Greek text of the Odyssey's opening passage

The Odyssey (Ancient Greek: Ὀδύσσεια, Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second—the Iliad being the first—extant work of Western literature. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.^[1]

The poem mainly centers on the Greek hero Odysseus (or Ulysses, as he was known in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.^[2] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.

It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.^[1] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a regionless poetic dialect of Greek and comprises 12,110 lines of dactylic hexameter.^[3] Among the most impressive elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.

Synopsis[link]

Exposition[link]

The Odyssey begins ten years after the end of the ten-year Trojan War, and Odysseus has still not returned home from the war. Odysseus' son Telemachus is about 20 years old and is sharing his absent father’s house on the island of Ithaca with his mother Penelope and a crowd of 108 boisterous young men, "the Suitors", whose aim is to persuade Penelope to marry one of them, all the while enjoying the hospitality of Odysseus' household and eating up his wealth.

Odysseus’ protectress, the goddess Athena, discusses his fate with Zeus, king of the gods, at a moment when Odysseus' enemy, the god of the sea Poseidon, is absent from Mount Olympus. Then, disguised as a Taphian chieftain named Mentes (otherwise known as “Mentor”), she visits Telemachus to urge him to search for news of his father. He offers her hospitality; they observe the Suitors dining rowdily while the bard Phemius performs a narrative poem for them. Penelope objects to Phemius' theme, the "Return from Troy"^[4] because it reminds her of her missing husband, but Telemachus rebuts her objections.

That night Athena, disguised as Telemachus, finds a ship and crew for the true Telemachus. The next morning, Telemachus calls an assembly of citizens of Ithaca to discuss what should be done with the suitors. Accompanied by Athena (still disguised as Mentor), he departs for the Greek mainland and the household of Nestor, most venerable of the Greek warriors at Troy, now at home in Pylos. From there, Telemachus rides overland, accompanied by Nestor's son, Peisistratus, to Sparta, where he finds Menelaus and Helen, now reconciled. He is told that they returned to Sparta after a long voyage by way of Egypt. There, on the island of Pharos, Menelaus encountered the old sea-god Proteus, who told him that Odysseus was a captive of the nymph Calypso. Incidentally, Telemachus learns the fate of Menelaus’ 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.

Charles Gleyre, Odysseus and Nausicaä

Escape to the Phaeacians[link]

Then the story of Odysseus is told. He has spent seven years in captivity on Calypso's island, Ogygia. Calypso falls deeply in love with him but he has consistently spurned her advances. She is persuaded to release him by Odysseus' great-grandfather, the messenger god Hermes, who has been sent by Zeus in response to Athena's plea. Odysseus builds a raft and is given clothing, food and drink by Calypso. When Poseidon finds out that Odysseus has escaped, he wrecks the raft, but Odysseus swims ashore on the island of Scherie (helped by a veil given by the sea nymph Ino), the home of the Phaeacians, where, naked and exhausted, he hides in a pile of leaves and falls asleep. The next morning, awakened by the laughter of girls, he sees the young Nausicaa, who has gone to the seashore with her maids to wash clothes, after Athena appeared to her in a dream and told her to do so. He appeals to her for help. She encourages him to seek the hospitality of her parents, Arete and Alcinous, or Alkinous. Odysseus is welcomed and is not at first asked for his name. He remains for several days, takes part in a pentathlon, and hears the blind singer Demodocus perform two narrative poems. The first is an otherwise obscure incident of the Trojan War, the "Quarrel of Odysseus and Achilles"; the second is the amusing tale of a love affair between two Olympian gods, Ares and Aphrodite. Finally, Odysseus asks Demodocus to return to the Trojan War theme and tell 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 begins to tell the story of his return from Troy.

Odysseus Overcome by Demodocus' Song, by Francesco Hayez, 1813-15

Odysseus' account of his adventures[link]

After a piratical raid on Ismaros in the land of the Cicones, he and his twelve ships were driven off course by storms. They visited the lethargic Lotus-Eaters who gave two of his men their fruit which caused them to forget their homecoming, and then were captured by the Cyclops Polyphemus, escaping by blinding him with a wooden stake. While they were escaping, however, Odysseus foolishly told Polyphemus his identity, and Polyphemus told his father, Poseidon, that Odysseus had blinded him. Poseidon then curses Odysseus to wander the sea for ten years, during which he would lose all his crew and return home through the aid of others. After their escape, they stayed with Aeolus, the master of the winds and he gave Odysseus a leather bag containing all the winds, except the west wind, a gift that should have ensured a safe return home. However, the sailors foolishly opened the bag while Odysseus slept, thinking that it contained gold. All of the winds flew out and the resulting storm drove the ships back the way they had come, just as Ithaca came into sight.

After unsuccessfully pleading with Aeolus to help them again, they re-embarked and encountered the cannibalistic Laestrygonians. All of Odysseus’s ships except his own entered the harbor of the Laestrygonians’ Island and were immediately destroyed. He sailed on and visited the witch-goddess Circe. She turned half of his men into swine after feeding them cheese and wine. Hermes warned Odysseus about Circe and gave Odysseus a drug called moly which gave him resistance to Circe’s magic. Circe, being attracted to Odysseus' resistance, agreed to bargain with him. She agreed to change his men back to their human form in exchange for Odysseus' love. They remained with her on the island for one year, while they feasted and drank. 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. He first encountered the spirit of crewmember Elpenor, who got drunk and fell from the roof before Odysseus departed, but was not noticed. He told Odysseus to bury his body, which Odysseus promised to do. Odysseus then summoned the spirit of the old prophet Tiresias to advise him of how to appease the gods upon his return home. Next Odysseus met the spirit of his own mother, who had died of grief during his long absence. From her, he learned for the first time news of his own household, threatened by the greed of the Suitors. Here, too, he met the spirits of famous men and women. Notably he encountered the spirit of Agamemnon, of whose murder he now learned, and Achilles, who told him about the woes of the land of the dead (for Odysseus' encounter with the dead, see also Nekuia).

