home of witch-goddess Circe. She turned half of his men into swine with drugged cheese and wine. Hermes warned Odysseus about Circe and gave Odysseus an herb called moly, making him resistant to Circe's magic. Odysseus forced Circe to change his men back to their human forms and was seduced by her. They remained with her for one year. Finally, guided by Circe's instructions, Odysseus and his crew crossed the ocean and reached a harbor at the western edge of the world, where Odysseus sacrificed to the dead. Odysseus summoned the spirit of the prophet Tiresias and was told that he may return home if he is able to stay himself and his crew from eating the sacred livestock of Helios on the island of Thrinacia and that failure to do so would result in the loss of his ship and his entire crew. He then meets his dead mother Anticleia and first learns of the suitors and what happened in Ithaca in his absence. Odysseus also converses with his dead comrades from Troy.
Returning to Aeaea, they buried Elpenor and were advised by Circe on the remaining stages of the journey. They skirted the land of the Sirens. All of the sailors had their ears plugged up with beeswax, except for Odysseus, who was tied to the mast as he wanted to hear the song. He told his sailors not to untie him as it would only make him drown himself. They then passed between the six-headed monster Scylla and the whirlpool Charybdis. Scylla claimed six of his men.

Next, they landed on the island of Thrinacia, with the crew overriding Odysseus's wishes to remain away from the island. Zeus caused a storm that prevented them from leaving, causing them to deplete the food given to them by Circe. While Odysseus was away praying, his men ignored the warnings of Tiresias and Circe and hunted the sacred cattle. Helios insisted that Zeus punish the men for this sacrilege. They suffered a shipwreck, and all but Odysseus drowned as he clung to a fig tree. Washed ashore on Ogygia, he remained there as Calypso's lover.

Return to Ithaca (Books 13–20)

Having listened to his story, the Phaeacians agree to provide Odysseus with more treasure than he would have received from the spoils of Troy. They deliver him at night, while he is fast asleep, to a hidden harbour on Ithaca. Odysseus awakens and believes that he has been dropped on a distant land before Athena appears to him and reveals that he is indeed on Ithaca. She hides his treasure in a nearby cave and disguises him as an elderly beggar so he can see how things stand in his household. He finds his way to the hut of one of his own slaves, swineherd Eumaeus, who treats him hospitably and speaks favorably of Odysseus. After dinner, the disguised Odysseus tells the farm laborers a fictitious tale of himself.

Telemachus sails home from Sparta, evading an ambush set by the suitors. He disembarks on the coast of Ithaca and meets Odysseus. Odysseus identifies himself to Telemachus (but not to Eumaeus), and they decide that the suitors must be killed. Telemachus returns home first and Odysseus, accompanied by Eumaeus, returns home still posing as a beggar. Only his faithful dog, Argos, recognises him. He is ridiculed by the suitors in his own home, especially Antinous. Odysseus meets Penelope and tests her intentions by saying he once met Odysseus in Crete. Closely questioned, he adds that he had recently been in Thesprotia and had learned something there of Odysseus's recent wanderings.

Odysseus's identity is discovered by the housekeeper Eurycleia when she sees an old scar as she is washing his feet. Eurycleia tries to tell Penelope about the beggar's true identity, but Athena makes sure that Penelope cannot hear her. Odysseus swears Eurycleia to secrecy.

Slaying of the suitors (Books 21–24)

The next day, at Athena's prompting, Penelope manoeuvres the suitors into competing for her hand with an archery competition using Odysseus's bow. The man who can string the bow and shoot an arrow through a dozen axe heads would win. Odysseus takes part in the competition, and he alone is strong enough to string the bow and shoot the arrow through the dozen axe heads, making him the winner. He then throws off his rags and kills Antinous with his next arrow. Odysseus kills the other suitors, first using the rest of the arrows and then, along with Telemachus, Eumaeus, and the cowherd Philoetius, with swords and spears. After the battle is won, Telemachus hangs twelve of their household slaves whom Eurycleia identifies as guilty of betraying Penelope by having sex with the suitors. Odysseus identifies himself to Penelope. Although hesitant at first, she embraces him after he mentions that he made their bed from an olive tree still rooted to the ground. They go to sleep.

The next day, Odysseus goes to his father Laertes's farm and reveals himself. Following them to the farm is a group of Ithacans, led by Eupeithes, father of Antinous, who are out for revenge for the murder of the suitors. A battle breaks out, but it is quickly stopped by Athena and Zeus.

Style

Structure

The ''Odyssey'' has 12,109 lines composed in dactylic hexameter, also called Homeric hexameter. It opens ''in medias res'', in the middle of the overall story, with prior events described through flashbacks and storytelling.

