I Lliad Odyssey Epic Plays
I Lliad Odyssey Epic Plays
I Lliad Odyssey Epic Plays
The Odyssey,
and The Aeneid
NEW YORK TORONTO LONDON AUCKLAND SYDNEY
MEXICO CITY NEW DELHI HONG KONG BUENOS AIRES
by Gwen BowerS
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
To my dad for always expecting my best,
and to the St. Charles class of 2005 for bringing these characters to life,
and to Bernard and Dorothy Evslin and Ned Hoopes for breathing life into
my childhood with their inspired stories of heroes and monsters.
I would like to thank Shanna Streich and Jenn Durrant for their advice, support, and friend-
ship. I would also like to thank my editor, Sarah Longhi, and everyone who had a hand in
making this book, for their faith and encouragement. Thanks to Lucy Hughes for help at the
British Museum Library Reading Room. Thanks and gratitude to Professor Barbara
MacLachlan for her scholarship and classes in ancient epic. And a super-special thanks to
Renato, Patrick W., Alex, Adam, Patrick D., Richard G., Peter, Mikey, and Derrick (my first
Achilles) for their unbounded enthusiasm for the ancient world!
Scholastic Inc. grants teachers permission to photocopy the reproducible pages from this book for class-
room use. No other part of this publication may be reproduced in whole or in part, or stored in a
retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording, or otherwise, without permission of the publisher. For information regarding permission, write
to Permissions Department, Scholastic Inc., 557 Broadway, New York, NY 10012-3999.
Cover design by Jason Robinson
Interior design by Melinda Belter
Cover Illustrations by Jeff Carino
Interior illustrations by George Ulrich
ISBN-13 978-0439-62918-8
ISBN-10 0-439-62918-7
Copyright 2006 by Gwen Bowers. All rights reserved. Printed in the U.S.A.
1 2 3 4 5 6 7 8 9 10 40 13 12 11 10 09 08 07
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Introduction
Is It Possible to Teach Classical Literature to
Middle School Students? Yes! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
If You Choose to Produce the Plays: Some Dont Sweat It Basics . . . . . . 6
Activities for Building Background
Pronunciation Is a Key to Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Introducing Greek and Roman Gods and Goddesses . . . . . . . . . . . . . . . . . . . 10
Fascinating Facts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Activities for Extending Learning
Map Adventure Through Ancient Lands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Using Art to Convey Meaning: Greek Vases . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The Plays
An Introduction to The Iliad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
The Iliad (a read-aloud play) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Story Summary 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Story Summary 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Themes for Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
An Introduction to The Odyssey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
The Odyssey (a read-aloud play) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Story Summary 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Story Summary 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Themes for Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
An Introduction to The Aeneid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
The Aeneid (a read-aloud play) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Story Summary 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Story Summary 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Themes for Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
CONTENTS
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Is It Possible to Teach
Classical Literature to
Middle School Students? YES!
There is no better time to address universal issues
like friendship, suffering, and betrayal than in the
preteen and teen years, and there are no better exam-
ples to use than these incredible stories
The Iliad, The Odyssey, and The Aeneidwhich work
their way into so many aspects of our culture today.
Invite your class to discuss Aeneass position as an
immigrant displaced by war, and see if students can
make the connection to current events. Let that
student who cant sit still choose his favorite part to
read . . . and watch him take on the role of a great
hero or petulant Olympian.
I have written these classics-inspired plays and
activities for my own middle school readers, who
need highly motivating material to learn new
information and to build reading skills. Each year,
these plays captivate all types of learnersfrom the
most challenging to the most conscientious and
self-motivated. Students gain insights into the cul-
ture of ancient Greeks and Romans, and they
become invested in the characters who drive the
action in these famous stories. At the same time, the
dialogue format helps them use expression and
phrasing, and repeated rehearsals build fluency and
comprehension.
This resource provides you with everything you
need to teach the classic stories in an exciting and
fun-filled way:
I short, engaging plays that represent the
entire plot of each classic story
I background and history that describe
the tale
I activities that help you teach the content and
assess students learning
About the Plays
How do the three epic tales retold in these plays
relate to each other? The Iliad, a story about the
bitter war between the Greeks and Trojans over the
capture of the Spartan queen Helen by Trojan
prince Paris, is a prequel to The Odyssey and The
Aeneid. The Odyssey tells of the Greek warrior
Odysseuss adventurous journey home after the
Trojan War. The Aeneid is the story of the refugee
Trojan prince Aeneas and his long journey to find
a new homeland.
Studying these classics together helps students
to better understand relationships among a family of
characters and deities that were at the cultural heart
of the ancient Greco-Roman world. Yet, its also
important to recognize and point out to students
that The Iliad and The Odyssey have a very different
historical and cultural context than The Aeneid.
