Odyssey

Epic poem attributed to Homer

This article is about Homer's epic poem. For other uses, see Odyssey (disambiguation).

"Homer's Odyssey" redirects here. For The Simpsons episode, see Homer's Odyssey (The Simpsons).

Odyssey

by Homer

Oldest-known manuscript fragment of the Odyssey, dating to the 3rd century BC; found in Medinet Ghoram, Egypt

Original title| Ὀδύσσεια
Translator| George Chapman and others; see English translations of Homer
Written| c. 8th century BC
Language| Homeric Greek
Genre(s)| Epic
Form| Epic poem
Rhyme scheme| No rhyming
Published in English| 1614
Media type| Manuscript
Lines| 12,109
Preceded by| The Iliad
Metre| Dactylic hexameter
Full text
The Odyssey at Wikisource
Odyssey at Greek Wikisource

The Odyssey (/ˈɒdɪsi/;[1] Ancient Greek: Ὀδύσσεια, romanized: Odýsseia)[2][3] is one of two major ancient Greek epic poems 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 Greek hero and king of Ithaca, Odysseus, 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' 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 in around the 8th or 7th century BC and, by the mid-6th century BC, 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 aoidos or rhapsode.

Key themes in the epic include the ideas of nostos (νόστος; 'return', homecoming), wandering, xenia (ξενία; '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.[4]

## Background

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### Composition

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Many suggestions have been made for dating the Odyssey's 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.[5] 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.[6] Inscribed on a clay cup found in Ischia, Italy, are the words "Nestor's cup, good to drink from".[7] Some scholars, such as Calvert Watkins, have tied this cup to a description of King Nestor's golden cup in the Iliad.[8] If the cup is an allusion to the Iliad, that poem's composition can be dated to at least 700–750 BC.[5]

Dating is similarly complicated by the fact that the Homeric poems, or sections of them, were performed regularly by rhapsodes for several hundred years.[5] The Odyssey as it exists today is likely not significantly different.[6] Aside from minor differences, the Homeric poems gained a canonical place in the institutions of ancient Athens by the 6th century.[9] In 566 BC, Peisistratos instituted a civic and religious festival called the Panathenaia, which featured performances of Homeric poems.[10] 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.[11]

### Textual tradition

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Portrait by the Italian painter Domenico Ghirlandaio of the Greek Renaissance scholar Demetrios Chalkokondyles, who produced the first printed edition of the Odyssey in 1488

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.[12] 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.[13] 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.[13] Many editions were stored in the Library of Alexandria.[14] Throughout antiquity, both Iliad and Odyssey were widely copied and used as school texts in lands where the Greek language was spoken.[15][16] They were probably a core part of the ancient Greek education system, certainly for the elite of Classical Athens.[17]

Their influence in non-Greek territories fluctuated. The Roman Empire readily absorbed Homer into its own culture, spreading it east and west.[18] The subjects of both poems—Trojan War and its participants—were already critical historical and mythological references for Romans.[19] 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.[19]

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.[15][16] The Byzantine scholar and archbishop Eustathios of Thessalonike (c. 1115 – c. 1195/6 AD) wrote exhaustive commentaries on both of the Homeric epics that were seen as authoritative by later generations;[15][16] his commentary on the Odyssey alone spans nearly 2,000 oversized pages in a twentieth-century edition.[15] 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.[15][16] His edition was printed in Milan by a Greek printer named Antonios Damilas.[16]

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.[20] In 2018, the Greek Cultural Ministry revealed a clay tablet discovered near the Temple of Zeus at Olympia, containing 13 verses from the Odyssey's 14th book. While it was initially reported to date from the 3rd century AD, the date is unconfirmed.[21][22]

### Influences

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Terracotta plaque of the Mesopotamian ogre Humbaba, believed to be a possible inspiration for the figure of Polyphemus

Scholars have seen strong influences from Near Eastern mythology and literature in the Odyssey.[23] Martin West notes substantial parallels between the Epic of Gilgamesh and the Odyssey.[24] 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.[25] 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.[26] 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.[27] 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.[28]

In 1914, paleontologist Othenio Abel surmised the origins of the Cyclops to be the result of ancient Greeks finding an elephant skull.[29] 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.[29] 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.[30] According to this explanation, the Cyclops was originally simply a giant or ogre, much like Humbaba in the Epic of Gilgamesh.[30] Graham Anderson suggests that the addition about it having only one eye was invented to explain how the creature was so easily blinded.[31]

### Geography

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Main articles: Homer's Ithaca and Geography of the Odyssey

Scholars are divided on whether any of the places visited by Odysseus are real.[32] 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.[33] 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.[34] For instance, there are challenges ascertaining whether Odysseus's homeland of Ithaca is the same island that is now called Ithakē (modern Greek: Ιθάκη);[33] the same is true of the route described by Odysseus to the Phaeacians and their island of Scheria.[32] 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 [the poem] reflects a historical society or accurate geographical knowledge".[35] Modern scholars tend to explore Odysseus's journey metaphorically rather than literally.[36]

## Synopsis

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### Exposition (Books 1–4)

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A mosaic depicting Odysseus, from the villa of La Olmeda, Pedrosa de la Vega, Spain, late 4th–5th centuries AD

The Odyssey begins after the end of the ten-year Trojan War. Odysseus, also known by the Latin variant Ulysses, 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)

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Charles Gleyre, Odysseus and Nausicaä

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)

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

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. When Polyphemus cried for help but his neighbours left after Polyphemus claimed that "Nobody" had attacked him. Odysseus and his men finally escaped the cave by hiding on the underbellies of the 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.

