"BASIC GENERAL EDUCATION T. V. RYZHKOVA, I. N. GUYS LITERATURE IN GRADE 6 Book for a teacher with thematic planning Moscow Faculty Publishing Center for Philology" Academy "and Arts ..."
BASIC GENERAL EDUCATION
T. V. RYZHKOVA, I. N. GUYS
LITERATURE
IN 6 CLASS
Teacher's book
with thematic planning
Moscow Faculty
Philology Publishing Center
"Academy" and Arts of St. Petersburg State University
UDC 82.09 (075.3)
Authors:
T. V. Ryzhkova: foreword, thematic planning,
sections 1, 2 (NS Leskov "Lefty"), 3 - 5, 7;
I. N. Guis: guidelines for topic 3: section 2 (A. V. Koltsov. "Song of the plowman", "Bitter share"; I. S. Turgenev. "Mumu", N. A. Nekrasov. "Peasant children "," Railway "), section 6 Reviewer - Doctor of Pedagogy, Candidate of Philology, Professor M. I. Shutan Ryzhkova T. V.
P939 Literature in grade 6. A book for a teacher with thematic planning: a methodological guide: basic general education / T. V. Ryzhkova, I. N. Guis. - M.: Publishing Center "Academy", 2010. - 304 p.
ISBN 978-5-7695-7528-0 The book is intended for teachers working on the curriculum and textbook for grade 6, created by a team of authors edited by I. N. Sukhikh. It presents thematic planning, literary, historical and cultural comments to the works studied in grade 6 and methodological recommendations for lessons. Many lessons are given in several versions. Additional texts and resources included in the appendices will help the teacher to make the lessons interesting.
For teachers of literature in secondary schools.
UDC 82.09 (075.3) ББК 83я721 The original layout of this publication is the property of the Publishing Center "Academy", and its reproduction in any way without the consent of the copyright holder is prohibited © Ryzhkova T.V., Guis I.N., 2010 © Educational and Publishing Center "Academy », 2010 © Design. Publishing Center "Academy", 2010 ISBN 978-5-7695-7528-0
FOREWORD
"Discovery of Man" implies acquaintance of sixth-graders with the images of characters created in different eras and in different countries with the help of artistic means, the choice of which is dictated by the peculiarities of literary trends and the individual manner of writers. "Discovery of man" is also the discovery by today's schoolchildren of the diversity of human characters and positions, points of view, conditioned by the environment and the worldview or world outlook of the individual. And finally, the "discovery of man" presupposes a clash of ethical and aesthetic assessments in the mind of a child. All this together teaches him to form his own judgment about the characters of verbal art, the judgment is not unambiguous (like - not like; good - bad), but complex and necessarily well-grounded.The author of the work also becomes the object of discovery and the subject of dialogue with the reader. Here begins the formation of ideas about the author-creator and the author-narrator in relation to the storytellers. One of the main objectives of the course is to teach the reader to see the manifestation of the author-creator in all elements of a work of art. Of course, this task is not solved in one academic year - the formation and development of this skill will continue until the student graduates from secondary school.
The methodology that is offered to the teacher is based on acmeological, activity and competence approaches, differentiation and personalization of the educational process, the method of projects (collective creative affairs), as well as modern information technologies in literary education. The choice of methodology is due to the main goal of literary education - the literary development of schoolchildren, which is considered by the authors of the educational and methodological kit as a triune process: the cultural development of the child, the improvement of his reading activity and the development of his creative abilities, primarily literary and creative.
Thematic planning (Table 1) assumes a minimum number of literature lessons per week - 2 hours (70 hours per year). If the number of hours in the curriculum is increased, then the teacher should make changes in the planning at his discretion.
THEMATIC PLANNING
- & nbsp– & nbsp–
Speech development lesson "A story told by a grandmother (grandfather)" (1 hour) Section 3. Human shortcomings (5 hours, of which 1 hour for an extracurricular reading lesson)
- & nbsp– & nbsp–
Lesson 1. Myths and modernity1 It is important to make the first lesson of the year unusual, unexpected for students and at the same time encouraging search, reflection, creativity and, most importantly, independent slow reading.
The opening theme of the 6th grade course takes young readers into the deep past, to the origins of modern civilization. The huge distance separating our time from the mythological era creates a whole complex of difficulties. First, today's schoolchildren have little interest in this topic, since they have no practical motivation. Secondly, for a modern schoolchild, and even an adult, the myth is essentially not much different from a folkloric fairy tale, from which a sixth grader considers himself "grown up." Thirdly, the abundance of new and complex names, titles can turn into an insurmountable obstacle for a child. The first lesson should help to jump over this picket of problems.
1) explain:
- how the myth differs from the folklore fairy tale;
- how mythological concepts differ from scientific ones and how are they connected with them;
- what caused the long life of the ancient worlds;
2) interpret catchphrases and use them correctly in written and oral creative work;
If the curriculum allows, then it is better to conduct two lessons on this topic.
3) retell the myths they liked, the heroes of which are found on the maps of the starry sky and in the architectural appearance of St. Petersburg or Moscow.
The first stage of the lesson is held as a conversation on the questions: “What is a myth? How is a myth different from a fairy tale? Why did people need a myth? How is a myth born? Is there a connection between science and myth? What are their differences? "
In the conversation we include reading the cosmogonic ancient Greek myth (p. 7) and articles on the origin of the Olympian gods (p. 8 - 9) and compare mythological and scientific ideas about the origin of life. In the course of reading the article, a diagram is drawn, which will be filled in during all lessons on ancient mythology. Note that in ancient mythology there is no single canonical version of the creation of the world1. So, Eros in some sources is called the product of Chaos, in others - a force that existed even before the appearance of the world. But it is important to explain to children that Eros is not an earthly feeling and not a feeling at all, but the force of gravity, which acts in world space as a law. And this force sets in motion both Chaos and the Earth. Scheme 1, which is filled out in the lesson, is a working version for sixth graders. On it, the names of those mythological characters that are mentioned in the cosmogonic myth are highlighted in bold (we add them to the diagram in the lesson; this part of the work is mandatory for all students), and in italics - the names of those characters that will be encountered by schoolchildren in the process of reading the myths about Hercules, Achilles and Orpheus. Self-filling the scheme (optional) will require children to turn to collections of myths of Ancient Greece, to mythological dictionaries and encyclopedias, which will significantly expand their cultural understanding and arouse interest in the topic under study. The final version of the scheme is presented in the appendix (scheme 2).
The image of Zeus is in the textbook (p. 8). Images of other gods mentioned in the articles are easy to find in numerous mythological encyclopedias, collections of myths, or on the Internet.
It is important to emphasize that the Greeks, creating in their imagination the gods, endowed them with human appearance and character traits. The life of the gods is very similar to the life of people, but the gods have immortality and superpower - they command see, for example: the scheme "The Origin of the Gods" on the site "Encyclopedia of Ancient Mythology": http: // www. greekroman. ru / gen / genealogy. htm.
Scheme 1. The origin of the gods
Erebus and Nyukta spawned:
Ether (Light) Hemeru (Day)
Gaia and Uranus spawned:
1) titans 2)… 3)… 4)…
Titans and Titanides gave birth to:
Astraeus and Eos gave birth to the stars and winds: Borea (north), Evra (east), Nota (south) and Zephyra (west).
4) Titan Ocean and Titanide Tefida gave birth to rivers and oceanids;
5) titanium Cronus and titanide Rhea gave birth to: a) ..., b) ..., c) Hera,
d) Aida, e) ..., f) Zeus.
Children of Zeus:
... with native elements. Marital and family ties between gods, on the one hand, reproduce ordinary family relationships, but, on the other hand, the elemental gods and abstract categories (Justice, Justice, etc.) do not obey human laws. Zeus as the supreme god, uniting with one or another goddess (Eurynome, Themis, Demeter, Leto, Hero), gradually transforms the world, giving rise to gods who bring law, order, morality, science and art into this world1.
The conversation ends with the conclusion that the myth, in contrast to the fairy tale, tells how the world works, and explains how and if the guys are interested in this issue, then they can be recommended not only to refer to the mythological encyclopedias, but also to go to the site "Encyclopedia of Ancient Mythology" (section "Greek mythology"): http: // www. greekroman. ru.
why a person needs to behave in it. Any myth is born from observations of nature, but the lack of knowledge leads to the fact that a person uses his imagination to explain natural phenomena and deeply believes in fiction. Science, on the other hand, is based not on fantasy, but on knowledge, although observations and imagination are the basis of any knowledge and scientific discovery.
At home, sixth graders will read the article in the textbook on p. five.
The second stage of the lesson - observation - is organized using the question: "Where can we meet the characters of myths today?"
The first thing that comes to mind is a museum. We will name the guys and show them on slides the largest museums in the world, which contain works of ancient art: the State Hermitage in St. Petersburg, the Pergamon Museum in Berlin, the Capitoline Museums in Rome, the British Museum in London, the Louvre in Paris, the Metropolitan Museum in New York ...
It is no coincidence that St. Petersburg is called a city-museum. Its palaces, theaters, museums and libraries are architectural monuments. Almost all of them, created up to the XX century, are somehow connected with Antiquity. It manifests itself in the elements of classicism and Empire style - slender columns, porticos, decor and, of course, sculptural decorations. The lesson does not allow us to see much, so we will focus only on the sculptural ensembles that adorn the porticoes of buildings. We will show the schoolchildren the images of the Stock Exchange - the building on the spit of Vasilievsky Island, dividing the Neva into two branches; the arches of the General Staff Building, which is part of the Palace Square ensemble in front of the Winter Palace; Alexandrinsky Theater, one facade of which overlooks the famous street of the architect Rossi, and the other looks at Nevsky Prospect. We invite the guys to guess which god is in the center of each composition, and to argue their answer.
In two cases it is easy to do this: Poseidon froze on the attic of the Stock Exchange (architect J. Thomas de Thomont), as evidenced by the trident in his raised hand and the horses at his feet. After all, Poseidon, the god of the seas, was also considered the patron saint of horses.
Why is the building of the Stock Exchange crowned by Poseidon, the god of the seas? It is obvious that St. Petersburg, built by Peter at the mouth of the Neva, which flows into the Baltic Sea, was and remains the largest port. Poseidon seems to welcome ships that set off on long voyages.
The attic of the Alexandrinsky Theater is decorated with a chariot ruled by the god of arts Apollo (sculptor S. S. Pimenov). Its attributes are kifara and a laurel wreath, which in ancient Greece were crowned not only with military heroes, but also with winners in theatrical competitions. The arch of the General Staff building (architect K. Rossi) is crowned with a triumphal chariot drawn by six horses. Who is in the chariot? This is a woman with wings behind her back, in one hand she holds a wand, in the other - a laurel wreath. Let's clarify that the arch was erected in 1828 in honor of the victory of Russia over Napoleon in the Patriotic War of 1812-1814. The laurel wreath in this case hints at military glory. Who is this goddess? The guys will probably name Pallas Athena. But this is not so, although not far from the truth.
In the chariot, the goddess of victory Nike. In St. Petersburg, Nike can be seen at the triumphal Narva Gate (architect O. Bove).
This is no coincidence: the triumphal gates were erected as a sign of victory, triumph, and Nike symbolized victory and glory.
As a promising homework or project, you can invite schoolchildren to prepare a virtual excursion to the Summer Garden in St. Petersburg: what Greek deities can be seen walking along the alleys of the Summer Garden, what myths are associated with them? This task is performed at the request of the students.
The third is winged expressions. If sixth-graders, without the help of a teacher, do not remember the winged words and expressions that came to the Russian language from ancient mythology, then we will divide the class into several working groups1. Each group receives envelopes with cards that summarize the myth2. The group's task is to interpret the catchphrase associated with this myth. Here are several options for tasks.
Group 1 Sisyphus, king of Corinth, was a great swindler. Thanks to his cunning, he collected untold treasures. When came for him The number of groups is determined by the teacher.
The texts are taken from the site “Mythology of Greece. Illustrated Dictionary ": http: // www. foxdesign. ru / legend / g_word4.html.
the god of death Thanatos, then he, the only mortal, was able to deceive the god and put him in chains. People on earth stopped dying, which violated the order established by Zeus. After Thanatos was freed and took Sisyphus to the underworld of the dead, Sisyphus managed to deceive the lord of Hades, asking him to let him go back to earth. For the crimes committed, Sisyphus was terribly punished by the gods: in the kingdom of Hades, he rolls a heavy stone onto a mountain, which, having almost reached the top, immediately rolls back. So Sisyphus rolls the stone forever and cannot reach the goal - the top of the mountain.