A blind Greek poet, Homer, is thought to have
committed to memory the first two epic poems in
the mid-800s B.C. Recent linguistic research suggests
that the rhythm and rhyme of the poems and the
repetition of character epithets assisted Homer and
those who came afterward in recalling the story for
audiences. A standard text of both The Iliad and
The Odyssey was written down by scholars at the
Great Library at Alexandria in about 600 B.C.,
which means the tale, having been retold many
times over, likely changed quite a bit from Homers
original telling.
INTRODUCTION
4
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
The Aeneid has a more certain stamp of
authenticity. It was conceived in the form of a writ-
ten document by Virgil, a well-educated writer in
first-century B.C. Rome, who counted among his
friends some of the most famous Roman citizens of
his time, including the Emperor Augustus. Virgil
promised the emperor he would write an epic poem
that traced Augustuss Roman lineage back to the
ancient heroes and gods of the pastan epic to
match The Iliad in stature and to establish Roman
roots in the classical tradition. Though Virgil died
before he had completed The Aeneid, his work was
quickly published and immortalized by the Romans.
How to Use This Book
This book offers a creative way for teachers of litera-
ture, history, and drama to introduce students to the
best tales from the ancient world. While a detailed
treatment of classical literature lies outside the scope
of this book, these plays and companion activities are
designed to build essential background and improve
students comprehensionand to motivate students
to want to learn more about these ancient cultures.
In the first section of the book, youll find a set
of activities to build students background knowledge
and extend their learning about the classics. Follow-
ing these activities are three playsadaptations of the
epics written for middle school readerswith com-
panion activities. Each play section includes a script,
stories from mythology related to the epic story, a
map activity, fill-in-the-blank summaries, themes for
writing or discussion, and a test. You may want to
work through the three plays and their activities in
order since the stories build upon one another, or
you may want to pick and choose materials to fit
your schedule and curricular needs. At the end of
the book youll find additional resources for teaching
the classics and answers to the activity pages.
Here are some ways to build background
before you begin teaching with these plays:
LSTOCK YOUR CLASS LIBRARY WITH ANY
RELATED RESOURCES ON THE ANCIENT WORLD.
Give students time in class to browse through the
books. Make sure to have available a copy of each of
the classics translated in verse or prose form so that
students can compare these texts to the plays they
are reading. Take the opportunity to set the stage for
a scene by reading aloud a vibrant, thrilling passage
from the unabridged text. This connects students
more closely to the format and style of the original
epic and helps them fill in details and become more
invested in the story. For recommended translations
of the epics, see Resources, page 81.
LREAD ALOUD TO YOUR CLASS EXTRA TALES
WORTH THEIR WEIGHT IN TROJAN GOLD, short
takes on classic stories associated with the characters
and events of a play. Youll find these tales in the
introduction to each play. The letter marked next to
the story in the introduction appears beside the
related scene in the play. You might read all the tales
prior to reading the play and revisit them during
your read-through, or share each story when you
and your students reach the part of the play that
builds on the tale.
LEXPLAIN TO STUDENTS THAT THEY WILL
ALWAYS ENCOUNTER VARIATIONS IN EACH TELLING
OF THE EPIC THEY READ. To demonstrate how vari-
ations occur in stories told in the oral tradition, such
as The Iliad and The Odyssey, whisper a sentence in a
students ear and have him or her pass the message
along so that each student whispers the message in
another students ear. When the message has been
passed around the classroom, ask the last student
who heard the message to write it on the board.
Write the first message on the board and marvel at
the difference between the two versions. Point out
5
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
that the Greek world had an oral tradition, and such
a tradition, by its very nature, changes constantly.
You might also want to point out that variations
may occur due to translations and adaptations, such
as the plays in this book.
If You Choose to Produce the Plays:
Some Dont Sweat It Basics
Rule 1 Dont Be Afraid!
Rule 2 Just Do It!
Rule 3 Enjoy!
Plays are exciting and motivational for students
and the repetition of lines and expression of the dia-
logue reinforces students understanding of the classic
stories in this collection. If you want to produce a
play, let students do most of the production work
while you offer some basic guidance. Here are some
tips for engaging students in a successful production:
N After several read-throughs, provide time for stu-
dents to generate ideas for backdrops and props.
(Theyll come up with inventive solutions we
grown-ups would never dream of.)
N To make the most of class time, avoid lengthy and
nerve-wracking auditions; assign parts for the
plays. Have students choose their five favorite
parts and list them in order of preference on a
scrap of paper. Collect the choices and write stu-
dents names in a grid under their choice number
for the part (see example, page 7). Circle the name
of the student you choose and then cross out all
the rest of the names in that row. To avoid assign-
ing two parts to one student, when you choose
your student, cross out that students name under
his or her four other choices. Statistically, this
method assures that nearly everyone gets some-
thing they ask for. If students are lucky enough to
have you for several years, you can remind them
that there will be another chance next year.
