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奥德赛（古希腊荷马创作史诗）_百度百科

古希腊荷马创作史诗）_百度百科网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心奥德赛是一个多义词，请在下列义项上选择浏览（共39个义项）展开添加义项奥德赛[ào dé sài]播报讨论上传视频古希腊荷马创作史诗收藏查看我的收藏0有用+10《奥德赛》（希腊语：ΟΔΥΣΣΕΙΑ，转写：Odýsseia，又译《奥狄赛》《奥德修纪》或《奥德赛飘流记》）是古希腊最重要的两部史诗之一（另一部是《伊利亚特》，统称《荷马史诗》）。《奥德赛》延续了《伊利亚特》的故事情节，相传为盲诗人荷马所作。《奥德赛》共12000多行，也分为24卷，主要讲述的是英雄奥德修斯的故事。以奥德修斯幸运归返家乡为转折点，全诗内容可以分为两个部分：前半部分主要讲述了特洛伊战争胜利后，奥德修斯被迫漂泊数十年，遭遇种种挫折的艰苦经历。后半部分则讲述了奥德修斯返回家乡后，在神明的指引下，依靠自己的智慧和他人的协助，最终完成复仇的故事。 [12]诗人把奥德修斯的10年海上历险，用倒叙的手法放在他临到家前40多天的时间里来描述。这10年惊心动魄的经历，包含了许多远古的神话，反映出经幻想加工过的自然现象以及古希腊人同自然的斗争和胜利。第9卷中所写的俄底修斯用计制胜巨人族波吕斐摩斯的故事，突出地表现了他的机智和勇敢。 [1]这部史诗是西方文学的奠基之作，是除《吉尔伽美什史诗》和《伊利亚特》外现存最古老的西方文学作品。作品名称奥德赛外文名ΟΔΥΣΣΕΙΑ作品别名奥德修纪作者荷马（古希腊）创作年代公元前8世纪末文学体裁史诗字数221000目录1内容简介2创作背景3人物介绍▪奥德修斯▪忒勒马科斯▪佩涅罗佩▪雅典娜4作品鉴赏▪主题▪手法5后世影响6作者简介内容简介播报编辑奥德赛特洛伊战争结束后，希腊将士们纷纷回到故乡，只有足智多谋的奥德修斯在海上漂流未归。当初，奥德修斯率自己的船队离开特洛伊后，先到了喀孔涅斯人的岛国，遭到当地人的袭击。又漂流到另一个海岸，一些船员吃了“忘忧果”之后，便流连忘返，不想再回家了。于是奥德修斯便把这些船员绑在船上继续前进，不久到了游牧巨人的海岛，被囚在吃人的独眼巨人波吕斐摩斯的山洞里，他残忍杀害了奥德赛6个队友，独眼巨人是波塞东的儿子。奥德修斯用一根削尖了的巨大木头刺瞎了巨人的独眼，把活着的同伴一个个缚在公羊的肚子下面，逃出了洞口。从此海神便同他作对，一路兴风作浪，存心害人。他们逃到了风神岛，风神送给他们一个口袋，可以把所有的逆风都装进去，这样便能一帆风顺回家了。不料当船快行驶到家时，众水手以为口袋里面装的是金银财宝，乘奥德修斯睡觉时打开了口袋，结果各路风神倾刻呼啸而至，又把他们吹到风神岛。风神拒绝再次帮助他们，他们任凭船漂流到巨人岛。居住在这里的巨人们用巨石击沉了船队的11条船，而且还凶狠地用鱼叉捕捉溺水的人充饥。奥德修斯所乘坐的船因为没有靠岸而幸免于难，他带领水手们来到了魔女喀耳克的海岛上，喀耳克把他的一些同伴变成了猪，由于神的保佑奥德修斯战胜了魔女，并受到魔女的款待。为了打探回家的道路，他在魔女的帮助下游历了冥府，从先知忒瑞西阿斯的预言中得知了自己的未来。接着奥德修斯遇到了许多旧时战友的亡灵，并与阿伽门侬，阿喀琉斯的幽灵交谈。之后他们继续航行，顺利地通过了以歌声诱人的妖鸟岛。从海神怪斯库拉那里和大旋涡卡律布狄斯中经过时，奥德修斯又失去了六个同伴。在日神岛上，由于同伴不顾奥德修斯的警告，宰食了神牛，激怒了宙斯，宙斯用雷霆击沉了渡船。大多数人因此丧命，他只身被冲到卡吕普索的岛上，并且被软禁了七年。与此同时，百余名贵族子弟盘踞在奥德修斯的宫殿里，向他美丽的妻子珀涅罗珀求婚。他们终日宴饮作乐，尽情的消耗他的家产。珀涅罗珀始终忠于自己的丈夫，为拒绝求婚者她借口要为公爹准备殓衣，等她布织好后她才可以改嫁。于是她白天织，晚上拆，这样往返重复，以此来拖延时间。奥德修斯的儿子忒勒马科斯受女神雅典娜的暗中指点，离家去寻找父亲。他先到皮罗斯找涅斯托，没有得到消息，最后在墨涅拉俄斯那里才知道奥德修斯还活着，在女神卡吕普索的岛上。奥林匹斯山上的众神非常同情奥德修斯的遭遇，派了神使赫耳墨斯叫卡吕普索放奥德修斯回去。女神恋恋不舍地送奥德修斯乘木筏离开了海岛。奥德修斯在海上航行了17天，家乡的山峦已隐约可见，却不幸被波塞东发现，把他的木筏击碎。奥德修斯在众神的帮助下，漂到了斯克里亚岛。国王的女儿瑙西卡遵照雅典娜的授意在海边洗衣，发现了奥德修斯，把他带回王宫，国王设宴招待他，席间歌手吟咏特洛伊战争的故事，其中也有奥德修斯本人的英雄事迹，他听后不禁掩面而泣。应主人的要求，他讲述了自己十年来的遭遇。国王阿尔咯诺俄斯听了奥德修斯的叙述，大为感动，派了一只船和许多水手送奥德修斯回国。雅典娜把奥德修斯变成了一个衣衫褴褛的乞丐，然后让他到牧猎人家里与儿子忒勒马科斯见面。忒勒马科斯向父亲讲述了家中的事情，父子俩共同商议了回家复仇的计划。第二天，父子相继回宫，衣衫褴褛的奥德修斯向求婚者乞求施舍而遭到侮辱。当晚，珀涅罗珀被告知奥德修斯还活着，而只有给奥德修斯洗脚的老奶妈从脚上疤痕上认出了主人。次日，奥德修斯在大厅中利用比武的机会杀死了所有的求婚者，一家人终于团聚。 [2]创作背景播报编辑一般认为，《奥德赛》创作于公元前8世纪末的爱奥尼亚，即希腊安纳托利亚的沿海地区。人物介绍播报编辑奥德修斯《奥德赛》中的主人公奥德修斯是伊大卡岛的王。他聪明、勇敢、坚强而又善用计谋。在特洛伊战争中，他是一个足智多谋的政治家和领袖。他曾多次献计，屡建奇功。在《奥德赛》中，在与惊涛骇浪和妖魔鬼怪的搏斗中，也巧用智谋，勇敢地战胜了无数次艰险。困难吓不倒他，任何的荣华富贵，甚至爱情的诱惑也动摇不了他。鼓舞他战胜困难的是他对部落集体和对妻子的深厚感情。他曾对卡吕浦索仙女说：“……聪明的佩涅洛佩在身材和容貌上都比不过你；她不过是个凡人，你却长生不老。可是我还是天天怀念，想要回家，想看到还乡那一天，哪怕天神在葡萄紫的大海上打击我，我也有忍受苦难的决心，可以坚持下去。”仙境的生活，娇艳的神女，长生不老的法术，他都不留恋，什么也打消不了他对家乡的眷恋之情。当他经过十年漂泊，终于踏上伊大卡岛的土地时，他狂吻着土地，心中的喜悦难以形容。接着，摆在他面前的又是一场恢复王位和向求婚者复仇的斗争，一场争夺和维护私有财产的斗争。奥德修斯在这场斗争中机智、多谋、狡猾而又多疑。他对妻子也采用欺诈、试探的手段，甚至对天神也如此。史诗对这些是当做正面的品质加以歌颂的。这在当时条件下并不算是不正当的行为。他在斗争中，私心很重，财产观念很重。他杀死了众多的求婚子弟后，又处死了许多与仇人合作的奴隶，奥德修斯的形象，带有早期奴隶主的特点。忒勒马科斯《奥德赛》中不仅仅只有奥德修斯一人的航海经历，奥德修斯的光芒常常掩盖了另一次重要的航海历程，也是他儿子——忒勒马科斯出海至普洛斯等地寻访父亲下落的旅程。 [3]忒勒马科斯的航程简短，没有其父一般的丰富多彩与跌宕起伏，却不失独特的意义。从成长的角度看，奥德修斯是一位成年英雄，性格已然定型，但忒勒马科斯仍需经历锻炼与考验，由一个面临困境而手足无措的大男孩，成长为一位被社会认可的英雄。换句话说，奥德修斯可以被看成是成熟了的忒勒马科斯，而忒勒马科斯可以被当做成型中的奥德修斯。细读忒马科斯在伊萨卡从被嘲讽到被认可、从被排斥到被畏惧的过程，既可以了解成长主题的普遍意义，又能体会经典作品的丰富与细致。 [3]忒勒马科斯航海的目的是寻找父亲奥德修斯的下落，而他所需要面对的挑战则是完成自我成长，成为像父亲奥德修斯一般勇武善战、智谋过人的男性英雄。史诗以细致的手法，再现忒勒马科斯被迫出海、海外求知与回航杀敌的成长历程。如果说“对于欧洲文学无论从事何种严肃的研究均须以荷马作为无可避免的起点”，那么，忒勒马科斯的这次航程，虽然相比奥德修斯的无疑要平淡许多，但从航海叙事与男性成长的角度看，却也不失其独特的典范作用与原型意义。 [3]佩涅罗佩佩涅罗佩也是诗人着意刻画的一个女性形象。她坚持等待丈夫归来，长达二十年之久，最后三年还抵制了众多青年求婚者的胁迫。诗人把她塑造成一个不仅外貌美丽，而且具有美丽心灵，聪明、贤淑、忠贞的妇女形象。 [10]佩涅罗佩对整个复仇行动的重要作用首先在于，她在丈夫离家、孩子年幼、求婚人逼迫这样孤立无援的情况下，凭一己之力成功地用织锦计牵制了求婚人。虽然织锦计最终以被求婚人识破而失败，但佩涅罗佩的计策却延迟了婚期，为奥德修斯的回乡争取了时间。不仅如此，在拖延婚期的这段时间里，佩涅罗佩还凭借自己的力量维护了家族政权与荣誉。试想，如果佩涅罗佩没有坚守对丈夫和家族的承诺，而是在奥德修斯下落不明的情况下改嫁求婚人，那么奥德修斯家族将失去对整个伊塔卡地区的绝对掌控权，而之后返回家乡的奥德修斯要想重新夺回家族统治权和荣誉将难上加难。 [12]雅典娜雅典娜是非常喜欢奥德修斯的。雅典娜除了保护奥德修斯之外，更是数次为了奥德修斯不惜与自己的父亲宙斯争论。但是，在每次帮助奥德修斯的时候，荷马也将雅典娜描绘得跟观音菩萨一样，喜欢幻化成人的模样而不是以真面目出现在奥德修斯面前。奥德修斯从没有见过雅典娜的真实面目，即便雅典娜已经在奥德修斯面前坦白自己的身份，但仍不以自己的真面目出现在他的面前，但奥德修斯一直坚信雅典娜的存在，坚信神祇一直在暗中帮助他，助他成功。并且，有时雅典娜出现的时候，他也能感觉得到是神祇的到来，而且也能察觉到雅典娜在暗中对自己的帮助。 [11]作品鉴赏播报编辑主题《奥德赛》的主要情节是描写主人公海上的冒险故事，是航海小说的鼻祖。奥德修斯格中最本质的特点就是自强不息，这使这部作品充满了激荡人心的悲壮色彩。《奥德赛》以三分之一篇幅所描绘的斯战胜圆目巨人、经过塞壬妖岛、通过卡吕布狄等惊险场面，充分表现了处于童年时期的人类发挥大智大勇、不屈不挠地战胜自然的积极进取精神。 [4]主人公从海上旅游到回归故里，共经历了十三次大的劫难，以海神作为化身的大自然暴烈无情，他最终吞噬了奥德修斯所有的伙伴，只留他孤单单独自返家。而沿岸的陆地也充满凶险和陷阱，到处有食人的巨人和利用巫术害人的巫师。希腊的英雄都是“知天命”的，通过神明和预言家之口，他们预先得知了自己的那个不可更改的定数，而所谓的“悲剧意识”恰恰表现在这种“明知不可为而为之”的行动中。奥德修斯从女巫喀耳刻那里预知了可怕的六头怪斯库拉必将吞去他的六个水手，但他并没有听从女巫的劝告，依然穿起金甲，手执利剑，准备与之决一雌雄，尽管那种恐惧是足以令其他船员魂飞魄散而撒手扔掉船桨。在大自然和神明面前，希腊的英雄决不是卑微儒弱的，他们毫不畏惧艰险的斗争，神明可以用干涉、劝戒的方式对人施以影响，但人的行为最终决定于自己的人格与能力，神明也赞赏勇敢与智慧，对英雄们表示特别的垂爱，因而在希腊世界不存在傀儡。尽管奥德修斯不像阿喀琉斯那样为了生前身后的荣誉，毫不吝惜青春与生命，但他所面临错综复杂的重重磨难以及他所进行的毫不畏惧的抗争需要更多坚韧不拔的毅力。奥德修斯百折不挠的顽强拼搏精神实际上就是一曲赞歌。有趣的是史诗描写了冥府中的西绊福斯，他用尽全力一次次试图将一块巨石推上山顶，而每次都功败垂成。这个从不灰心丧气、永不终止奋斗的形象，似乎生动形象还了史诗的主题。 [4]《奥德赛》与《伊利昂纪》的很大不同在于前者写英雄们为不朽的荣誉甘愿洒热血写春秋，后者的主人公却拼命地要活命。史诗中每逢他们逃脱了某种可怕的灾准万幸存下未，总是充满愉快和悲哀两种情感：为自己的幸运而欢欣，为伙伴的死亡而悲伤。希腊人不大考虑地府的状况，他们的地狱观念会孔糊不清，似乎那只是一个阴森森、惨凄凄跳梦坑。冥府中的阿基里斯说：“我宁愿做一个仆人，一个穷困潦例的人，也要活着，而不愿来统治冥界的所有灵魂”。实际上，希腊人把过多的目光都投向了现世的生活，阿基琉斯们对荣誉的追术，与奥德修斯的生存斗争实质是一致的即肯定现世人生，熟爱生命。战场上阿喀琉斯对荣誉的追求正是一个凡人可以超凡出众、显示生命强力的唯一途径，而奥得修的艰苦旅行中，选择死亡甚至比选择生存更容易，前途艰险，水手们丧生于巨人之口或许比经历了无数磨难而终于还是命陨苍海更为幸运呢。所以斯的求生斗争尽管更接近于本能反映，它仍然显现了人自身力量，是对生命价值的不懈追求。 [4]探讨《奥德赛》的主题，应把奥德修斯海上飘流的经历和他归家后与求婚子弟的斗争结合起来考虑；《奥德赛》以三分之二篇幅（实际上不到三分之二，因为其中有一部分是写帖雷马科寻父的）所写的奥德修斯与求婚子弟的斗争仍然可以归纳为对英雄的歌颂。恩格斯指出：“古代部落对部落的战争，已经开始蜕变为在陆上和海上为掠夺家畜、奴隶和财宝而不断进行的抢劫，变为一种正常的营生，一句话，财富被当做最高福利而受到赞美和崇敬，古代氏族制度被滥用来替暴力掠夺财富的行为辩护。”在古希腊人看来，氏族首领凭个人的强健体力和高超武艺夺取财富是一种英雄行为，因而也是正义行动。《伊利亚特》中阿喀琉斯之所以受到崇敬，不仅因为他是特洛亚人最害怕的希腊勇将，也因为他四出劫掠了大量财富；而阿伽门农却因凭联军统帅身分夺取了非分财富（女奴隶也是财富）而受到其他。巴赛勒斯”的谴责。阿喀琉斯的第一次愤怒也就是为了保卫已到手的财产，而能有力地保卫自己的财富当然也是英雄行为。同样，在《奥德赛》中，奥德修斯杀死求婚者们从而有效地保卫了自己的财产，自然也是一种英雄行为，是正义行动；而企图以强迫婚姻为手段夺取财富并大肆挥霍他人财产的求婚者们的所作所为，无疑是一种非正义的卑劣行径。诗人在这里歌颂了前者而谴责了后者。自然，这样的“英雄行为”和“正义行动”与我们的标准是大相径庭的。但是，”在人类刚刚进入文明的初期阶段，人与人的关系同后日不同，因此道德标准也不同；当时一个人只能依靠自己的双手和头脑来克服到处存在的危险，来保全自己；狡猾多疑在那种情况下不算是不正当的行为。荷马史诗所描写的人的道德品质不但不能和我们今天相比，就是同封建社会的标准相比，也是大不相同的。”“但这一切都不必担心，读这两部史诗的人所感受的只是诗里那一股年轻人的朝气，并且被史诗里的英雄主义所鼓舞。” [5]奥德修斯性格的一大特点就是他的足智多谋，这种智慧的极端表现使他有时显得狡猾又多疑，善于欺骗，对谁也不信任，甚至连女神也要试探一番。而实际上，他的智慧是另一种形式的力量。