Returning to Circe’s island, they were advised by her on the remaining stages of the journey. They skirted the land of the Sirens, who sang an enchanting song that normally caused passing sailors to steer toward the rocks, only to hit them and sink. All of the sailors except for Odysseus, who was tied to the mast as he wanted to hear the song, had their ears plugged up with beeswax. They then passed between the six-headed monster Scylla and the whirlpool Charybdis, Odysseus losing six men to Scylla, and landed on the island of Thrinacia. There, Odysseus’ men ignored the warnings of Tiresias and Circe after Zeus caused a storm which prevented them leaving, and hunted down the sacred cattle of the sun god Helios as their food runs short while Odysseus had left to pray. This sacrilege was punished by a shipwreck as they were driven towards Charybdis; after the Sun God threatened to Zeus to drive into the Underworld unless the men were punished; in which all but Odysseus drowned when he hung onto a fig tree above Charybdis. He was washed ashore on the island of Calypso, where she compelled him to remain as her lover for seven years before she was ordered by Zeus via Hermes to release Odysseus.

Return to Ithaca[link]

Having listened with rapt attention to his story, the Phaeacians, who are skilled mariners, agree to help Odysseus get home. They deliver him at night, while he is fast asleep, to a hidden harbour on Ithaca. He finds his way to the hut of one of his own former slaves, the swineherd Eumaeus. Athena disguises Odysseus as a wandering beggar so he can see how things stand in his household. After dinner, he tells the farm laborers a fictitious tale of himself: he was born in Crete, had led a party of Cretans to fight alongside other Greeks in the Trojan War, and had then spent seven years at the court of the king of Egypt; finally he had been shipwrecked in Thesprotia and crossed from there to Ithaca.

Meanwhile, Telemachus sails home from Sparta, evading an ambush set by the Suitors. He disembarks on the coast of Ithaca and makes for Eumaeus’s hut. Father and son meet; Odysseus identifies himself to Telemachus (but still not to Eumaeus), and they decide that the Suitors must be killed. Telemachus goes home first. Accompanied by Eumaeus, Odysseus returns to his own house, still pretending to be a beggar. He is ridiculed by the Suitors in his own home, especially by one extremely impertinent man named 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 recognizes an old scar as she is washing his feet. Odysseus had been hunting with the sons of Autolycus. They had been told to go boar hunting so that they could prepare a meal with the meat. The three climbed Mount Parnassus and eventually came across a boar in a large, deep meadow. Because of the meadow's depth, the three hunters were ambushed by the boar. When Odysseus first saw the animal, he rushed at it. It gored him in the right thigh, but Odysseus still hit his mark, stabbing the boar through the shoulder. His bleeding was staunched by a spell chanted by the sons of Autolycus, and he received great glory and treasure for his bravery.^[5] Eurycleia tries to tell Penelope about the beggar's true identity, but Athena makes sure that Penelope cannot hear her. Meanwhile, Odysseus swears her to secrecy.

Slaying of the Suitors[link]

The next day, at Athena’s prompting, Penelope maneuvers the Suitors into competing for her hand with an archery competition using Odysseus' bow. The man who can string the bow and shoot it through a dozen axe heads would win. Odysseus takes part in the competition himself: he alone is strong enough to string the bow and shoot it through the dozen axe heads, making him the winner. He then turns his arrows on the Suitors and with the help of Athena, Telemachus, Eumaeus and Philoteus the cowherd, he kills all the Suitors. Odysseus and Telemachus hang twelve of their household maids, who had betrayed Penelope or had sex with the Suitors, or both; they mutilate and kill the goatherd Melanthius, who had mocked and abused Odysseus. Now at last, Odysseus identifies himself to Penelope. She is hesitant, but accepts him when he mentions that their bed was made from an olive tree still rooted to the ground. Many modern and ancient scholars take this to be the original ending of the Odyssey, and the rest to be an interpolation.

The next day he and Telemachus visit the country farm of his old father Laertes, who likewise accepts his identity only when Odysseus correctly describes the orchard that Laertes had previously given him.

The citizens of Ithaca have followed Odysseus on the road, planning to avenge the killing of the Suitors, their sons. Their leader points out that Odysseus has now caused the deaths of two generations of the men of Ithaca: his sailors, not one of whom survived; and the Suitors, whom he has now executed. The goddess Athena intervenes and persuades both sides to give up the vendetta, a deus ex machina. After this, Ithaca is at peace once more, concluding the Odyssey.

Character of Odysseus[link]

Odysseus’ name means “trouble” in Greek, referring to both the giving and receiving of trouble—as is often the case in his wanderings. An early example of this is the previously mentioned boar hunt, in which Odysseus is injured by the boar and responds by killing it. Odysseus' heroic trait is his mētis, or "cunning intelligence": he is often described as the "Peer of Zeus in Counsel." This intelligence is most often manifested by his use of disguise and deceptive speech. His disguises take forms both physical (altering his appearance) and verbal, such as telling the Cyclops Polyphemus that his name is Οὖτις, "Nobody" or "nothing", then escaping after blinding Polyphemus. When asked by other Cyclopes why he is screaming, Polyphemus replies that "Nobody" is hurting him, so the others assume that, "If alone as you are [Polyphemus] none uses violence on you, why, there is no avoiding the sickness sent by great Zeus; so you had better pray to your father, the lord Poseidon".^[6] The most evident flaw that Odysseus sports is that of his arrogance and his pride, or hubris. As he sails away from the island of the Cyclopes, he shouts his name and boasts that nobody can defeat the "Great Odysseus". The Cyclops then throws the top half of a mountain at him and prays to his father, Poseidon, saying that Odysseus has blinded him. This enrages Poseidon, causing the god to thwart Odysseus' homecoming for a very long time.