N To announce the parts, print out a class list and
write their parts next to their names. Tell stu-
dents that the parts will be posted in the hallway
at the end of the school day. Watch as the sus-
pense builds all day long. By posting the list, you
avoid discussing your decisions, and as a bonus,
have a ready reference when the kids want to
write a program for the performance. On the
bottom of the class list write Highlight your
parts and start learning your lines!
N To involve all of your students in the play, add as
many characters to the scene as possible, even
ones who have no speaking parts. (Keep in mind
that the student who doesnt want a speaking part
may still want to participate.) Group scenes
encourage full participation; plan to have all stu-
dents onstage for weddings, battle scenes, and
celebrations. You may also want to establish
anchor characters who stay onstage for the dura-
tion of the play, as well. For example, Penelope
may be onstage at her loom weaving and waiting
throughout the performance of The Odyssey.
Similarly, archrivals Hera and Venus may be seat-
ed on embellished thrones on opposite sides of
the stage throughout a production of The Aeneid.
N Do a class read-through a
couple of times before
allowing students to get on
their feet to work out the
scenes. Remind students to
speak slowly, loudly, and
clearly. After students are comfortable speaking
their lines, have them concentrate on adding
interesting movements and gestures.
6
Apronunciation
activity and key
is provided
on pages 89.
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
N Lead students in a full rehearsal. Remind
students of these pointers:
Enunciate and add expression as you speak
your lines.
Move through the play as you read it; block
it out, marking each line in your script to
show the place you should be onstage.
Come up with gestures that add interest to
your presentation.
The Performance
Publicize the performance. Contact your local news-
paper and let them know about it. You are more
than likely to get someone to come out, as journal-
ists are always looking for local stories of interest.
Have the kids make flyers, invitations, and posters.
You might also consider hiring a professional
videographer to videotape the performance and then
have copies made for students. Or you might use a
digital camera and upload the performance to the
schools website. This way, parents who work during
the school day can see it. And if your school
has a yearbook or newspaper, be sure to let the
appropriate committee know in advance so that
photos can be taken and interviews can be con-
ducted. To help spread the word, put up a bulletin
board of Greek vases (see pages 1921) outside your
classroomor better yet, reserve the main bulletin
board near the front officeand label it Famous
Scenes from Ancient Stories.
7
Choices
Characters 1st 2nd 3rd 4th 5th
Zeus
Achilles
Agamemnon
Apollo
Menelaus
Odysseus
Ajax
Patroclus
Priam
Hector
David
Daniel
Daniel
Jack
Jack
Jack
Jack
Jack
Michael
Michael
Michael
Michael
Michael
Bram
Bram
Bram
Bram
Bram
Daniel
Daniel
Ryan
Ryan
Ryan
Ryan
Ryan
When assigning parts, always be mindful of
the social and academic needs of your stu-
dents. For example, take a look at my deci-
sions for assigning roles to five students,
Michael, Daniel, Jack, Ryan, and Bram. Ive
listed the top five choices of each student
on a grid (left). Michael, Bram, and Ryan all
have their hearts set on playing the part of
brave Achilles. I have chosen Bram over the
others because Bram is a bit shy, and I feel
that this important role might help him
come out of his shell. Ive circled Brams
name for his first choice, Achilles, and
crossed out his four other choices. My deci-
sion to give Jack his first choice, as well, is
based on Jacks professed love of poetry and
his assertion that he identifies strongly with
Apollo. Michael, on the other hand, will be
assigned his fifth choice, the role of Zeus,
because he has the starring role in a drama
production presented in a few weeks by his
drama teacher. That decision will allow more
students to receive their top choices.
ASSIGNING PARTS
Daniel
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
If students have had little exposure to Greek
pronunciations, they may find their attempts
to pronounce the characters names in these
plays frustrating and distracting. This is a
sure trigger for getting the class off-track.
Knowing how to pronounce words properly
helps students build confidence and focus
on the story line.
Materials
Pronunciation Key (page 9)
What to Do
1. Distribute copies of the Pronunciation Key
to students or enlarge the key and hang it
in a visible spot in the classroom.
2. Share with students some background
about the language used in the plays (see
Basic Background, right).
3. Write all character names on the board
before the first read-through of a play.
4. Model the pronunciation of each character
name, referring to the Pronunciation Key.
5. Have students repeat after you several
times (in order, faster, at random, and so
on). Address any area of difficulty and
encourage students to assist each other
with the pronunciations.
6. Conduct a read-through of the play,
stopping after Scene 3 to review the
names of characters.
