12,000 lines to 60 minutes: Adapting 'The Odyssey'
History, legacy and universal themes: what do you prioritise when translating a classic text to the stage?
If you are new - welcome! I’ve added your email here because, at some point, you have kindly expressed interest in my general creative goings-on and it felt high time to make my occasional outbursts of news a little more aesthetic (if this is not of interest, apologies, and an unsubscribe button is at the bottom of this email).
I do hope you stay: I promise infrequent (and occasionally coherent) inbox-ready essays, updates and general news that above all I hope amuses - Mingma x
The Odyssey is one of the cornerstone ‘GREATS’ in the western literary cannon. It is estimated to have been composed in the 8th century BC by the poet Homer, although there is still debate on whether he was man or composite legendary figure.
For two hundred years the 12,000 line epic was only spoken. The oral tradition of ancient Greece was rich, complex and highly ritualised. The orator would invoke the Muses, the goddesses of inspiration, and then launch into a narrative that would unfold over several hours or even days. Repetitive use of mnemonic devices, such as formulaic phrases and vivid imagery, helped make the poem easier to remember and recite: famous examples from The Odyssey include the ‘wine-dark sea’, ‘fresh and rosey-fingered dawn’ and ‘cunning Odysseus’. The performance would often take place in public spaces such as marketplaces, palaces, or temples, and be accompanied by music, dance, and other forms of performance.
The oral tradition of epic poetry served as a means of transmitting cultural values, history, and mythology from one generation to the next. The stories of the Trojan War, the adventures of heroes such as Odysseus and Achilles, and the deeds of the gods and goddesses were all part of this tradition, and helped shape the identity of Ancient Greece.
The Odyssey was first written down 200 years after its conception. Its universally human themes of personal identity, the role of family and community, the nature of heroism and the tension between order and chaos continue to resonate almost 3000 years after it was first performed.
The Themes
Throughout the poem, Odysseus struggles to maintain his identity and sense of self as he faces various challenges and obstacles. He is forced to disguise himself, deceive others, and even take on false identities in order to survive. When he returns to Ithaca after 20 years away he comes as a beggar in order to test the loyalty of his servants and friends. He tells the Cyclops Polyphemus that his name is "Nobody". When Polyphemus later calls for help and says that "Nobody" has harmed him, and they do not come to his aid. What is the relationship between identity and survival? Is identity fixed, or mutable?
The importance of family and community is a central theme of the poem. Odysseus' journey home is driven by his desire for ‘Nostos’ (homecoming). His wish is to reunite with his family and reclaim his seat at Ithaca, even while being tempted by the delights of drugs (The Lotus-Eaters), comfort (Circe) and immortality (Calypso). The importance of family ties and community connections in shaping our identities and our sense of purpose is something tow which every modern reader will relate.
Odysseus is portrayed as a hero, but not as a wholly virtuous figure. He is often dishonest and manipulative, putting his own interests ahead of those of his companions. At various points he lies to his crew to keep them motivated; he tells them Circe is a helpful goddess while knowing she could be dangerous. When returning home he disguises himself from Penelope in order to test her loyalty. In Virgil’s derivative Aeneid Odysseus is characterised more as a shrewd trickster than hero, particularly in comparison to the militarily dutiful qualities espoused by Aeneas. It is an open question whether it is possible to be both flawed and heroic.
Many characters try to impose order on the chaos of the world around them within the tale. Odysseus himself is a master of order and strategy, using his cunning and wit to try to overcome the challenges he faces, and yet these stratagems often backfire: convincing the wind god Aeolus to help his crew home, but that very help also drives them back to square one. The presence of the Gods, a pinnacle of Order, also result in the most chaotic and calamitous events of the voyage, bringing storms and winds and shipwreck. It is a fundamental human experience to query the relationship between order and chaos, and the extent to which we can control the events of our lives.
The Legacy
The Odyssey has had a profound impact on Western literature and culture, and its legacy is likewise grand and varied. It has been a major influence on later epic poems, such as Virgil's Aeneid, Dante's Divine Comedy, and Milton's Paradise Lost. It has also acted as the inspiration to future literary works: from James Joyce's Ulysses, which uses the structure of The Odyssey as a framework for a modernist novel, to Margaret Atwood’s Penelopiad and Madeline Miller’s Circe, which reimagines the story from the perspective of the goddess and Penelope respectively.
Homer’s exploration of character, plot, and setting, as well as its use of first-person narration and interior monologue, were influential in the development of the modern novel. The Odyssey is often cited as one of the earliest examples of the hero's journey, a narrative structure that has been used in countless works of literature, film, and television. Sirens, lotus-eaters, Cyclops and a Trojan Horse are all still in common parlance.
Overall, "The Odyssey" raises fundamental questions about identity, the importance of family and community, the nature of heroism, and the tension between order and chaos. Questions that continue to be relevant to the modern day. Its keystone position within the western cultural cannon cannot be overstated, and the quality of the text and themes justify that position.
The Adaptation
Editing by its very nature means to cut away yet my priority is always to ensure an absence of personal imposition. In this adaptation we will have time to tell but one part of this great epic: which part may I most well serve?
‘Homophrosyne’. Penelope and Odysseus are described throughout the original text as ‘like-minded’. Odysseus is cunning, wily and clever – is Penelope his equal match? What would the conversations between these two be like, particularly at the first (and second) reunion?
The final script is now submitted, and touches on many of the universal themes of the tale, in particular loss, identity and homecoming. My greatest hope is this version will act as an introduction to this epic tale, and (for those who have not yet had the pleasure) spark a curiosity in the original!
My adaptation of The Odyssey will be touring the country with Troubadour Stageworks this summer. Venues include:
Thorington Theatre, Suffolk (2nd June)
St Ives (23 June)
Penzance (26 June)
Kelston, Bath (14 July)
Covent Garden, London (4-6 August)
Kingsettle Stud, Cholderton (30 August)