The ''Odyssey'' is divided into 24 books. While some scholars have posited that these correspond to the 24 letters of the Greek alphabet, recent scholarship rejects the connection as an ahistorical fiction created by earlier scholars. The division was probably made long after the poem's composition but is generally accepted as part of the poem's modern structure. In Classical Greece, some books or sections were provided with their own titles. Books 1 to 4, which focus on the perspective of Telemachus, are called the ''Telemachy''. Some scholars suggest these were added in a revision of the poem, while others note that later parts would not make sense without them. Books 9 to 12, wherein Odysseus provides an account of his adventures, are called the ''Apologos'' or ''Apologoi''. Book 22 was known as ''Mnesterophonia'' ( + ). Book 22 is generally said to conclude the Greek Epic Cycle, but fragments remain of a lost sequel known as the ''Telegony''. The ''Telegony'' aside, the last 548 lines of the ''Odyssey'', corresponding to Book 24, are believed by many scholars to have been added by a slightly later poet.

Themes and patterns

Homecoming

Homecoming (Ancient Greek: ''νόστος, nostos'') is a central theme of the ''Odyssey''. Anna Bonafazi of the University of Cologne writes that, in Homer, ''nostos'' is "return home from Troy, by sea". Agatha Thornton examines ''nostos'' in the context of characters other than Odysseus, in order to provide an alternative for what might happen after the end of the ''Odyssey''. For instance, one example is that of Agamemnon's homecoming versus Odysseus'. Upon Agamemnon's return, his wife Clytemnestra and her lover, Aegisthus, kill Agamemnon. Agamemnon's son, Orestes, out of vengeance for his father's death, kills Aegisthus. This parallel compares the death of the suitors to the death of Aegisthus and sets Orestes up as an example for Telemachus. Also, because Odysseus knows about Clytemnestra's betrayal, Odysseus returns home in disguise in order to test the loyalty of his own wife, Penelope. Later, Agamemnon praises Penelope for not killing Odysseus. It is because of Penelope that Odysseus has fame and a successful homecoming. This successful homecoming is unlike Achilles, who has fame but is dead, and Agamemnon, who had an unsuccessful homecoming resulting in his death.

Wandering

Before Odysseus's arrival in Ithaca, only two of his adventures are described by the narrator. The rest of Odysseus' adventures are recounted by Odysseus himself. The two scenes described by the narrator are Odysseus on Calypso's island and Odysseus' encounter with the Phaeacians. These scenes are told by the poet to represent an important transition in Odysseus' journey: being concealed to returning home.

Calypso's name comes from the Greek word (), meaning 'to cover' or 'conceal', which is apt, as this is exactly what she does with Odysseus. Calypso keeps Odysseus concealed from the world and unable to return home. After leaving Calypso's island, the poet describes Odysseus' encounters with the Phaeacians—those who "convoy without hurt to all men"—which represents his transition from not returning home to returning home.

Also, during Odysseus' journey, he encounters many beings that are close to the gods. These encounters are useful in understanding that Odysseus is in a world beyond man and that influences the fact he cannot return home. These beings that are close to the gods include the Phaeacians who lived near the Cyclopes, whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon. Some of the other characters that Odysseus encounters are the cyclops Polyphemus, the son of Poseidon; Circe, a sorceress who turns men into animals; and the cannibalistic giants, the Laestrygonians.

Guest-friendship

Throughout the course of the epic, Odysseus encounters several examples of ('guest-friendship'), which provide models of how hosts should and should not act. The Phaeacians demonstrate exemplary guest-friendship by feeding Odysseus, giving him a place to sleep, and granting him many gifts and a safe voyage home, which are all things a good host should do. Polyphemus demonstrates poor guest-friendship. His only "gift" to Odysseus is that he will eat him last. Calypso also exemplifies poor guest-friendship because she does not allow Odysseus to leave her island. Another important factor to guest-friendship is that kingship implies generosity. It is assumed that a king has the means to be a generous host and is more generous with his own property. This is best seen when Odysseus, disguised as a beggar, begs Antinous, one of the suitors, for food and Antinous denies his request. Odysseus essentially says that while Antinous may look like a king, he is far from a king since he is not generous.

According to J. B. Hainsworth, guest-friendship follows a very specific pattern:

# The arrival and the reception of the guest.
# Bathing or providing fresh clothes to the guest.
# Providing food and drink to the guest.
# Questions may be asked of the guest and entertainment should be provided by the host.
# The guest should be given a place to sleep, and both the guest and host retire for the night.
# The guest and host exchange gifts, the guest is granted a safe journey home, and the guest departs.