面对广阔的大自然，人自身的体力显得微不足道，智慧则显示了人更为本质的力量，奥德修斯的欺骗行为多次救了他的命。与独目巨人的博斗中，他大大利用了骗人的手段，那个机智的假名令他“虎口余生”。事实上，正是世道险恶才使斯变得过度谨慎。魅人的女妖之歌，喀耳刻的甜美笑容，以及巨人岛上打水的妙岭女郎，实际上都是暗含杀机的陷阱，稍不留心就会遭到不可预测的危险，奥德修斯的多疑与狡猾在那充满欺骗与诡诈的世界中可以说是必要的智慧，他对雅典娜的试探，是因为在弩漫长途中，他并没有感觉到女神的帮助，因而对女神失去了完全的依赖与信任，而他多次试妻，乃缘于阿伽门农的前车之鉴令他心有余悸。奥德修斯的老谋深算和忍辱负重都是为了最终达到以弱克强的目的。这里至柔与至刚达到了统一。运用智慧，尤其是运用机智和狡猾的欺骗战胜远胜于自身的对手，这也是西方文学中的一种传统，中古时期那诙谐的市民中充满了这种东西。实际上这种智慧才世人所具有的本质力量，对于智慧的崇拜也是希腊人尚武文化的另一个侧面。 [4]追求力量显现，表现为外向的，强悍的，乃至侵略性的特征，不看重人格的完美，而强调个体的力量；讲究德的修炼，则表现为内倾的，自律的，温和的特性，强调整体的统一与和谐。 [4]说得具体一点，《奥德赛》的主题就是对英雄的歌颂。是对在自然斗争和社会斗争中百折不挠，依靠个人的强健、善战、勇敢和机智取得胜利的英雄的歌颂，表现了人类童年时期的美好愿望、蓬勃朝气和英雄主义、乐观主义精神。 [5]另外，虽然《奥德赛》包括有许多早期的神话，但从它反映的社会生活和斗争来看，它的形成较《伊利亚特》为晚。通过俄底修斯还家后同贵族青年的斗争，史诗着重表现了一场争夺和维护私有财产的斗争。诗中不止一次谴责青年求婚者企图侵占俄底修斯家产的行为。这反映出，史诗形成于希腊社会中以私有财产为基础的奴隶制关系开始形成的时期。与此相联系，史诗在处理家庭关系上，也反映出一夫一妻制已在希腊的家庭生活中开始形成。俄底修斯的妻子泊涅罗泊坚持等候她的丈夫归来，长达20年之久；最后三年还抵制了成百个青年追求者的胁迫。诗人把她塑造成一个善良、忠诚和贞洁的妇女的形象，目的是要在她身上体现出形成过程中的新家庭制度的道德规范。还有一种意见，认为《奥德赛》的主题“就是对奴隶主、私有制的歌颂”。这种意见值得商榷。不错，奥德修斯“拥有大量财产和许多已有不同分工的男女奴隶，“还可以任意残酷地处死他认为不忠的奴隶”，但那是在他回到伊大嘉岛之后。而在回到家乡之前。他却是随时受到海神迫害的弱者，他呈现在读者面前的，不是凶残的奴隶主的面貌，而是奋起反抗命运、运用机智和勇敢战胜自然的英雄，按《欧洲文学史》的说法，“这部英雄史诗的诗意，这部分约占全书的三分之一，这是一个不小的比例，把《奥德赛》的主题说成是歌烦奴隶主和私有制，就无法贯串这一部分内容。 [5]《荷马史诗》中集海神、震地之神和马神于一身的宙斯的兄弟波塞冬，作为大海的统治者，在《伊利亚特》里，他既加入众神的纷争，也参与凡人事物的议决，支持阿开亚人一方，坚定地与特洛亚为敌。但是，在《奥德赛》里，作品更多地呈现出他雄性霸道的神明一面，成了阻碍奥德修斯归家的罪魁祸首。奥德修斯几乎被他逼退到的死亡的边缘，若不是海神女伊诺的相救、波塞冬停手并离开以及雅典娜停息部分风浪，他恐怕早就命归西天了。即便波塞冬碍于其他神明的意志而不敢直接杀死奥德修斯，但也能让后者遭受远离故土、漂泊在外的命运。不过，对奥德修斯来说，他的磕磕碰碰的经历既是肉体的磨难，也是精神的洗礼。所以，奥德修斯与波塞冬之斗，并非简单地被看作为顺利返乡而做出的迫不得已之举。面对海神波塞冬使出的、实际上就是诡谲多变、凶险四伏的大海的形象化的种种阻挠行径，奥德修斯勇于挑战自我极限，战胜魔女基尔克，克服海妖塞壬美妙歌声的诱惑，穿过海怪斯库拉和卡吕布狄斯的居地，摆脱海洋神女卡吕普索的仙岛七年挽留，最终与家人团聚。奥德修斯所作所为，不仅反映出人类的内在力量进一步增强，更多的智慧因素渗透进来，表达了人类试图认识大海，驾驭大海的愿望，更重要的是，向人类传达出了最重要的理念：人类坚信自己，能够主宰自身的命运。 [6]手法现实精神这部史诗在内容和风格上都具有《伊利亚特》不同的特点：《伊利亚特》写战争，情调高昂急促；《奥德赛》前半部写海上的遭遇，色彩绚丽，富于浪漫色彩，后半部写家庭生活，细致深刻，富于现实精神。按照亚里士多德的分类，《奥德赛》是一部复杂史诗，因为它“处处有发现”，发现是“从不知到知的转变”，亚氏是从情节安排的意义上谈论“发现”，如果“采取从文学作品里追溯思想和认识论发展史的研究方法”，则“发现”就有了哲学认识论的意义。荷马显然是一个神赋论者，他在两部史诗的开篇都吁请缪斯，从神那里获取歌唱的灵感，《伊利亚特》的人物对神的兆示深信不疑，对神的指令惟命是从，对神的依赖在《奥德赛》里仍然有明显的痕迹，奥德修斯的回家是由总设计师雅典娜一手运作的。但在神学释事的氛围里，《奥德赛》里的人物具有更多的实证精神，奥德赛与特勒马科斯相认时儿子对他的怀疑（因为他没有凭证能证明自己就是奥德修斯），老女仆欧律克勒娅凭脚上的伤疤对奥德修斯的识认，奥德修斯对牧猪奴证明自己的身份，向父亲拉埃尔特斯追忆儿时赠送果树的情景，妻子佩涅罗佩以婚床为命题对丈夫的考验，都具有认识论上的意义，他们不再相信神兆，他们只相信自己的眼睛和耳朵，他们用事实求证，这是由神学释事到实证释事的转变，是公元前8世纪的秘索思（mythos，神话，故事）到公元前5至4世纪希腊古典时期的理性的过渡。古代希腊一直存在秘索思与理性的对立，苏格拉底主张给事物以恰当的定义是这一对立的有力说明，他的主张也标志着希腊人认知方式已完成了由秘索思到理性的过渡。 [7]叙述结构《奥德赛》也有环形结构暗示的神学时间观，但由表层的平行结构暗示的线性时间赫然显现在《奥德赛》中，这是一部情节复杂的史诗，奥德修斯的回乡有正叙、倒叙、插叙，有单线的故事推进，有双线的并列展开，它们都是在明晰的时间之线中依次进行。《奥德赛》中的环形结构是神学式时间观的残存，它的无处不在的平行结构是线性的矢量的个体时间的表征，它有着历时性特征，是个体对生命体验的结果，是社会历史时间观的萌芽。《奥德赛》故事的空间性位移要受到时间性流程的约束，奥德修斯出征时儿子特勒马科斯尚在襁褓中，回家时——也必须在回家时——才长成英俊的美少年，拉埃尔特斯收买欧迈奥斯时他是一个儿童，奥德修斯回乡时他已变成忠勇的牧猪奴。线性时间显然对小说产生更大影响，18世纪的小说《鲁滨逊漂流记》、《汤姆·琼斯》已经有了清晰的时间线索，19世纪的经典现实主义小说如《红与黑》、《高老头》、《包法利夫人》、《战争与和平》中时间更是有了压倒一切的地位，如果没有严格的时间进程，在经典现实主义小说家看来就会失去小说的真实性，也会因之失去小说的历史文献价值和认识价值，即使是20世纪小说发生了“向内转”的趋势后，《约翰·克利斯朵夫》、《布登勃洛克一家》的情节也要充分考虑时间因素。环形结构代表的时间观表明史诗关系在《奥德赛》中顽强地保留着，否定《奥德赛》作为史诗的根本性质是不明智的甚至是可笑的，但史诗的平行结构代表的时间观也潜在暗示着《奥德赛》对小说的深刻影响，从中可以进一步看到《奥德赛》与欧洲小说更多的显而易见的联系。 [7]风格另外，奥德修斯的言说极富文学性，是“怎么说”的精彩例证之一。这同时也与《奥德赛》的整体风格相一致，因为荷马主要通过人物的对话，而不是白描，来刻画人物形象的，并且，分析的这个细节，可以看作是《奥德赛》主题的体现，它淋漓尽致地表现了奥德修斯的足智多谋、机敏多智。本来，文学作品就是离不开细节描写的，因为“一切卓越的作品，如果把那些绘声绘影、栩栩传神的细节抽掉，使它们仅仅存下一个故事的梗概，它们的魅力也就消失了”。正是这许许多多的精彩纷呈的细节使得作品中的人物形象饱满，使得作品流传千古的；使得奥德赛成为欧洲神话和传说的根基，即罗马人所称的尤利西斯，并随后经历种种变形，从睿智之士到邪恶顾问，从英雄到戴绿帽子的丈夫，从开拓者到流亡者，被维吉尔、但丁和詹姆斯·乔伊斯一路效仿，使得荷马成为最优秀的诗人，荷马史诗“标志着欧洲文学的滥觞”。 [8]例如，在离家20年后，奥德修斯在回伊萨卡的路上船只毁损，被冲到了岛国沙丽亚王国的一个河口岸上，他当时是一丝不挂、浑身污秽、孤单一人。他遇到了这个岛国的公主瑙西卡娅，她同自己的随从一起来到河边洗衣服，随从们看到奥德修斯后都四散逃开，但公主瑙西卡娅没有动。奥德修斯对她说了一番话。他想要衣服，并且最终想得到帮助回家。他没有办法证明自己的身份，他怎样才能说服瑙西卡娅帮助自己呢？ [8]原文： [8]“公主在对面站定，奥德修斯不禁思忖，是抱住美丽的姑娘，以双膝的名义请求，还是远远地这样站定，用温和的语言，真切地恳告，请求指点城市赠衣穿。他心中思虑，觉得这样做更为合适：远远站住，用温和的语言真切恳求，不要鲁莽去抱膝，令少女心中生嗔怨。他于是温和而富有理智地开言这样说：‘恕我求问，姑娘，你是天神或凡人？你如果是位执掌广阔天宇的神明，我看你与伟大的宙斯的女儿最相似，无论容貌，无论身材或是那气度。如果你是位生活在辽阔大地的凡人。那你的父亲和尊贵的母亲三倍地幸运，你的兄弟也三倍地幸运，你会使他们心中永远充满不灭的喜悦和欢欣，看见你这样一美丽的姑娘去歌舞。但有一人比所有其他的人更幸运，他若能把你娶回家，付出优厚的聘礼。我从未亲眼见过如此俊美的世人，或男或女，我一看见你不由得心惊异。……现在神明送我来这里，让我继续遭不幸，我的苦难犹未了，神明们还会给我降下灾祸无穷尽。尊敬的姑娘，可怜我，遭到许多苦难后，我首先遇见了你，其他人我均不相识，他们拥有这里的城市和广阔的土地。请给我指点城市，赐给我粗布蔽体，如果你前来这里时带有一些衣衫。我祈求神明满足你的一切心愿，惠赐你丈夫、家室和无比的家庭和睦，世上没有什么能如此美满和怡乐，有如丈夫和妻子情趣相投意相合，家庭和谐，令心怀恶意的人们赠恶，亲者欣慰，为自己赢得最高的荣誉。’” [8]奥德修斯处于那种落魄境地，如果遵从内心的冲动，他恨不得马上扑到公主瑙西卡娅面前请求帮助，但理性告诉他如果那样做，不仅可能达不到目的，反而会适得其反，于是他决定“远远站住，用温和的语言真切恳求，不要鲁莽去抱膝”，他认为这样做更合适，为什么？这涉及一个个人空间问题，因为“我们每个人不论走到哪里都随身带着一个可以称之为个人空间的流动领地。如果他人进入这一空间，会觉得受到了威胁”。的确，空间的变化可以影响交际，起到加强交际的效果，甚至还可以超越言语的作用，人们交谈时相互间距离及其变化是整个交际过程中不可分割的重要组成部分，奥德修斯意识到这一点，况且他当时是赤身裸体，让人看起来是半人半兽的情况下，稍微轻举妄动就会惊吓公主，所以奥德修斯选择远远站住是极其明智的。再看奥德修斯是如何用温和的语言真切恳求公主的：他一开始就使用了大量的奉承，问她是一位天神还是一个凡人，如果是后者，那么她是如此美丽以至于“你的父亲和尊贵的母亲三倍地幸运”，然而最幸运的是那个把你娶回家的人，他会“付出优厚的聘礼”，因为你太美了，“我从未亲眼见过如此俊美的世人”，“我一看见你不由得心惊异”。在沿着这条思路说了更多以后，奥德修斯最后才提到了自己的情况：已经“遭到许多苦难”，但还将“继续遭不幸，我的苦难犹未了”，当话说到这时，也就是他的这段话已经说了大约四分之三时，他才请求公主的怜悯，指出自己的困境之一就是他在岛上一个人都不认识，他要求的仅仅是：“如果你前来这里时带有一些衣衫，”给我最差的，“赐给我粗布蔽体”，再就是请她告诉自己城市在哪里。奥德修斯的要求说得很简要——他请求怜悯和帮助一共只用了几句话，然后奥德修斯又把话题从自己转回公主，“我祈求神明满足你的一切心愿”，还特别指出包括了一位丈夫和一个家。 [8]后世影响播报编辑《奥德赛》作为史诗值得探讨的地方还很多。它其中也还有很多没完全解决的谜团。就单对古希腊人文化和历史的贡献也是巨大的。作为史诗巨著它与《伊利亚特》对西方乃至整个人类文化都有较深远的影响。我个人认为，在探究东西方人文化品格的形成的层面，它对于西方社会﹑西方文学﹑西方人的影响就好比《诗经》对中国人审美意识有深远的影响。《奥德赛》被看成西方海洋文学的源头之作，在学界不存在什么疑问。例如，江苏少年儿童出版社主办的《少年文艺》月刊杂志，在2002年第4期上刊载过《十部经典海洋文学推荐榜》的文章，该文指出：“古希腊两部最伟大的史诗《伊利亚特》、《奥德赛》，后者即是人类第一部海洋文学”。又比如，海洋出版社于2009年出版的《海洋文学研究文集》中的“序言”强调指出：“《荷马史诗》就是西方海洋文学的源头”《荷马史诗》作为西方文学之源头，譬如，可以从所谓军事文学的视角看，其中的《伊利亚特》又往往被视为欧洲文学史上第一部战争题材的巨著；也可以从所谓流浪汉小说源流看，其中的《奥德赛》又被看作是西方文学中第一部以个人遭遇为主要内容的杰作，成为由中世纪传奇逐渐演化为近代流浪汉小说的先驱，权作旅程文学的原型。所以，《奥德赛》既然被认定为西方海洋文学的开山之作。 [6]作者简介播报编辑大约公元前9～前8世纪，荷马出生在古希腊爱奥尼亚。他自幼双目失明，但听觉异常灵敏，且有一副好嗓子。8岁时，出于爱好也是为了谋生，他跟从当地著名的一名流浪歌手学艺。经过多年的勤学苦练，荷马成了一名十分出色的盲人歌手。老师去世后，荷马背着老师留下的七弦竖琴独自一人到各地卖艺。他四处漂泊，几乎踏遍了希腊的每一寸土地。每到一处，他一边弹琴，一边给人们吟唱自己创作的史诗。他的诗在七弦竖琴的伴奏下，美妙动听，情节精彩，很受人们的欢迎。几年下来，荷马成了一个家喻户晓的人物。其他歌手见荷马的史诗那么受欢迎，也争相传唱。这样，荷马的史诗便在民间广泛流传开来。到公元前6世纪中叶，雅典城邦的统治者组织学者把口头流传的荷马史诗整理成文字，就是现在人们读到的《荷马史诗》。 [9]新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 Baidu 使用百度前必读 | 百科协议 | 隐私政策 | 百度百科合作平台 | 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《奥德赛》荷马的作品15世纪抄写员John Rhosos（英语：John Rhosos）的第一册手稿（大英博物馆）写作日期约公元前8世纪體裁史诗语言古希腊语行数12,109 希臘語维基文库中的《奥德赛》