Structure[link]

The Odyssey was written in the form of Dactylic Hexameter. The Odyssey opens in medias res (in the middle of things), meaning that the plot begins in the middle of the overall story, and that prior events are described through flashbacks or storytelling. This device is imitated by later authors of literary epics, for example, Virgil in the Aeneid, as well as modern poets such as Luís de Camões in Os Lusíadas or Alexander Pope in The Rape of the Lock.

In the first episodes, we trace Telemachus' efforts to assert control of the household, and then, at Athena’s advice, to search for news of his long-lost father. Then the scene shifts: Odysseus has been a captive of the beautiful nymph Calypso, with whom he has spent seven of his ten lost years. Released by the intercession of his patroness Athena, through the aid of Hermes, he departs, but his raft is destroyed by his divine enemy Poseidon, who is angry because Odysseus blinded his son, Polyphemus. When Odysseus washes up on Scherie, home to the Phaeacians, he is assisted by the young Nausicaa and is treated hospitably. In return, he satisfies the Phaeacians' curiosity, telling them, and the reader, of all his adventures since departing from Troy. The shipbuilding Phaeacians then loan him a ship to return to Ithaca, where he is aided by the swineherd Eumaeus, meets Telemachus, regains his household, kills the Suitors, and is reunited with his faithful wife, Penelope.

All ancient and nearly all modern editions and translations of the Odyssey are divided into 24 books. This division is convenient but it may not be original. Many scholars believe it was developed by Alexandrian editors of the 3rd century BC. In the Classical period, moreover, several of the books (individually and in groups) were given their own titles: the first four books, focusing on Telemachus, are commonly known as the Telemachy. Odysseus' narrative, Book 9, featuring his encounter with the cyclops Polyphemus, is traditionally called the Cyclopeia. Book 11, the section describing his meeting with the spirits of the dead is known as the Nekuia. Books 9 through 12, wherein Odysseus recalls his adventures for his Phaeacian hosts, are collectively referred to as the Apologoi: Odysseus' "stories". Book 22, wherein Odysseus kills all the Suitors, has been given the title Mnesterophonia: "slaughter of the Suitors". This concludes the Greek Epic Cycle, though fragments remain of the "alternative ending" of sorts known as the Telegony.

This 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. Several passages in earlier books seem to be setting up the events of Book 24, so if it were indeed a later addition, the offending editor would seem to have changed earlier text as well. For more about varying views on the origin, authorship and unity of the poem see Homeric scholarship.

[edit] Geography of the Odyssey

Events in the main sequence of the Odyssey (excluding Odysseus' embedded narrative of his wanderings) take place in the Peloponnese and in what are now called the Ionian Islands. There are difficulties in the apparently simple identification of Ithaca, the homeland of Odysseus, which may or may not be the same island that is now called Ithake. The wanderings of Odysseus as told to the Phaeacians, and the location of the Phaeacians' own island of Scheria, pose more fundamental problems, if geography is to be applied: scholars, both ancient and modern, are divided as to whether or not any of the places visited by Odysseus (after Ismaros and before his return to Ithaca) are real.

[edit] Dating the Odyssey

In 2008, scientists Marcelo O. Magnasco and Constantino Baikouzis at Rockefeller University used clues in the text and astronomical data to attempt to pinpoint the time of Odysseus's return from his journey after the Trojan War.^[7]

The first clue is Odysseus' sighting of Venus just before dawn as he arrives on Ithaca. The second is a new moon on the night before the massacre of the Suitors. The final clue is a total eclipse, falling over Ithaca around noon, when Penelope's Suitors sit down for their noon meal. The seer Theoclymenus approaches the Suitors and foretells their death, saying, "The Sun has been obliterated from the sky, and an unlucky darkness invades the world." The problem with this is that the 'eclipse' is only seen by Theoclymenus, and the Suitors toss him out, calling him mad. No one else sees the sky darken, and it is therefore not actually described as an eclipse within the story, merely a vision by Theoclymenus.

Doctors Baikouzis and Magnasco state that "[t]he odds that purely fictional references to these phenomena (so hard to satisfy simultaneously) would coincide by accident with the only eclipse of the century are minute." They conclude that these three astronomical references "'cohere,' in the sense that the astronomical phenomena pinpoint the date of 16 April 1178 BC" as the most likely date of Odysseus' return.

This dating places the destruction of Troy, ten years before, to 1188 BC, which is close to the archaeologically dated destruction of Troy VIIa circa 1190 BC.

[edit] Influences on the Odyssey

Scholars have seen strong influences from Near Eastern mythology and literature in the Odyssey. Martin West has noted substantial parallels between the Epic of Gilgamesh and the Odyssey.^[8] 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, a goddess who is the daughter of the sun-god Helios. Her island, Aeaea, is located at the edges of the world, and seems to have close associations with the sun. Like Odysseus, Gilgamesh gets directions on how to reach the land of the dead from a divine helper: in this case, the goddess Siduri, who, like Circe, dwells by the sea at the ends of the earth. Her 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.

The Cyclops' origins have also been surmised to be the results of Ancient Greeks finding an elephant skull, by paleontologist Othenio Abel in 1914. 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.^[9]

Text history[link]

• The Athenian tyrant Peisistratos, who ruled between 546 and 527 BC, is believed to have established a Commission of Editors of Homer to edit the text of the poems and remove any errors and interpolations, thus establishing a canonical text.^[10]
• The earliest papyrus fragments date back to the 3rd century BC.^[10]
• The oldest complete manuscript is the Laurentianus from the 10th or 11th century.^[10]
• The editio princeps of both the Iliad and the Odyssey is by Demetrius Chalcondyles in Florence, most likely from 1488.