What does the expression "Sisyphean labor" mean?
[Answer: Sisyphean labor is aimless, endless work.] Group 2 Tantalus, the son of Zeus, was the favorite of the gods and the richest and happiest king on earth. Puffed up, he began to consider himself equal to the gods. Among people, he became famous not for exploits, but for stealing from the ambrosia gods and divulging their secrets. The last straw that overflowed the cup of Zeus' patience was the atrocity of Tantalus. The king decided to find out if the gods are really omniscient. Having invited them to his feast, he served on the table, under the guise of a fine dish, the meat of his own son he had killed. The gods, who nevertheless turned out to be omniscient, revived the boy, cursing the whole family of Tantalus and casting him down into the kingdom of Hades. In hell, Tantalus bears the heaviest punishment: being in water up to his throat, he cannot quench his thirst, since the water disappears, one has only to bend over to it; branches with fruits hang over him, but they move aside when he stretches out his hands to them. Tantalus is tormented not only by eternal hunger and eternal thirst, but also by eternal fear, since a rock hangs over his head, ready to fall at any moment and crush him.
What does the expression "tantalum flour" mean?
[Answer: Tantalum torment - suffering caused by the proximity of something extremely necessary, desired, which is nearby and yet inaccessible.] Group 3 Athenian hero Prince Theseus arrived in Crete to free Athens from the terrible tribute imposed on city \u200b\u200bby the Cretan king Minos. In the Labyrinth built on Crete, the Minotaur was imprisoned, a man with a bull's head who devoured living people. Athenian youths and girls were intended for the Minotaur. Theseus decided to kill the monster. But no one could find a way out of the Labyrinth. The daughter of King Minos Ariadne, having fallen in love with Theseus, gave him a ball of thread, which he unwound upon entering the Labyrinth.
Having defeated the Minotaur, Theseus, together with the captives, returned along a thread to the entrance to the Labyrinth.
What does the expression "Ariadne's thread" mean?
[Answer: Ariadne's thread is a guiding thread; what helps to get out of a predicament.] Group 4 The god Apollo fell in love with the Trojan princess Cassandra and endowed her with the gift of prophecy. Cassandra rejected God, and he made it so that no one believed her prophecies. Cassandra foretold the death of Troy, the danger lurking in the wooden horse left by the Greeks. Nobody believed her. And Troy fell.
What does the expression "prophetic Cassandra" and the word "cassandra" mean?
[Answer: The prophetic Cassandra is called the soothsayer of ominous events, misfortunes that are difficult to believe.] Group 5 At the wedding of King Peleus and the sea nymph Thetis, the goddess of discord Eris, in revenge for not being invited to the celebration, threw among the guests apple with the inscription "Most Beautiful". On the advice of Zeus, the goddesses Hera, Athena and Aphrodite called the young shepherd Paris, who did not yet know that he was a Trojan prince, to choose the most beautiful of them. Hera promised him power over the world, Athena - military glory, Aphrodite - the most beautiful woman on earth. Paris handed the apple to Aphrodite, who helped him take the wife of Tsar Menelaus, the beautiful Helen to Troy, from Sparta, which was the reason for the Trojan War. The rejected Hera and Athena sided with the Greeks.
What does the expression "apple of discord" mean?
[Answer: The apple of discord is the cause of disputes, strife, enmity.] Summing up, we introduce the concept of "winged words and expressions." It does not require memorization, therefore it is not included in the textbook, but for the cultural, literary and speech development of the child, the introduction of the term will be appropriate. The expressions that the students deciphered have common properties: their source is generally known (in our case, these are myths), they have a stable structure (word order) and a figurative meaning. These signs are enough to form an idea of \u200b\u200bwinged words and expressions in grade 6.
Lazy Check Homework: When reading myths about Greek heroes, suggest interpretations of the following catch phrases:
Augean stables - ... [something run to the limit, a mess].
Titanic Efforts - ... [huge, superhuman effort].
Achilles' heel -… [weak side, most vulnerable point].
Trojan horse - ... [tricked gift, with evil intentions].
Gifts of the Danaans - ... [synonym for the expression "Trojan horse"].
Medusa, Medusa Gorgon - ... [an evil, cruel man].
Medusa's gaze - ... [killing, numbing gaze].
Sink into oblivion - ... [disappear from memory, be forgotten].
Homeric laughter -… [loud laughter, irrepressible laughter].
Castor and Pollux -… [symbol of true friendship].
A colossus with feet of clay - ... [something outwardly majestic, seemingly powerful, but in fact weak and insignificant].
Falling into tartarars -… [to get to where it is impossible to return].
Pandora's Box - ... [everything that, because of our negligence, can cause grief and misfortune] 1.
Homework - preparing a competition or quiz on winged words and expressions. Composing a crossword puzzle "Winged expressions that came from myths" is also a fascinating version of homework that enriches the vocabulary of schoolchildren.
Literary and creative homework, performed by the students' choice: to compose a short story, including dialogue and antique catchwords.
Finally, we meet the ancient gods and heroes on the map of the starry sky. Let's invite the children to raise their heads and look at the sky. Of course, in the daytime nothing is visible in the sky except clouds and the sun. But a computer or printed maps of the stars can come to our rescue2.
The task does not even have to be formulated: the guys will immediately name the planets of the solar system that bear the names of the Roman. The dictionary of winged words can be found on the website: http: // www. otrezal. ru / catch-words /.
The history of the stellar map, maps of the sky and celestial bodies can be found on the website: http: // space. rin. ru / articles / html / 393.html.
gods, and correlate their names with the Greek. So, the planets of the solar system are given Latin names. Let's exacerbate the situation: why do we call the Sun and the Earth in Russian?
Let us write on the board the foreign names of the Sun and the name of the Roman sun god Sol. What conclusions will these notes lead the students to? It turns out that in many Indo-European languages \u200b\u200bthe Sun is denoted by a word with the root -sol-. In Latin, this is exactly how the name of the sun god sounds, corresponding to the Greek Helios, this is the name of this star. The name of the Sun in French is le soleil, in Italian - il solе, in Spanish - el sol. Both the English the Sun and the German die Sonne have the same origins. The Russian word "Sun" comes from the same root.
The name of the goddess Gaia in Latin is translated as Tellus. The name of our planet in other languages \u200b\u200bof the Indo-European family sounds like this: la Terra (Italian), la Terre (French), la Tierra (Spanish) and the Earth (English), dei Erde (German). They all have a common origin. The word "Earth" is a common Slavic word, derived from the word zem, which means "bottom, floor" in Slavic languages. It is related to the Latin humus - "soil".
In Russian, the word "earth" means "what is below, under your feet." The Latin root is preserved in the words "tellurium" (chemical element), "tellurium" (an astronomical device used to visually demonstrate the rotation of the Earth around the Sun).
And what were the names of the ancient Greek gods of the Sun and Earth? Helios and Gaia. Their names have been preserved in words beginning with geo- and helio-: “geology”, “geography”, “geocentric”, “heliocentric”, “heliosphere”, “heliotechnics”, “heliotrope”.
The starry sky can also be read as a kind of book of myths. Thanks to popular horoscopes and astrological forecasts, a modern schoolchild knows under which zodiac constellation he was born. Most of the constellations are associated with mythological subjects.
Divide the class into 12 groups (if possible) according to the signs of the zodiac. What does each group know about the origin of their mark? If nothing, then this will be homework. Let us remind the teacher that since the ancient myths are not collected in canonical vaults, as, for example, the biblical ones, but have come down to us thanks to literary works, then almost every myth has several versions. Therefore, in the lesson you can face the fact that the guys will talk about the origin of the zodiacal constellations with significant differences. This is a good opportunity to create a problematic situation: what caused these differences?
Aries - according to the most common version, a golden ram. A golden fleece was made from his skin, for which the hero Jason and his comrades Argonauts went to Colchis on the ship "Argo".
Taurus - according to one of the interpretations, a white bull, in the guise of which Zeus kidnapped Europe. But, it is true, there were many bulls in Greek mythology, for example, the ferocious Cretan bull, delivered by Hercules to Eurystheus.
Gemini - Castor and Pollux, brothers of Dioscuri, sons of the earthly queen Leda and Zeus, brothers of Helen of Troy.
Cancer pinched Hercules on the leg when he was fighting the Lernaean hydra.
Lion - Nemean lion killed by Hercules.
Virgo - according to one version, the goddess of love Aphrodite, according to the other - Demeter - the goddess of fertility, according to the third - Astrea (see diagram 2).
Libra - this constellation in ancient times was considered not as independent, but as the claws of Scorpio; according to other sources, this is an attribute of Themis (goddess of justice) or Astrea.
Scorpio - Artemis sent a scorpion to kill the hunter Orion.
Sagittarius - according to some sources, the centaur is a successful hunter, according to others - Hercules, striking the Stymphalian birds.
Capricorn - in ancient times it was called goat fish or goat fish. Later, Capricorn was associated with the goat Amalthea, which nursed Zeus.
Aquarius is a young man pouring water from a jug; according to other versions, this is Hercules, cleaning the Augean stables.
Pisces - there is practically no information about the origin of this constellation.
Promising Homework: Find the mythical characters on the sky maps that will be discussed in the following lessons, and prepare to retell these myths.
Several constellations are related to Hercules, whose exploits are devoted to lesson 2: of course, Hercules himself (Hercules), Hydra (Lernean hydra), the Dragon (the dragon Ladon, whom Hercules killed to get the apples of the Hesperides), according to some sources, Arrow and Sagittarius (Stimphalian birds), Aquarius (Augean stables), Taurus (Cretan bull), Virgo (Hippolyta's belt), Eagle (Zeus's eagle, tormenting Prometheus, who was freed by Hercules after he got the apples of Hesperides).
The constellation Lyra is associated with Orpheus, which we will talk about in lesson 4. The golden lyre was presented to him by the god Apollo, and after the death of the singer Zeus placed the lyre in the sky1.
2. Complete task 1 in a notebook on literature on a printed basis2 (Topic 1. "Hero in Myths", p. 4).
Appendix Scheme 2. Origin of the Gods
Chaos and Eros (Love) gave birth to:
Uranus Gaia Tartarus Erebus Nyuktu (Sky) (Earth) (abyss (Darkness) (Night) in the bowels of the Earth, underworld)
Erebus and Nyukta spawned:
Ether (Light) Hemeru (Day)
Gaia and Uranus spawned:
1) titans,
2) giants,
3) cyclops,
4) monsters.
Titans and Titanides gave birth to:
1) the titan Koy and the titanide Phoebus gave birth to Leto (Latona), Asteria (the star goddess);
2) the titan Hyperion and the titanide Theia - the parents of Helios (Sun), Selene (Moon), Eos (Dawn) (Helios is the father of King Augee);
The constellation mythology is presented on the website: http: // www. astromyth. tausite. ru / index. htm; the history of the zodiac constellations and their names - on the site: http: // olpop. com / blog /? p \u003d 9732.
Astreus and Eos gave birth to the stars and winds: Boreas (north), Evra (east), Nota (south) and Zephyra (west);
3) the titan Iapetus - the father of Prometheus and Atlas;
4) the titan Ocean and the titanide Tefida gave birth to all rivers (3,000 sons) and oceanids (3,000 sea goddesses), including Metis (mother of Athena);
5) the titan Cronus (Kronos, Time) and the titanide Rhea gave birth to: a) Hestia - the goddess of the hearth, b) Demeter - the goddess of fertility,
c) Hera - the goddess of family and childbirth, d) Aida - the god of the underworld, e) Poseidon - the god of the seas, f) Zeus - the god of thunder and lightning.
The crown of sea foam gave birth to Aphrodite - the goddess of love and beauty.
Children of Zeus:
Zeus and Themis: three ora (Law, Justice, Peace), three moira (goddesses of fate: Lakhetis - "giving the lot", Kloto - "spinning", Anthropos - "inevitable"), Astreus (starry sky).
Zeus and Mnemosyne: Muses Calliope (epic poetry), Euterpe (lyric poetry), Polyhymnia (hymns, serious poetry), Cleo (history), Melpomene (tragedy), Erato (love poetry), Terpsichore (dance and choral poetry), Thalia (comedy, light poetry) and Urania (astronomy).
Zeus and Hera: Ares (god of war), Hephaestus (god of fire and blacksmiths), Hebe (goddess of youth), Ilithia (goddess - patroness of women in labor).
Athena (goddess of just war and wisdom) was born from the head of Zeus from the oceanis Metis.