Odysseus and the Sirens, eponymous vase of the Siren Painter, c. 480–470 BC (British Museum)

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)

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Odysseus discovers Penelope has devised tricks to delay the suitors whilst he has been away: Penelope and the Suitors by John William Waterhouse

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)

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Ulysses and Telemachus kill Penelope's Suitors by Thomas Degeorge (1812)

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

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### Structure

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15th-century manuscript of Book I written by scribe John Rhosos (British Museum)

The Odyssey has 12,109 lines composed in dactylic hexameter, also called Homeric hexameter.[37][38] It opens in medias res, in the middle of the overall story, with prior events described through flashbacks and storytelling.[39]

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.[40] The division was probably made long after the poem's composition but is generally accepted as part of the poem's modern structure.[41] In Classical Greece, some books or were provided with their own titles. Books 1 to 4, which focus on the perspective of Telemachus, are called the Telemachy.[42] Some scholars suggest these were added in a revision of the poem, while others note that later parts would not make sense without them.[43] Books 9 to 12, wherein Odysseus provides an account of his adventures, are called the Apologos or Apologoi.[36][44] Book 22 was known as Mnesterophonia (Mnesteres, 'suitors' \+ phónos, 'slaughter').[45] 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.[46]

## Themes and patterns

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### Homecoming

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Odyssey (1794)

Homecoming (Ancient Greek: νόστος, nostos) is a central theme of the Odyssey.[47] Anna Bonafazi of the University of Cologne writes that, in Homer, nostos is "return home from Troy, by sea".[48] 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.[49] 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.[49] Also, because Odysseus knows about Clytemnestra's betrayal, Odysseus returns home in disguise in order to test the loyalty of his own wife, Penelope.[49] 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.[49]

### Wandering

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Only two of Odysseus's 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.[50]

Calypso's name comes from the Greek word kalúptō (καλύπτω), meaning 'to cover' or 'conceal', which is apt, as this is exactly what she does with Odysseus.[51] 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"[52]—which represents his transition from not returning home to returning home.[50]

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.[50] These beings that are close to the gods include the Phaeacians who lived near the Cyclopes,[53] whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon.[50] 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.[50]

### Guest-friendship

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Statue representing the Odyssey, Museum of the Ancient Agora of Athens.

Throughout the course of the epic, Odysseus encounters several examples of xenia ('guest-friendship'), which provide models of how hosts should and should not act.[54][55] 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.[55] Calypso also exemplifies poor guest-friendship because she does not allow Odysseus to leave her island.[55] 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.[55] 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.[56]

According to J. B. Hainsworth, guest-friendship follows a very specific pattern:[57]

1. The arrival and the reception of the guest.
2. Bathing or providing fresh clothes to the guest.
3. Providing food and drink to the guest.
4. Questions may be asked of the guest and entertainment should be provided by the host.
5. The guest should be given a place to sleep, and both the guest and host retire for the night.
6. 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.[54][58]

### Testing

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Penelope questions Odysseus to prove his identity.

Another theme throughout the Odyssey is testing.[59] 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.[59] 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.[59] 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.[59]

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:[59][58]

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

### Omens

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Odysseus and Eurycleia by Johann Heinrich Wilhelm Tischbein

Omens occur frequently throughout the Odyssey. Within the epic poem, they frequently involve birds.[60] 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.[60] Telemachus and Penelope receive their omens as well in the form of words, sneezes, and dreams.[60] However, Odysseus is the only character who receives thunder or lightning as an omen.[61][62] She highlights this as crucial because lightning, as a symbol of Zeus, represents the kingship of Odysseus.[60] Odysseus is associated with Zeus throughout both the Iliad and the Odyssey.[63]

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.[60] In the Odyssey, all of the bird omens—with the exception of the first—show large birds attacking smaller birds.[60][58] Accompanying each omen is a wish which can be either explicitly stated or only implied.[60] For example, Telemachus wishes for vengeance[64] and for Odysseus to be home,[65] Penelope wishes for Odysseus' return,[66] and the suitors wish for the death of Telemachus.[67]

## Legacy

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See also: Category:Works based on the Odyssey

See also: Parallels between Virgil's Aeneid and Homer's Iliad and Odyssey

Front cover of James Joyce's Ulysses

The influence of the Homeric texts can be difficult to summarise because of how greatly they have affected the popular imagination and cultural values.[68] The Odyssey and the Iliad formed the basis of education for members of ancient Mediterranean society. That curriculum was adopted by Western humanists,[69] meaning the text was so much a part of the cultural fabric that it became irrelevant whether an individual had read it.[70] 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.[4] It is widely regarded by western literary critics as a timeless classic,[71] and it remains one of the oldest works of literature regularly read by Western audiences.[72] 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".[73]

### English translations

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Main article: English translations of Homer