Acti vi ti es for Bui ldi ng Background
PRONUNCIATION IS A
KEY TO SUCCESS
8
BASIC BACKGROUND ON THE
LANGUAGE TO SHARE WITH STUDENTS
The Iliad and The Odyssey were oral traditions, and when they
were finally written down, they were composed in an early form of
the Greek language. The Aeneid was written in Latin. Though both
ancient Greek and Latin are now considered dead languages (they
are no longer used in common spoken and written language), all of
the epics were translated into more current forms of Greek and Latin
over many centuries. Scholars are still writing new translations in
many languages to this day.
Because there have been so many translations over so many
centuries, students will come across names of characters and places
in one of three forms: the Greek transliteration (from the original),
the Latin form (from an early translation), or Latinate form (from later
translations). Why not return to the original Greek? Because so many
character and place names are familiar and widely accepted in their
Latin or Latinate forms. Look at Achilles and Helen as examples.
Akhilleus is transliterated from the Greek, while Achilles is the Latin
and familiar form we use today. Helene is transliterated from the
Greek, Helenae is the Latin form, and Helen is the Latinate and
familiar form we use today. Because of the evolution of these
names, inconsistencies abound, and as a rule, you and your students
will find Greek forms beside Latin and Latinate versions within the
same text.
Spellings of ancient Greek names vary. In the three plays that
follow, youll find a c instead of k in names such as Calypso, which is
less frequently spelled Kalypso. Ask students about variations
on modern names and share examples such as Rachel/Rachael,
Jon/John, and so forth. Point out that many scholars of classical
literature disagree about which forms to use, so students may find
variations in spellings among the different versions of the classics
they read. Explain that in these plays no standard system of transliter-
ation has been used, but Greek and Roman names are given in the
way thats most familiar to readers of English.
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Pronunciation Key
Here are some general rules for pronouncing Greek and Latin words from The Iliad,
The Odyssey, and The Aeneid.
LETTER/LETTER COMBINATION SOUND EXAMPLE
ch k Chiron (KEYE ron)
eus yoos Odysseus (uh-DIS-yoos)
aus / ous ay-oos / o-oos Menelaus (me ne LAY oos)
(each initial vowel is distinct) Arsinous (ar SI no oos)
c / g k / g Agamemnon (a ga MEM non)
(hard before a, o, u, Clytemnestra (kleye tem NES tra)
and all consonants)
c / g s / j (soft, before e, i, and y) Mycenae (mi SEE nee)
cia / gia sha / ja Lycia (LI-sha)
Phrygia (FRI-ja)
cae see Caesar (SEE-zar)
e (final) ee Laodice (lay O di see)
es eez Orestes (o RES teez)
u (represents the Greek diphthong oo or uh and sometimes you Telemachus (te LE ma koos)
ou, so is always long)
(except in combination with
Troilus (TROY luhs)
other vowels and in ou / us)
Muse (MYOUS)
oe / ae ee Phoebus (FEE boos)
Achaeans (AKEE unz)
ei ee-i Briseis (bri SEE is)
oo oho Laocoon (lay awk oh ON)
e ay-ee dane (DA nay ee)
(the two dots, called direses,
are used to show that each
letter is sounded separately)
x ks or z Polyxena (po LIKS ee na)
OR
Polyxena (po LIZ ee na)
9
BUI LD
BACKGROUND
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Learning the names and roles of the gods and god-
desses is essential to understanding these plays
the moody temperaments of the Olympians steer the
course of events in each of the classics. A bitter feud
among three jealous goddesses catapults the Greeks
and Trojans into war in The Iliad and then drives
Dido to suicide, creating bad blood between Rome
and Carthage in The Aeneid. It isnt wind patterns
that delay Odysseuss homecoming for nearly a
decadeits the vicious bickering of the Olympians.
In these classic tales, mortals are mere playthings of
the Greek deities and subject to their every whim.
Materials
Greek Gods and Goddesses and Their Roman
Equivalents (page 11), Greek and Roman Gods and
Goddesses Test (page 12), pens
Heres How
1. Distribute copies of Greek Gods and Goddesses
and their Roman Equivalents to students.
2. Have students discuss what they already know
about the names of gods and goddesses they find
listed. Ask them where they may have seen these
names before. Answers may include places such as
the Apollo Theatre, newspaper names such as The
San Jose Mercury News, movie titles such as The
Poseidon Adventure, and the names of the planets
(Mars, Saturn, Mercury, Venus, and Jupiter). They
might also offer names of sports teams, bands, and
song titles. Ask them what words we use regularly
that might have their roots in these names. They
may offer chronology (from Kronos, the god of time)
or cereal (from Ceres, the goddess of grain). You can
also have them search for examples of businesses
that use the names of gods and goddesses from the
business section of the telephone directory.
3. Discuss the 12 Olympians and their relationships
with one another and with mortals. Make sure
students are familiar with these key relationships:
I Kronos and Rhea, immortal beings called
Titans, are two children of Uranus (father sky)
and Gaea (mother earth). Kronos and Rhea
have a number of children, called Olympians.