《奥德赛》的首段（希腊文）

Милосердие Амфитриты. В.Косов 139х198 х.м.2017 г

《奥德赛》（古希臘語：Ὀδύσσεια，羅馬化：Odýsseia，英語：Odyssey），又译《奧狄賽》、《奥德修记》或《奧德賽飄流記》，是古希腊最重要的两部史诗之一（另一部是《伊利亚特》）。《奥德赛》延续了《伊利亚特》中的故事情节，由盲眼诗人荷马所作。这部史诗是西方文学的奠基之作，是除《伊利亚特》以外现存最古老的西方文学作品。一般认为《奥德赛》创作于公元前8世纪末的爱奥尼亚（今希腊安纳托利亚的沿海地区）。

《奥德赛》主要讲述了希腊英雄奥德修斯（或譯奧德賽斯，罗马神话中称为“尤利西斯”）在特洛伊陷落后返乡。長達十年的特洛伊戰爭结束后，奥德修斯又漂泊了十年，才回到了故乡伊萨卡。當時人们都认为他已经死了，而在這時，他的妻子珀涅罗珀和儿子忒勒玛科斯正在面对一群放肆的求婚者，这些人互相竞争，以求与珀涅罗珀成婚。

現今《奥德赛》已被翻譯為多国语言，是公认的世界文学经典。许多学者认为这部史诗是由一些诗人、歌手或专业表演者（英语：rhapsode）口头创作而成的。至于当时口头表演的细节是如何、故事是如何由口头诗歌变为书面著作，学者至今仍争论不休。《奥德赛》的用语是一种书面的诗话希腊语，混合了伊歐里斯語、愛奧尼亞語等多种希腊方言。全诗共有12,110行，通篇使用了六音步长短短格（英语：dactylic hexameter）。《奥德赛》引人注目的元素包含了故事中戰士們的行動、詩歌的非線性敘事方法，以及婦人和農奴對事件發展的影響。在英文及其他很多语言中，单词“奥德赛”（odyssey）现在用来指代一段史诗般的征程。