See also: Odyssey (George Chapman translation), Odyssey (Alexander Pope translation), and Odyssey (Emily Wilson translation)

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.[74][75] Chapman worked on these for a large part of his life.[76] In 1581, Arthur Hall translated the first 10 books of the Iliad from a French version.[77] Chapman's translations persisted in popularity, and are often remembered today through John Keats' sonnet "On First Looking into Chapman's Homer" (1816).[78] 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.[79]

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.[80] She calls her experience of producing her translation one of "intimate alienation".[80] Wilson writes that this has affected the popular conception of characters and events of the Odyssey,[81] 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."[81] In the original Greek, the word used is hai, the feminine article, equivalent to "those female people".[82]

### Literature

[edit]

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.[29] 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".[54] Some of Ulysses's adventures reappear in the Arabic tales of Sinbad the Sailor.[83][84]

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.[85][86] 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.[87] 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.[88] The book, and especially its stream of consciousness prose, is widely considered foundational to the modernist genre.[89]

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,[90] an image which haunted Atwood.[91] Atwood's novella comments on the original text, wherein Odysseus' successful return to Ithaca symbolises the restoration of a patriarchal system.[91] Similarly, Madeline Miller's Circe (2018) revisits the relationship between Odysseus and Circe on Aeaea.[92] As a reader, Miller was frustrated by Circe's lack of motivation in the original poem and sought to explain her capriciousness.[93] 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.[94]

### Film and television

[edit]

* L'Odissea (1911) is an Italian silent film by Giuseppe de Liguoro.[95]
* Ulysses (1954) is an Italian film adaptation starring Kirk Douglas as Ulysses, Silvana Mangano as Penelope and Circe, and Anthony Quinn as Antinous.[96]
* L'Odissea (1968) is an Italian-French-German-Yugoslavian television miniseries praised for its faithful rendering of the original epic.[97]
* Ulysses 31 (1981–1982) is a French-Japanese television animated series set in the futuristic 31st century.[98]
* 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.[99]
* 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.[100]
* The Odyssey (1997) is a television miniseries directed by Andrei Konchalovsky and starring Armand Assante as Odysseus and Greta Scacchi as Penelope.[101]
* 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.[102]
* 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.[103]
* The Odyssey (2026), written and directed by Christopher Nolan, will be based on the books and is slated to be released in 2026.[104]

### Opera and music

[edit]

See also: Category:Operas based on the Odyssey

* 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.[105]
* 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.[106]
* 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".[107]
* Jean-Claude Gallota's ballet Ulysse,[108] based on the Odyssey, but also on the work by James Joyce, Ulysses.[109]
* 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.[110][111]

### Sciences

[edit]

* Psychiatrist Jonathan Shay wrote two books, Achilles in Vietnam: Combat Trauma and the Undoing of Character  (1994)[112] and Odysseus in America: Combat Trauma and the Trials of Homecoming (2002),[113] 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

[edit]

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* Reece, Steve (1993). The Stranger's Welcome: Oral Theory and the Aesthetics of the Homeric Hospitality Scene. Ann Arbor: University of Michigan Press.
* Roman, James W. (2005). From Daytime to Primetime: The History of American Television Programs. Greenwood Publishing Group. ISBN 978-0-313-31972-3.
* Ruskin, John (1868). The Mystery of Life and its Arts. Cambridge: Cambridge University Press.
* Thornton, Agathe (1970). People and Themes in Homer's Odyssey. London: Methuen.
* Watkins, Calvert (1976). "Observations on the "Nestor's Cup" Inscription". Harvard Studies in Classical Philology. 80: 25–40\. doi:10.2307/311231. ISSN 0073-0688. JSTOR 311231.25-40&rft.date=1976&rft.issn=0073-0688&rft_id=https://www.jstor.org/stable/311231#id-name=JSTOR&rft_id=info:doi/10.2307/311231&rft.aulast=Watkins&rft.aufirst=Calvert&rfr_id=info:sid/en.wikipedia.org:Odyssey" class="Z3988">
* West, Martin (1997). The East Face of Helicon: West Asiatic Elements in Greek Poetry and Myth. Oxford: Clarendon Press.
* Willcock, Malcolm L. (2007) [1976]. A Companion to The Iliad: Based on the Translation by Richard Lattimore. New York: Phoenix Books. ISBN 978-0-226-89855-1.
* Wilson, Emily (2018). "Introduction: When Was The Odyssey Composed?". The Odyssey. New York: W. W. Norton & Company. ISBN 978-0-393-08905-9.