Cultural impact[link]

• Cyclops by Euripides, the only extant satyr play, retells the respective episode with a humorous twist.
• True Story, written by Lucian of Samosata in the 2nd century AD, is a parody of the Odyssey describing a journey beyond the Pillars of Hercules and to the moon.
• Some of the tales of Sinbad the Sailor from The Book of One Thousand and One Nights were taken from the Odyssey.^{[citation needed]}
• Merugud Uilix maicc Leirtis ("On the Wandering of Ulysses, son of Laertes") is an eccentric Old Irish version of the material; the work exists in a 12th-century AD manuscript that linguists believe is based on an 8th-century original.^{[citation needed]}
• Dante Alighieri has Odysseus append a new ending to the Odyssey in canto XXVI of the Inferno.
• Il ritorno d'Ulisse in Patria, first performed in 1640, is an opera by Monteverdi based on the second half of Homer's Odyssey.
• Every episode of James Joyce's modernist novel Ulysses (1922) has an assigned theme, technique and correspondences between its characters and those of Homer's Odyssey.
• The first canto of Ezra Pound's The Cantos (1922) is both a translation and a retelling of Odysseus' journey to the underworld.
• Nikos Kazantzakis aspires to continue the poem and explore more modern concerns in The Odyssey: A Modern Sequel (1938).
• The 1954 Broadway musical The Golden Apple by librettist John Treville Latouche and composer Jerome Moross is freely adapted from the Iliad and the Odyssey, re-setting the action to the American state of Washington in the years after the Spanish-American War, with events inspired by the Iliad in Act One and events inspired by the Odyssey in Act Two.
• In Jean-Luc Godard's film Le Mépris (1963), German film director Fritz Lang plays himself attempting to direct a film adaptation of the Odyssey.
• The Japanese-French anime Ulysses 31 (1981) updates the ancient setting into a 31st-century space opera.
• Omeros (1991), an epic poem by Derek Walcott, is in part a retelling of the Odyssey, set on the Caribbean island of St. Lucia.
• The Odyssey (1997), a made-for-TV movie directed by Andrei Konchalovsky, is a slightly abbreviated version of the epic.
• Charles Frazier's novel Cold Mountain (1997) borrows much from the Odyssey to tell the story of an American Civil War veteran's homecoming.
• Similarly, Daniel Wallace's Big Fish: A Novel of Mythic Proportions (1998) adapts the epic to the American South, while also incorporating tall tales into its first-person narrative much as Odysseus does in the Apologoi (Books 9-12).
• The Coen Brothers' 2000 film O Brother, Where Art Thou? is loosely based on Homer's poem.^[11]
• American progressive metal band Symphony X interprets multiple scenes of the epic in their song, The Odyssey (2002).
• Zachary Mason's The Lost Books of the Odyssey (2007) is a series of short stories that rework Homer's original plot in a contemporary style reminiscent of Italo Calvino.
• Dominic Allen's stage play Odyssey loosely adapts the story into a post-apocalyptic setting, basing the Odysseus character on Ezra Pound.
• The film Pandorum has many story elements of the Odyssey.
• The film 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.
• An excerpt from the Odyssey appears in graphic-novel form, with art by Gareth Hinds, in volume one of the anthology The Graphic Canon. The anthology is edited by Russ Kick and published by Seven Stories Press.

Notable English translations[link]

Wikisource has original text related to this article: The Odyssey

Wikisource has original text related to this article: ΟΔΥΣΣΕΙΑ

Wikimedia Commons has media related to: Odyssey

This is a partial list of translations into English of Homer's Odyssey.

• George Chapman, 1616 (couplets)
• Alexander Pope, 1713 (iambic pentameter couplets); Project Gutenberg edition; Gutenberg.org
• William Cowper, 1791 (blank verse) An audio CD recording abridged by Perry Keenlyside and read by Anton Lesser is available (ISBN 962 634 5312), 1995.
• Samuel Henry Butcher and Andrew Lang, Project Gutenberg edition; Gutenberg.org
• William Cullen Bryant, 1871 (blank verse)
• Mordaunt Roger Barnard 1876 (blank verse)
• William Morris, 1887
• Samuel Butler, 1898 (prose), Project Gutenberg edition; Gutenberg.org or Perseus Project Od.1.1
• Padraic Colum, 1918 (prose), Bartleby.com
• A. T. Murray (revised by George E. Dimock), 1919; Loeb Classical Library (ISBN 0-674-99561-9)
• George Herbert Palmer, 1921, prose. An audio CD recording read by Norman Deitz is available (ISBN 1-4025-2325-4), 1989.
• T. E. Shaw (T. E. Lawrence), 1932
• W. H. D. Rouse, 1937, prose
• E. V. Rieu, 1945, prose (later revised by D.C.H. Rieu for increased literal accuracy)
• Robert Fitzgerald, 1963, unrhymed poetry with varied-length lines (ISBN 0-679-72813-9) An audio CD recording read by John Lee is available (ISBN 1-4159-3605-6) 2006
• Richmond Lattimore, 1965, poetry (ISBN 0-06-093195-7)
• Albert Cook, 1967 (Norton Critical Edition), poetry, very accurate line by line version^{[citation needed]}
• Walter Shewring, 1980 (ISBN 0-19-283375-8), Oxford University Press (Oxford World's Classics), prose
• Allen Mandelbaum, 1990
• Robert Fagles, poetry, 1996 (ISBN 0-14-026886-3); an unabridged audio recording by Ian McKellen is also available (ISBN 0-14-086430-X).
• Stanley Lombardo, Hackett Publishing Company, 2000 (ISBN 0-87220-484-7). An audio CD recording read by the translator is also available (ISBN 1-930972-06-7).
• Martin Hammond, 2000, prose
• Rodney Merrill, 2002, unrhymed dactylic hexameter, accurate line by line version, University of Michigan Press
• Edward McCrorie, 2004 (ISBN 0-8018-8267-2), Johns Hopkins University Press.

[edit] Themes in the Odyssey

This unreferenced section requires citations to ensure verifiability.

There is a strong theme of homecoming (nostos) in the Odyssey, because Odysseus is on a journey home after the Trojan war has finally ended.

The theme of temptation as a psychological peril is portrayed by the sirens who lure sailors to their deaths by seduction. They represent the ideal audience—they sing about the most glorious moment of your life, thus tempting you to stay the hero or warrior they are portraying you as. Your own weakness makes you vulnerable; your greatest weakness comes from inside you.