Zeus and Demeter: Persephone (wife of Hades).
Zeus and Leto: twins Artemis (goddess of the hunt, chastity, patroness of animals and plants) and Apollo (god of light, sciences and arts, predictor of the future, healer, etc.).
Zeus and the Mayan Pleiad: Hermes (god of trade, trickery, eloquence).
Zeus and Semele (mortal woman): Dionysus (god of the vine, wine and winemaking).
Zeus gave birth to nymphs - female deities of nature, living longer than humans, but not immortals. Dryads lived in forests, naiads in rivers, oreads in caves. The nymph was Eurydice, wife of Orpheus.
The sea elder Nereus, son of Gaia, gave birth to 50 Nereids - nymphs living in the Aegean Sea. The goddess Thetis, mother of Achilles, is also the daughter of Nereus.
Sons and daughters of Zeus from earthly women: Hercules, Perseus, Castor and Pollux (brothers of Dioscuri), Elena Troyanskaya.
Lesson 2. Myths about Hercules In lessons 2 - 5, sixth graders will continue to observe the content of myths and their characters, get acquainted with the culture of Ancient Greece and works of ancient art, looking for answers to the questions: “Why can a myth live for a very long time? What helped the ancient myth to live such a long life? " The new concept introduced in these lessons is “hero”.
Diagnostic goals of the lesson. After the lesson, students will be able to:
1) retell the myths about Hercules;
2) explain:
- who is called a hero in myths,
- why the deeds of the hero are called feats,
- what is the meaning of the myths about Hercules;
3) recognize Hercules among the mythological characters depicted in works of art, and correlate the image with one of his exploits.
Animated films on the plots of the myths about Hercules1 will help the teacher to conduct an interesting lesson.
We begin the lesson with a conversation about how myths explain the fact that mortals had children from the gods. You can tell the children about this or ask them to read the article “Mythological Hero” in the textbook (pp. 9 - 10).
Then we find out how the students understood who is called a hero in myths. It is important here to clearly define the differences between the terms “folk hero”, “literary hero” and “hero of myth”. Only the descendants of the gods born of mortals are called heroes in myths. Divine origin gives the heroes amazing abilities and thus predetermines their unusual bright destiny. Heroes were the standard for ordinary people - they were worshiped, they were honored, captured in sculptures, on bas-reliefs, depicted on household items. Almost every area of \u200b\u200bthe Ancient "Return from Olympus" (directed by A. Snezhko-Blotskaya, 1969), "Birth of Hercules" (directed by Y. Kaliter, 1982), "Hercules at Admet" (directed by A. Petrov, 1986), "Hercules" (directed by D. Musker, 1997), “Myths.
Feats of Hercules ”(director S. Ovcharov, 2000). On the Cartoons website:
http: // mults. spb. ru - there are cartoons from the series "Ancient Greek Myths". Interesting information can be found on the site "Ancient Greece": http: // collection. edu. yar. ru / catalog / rubr / 7d2af1dc-a65f-443cd-7732ffefb663 / 72217 / ?.
Greece had its own hero. Since the activities of these heroes were often associated with the spread of culture (making fire, teaching crafts and arts, etc.), they began to be called cultural heroes.
The next part of the lesson is devoted to the myths about Hercules, his exploits. You can check homework 3 (reading myths) with the help of the animated film "Hercules at Admet". It begins with a demonstration of bas-reliefs with the hero's exploits. A freeze frame will allow the children to carefully examine them, and then tell about the exploits as if they were plotted pictures.
Then we work on the questions of the textbook 1, 4 - 6 on p. 17. Move on to task 8, and then to questions 3 (it reveals a personal attitude to what you read) and 7 (it is of a general nature).
We turn to the winged words and expressions associated with the myths about Hercules, to the map of the starry sky (homework check) and to the "Origin of the Gods" scheme: what did the students manage to add to it?
The lesson ends with reflection on question 9. At this stage, you can show the students and fragments from films in which Hercules1 acts. Why is Hercules so popular today?
Modern cinema, of course, exploits the vivid images of ancient heroes, profane myths. But in the use of these images, you can see the positive aspects: the audience needs the ideal of a strong, intelligent, honest and fair hero. And if he is not in the present day, then they go to the past for him. And until now, Hercules remains such an ideal.
Homework
1. Complete tasks 2 and 3 (if the student's favorite hero is Hercules) in the notebook (Topic 1. "Hero in myths", p. 4).
3. Optional: complete additional tasks in the textbook on p. 17. The task is completed for the last lesson on the topic "Hero in Myths".
The Feats of Hercules (directed by P. Franchishi, 1958), The Amazing Wanderings of Hercules (directed by B. Campbell, 1995 - 1999), The Adventures of Hercules (directed by M. Khashoggi, 2009).
Lesson 3. Achilles as a mythological hero Achilles or in the Russian tradition Achilles is known to us thanks to many works of art of Antiquity.
These are the tragedies of Aeschylus "Myrmidonians", "Nereids", "The Phrygians, or the Ransom of Hector's body", the tragedy of Euripides "Iphigenia in Aulis". The tragedies called Achilles were written by many Greek authors. We also meet the image of Achilles in the works of the Latins, for example, "Achilles" by Livy Andronicus.
But most people know Achilles from Homer's epic poem The Iliad. The textbook contains a succinct retelling of the Homeric story, in the center of which is the battle between Achilles and Hector. Of course, such an exposition is devoid of artistry and, as a result, bright emotional coloring, but a sixth grader will not be able to master the Iliad either. Therefore, in the lesson, it is important to activate the imagination and emotions of the readers.
Diagnostic goals of the lesson. After the lesson, students will be able to:
1) tell about the participation of Achilles in the Trojan War;
2) compare the images of Hercules and Achilles according to the qualities of the heroes;
3) explain what is the meaning of the image of Achilles.
We begin the lesson by colliding the impressions of the students, their opinions about Achilles. "How did the hero appear before you?" We ask question 3 from the textbook (p. 26). "Can Achilles be called a merciless, cruel warrior?"
We create a problem situation. The problematic question of the lesson: "How does Achilles differ from Hercules?"
The answer requires a comparison of images. We will teach the children this difficult skill in the classroom. Let's repeat what we learned about Hercules, what qualities he is endowed with and what meaning is put into the plot of his exploits. Then consider what qualities are inherent in Achilles. Table 2 will help highlight the main points.
Table 2. Comparative characteristics of Hercules and Achilles Qualities Hercules Achilles Huge physical strength Fearlessness Patience The end of the table.
2 Qualities Hercules Achilles Anger Mind Cunning Justice Carries out the will of the gods Helps people Outcome of life Obviously, the heroes have a lot in common, although there are important differences: for people Hercules did a lot, while Achilles killed more than saved. Hercules is patient, anger takes possession of him only because of the intrigues of Hera. Achilles becomes angry over personal grievances. Here it is appropriate to refer to the questions of the textbook on p. 26. We set them in the following sequence: 3, 1, 5.
Homework
1. Answer question 4 in the textbook, turning to other mythological subjects for arguments.
3. Individual task: prepare a message about the musical instrument lyre. You can use the materials of the TSB and the Encyclopedic Dictionary of F.A. Brockhaus and I.A.Efron1.
Lesson 4. Myth and legend (myths about Orpheus and the legend about Arion)
Diagnostic goals of the lesson. After the lesson, students will be able to:
1) explain:
- how the legend differs from the myth,
- what is the feat of Orpheus,
- for which Orpheus was punished by the gods;
The address of the article on the site: http: // dic. academic. ru / dic. nsf / brokgauz_efron / 61606 /% D0% 9B% D0% B8% D1% 80% D0% B0.
2) create oral and graphic illustrations for mythological plots.
The emblem for this tutorial will be the lyre. Let's show the students her image and ask why she appeared in our lesson. It is easy for the guys to answer this question, since at home they read the myths about Orpheus.
We invite the class to listen to a short message about the lyre (individual homework).
While listening to the message, students should note how the content of the myth is related to the history of the instrument:
- Orpheus played the lyre;
- the lyre appeared in Thrace, where, according to legend, Orpheus lived;
- originally the lyre had 3 or 4 strings; it is believed that it was Orpheus who increased the number of strings to 9.
We create a problem situation. Hero Orpheus did not perform military deeds, did not defeat monsters. "Isn't there a departure from the tradition in which the hero is superior to ordinary people in the myths about Orpheus?"
We begin to solve the problem with the questions: “Can the power of Orpheus be put on a par with the power of Hercules and Achilles? What was the strength of Orpheus? " We invite students to choose comparisons, epithets or metaphors that express the quality of this force. To awaken the emotions and imagination of the children, we will read an excerpt from Ovid's Metamorphoses, which describes how nature responded to the musician's playing (Appendix 1).
Music from the opera "Orpheus and Eurydice" by K. V. Gluck or from the contemporary rock opera of the same name by A. Zhurbin (the choice depends on the teacher's taste) will not only enhance the emotional impressions of the image of Orpheus, but will probably further emphasize the gap between the possibilities ordinary people and talented musicians.
"Could Hercules or Achilles conquer animals, make lifeless things move?"
Now we turn to the questions and tasks of the textbook on p. 32: 1, 2 (from additional questions and assignments) and 2.
To sum up: the strength of Orpheus is not less than the strength of Hercules and Achilles, but it is of a different quality. Orpheus affects the souls of mortals and immortals, and even more - on all nature, the entire cosmos.
Now let's turn to the myth of Orpheus and Eurydice and consider questions 3 - 5.
Orpheus is punished for not trusting God, for impatience. The myth speaks of the need to accept your fate, which a person is not able to change. Orpheus's rebellion essentially did not lead to anything, since he cannot prevent the moiraes assigned to him. But at the same time, the myth of Orpheus is an admiration for the power of love, for the power of art. The greatness of man lies precisely in the fact that he, even being doomed to failure, does not retreat from his noble goal. This myth also reflected the admiration of the ancients for the power of love, capable of conquering death, and the horror of human weakness, which did not allow the hero to keep his beloved, to change his lot.
It is imperative to return to this myth in high school when analyzing FI Tyutchev's poem "Two Voices". Remembering the fate of Orpheus and Eurydice, the guys more easily understand the idea of \u200b\u200bthe poem.
We turn to the myth of the death of Orpheus and work on questions 6 and 7. You can again turn to "Metamorphoses" (Appendix 2).
The wise Greeks knew that no matter how strong the harmony, the cosmos, the destructive principle, chaos could be more powerful. The clash of harmony and chaos is clearly shown in this plot.
The work with the myth ends with the completion of additional task 3 and the answer to question 8 in the textbook.
The next stage of the lesson - comparing myth with legend - goes through the questions of the textbook on p. 34.
The final stage of the lesson - answers to questions 5 - 7 to topic 1 (p. 34).
Homework
1. Complete tasks 4 and 5 in the notebook (Topic 1. "Hero in Myths", pp. 4 - 5).
2. Complete the "Origin of the Gods" diagram.
3. Finish working with winged words and expressions.
4. Answer questions 1 - 4 in the textbook for topic 1.
5. Optional: complete tasks 2 and (or) 3 of the additional tasks (p. 35). The teacher stipulates the deadline for submitting these works.
Appendix 1 An excerpt from Ovid's Metamorphoses There was a hill, on the hill there was a flat, flat place;
Everything turned green, covered with an ant. There was no Shadow on him at all. But as soon as the God-born singer sat down on the hillock and struck the ringing strings, the Shadow came to that place: there was a tree for Chaonia, the Grove of the Heliad sisters, and an oak that ascended into the sky;
Soft lindens came, celibate laurels and beeches, Fragile came both walnut and ash, suitable for spears, Lacky spruce, under the fruits of bending ilik, And noble plane tree, and maple with a variable color;
The lotus came watery and along the rivers growing willows, Bux, always green, tamarisk with the finest foliage;
Myrtle bicolor there, in the fruits of blue laurel;
With a tenacious foot of ivy, you, too, appeared, and with you And the vine vine, and the vine braided elms ... ... All the plants that were in the world came to listen to Orpheus!
And threw Thyrsus into the mouth of the singer Apollo, full of sounds, But braided by foliage, the thyrsus struck without hurting.
The stone is another weapon. But, thrown through the air, on the road
He was already defeated by the consent of song and lyre:
As if praying forgiveness for the fury of their boldness, Lay at the feet of Orpheus. And the reckless enmity is growing stronger, Measure has already been passed, all mad Erinia serve.