Among them are Hestia, Demeter, Hera,
Hades, Poseidon, and Zeus.
I Zeus and Hera, besides being brother and sister,
are also king and queen of the Olympians. Their
children include Hebe, Ares, and Hephaestus.
Both have children with other divinities and
with mortals, as well. Zeuss children include the
immortals Athena, the twins Artemis and
Apollo, Dionysus, Hermes, and Heracles.
I Important mortal characters in the epics are
sometimes said to have an Olympian as a parent
or protector. This is true of Helen, Clytemnestra,
Achilles, and Aeneas. According to some legends,
Zeus and Leda, a mortal, are the parents of
Helen of Troy and her sister Clytemnestra. Hera
protects and raises Thetis, Achilles mother.
Aeneas is born to Aphrodite (Venus) and the
Trojan Anchises, whom Aeneas carries on his
shoulders from the burning city of Troy and
eventually buries on the island of Sicily.
4. When students have had ample time to learn
some basic relationships, assign the test date.
5. Hand out copies of Greek and Roman Gods and
Goddesses Test, and assess students on the knowl-
edge theyve gained.
INTRODUCING GREEK AND
ROMAN GODS AND GODDESSES
10
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Greek Gods and Goddesses
and Their Roman Equivalents
During the Golden Age of Ancient Greece (approximately 500 to 300 B.C.), literature and art
flourished, and ideas about philosophy, government, and justice were conceived and debated.
Many Roman emperors, like Augustus (approximately 63 B.C. to 14 A.D.) sought to link their
culture and historical roots to the esteemed ancient Greeks.
One of the most notable influences of ancient Greek culture in the
Roman Empire was on religious beliefs. The Romans worshiped the same
gods and goddesses as the Greeks, but changed their names and sometimes
emphasized different aspects of their dispositions. For example, the Greek
god of war, Ares, was portrayed as a vicious, blood-thirsty tyrant, while the
Roman god of war, Mars, was seen as the epitome of strength and victory
a reflection of the warlike mindset of this expanding empire.
Greek Name Roman Name Role Symbol/s
Apollo . . . . . . . . . . . . . . . . Apollo . . . . . . . . . . . . . god of the sun, music, and poetry . . . . . . . . sun, lyre, laurel
Aphrodite . . . . . . . . . . . . . Venus . . . . . . . . . . . . . goddess of love and beauty . . . . . . . . . . . . . dove, rose, seashell
Ares . . . . . . . . . . . . . . . . . . Mars . . . . . . . . . . . . . . god of war . . . . . . . . . . . . . . . . . . . . . . . . . . . spear, torch, vulture, dog
Artemis . . . . . . . . . . . . . . . . Diana . . . . . . . . . . . . . . goddess of the moon and the hunt . . . . . . . the moon, deer
Athena . . . . . . . . . . . . . . . . Minerva . . . . . . . . . . . . goddess of wisdom and strategy in war . . . owl, olive
Demeter . . . . . . . . . . . . . . Ceres . . . . . . . . . . . . . . goddess of the harvest . . . . . . . . . . . . . . . . . poppy, wheat, and grain
Dionysus . . . . . . . . . . . . . . Bacchus . . . . . . . . . . . . god of wine . . . . . . . . . . . . . . . . . . . . . . . . . . grapes, goat
Eros . . . . . . . . . . . . . . . . . . . Cupid . . . . . . . . . . . . . . god of love . . . . . . . . . . . . . . . . . . . . . . . . . . . bow and arrow
Hades . . . . . . . . . . . . . . . . Pluto . . . . . . . . . . . . . . king of the underworld . . . . . . . . . . . . . . . . . scepter, two-pronged staff
Hebe . . . . . . . . . . . . . . . . . Juventas . . . . . . . . . . . . goddess of youth . . . . . . . . . . . . . . . . . . . . . . pitcher of water
Hephaestus . . . . . . . . . . . . Vulcan . . . . . . . . . . . . . god of fire and metal . . . . . . . . . . . . . . . . . . . fire, hammer, anvil
Hera . . . . . . . . . . . . . . . . . . Juno . . . . . . . . . . . . . . . queen of the gods . . . . . . . . . . . . . . . . . . . . . peacock
Heracles . . . . . . . . . . . . . . . Hercules . . . . . . . . . . . . god of strength . . . . . . . . . . . . . . . . . . . . . . . club, lionskin
Hermes . . . . . . . . . . . . . . . Mercury . . . . . . . . . . . . messenger of the gods . . . . . . . . . . . . . . . . . caduceus, winged sandals, and
Hestia . . . . . . . . . . . . . Vesta . . . . . . . . . . . goddess of the hearth and home . . . . hearth
Kronos . . . . . . . . . . . . . . . . Saturn . . . . . . . . . . . . . god of time . . . . . . . . . . . . . . . . . . . . . . . . . . sundial
Persephone . . . . . . . . . Proserpina . . . . . . . queen of the underworld . . . . . . . . . . pomegranate
Poseidon . . . . . . . . . . . . . . Neptune . . . . . . . . . . . king of the sea . . . . . . . . . . . . . . . . . . . . . . . . trident
Zeus . . . . . . . . . . . . . . . . . . Jupiter . . . . . . . . . . . . . king of the gods . . . . . . . . . . . . . . . . . . . . . . . thunderbolt
Activity: Draw lines dividing the back of this page into four quadrants. Draw a symbol in each:
a trident, a lyre, a caduceus, and an anvil. Then, underneath each symbol, write the name of the god or
goddess the symbol represents.