Another important factor of guest-friendship is not keeping the guest longer than they wish and also promising their safety while they are a guest within the host's home.

Testing

Another theme throughout the ''Odyssey'' is testing. This occurs in two distinct ways. Odysseus tests the loyalty of others and others test Odysseus' identity. An example of Odysseus testing the loyalties of others is when he returns home. Instead of immediately revealing his identity, he arrives disguised as a beggar and then proceeds to determine who in his house has remained loyal to him and who has helped the suitors. After Odysseus reveals his true identity, the characters test Odysseus' identity to see if he really is who he says he is. For instance, Penelope tests Odysseus' identity by saying that she will move the bed into the other room for him. This is a difficult task since it is made out of a living tree that would require being cut down, a fact that only the real Odysseus would know, thus proving his identity.

Testing also has a very specific type scene that accompanies it. Throughout the epic, the testing of others follows a typical pattern. This pattern is:

# Odysseus is hesitant to question the loyalties of others.
# Odysseus tests the loyalties of others by questioning them.
# The characters reply to Odysseus's questions.
# Odysseus proceeds to reveal his identity.
# The characters test Odysseus' identity.
# There is a rise of emotions associated with Odysseus's recognition, usually lament or joy.
# Finally, the reconciled characters work together.

Omens

Omens occur frequently throughout the ''Odyssey''. Within the epic poem, they frequently involve birds. According to Thornton, most crucial is who receives each omen and in what way it manifests. For instance, bird omens are shown to Telemachus, Penelope, Odysseus, and the suitors. Telemachus and Penelope receive their omens as well in the form of words, sneezes, and dreams. However, Odysseus is the only character who receives thunder or lightning as an omen. She highlights this as crucial because lightning, as a symbol of Zeus, represents the kingship of Odysseus. Odysseus is associated with Zeus throughout both the ''Iliad'' and the ''Odyssey.''

Omens are another example of a type scene in the ''Odyssey.'' Two important parts of an omen type scene are the ''recognition'' of the omen, followed by its ''interpretation''. In the ''Odyssey'', all of the bird omens—with the exception of the first—show large birds attacking smaller birds. Accompanying each omen is a wish which can be either explicitly stated or only implied. For example, Telemachus wishes for vengeance and for Odysseus to be home, Penelope wishes for Odysseus' return, and the suitors wish for the death of Telemachus.

Legacy

The influence of the Homeric texts can be difficult to summarise because of how greatly they have affected the popular imagination and cultural values. The ''Odyssey'' and the ''Iliad'' formed the basis of education for members of ancient Mediterranean society. That curriculum was adopted by Western humanists, meaning the text was so much a part of the cultural fabric that it became irrelevant whether an individual had read it. As such, the influence of the ''Odyssey'' has reverberated through over a millennium of writing. The poem topped a poll of experts by ''BBC Culture'' to find literature's most enduring narrative. It is widely regarded by western literary critics as a timeless classic, and it remains one of the oldest works of literature regularly read by Western audiences. As an imaginary voyage, it is considered a distant forerunner of the science fiction genre, and, says science fiction scholar Brian Stableford, "there are more science-fictional transfigurations of the ''Odyssey'' than of any other literary text".

English translations

George Chapman's English translations of the ''Odyssey'' and the ''Iliad'', published together in 1616 but serialised earlier, were the first to enjoy widespread success. The texts had been published in translation before, with some translated not from the original Greek. Chapman worked on these for a large part of his life. In 1581, Arthur Hall translated the first 10 books of the ''Iliad'' from a French version. Chapman's translations persisted in popularity, and are often remembered today through John Keats' sonnet "On First Looking into Chapman's Homer" (1816). Years after completing his translation of the ''Iliad'', Alexander Pope began to translate the ''Odyssey'' because of his financial situation. His second translation was not received as favourably as the first.

Emily Wilson, a professor of classical studies at the University of Pennsylvania, notes that as late as the first decade of the 21st century, almost all of the most prominent translators of Greek and Roman literature had been men. She calls her experience of producing her translation one of "intimate alienation". Wilson writes that this has affected the popular conception of characters and events of the ''Odyssey,'' inflecting the story with connotations not present in the original text: "For instance, in the scene where Telemachus oversees the hanging of the slaves who have been sleeping with the suitors, most translations introduce derogatory language ('sluts' or 'whores')... The original Greek does not label these slaves with derogatory language." In the original Greek, the word used is ''hai'', the feminine article, equivalent to "those female people".