All the blows could be taken away by his singing; but the loud Noise of voices and the sound of curved Berekintian flutes, The splash of palms, the tympanum and Bacchic exclamations of the cries of the Strings drowned out the game - then at last the ledges of the rocks glowed, staining the ill-fated songwriter with blood.
Lesson 5. Extracurricular Reading Lesson This lesson consists of two stages.
On the first, knowledge is tested on the topic considered, and on the second, the guys acquaint classmates with their works, the topics for which they have chosen in lesson 1, and art projects.
Homework questions are used for a written test of knowledge 4. Time for work - 10 minutes.
Homework
1. Answer the question: "What do you think, were there heroes like ancient Greek in Russian folklore?"
2. Find in explanatory and encyclopedic dictionaries the meanings of the word "hero" and answer the question: "What qualities must a person possess to be called a hero?"
3. Individual assignments: prepare messages about who Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich are, using the textbook material (pp. 42 - 43) and additional sources.
- & nbsp– & nbsp–
Lesson 6. History and artistic creation
Diagnostic goals of the lesson. After the lesson, students will be able to:
1) explain which works belong to the heroic epic;
2) name the original name of the epics - antiquity - and tell what events they were dedicated to, who performed them and how;
3) tell about the origin of epics and list the names of Russian heroes.
The epics in the original recording are very difficult for a child to perceive. Reading them requires tension, which means strong motivation. It is necessary to prepare schoolchildren for the perception of the Russian heroic epic. We solve this problem in the first lesson on the topic.
The question from homework 1 serves as a connecting thread between topic 1 and topic 2. With it, we begin the lesson: "Do you think there were heroes like ancient Greek in Russian folklore?"
The reading experience of sixth graders largely depends on the literary reading program that they followed in elementary school. If they have already received an initial idea of \u200b\u200bepics, then it will not be difficult for them to answer this question, if there is no such idea yet, then the answers will be emotional rather than reasoned. In the first case, we immediately begin a conversation about how heroes differ from mythological heroes; in the second we tell the guys about epics. But how can you make this story interesting for your students?
Let's go in a time machine (its model can be made with the help of parents and the children themselves) on an imaginary journey about 10 centuries ago: just then the epics were taking shape. Our goal is to bring exhibits for the virtual museum of epic heroes. Pupils record in their workbooks what should be presented in the museum and what may arouse the interest of its visitors and discover something new for them. A teacher-prepared presentation "Ancient Rus", which will include maps of Kievan Rus and ancient Kiev, images of ancient Kiev churches, dwellings of that time, household items, everyday and festive clothes of peasants and princes, military equipment, reproductions of paintings by V.M. Vasnetsov "Guslyars "," Boyan "(they are in the textbook on pp. 40 and 41), will make the trip visual and memorable, expand the knowledge of sixth graders about their homeland and its history.
We will walk along the Kiev street, leading from Podol to the hill where the prince's tower stands. Let's go into it. Guests are sitting at the festive table, and guslars are sitting on the bench (painting by V.M. Vasnetsov "Guslars"). "What are they singing?" You can use a CD with a recording of Russian epics performed by professional storytellers or, if you cannot get these recordings, audio recordings of an actor's reading of epics accompanied by musical accompaniment. Their teacher will find them on the website “Children's page. Epics. Audio ": http: // www. deti. religiousbook. org.
ua / byl-audio. html.
What are the guslars singing about? About exploits, about glorious victories.
In ancient times, such songs were called antiquities.
Oldies, more like a flowing story to music (like modern rap), were performed not only at feasts. We will show the children the painting "Boyan" by V. M. Vasnetsov.
The warriors gathered around the narrator on a green hill. Have the students dream up what the characters are thinking as they listen to the singer. "Is it possible, without hearing the song itself, to guess what Boyan is singing about?"
Looking at the paintings by Vasnetsov, the children will also see the gusli, an ancient Russian musical instrument. Most likely, they will remember Orpheus, about his songs. The myths did not tell us what Orpheus sang about, or rather, we guess that in the underworld he sang about his love for Eurydice. Did ancient Russian singers sing about love? Boyan's face suggests that love was not his theme. The mimics and gestures of the narrator convey the solemn, lofty mood of his songs, which do not comfort and calm the souls, but inspire the warriors to feats.
Today such songs about glorious deeds and victories are called heroic epics. "Who was the old hero?"
Let's give the floor to schoolchildren who have prepared certificates about Russian heroes (homework 3).
Perhaps the students will have a question: "Did the storytellers invent the events they sang about, or testified about what they saw or heard about?"
The answers to this question were given by scientists-folklorists. They established that the most ancient and widespread in the Russian heroic epic are the princely-druzhina epics. Their plots are the military exploits of the princes and their warriors-heroes in battles against the steppe nomads (Tatars, Polovtsy, Pechenegs). Such epics geographically mostly go back to Southern Russia, chronologically - to the period from the end of the X-XI century. and up to the XIII - XIV centuries.
It was in these works, according to scientists, that the main features of the main character of the Russian heroic epic - the glorious mighty hero - were formed. Comparing the texts of epics with the chronicles (they will be discussed later in the classroom, but already now it is possible to explain to the children that the chronicle is a written monument that reflected historical events with greater reliability than epics), legends, legends, folklorists came to the conclusion that bylinas have a historical basis, although they are not historical works in the generally accepted sense. For example, the relics of Ilya Muromets are kept in Kiev, and on December 19, according to the old style, the Church honors his memory as Saint Ilya of Pechora. The name of the Rostov hero Alexander Popovich is found in the chronicles of the battle on the Kalka River1. The Tver Chronicle says that in 1224, after the death of the Rostov prince Konstantin, Alexander Popovich summoned other heroes to a meeting, and they decided to leave the service to the appanage princes, “the prince in , as if to serve them EdAlyosha is a diminutive name from both Alexei and Alexander.
to the great prince in his mother with the city of Kiev. " In accordance with the chronicle, the epic also informs about this departure of Alyosha Popovich from Rostov to Kiev, preserving in a number of its versions the name of Alyosha's squire - Torop (in other versions - Ekim), mentioned in the chronicle. Mentioned in the chronicle and Dobrynya Ryazanich, who also died in the battle at Kalka.
The very first records of epics were made only 400 years ago, at the beginning of the 17th century. Only five texts have survived to this day, the rest were written down later, mainly in the 19th century. The Russian North became the guardian of the heroic epic, although earlier epics existed in the south of Russia.
Even the term "epic" appeared only in the 19th century. But even a little over a hundred years ago, epics were performed by storytellers in concert halls. This is how B.V.Shergin describes M.D.
Krivopolenova at the Polytechnic Museum:
“... A strange, unusual melody sounded, unlike a Russian song. It was the voice of an ancient epic, and listeners at first perceived it as a kind of accompaniment. But then they immediately penetrated into the words, imbued with the content ... ... For two and three hours Krivopolenova sang, and countless audiences saw with their own eyes what the prophetic old woman suggested ”1.
Epics are folklore works. The storytellers did not memorize them, but memorized the events and told about them in their own way. From the moment of birth to the first recording of a particular epic, many changes took place in its text.
The personality of the narrator, of course, manifested itself in the way he sang the epic and what exactly he brought into its text. B. Sokolov notes that “the pious storyteller and the heroes will turn out to be very pious, they put crosses and bows all the time, the book storyteller involuntarily penetrates into the text of the epic book turns of speech or individual words; one of the storytellers, who lived for a long time in service, likes to dwell on how the heroes enter the hallway, and even transfers the action of the epic there. In the mouths of the narrator-tailor, it is clear why the head of the Idol of the Abominable from the blow of Ilya Muromets flies off, "like a button." One storyteller will describe in detail the punishments of the heroes, another, more good-natured, will treat them more kindly, etc. This also explains why two storytellers who “understood” the epic of the same person would Shergin B. V. Marya Dmitrievna Krivopolenova / / BV Shergin. Stories and stories. - http: // lib. rus. ec / b / 97956 / read.
lina, despite the general similarity, will nevertheless take on a more or less noticeable, original, individual imprint ”1.
But time also left its mark on the content of the epic. In the epics recorded in the 17th century, scientists see not a reflection of the era of Ancient Rus, but signs of the life of the Moscow state: they are in the description of the dwellings, clothing, characters of the prince and his boyars, in social relations, even in vocabulary.
So, of course, it is impossible to study history according to epics, but an epic can tell a lot to the attentive reader about "deep antiquity."
Note that traditionally children read epics not in the original recordings of collectors of folklore, but in prosaic arrangements made to facilitate perception.
For an independent acquaintance with the plots of epics, such arrangements can be recommended for sixth graders.
These are, first of all, bylinas in retellings of N. I. Nadezhdina, V. P. Avenarius, I. V. Karnaukhova, verses-fairy tales "Svyatogorbogatyr", "Sukhman", "Volga the Bogatyr", "Mikulushka Selyaninovich" by L. N. Tolstoy2 ...
For those schoolchildren who want to learn more about epics, we recommend the following books:
Bakhtin V.S.From epics to counting rhymes: Stories about folklore. - L., 1988.
Putilov B.N.Bogatyrskaya Zastava: Conversations about the epics of the Russian North. - L., 1990.
But in the classroom, sixth graders will get acquainted with epics in the form in which they were recorded. There is certainly difficulty in reading them. But if we remember that, according to Leo Tolstoy, in his Yasnaya Polyana school, peasant children enthusiastically read the epics from the book "Songs Collected by P. N. Rybnikov", then we will be convinced that these difficulties are not so great.
B. Sokolov Epics // Literary encyclopedia: in 11 volumes - [M.,] 1929 - 1930. - T. 2. - http: // feb-web. ru / feb / litenc / encyclop / le2 / le2htm.
See: Bogatyrs and Knights of the Russian Land: According to Bylinas, Legends and Songs / comp. N.I. Nadezhdina. - M., 1990; Exemplary fairy tales of Russian writers / comp., Processed. V.P. Avenarius. - M., 1990. - ("Books of our childhood") (texts can be found on the website: http: // www. Baby-best.
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Achilles is a hero of ancient Greek mythology, best known for the episode of participation in Homer wrote about this character in his "Iliad". And although "Iliad" is considered an epic work describing the war against Troy, in fact, this is a story about the quarrel between Achilles and it was she who led to the events that decided the outcome of the ten-year siege of the city.
The origin of Achilles
Achilles was a hero. And initially not even thanks to their actions. Just the heroic fate of Achilles was predetermined already at birth. After all, according to Greek myths, the offspring, which appeared as a result of the connection of the immortal gods with mortal people, became a hero. He himself did not possess immortality, however, he could count on the patronage of heavenly relatives and, as a rule, possessed outstanding abilities, mainly combat.
The mother of Achilles was the sea nymph Thetis, and the father was Peleus, who reigned over the Myrmidons. Therefore, in the Iliad, the hero is often called Pelid (which means the son of Peleus). An unusual marriage between an earthly man and an immortal nymph is also explained in myths. Thetis was raised by Hera, and when Zeus tried to seduce the young nymph, she, in gratitude for the care that his lawful wife showed to her, refused the voluptuous Olympian. As punishment, Zeus gave Thetis to a mortal.
Achilles heel
As time went on, Thetis and Peleus had children. To check whether they are immortal or not, Thetis dipped the newborn into a cauldron of boiling water. So the first six sons died. The seventh was Achilles. It was the father who saved him from the unenviable fate of his brothers, taking his son away from his wife in time. After that, Thetis leaves her husband and returns to live at the bottom of the sea. But she continues to closely follow her son's life.
According to another myth, Thetis lowered little Achilles into the waters of the sacred Styx flowing in the kingdom of Hades. This gave the child invincibility. Only the heel, the place where his mother held him tightly, remained vulnerable. From here comes the stable expression "Achilles' heel", which conveys the idea of \u200b\u200ba person's weak point.
After the departure of his wife, Peleus sends his little son to be raised by the centaur Chiron. He feeds him with animal bone marrow instead of mother's milk. The boy grows up and diligently comprehends the science of wielding weapons. And according to some reports, and the art of healing.
Visiting Lycomed
Chiron, who, among other things, possessed the gift of a fortuneteller, informs Thetis that if her son avoids participation in the upcoming Trojan War, then he will have a long life. If he goes there, the Greeks will win, but Achilles will die. This prompts Thetis to send his son to another island - Skyros, and hide him between the daughters of King Lycomedes. For greater safety, Achilles lives there dressed in women's clothing.