11
BUI LD
BACKGROUND
The twelve
Olympians are
shown in bold print.
helmet
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Name __________________________________________ Date _______________
Greek and Roman Gods and Goddesses
Match the god or goddess to his or her role.
_____ 1. Kronos/Saturn A. goddess of the hearth and home
_____ 2. Zeus/Jupiter B. god of the sun, music, and poetry
_____ 3. Dionysus/Bacchus C. god of speed; messenger of the gods
_____ 4. Hera/Juno D. god of wine
_____ 5. Hebe/Juventas E. god of fire and metal
_____ 6. Hades/Pluto F. king of the sea
_____ 7. Hephaestus/Vulcan G. the home of the gods and goddesses
_____ 8. Persephone/Proserpina H. goddess of the moon and hunting
_____ 9. Ares/Mars I. goddess of the harvest
_____ 10. Poseidon/Neptune J. god of love
_____ 11. Artemis/Diana K. god of time
_____ 12. Demeter/Ceres L. king of the underworld
_____ 13. Athena/Minerva M. goddess of love and beauty
_____ 14. Apollo/Apollo N. goddess of youth
_____ 15. Hestia/Vesta O. god of strength
_____ 16. Aphrodite/Venus P. queen of the gods
_____ 17. Eros/Cupid Q. god of war
_____ 18. Herakles/Hercules R. king of the gods
_____ 19. Hermes/Mercury S. queen of the underworld
_____20. Mount Olympus T. goddess of war and wisdom
Bonus: The animal symbol for Athena is the ___________________________ .
12
T E S T
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Fascinating Facts
Kids love trivia. These unusual facts spark interest in the three epics while
also showing the historical and cultural importance of the tales over
thousands of years. If you want an audience at full attention, read these
facts aloud to your class while they wait for the dismissal bell to ring!
k
Cicero was said to have seen a copy of The Iliad written so small that it fit in a nutshell.
According to Isaac Disraeli in Curiosities of Literature, the 15,000 verses can be written on a
10- by 8-inch piece of vellum and folded up in a walnut shell.
k
The first English language book printed in movable type told the story of the Trojan War.
k
Many words and expressions that we use every day come from these ancient stories. For
example: Achilles heel (a persons weakness and a prime spot for an enemys attack), a
Helen of Troy (an extraordinarily beautiful woman), beware of Greeks bearing gifts (refer-
ring to the Greek armys deadly gift of the Trojan horse), a judgment of Paris (a tough
choice), an odyssey (a long journey full of many adventures), and spartan (something aus-
tere, rigorous, and mostly uncomfortable).
k
The Olympic games in ancient Greece included a prize for a dramatic work. The three
fathers of Greek drama, Aeschylus, Eurypides, and Sophocles, each received the prize, which
was as great an honor as the Nobel Prize in Literature is today.
k
The site of the ancient city of Troy is modern day Gallipoli, Turkeyalso the site of a
fierce battle in World War I (19141918). The loss of life at Gallipoli is one of the most tragic
stories from the war that was supposed to end all wars.
k
Here are three firsts: Homer is often referred to as the first European poet, Achilles the
first hero in western literature, and The Odyssey the first adventure story in western literature.
k
Ajax had a shield made of seven layers of oxhide and a sheet of bronze.
k
Legend has it that at age 8, Amazon girls had their right breast removed in order to create
a flat chest so they could better master their skills in archery.
k
Queen Dido of Carthage cursed Aeneas, who abandoned her to find his own land, with
these dying words: Let him fall before his time, unburied in the sand.
k
Aeneas sailed past Ithaka, home of Odysseus. In a particularly gutsy and vindictive gesture,
he cursed the island and at a shrine there, left a shield he had won in battle and wrote graffiti
on the wall that read: Aeneas took these arms from Grecian victors.
13
BUI LD
BACKGROUND
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
After the first reading of one of the plays, students
label key places that figure in the story and trace the
route of the epic adventurers through the ancient
lands of the Mediterranean.