《奥德赛》亦流傳了一个失落的续集，即忒勒戈诺斯史诗，据说是由斯巴达的修涅诵所著，而並非荷马。另一种说法則是被缪西斯或昔兰尼的犹哥蒙所藏了起來。

作者介紹[编辑]

現代多認為《奧德賽》的作者是希臘吟遊詩人荷馬。荷馬約出生於西元前 8-9 世紀的小亞細亞一帶，而他最為人稱道的兩部作品——《伊利亞德》與《奧德賽》（合稱「荷馬史詩」），對後代的文學、思想造就深遠影響。然而，關於他的文獻記載極少，而現有資訊也對他的生平眾說紛紜，例如有人主張他生活年代約在公元前 850 年，亦有人認為他處於公元前 10 世紀；對於他的出生地，更是被眾人說成了7個城市。

此外，西方學界更對「荷馬問題」爭論許久：究竟荷馬是為何人？是否真有此人？因為記載荷馬生平的傳記多對其生活年代、籍貫、生理特徵（像是有沒有失明）等作出了不同的描述。現今主要包含了三大學派：短歌說、統一說、核心說。德國學者沃爾夫提出「短歌說」，指出公元前 9-13 世紀的史詩，各部份經不同人所作，經口耳相傳、加工，整理成文字，不過，基本上荷馬仍是主要作者；義大利學者維科則提出「統一說」，認為荷馬善用並集結前人資料，創作成詩歌；而「核心說」則是容雜「短歌說」與「統一說」兩方觀點，認為在兩部史詩形成前，荷馬已創作兩部篇幅不等的史詩，後來經他人加工彙整，形成現在看到的長篇。

寫作背景與歷史[编辑]

透過閱讀荷馬的史詩《伊利亞特》和《奧德賽》，我們可以知道《伊利亞特》以特洛伊戰爭作為劇情發展的基礎，而《奧德賽》的內容為接續特洛伊戰爭所延伸出的內容，史詩的兩部分皆融合了希臘神話故事的元素，目前普遍認為詩人荷馬創作《奧德賽》的時間是公元前八世紀，而《奧德賽》的內容描述戰爭英雄—奧德修斯在特洛伊戰爭之後的返家旅程，其中特洛伊戰爭被估計發生於西元前十二世紀，地點位於當今靠近愛琴海的安納托利亞高原上，因為帕里斯搶奪斯巴達國王的妻子—海倫，所以引發了特洛伊戰爭，而在兩卷史詩中，古希臘流傳下來的神話是史詩不可或缺的內容，希臘神話中的眾神是開啟史詩篇章的人物，由前述可知《奧德賽》以特洛伊戰爭的歷史和希臘神話為創作的背景和素材。

角色介紹[编辑]

奧德修斯：特洛伊戰爭後，在海上流浪十年終於返鄉，並殺死企圖篡位的求婚者。

阿爾喀諾俄斯：在女兒懇求下，收留漂流至此的奧德修斯，聆聽奧德修斯十年海上漂流的故事後協助他返家。

波利菲莫斯：海神波賽頓之子，為一食人巨人，奧德修斯為逃出其洞窟刺傷他其中一隻眼睛，憤而請求其父為他報仇。

埃奧洛斯：風神，贈與奧德修斯風囊助其返鄉。奧德修斯的伙伴解開皮囊後，一行人又回到埃奧利野島，他拒絕再度幫助奧德修斯，個性變幻莫測。

喀耳刻：說人話的女神，其法力能馴服豺狼虎豹，也能將人變成豬。之後和奧德修斯化敵為友，收留奧德修斯和他的伙伴一年，並指引他前往陰間，請示先知指點未來。

泰瑞夏斯：底比斯人，為一盲先知，其亡魂在陰間為奧德修斯預示未來命運。

賽蓮：海中女妖，以歌聲迷惑航海人，使之忘記歸途。奧德修斯命伙伴塞住耳朵，將自己綁在船上，成功避開賽蓮姐妹的誘惑。

卡呂普索：將奧德修斯困在奧古吉亞島上七年，殷勤侍奉他並希望奧德修斯成為她的丈夫，最後在宙斯的要求下才答應讓奧德修斯離開。

佩涅羅珀：奧德修斯之妻，在奧德修斯海上流浪十年之際堅守未嫁，美麗且具有觀察力。

鐵拉馬庫斯：奧德修斯之子，在雅典娜幫助下與父親重逢，並協助父親將圖謀不軌者清除，個性深思熟慮。

安提諾俄斯：求婚者之一，吝嗇、對乞丐態度惡劣。

梅蘭妥：奧德修斯家的侍女，是尤如馬科斯的情人。

尤丽克莱亚：奧德修斯父子的奶媽、忠心侍主。

奧德修斯個性

說明

英勇善戰

在與驚濤駭浪和妖魔鬼怪的搏鬥中，勇敢地戰勝了無數次艱險。

重情重義

多次為逝去的伙伴感到不捨。

足智多謀

想出妙計刺傷圓目巨人之眼並拯救伙伴逃離其洞窟。

得意忘形

離開圓目巨人島後挑釁巨人，被下詛咒，歷經十年才得以返家。

忍辱負重

喬裝成乞丐進城時聽聞求婚者對他污辱、譏笑，奧德修斯不輕舉妄動，並等待時機一舉殲滅求婚者。

堅忍不拔

一路上抵抗食蓮族、喀耳刻、賽蓮和卡呂普索的誘惑，雖然曾經動搖，最終仍堅定返鄉意志。

內容[编辑]

此章節尚無參考來源，內容或許無法查證。 (2024年2月20日)

第一部分[编辑]

雅典娜懇求宙斯讓奧德修斯平安返家，並假扮凡人來到伊塔卡，看到求婚人在佩涅羅珀家門口白吃白喝。雅典娜向剛成年的王子鐵拉馬庫斯透露奧德修斯的蹤跡，鼓勵他召開公民會議並去向聶斯托和梅內勞斯打聽父親下落。鐵拉馬庫斯受到鼓舞，脫胎換骨，突然醒悟這位客人是永生的女神。

鐵拉馬庫斯召集阿凱阿人開展會議，憤慨控訴求婚人的惡性。而求婚人反而怪罪佩涅洛斯用為拉業帖斯織壽衣的計謀來拖延時間。宙斯派遣神鷹顯示警兆，勇士哈利特賽斯解讀兆象，求婚人卻不以為意。帖列馬科斯的出海計劃遭到求婚人的嘲笑。雅典娜幻化成蒙托爾，催促鐵拉馬庫斯上路。雅典娜準備好快船，替帖列馬科斯做行前準備，陪他出海。

鐵拉馬庫斯和雅典娜前往皮洛斯拜訪聶斯托，聶斯托告知他們戰友們歸鄉的境況，卻不知道奧德修斯的情況。雅典娜化成海鵰消失，聶斯托派兒子佩西斯剎托斯陪同帖列馬科斯前往斯巴達拜訪梅內勞斯。

鐵拉馬庫斯和佩西斯剎托斯到達斯巴達拜訪梅內勞斯和海倫夫婦，梅內勞斯談論起了自己歸鄉的路程和與奧德修斯的情誼。在帖列馬科斯表明來意後，梅內勞斯講述自己滯留埃及後去尋找海界大老普若透斯，海界大老告知艾阿斯、阿格門儂已死亡的事實和奧德修斯被仙女卡呂普索困在孤島上的境況。求婚人聽說鐵拉馬庫斯挑選了地方上最優秀的人出航，非常震驚並醞釀計謀在帖列馬科斯歸途用青銅利器刺殺他。雅典娜造出其妹妹伊芙緹美的幻影送到宮殿安慰佩涅洛斯。

第二部分[编辑]

在奧林帕斯神宮，雅典娜向宙斯抱怨奧德修斯的遭遇，宙斯便派神使前往奧古吉亞要卡呂普索放人，卡呂普索雖然不滿但也只能發頓牢騷。她甚至允諾給奧德修斯永生只求他繼續跟她同居，奧德修斯仍然拒絕了。隔天奧德修斯開始建造木筏，接著出海。十七天後，波賽頓看見他便掀起狂風猛浪，奧德修斯九死一生，被海浪沖到費阿克斯海灘，赤裸著身體跑進橄欖樹叢避難。

雅典娜託夢給費阿克斯的公主建議他去海邊洗衣服，可望遇見如意郎君。公主和女僕洗好衣服在河邊玩球，巧遇狼狽的奧德修斯，她接受了奧德修斯的求救，給他衣服穿還指引她入宮懇求她的父母，以獲得援助。

雅典娜幻化成小女孩，指示奧德修斯進宮的路線。他進入王宮大殿，懇求王后和國王送他返鄉，國王答應了。晚餐時，王后問起奧德修斯的來歷，奧德修斯雖然講了自己與女神同居到離開的經歷，卻沒有透露自己是誰。國王挽留奧德修斯做女婿，但被奧德修斯婉拒了，國王也尊重他的選擇。

費阿克斯人決定護送奧德修斯回鄉，他們在出海前舉辦了盛宴招待奧德修斯，宴席間請盲詩人戴莫多寇斯唱歌助興，歌詞內容是特洛伊戰爭期間奧德修斯和阿基里斯吵架的事。奧德修斯忍不住掩面哭泣。宴會後舉行運動競賽，有人諷刺奧德修斯是生意人，不懂運動。奧德修斯當場露了一手讓費阿克斯人心服口服，接下來的宴會中戴莫多寇斯唱了戰神和阿芙蘿戴蒂的緋聞故事，緩和先前的緊張氣氛。奧德修斯接著點唱木馬屠城的故事，聽得痛哭流涕，引來阿基諾俄人問起奧德修斯的身份。

第三部分[编辑]

奧德修斯回應阿爾喀諾俄斯的疑問，並詳細敘述自己離開特洛伊後在海上漂流十年的經歷。奧德修斯一行人在色雷斯打劫基寇涅斯人後，船隊偏離航道途經食忘鄉果的食蓮族之地，抵達圓目巨人族的島嶼，好奇的奧德修斯誤闖波利菲莫斯的洞窟，以勇氣和謀略率領夥伴逃出，巨人因其眼睛遭刺瞎呼叫請求父親海神波塞冬為他復仇。

奧德修斯率領伙伴抵達風神埃奧洛斯的島嶼，獲贈風囊助其返鄉，皮囊卻遭其妒忌的伙伴解開，一陣暴風又將一行人吹回埃奧利野島，風神不願再次相助。接著抵達食人魔賴楚岡尼人之地，唯奧德修斯的船倖免於攻擊。下一站是喀耳刻所住的艾艾野島，他的伙伴被變成豬，奧德修斯得到赫梅斯相助成功解救同伴並與喀耳刻同居一年，之後請她指示返鄉之途，奧德修斯必須先前往陰間請示泰瑞夏斯的亡魂。

奧德修斯航抵陰間後舉行祭亡儀式，見到泰瑞夏斯的亡魂，獲知自己未來的命運；見到母親的亡魂，得知家中近況；見到歷代名媛、昔日戰友以及受罰的亡魂，聆聽他們的故事和忠告，並離開陰間。

重返陽世後，喀耳刻向奧德修斯預告前程的危難，並指示化解之道。他們避開賽蓮姐妹的誘惑、穿越絲庫拉斷崖和卡茹柏笛絲漩渦，抵達翠納基野島。他的伙伴不敵飢餓，趁奧德修斯入睡時屠宰太陽神赫遼絲的聖牛飽餐一頓，太陽神憤而告知宙斯，威脅將陰陽倒錯，宙斯發威，奧德修斯的伙伴全數罹難，他獨自漂流到卡綠普娑的奧古吉亞島。

第四部分[编辑]

阿爾喀諾俄斯盛宴款待外，他備齊珠寶、水手、船隻，派人護送奧德修斯返家。然而，仍對奧德修斯懷有心結的海神波塞冬，為奧德修斯的返家之路添上最後一道難關：以煙霧覆蓋、群山環繞船隻，使眾人認不出島嶼。而好不容易靠岸醒來的奧德修斯，因多年未見故土，竟認不得。正當苦惱到何處時，變身牧羊人的女神雅典娜現身，告訴他他已來到故居—伊達卡。同時，女神也幫她張羅財寶藏匿處、把奧德修斯喬裝成乞丐，協助他為之後赶跑求婚者做準備。