This behavior seems somewhat unusual for a hero hungry for undying glory. However, it is worth remembering that at that time the young man was barely fifteen years old. It is by the time Homer describes in the Iliad that Achilles had become a mature, accomplished warrior. After all, the siege of the impregnable city lasted twenty years. And all this time the Greeks did not sit idle on the spot. They attacked and ravaged nearby cities. Until then, it was a young man. Courageous but obedient to the direction of his divine mother.
Meeting with Odysseus
Meanwhile, a chain of events leads to the gathering of troops for the war against Troy. Priest Kalhant announces that if the son of Peleus does not participate in the campaign, the Greeks will face a crushing defeat. Then the Achaean leaders hastily equip Odysseus and send him for Achilles to the island of Skyros.
Realizing that going against the immortal inhabitants of heaven with brute force is more expensive for himself, Odysseus resorts to cunning. He introduces himself as an ordinary itinerant merchant and enters Lycomedes' palace. Having laid out his goods in front of the king's daughters, Odysseus places richly decorated weapons among the jewels.
At the appointed moment, the people of Odysseus, on his orders, gave an alarm. All the girls ran scatteringly, only Achilles was not at a loss. This gave him away. The young man grabbed a weapon and ran towards the imaginary enemies. Declassified by Odysseus, Achilles agrees to join the military campaign and takes with him his beloved friend Patroclus, with whom they grew up together.
Sacrifice to Iphigenia
And so the huge Greek fleet, which now includes a detachment of Myrmidons on fifty warships led by Achilles, is moving to Troy. In all unfolding events, the immortal inhabitants of Olympus are also involved. Moreover, some of them support the Trojans, and some are on the side of the Greeks. Due to the next trick of the gods supporting the defenders of Troy, the Greek fleet, immobilized by the absence of a favorable wind, stands off the coast of the island of Aulis.
Kalhant utters another prediction: a tailwind will blow only if Agamemnon, the leader of the Greek army, who launched a campaign against Troy, sacrifices his daughter Iphigenia. This did not bother my father. The only problem he saw was how to get the girl to the island? Therefore, messengers are sent to Iphigenia with the message that she was given as a wife to Achilles and that she must come to Aulis for the wedding. The description of the portrait of Achilles, the hero of ancient Greek mythology, does not leave her indifferent and the girl arrives on the island for a wedding. Instead, she goes straight to the altar.
One version of this story claims that Achilles himself did not know anything about the insidious plan. And when he found out, he rushed to defend the deceived princess with arms in hand. But earlier myths tell that the son of Peleus did not show any sentimentality, because he himself was eager to quickly sail to Troy. And if the gods demand sacrifices, then who will argue with them? In fairness, it should be noted that Iphigenia was saved after all. True, not a hero, but the one who replaced the girl with a deer.
Meeting with the Amazon
But be that as it may, the sacrifice was credited, and the Greeks arrived safely at Troy. Thus began the long siege of the impregnable city. As already mentioned, Achilles did not sit idly by. He became famous already at the very beginning of the war, winning one after another glorious victories over the cities surrounding Troy and the nearby islands. According to the son of Priam, who was later killed by Achilles, during this time did not meet with the impudent and successful invader. And Achilles continued to hone his skill with weapons.
In one of the next raids, Achilles enters into a battle with the queen of the Amazons, Pentiselia, who at that time was hiding on the mainland from the revenge of her fellow tribesmen. After a hard struggle, the hero kills the queen and, with the end of his spear prying the helmet, which hid the entire upper part of his face, throws it off the woman. Struck by her beauty, the hero falls in love with her.
Nearby is one of the Greek warriors - Tersit. According to Homer's unflattering descriptions, a very unpleasant subject. He accuses Achilles of lusting for the dead and gouges her eyes out with a spear. Without thinking twice, Achilles turns around and kills Thersite with one blow to the jaw.
Briseis and Chryseis
In another campaign, the Greeks capture Briseis, which Achilles keeps as his concubine. In mythology, it is described that a young woman is not at all burdened by her position. On the contrary, she is always loving and gentle.
During this time, Agamemnon also enjoys the fruits of the raids. Among other things, he, as a share of the spoil, is presented with the beautiful girl Chryseis. But her father comes to the camp, begging to allow her daughter to ransom. Agamemnon taunts him and drives him out in disgrace. Then the inconsolable father prayed for help to Apollo, and he sends an epidemic to the Greeks. All the same soothsayer Kalhant explains the cause of the misfortune and says that the girl must be released. Achilles strongly supports him. But Agamemnon does not want to give in. Passions run high.
Discord with Agamemnon
In the end, Chryseis is still released. However, the vengeful Agamemnon, holding a grudge, decides to take revenge on Achilles. Therefore, as compensation, he takes Briseis from him. A furious hero, refuses to continue to take part in the war. From this moment, events begin to develop rapidly, as the Iliad describes it. The duel between Achilles and Hector is inexorably approaching. As well as the tragic denouement to which it will lead.
Achilles' inaction
The Greeks are suffering defeat after defeat. But the offended Achilles, does not give in to anyone's persuasion and continues to be inactive. But once the defenders of Troy pushed the opponents back to the very shore. Then, having heeded the persuasions of his friend Patroclus, Achilles agrees to lead the Myrmidons into battle. Patroclus asks permission to take his friend's armor and receives it. In the ensuing battle, Hector, the Trojan prince, mistaking Patroclus in the armor of Achilles for a famous hero, kills him. This provokes a duel between Achilles and Hector.
Duel with Hector
Upon learning of the death of Patroclus, a grief-stricken Achilles intends to take cruel revenge. He rushes into battle and sweeps away one by one all the mighty warriors. The characterization of Achilles, which Homer gives him in this episode, is the apogee of the hero's whole life. It was the moment of undying glory he had dreamed of so much. Alone, he turns his enemies back and drives them to the very walls of Troy.
Terrified, the Trojans hide behind the strong walls of the city. All but one. Noble Hector is the only one who decides to fight back the son of Peleus. But even this battle-hardened warrior is horrified at the approach of his frantic enemy and turns to flight. They circled Achilles and Hector Troy three times before meeting in a mortal battle. The prince could not resist and fell, pierced by the spear of Achilles. Having tied the corpse to his chariot, he dragged the body of Hector to his camp Achilles. And only the genuine sorrow and humility of Hector's inconsolable father, King Priam, who came to his camp unarmed, softened the victor's heart, and he agreed to return the body. However, Achilles accepted the ransom - gold as much as the prince of Troy Hector weighed.
Death of a hero
Achilles himself dies during the capture of Troy. And this does not do without the intervention of the gods. Apollo, who is sickened by the disrespect of a mere mortal, invisibly directs an arrow shot by Paris, the younger brother of Hector. The arrow hits the hero's heel - his only weak point - and turns out to be deadly. But even dying, many more Trojans continue to hit Achilles. His body is carried out of the thick of the battle by Ajax. Achilles was buried with all the honors, and his bones were laid in a golden urn along with the bones of Patroclus.
The images of the warriors were diverse. Homer had no idea about character yet, but, nevertheless, he does not have two identical warriors. It was believed that a person is already born with certain qualities, and nothing can change during life.
The amazing moral integrity of Homeric man. They have no reflection or duality - this is in the spirit of Homeric time. Fate is a share. Therefore, there is no doom. The actions of the heroes are not associated with divine influence. But there is a law of double motivation for events. How are feelings born? The easiest way to explain this is by divine intervention Homer's Talent: the scene with Achilles and Priam.
The image of Elena in the Iliad is demonic. In The Odyssey, she is a housewife. It is not her appearance that is described. And the reaction of the elders to her. We know very little about her feelings. In the Odyssey it is different - there is nothing mysterious.
Each warrior has the same set of qualities, but the images are unique. Each of the characters expresses one side of the national Greek spirit. There are types in the poem: elders, wives, etc. The central place is occupied by the image of Achilles. He is great, but mortal. Homer wanted to portray the poetic apotheosis of heroic Greece. Heroism is Achilles' conscious choice. Achilles' epic prowess: brave, strong, fearless, war cry, fast run. To make the heroes different, the number of different qualities is different - an individual characteristic. Achilles has impulsiveness and immensity. Homer's characteristic: he knows how to compose songs and sings them. The second strongest warrior is Ajax the Big. He has too much ambition. Achilles is quick-footed, Ajax is clumsy, slow. The third is Diomedes. The main thing is complete selflessness, therefore, Diomedes is granted victory over the gods. Epithets: Achilles and Odysseus have more than 40. In the battle, Diomedes does not forget about the economy. The leaders of the campaign are depicted in contradiction with the epic laws. The authors of the epic write objectively. But Homer has many epithets for his favorite characters. The Atrides have few epithets. Diomedes reproaches Agamemnon, "Zeus did not give you valor." A different relationship to Nestor, Hector and Odysseus. Hector is one of Homer's favorite heroes, he is reasonable and peaceful. Hector and Odysseus do not rely on the gods, so Hector is inherent in fear, but this fear does not affect his actions, since Hector has epic valor, including epic shame. He feels responsibility towards the protected people.
The glorification of wisdom. Elders: Priam and Nestor. Nestor survived three generations of people for thirty years. New wisdom: Odyssey's intelligence. This is not an experience, but the flexibility of the mind. Odyssey is also distinguished: all heroes strive for immortality - it is offered to him twice, but he changes it to his homeland.
Homer gives us the first experience of comparative characterization. Canto 3 of the Iliad: Elena talks about the heroes. Menelaus and Odysseus are compared. + synopsis
6. PLOT AND COMPOSITION "ODYSSEY »
BRIEF SUMMARY:
Odysseia - Epic Poem
The Trojan War was started by the gods so that the time of heroes would end and the present, human, iron age began. Whoever did not die at the walls of Troy, he had to die on the way back.
Most of the surviving Greek leaders sailed home, as they sailed to Troy - in a common fleet across the Aegean Sea. When they were halfway there, the sea god Poseidon burst into a storm, the ships were scattered, people drowned in the waves and crashed on the rocks. Only a select few were destined to be saved. But even those had a hard time. Please, only the wise old Nestor managed to calmly reach his kingdom in the city of Pylos. The supreme king Agamemnon overcame the storm, but only then to die an even more terrible death - in his native Argos he was killed by his own wife and her avenger-lover; the poet Aeschylus will write a tragedy about this later. Menelaus, with Elena returned to him, was blown away by the winds to Egypt, and he took a very long time to reach his Sparta. But the longest and most difficult of all was the path of the cunning king Odysseus, whom the sea carried around the world for ten years. Homer composed his second poem about his fate: “Muse, tell me about that highly experienced husband who, / Wandering for a long time since the day he destroyed Saint Ilion, / He visited many people of the city and saw customs, / He suffered a lot of grief on the seas caring for salvation ... "
The Iliad is a heroic poem, its action takes place on the battlefield and in the military camp. "The Odyssey" is a fabulous and everyday poem, its action unfolds, on the one hand, in the magical lands of giants and monsters, where Odysseus wandered, on the other, in his little kingdom on the Ithaca island and in its environs, where Odysseus was awaited by his wife Penelope and his son Telemachus. As in the Iliad, only one episode was chosen for the narration, “the wrath of Achilles,” so in the Odyssey, only the very end of his wanderings, the last two passes, from the far western end of the earth to his native Ithaca. About everything that happened before, Odysseus talks at a feast in the middle of the poem, and talks very succinctly: all these fabulous adventures in the poem account for fifty pages out of three hundred. In the Odyssey, the tale emphasizes everyday life, and not vice versa, although readers, both ancient and modern, were more willing to re-read and remember the tale.
In the Trojan War, Odysseus did a lot for the Greeks - especially where they needed not strength, but intelligence. It was he who guessed to bind Elena's suitors with an oath to jointly help her chosen one against any offender, and without this the army would never have gathered on a campaign. It was he who attracted the young Achilles to the campaign, and without this victory would have been impossible. It was he, when, at the beginning of the Iliad, the Greek army, after a general gathering, almost rushed out from under Troy on the way back, managed to stop him. It was he who persuaded Achilles, when he had a falling out with Agamemnon, to return to battle. When, after the death of Achilles, the armor of the slain was to be received by the best warrior of the Greek camp, Odysseus received them, not Ajax. When Troy failed to take a siege, it was Odysseus who invented to build a wooden horse, in which the bravest Greek leaders hid and thus penetrated into Troy, and he was among them. The goddess Athena, patroness of the Greeks, loved Odysseus most of all and helped him at every step. But the god Poseidon hated him - we will soon find out why - and it was Poseidon with his storms for ten years that did not allow him to get to his homeland. Ten years under Troy, ten years in wanderings - and only in the twentieth year of his trials begins the action of the "Odyssey".