Another significant theme is that of disguise, in the case of the gods; they disguise themselves so that they can interact with mortals. Athena in particular assumes many disguises including a shepherd, a girl, Telemachus, and Mentor. Odysseus is also able to disguise his identity, though not physically, by telling Polyphemus his name is ‘Nobody’ so that he will not be identified as the one who blinded the Cyclops. He also disguises himself as a beggar when he returns to Ithaca to protect himself from being killed by the Suitors.

Hospitality (xenia) is also a recurring theme as fundamental as the heroic code in the Odyssey. During that time, beggars or travelers often knocked on a stranger’s door in hopes of procuring a place to stay. There are specific steps for proper hospitality beginning with the feeding of the guest, which is of utmost importance since food is rare at that time and beggars beg for food, not money. Before the food is given, a bath is offered to the stranger, done by a woman or a servant—often different depending on the status of the visitor. After the food is given, the beggar is asked who he is and where he is from and stories are exchanged. Next, they are offered a bed to sleep on and it is understood that that they can stay overnight and at the most another night. When the beggar is leaving, there is an exchange of gifts, if the beggar does not have a gift to give, they will still be given one.

Finally, identity and exile are also themes present in the poem.

References[link]

External links[link]

Look up odyssey in Wiktionary, the free dictionary.

Wikisource has original works on the topic: The Odyssey

Greek Wikisource has original text related to this article: Οδύσσεια

• Odyssey on Perseus Project:
  • Ancient Greek
  • English translation by Samuel Butler
  • 1919 English translation
• Homer's Odyssey: A Commentary by Denton Jaques Snider on Project Gutenberg
• BBC audio file. In our time BBC Radio 4 discussion programme. 45 minutes.
• The Odyssey in Greek with translation to English
• The Meaning of Tradition in Homer's Odyssey in English

v t e Works attributed to Homer Batrachomyomachia Cypria Epigoni Homeric Hymns Iliad Little Iliad Margites Nostoi Odyssey Capture of Oechalia Phocais Thebaid

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (February 2011)

Ulysses
1922 first edition cover
Author(s)	James Joyce
Country	France
Language	English
Genre(s)	Modernist Novel
Publisher	Sylvia Beach
Publication date	2 February 1922
Media type	Print book (Hardback & Paperback)
Pages	644–1,000, depending on edition
ISBN	0-679-72276-9
OCLC Number	20827511
Dewey Decimal	823/.912 20
LC Classification	PR6019.O9 U4 1990
Preceded by	A Portrait of the Artist as a Young Man (1916)
Followed by	Finnegans Wake (1939)

Ulysses is a novel by the Irish author James Joyce. It was first serialised in parts in the American journal The Little Review from March 1918 to December 1920, and then published in its entirety by Sylvia Beach on 2 February 1922, in Paris. One of the most important works of Modernist literature,^[1] it has been called "a demonstration and summation of the entire movement".^[2] "Before Joyce, no writer of fiction had so foregrounded the process of thinking."^[3]

Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the day of Joyce's first date with his future wife, Nora Barnacle).^[4] The title alludes to Odysseus (Latinised into Ulysses), the hero of Homer's Odyssey, and establishes a series of parallels between characters and events in Homer's poem and Joyce's novel (e.g., the correspondence of Leopold Bloom to Odysseus, Molly Bloom to Penelope, and Stephen Dedalus to Telemachus). Joyce fans worldwide now celebrate 16 June as Bloomsday.

Ulysses is approximately 265,000 words in length, uses a lexicon of 30,030 words (including proper names, plurals and various verb tenses),^[5] and is divided into eighteen episodes. Since publication, the book attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prose—full of puns, parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly regarded novel in the Modernist pantheon. In 1998, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.^[6]

Background[link]

Joyce first encountered Odysseus in Charles Lamb's Adventures of Ulysses—an adaptation of the Odyssey for children, which seemed to establish the Roman name in Joyce's mind. At school he wrote an essay on Ulysses entitled "My Favourite Hero".^[7][8] Joyce told Frank Budgen that he considered Ulysses the only all-round character in literature.^[9] He thought about calling Dubliners by the name Ulysses in Dublin,^[10] but the idea grew from a story in Dubliners in 1906, to a "short book" in 1907,^[11] to the vast novel that he began in 1914.

Structure[link]

Ulysses, Egoist Press, 1922

Joyce divided Ulysses into 18 chapters or "episodes". At first glance much of the book may appear unstructured and chaotic; Joyce once said that he had "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant," which would earn the novel "immortality".^[12] The two schemata which Stuart Gilbert and Herbert Gorman released after publication to defend Joyce from the obscenity accusations made the links to the Odyssey clear, and also explained the work's internal structure.

Every episode of Ulysses has a theme, technique, and correspondence between its characters and those of the Odyssey. The original text did not include these episode titles and the correspondences; instead, they originate from the Linati and Gilbert schema. Joyce referred to the episodes by their Homeric titles in his letters. He took the idiosyncratic rendering of some of the titles––'Nausikaa', the 'Telemachia'––from Victor Bérard's two-volume Les Phéniciens et l’Odyssée which he consulted in 1918 in the Zentralbibliothek Zürich.

Part I: The Telemachiad[link]

[edit] Episode 1, Telemachus

James Joyce's and partners room

It is 8 a.m. Buck Mulligan, a boisterous medical student, calls Stephen Dedalus (a young writer encountered as the principal subject of A Portrait of the Artist as a Young Man) up to the roof of the Sandycove Martello tower where they both live. There is tension between Stephen and Mulligan, stemming from a cruel remark Stephen has overheard Mulligan making about his recently deceased mother and from the fact that Mulligan has invited an English student, Haines, to stay with them. The three men eat breakfast and walk to the shore, where Mulligan demands from Stephen the key to the tower and a loan. Departing, Stephen declares that he will not return to the tower tonight, as Mulligan, the "usurper", has taken it over.