Literature

In Canto XXVI of the '' Inferno'', Dante Alighieri meets Odysseus in the eighth circle of hell, where Odysseus appends a new ending to the ''Odyssey'' in which he never returns to Ithaca and instead continues his restless adventuring. Edith Hall suggests that Dante's depiction of Odysseus became understood as a manifestation of Renaissance colonialism and othering, with the cyclops standing in for "accounts of monstrous races on the edge of the world", and his defeat as symbolising "the Roman domination of the western Mediterranean". Some of Odysseus's adventures reappear in the Arabic tales of Sinbad the Sailor.

The Irish writer James Joyce's modernist novel ''Ulysses'' (1922) was significantly influenced by the ''Odyssey''. Joyce had encountered the figure of Odysseus in Charles Lamb's ''Adventures of Ulysses'', an adaptation of the epic poem for children, which seems to have established the Latin name in Joyce's mind. ''Ulysses,'' a re-telling of the ''Odyssey'' set in Dublin, is divided into eighteen sections ("episodes") which can be mapped roughly onto the twenty-four books of the ''Odyssey''. Joyce claimed familiarity with the original Homeric Greek, but this has been disputed by some scholars, who cite his poor grasp of the language as evidence to the contrary. The book, and especially its stream of consciousness prose, is widely considered foundational to the modernist genre.

Modern writers have revisited the ''Odyssey'' to highlight the poem's female characters. Canadian writer Margaret Atwood adapted parts of the ''Odyssey'' for her novella ''The Penelopiad'' (2005). The novella focuses on Penelope and the twelve female slaves hanged by Odysseus at the poem's ending, an image which haunted Atwood. Atwood's novella comments on the original text, wherein Odysseus' successful return to Ithaca symbolises the restoration of a patriarchal system. Similarly, Madeline Miller's ''Circe'' (2018) revisits the relationship between Odysseus and Circe on Aeaea. As a reader, Miller was frustrated by Circe's lack of motivation in the original poem and sought to explain her capriciousness. The novel recontextualises the sorceress' transformations of sailors into pigs from an act of malice into one of self-defence, given that she has no superhuman strength with which to repel attackers.

Film and television

* '' L'Odissea'' (1911) is an Italian silent film by Giuseppe de Liguoro.
* ''Ulysses'' (1954) is an Italian film adaptation starring Kirk Douglas as Ulysses, Silvana Mangano as Penelope and Circe, and Anthony Quinn as Antinous.
* '' L'Odissea'' (1968) is an Italian-French-German-Yugoslavian television miniseries praised for its faithful rendering of the original epic.
* ''Ulysses 31'' (1981–1982) is a French-Japanese television animated series set in the futuristic 31st century.
* '' Nostos: The Return'' (1989) is an Italian film about Odysseus' homecoming. Directed by Franco Piavoli, it relies on visual storytelling and has a strong focus on nature.
* ''Ulysses' Gaze'' (1995), directed by Theo Angelopoulos, has many of the elements of the ''Odyssey'' set against the backdrop of the most recent and previous Balkan Wars.
* ''The Odyssey'' (1997) is a television miniseries directed by Andrei Konchalovsky and starring Armand Assante as Odysseus and Greta Scacchi as Penelope.
* ''O Brother, Where Art Thou?'' (2000) is a crime comedy drama film written, produced, co-edited and directed by the Coen brothers and is very loosely based on Homer's poem.
* '' The Return'' (2024) is a film based on Books 13-24, directed by Uberto Pasolini and starring Ralph Fiennes as Odysseus and Juliette Binoche as Penelope.
* ''The Odyssey'' (2026), written and directed by Christopher Nolan, will be based on the books and is slated to be released in 2026.

Opera and music

* ''Il ritorno d'Ulisse in patria'', first performed in 1640, is an opera by Claudio Monteverdi based on the second half of Homer's ''Odyssey''.
* Rolf Riehm composed an opera based on the myth, '' Sirenen – Bilder des Begehrens und des Vernichtens'' (''Sirens – Images of Desire and Destruction''), which premiered at the Oper Frankfurt in 2014.
* Robert W. Smith's second symphony for concert band, ''The Odyssey'', tells four of the main highlights of the story in the piece's four movements: "The Iliad", "The Winds of Poseidon", "The Isle of Calypso", and "Ithaca".
* Jean-Claude Gallota's ballet ''Ulysse'',Entrée ''Ulysse''
Philippe Le Moal, ''Dictionnaire de la danse'' (in French), éditions Larousse, 1999 , . based on the ''Odyssey'', but also on the work by James Joyce, ''Ulysses''.''Esiste uno stile Gallotta ?''
by Marinella Guatterini in 1994 on Romaeuropa's website (in Italian).
*Jorge Rivera-Herrans' sung-through work '' Epic: The Musical'' tells the story of the ''Odyssey'' over the course of nine "sagas", beginning with the end of the Trojan War and carrying through to Odysseus' homecoming to Ithaca.

