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.

As the story of Odysseus and the Cyclops begins, Odysseus and his men spot the one-eyed monster’s cave.

Hear Homer’s Greek and follow in Samuel Butler’s English translation here.

See the illustrated blog post here.

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.

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

The Cyclops has the upper hand, but Odysseus has a plan to even up the odds.

Hear Homer’s Greek and follow in Samuel Butler’s English here.

See the illustrated blog post here.

Odysseus and his men have blinded the Cyclops, but he is sitting in the mouth of the cave, barring their escape. How can they get past him?

Hear Homer’s Greek and follow in Samuel Butler’s English here.

See the illustrated blog post here.

Following a period of revision to catch up on our slightly rusty Greek, including some research and experimentation on pronunciation, we have made a new recording of the first twenty-one lines of the Iliad, which tell how the quarrel, on the results of which the whole poem turns, began between Agamemnon, the high King of the Greek forces besieging Troy, and Achilles, the mightiest of all the Greek warrior-chieftains.

There is a pretty good consensus in the academic world about how, syllable by syllable, Greek words should be pronounced. Unfortunately, just what the language sounded like is probably lost beyond recall. In particular, Greek in ancient times was a tonal language, in which the pitch at which a syllable was spoken mattered, as well as the pronunciation of its vowel sound and whether it was sounded long or short. We experimented with the tonal approach and studied a number of brave readers, who can be found on You Tube and elsewhere, who have attempted it. We ourselves found that the unfamiliarity of a tonal rendering, and a certain tendency for it to “flatten-out” the flow of the poetry and give it a sing-song quality that detracted from the grandeur and pathos of the narrative, were real drawbacks. We have therefore followed the view of Professor W. Sidney Allen, author of “Vox Graeca”, the standard scholarly work on Greek pronunciation, who advised against attempting a tonal rendering, instead concentrating on accuracy and consistency in other respects. We hope you enjoy the results: you can link to them here.

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