[edit] Episode 2, Nestor

Stephen is teaching a history class on the victories of Pyrrhus of Epirus. After class, one student, Sargent, stays behind so that Stephen can show him how to do a set of arithmetic exercises. Stephen looks at the aesthetically unappealing Sargent and tries to imagine Sargent's mother's love for him. Stephen then visits school headmaster, Mr. Deasy, from whom he collects his pay and a letter to take to a newspaper office for printing. The two discuss Irish history and the role of Jews in the economy. As Stephen leaves, Deasy makes a final derogatory remark against the Jews, stating that Ireland has never extensively persecuted the Jews because they were never let in to the country. This episode is the source of some of the novel's most famous lines, such as Dedalus's claim that "history is a nightmare from which I am trying to awake" and that God is "a shout in the street."

[edit] Episode 3, Proteus

Sandymount Strand looking across Dublin Bay to Howth Head

Stephen finds his way to Sandymount Strand and mopes around for some time, mulling various philosophical concepts, his family, his life as a student in Paris, and his mother's death. As Stephen reminisces and ponders, he lies down among some rocks, watches a couple and a dog, scribbles some ideas for poetry, picks his nose, and urinates behind a rock. This chapter is characterised by a stream of consciousness narrative style that changes focus wildly. Stephen's education is reflected in the many obscure references and foreign phrases employed in this episode.

Part II: The Odyssey[link]

[edit] Episode 4, Calypso

The narrative shifts abruptly. The time is again 8 a.m., but the action has moved across the city and to the second protagonist of the book, Leopold Bloom, a part-Jewish advertising canvasser. Bloom, after starting to prepare breakfast, decides to walk to a butcher to buy a pork kidney. Returning home, he prepares breakfast and brings it with the mail to his wife Molly as she lounges in bed. One of the letters is from her concert manager Blazes Boylan. Bloom is aware that Molly will welcome Boylan into her bed later that day, and is tormented by the thought. Bloom reads a letter from their daughter. The chapter closes with Bloom defecating in the outhouse.

[edit] Episode 5, Lotus Eaters

Bloom makes his way to Westland Row post office where he receives a love letter from one 'Martha Clifford' addressed to his pseudonym, 'Henry Flower'. He meets an acquaintance, and while they chat, Bloom attempts to ogle a woman wearing stockings, but is prevented by a passing tram. Next, he reads the letter and tears up the envelope in an alley. He wanders into a Catholic church service and muses on theology. He goes to a chemist where he buys a bar of lemon soap. He then meets another acquaintance, to whom he unintentionally gives a racing tip for the horse Throwaway. Finally, Bloom heads towards the baths.

[edit] Episode 6, Hades

The episode begins with Bloom entering a funeral carriage with three others, including Stephen's father. They drive to Paddy Dignam's funeral, making small talk on the way. The carriage passes both Stephen and Blazes Boylan. There is discussion of various forms of death and burial, and Bloom is preoccupied by thoughts of his dead son, Rudy, and the suicide of his father. They enter the chapel into the service and subsequently leave with the coffin cart. Bloom sees a mysterious man wearing a macintosh during the burial. Bloom continues to reflect upon death, but at the end of the episode rejects morbid thoughts to embrace 'warm fullblooded life'.

[edit] Episode 7, Aeolus

At the office of the Freeman's Journal, Bloom attempts to place an ad. Although initially encouraged by the editor, he is unsuccessful. Stephen arrives bringing Deasy's letter about 'foot and mouth' disease, but Stephen and Bloom do not meet. Stephen leads the editor and others to a pub, telling an anecdote on the way about 'two Dublin vestals'. The episode is broken up into short sections by newspaper-style headlines, and is characterised by an abundance of rhetorical figures and devices.

[edit] Episode 8, Lestrygonians

Davy Byrne’s Pub, Dublin, where Bloom consumes a gorgonzola cheese sandwich and a glass of burgundy

Bloom's thoughts are peppered with references to food as lunchtime approaches. He meets an old flame and hears news of Mina Purefoy's labour. He enters the restaurant of the Burton Hotel where he is revolted by the sight of men eating like animals. He goes instead to Davy Byrne's pub, where he consumes a gorgonzola cheese sandwich and a glass of burgundy, and muses upon the early days of his relationship with Molly and how the marriage has declined: 'Me. And me now.' Bloom heads towards the National Museum to look at the statues of Greek goddesses, and, in particular, their bottoms. Bloom suddenly spots Boylan across the street and, panicking, rushes into the museum.

[edit] Episode 9, Scylla and Charybdis

National Library of Ireland

At the National Library, Stephen explains to various scholars his biographical theory of the works of Shakespeare, especially Hamlet, which he claims are based largely on the posited adultery of Shakespeare's wife. Bloom enters the National Library to look up an old copy of the ad he has been trying to place. He encounters Stephen briefly and unknowingly at the end of the episode.

[edit] Episode 10, Wandering Rocks

In this episode, nineteen short vignettes depict the wanderings of various characters, major and minor, through the streets of Dublin. The episode ends with an account of the cavalcade of the Lord Lieutenant, William Humble, Earl of Dudley, through the streets, which is encountered by various characters from the novel.

[edit] Episode 11, Sirens

In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle at a hotel, while Molly's lover, Blazes Boylan, proceeds to his rendezvous with her. While dining, Bloom watches the seductive barmaids and listens to the singing of Stephen's father and others.

[edit] Episode 12, Cyclops

This chapter is narrated by an unnamed denizen of Dublin. The narrator goes to a pub where he meets a character referred to only as the 'Citizen'. When Leopold Bloom enters the pub, he is berated by the Citizen, who is a fierce Fenian and anti-Semite. The episode ends with Bloom reminding the Citizen that his Saviour was a Jew. As Bloom leaves the pub, the Citizen, in anger, throws a biscuit tin at Bloom's head, but misses. The chapter is marked by extended tangents made outside the voice of the unnamed narrator: hyperboles of legal jargon, Biblical passages, Irish mythology, etc.