忠僕熱情款待喬裝成乞丐的奧德修斯（後簡稱「乞丐」），乞丐則一邊打探關於他和妻兒的消息。從僕人口中得知他的求婚者霸佔自家、成天盼望和佩涅洛普成婚，然多苦盼許久，大家都不相信德修斯還在世。此時，乞丐向忠僕保證，奧德修斯一年內必會回家，向對其妻小無理的人報仇。忠僕問及乞丐身世時，乞丐喬裝克里特的望族之後，將編造的故事娓娓道來，並提及某次遇難，從救命恩人受泰斯普羅提亞人口中得知奧德修斯正在返家的消息，增強自己的說服力，然而忠僕最終仍不採信。酒足飯飽後，乞丐又說起第二個故事，講述作戰時，奧德修斯如何康慷的借他斗篷穿，為的是希望豬宦他們同樣禮遇他。故事尾聲，豬宦們慷慨給予斗篷，再次印證他的真誠待客之心。

雅典娜來到奧德修斯之子鐵拉馬庫斯所在處，督促他急速返家，同時，警告他有求婚者埋伏準備殺他、應如何避難，以及請忠心耿耿的豬宦通知母親—佩涅洛普他安然返家的消息。歸心似箭的鐵拉馬庫斯迅速告別款待他的家庭，在眾神的幫助下，快速航行回家園。另一方面，仍寄居豬宦家的乞丐一方面繼續測試豬宦的好客是否真誠，一方面聊起豬宦的身世。聽到豬宦悲慘的身世，乞丐感嘆他們同是天涯淪落人。

鐵拉馬庫斯的船終於抵達家土。他吩咐豬宦進城向母親佩涅洛普傳達他返家的消息。當豬宦離開時，女神雅典娜現身將乞丐變回原本英挺、睿智的模樣，與兒子相認，並共謀驅趕求婚者之計。此時，豬宦抵達城中向佩涅洛普報告佳音。得知謀害鐵拉馬庫斯之計沒成功的求婚者，紛紛表示驚恐，籌劃該如何再謀殺他，或奪取財產求佩涅洛普。而後豬宦返回農舍，向鐵拉馬庫斯和奧德修斯證實求婚者意圖謀害前者的訊息。

第五部分[编辑]

奧德修斯的兒子鐵拉馬庫斯返家之後立刻探望他的母親—珮涅洛珮，隨後鐵拉馬庫斯邀請外鄉人一同回家，鐵拉馬庫斯請養豬者帶奧德修斯進城乞討，而奧德修斯也瀟灑地接受進城的建議，正當奧德修斯和豬倌尤麥俄斯前往進城的路途中，碰到了珮涅洛珮的求婚者，求婚者對奧德修斯言語侮辱、譏笑他窮困的處境，甚至攻擊奧德修斯，儘管奧德修斯面對這些侮辱，他也不輕舉妄動地回擊對方，之後奧德修斯和尤麥俄斯在路上聞到宴會食物的香氣撲鼻，他們開始討論誰進去宴會、誰負責在外留守，而趴在一旁的狗阿果斯因為聽到主人的聲音而豎起耳朵，奧德修斯走進阿果斯疑惑這隻狗為何身處糞堆中，尤麥俄斯則感嘆阿國斯先前的英勇健壯，然而因為其主人過世也未得到女主人妥善的照顧，所以年老體衰，奧德修斯和尤麥俄斯進入奧德修斯的家後，鐵拉馬庫斯給奧德修斯一個精美的籃子讓他向在場的求婚人乞討，奧德修斯向安提諾俄斯乞討並訴說自己歷險受難的過程，卻遭到惡言相向，奧德修斯因此向眾人訴說安提諾俄斯的惡行，眾人因此批評安提諾俄斯的惡劣行徑，珮涅洛珮得知外鄉人（奧德修本人）知道自己丈夫的消息後，急忙請外鄉人前來告知，但假裝是外鄉人的奧德修斯堅持等到天黑才願意跟珮涅洛珮見面。

在伊塔鎮上還有另一個乞丐伊諾斯，他想將奧德修斯從門檻趕走，奧德修斯和伊諾斯因此陷入爭執，安提諾俄斯帶頭煽動求婚人們在旁邊看好戲，當奧德修斯展現健壯的身材時，伊諾斯恐懼至發抖，結果奧德修斯輕易地將伊諾斯打敗，安提諾俄斯因此對假扮為外鄉人的奧德修斯產生尊敬之心，奧德修斯藉機警告求婚人們不要霸佔他人財產和妻子，否則會遭受厄運，珮涅洛珮得知外鄉人和伊諾斯的衝突之後，她指責鐵拉馬庫斯沒有使外鄉人免於欺負，之後便回憶起奧德修斯出門打仗前對自己的叮嚀，和感嘆現代的求婚風氣不像以往，現在的求婚者只靠禮物的物質虛榮打動心動之人，而非表達內心的真實情感，此時安提諾斯在旁又提醒珮涅洛珮應該要接受求婚者們提供的禮物。

奧德修斯建議僕人們多多陪伴珮涅洛珮的、分擔她的思念之努，侍女梅蘭妥批評外鄉人，認為他沒有資格命令家中的僕人，並且用尖酸吝嗇的語氣和外鄉人講話，奧德修斯嚴厲地告知若梅蘭妥不尊重他，則她將受到鐵拉馬庫斯的懲罰，不僅受到梅蘭妥刻薄的對待，尤如馬科斯接著諷刺有著外鄉人外表的奧德修斯，聽見奧德修斯沉穩回答後，尤如馬科斯惱羞成怒地拿腳凳砸奧德修斯，沒料到奧德修斯身手矯健地閃過，而腳凳卻砸到僕人，宴會氣氛被破壞後求婚者紛紛都對奧德修斯更不滿，而帖列馬科斯則表示不歡迎這群求婚者繼續待在家裡，在一陣酣酒之後，求婚者一哄而散，奧德修斯家終於不再嘈雜。

奧德修斯告訴鐵拉馬庫斯要將兵器收藏並保養好以備不時之需，他們父子一起整理兵器和盔甲，此時雅典娜的現身使鐵拉馬庫斯感到驚艷，而奧德修斯提醒兒子不張揚有雅典娜協助他們的此事，由於女僕梅蘭妥看見外鄉人還繼續留在家中，所以他再次破口大罵外鄉人厚臉皮地賴在奧德修斯家，被珮涅洛珮聽見後，梅蘭妥遭女主人珮涅洛珮的責罵，珮涅洛珮接著趕緊向外鄉人詢問自己丈夫的下落，並說明自從丈夫離去後當權者紛紛向她求婚，而珮涅洛珮為了不答應任何一人的求婚，因此藉口若完成織造壽衣就會答應求婚，但事實上她在夜裡將織好的衣服剪掉，但後來宮中僕人將洩漏，因此求婚者們知道後就威脅珮涅洛珮要趕緊接受求婚，在珮涅洛珮的追問下，奧德修斯為自己的身分編造了故事，他以外鄉人的身分訴說著與奧德修斯相處情形，聽到關於丈夫的事情，珮涅洛珮不禁哭泣，而奧德修斯在一旁只能忍住不安慰她，經過珮涅洛珮的考驗後證明外鄉人所說的是可信的，但珮涅洛珮更加傷心，而奧德修斯以外鄉人的身分向珮涅洛珮說奧德修斯即將返家，聽到外鄉人所敘述的一切，使珮涅洛珮更下定決心要好好款待外鄉人，因此命令家僕用心服侍外鄉人且不得無禮，否則會被受懲罰，奧德修斯指定老婦人幫他洗腳，奶媽尤如克蕾雅向外鄉人說他的聲音、身材和腳與奧德修斯極相似，當尤如克蕾雅看見外鄉人腳上的疤痕時，她認出了外鄉人就是奧德修斯，並回憶起奧德修斯因打獵被野豬傷害，所以留下了疤痕，奶媽因為太過高興而差點洩漏奧德修斯的身分，但她答應奧德修斯會保守秘密。

珮涅洛珮向外鄉人詢問自己的夢境，外鄉人告訴她那是奧德修斯將殺死求婚者的寓言故事，然而珮涅洛珮宣布她將在隔天舉辦一個競賽，若有求婚者的箭術能向奧德修斯一樣精準，她就會答應他的求婚，但外鄉人有信心地說奧德修斯一定會趕回來阻止自己的妻子被求婚者帶走。

第六部分[编辑]

受不了眾多求婚者的長久以來的騷擾，珮涅洛珮宣布只要有人能拉開奧德修斯的大弓，一箭射穿十二把斧頭上的孔，就能成功迎娶她，奧德修斯扮裝成破爛的乞丐，趁大家不注意時悄悄關起宮殿的大門，讓大家無法進出，射箭大賽中追求者無人能把弓拉開，這時奧德修斯扮成的乞丐說自己也想挑戰，雖然眾人都不相信他能成功但珮涅洛珮同意讓他試試看。

奧德修斯不費力就把大弓拉開，並一箭射向求婚者的首腦安提諾俄斯，向眾求婚者宣戰，與兒子鐵拉馬庫斯並肩作戰，最後奧德斯以才智取勝，廳堂佈滿了求婚者的屍體。奧德修斯和奶媽克茹克蕾雅相見，克茹克蕾雅認出奧德修斯，為他終於回家而高興不已，眾女眷們誠心歡迎奧德修斯返家。

奶媽告訴珮涅洛珮說她朝思暮想的奧德修斯已經返家，起初珮涅洛珮不信，相隔太久她無法相信自己的丈夫就是眼前外表骯髒破爛的乞丐，即使那麼長的時間過去，他心中的奧德修斯一直是年輕俊美的樣子，但奧德修斯在重新打扮著裝、並說出婚床的秘密後，臥床不可能被搬動這件事只有奧德修斯知道，夫妻終於相認，闊別二十年後奧德修和妻子珮涅洛珮團圓。

赫梅斯引領被奧德修斯殺死的求婚者的亡魂前往陰間；在果園裡奧德修斯以被野豬撞傷的傷疤與自己的父親拉頁帖斯相認，終於三代團圓；求婚者的家屬非常悲憤，決定向奧德修斯復仇，以人海戰術挑戰奧德修斯，戰爭一觸即發，女神雅典娜適時出現並出手干預，最終迎來長久的和平。

分析[编辑]

題材剪裁[编辑]

本作的敘述從接近高潮的中間開始，敘述發生在奧德修斯飄泊的第十年，並且只集中敘述此後四十天里發生的事，此前發生的事則由奧德修斯應費埃克斯王阿爾喀諾俄斯的要求追敘。詩人對這四十天里的事情的敘述又有詳有略，有的一筆帶過，一卷包括數天的事件，有的敘述詳盡，一天的事情佔去數卷。由於上述結構安排，使得書中所有的情節既如亞里士多德稱贊的那樣，圍繞著一個人物的一個行動展開，整個敘述又有張有弛，有起有伏，詳略相間。由此可見，當時的史詩敘事藝術已經達到相當高的水準。有人批評《奧德賽》的結構有些鬆弛，這不無道理，但同時也應當承認，[原創研究？]所有情節都不背逆圍繞一個行動的原則。即使鐵拉馬庫斯探詢父訊的情節似乎可以獨立成篇，但它在詩中仍是為總的主題服務的，並且正是通過他探詢父訊的形式，補敘了特洛伊戰爭結束及其後的許多事情，包括構成一些失傳史詩的主題的英雄們回歸等情節[原創研究？]。

主題分析[编辑]

主題一：傲慢

許多神話中，眾神會懲罰極度驕傲或過分自信的人，來使他們學會自我克制和耐心。奧德修斯為自己的特洛伊冒險感到自豪。因此上帝以遠離家鄉、並在歸途中經歷重重考驗來懲罰他。奧德修斯用了十年的時間才回到他忠實的妻子佩涅羅珀和兒子鐵拉馬庫斯身邊。他面對的挑戰有喀耳刻、卡吕普索的魔力，獨眼巨人的憤怒以及無數的冒險。但他最終打敗了傲慢的追求者、贏得勝利。這意味著他的傲慢罪行在長期遭受苦難後得到了寬恕。