Materials
Adventuring in Ancient Lands Map (page 15);
Famous Ancient Places: The Iliad (page 16), The
Odyssey (page 17), or The Aeneid (page 18); writing
paper; pens or pencils
Heres How
1. Tell students they will take a guided tour of the
ancient lands that are the setting for the epic story
they are reading.
2. Distribute copies of Adventuring in Ancient Lands
Map and the appropriate Famous Ancient Places
reproducible to students. (Note: Cover the answer
key map at the bottom of the Famous Ancient
Places reproducible page before you make copies.)
3. Read the place descriptions on the Famous
Ancient Places page with students, stopping to
highlight and discuss places, events, and charac-
ters they remember from the play. Make sure they
can also find these important places:
THE MEDITERRANEAN SEA: This famous body
of water was vital to trading and travel for people
in the ancient world.
THE IONIAN SEA: This body of water links
western Greece with Sicily and Italy.
THE AEGEAN SEA: Most of the action in the
Trojan war takes part in and around this body
of water.
GREECE: A mainland with thousands of tiny
islands off the coast compose this homeland of
Homer and many of his epic heroes.
ITALY: Ancient Romans called this their home-
land and founded Rome on the central west coast
of the mainland.
OLYMPIA: The first Olympic games were held
here in 776 B.C. and included competitions for
literature and music.
4. Have students follow the directions to label the
map. They may need to refer to a copy of the
play.
5. Enlarge the Adventuring in Ancient Lands Map
and post it on a bulletin board. Surround the map
with students notes about each place listed on the
Famous Places page or with diary entries from the
second extension activity below.
EXTENSION IDEAS
k
Have students refer to a map of Greece and the
Mediterranean area (including coastal states of west-
ern and eastern Europe, northern Africa, and the
Mediterranean coastline of the Middle East) to label
additional places on the map that theyve read about
in classical literature or heard about recently in the
news.
k
Instruct students to write a journal entry in the
character guise of their choice for each place men-
tioned in the play.
Acti vi ti es for Extendi ng Learni ng
MAP ADVENTURE THROUGH
ANCIENT LANDS
14
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
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Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Famous Ancient Places: The Iliad
Read the descriptions for each place mentioned in The Iliad and write the answer in the blank.
Then find the place on the Adventuring in Ancient Lands Map and label it with the number
given below.
1. _________________ s citizens believed their pros-
perous and innovative land was favored and protect-
ed by Athena. Coins from this ancient city-state are
stamped with an owl, the symbol for Athena.
2. _____________________ is the land ruled by
Agamemnon and Clytemnestra. Heinrich Schlie-
mann, the archaeologist who discovered the remains
of Troy, also discovered ancient gold here, and
declared it the treasure of Agamemnon.
3. _________________ is rich farmland ruled by
Helen and Menelaus. Between 600 and 371 B.C.,
this militaristic city-state was one of the most feared
in all of Greece.
4. _________________ is the home of Paris, Hector,
and the Trojans. Located on the coast of Turkey near
modern Gallipoli, you can visit now and see the
excavations and a giant model of the Trojan Horse.
16
5. _________________ is the launching point for
the Greek fleet. In order to get a fair wind for Troy
and appease the angry goddess Artemis, Agamem-
non sacrificed his own daughter, Iphigenia, here.
6. _________________ is the island home of
Odysseus, his wife Penelope, and their son, Telema-
chus; it is also the final destination of The Odyssey.
7. _________________ is where Thetis hid her son
Achilles to keep him from going to war in Troy. He
was dressed up as a girl and hidden with some
princesses in a palace. Odysseus went to get him and
tricked him into giving up his disguise.
8. _________________ is the site of the famous ora-
cle of Apollo. The ruins are high in the mountains
here, and in ancient times, people traveled far and
wide to have their futures foretold, as Polyxena tells
Achilles she has done.
Aulis Ithaka Delphi Mycenae Athens Sparta Troy Scyros Answers
EXTEND
LEARNI NG
I oni an
Sea
Tyrrheni an Sea
Straits of
Messina
Aegean
Sea
R
B
l
a
c
k
S
e a
A
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r
i
a
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M I N O R
T
H
RAC
E
I
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A
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Y
S
I
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I
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Y
LATI UM
Aeaea/
Circes
Island
CRETE
RHODES CYPRUS
Tyre
S A
A
Troy
T
Athens
Aulis
Delphi
Scyros
Sparta
Mycenae
Ithaka
Scheria
Mt. Olympus
Cumae
C
Mt. Ida
Aeolian
Islands
N
1
4
3
2
Scale of Miles
0 100 200
N
S
W E
7
5
6
8
Answer key (also see page 80)
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Famous Ancient Places: The Odyssey
Number the places below 110, according to the order in which Odysseus arrived at each place
in the story. Then find the places on the Adventuring in Ancient Lands Map and label
them with the same numbers to show the route Odysseus took home.
