The Cyclops comes to regret accepting Odysseus’s offer of incredibly powerful Ismaric wine as the Ithacans begin to fight back with a brutal stratagem.
Hear Homer’s Greek and follow in Samuel Butler’s English here.
Image courtesy of the British Museum under licence CC BY-NC-SA 4.0
When the Cyclops lights his evening fire, he spots Odysseus and his Ithacans. In the fraught exchanges which follow, it rapidly becomes clear that they cannot rely on the monster observing the ancient world’s sacred code of hospitality, and Odysseus realises that, even if he kills the monster, he and his comrades are trapped in the cave. But the resourceful Odysseus thinks of a plan.
Hear Homer’s Greek and follow in Samuel Butler’s English here.
The image, by Francisco de Goya, is of Saturn devouring one of his children.
In the evening, the monstrous Cyclops comes home to the cave where Odysseus and his men are waiting. They hide, while he tends his flock and closes the door of the cave behind him with a rock so enormous that twenty teams of oxen could not shift it.
Hear Homer’s Greek and follow in Samuel Butler’s English here.
The drawing of the Cyclops’s arrival, courtesy of the British Museum, is by the Swiss artist Henry Fuseli. Illustration by courtesy of the British Museum under licence CC BY-NC-SA 4.0.
Hear the story of the Cyclops in Homer’s Greek with an English translation at PantheonPoets.com. Starting today, we post the whole story from Book 9 of the Odysssey, one of the best and earliest travellers’ tales in European literature, in seven daily parts.
Why in the original? Because translations can’t convey the contribution that the sound of the ancient Greek language makes to the story, or the way in which Homer’s hexameter poetry sweeps the story along.
To do full justice to the performance of Homer’s Greek, a reader should have an absolute command of Homeric metre, which is irregular, complex and sometimes inconsistent, a native speaker’s pronunciation, the skills of a first-rate actor and a time machine to travel back to learn how the tonal aspects of the language – a bit like modern Chinese – actually worked, a question obscured by the passage of almost three millennia and subject to considerable dispute. We cannot claim all of these desirables, or indeed any of them in full, but hope that our careful research and best efforts will make the wonderful story worth listening to, and convey some of the narrative drive, drama and excitement that the Greek original will retain for ever.
Hear Homer’s original Greek and follow in Samuel Butler’s English translation here.
In an encounter a quarter of the way through Homer’s Iliad, The Trojan hero Hector’s wife, Andromache, begs him to direct the Trojan defence from the wall, rather than return to the battle. But Hector’s duty as Troy’s defender and the warrior’s code will not allow him to do so, although he foresees his own death and the fall of the city as clearly as Andromache foresees that she will soon be a widow and her son an orphan. We learn, too, that Andromache’s life has already been ravaged by Achilles, Hector’s future killer.
Hear Homer’s Greek and follow in English here.
In his Lesbia poems, Catullus is a sensitive romantic: when he wants to know intimate details about friends’ new partners, romance goes out of the window. The language is strong, the interest prurient, but the attitudes he is showing towards women were by no means unique to him in the late Roman republic, with its machismo and its slave economy.
Hear Catullus’s Latin and follow in English here.
Suffering from insomnia, the poet John Westbrook recalls the sleeplessness of Achilles. In the illustration, an Attic vase of circa 450 BCE, Achilles tends the wounded Patroclus. See Westbrook’s poem here.
Odi profanum volgus et arceo, omne capax movet urna nomen, post equitem sedet atra cura – “I despise the profane crowd, I banish them”; “(Destiny’s) capacious urn shakes every name together”; “behind the rider sits black Care”. These, among Horace’s most famous phrases, all occur in the first poem in his third book of Odes. It is “carpe diem” with a difference: the more you have, the more there is for you to worry about, and the answer is to be content with modest comforts and avoid the temptations of greed and excess. It is no coincidence that, at the time, the Emperor Augustus was championing a return to simpler, ancestral, Roman values. Hear Horace’s Latin and follow in English here.
Archilochus was the earliest Greek lyric poet, writing about the soldier’s life in the middle of the seventh century BCE, two hundred years before this black-figure hoplite was painted onto an Attic pot. Hear a sample in the original Greek and follow in English here.