主題二：賓主之道

史詩中有幾個展現賓主之道（Xenia）的例子，這些例子體現了作為主人待客時應該和不應該的行為。斯克里亞給奧德修斯提供食物和住所，讓他安全回家，展現了一種模範的賓主之道，這是一個主人應該做的事情。波利菲莫斯表現出負面的賓主之道。他給奧德修斯唯一的「禮物」就是他最後會吃掉他。卡吕普索也體現了不佳的賓主之道，因為她不允許奧德修斯離開她的島嶼。王權意味著慷慨，這是賓主之道的另一個重要因素。人們認為國王有辦法成為慷慨的東道主，並且國王在面對自己的財產方面更爲慷慨。當奧德修斯偽裝成乞丐時，向其中一個追求者安提諾俄斯乞求食物而安提諾俄斯拒絕他的請求。奧德修斯說，雖然安提諾俄斯可能看起來像國王，但他本質上離國王很遠，因爲他不具有慷慨的特質。[原創研究？]

主題三：英雄主義

英雄主義意味著克服內部和外部的敵人。[來源請求]奧德修斯在漫長的回家之旅中面臨許多誘惑和挑戰。他不僅克服了這些外部挑戰，而且還克服了內心衝突。他憑藉他的機智擊敗了獨眼巨人，憑藉勇氣擊敗了斯庫拉和卡律布狄斯。

主題四：誘惑

誘惑在過去和現在都被視為罪惡、邪惡行為和消極特質。透過不同情境下奧德修斯的性格特質，荷馬表明了誘惑的力量有時非常強大。[原創研究？]誘惑的範圍從感官享受到飢餓滿足或自豪感。當奧德修斯的士兵看到食蓮人時，他們立即陷入了誘惑之中。奧德修也受到了喀耳刻的美麗誘惑，但他在關鍵時刻拯救了自己。這表現了他與他的船員有多麼不同。在奧德修斯最終到達家中時，他並沒有陷入與他地盤上的追求者作鬥爭的誘惑。他克制自己、等待合適的時間再有所行動。這種落入誘惑和克制自己的差異使他與眾不同。

影響[编辑]

小說[编辑]

《尤利西斯》（Ulysses）：是愛爾蘭作家詹姆斯·乔伊斯的作品，1922年出版，小說的名字來自希臘神話英雄尤利西斯（Odysseus），人物、章節和內容經常表現出和荷馬史詩《奧德賽》的平行對應關係。

《無知》（L’ignorance）：作者為米兰·昆德拉，作者引用《奧德賽》中的經典段落，表達返鄉的主題，對照捷克流亡海外的人內心的鄉愁與恐懼，以「鄉愁」、「回歸」、「祖國」等作為主題。

《克雷的橋》（Bridge of Clay）：作者為馬克斯·蘇薩克，故事中最重要的主題是親情，故事人物鄧巴家的祖父母、父母以及鄧巴家五兄弟都喜歡讀《奧德賽》這本書，鄧巴的母親離家時也帶著這本書，整本小說的許多名字也直接套用希臘神話中的人物。

電影[编辑]

《奥德赛》（The Odyssey）（1997）：主要根據荷馬的史詩改編而成，導演是希臘人Andrei Konchalovsky。《饑餓遊戲》團隊也將改編、拍攝《奧德賽》，由知名導演Francis Lawrence執導。

《2001太空漫遊》（2001: A Space Odyssey）（1968）：由史丹利．庫柏力克（Stanley Kubrick）導演執導，影片靈感Arthur C. Clarke的小說《The Sentinel》，而這本小說是以《奧德賽》為藍本寫出的科幻小說，希臘史詩中奧德修斯在海洋上漂流，電影中化身奧德修斯的大衛像是宇宙奧德賽一樣，在太空中漫遊。

《不可能的任務：全面瓦解》（2018）：不可能的任務系列第六部《不可能的任務：全面瓦解》（Mission: Impossible – Fallout）以《奧德賽》作為任務訊息，一開頭彷彿就暗示了主角要通過重重難關，克服考驗後才能回家團聚。飾演主角的伊森韓特（Ethan Hunt）的湯姆克魯斯（Tom Cruise）表示受到這本史詩的啟發，自己的角色、不可能任務情報局（IMF）小組等的經歷都是一場漫長而充滿挑戰的旅程。

音樂[编辑]

2016年諾貝爾文學獎得主巴布．狄倫（Bob Dylan），他在演講中提到了《奧德賽》對他在音樂創作上的深遠影響，也列舉了受到《奧德賽》啟發的其他歌手的歌曲，例如《Homeward Bound》、《Green, Green Grass of Home》、《Home on the Eange》等，都是和歸鄉有關的作品。

《史詩：音樂劇》（EPIC:The Musical）(2022)：一部改編自《奧德賽》的音樂劇，由抖音平台用戶Jorge Rivera-Herrans製作，目前已推出錄音帶版本。

参见[编辑]

宗教主题

荷马史诗

伊利亞特

特洛伊戰爭

希臘神話

參考資料[编辑]

王焕生：我這樣理解《奧德賽》, 中國作家網。參考日期：2019年6月9日，取自：http://www.chinawriter.com.cn/wxpl/2014/2014-09-28/219764.html

中華民國教育部. 教育部重編國語辭典修訂本奧德賽. [2012-07-23]. （原始内容存档于2018-12-04）（中文（繁體））. 相傳

宋碧雲. 《希臘羅馬神話故事》. 台北: 志文出版社. 1988年.

陳吉斯(2005)，〈荷馬史詩《奧德賽》: 西洋文學的「旅行」與「歸鄉」母題 (I)〉。參考日期：2019年6月9日，取自：。

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odyssey 在英语-中文（简体）词典中的翻译

odysseynoun [ C usually singular ]

literary uk

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a long, exciting journey

漫长而惊险的旅程

The film follows one man's odyssey to find the mother from whom he was separated at birth.

这部影片讲述了一名男子寻找生下自己后就失散的母亲的漫长曲折的历程。

figurative a spiritual odyssey

精神探索

(odyssey在剑桥英语-中文（简体）词典的翻译 © Cambridge University Press)

odyssey的例句

odyssey

Our success will depend on complete understanding that solidarity is the only way in which we can face off all these great challenges and continue our odyssey in world affairs.

来自 Europarl Parallel Corpus - English

My own attempts at teaching a course involving the kind of comparative and retrospective approaches outlined here have been a challenging odyssey both for the students and for me.

来自 Cambridge English Corpus

I have visited primary and secondary schools, and some further education colleges in the local area, but my odyssey is by no means complete.

来自 Hansard archive

该例句来自Hansard存档。包含以下议会许可信息开放议会许可v3.0

As the film's subtitle suggests, the narrative is a spatial odyssey from the subhuman ape to the post-human starchild.

来自 Cambridge English Corpus

It is a shame that he is not here to hear about my odyssey about trying to obtain information which he apparently obtained with great ease and facility.

来自 Hansard archive

该例句来自Hansard存档。包含以下议会许可信息开放议会许可v3.0

He made the same odyssey in 1954.

来自 Hansard archive

该例句来自Hansard存档。包含以下议会许可信息开放议会许可v3.0

This book represents, one senses, something of a personal odyssey.

来自 Cambridge English Corpus

His has been a remarkable odyssey and, as this book illustrates, he has bridged the worlds of administration and scholarship with considerable acuity, balance, and elegance.

来自 Cambridge English Corpus

示例中的观点不代表剑桥词典编辑、剑桥大学出版社和其许可证颁发者的观点。

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漫長而驚險的旅程…

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取名奥德赛（Odyssey）是什么意思？ - 知乎

取名奥德赛（Odyssey）是什么意思？ - 知乎首页知乎知学堂发现等你来答切换模式登录/注册游戏刺客信条（系列游戏）荷马史诗（书籍）任天堂 Switch取名奥德赛（Odyssey）是什么意思？荷马史诗，汽车，马里奥奥德赛，刺客信条奥德赛。很好奇名称中使用奥德赛到底意味着什么呢？显示全部关注者9被浏览127,066关注问题写回答邀请回答好问题添加评论分享3 个回答默认排序王超然有句话我要说 pokemon第六时代才是最好的关注荷马史诗的一个故事，后因其故事情节被引申为长途旅行的故事发布于 2018-06-01 14:35赞同 12添加评论分享收藏喜欢收起荒唐一世RYouWithMe 关注odyssey, 从字面意思来看，就是漫长而充满风险的历程，强调旅途的艰辛，困难重重。在希腊神话中，经过特洛伊战争之后，在希腊军回家途中，因为英雄奥德修斯（ Odysseus ）激怒海神波赛顿，所以波赛顿降临灾祸于他，使他们遇到海难，全军覆没。奥德修斯虽因机智和勇敢逃过一劫，但波赛顿的愤怒未息，故使奥德修斯找不到回家的航线而在大海里漂流，历经了各种奇遇。而另一方面他的妻子不知奥德修斯的生死，面对着蛮横的求婚者就只有苦等着丈夫的回来。最后在诸神的帮忙下，经过十年漂流生活的奥德修斯终于回到家里与他的妻子团聚，并与儿子和忠实的老仆联手杀死了求婚者。荷马史诗之一的《奥德赛》（ Odyssey ）就讲述了奥德修斯的历险记，是古希腊最重要的两部史诗之一（另一部是《伊利亚特》）。《奥德赛》延续了《伊利亚特》的故事情节，相传为盲诗人荷马所作。这部史诗是西方文学的奠基之作，是除《伊利亚特》外现存最古老的西方文学作品。在英语中，人们用 odyssey 一词来比喻漫长的历险旅程。更多关于该词的解释可以https://www.tjxz.cc/30762发布于 2021-07-14 09:36赞同 81 条评论分享收藏喜欢收起

Odyssey - Wikipedia

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(Top)

1Synopsis

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1.1Exposition (books 1–4)

1.2Escape to the Phaeacians (books 5–8)

1.3Odysseus' account of his adventures (books 9–12)

1.4Return to Ithaca (books 13–20)

1.5Slaying of the Suitors (books 21–24)

2Structure

3Geography

4Influences

5Themes and patterns

Toggle Themes and patterns subsection

5.1Homecoming

5.2Wandering

5.3Guest-friendship

5.4Testing

5.5Omens

6Textual history

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6.1Composition

6.2Textual tradition

6.3English translations

7Legacy

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7.1Literature

7.2Film and television

7.3Opera and music

7.4Sciences

8References

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8.1Citations

8.2Bibliography

9Further reading

10External links

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10.1The Odyssey in ancient Greek

10.2English translations

10.3Other resources

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Odyssey

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From Wikipedia, the free encyclopedia

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).

Odysseyby Homer15th-century manuscript of Book I written by scribe John Rhosos (British Museum)Writtenc. 8th century BCLanguageHomeric GreekGenre(s)Epic poetryPublished in English1614Lines12,109MetreDactylic hexameterFull text The Odyssey at 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 extant works of literature still widely read by modern audiences. As with the Iliad, the poem is divided into 24 books. It follows the Greek hero Odysseus, king of Ithaca, and his journey home after the Trojan War. After the war, which lasted ten years, his journey from Troy to Ithaca, via Africa and southern Europe, lasted for ten additional years during which time he encountered many perils and all of his crewmates were killed. In his absence, Odysseus was assumed dead, and his wife Penelope and son Telemachus had to contend with a group of unruly suitors who were competing for Penelope's hand in marriage.

The Odyssey was originally composed 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 of the poem was not questioned, but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently and that the stories formed as part of a long oral tradition. Given widespread illiteracy, the poem was performed by an aoidos or rhapsode and was more likely to be heard than read.

Crucial themes in the poem include the ideas of nostos (νόστος; "return"), wandering, xenia (ξενία; "guest-friendship"), testing, and omens. Scholars still reflect on the narrative significance of certain groups in the poem, such as women and slaves, who have a more prominent role in the epic than in many 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]

Synopsis

Exposition (books 1–4)

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 (the subject of the Iliad), from which Odysseus (also known by the Latin variant Ulysses), king of Ithaca, has still not returned because he angered Poseidon, the god of the sea. 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 the suitors of Penelope, a crowd of 108 boisterous young men who each aim to persuade Penelope for her hand in marriage, all the while reveling in the king's palace and eating up his wealth.

Odysseus' protectress, the goddess Athena, asks Zeus, king of the gods, 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 then scoff at Telemachus. Accompanied by Athena (now disguised as Mentor), the son of Odysseus departs for the Greek mainland to the household of Nestor, most venerable of the Greek warriors at Troy, who resided in Pylos after the war.