## Further reading

[edit]

* 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 [The Crypts of Criticism: Twenty Interpretations of the 'Odyssey']. Madrid: Gredos. Lay summary Archived 18 June 2020 at the Wayback Machine via El Cultural (in Spanish).
* Reece, Steve. 2011. "Toward an Ethnopoetically Grounded Edition of Homer's Odyssey Archived 1 January 2020 at the Wayback Machine." Oral Tradition 26:299–326.
* Saïd, S. 2011 [1998].. 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

[edit]

Library resources about
The Odyssey

* * *

* Online books
* Resources in your library
* Resources in other libraries

### The Odyssey in ancient Greek

[edit]

* 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

[edit]

* The Odyssey, translated by William Cullen Bryant at Standard Ebooks
*   * The Odysseys of Homer, together with the shorter poems by Homer, trans. by George Chapman at Project Gutenberg
*   * The Odyssey, trans. by Alexander Pope at Project Gutenberg
*   * The Odyssey, trans. by William Cowper at Project Gutenberg
*   * The Odyssey, trans. by Samuel H. Butcher and Andrew Lang at Project Gutenberg
*   * The Odyssey, trans. by Samuel Butler at Project Gutenberg
* The Odyssey, trans. by A. T. Murray (1919) on Perseus Project

### Other resources

[edit]

* The Odyssey public domain audiobook at LibriVox
* BBC audio file — In our time BBC Radio 4 [discussion programme, 45 mins]
* The Odyssey Comix — A detailed retelling and explanation of Homer's Odyssey in comic-strip format by 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

Portals:

* Ancient Greece
* Religion

Odyssey at Wikipedia's sister projects:

* Definitions from Wiktionary
* Media from Commons
* Quotations from Wikiquote
* Texts from Wikisource
* Resources from Wikiversity

* v
* t
* e

Homer's Odyssey

Characters|

| House of Odysseus|

* Penelope (wife)
* Telemachus (son)
* Ctimene (sister)
* Anticlea (mother)
* Laertes (father)
* Autolycus (grandfather)
* Eurycleia (chief servant)
* Mentor (advisor)
* Phemius (musician)
* Eumaeus (swineherd)
* Philoetius (cowherd)
* Melanthius (goatherd)
* Melantho (maid)
* Medon (herald)
* Argos (pet dog)

|

Other monarchs
and royals

* Alcinous of Phaeacia
* Antiphates, king of the Laestrygones
* Aretus
* Arete of Phaeacia
* Deucalion of Crete
* Echetus
* Nestor of Pylos
* Echephron
* Perseus
* Stratichus
* Peisistratus
* Menelaus of Sparta
* Helen
* Princess Nausicaa of Phaeacia
* Laodamas
* Agamemnon of Mycenae
* Idomeneus
* Mentes
* Thrasymedes

Gods|

* Aeolus
* Athena
* Calypso
* Circe
* Helios
* Hermes
* Leucothea (Ino)
* Poseidon
* Zeus
* Oceanus
* Old Man of the Sea

Suitors|

* Agelaus
* Amphimedon
* Amphinomus
* Antinous
* Ctesippus
* Demoptolemus
* Eurymachus
* Leodes
* Perimedes

Others|

* Achilles
* Ajax
* Anticlus
* Antiphus
* Cyclopes
* Polyphemus
* Demodocus
* Dolius
* Elpenor
* Eupeithes
* Euryalus
* Eurylochus
* Halitherses
* Heracles
* Irus
* Kikonians
* Laestrygones
* Mesaulius
* Polites
* Polydamna
* Scylla
* Charybdis
* Sirens
* Tiresias
* Theoclymenus

Locations|

* Aeaea
* Aeolia
* Ismarus
* Ithaca
* Ogygia
* Scheria
* Telepylos
* Thrinacia

Study|

* Homeric scholarship
* Homeric Laughter
* Homeric Question
* Chorizontes
* Jørgensen's law
* Historicity of the Iliad
* Odysseus Unbound
* Homer's Ithaca
* On the Cave of the Nymphs in the Odyssey
* Rediscovering Homer
* Hermoniakos' Iliad
* Hysteron proteron
* Epithets in Homer
* Dactylic hexameter

Translations|

* On Translating Homer
* Chapman (1614–1615)
* Pope (1725–1726)
* Lattimore (1967)
* Wilson (2017)

Phrases|

* In medias res
* Between Scylla and Charybdis

Films|

* L'Odissea (1911)
* Ulysses (1954)
* The Return of Ringo (1965)
* Nostos: The Return (1989)
* Ulysses' Gaze (1995 Greek)
* Sans plomb (2000)
* O Brother, Where Art Thou? (2000)
* Keyhole (2012)
* The Return (2024)
* The Odyssey (2026)

Television|

* The Odyssey (1968)
* Ulysses 31 (1981)
* The Odyssey (1997)
* Mission Odyssey (2002–2003)
* Odysseus and the Isle of the Mists (2007)
* Star Trek: Odyssey (2007)

Prose fiction|

* A True Story (2nd century AD)
* Les Aventures de Télémaque (1699)
* The World's Desire (1890)
* Ulysses (1922)
* The Human Comedy (1943)
* Return to Ithaca (1946)
* Homer's Daughter (1955)
* Big Fish: A Novel of Mythic Proportions (1998)
* The Penelopiad (2005)
* The Lost Books of the Odyssey (2010)
* Circe (2018)

Poems|

* "On First Looking into Chapman's Homer"
* "Ulysses" (1842)
* The Odyssey: A Modern Sequel (1938)
* The Cantos (1962)
* Pagan Operetta (1998)

Stage|

* Current Nobody (play)
* Cyclops (play)
* Ithaka (play)
* Il ritorno d'Ulisse in patria (opera)
* The Golden Apple (musical)
* Glam Slam Ulysses (musical)
* Home Sweet Homer (musical)
* Odysseus, Verbrecher (play)
* Penelope (play)