It begins, as in the Iliad, with Zeus's Will. The gods hold council, and Athena intercedes before Zeus for Odysseus. He is held captive by the nymph Calypso, who is in love with him, on an island in the very middle of the wide sea, and languishes, vainly wanting to "see even the smoke rising from his native shores in the distance." And in his kingdom, on the island of Ithaca, everyone already considers him dead, and the surrounding nobles demand that Queen Penelope choose a new husband from them, and the island - a new king. There are more than a hundred of them, they live in the Odysseus palace, they feast and drink wildly, ruining the Odysseus household, and have fun with the Odysseus slaves. Penelope tried to deceive them: she said that she had made a vow to announce her decision no earlier than weaving a shroud for old Laertes, Odysseus's father, who was about to die. During the day she weaved in plain sight, and at night she secretly unraveled the weaved. But the maids betrayed her cunning, and it became more and more difficult for her to resist the insistence of the suitors. With her is her son Telemachus, whom Odysseus left as a baby; but he is young and is not reckoned with.
And so an unknown wanderer comes to Telemachus, calls himself an old friend of Odysseus and gives him advice: “Equip a ship, go around the surrounding lands, collect news of the missing Odysseus; if you hear that he is alive, you will tell the suitors to wait another year; if you hear that you are dead, you will say that you will celebrate the commemoration and incline your mother to marriage. " He advised and disappeared - for Athena herself appeared in his image. This is what Telemachus did. The grooms resisted, but Telemachus managed to leave and board the ship unnoticed - for in this he was helped by the same Athena,
Telemachus sails to the mainland - first to Pylos to the decrepit Nestor, then to Sparta to the newly returned Menelaus and Elena. Talkative Nestor tells how the heroes sailed from under Troy and drowned in a storm, how Agamemnon died later in Argos and how his son Orestes avenged the murderer; but he knows nothing of the fate of Odysseus. The hospitable Menelaus tells how he, Menelaus, lost his way in his wanderings, on the Egyptian coast lay in wait for the prophetic sea elder, the seal shepherd Proteus, who knew how to turn into a lion, and a boar, and a leopard, and a snake, and into water, and into a tree; how he fought with Proteus, and defeated him, and learned from him the way back; and at the same time learned that Odysseus was alive and suffering among the wide sea on the island of the nymph Calypso. Delighted with this news, Telemachus is going to return to Ithaca, but then Homer interrupts his story about him and turns to the fate of Odysseus.
Athena's intercession helped: Zeus sends the messenger of the gods Hermes to Calypso: the time has come, it's time to let Odysseus go. The nymph grieves: "Was it for this reason that I rescued him from the sea, for that I wanted to bestow him with immortality?" - but does not dare to disobey. Odysseus has no ship - he needs to put together a raft. For four days he worked with an ax and a drill, on the fifth - the raft was lowered. For seventeen days he sails under the stars, on the eighteenth a storm breaks out. It was Poseidon, seeing the hero escaping from him, swept the abyss with four winds, the raft logs scattered like straw. "Oh, why did I not die at Troy!" - cried Odysseus. Two godins helped Odysseus: a kind sea nymph threw him a magic veil that saved him from drowning, and faithful Athena calmed three winds, leaving the fourth to carry him by swimming to the nearest shore. For two days and two nights he swims without closing his eyes, and on the third wave they throw him on land. Naked, tired, helpless, he buries himself in a pile of leaves and falls asleep dead.
It was the land of the blessed feacs, over which the good king Alkina ruled in a high palace: copper walls, golden doors, embroidered fabrics on benches, ripe fruits on the branches, eternal summer over the garden. The king had a young daughter, Nausicaä; Athena appeared to her at night and said: “Soon you will be married, but your clothes have not been washed; gather the maids, take the chariot, go to the sea, wash your dresses. " We left, washed, dried, began to play ball; the ball flew into the sea, the girls screamed loudly, their cry woke Odysseus. He rises from the bushes, terrible, covered with dried up sea mud, and prays: "Whether you are a nymph or mortal, help me: let me cover my face, show me the way to people, and may the gods send you a good husband." He washes, anoints himself, dresses, and Nausicaä, admiring, thinks: "Oh, if the gods had given me such a husband." He goes to the city, enters the king Alkinoy, tells him about his misfortune, but does not identify himself; touched by Alkina promises that the Phaeacian ships will take him wherever he asks.
Odysseus sits at Alkino's feast, and the wise blind singer Demodoc entertains the feasting with songs. "Sing about the Trojan War!" - asks Odysseus; and Demodok sings about the Odysseus wooden horse and the capture of Troy. Odysseus has tears in his eyes. “Why are you crying? - speaks Alkina. - That is why the gods send death to the heroes, so that the descendants sang their glory. Is it true that someone close to you fell under Troy? " And then Odysseus opens: “I am Odysseus, the son of Laertes, the king of Ithaca, small, stony, but dear to his heart ...” - and begins a story about his wanderings. There are nine adventures in this story.
The first adventure is with the lotophages. The storm carried the Odysseus ships from under Troy to the far south, where the lotus grows - a magic fruit, having tasted which, a person forgets about everything and wants nothing in life but a lotus. The lotophagi treated the Odysseus companions with a lotus, and they forgot about their native Ithaca and refused to sail further. By the force of them, crying, they took them to the ship and set off.
The second adventure is with the Cyclops. They were monstrous giants with one eye in the middle of the forehead; they tended sheep and goats and did not know wine. Chief among them was Polyphemus, the son of the sea Poseidon. Odysseus with a dozen companions wandered into his empty cave. In the evening, Polyphemus came, huge as a mountain, drove the herd into the cave, lit up the exit with a boulder, asked: "Who are you?" - "Wanderers, Zeus is our keeper, we ask you to help us." - "I'm not afraid of Zeus!" - and the Cyclops grabbed two of them, smashed them against the wall, ate them with bones and began to snore. In the morning he left with the herd, again blocking the entrance; and then Odysseus came up with a trick. He and his comrades took a Cyclops club, large as a mast, sharpened it, burned it in the fire, hid it; and when the villain came and devoured two more comrades, he offered him wine to put him to sleep. The monster liked the wine. "What's your name?" - he asked. "None!" - answered Odysseus. "For such a treat, I will eat you, Nobody, last!" - and the intoxicated Cyclops snored. Then Odysseus and his companions took a club, approached, swung it and thrust it into the only giants' eyes. The blinded cannibal roared, other Cyclops came running: "Who offended you, Polyphemus?" - "None!" - "Well, if there is no one, then there is nothing to make noise" - and parted. And in order to get out of the cave, Odysseus tied his comrades under the belly of the Cyclops rams so that he would not find them, and so together with the herd they left the cave in the morning. But, already sailing, Odysseus could not stand it and shouted:
"Here's an execution from me for the insult to the guests, Odysseus from Ithaca!" And the kiklop fiercely prayed to his father Poseidon: "Do not let Odysseus reach Ithaca - and if it is so destined, then let him sail a long time ago, alone, on a strange ship!" And God heard his prayer.
The third adventure is on the island of the wind god Aeol. God sent them a fair wind, and tied the rest in a leather sack and gave Odysseus: "If you swim, let go." But when Ithaca was already visible, the tired Odysseus fell asleep, and his companions untied the bag ahead of time; a hurricane arose, they rushed back to Aeolus. "So the gods are against you!" - Aeolus said angrily and refused to help the disobedient.
The fourth adventure is with the Laestrigones, wild man-eating giants. They ran to the shore and brought down huge rocks on the Odysseus ships; of the twelve ships, eleven perished, Odysseus with a few comrades escaped on the last.
The fifth adventure is with the sorceress Kirka, the queen of the West, who turned all aliens into animals. She brought wine, honey, cheese and flour with a poisonous potion to the Odyssey messengers - and they turned into pigs, and she drove them into the barn. Escaped alone and in horror told Odysseus about it; he took the bow and went to the aid of his comrades, hoping for nothing. But Hermes, the messenger of the gods, gave him a divine plant: a black root, a white flower, and the spell was powerless against Odysseus. Threatening with a sword, he forced the sorceress to return the human form to his friends and demanded: "Turn us back to Ithaca!" - "Ask the way of the prophetic Tiresias, the prophet of the prophets," - said the witch. "But he died!" - "Ask the dead!" And she told how to do it.
The sixth adventure is the most terrible: the descent into the realm of the dead. The entrance to it is at the end of the world, in the land of eternal night. The souls of the dead in him are disembodied, insensitive and thoughtless, but after drinking the sacrificial blood, they acquire speech and reason. On the threshold of the kingdom of the dead, Odysseus killed a black ram and a black sheep as a sacrifice; the souls of the dead flocked to the smell of blood, but Odysseus drove them away with a sword, until the prophetic Tiresias appeared before him. After drinking the blood, he said:
“Your troubles are for insulting Poseidon; your salvation - if you do not offend the Sun-Helios as well; if you offend, you will return to Ithaca, but alone, on a strange ship, and not soon. Your house is being ravaged by Penelope's suitors; but you will overcome them, and you will have a long reign and a peaceful old age. " After that, Odysseus admitted to the sacrificial blood and other ghosts. His mother's shadow told how she died of longing for her son; he wanted to hug her, but there was only empty air under his arms. Agamemnon told how he died from his wife: "Be careful, Odysseus, it is dangerous to rely on wives." Achilles said to him:
"It is better for me to be a farm laborer on earth than a king among the dead." Only Ajax did not say anything, not forgiving that Odysseus, and not him, had received the armor of Achilles. From a distance I saw Odysseus and the infernal judge Mi-nos, and the eternally executed arrogant Tantalus, the cunning Sisyphus, the insolent Titius; but then terror seized him, and he hastened away, towards the white light.
The seventh adventure was Sirens - predators, seductive singing luring sailors to death. Odysseus outwitted them: he sealed his companions with wax, and ordered himself to be tied to the mast and not let go, no matter what. So they passed by, unharmed, and Odysseus also heard singing, which is not sweeter.
The eighth adventure was the strait between the monsters Skilla and Charybdis: Skilla - about six heads, each with three rows of teeth, and twelve paws; Charybdis is about one larynx, but such that it pulls the whole ship in one gulp. Odysseus preferred Skilla to Charybdis - and he was right: she grabbed six of his comrades from the ship and devoured six of his comrades with six mouths, but the ship remained intact.
The ninth adventure was the island of the Sun-Helios, where his sacred herds grazed - seven herds of red bulls, seven herds of white rams. Odysseus, remembering the covenant of Tiresias, took a terrible oath from his comrades not to touch them; but opposite winds blew, the ship stood, the companions were starving and, when Odysseus fell asleep, they killed and ate the best bulls. It was scary: the ripped skins moved, and the meat mooed on the spits. The Sun-Helios, who sees everything, hears everything, knows everything, prayed to Zeus: "Punish the offenders, otherwise I will go into the underworld and will shine among the dead." And then, as the winds died down and the ship sailed from the coast, Zeus raised a storm, struck with lightning, the ship crumbled, the satellites drowned in a whirlpool, and Odysseus, alone on a piece of a log, rushed across the sea for nine days, until he threw him on the coast of the island Calypso.
So Odysseus ends his story.
The king of Alkina fulfilled his promise: Odysseus boarded the Phaeacian ship, plunged into an enchanted sleep, and woke up already on the misty shore of Ithaca. Here he is met by the patroness Athena. “The time has come for your cunning,” she says, “hide, watch out for the suitors and wait for your son Telemachus!” She touches him, and he becomes unrecognizable: old, bald, beggar, with a staff and a bag. In this form, he goes into the interior of the island - to ask for shelter from the good old pig-pasture Evmey. He tells Eumey that he was from Crete, fought at Troy, knew Odysseus, sailed to Egypt, fell into slavery, was with pirates and barely escaped. Evmey calls him into a hut, puts him in front of the hearth, treats him, grieves about the missing Odysseus, complains about violent suitors, pity Queen Penelope and Tsarevich Telemachus. The next day, Telemachus himself comes, returning from his wanderings - of course, Athena herself also sent him here, Before him Athena returns to Odysseus his real appearance, mighty and proud. "Aren't you a god?" - Telemachus asks. “No, I am your father,” Odysseus replies, and they embrace, crying with happiness,
The end is near. Telemachus goes to the city, to the palace; behind him wander Eumey and Odysseus, again in the form of a beggar. At the palace threshold, the first recognition is made: the decrepit Odysseus dog, who for twenty years has not forgotten the voice of the owner, raises his ears, creeps up to him with his last strength and dies at his feet. Odysseus enters the house, walks around the room, asks for alms from the suitors, endures ridicule and beatings. The grooms play him against another beggar, younger and stronger; Odysseus unexpectedly knocks him over with one blow. The grooms laugh: "Let Zeus send you for this what you want!" - and do not know that Odysseus wishes them a quick death. Penelope calls the stranger to her: has he heard news of Odysseus? “I heard, - says Odysseus, - he is in the near-land and will soon arrive”. Penelope cannot believe it, but she is grateful to the guest. She tells the old servant to wash the stranger's dusty feet before going to bed, and she invites him to be in the palace for tomorrow's feast. And here the second recognition takes place: the maid brings in a basin, touches the guest's feet and feels a scar on his shin, which Odysseus had after hunting for a cabana in his younger years. Her hands trembled, her leg slipped out: "You are Odysseus!" Odysseus clutches her mouth: "Yes, it's me, but shut up - otherwise you will ruin the whole thing!"