From there, Telemachus rides to Sparta, accompanied by Nestor's son. There he finds Menelaus and Helen, who are now reconciled. Both Helen and Menelaus also say that 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' 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 have only just realized that Telemachus is gone. Angry, they formulate a plan to ambush his ship and kill him as he sails back home. Penelope overhears their plot and worries for her son's safety.

Escape to the Phaeacians (books 5–8)

Charles Gleyre, Odysseus and Nausicaä

In the course of Odysseus' seven years as a captive of Calypso on the island Ogygia, she has fallen deeply in love with him, even though he spurns her offers of immortality as her husband and still mourns for home. She is ordered to release him by 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 learns that Odysseus has escaped, he wrecks the raft, but helped by a veil given 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. 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' account of his adventures (books 9–12)

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.

Afterward, 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 proceeded to eat Odysseus' 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 out, his neighbors 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, however, 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)

Athena Revealing Ithaca to Ulysses by Giuseppe Bottani (18th century)

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 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 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. 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)

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

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 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. Once the battle is won, Telemachus also hangs twelve of their household maids whom Eurycleia identifies as guilty of betraying Penelope or having sex with the suitors. Odysseus identifies himself to Penelope. She is hesitant but recognizes him when he mentions that he made their bed from an olive tree still rooted to the ground. She embraces him and they 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.

Structure

The Odyssey is 12,109 lines composed in dactylic hexameter, also called Homeric hexameter.[5][6] It opens in medias res, in the middle of the overall story, with prior events described through flashbacks and storytelling.[7] The 24 books correspond to the letters of the Greek alphabet; the division was likely made after the poem's composition, by someone other than Homer, but is generally accepted.[8]

In the Classical period, some of the books (individually and in groups) were commonly given their own titles:

Book 1–4: Telemachy—the story focuses on the perspective of Telemachus.[9]

Books 9–12: Apologoi—Odysseus recalls his adventures for his Phaeacian hosts.[10]

Book 22: Mnesterophonia ('slaughter of the suitors'; Mnesteres, 'suitors' + phónos, 'slaughter').[11]

Book 22 concludes the Greek Epic Cycle, though fragments remain of the "alternative ending" of sorts 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.[12]

Geography

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

The events in the main sequence of the Odyssey (excluding Odysseus' embedded narrative of his wanderings) have been said to take place in the Peloponnese and in what are now called the Ionian Islands.[13] 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 Ithakē (modern Greek: Ιθάκη).[13] 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 any of the places visited by Odysseus (after Ismaros and before his return to Ithaca) are real.[14] Both antiquated and contemporary scholars have attempted to map Odysseus' journey but now largely agree that the landscapes, especially of the Apologia (Books 9 to 11), include too many mythological aspects as features to be unequivocally mappable.[15] Classicist Peter T. Struck created an interactive map which plots Odysseus' travels,[16] including his near homecoming which was thwarted by the bag of wind.[15]

Influences

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.[17] Martin West notes substantial parallels between the Epic of Gilgamesh and the Odyssey.[18] 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.[19] 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.[20] 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.[21] 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.[22]

In 1914, paleontologist Othenio Abel surmised the origins of the Cyclops to be the result of ancient Greeks finding an elephant skull.[23] 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.[23] 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.[24] According to this explanation, the Cyclops was originally simply a giant or ogre, much like Humbaba in the Epic of Gilgamesh.[24] Graham Anderson suggests that the addition about it having only one eye was invented to explain how the creature was so easily blinded.[25]

Themes and patterns

Homecoming

Odyssey (1794)

Homecoming (Ancient Greek: νόστος, nostos) is a central theme of the Odyssey.[26] Anna Bonafazi of the University of Cologne writes that, in Homer, nostos is "return home from Troy, by sea".[27] 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.[28] 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.[28] Also, because Odysseus knows about Clytemnestra's betrayal, Odysseus returns home in disguise in order to test the loyalty of his own wife, Penelope.[28] 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.[28]

Wandering

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.[29]

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.[30] 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"[31]—which represents his transition from not returning home to returning home.[29]

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.[29] These beings that are close to the gods include the Phaeacians who lived near the Cyclopes,[32] whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon.[29] 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.[29]

Guest-friendship

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.[33][34] 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.[34] Calypso also exemplifies poor guest-friendship because she does not allow Odysseus to leave her island.[34] 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.[34] 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.[35]

According to J. B. Hainsworth, guest-friendship follows a very specific pattern:[36]

The arrival and the reception of the guest.

Bathing or providing fresh clothes to the guest.

Providing food and drink to the guest.

Questions may be asked of the guest and entertainment should be provided by the host.

The guest should be given a place to sleep, and both the guest and host retire for the night.

The guest and host exchange gifts, the guest is granted a safe journey home, and the guest departs.

Another important factor of guest-friendship is not keeping the guest longer than they wish and also promising their safety while they are a guest within the host's home.[33][37]

Testing

Penelope questions Odysseus to prove his identity.

Another theme throughout the Odyssey is testing.[38] 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.[38] 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.[38] 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.[38]

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:[38][37]

Odysseus is hesitant to question the loyalties of others.

Odysseus tests the loyalties of others by questioning them.

The characters reply to Odysseus' questions.

Odysseus proceeds to reveal his identity.

The characters test Odysseus' identity.

There is a rise of emotions associated with Odysseus' recognition, usually lament or joy.

Finally, the reconciled characters work together.

Omens

Odysseus and Eurycleia by Johann Heinrich Wilhelm Tischbein

Omens occur frequently throughout the Odyssey. Within the epic poem, they frequently involve birds.[39] 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.[39] Telemachus and Penelope receive their omens as well in the form of words, sneezes, and dreams.[39] However, Odysseus is the only character who receives thunder or lightning as an omen.[40][41] She highlights this as crucial because lightning, as a symbol of Zeus, represents the kingship of Odysseus.[39] Odysseus is associated with Zeus throughout both the Iliad and the Odyssey.[42]

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.[39] In the Odyssey, all of the bird omens—with the exception of the first—show large birds attacking smaller birds.[39][37] Accompanying each omen is a wish which can be either explicitly stated or only implied.[39] For example, Telemachus wishes for vengeance[43] and for Odysseus to be home,[44] Penelope wishes for Odysseus' return,[45] and the suitors wish for the death of Telemachus.[46]

Textual history

Composition

The date of the poem is a matter of some disagreement among classicists. In the middle of the 8th century BC, the inhabitants of Greece began to adopt a modified version of the Phoenician alphabet to write down their own language.[47] The Homeric poems may have been one of the earliest products of that literacy, and if so, would have been composed some time in the late 8th century BC.[48] Inscribed on a clay cup found in Ischia, Italy, are the words "Nestor's cup, good to drink from."[49] Some scholars, such as Calvert Watkins, have tied this cup to a description of King Nestor's golden cup in the Iliad.[50] If the cup is an allusion to the Iliad, that poem's composition can be dated to at least 700–750 BC.[47]

Dating is similarly complicated by the fact that the Homeric poems, or sections of them, were performed regularly by rhapsodes for several hundred years.[47] The Odyssey as it exists today is likely not significantly different.[48] Aside from minor differences, the Homeric poems gained a canonical place in the institutions of ancient Athens by the 6th century.[51] In 566 BC, Peisistratos instituted a civic and religious festival called the Panathenaia, which featured performances of Homeric poems.[52] 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.[53]

Textual tradition

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

The Iliad and the Odyssey were widely copied and used as school texts in lands where the Greek language was spoken throughout antiquity.[54][55] Scholars may have begun to write commentaries on the poems as early as the time of Aristotle in the 4th century BC.[54] In the 3rd and 2nd 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 the canonical texts.[56]

The Iliad and the Odyssey remained widely studied and used as school texts in the Byzantine Empire during the Middle Ages.[54][55] The Byzantine Greek scholar and archbishop Eustathios of Thessalonike (c. 1115 – c. 1195/6 AD) wrote exhaustive commentaries on both of the Homeric epics that became seen by later generations as authoritative;[54][55] his commentary on the Odyssey alone spans nearly 2,000 oversized pages in a twentieth-century edition.[54] 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.[54][55] His edition was printed in Milan by a Greek printer named Antonios Damilas.[55]

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.[57]

In 2018, the Greek Cultural Ministry revealed the discovery of a clay tablet 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.[58][59]

English translations

Odysseus | Myth, Significance, Trojan War, & Odyssey | Britannica

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Odyssey：荷马史诗《奥德赛》英译本探索之一 - 知乎