Sciences

* Psychiatrist Jonathan Shay wrote two books, ''Achilles in Vietnam: Combat Trauma and the Undoing of Character '' (1994)Shay, Jonathan. ''Achilles in Vietnam: Combat trauma and the undoing of character.'' Scribner, 1994. and ''Odysseus in America: Combat Trauma and the Trials of Homecoming'' (2002),Shay, Jonathan. ''Odysseus in America: Combat Trauma and the Trials of Homecoming.'' New York: Scribner, 2002. which relate the ''Iliad'' and the ''Odyssey'' to posttraumatic stress disorder and moral injury as seen in the rehabilitation histories of combat veteran patients.

References

Citations

Bibliography

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Further reading

The Authoress of the Odyssey by Samuel Butler
* Austin, N. 1975. ''Archery at the Dark of the Moon: Poetic Problems in Homer's Odyssey.'' Berkeley: University of California Press.
* Clayton, B. 2004. ''A Penelopean Poetics: Reweaving the Feminine in Homer's Odyssey.'' Lanham: Lexington Books.
* — 2011. "Polyphemus and Odysseus in the Nursery: Mother's Milk in the Cyclopeia." '' Arethusa'' 44(3):255–77.
* Bakker, E. J. 2013. ''The Meaning of Meat and the Structure of the Odyssey.'' Cambridge: Cambridge University Press.
* Barnouw, J. 2004. ''Odysseus, Hero of Practical Intelligence. Deliberation and Signs in Homer's Odyssey.'' Lanham, MD: University Press of America.
* Dougherty, C. 2001. ''The Raft of Odysseus: The Ethnographic Imagination of Homer's Odyssey.'' New York: Oxford University Press.
* Fenik, B. 1974. ''Studies in the Odyssey.'' ''Hermes: Einzelschriften'' 30. Wiesbaden, West Germany: F. Steiner.
* Griffin, J. 1987. ''Homer: The Odyssey. Landmarks in World Literature''. Cambridge: Cambridge University Press.
* Louden, B. 2011. ''Homer's Odyssey and the Near East.'' Cambridge: Cambridge University Press.
* — 1999. ''The Odyssey: Structure, Narration and Meaning.'' Baltimore: Johns Hopkins University Press.
* Müller, W. G. 2015. "From Homer's Odyssey to Joyce's Ulysses: Theory and Practice of an Ethical Narratology." '' Arcadia'' 50(1):9–36.
* Perpinyà, Núria. 2008. ''Las criptas de la crítica. Veinte lecturas de la Odisea'' he Crypts of Criticism: Twenty Interpretations of the 'Odyssey' Madrid: Gredos
Lay summary
via El Cultural (in Spanish).
* Reece, Steve. 2011.
Toward an Ethnopoetically Grounded Edition of Homer's Odyssey
." ''Oral Tradition'' 26:299–326.
* Saïd, S. 2011 998. ''Homer and the Odyssey''. New York: Oxford University Press.
* Thurman, Judith, "Mother Tongue: Emily Wilson makes Homer modern", ''The New Yorker'', 18 September 2023, pp. 46–53. A biography, and presentation of the translation theories and practices, of Emily Wilson. "'As a translator, I was determined to make the whole human experience of the poems accessible,' Wilson said." (p. 47.)

External links

The ''Odyssey'' in ancient Greek

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The Odyssey
' (in Ancient Greek) on Perseus Project

''Odyssey''
the Greek text presented with the translation by Butler and vocabulary, notes, and analysis of difficult grammatical forms

English translations

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The Odyssey
', trans. by A. T. Murray (1919) on Perseus Project
*
Odyssey
', trans. by Ian Johnston (2002; released into the public domain January 2024)

Other resources

*

BBC audio file
— ''In our time'' BBC Radio 4 iscussion programme, 45 mins
''The Odyssey Comix''
— A detailed retelling and explanation of Homer's ''Odyssey'' in comic-strip format b
Greek Myth Comix
*
The Odyssey
' — Annotated text and analyses aligned to Common Core Standards
* " Homer's ''Odyssey'': A Commentary" by Denton Jaques Snider on Project Gutenberg

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8th-century BC books
8th-century BC poems
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Poems adapted into films
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