The last day is coming. Penelope calls the suitors to the banquet room: “Here is the bow of my lost Odysseus; whoever pulls it and shoots an arrow through twelve rings on twelve axes in a row will become my husband! " One after another one hundred and twenty suitors try on the bow - not a single one is even able to pull the aunt. They already want to postpone the competition until tomorrow - but then Odysseus stands up in his beggarly form: "Let me try too: after all, I was once strong!" The grooms are indignant, but Telemachus stands up for the guest:
“I am the heir of this bow; I give to whom I want; and you, mother, go to your women's affairs. " Odysseus takes the bow, easily bends it, rings the bowstring, the arrow flies through twelve rings and pierces the wall. Zeus thunders over the house, Odysseus straightens up to his full heroic growth, next to him is Telemachus with a sword and a spear. "No, I have not forgotten how to shoot: now I will try another target!" And the second arrow strikes the most arrogant and violent of the suitors. “Oh, you thought Odysseus was dead? no, he is alive for truth and retribution! " The grooms grab onto swords, Odysseus strikes them with arrows, and when the arrows run out - with spears, which the faithful Eumeus brings. The bridegrooms rush about the ward, the invisible Athena darkens their minds and deflects their blows from Odysseus, they fall one after another. A pile of dead bodies piles up in the middle of the house, faithful slaves and slaves crowd around and rejoice at seeing their master.
Penelope did not hear anything: Athena sent a deep sleep on her in her room. The old maid runs to her with the joyful news: Odysseus has returned. Odysseus punished the suitors! She does not believe: no, yesterday's beggar is not at all like Odysseus, as he was twenty years ago; and the suitors were probably punished by the angry gods. "Well," says Odysseus, "if the queen has such an unkind heart, let them make my bed alone." And here comes the third, main knowledge. “All right,” says Penelope to the maid, “bring the guest into his rest bed from the king’s bedroom.” “What are you saying, woman? - exclaims Odysseus, - this bed cannot be moved from its place, instead of legs it has an olive tree stump, I myself once hammered it on it and fixed it. And in response, Penelope cries with joy and rushes to her husband: it was a secret, they only know the omen.
This is a victory, but it is not yet peace. The fallen suitors still have relatives, and they are ready to take revenge. An armed crowd they go to Odysseus, he comes out to meet them with Telemachus and several henchmen. The first blows are already thundering, the first blood is being shed, but Zeus's will puts an end to the incipient discord. Lightning shines, striking the ground between the fighters, thunder rumbles, Athena appears with a loud cry: "... Don't pour blood in vain and stop evil hostility!" - and the frightened avengers retreat. And then:
“By sacrifice and oath, the union between the king and the people was sealed / The bright daughter of the Thunderer, the goddess Pallas Athena.”
The Odyssey ends with these words.
! ODYSSEY is a Greek epic poem, along with the Iliad, attributed to Homer. Completed later than the Iliad, O. adjoins an earlier epic, but does not constitute, however, a direct continuation of the Iliad. The theme of the "Odyssey" is the journey of the cunning Odysseus, the king of Ithaca, who was returning from a Trojan campaign; in separate mentions there are episodes of the saga, the time of which coincided with the period between the action of the Iliad and the action of the Odyssey. COMPOSITION "O". built on a very archaic material. The hero Odysseus is an old, apparently still "pre-Greek" figure with a name somewhat Hellenized in folk etymology. The plot about a husband returning home unrecognized after long wanderings and ending up at his wife's wedding belongs to the widespread folklore plots, as well as the plot of "a son going in search of his father." Almost all episodes of Odyssey's wanderings have numerous fairy-tale parallels. The very form of the story in the first person, used for the narratives of the wanderings of Odysseus, is traditional in this genre and is known from the Egyptian literature of the beginning of the 2nd millennium. The storytelling technique in "O." in general, it is close to the Iliad (see), but the younger epic is distinguished by its greater art in combining various material. Individual episodes are less isolated and form integral groups. The composition of the Odyssey is more complicated than the Iliad. The plot of the Iliad is presented in a linear sequence, in the Odyssey this sequence is shifted: the narrative begins from the middle of the action, and the listener learns about the previous events only later, from the story of Odysseus himself about his wanderings. The "song" theory, which explained the emergence of large poems by the mechanical "stitching" of individual "songs", was therefore rarely applied to "O." Kirchhoff's hypothesis is much more widespread among researchers that "O." is a reworking of several "minor epics" ("Telemachy", "wanderings", "return of Odysseus", etc.). The disadvantage of this construction is that it tears apart the plot of the "return of the husband", the integrity of which is attested by parallel stories in the folklore of other peoples, which have a more primitive form than "O." theoretically, a very plausible hypothesis of one or several "primordialisses", that is, poems that contained the plot completely and formed the basis of the canonical "O." ...
The poem opens, after the usual appeal to the Muse, with a brief description of the situation: all the participants in the Trojan campaign, who escaped death, returned home safely, Odysseus alone languishes in separation from his family, forcibly held by the nymph Calypso. Further details are put into the mouths of the gods discussing the question of Odysseus at their council: Odysseus is on the distant island of Ogygia, and the seducer of Calypso wants to keep him with her, hoping that he will forget about his native Ithaca.
But wanting in vain
To see even the smoke rising from the native shores in the distance,
He begs for death alone.
Book. 1, Art. 5 & \u200b\u200b-68.
The gods do not give him help due to the fact that Posidon is angry at him, whose son, the Cyclops Polyphemus, was once blinded by Odysseus. Athena patronizing Odysseus proposes to send the messenger of the gods Hermes to Calypso with the order to release Odysseus, and she herself goes to Ithaca, to Odysseus's son Telemachus. On Ithaca at this time, suitors wooing Penelope feast daily at Odysseus's house and squander his wealth. Athena encourages Telemachus to go to Nestor and Menelaus, who returned from Troy, to find out about their father and prepare for revenge on the suitors (Book 1).
The second book gives a picture of the Ithacian popular assembly. Telemachus complains about the suitors, but the people are powerless against the noble youth, who demand that Penelope stop her choice on someone. Along the way, the image of "reasonable" Penelope appears, with the help of tricks delaying consent to marriage. With the help of Athena Telemachus equips the ship and secretly leaves Ithaca for Pylos to Nestor (book 2). Nestor informs Telemachus about the return of the Achaeans from near Troy and the death of Agamemnon, but for further news sends him to Sparta to Menelaus, who returned home later than other Achaean leaders (Book 3). Welcomed by Menelaus and Helen, Telemachus learns that Odysseus is languishing in captivity at Calypso. Meanwhile, the suitors, frightened by the departure of Telemachus, set up an ambush in order to destroy him on the way back (Book 4). This whole part of the poem is rich in everyday sketches: feasts, holidays, chants, table conversations are depicted. "Heroes" appear before us in a peaceful home environment.
A new line of storytelling begins. The next part of the poem takes us into the realm of the fabulous and the miraculous. In the 5th book, the gods send Hermes to Calypso, the island of which is depicted with features reminiscent of the Greek ideas about the kingdom of death (the very name Kalypso - "veil" - is associated with the image of death). Calypso reluctantly releases Odysseus, and he sets out on a raft by sea. Escaped, thanks to the miraculous intervention of the goddess Leucothea, from the storm raised by Posidon, Odysseus swims to the shore of Fr. The scherias, where the happy people live - the phaeacs, navigators, possessing fabulous ships, fast, "like light wings or thoughts", who do not need a rudder and understand the thoughts of their shipbuilders. The meeting of Odysseus on the shore with Nausicaa, the daughter of the Phaeacian king Alminoy, who came to the sea to wash clothes and play ball with the maids, is the content of the 6th book, rich in idyllic moments. Alkina, with his wife Areta, receives the wanderer in a luxurious palace (Book 7) and arranges games and a feast in his honor, where the blind singer Demodok sings about the exploits of Odysseus and thus brings tears to the eyes of the guest (Book 8). The picture of the happy life of the Feacs is very curious. There is reason to believe that, according to the original meaning of the myth, the Faeaki are shipbuilders of death, carriers to the realm of the dead, but this mythological meaning has already been forgotten in the Odyssey, and the shipbuilders of death have been replaced by a fabulous "jolly" people of seafarers leading a peaceful and luxurious lifestyle, in which along with the features of the life of the trading cities of Ionia in the 8th-7th centuries, one can also see the memories of the era of the power of Crete.
Finally, Odysseus reveals his name to the Phaeacs and tells of his unfortunate adventures on the road from Troy. The Odyssey's story occupies the 9-12th books of the poem and contains a number of folklore plots that are often found in the tales of the New Time. The form of the story in the first person is also traditional for the stories about the fairytale adventures of seafarers and is known to us from the Egyptian monuments of the 2nd millennium BC. e. (the so-called "story of the shipwrecked"). The first adventure is still quite realistic: Odysseus and his companions rob the city of the Kikones (in Thrace), but then a storm carries his ships along the waves for many days, and he ends up in distant, wonderful countries. First, it is the land of peaceful lotophages, “lotus eaters,” a wonderful sweet flower; having tasted it, a person forgets about his homeland and forever remains a gatherer of the lotus. Then Odysseus falls into the land of the Cyclops (Cyclops), one-eyed monsters, where the giant man-eating Polyphemus devours several of Odysseus's companions in his cave. Odysseus saves himself by soldering and blinding Polyphemus, and then leaves the cave, along with other companions, hanging under the belly of long-haired sheep. Odysseus avoids revenge from other Cyclops by prudently calling himself "Nobody": the Cyclops ask Polyphemus who offended him, but, having received the answer - "Nobody," they refuse to intervene; however, the blinding of Polyphemus becomes the source of many misadventures of Odysseus, since from now on he is pursued by the wrath of Poseidon, the father of Polyphemus (Book 9). The folklore of sailors is characterized by the legend of the god of the winds, Aeol, who lives on a floating island. Aeolus friendly gave Odysseus a fur with unfavorable winds tied in it, but not far from his native shores, Odysseus's satellites untied the fur, and the storm again threw them into the sea. Then they again find themselves in the land of giants-cannibals, Laestrigones, where "the paths of day and night are drawing closer" (apparently, distant rumors reached the Greeks about the short nights of the northern summer); The Laestrigones destroyed all of Odysseus's ships, except one, who then landed on the island of the sorceress Kirka (Circe). Kirka, like a typical folklore witch, lives in a dark forest, in a house from which smoke rises above the forest; she turns Odysseus's companions into pigs, but Odysseus, with the help of a wonderful plant indicated to him by Hermes, overcomes the spell and enjoys Kirk's love for a year (book 10). Then, at the direction of Kirk, he goes to the realm of the dead in order to question the soul of the famous Theban soothsayer Tiresias. In the context of the Odyssey, the need to visit the kingdom of the dead is completely unmotivated, but this element of the legend contains, invisibly, in a naked form, the main mythological meaning of the entire plot of the husband's “wanderings” and his return (death and resurrection; cf. p. 19). In the Odyssey, he is used to bring the hero to the souls of people close to him in the past. Having received the prediction of Tiresias, Odysseus talks with his mother, with comrades in arms, Agamemnon, Achilles, sees various heroes and heroines of the past (Book 11). Returning from the realm of the dead. Odysseus visits Kirk again, sails with his ship past the deadly Sirens, which lure sailors with magical singing, and then destroy them, drives by the cliffs near which Skilla, devouring people, and the all-consuming Charybdis live. The final episode of Odysseus's narrative depicts the cruelty of the gods and their contempt for human misery. On about. Trinacaria, where the flocks of the god Helios (sun) grazed, Odysseus and his companions were forced to stay due to unfavorable winds, and their food supply was depleted. Once, when Odysseus prayed to the gods for fear, the gods sent him a dream, and Odysseus's companions, tormented by severe hunger, violated his prohibition and began to kill sacred animals. At the complaint of Helios, Zeus sent a storm that destroyed the ship of Odysseus with all his companions. One Odysseus escaped, thrown by the waves on the island. Ogygia, where he then stayed with Calypso (Book 12).