Odyssey：荷马史诗《奥德赛》英译本探索之一 - 知乎切换模式写文章登录/注册Odyssey：荷马史诗《奥德赛》英译本探索之一rickyescu电信设备Odyssey（《奥德赛》）是荷马史诗第二部分，是男主角Odysseus的归乡记事。Odysseus（奥迪修斯）是希腊西北角小岛国Ithaca（伊萨卡）之主。当时的希腊类似中国的春秋时期，是一个由希腊文化联系在一起的松散邦联。荷马史诗的第一部《伊利亚特》写的是希腊最强邦国之一Sparta（斯巴达）的王后Helen（海伦）爱上了来访的特洛伊王子Paris，随其私奔回国。希腊诸城邦因此结成大军，远征特洛伊，为那倾国倾城的美人，为了荣誉，也为了异乡的财富和奴隶。经过十年苦战，终于攻克，洗劫一空后满载战利品的舰队各自归国。这些希腊邦国各自的舰队回国之路各不相同，一部分顺利回国，一部分葬身鱼腹。按下不表。但是Odysseus的回国之路却非同寻常，延宕许久。他的舰队遭遇风暴后，他首先孤身一人漂到一个女神的岛上被强迫同居了多年，然后在众神的干预下得以乘坐木筏离开，又被海神波塞冬迫害坠海漂流到南方某大国，在讲述他的神奇遭遇后获赠船队和极丰富财富得以衣锦还乡，这时已经又是十年过去了。这二十年里，他的儿子Telemachus已经长大成人，人生的目标却有待苦苦的追求；他的妻子Penelope仍然美貌动人，正被Ithaca岛国邻近的各位贵族争相的追求。这些贵族还觊觎Odysseus离去时遗留的财富，所以都待在Odysseus的家里，希望把女主人和产业一起娶了，整日吃喝玩乐消耗Odysseus的财产，互相勾心斗角，还计划着怎么把Telemachus做掉。Odysseus在二十年后终于（在雅典娜的帮助下）隐秘归来，先和儿子相认，并在雅典娜的帮助下大屠杀求婚诸贵族，和老父相认，并再次在雅典娜的帮助下摆平前来复仇的诸贵族的亲族并达成和解。Odyssey（奥德赛）这本书，荷马史诗的第二部分，就是讲述Odysseus在特洛伊战后回国路上这十年间的海上漂泊和归乡后一系列的相认/复仇/和解的故事。Odyssey的英译本Odyssey英文译本极其繁多，我们先从下面这四本谈起吧：Bantam Classics（矮脚鸡经典。Bantam是贝塔斯曼旗下出版社，99年因为贝塔斯曼收购兰登，成为兰登书屋一部分。兰登和企鹅又于2012年合并。所以Bantam，Random，Penguin这些品牌同属于一个大的出版集团，不过各自还是保留之前的特点在发展）收的Allen Mandelbaum译本，押韵。初版于1990年。是一个比较新的译本，Allen是诗人，所以译成了韵文（verse）。Amazon Classics的免费版本，是Alexander Pope（蒲柏）翻译的英雄双韵体。这是由大诗人蒲柏在1726年完成的一个极著名译本，流传时间长，影响大，风格雄壮华丽，用词古雅幽深。Penguin Classics（企鹅经典Deluxe）收的Robert Fagles翻的，不押韵，但是自称强调朗读的韵律感。初版于2013年。Harper Perennial收的Richmond Lattimore翻的，不押韵。以准确的直译见称。初版于2007年。为什么选上面四个译本开始谈？因为：蒲柏的英雄双韵体译本非常著名，绕不过去。但这个译本因为要押韵，所以其实加强了原诗的格律。蒲柏本人写诗也是以用词华丽著称，所以这个译本对英语学习者来说难度有点大。而且因为诗体格律的要求，还原上肯定不可能精确。这种翻译其实更精确的说是再创作了，类似严复翻译的《天演论》的感觉。Richmond Lattimore的译本我是从知乎某个问题的回答中知道的，据说是美国某大学英语文学系目前荷马史诗课程使用的主要参考译本。加上是Harper Perennial出版社Modern Classics（这个modern不是指原著，而是指译本的现代性）系列光环加持（我有这个系列好几本书，都比较喜欢，不管是选题，装帧，印刷），所以这是我买的第一本荷马史诗实体书（封面图见首图）。企鹅经典（Penguin Classics）系列的译本自然一般也是优中选优，而且非常易得，当当上面一堆的卖家有售。但注意企鹅经典其实还细分很多子系列，用的译本并不一定一样。Deluxe系列是“企鹅经典”里面的更高端的子系列，一般是毛边本形式，装帧、用纸和印刷都要好于普通的“企鹅经典”。Robert Fagles教授翻译的古希腊史诗企鹅非常给面子，给凑了一套，我趁打折收入，确实质量极好（不是说译本质量最好啊）。这本书里面的前言（Introduction）也是写得极好的，我已经把Odyssey这本的前言看完了，学到很多，比如为什么人物有很多固定的修饰套话。比如宙斯，会有好多种套话，有“持闪电的”，“众神之父的”，等等等等。这些不同套话在诗里面不同地方的选择最主要的目的（也许是唯一的目的）就是为了符合六音步（十二音节）诗律的要求而已。也就是说每个套话修饰语的音节数量不一样，写诗到那里了，构成内容主体的音节数不可改变，那么通过选择不同音节数长度的宙斯的修饰语来补齐诗律就好了。4. 矮脚鸡那本现代版verse（诗体韵文）译本是我无意搜到的，觉得正好可以和蒲柏的300年前的诗体韵文译本对照，有一定参考意义。我们按照Lattimore - Fagles - Pope - Mandelbaum这个顺序来对比。先看第一章的第一小节的内容吧。Lattimore译本（随后为王焕生译文/黑体为我的译文）Book 1 / Line 1~101 Tell me, Muse, of the man of many ways, who was driven 请为我叙说，缪斯啊，那位机敏的英雄为我讲述，缪斯，那位巧智之人，2 far journeys, after he had sacked Troy's sacred citadel. 在摧毁特洛亚的神圣城堡后又到处漂泊洗劫圣城特洛伊后，四处浮沉。3 Many were they whose cities he saw, whose minds he learned of, 见识过不少种族的城邦和他们的智慧见过许多城邦，见识许多灵魂，4 many the pains he suffered in his spirit on the wide sea,在辽阔的大海上身心忍受无数的苦难阔海上，许多受难是他的精神，5 struggling for his own life and the homecoming of his companions.为保全自己的性命，使同伴们返家园。为保己命，也为同伴得返家园。6 Even so he could not save his companions, hard though 但他费尽了辛劳，终未能救得众同伴。费尽艰辛，却终未能救得伙伴，7 he strove to; they were destroyed by their own wild recklessness, 只因为他们亵渎神明，为自己招灾祸：他们被摧毁，因为他们的蛮干，8 fools, who devoured the oxen of Helios, the Sun God, 真愚蠢，竟拿高照的赫利奥斯的牛群蠢货，竟把太阳神的祭牛饱餐，9 and he took away the day of their homecoming. From some point 来饱餐，神明剥夺了他们的归返时光。赫燎斯因此，让他们返乡无日，10 here, goddess, daughter of Zeus, speak, and begin our story.女神，宙斯的女儿，请随意为我们述说。请从此处，宙斯之女，开启故事。我的译文是每行十二字，模仿希腊文原诗的十二音节（六音步）每两行押韵，模仿蒲柏的英雄双韵体。但是我不一定每两行一换韵。man of many ways / man of twists and turns都是说Odysseus脑子转得快，门路多。但是请注意所有的英译本都是翻成man（人），而不是hero（英雄）。我觉得这很重要。sack和plunder都是洗劫的意思，都是战争常见的行为，和英雄的身份不符。我觉得我选的“浮沉”特别好，因为Odysseus一直在海上飘荡。Lattimore的行数是最少的，而且有很多句子是拆成几段跨行分布的，我觉得这应该都是忠实翻译原书的句型和分布导致的。这种跨行分布可能对英语第二语言的读者不太友好，但是其实这种句子分布方式是阅读英诗的基本功。莎士比亚的诗剧里面比比皆是，从这里练练手是蛮好的。我可能是因为看完了Hamlet，所以觉得Lattimore这个译文这样的处理非常好懂，而且有一种特别的味道在里面。Fagles译本Book 1 / Line 1~121 Sing to me of the man, Muse, the man of twists and turns 2 driven time and again off course, once he had plundered 3 the hallowed heights of Troy.4 Many cities of men he saw and learned their minds, 5 many pains he suffered, heartsick on the open sea, 6 fighting to save his life and bring his comrades home. 7 But he could not save them from disaster, hard as he strove — 8 the recklessness of their own ways destroyed them all, 9 the blind fools, they devoured the cattle of the Sun 10 and the Sungod wiped from sight the day of their return.11 Launch out on his story, Muse, daughter of Zeus, 12 start from where you will —sing for our time too.twists and turns，头韵。hallowed heights，头韵。Zeus，too，押韵。我觉得这可能就是Fagles自吹的说自己的译本特别适合于大声的诵读吧。第4，5行的两个many和Lattimore的处理很像。第9行把原诗太阳神的名字Helios省略掉了。Fagles可能觉得这个对诗的内容没有损害吧。Fagles的句型明显简单化处理了，应该是对原文有所改写简化。所以也造成了行的增多。Pope译本Book 1 / Line 1~14The man for wisdom’s various arts renown’d, Long exercised in woes, O Muse! resound; Who, when his arms had wrought the destined fallOf sacred Troy, and razed her heaven-built wall, Wandering from clime to clime, observant stray’d, Their manners noted, and their states survey’d, On stormy seas unnumber’d toils he bore, Safe with his friends to gain his natal shore: Vain toils! their impious folly dared to prey On herds devoted to the god of day;The god vindictive doom’d them never more (Ah, men unbless’d!) to touch that natal shore. Oh, snatch some portion of these acts from fate, Celestial Muse! and to our world relate.蒲柏为了凑成“英雄双韵体”有增译。原文的10行变成了14行。英雄双韵体每行十个音节，轻重变化构成五个音步。两行押韵，每两行一变韵。这是一种形式上要求极高的格律，我觉得难于我们的律诗。用词古雅，对于非英语母语者应该是难度最大的。为了诗律的要求，显然意思上不是很忠实于原著的，有很多的增减。Mandelbaum译本Book 1 / Line 1~15Muse, tell me of the man of many wiles, the man who wandered many paths of exile after he sacked Troy’s sacred citadel. He saw the cities—mapped the minds—of many; and on the sea, his spirit suffered every adversity—to keep his life intact; to bring his comrades back. In that last task, his will was firm and fast, and yet he failed: he could not save his comrades. Fools, they foiled themselves: they ate the oxen of the Sun, the herd of Hélios Hypérion; the lord of light requited their transgression— he took away the day of their return.Muse, tell us of these matters. Daughter of Zeus, my starting point is any point you choose.Mandelbaum为了凑韵脚也有增译，而且是增译最多的。韵脚并没有做到蒲柏那样严格。有3行一韵的（比如前三行）；有押韵不严格的，比如第三行的citadel的发音是el和前面的两个ail不一样，比如failed和foiled押韵也很怪，比如sun，rion，sion，urn这几个韵也都很怪。我数了半天音节，好像也是每行十音节，但有些行某些音节应该需要弱读连读才能凑成十个。文字上显而易见的比蒲柏的英雄双韵体简单很多很多。但似乎也没有那么雄壮美丽了，意象上变得简单单薄了很多。对比很简单，但是就这么简单的来看，我觉得确实推荐从Lattimore的译本入手阅读《荷马史诗》是很有道理的。信和达（尽可能的忠实再现原作），这一点很重要。在那之后，也许可以再去看蒲柏的译本追求一下雅，或者看一下Mandelbaum的译本追求一下简单版的英雄双韵体。如果Lattimore的也觉得有点难懂，那当然可以从企鹅经典的Fagles译本入手了。编辑于 2022-06-29 09:40奥德赛（书籍）荷马史诗（书籍）赞同 133 条评论分享喜欢收藏申请

The Odyssey by Homer Plot Summary | LitCharts

The Odyssey

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The Odyssey Summary

Book 1

The story begins twenty years after Odysseus left to fight in the Trojan War, and ten years after he began his journey home to Ithaca. We enter the story in medias res – in the middle of things: Odysseus is trapped on an island with the lovesick goddess Calypso, while his wife and son suffer the transgressions of the suitors, noble young men who vie for queen Penelope's hand. The loyal queen has rebuffed their advances for many years, because she holds out hope that Odysseus may one day return. In the meantime the suitors have run free in the household, holding noisy parties and draining the resources of the estate. The goddess Athena decides to intervene on Odysseus's behalf. She convinces Zeus to send the messenger god Hermes to disentangle Odysseus from Calypso's grasp, and she herself flies to Ithaca to give courage and guidance to the helpless young prince Telemachus. She inspires Telemachus to set sail to Pylos and Sparta in search of news about Odysseus; his newfound confidence and familial feeling alarms the suitors, who plot to murder him on his way home. King Nestor of Pylos can't give Telemachus any information about Odysseus, but King Menelaus of Sparta reports that he learned from the sea god Proteus that Odysseus is alive on the island Ogygia.Meanwhile, Hermes flies to Ogygia and tells Calypso to let Odysseus go. Odysseus departs, and sails for seventeen days until he sees the Phaeacian shore; after some difficulties, he reaches land and falls asleep. The next morning, the Phaeacian princess Nausicaa finds him on the beach in a pitiable state. She gives him food and clothes and offers to introduce him to her parents, the king and queen – but she asks that he enter the city at a distance from her, to ward off uncharitable gossip. After he spends some time at court, he tells Alcinous and Arete the full story of his travels. He describes the Cicones, who punished Odysseus's men for recklessness and greed, and the Lotus Eaters, whose flowers sent his men into a happy stupor. He tells the king and queen how he blinded the Cyclops Polyphemus, who called on his father Poseidon to avenge him. He tells them about Aeolus's bag of winds and about the cannibal Laestrygonians, the witch Circe that turned his men into pigs, the journey to the kingdom of the dead, the alluring Sirens and the monsters Scylla and Charybdis. With each trial, the crew's death toll rose, and Odysseus's ingenuity grew more desperate. Finally, the men anchored on the Island of the Sun. The prophet Tiresias warned Odysseus to keep his crew from harming the Sun God's cattle, but the men killed a few animals when Odysseus was asleep. When they were once again at sea, Zeus sent down a punitive bolt of lightning that killed every man except Odysseus, who floated on a makeshift raft to Calypso's island, where he lived in captivity for seven years. Here Odysseus finishes his story. The next day, Alcinous sends him home in a Phaeacian ship loaded with treasure. Athena apprises him of the dire situation in his household, warns him of the suffering still to come, and disguises him as a ragged beggar. She sends him to the farm of the loyal swineherd Eumaeus; she also advises Telemachus to hurry home from Sparta. Father and son reunite and plot their revenge against the suitors.The next day, Eumaeus and Odysseus come to court. The king's old dog Argos recognizes him despite his changed appearance, and the nurse Eurycleia recognizes him by the familiar hunting scar on his knee. Penelope is friendly to him but does not yet guess his real identity. Some of the suitors mock and abuse Odysseus in his disguise, but the king exercises great self-restraint and does not respond in kind. Finally, the despairing queen announces that she will hold an archery contest: she will marry the man that can use Odysseus's bow to shoot an arrow through a row of axes. But none of the suitors can even string Odysseus's bow, let alone shoot it. Odysseus, of course, shoots the arrow with grace and ease. Just then the slaughter begins. With the help of Athena, the swineherd, and the cowherd, Odysseus and Telemachus murder the suitors one by one; they also kill the disloyal maids and servants. Soon enough, Odysseus reunites with Penelope. The suitors' families gather to avenge the murders, but Zeus orders them to stand down. Odysseus must leave for a brief journey to appease Poseidon, who still holds a grudge. Nevertheless, Ithaca is once again at peace.

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