Music|

* Epic: The Musical (album series)
* "Tales of Brave Ulysses" (song)
* The Odyssey (album)

Paintings|

* Jar with Odysseus and Elpenor (c. 440 B.C.)
* Odysseus on the Island of the Phaecians (c. 1635)
* Telemachus and the Nymphs of Calypso (1782)
* The Sorrow of Telemachus (1783)
* Odysseus at the Court of Alcinous (1816)
* The Apotheosis of Homer (1827)
* Ulysses Deriding Polyphemus (1829)
* The Sirens and Ulysses (1837)
* Circe Offering the Cup to Ulysses (1891)
* Ulysses and the Sirens (1891)
* Odysseus and Polyphemus (1896)
* Ulysses and the Sirens (1909)

Video games|

* Odyssey: The Search for Ulysses
* Wishbone and the Amazing Odyssey

Related|

* Apotheosis of Homer
* Iliad
* Nekyia
* Nostos
* Outis
* Returns from Troy
* Telemachy
* Trojan Horse

* Category

Links to related articles

* v
* t
* e

Works related to Homer in antiquity

Attributed to Homer|

* Batrachomyomachia
* Cercopes
* Cypria
* Epigoni
* Epigrams ("Kiln")
* Homeric Hymns
* Iliad
* Little Iliad
* Margites
* Nostoi
* Odyssey
* Capture of Oechalia
* Phocais
* Thebaid

About Homer|

* Ancient accounts of Homer
* Contest of Homer and Hesiod
* Life of Homer

* v
* t
* e

National epic poems

Americas|

Argentina
Martín Fierro
Chile
La Araucana/The Araucaniad
Brazil
O Uraguai
Caramuru
Uruguay
Tabaré (poem)

Asia|

Armenia
Sasna Dzrer
Azerbaijan
Book of Dede Korkut
Cambodia
Trai Bhet
Reamker
Georgia
Vepkhistkaosani
India
Mahabharata
Ramayana
Kyrgyz
Epic of Manas
Laos
Phra Lak Phra Lam
Malaysia
Hikayat Hang Tuah
Sejarah Melayu
Hikayat Seri Rama
Iran
Shahnameh
Sumer
Epic of Gilgamesh
Tamil Nadu
Silappatikaram
Manimekalai
Thailand
Ramakien

Europe|

England
Beowulf
Estonia
Kalevipoeg
Finland
Kalevala
France
La Chanson de Roland
Germany
Nibelungenlied
Greece
Iliad
Odyssey
Hungary
The Siege of Sziget
Italy
Divine Comedy
Latvia
Lāčplēsis
Poland
Pan Tadeusz
Portugal
Os Lusíadas
Rome
Aeneid
Russia
The Tale of Igor's Campaign
Spain
Cantar de mio Cid

Africa|

Ethiopia
Kebra Nagast
Mali
Sundiata

* v
* t
* e

Epic Cycle

* Cypria (Stasinus)
* Iliad (Homer)
* Aethiopis (Arctinus of Miletus)
* Little Iliad (Lesches)
* Iliupersis (Arctinus of Miletus)
* Nostoi (Agias/Eumelus of Corinth)
* Odyssey (Homer)
* Telegony (Eugammon of Cyrene)

* v
* t
* e

Ancient Greek religion and mythology

Religion and religious practice

Main beliefs|

* Ages of Man
* Golden Age
* Heroic Age
* Ancient accounts of Homer
* Apotheosis
* Arete
* Daemon
* Destiny
* Eudaimonia
* Euhemerism
* Eunoia
* Eusebeia
* Golden mean
* Golden Rule
* Greek words for love
* Hemitheos
* Hero cult
* Hubris
* Interpretatio graeca
* Katabasis
* Kleos
* Know thyself
* Metamorphosis
* Metempsychosis
* Nympholepsy
* Paradoxography
* Patron gods
* Pederasty
* Phronesis
* Polytheism
* Sophrosyne
* Soter
* Theia mania
* Xenia

Texts / odes /
epic poems|

| Epic Cycle|

* Aethiopis
* Cypria
* Iliad
* Iliupersis
* Little Iliad
* Nostoi
* Odyssey
* Telegony

|

Theban Cycle|

* Oedipodea
* Thebaid
* Epigoni
* Alcmeonis

Others|

* Aesop's Fables
* Aretalogy
* Argonautica
* Bibliotheca
* Catalogue of Women
* Cyranides
* Delphic maxims
* Derveni papyrus
* Dionysiaca
* Golden Verses of Pythagoras
* Greek Magical Papyri
* Homerica
* Homeric Hymns
* Interpretation of Dreams
* Myth of Er
* Oneirocritica
* Orphic Hymns
* Papyrus Graecus Holmiensis
* Sibylline Books
* Sortes Astrampsychi
* Theogony
* Works and Days