Theacias, richly gifting Odysseus, take him to Ithaca, and an angry Posidon turns their ship into a cliff for this. From now on, the Faeacs will no longer carry pilgrims across the seas on their fast-moving ships. ships. The kingdom of the fairy tale ends. Odysseus transformed by Athena. into an old beggar, goes to the faithful swineherd Evmey (book 13). The "unrecognizability" of the hero is a constant motive in the plot about the "return of the husband", but while the traditional plot does not require any complex action between the moment of the return of the husband and his recognition, in the "Odyssey" unrecognizability is used to introduce numerous episodic figures and everyday pictures. Before the listener passes a string of images, friends and enemies of Odysseus, and both of them believed in the possibility of his return. In the collision of the unrecognized Odysseus with these figures, the image of the "long-suffering", but persistent in trials, emerges again. and the "cunning" hero. Stay at Eumeus (book 14) is an idyllic picture; a devoted slave, honest and hospitable, but tempted by difficult life experiences and somewhat mistrustful, is depicted. with great love, although not without a slight irony. At Eumeus, Odysseus meets his son Telemachus, who safely escaped the ambush of suitors on his way back from Sparta; the son of Odysseus is revealed (book 15 - 16). In the form of a beggar tramp, Odysseus appears in his house and, being subjected to all kinds of insults from the suitors and servants, prepares for revenge. "Recognition" of Odysseus is repeatedly prepared and again pushed back. Only Eureklea's old nanny recognizes Odysseus by the scar on his leg, but he forces her to silence. Yoke depicts the violence of arrogant and "violent" suitors, which should entail punishment from the gods; signs, dreams, prophetic visions - everything foreshadows the imminent death of the suitors (book 17 - 20).
The denouement begins with Book 21. Penelope promises his hand to the one who, bending Odysseus's bow, will let an arrow pass through twelve rings. The grooms are powerless to complete this task, but the beggar stranger easily copes with it (book 21), opens up to the suitors and with the help of Telemachus and the goddess Athena kills them (book 22). Only after this does the "recognition" of Odysseus by Penelope (book 23) take place. The poem ends with the scene of the arrival of the souls of the suitors in the underworld, the meeting of Odysseus with his father Laertes and the conclusion of peace between Odysseus and the relatives of the murdered.
The composition of the Odyssey is more complicated than the Iliad. The plot of the Iliad is presented in a linear sequence, in the Odyssey this sequence is shifted: the narrative begins from the middle of the action, and the listener learns about the previous events only later, from the story of Odysseus himself about his wanderings. The central role of the protagonist is put forward in the Odyssey more sharply than in the Iliad, where one of the organizing moments of the poem was the absence of Achilles, his indifference to the course of hostilities. In the "Odyssey" only the first line of the story is determined by the absence of the hero (books. 1 - 4), the display of the situation on Ithaca and the journey of Telemachus, and with the 5th? the book's attention is concentrated almost exclusively around Odysseus: the motive of the unrecognizability of the returning husband is used, as we have seen, in the same function as the absence of the hero in the Iliad, and meanwhile the listener does not lose sight of Odysseus - and this also testifies to the improvement of art epic storytelling.
7. POEM "Odyssey" as a historical source (information on spiritual immaterial culture, general structure and life of other Greeks)
The hexameter ("six-dimensional") consists of six feet. The first syllable of each foot is long (-) and forms its rise; the lowering is formed by two short syllables () or one long (-). The foot can be dactylic (- ) or spondeic (- -); lowering the last foot of a verse is always monosyllabic, and in the penultimate one is usually two-syllable. Hexameter scheme: - , - , - , - , - - -. The play of dactyls and spondees gives the ancient hexameter considerable flexibility and richness of rhythmic variations. An essential moment in the rhythm of the hexameter is also the caesura, the obligatory word division within the third or fourth foot; thus, in the opening verse of the Iliad below, we find the caesura after the first long syllable of the third foot, between thea and Peleiadeo. With the help of caesura, a delay in rhythmic movement is formed, dividing the verse into two parts, but creating the feeling that these parts are not independent, but belong to a single whole. One can feel the richness and variety of rhythm in an epic verse, of course, only with loud reading, but Homer's epic presupposes the performance of a rhapsody in front of an audience.
However, all subsequent Greek fiction is designed to be read aloud, which should always be borne in mind by the reader of our time, accustomed to reading "to himself."
According to this alternation of antique dactyls and spondees in the antique hexameter, in the Russian hexameter, monosyllabic intervals are allowed between the stresses, except for the usual disyllabic (dactylo-choreic hexameter). The first verse of the Iliad Menin aeide, thea, Peleiadeo Achileos (spondey in the third foot) sounds in Gnedich's translation: Anger, goddess, sing Achilles, Peleev's son (the first foot is a trochee).
Homer's verse, like ancient versification in general, does not use rhyme.
Achilles (Achilles) is the main character of the poem, a stern and unforgiving warrior. In response to the insult inflicted on him by Agamemnon, the supreme leader and leader of the Achaean army, who had besieged Troy for 10 years, A. refuses to participate in the war. Because of this, the Achaeans suffer one defeat after another. But when the leader of the Trojans, Hector, kills a friend of A. Patroclus, A. forgets about his resentment and reconciles with Agamemnon. Mighty A., patronized by the goddess Athena, shows miracles of bravery on the battlefield and kills Hector in a duel, whose death marks
Final defeat of the Trojans. The image of A. bears the typical features of a mythological epic hero, a courageous warrior, in whose value system the most important thing is military honor. Proud, hot-tempered and proud, he participates in the war not so much in order to return to the king of Sparta Menelaus his wife Helen, kidnapped by Paris (this was the reason for the war with Troy), as for the glorification of his name. A. thirsts for more and more new deeds that will strengthen his glory as an invincible warrior. He sees the meaning of his life in constantly risking his life. A. despises a quiet life at home and prefers death in battle to serene old age.
- The plots of the famous poems of Homer "Iliad" and "Odyssey", which have been completely preserved to our time, like a number of other poems that have not survived, are taken from an extensive cycle of legends about the Trojan War. Each of the two ...
- I will allow myself to do without the canonical introduction, because we will be talking about a genius who does not need any introduction; about a work, each line of which has long become aphoristic. Just enough ...
- Hector is the son of Priam, the leader of the Trojan army. Like Achilles, G. in all his actions is guided by military honor, but if Achilles values \u200b\u200bher for her own sake, then G., observing his ...
- PATROCLUS is the hero of Homer's poem Iliad (between the 10th and 8th centuries BC). In Greek mythology, he is the son of one of the Argonauts Menetius, which is why he is called in the Iliad Menetides or Menetides ....
- All of us have an inherent interest in important events of the past, we are intrigued by figures of ancient times, we sympathize with them, we are indignant because of injustice. The events of the Trojan War, reflected in ancient literature as ...
- Elena is the daughter of the supreme god Zeus and the mortal woman Leda, endowed with extraordinary beauty, the wife of Menelaus, abducted by the son of the king of Troy Paris. Of all the characters in the Iliad, E. embodies the idea to the greatest extent ...
- The history of the people, as a rule, begins with fantastic retellings of myths and beautiful legends. In these creations, a grain of history is always hidden, bordered and embellished with fantasy. Already in the first millennium BC ...
- Nausicaa is the daughter of Alkinoy and Areta, the princess of the Feacs On the very night when Odysseus reaches the island of the Theacs of Scheria, the goddess Athena appears in a dream to Nausicae, who reproached her for ...
- ACHILLES (ACHILLES) - the hero of Homer's poem "Iliad" (between the X-VIII centuries BC). In Greek mythology, A. is the son of the sea goddess Thetis and Peleus, king of the city of Phthia in Thessaly. By...
- Alkinoy is the character of the Odyssey (songs 6-13), the king of the Feacs, the husband of Areta and the father of Nausicaa. After the arrival of Odysseus on the island of the Faeacs Scheria, A. cordially accepts the stranger in his house, treating him to ...
- The exact dates of the life of the legendary ancient Greek creator have not been established. They range from the 12th to the 7th century. BC e. Seven cities fought for the right to be called his homeland: Smyrna, Chios, Colophon, Salamis, ...
- In Greek mythology, the king of the island of Ithaca. Son of Laertes, husband of Penelope, father of Telemachus. Talking about Odysseus, Homer uses the epithets "wise", "godlike", "multi-resistant", "hard in trials." The newly married Odysseus did not want ...
- Ancient literature can be divided into 2 periods (literature of ancient Greece and literature of ancient Rome). Greek literature arose from about 1 millennium BC, it had a huge impact on the whole ...
- Odysseus's problem is “hated by the immortal gods,” as Aeolus calls him. Why hateful? Perhaps because he put himself on a par with the gods? Conflict with Poseidon and his son Polyphemus ...
- Tersit (aka Fersite) is a character in the Iliad, a Greek warrior. T. appears only once, in the 2nd song of the poem (verses), where at the moment Agamemnon tested the Greek army, he calls on everyone to return home, leaving ...
- Odysseus (in the Roman tradition Ulysses is the king of Ithaca, the protagonist of Homer's poem “The Odyssey” and one of the secondary characters in the Iliad), O.'s courage is combined with cunning and prudence. O. himself thinks ...
- Paris in the Iliad is a boastful, idle and careless handsome man who, treacherously violating the laws of hospitality, kidnapped his wife Elena from Menelaus. The beauty of P. in the poem is often opposed to his lack of pure ... The most attractive thing for the modern reader in Homer is the unobtrusive, simple-minded combination of truth and fiction, history and myth, which for Homer's contemporaries was not just a fiction that amuses the soul, but was ...
Achilles is one of the most complex figures in all ancient literature. In the first stage of his tragedy, when he is at odds with Agamemnon, he behaves rather passively. His action here is mainly "anger" against his offender. In Achilles, above all from the very beginning, there is a huge destructive force, bestial revenge, lust for blood and cruelty. But, on the other hand, the whole point of this blood, this atrocity lies in friendship with Patroclus, because of which he starts all this carnage. The image of a beloved friend lives together with bestial rage and inhumanity. It is very typical for Achilles, for example, that after the appearance of the moat in a wild and fierce form and after the panic caused by his terrible cry from his enemies, he sheds "hot tears" over the corpse of his faithful comrade. In addition, Homer's Achilles is generally characterized by soft and gentle features, which should not be forgotten when characterizing him. He is pious and often turns to the gods (libation and prayer to Zeus for Patroclus entering the battle), he is restrained, for example, when he deals with the messengers of Agamemnon, considering them completely innocent, he is struck by the fire that began on Greek ships, he is loving a son who often turns to his mother and cries around her, as, for example, after an insult received from Agamemnon or after the notification of the death of Patroclus. This antithesis is the most characteristic feature of Achilles. On the one hand, he is angry, hot-tempered, rancorous, merciless in war, this is a beast, not a man, so Patroclus is quite right when he tells him
You are cruel in your heart. Your father was not Peleus the horse fighter,
Mother is not Thetis a goddess. You were born by the sparkling sea.
Hard rock, - from them you have a cruel heart.
However, this is how he reacts to the death of his friend:
A black cloud of sorrow covered Peleev's son.
With both hands in a handful, taking smoky ash,
He sprinkled them on his head, his beautiful appearance disgraceful.
He stained all his fragrant tunic with black ash,
Himself, large, stretched out in a large space, he lay
In the gray dust and tormented his hair, disgracing them.
This antithesis of a stern fighter and a gentle heart is the main thing that we find in Achilles.
In the experience of Achilles, the dictates of fate and his own raging of life coincide. He knows that he will not return from Troy, and nevertheless, he undertakes a difficult and dangerous journey. Before a decisive battle, the horses predict his imminent death, appointed by fate, but this does not stop him at all:
What are you, Xanthus, prophesying death for me? Not your concern!
I know myself well that fate is destined for me to die
Here, far from father and mother. But I will not quit
From the battle, until the Trojans eat their fill!
Achilles has a secret knowledge, a secret vision of his destiny.