[edit] Episode 13, Nausicaa

Gerty MacDowell, a young woman on Sandymount strand, contemplates love, marriage and femininity as night falls. The reader is gradually made aware that Bloom is watching her from a distance, and as she exposes her legs and underwear to him it is unclear how much of the narrative is actually Bloom’s sexual fantasy. Bloom’s masturbatory climax is echoed by the fireworks at the nearby bazaar. As Gerty leaves, Bloom realizes that Gerty has a lame leg. Bloom, after several digressions of thought, decides to visit Mina Purefoy at the hospital. The style of the first half of the episode borrows from (and parodies) romance magazines and novelettes.

[edit] Episode 14, Oxen of the Sun

Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who is drinking with Buck Mulligan and his medical student friends. They continue on to a pub to continue drinking, following the successful birth of the baby. This chapter is remarkable for Joyce's wordplay, which seems to recapitulate the entire history of the English language. After a short incantation, the episode starts with latinate prose, Anglo-Saxon alliteration, and moves on through parodies of, among others, Malory, the King James Bible, Bunyan, Defoe, Sterne, Walpole, Gibbon, Dickens, and Carlyle, before concluding in a haze of nearly incomprehensible slang.

[edit] Episode 15, Circe

Episode 15 is written as a play script, complete with stage directions. The plot is frequently interrupted by 'hallucinations' experienced by Stephen and Bloom—fantastic manifestations of the fears and passions of the two characters.

Stephen and Lynch walk into Nighttown, Dublin's red-light district. Bloom pursues them and eventually finds them at Bella Cohen's brothel. When Bloom witnesses Stephen overpaying for services received, Bloom decides to hold onto the rest of Stephen's money for safekeeping. Stephen hallucinates that the rotting cadaver of his mother has risen up from the floor to confront him. Terrified, Stephen uses his walking stick to smash a chandelier and then runs out. Bloom quickly pays Bella for the damage, then runs after Stephen. Bloom finds Stephen engaged in a heated argument with an English soldier who, after a perceived insult to the King, punches Stephen. The police arrive and the crowd disperses. As Bloom is tending to Stephen, Bloom has a hallucination of Rudy, his deceased child.

Part III: The Nostos[link]

[edit] Episode 16, Eumaeus

Bloom and Stephen go to the cabman's shelter to restore the latter to his senses. At the cabman's shelter, they encounter a drunken sailor, D. B. Murphy. Riding in the cab, Stephen sings a spirited song by the Baroque composer Johannes Jeep, and he and Bloom bond over its misogyny. The episode is dominated by the motif of confusion and mistaken identity, with Bloom, Stephen and Murphy's identities being repeatedly called into question. The rambling and laboured style of the narrative in this episode reflects the nervous exhaustion and confusion of the two protagonists.

[edit] Episode 17, Ithaca

Bloom returns home with Stephen, who refuses Bloom's offer of a place to stay for the night. The two men urinate in the backyard, Stephen departs and wanders off into the night,^[13] and Bloom goes to bed. The episode is written in the form of a rigidly organised catechism, and was reportedly Joyce's favourite episode in the novel. The style is that of a scientific inquiry, with questions furthering the narrative. The deep descriptions range from questions of astronomy to the trajectory of urination.

[edit] Episode 18, Penelope

The final episode, which also uses the stream of consciousness technique seen in Episode 3, consists of Molly Bloom's Soliloquy: eight great run-on sentences (without punctuation) describe the thoughts of Molly, Bloom's wife, as she lies in bed next to her husband.

Molly guesses that Bloom had an orgasm that day, and is reminded of his past possible infidelity with other women. She considers the differences between Boylan and Bloom, in terms of virility and masculinity. Molly feels that she and Bloom are lucky, despite their current marital difficulties. Molly recalls her many admirers, previous and current. She wishes she had more money to buy stylish clothes, and believes that Bloom should quit his advertising job and get better paid work elsewhere. Molly thinks about how beautiful female breasts are, particularly compared to male genitalia. She thinks of the time Bloom suggested she pose naked in exchange for money. Her thoughts return to Boylan and her orgasm earlier.

A train whistle blows outside, and Molly thinks of her childhood in Gibraltar. Out of boredom and loneliness, she had resorted to writing herself letters. Molly thinks about how her daughter sent her a card this morning, whereas her husband received a whole letter. She imagines that she may receive another love letter from Boylan. Molly recalls her first love letter from Lieutenant Mulvey, whom she kissed under the bridge in Gibraltar. She later lost contact with him and wonders what he would be like now. Her thoughts turn to her singing career, and Molly wonders what path her career could have taken had she not married Bloom.

Molly senses the start of her period, confirmation that her tryst with Boylan has not caused a pregnancy. She gets up to use the chamberpot. Events of the day spent with Boylan run through her mind.

Molly climbs quietly back into bed and thinks of the times she and Bloom have had to relocate. Her mind then turns to Stephen, whom she met during his childhood. She conjectures that Stephen is probably not stuck-up, and is most likely clean. She fantasizes about having sexual encounters with him. Molly resolves to study before meeting him so he will not look down upon her. Molly thinks of her husband's strange sexual habits. Molly speculates that the world would be much improved if it consisted of Matriarchal Societies. Thinking again of Stephen, and then of his mother's death, evokes memory of Rudy's death, whereupon she ends this line of thought as it is making her depressed. Molly thinks about arousing Bloom in the morning, then revealing the details of her affair with Boylan to make him realise his culpability. She decides to procure some flowers, in case Stephen Dedalus decides to come around. Thinking of flowers, Molly remembers the day she and Bloom spent at Howth, his marriage proposal, and her acceptance: "yes I said yes I will Yes."