Religions|

| Antecedents|

*   * Minoan religion
* Mycenaean religion
* List of Mycenaean deities
* Paleo-Balkan mythology
* Proto-Indo-European mythology
* Religions of the ancient Near East

|

Expressions|

* Atheism
* Henotheism
* Monotheism
* Polytheism

Hellenistic religions|

* Early Christianity
* Christianization
* Relationship with Greek philosophy
* Esoteric systems
* Early alchemy
* Gnosticism
* Hermeticism
* Neoplatonism
* Hellenistic Judaism
* God-fearers
* Syncretic religions
* Alexander
* Ptolemaic cult
* Etruscan religion
* Greco-Buddhism
* Roman religion
* Imperial cult
* Religious views of emperor Julian

Mystery religions
and sacred mysteries|

* Arcadian Mysteries
* Delos Mysteries
* Dionysian Mysteries
* Eleusinian Mysteries
* Imbrian Mysteries
* Mithraism
* Mysteries of Isis
* Orphism
* Samothracian Mysteries

New religious movements|

* Discordianism
* Feraferia
* Gaianism
* Hellenism

Religious practice|

| Worship
/ rituals|

* Amphidromia
* Arotoi Hieroi
* Astragalomancy
* Baptes
* Cult of Artemis at Brauron
* Daduchos
* Divination
* Funeral and burial practices
* Funeral oration
* Greco-Roman mysteries
* Hero cult
* Heroön
* Hierophany
* Hieros gamos
* Hymns
* Incubation
* Komos
* Nekyia
* Omophagia
* Orgia
* Panegyris
* Prayer
* Sacrifice
* Animal sacrifice
* Hecatomb
* Holocaust
* Libation
* Pharmakos
* Votive offering
* Theatre

|

Religious
offices|

* Amphictyonic league
* Archon basileus
* Basilinna
* Gerarai
* Hiereia
* Hierophant
* Hierophylakes
* Iatromantis
* Kanephoros
* Mystagogue
* Oracle
* Sibyl
* Thiasus

Religious
objects|

* Baetyl
* Cult image
* Chryselephantine sculpture
* Xoanon
* Greek terracotta figurines
* Kernos
* Kykeon
* Loutrophoros
* Omphalos
* Panathenaic amphora
* Rhyton
* Sacrificial tripod
* Sceptre
* Thymiaterion

Magic|

* Apotropaic magic
* Curse tablet
* Divination
* Greek Magical Papyri
* Hermeticism
* Hermetica
* Necromancy
* Philia

Events|

| Festivals
/ feasts|

* Actia
* Adonia
* Agrionia
* Amphidromia
* Anthesteria
* Apellai
* Apaturia
* Aphrodisia
* Arrhephoria
* Ascolia
* Bendidia
* Boedromia
* Brauronia
* Buphonia
* Chalceia
* Diasia
* Delia
* Delphinia
* Dionysia
* Ecdysia
* Elaphebolia
* Gamelia
* Halieia
* Haloa
* Heracleia
* Hermaea
* Hieromenia
* Iolaia
* Kronia
* Lenaia
* Leucophryna
* Lykaia
* Metageitnia
* Munichia
* Oschophoria
* Pamboeotia
* Pandia
* Plynteria
* Ptolemaieia
* Pyanopsia
* Skira
* Synoikia
* Soteria
* Tauropolia
* Thargelia
* Theseia
* Thesmophoria

|

Games|

* Agon
* Panathenaic Games
* Rhieia

Panhellenic Games|

* Olympic Games
* Heraean Games
* Pythian Games
* Nemean Games
* Isthmian Games
* Actia

Sacred places|

| Temples /
sanctuaries|

* Asclepieion
* Delphinion
* Mithraeum
* Necromanteion of Acheron
* Nymphaeum
* Panionium
* Parthenon
* Ploutonion
* Telesterion
* Temenos
* Temple of Artemis, Ephesus
* Temple of Zeus, Olympia

|

Oracles|

* Amphiareion of Oropos
* Aornum
* Claros
* Delphi
* Didyma
* Dodona
* Oracle of Apollo Thyrxeus at Cyaneae
* Oracle of Apollo at Ptoion
* Oracle of Artemis at Ikaros
* Oracle of Menestheus
* Sanctuary of the Great Gods
* Tegyra

Mountains|

* Cretea
* Mount Ida (Crete)
* Mount Ida (Turkey)
* Mount Lykaion
* Olympus

Caves|

* Cave of Zeus, Aydın
* Caves of Pan
* Psychro Cave
* Vari Cave

Islands|

* Island of Achilles
* Delos
* Islands of Diomedes

Springs|

* Castalian Spring
* Hippocrene
* Pierian Spring

Others|

* Athenian sacred ships
* Paralus
* Salaminia
* Eleusis
* Hiera Orgas
* Kanathos
* Olympia
* Sacred Way
* Theatre of Dionysus

Myths and mythology

Deities
(Family tree)|

| Primordial deities|

* Aether
* Ananke
* Chaos
* Chronos
* Erebus
* Eros
* Gaia
* Hemera
* Nyx
* Phanes
* Pontus
* Thalassa
* Tartarus
* Uranus

|

Titans|

| First generation|

* Coeus
* Crius
* Cronus
* Hyperion
* Iapetus
* Mnemosyne
* Oceanus
* Phoebe
* Rhea
* Tethys
* Theia
* Themis

|

Second generation|

* Asteria
* Astraeus
* Atlas
* Eos
* Epimetheus
* Helios
* Leto
* Menoetius
* Metis
* Pallas
* Perses
* Prometheus
* Selene

