Homer

Opera

Making Child’s Play of Homer

The work progressed from heroic numbers like “Sing to me of Odysseus,” to the blunter plaint, “Face it, he’s never coming home!” Engaging young audiences has become essential for classical music to survive in a world where digital immersion of immediacy of effect raises the aesthetic threshold.
Bard Music Festival

John Banville’s Love in the Wars after Kleist’s Penthesilea at Bard Summerscape

If one has read one's Classics, or has acquired a passion for ancient literature later in life and has read, say, Homer and the tragic poets with some attention, or, perhaps I should say, is older than fifty, one, in some human situation, whether intimate, passionate, urgent, or trivial, will occasionally get an uncanny feeling that one is living out Greek myth—that under one's skin Achilles, Hermes, or Thetis are making us act and speak from within, as if we twenty-first century humans were nothing more than costumes for some drama of great antiquity that plays itself out continuously over millennia in strands intertwined with other narratives. Is this fate, or archetype, or merely common or garden human nature, observed as keenly by Homer, Pindar, and Euripides as by Dickens, Nietzsche, or Proust?
New York Arts in Edinburgh

Edinburgh Walks – Part I of a Series

One of the most astonishing passages in Homer is the simile in Book XV of the Iliad, which describes the rapidity of Hera's flight to Olympus (Il. XV, 79ff.): but went back to tall Olympos from the mountains of Ida As the thought flashes in the mind of a man who, traversing much territory, thinks of things in the mind’s awareness, ‘I wish I were this place, or this’, and imagines many things; so rapidly in her eagerness winged Hera, a goddess. —trans. Richmond Lattimore
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