Publication history[link]

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Obscenity allegations[link]

Written over a seven-year period from 1914 to 1921, the novel was serialised in the American journal The Little Review from 1918 until the publication of the Nausicaä episode led to a prosecution for obscenity.^[14] In 1919, sections of the novel also appeared in the London literary journal, The Egoist, but the novel itself was banned in the United Kingdom until the 1930s.^[15] In 1920 after the US magazine The Little Review serialised a passage of the book dealing with the main character masturbating, a group called the New York Society for the Suppression of Vice, who objected to the book's content, took action to attempt to keep the book out of the United States. At a trial in 1921 the magazine was declared obscene and, as a result, Ulysses was banned in the United States. In 1933, the publisher Random House and lawyer Morris Ernst arranged to import the French edition and have a copy seized by customs when the ship was unloaded, which it then contested. In United States v. One Book Called Ulysses, U.S. District Judge John M. Woolsey ruled on December 6, 1933 that the book was not pornographic and therefore could not be obscene,^[16] a decision that was called "epoch-making" by Stuart Gilbert.^[17] The Second Circuit Court of Appeals affirmed the ruling in 1934.^[18] Contrary to popular belief, Ulysses was never banned in Ireland.^[19]

Attempts at error correction[link]

The publication history of Ulysses is disputed and obscure. There have been at least 18 editions, and variations in different impressions of each edition. Joyce's handwritten manuscripts were typed and edited by Robert McAlmon^[20]. Notable editions include the first edition published in Paris on 2 February 1922 by Sylvia Beach at Shakespeare and Company (only 1000 copies printed), the pirated Roth edition, published in New York in 1929, the Odyssey Press edition of 1932 (including some revisions generally attributed to Stuart Gilbert, and therefore sometimes considered the most accurate edition^{[citation needed]}); the 1934 Random House US edition, the first English edition of the Bodley Head in 1936, the revised Bodley Head Edition of 1960, the revised Random House edition of 1961 (reset from the Bodley Head 1960 edition), and the Gabler critical and synoptic edition of 1984.

According to Joyce scholar Jack Dalton, the first edition of Ulysses contained over two thousand errors but was still the most accurate edition published.^[21] As each subsequent edition attempted to correct these mistakes, it incorporated more of its own. Hans Walter Gabler's 1984 edition was the most sustained attempt to produce a corrected text, but it received much criticism, most notably from John Kidd. Kidd's main theoretical criticism is of Gabler's choice of a patchwork of manuscripts as his copy-text (the base edition with which the editor compares each variant), but this fault stems from an assumption of the Anglo-American tradition of scholarly editing rather than the blend of French and German editorial theories that actually lay behind Gabler's reasoning. The choice of a multiple copy-text is seen to be problematic in the eyes of some American editors, who generally favor the first edition of any particular work as copy-text. Less subject to differing national editorial theories, however, is the claim that for hundreds of pages—about half the episodes of Ulysses—the extant manuscript is purported to be a 'fair copy' which Joyce made for sale to a potential patron. (As it turned out, John Quinn, the Irish-American lawyer and collector, purchased the manuscript.) Diluting this charge somewhat is the fact that the theory of (now lost) final working drafts is Gabler's own. For the suspect episodes, the existing typescript is the last witness. Gabler attempted to reconstruct what he called 'the continuous manuscript text', which had never physically existed, by adding together all of Joyce's accretions from the various sources. This allowed Gabler to produce a 'synoptic text' indicating the stage at which each addition was inserted. Kidd and even some of Gabler's own advisers believe this method meant losing Joyce's final changes in about two thousand places^{[citation needed]}. Far from being 'continuous', the manuscripts seem to be opposite. Jerome McGann describes in detail the editorial principles of Gabler in his article for the journal Criticism, issue 27, 1985. In the wake of the controversy, still other commentators charged that Gabler's changes were motivated by a desire to secure a fresh copyright and another seventy-five years of royalties beyond a looming expiration date.

In June 1988 John Kidd published 'The Scandal of Ulysses' in the New York Review of Books,^[22] charging that not only did Gabler's changes overturn Joyce's last revisions, but in another four hundred places Gabler failed to follow any manuscript whatever, making nonsense of his own premises. Kidd accused Gabler of unnecessarily changing Joyce's spelling, punctuation, use of accents, and all the small details he claimed to have been restoring. Instead, Gabler was actually following printed editions such as that of 1932, not the manuscripts. More sensationally, Gabler was found to have made genuine blunders, the most famous being his changing the name of Dubliner Harry Thrift to 'Shrift' and cricketer Captain Buller to 'Culler' on the basis of handwriting irregularities in the extant manuscript. (These 'corrections' were undone by Gabler in 1986.)

In December 1988, Charles Rossman's 'The New Ulysses: The Hidden Controversy' for the New York Review revealed that Gabler's own advisers felt too many changes were being made, but that the publishers were pushing for as many alterations as possible. Then Kidd produced a 174-page critique that filled an entire issue of the Papers of the Bibliographical Society of America, dated the same month. This 'Inquiry into Ulysses: The Corrected Text' was the next year published in book format and on floppy disk by Kidd's James Joyce Research Center at Boston University. Gabler and others rejected Kidd's critique, and the scholarly community remains divided.

In 1990 Gabler's American publisher Random House quietly replaced the Gabler edition with its 1961 version, and in the United Kingdom the Bodley Head press revived its 1960 version. In both the UK and USA, Everyman's Library, too, republished the 1960 Ulysses. In 1992 Penguin dropped Gabler and reprinted the 1960 text. The Gabler version is at present available from Vintage International. Reprints of the imperfect 1922 first edition are now widely available, largely due to the expiration of the copyright for that edition in the United States.

While much ink has been spilt over the faults and theoretical underpinnings of the Gabler edition, the much vaunted Kidd edition has yet to be published. In 1992 W.W. Norton announced that a Kidd edition of Ulysses was about to be published as part of a series called "The Dublin Edition of the Works of James Joyce." This book had to be withdrawn, however, when the Joyce estate objected. The estate has refused to authorise any further editions of Joyce's work for the present, but signed a deal with Wordsworth Editions to bring out a bargain version of the novel in January 2010, ahead of copyright expiration in 2012.^[23][24]

Media adaptations[link]