Third generation|

* Hecate
* Hesperus
* Phosphorus

Twelve Olympians|

* Aphrodite
* Apollo
* Ares
* Artemis
* Athena
* Demeter
* Dionysus
* Hephaestus
* Hera
* Hermes
* Hestia
* Poseidon
* Zeus

Water deities|

* Amphitrite
* Alpheus
* Ceto
* Glaucus
* Naiads
* Nereids
* Nereus
* Oceanids
* Phorcys
* Poseidon
* Potamides
* Proteus
* River gods
* Scamander
* Thaumas
* Thetis
* Triton

Love deities|

| Erotes|

* Anteros
* Eros
* Hedylogos
* Hermaphroditus
* Himeros
* Hymen/Hymenaeus
* Pothos

|

* Aphrodite
* Aphroditus
* Philotes
* Peitho

War deities|

* Adrestia
* Alala
* Alke
* Amphillogiai
* Androktasiai
* Ares
* Athena
* Bia
* Deimos
* Enyalius
* Enyo
* Eris
* Gynaecothoenas
* Homados
* Hysminai
* Ioke
* Keres
* Kratos
* Kydoimos
* Ma
* Machai
* Nike
* Palioxis
* Pallas
* Perses
* Phobos
* Phonoi
* Polemos
* Proioxis

Chthonic deities|

| Psychopomps|

* Charon
* Hermes
* Hermanubis
* Thanatos

|

* Angelos
* Cabeiri
* Hades / Pluto
* Hecate
* Hypnos
* Keres
* Lampad
* Melinoë
* Persephone
* Zagreus

Health deities|

* Aceso
* Aegle
* Artemis
* Apollo
* Asclepius
* Chiron
* Darrhon
* Eileithyia
* Epione
* Hebe
* Hygieia
* Iaso
* Paean
* Panacea
* Telesphorus

Sleep deities|

* Empusa
* Epiales
* Hypnos
* Pasithea
* Oneiroi

Messenger deities|

* Angelia
* Arke
* Hermes
* Iris

Trickster deities|

* Apate
* Hermes
* Momus

Magic deities|

* Circe
* Hecate
* Hermes Trismegistus
* Pasiphaë

Other major deities|

* Anemoi
* Boreas
* Eurus
* Notus
* Zephyrus
* Azone
* Chrysaor
* Cybele
* Eileithyia
* The Erinyes (Furies)
* Harmonia
* The Muses
* Nemesis
* Pan
* Pegasus
* Zelus

Heroes /
heroines|

| Individuals|

* Abderus
* Achilles
* Actaeon
* Adonis
* Aeneas
* Ajax the Great
* Ajax the Lesser
* Akademos
* Amphiaraus
* Amphitryon
* Antilochus
* Atalanta
* Autolycus
* Bellerophon
* Bouzyges
* Cadmus
* Chrysippus
* Cyamites
* Daedalus
* Diomedes
* Dioscuri (Castor and Polydeuces)
* Echetlus
* Eleusis
* Erechtheus
* Eunostus
* Ganymede
* Hector
* Heracles
* Icarus
* Iolaus
* Jason
* Meleager
* Menelaus
* Narcissus
* Nestor
* Odysseus
* Oedipus
* Orpheus
* Otrera
* Pandion
* Peleus
* Pelops
* Penthesilea
* Perseus
* Theseus
* Triptolemus

|

Groups|

* Argonauts
* Calydonian hunters
* Epigoni
* Seven against Thebes

Oracles
/ seers|

* Aesacus
* Aleuas
* Amphiaraus
* Amphilochus
* Ampyx
* Anius
* Asbolus
* Bakis
* Branchus
* Calchas
* Carnus
* Carya
* Cassandra
* Elatus
* Ennomus
* Epimenides
* Halitherses
* Helenus
* Iamus
* Idmon
* Manto
* Melampus
* Mopsus
* Munichus
* Phineus
* Polyeidos
* Polypheides
* Pythia
* Sibyls
* Cimmerian
* Cumaean
* Delphic
* Erythraean
* Hellespontine
* Libyan
* Persian
* Phrygian
* Samian
* Telemus
* Theiodamas
* Theoclymenus
* Tiresias

Other
mortals|

* Aegeus
* Aegisthus
* Agamemnon
* Andromache
* Andromeda
* Antigone
* Augeas
* Briseis
* Cassiopeia
* Creon of Thebes
* Chryseis
* Chrysothemis
* Clytemnestra
* Damocles
* Deidamia
* Deucalion
* Electra
* Eteocles
* Europa
* Gordias
* Hecuba
* Helen of Troy
* Hellen
* The Heracleidae
* Hermione
* Hippolyta
* Io
* Iphigenia
* Ismene
* Jocasta
* Laius
* Lycian peasants
* Lycaon
* The Maenads
* Memnon
* Messapian shepherds
* Midas
* Minos
* Myrrha
* Neoptolemus
* Niobe
* Orestes
* Paris
* Patroclus
* Penelope
* Philomela
* Phoenix
* Polybus of Corinth
* Polynices
* Priam
* Procne
* Pylades
* Pyrrha
* Telemachus
* Troilus