17
Aegean
Sea
B
l
a
c
k
S e a
A
d
r
i
a
t
i
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S
e
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M
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T
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M I N O R
L
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A
I
T
A
L
Y
Troy
Tripoli
Sicily
Island of Calypso
Aeolian Islands
Straits of
Messina
Scheria
Ithaka
Aeaea /
Circes Island
Island of
the Sirens
Scale of Miles
0 100 200
N
S
W E
1
2
3
4
5
6
7
9
8
10
__ Aeolian Islands: Odysseus
receives the bag of winds at the
Island of Aeolus.
__ Troy (Gallipoli, Turkey): Site of
the ten-year war between the
Greeks and the Trojans. It is the
starting point of Odysseuss long
journey home.
__ Sicily: the Land of the Cyclopes,
where Odysseus and his men
are imprisoned in the cave of
Polyphemus, the one-eyed
giant. Odysseus outsmarts and
blinds Polyphemus, inciting the
anger of the Cyclopss father,
Poseidon.
__ Straits of Messina: Scylla and
Charybdis destroy Odysseuss
ships in these waters.
__ Ithaka: Odysseus finally makes
it back home to his palace on
this island, where Penelope,
Telemachus, and Argus the dog
wait for him.
__ Aeaea (island off the coast of
western Italy): Circes Island,
where Odysseuss men are
turned into swine by the
bewitching sorceress.
__ Scheria (most likely the island
Corfu): The land of the
Phaeacians, where Odysseus
entertains Nausicaa and her
parents with tales of his adven-
tures. Because they provide the
ship which gets him home at
last to Ithaka, Poseidon punish-
es the kingdom by surrounding
the city with mountains.
__ Island of Calypso (island off
the northernmost tip of
Morocco). Here, the nymph
keeps Odysseus in comfort and
luxury for many years until
Athena finally intervenes.
__ Tripoli (Coast of Lybia): the
Land of the Lotus Eaters, where
Odysseuss men are entranced
by the lotus; he has a hard time
convincing his men to continue
their journey.
__ Island of the Sirens (near the
Gulf of Naples): After a trip to
the Underworld, the crew sails
past this island. With instruc-
tions for how to avoid destruc-
tion, Odysseus is the only one
who hears the fantastic,
enchanting song of the sirens.
EXTEND
LEARNI NG
Answer key (also see page 80)
Read-Aloud Plays: The Iliad, The Odyssey, and The Aeneid Gwen Bowers, Published by Scholastic Teaching Resources
Famous Ancient Places: The Aeneid
Number the places below 19, according to the order in which Aeneas arrived at each place
in the story. Then find the places on the Adventuring in Ancient Lands Map and label them
with the same numbers to show the route Aeneas traveled.
18
___ Carthage: Aeneas stays for a
time here in Queen Didos
kingdom, but eventually
leaves her and continues his
search for a homeland.
___ Sicily: After leaving Carthage
Aeneas returns to this island
to hold funeral games in
honor of his father, Anchises.
___ Troy (Gallipoli, Turkey):
Aeneas and his son, Ascanius,
lose Creusa, Aeneass wife,
while escaping from this dev-
astated city. Aeneas carries his
frail 80-year-old father,
Anchises, on his shoulder.
The three of them, along with
other refugees, head south.
___ Thrace (northern Turkey):
Aeneas takes his people north
by ship and lands in Thrace,
but decides not to settle here
because the land has been
cursed by a horrible crime.
___ Crete: Island Aeneas believes
had been settled by the
Trojans earliest ancestors.
After an outbreak of disease
and a vision that told of
another land, Aeneas takes his
people back out to sea.
___ Caieta (Gaeta): Having sur-
vived the Underworld, Aeneas
stops at Caieta to pay respects
to his old nurse, who died
and was buried here.
___ Latium: The final stop; the
land of the Latin people
becomes home to Aeneas after
he kills his rival, Turnus, and
weds Lavinia.
___ Mount Ida: Property of
Aeneas where Aeneass family
and other Trojan refugees first
assemble after leaving Troy.
Aeneas gathers these refugees
and sets out to found a new
nation.
___ Cumae: Here, Aeneas visits
the Sibyl, a prophetess, who
takes him to Hades. Mount
Vesuvius, the fiery volcano, is
the opening through which
one passes to the
Underworld.
EXTEND
LEARNI NG
Aegean
Sea
B
l
a
c
k
S e a
A
d
r
i
a
t
i
c
S
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a
M
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d
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e r r a n e a n S e a
G
R
E
E
C
E
A
S
I A
M I N O R
Troy
Thrace
Mt. Ida
Carthage
Sicily
Crete
Scale of Miles
0 100 200
N
S
W E
1
2
3
4
5
6
7
8
9
Cumae
Caieta
Latium