Underworld|

| Entrances to
the underworld|

| Rivers|

* Acheron
* Cocytus
* Eridanos
* Lethe
* Phlegethon
* Styx

|

Lakes/swamps|

* Acherusia
* Avernus Lake
* Lerna Lake

Caves|

* Cave at Cape Matapan
* Cave at Lake Avernus
* Cave at Heraclea Pontica

Charoniums|

* Charonium at Aornum
* Charonium at Acharaca

Ploutonion|

* Ploutonion at Acharaca
* Ploutonion at Eleusis
* Ploutonion at Hierapolis

Necromanteion (necromancy temple)|

* Necromanteion of Acheron

Places|

* Elysium
* Erebus
* Fields of Asphodel
* Isles of the Blessed
* Mourning Fields
* Tartarus

Judges|

* Aeacus
* Minos
* Rhadamanthus

Guards|

* Campe
* Cerberus

Residents|

* Anticlea
* Danaïdes
* Eurydice
* Ixion
* Ocnus
* Salmoneus
* The Shades
* Sisyphus
* Tantalus
* Tiresias
* Titans
* Tityos

Visitors|

* Dionysus
* Heracles
* Hermes
* Odysseus
* Orpheus
* Pirithous
* Psyche
* Theseus

Symbols/objects|

* Bident
* Cap of invisibility
* Charon's obol

Animals, daemons,
and spirits|

* Ascalaphus
* Ceuthonymus
* Eurynomos
* Menoetius

Mythical|

| Beings|

| Lists|

* Deities
* Mythological creatures
* Mortals
* Minor figures
* Trojan War characters

|

Minor spirits|

* Daemon
* Agathodaemon
* Cacodaemon
* Eudaemon
* Nymph
* Satyr

Beasts /
creatures|

* Centaur
* Centaurides
* Ichthyocentaur
* Cyclops
* Dragon
* Drakaina
* Echidna
* Giant
* Gorgon
* Harpy
* Hecatonchires
* Hippocampus
* Horses of Helios
* Lamia
* Phoenix
* Python
* Siren
* Scylla and Charybdis
* Sphinx
* Typhon

Captured
/ slain by
heroes|

* Calydonian boar
* Cerberus
* Cerynian Hind
* Chimera
* Cretan Bull
* Crommyonian Sow
* Erymanthian boar
* Khalkotauroi
* Lernaean Hydra
* Mares of Diomedes
* Medusa
* Minotaur
* Nemean lion
* Orthrus
* Polyphemus
* Stymphalian birds
* Talos
* Teumessian fox

Tribes|

* Achaeans
* Amazons
* Anthropophagi
* Bebryces
* Cicones
* Curetes
* Dactyls
* Gargareans
* Halizones
* Korybantes
* Laestrygonians
* Lapiths
* Lotus-eaters
* Myrmidons
* Pygmies
* Spartoi
* Telchines

Places
/ Realms|

* Aethiopia
* Ara
* Colchis
* Erytheia
* Hyperborea
* Ismarus
* Ithaca
* Libya
* Nysa
* Ogygia
* Panchaia
* Phlegra
* Scheria
* Scythia
* Symplegades
* Tartessos
* Themiscyra
* Thrinacia
* Troy

Events|

* Apollo and Daphne
* Calydonian boar hunt
* Eros and Psyche
* Judgment of Paris
* Labours of Heracles
* Orpheus and Eurydice
* Returns from Troy

Wars|

* Amazonomachy
* Attic War
* Centauromachy
* Gigantomachy
* Indian War
* Theomachy
* Titanomachy
* Trojan War

Objects|

* Adamant
* Aegis
* Ambrosia
* Apple of Discord
* Argo
* Dragon's teeth
* Diipetes
* Eidolon
* Galatea
* Girdle of Aphrodite
* Golden apple
* Golden Fleece
* Gordian knot
* Harpe
* Ichor
* Labyrinth
* Lotus tree
* Milk of Hera
* Moly
* Necklace of Harmonia
* Orichalcum
* Palladium
* Panacea
* Pandora's box
* Petasos (Winged helmet)
* Phaeacian ships
* Philosopher's stone
* Shield of Achilles
* Shirt of Nessus
* Sword of Damocles
* Talaria
* Thunderbolt
* Thyrsus
* Trident of Poseidon
* Trojan Horse
* Winnowing Oar
* Wheel of fire

Symbols|

* Bowl of Hygieia
* Caduceus
* Cornucopia
* Gorgoneion
* Kantharos
* Labrys
* Orphic egg
* Ouroboros
* Owl of Athena
* Rod of Asclepius
* Swan song
* Wind
* East
* West
* North
* South

Modern
treatments|

* Classical mythology in western art and literature
* Classicism
* Classics
* Greek mythology in popular culture
* Modern understanding of Greek mythology

Authority control databases

International|

* VIAF
* 2
* 3
* 4
* 5
* FAST

National|

* Germany
* United States
* France
* BnF data
* Japan
* Australia
* Czech Republic
* Spain
* Croatia
* Greece
* Sweden
* Poland
* Vatican
* Israel
* Catalonia

Other|

* IdRef
* 2
* MusicBrainz work

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