Path of the Odysseus and the Argonauts. Odyssey's long journey home will turn from myth to reality

The theme of Odysseus' wanderings is eternal: this veteran of the Trojan War's long journey home was not just a quest with a set of dashing adventures. No, behind every event, behind every decision, one can guess the difficult choice of a living person - a fact all the more striking because the hero’s wanderings fascinate us even now, three thousand years after the events described. But what if all this was not a myth at all, but has a real basis?

Using indications of the position of celestial bodies mentioned by Homer in the Odyssey, an international group of scientists decided to prove that not only the capture of Troy, but also the ten-year wanderings of the Greek hero have a historical basis. Report on this study in the journal PNAS.

The fact is that the day when the cunning Greek, suddenly appearing in his house, punished the overly persistent suitors of Penelope, is not an easy day. And not even because the scene of merciless revenge entered the history of literature forever.

Eclipse in 1178 BC was supposed to strike the ancient Greeks on the spot: along a giant arc perpendicular to the ecliptic, five planets lined up in a row, visible to the naked eye. By the way, during an eclipse, the temperature usually dropped sharply, the wind changed, and the faces of people in the twilight light seemed terrifying - perhaps that is why this phenomenon was considered an unkind omen (illustrations from wikimedia.org, C. Baikouzis, M Magnasco).

On this day, a total solar eclipse occurred, which, of course, was observed in the region of the Eastern Mediterranean and which was reflected in Homer's poem: "... and in the sun of heaven, I see, a terrible shadow rises, and under it the whole earth is covered with darkness" (XX , 356).

A total eclipse is a rather rare astronomical phenomenon that occurs at the same point (band) on the Earth's surface on average no more than once every 370 years. Back in the 1920s, German astronomers Carl Schoch and Paul Neugebauer calculated that at the time described in the poem, it was observed in the Ithaca region around noon on April 16, 1178 BC. - just after the alleged end of the Trojan War.

One of the most commonly accepted dates for the Greeks' departure home is 1190 BC. It is 12 years away from the eclipse, which gave reason to assume the existence of a real underlying reason for the events described in the Odyssey. In the end, taking the Iliad for a historically accurate description of the war, Schliemann found Troy!

A thousand years before the events described by Homer, the Achaean Greek tribes appeared on the Balkan Peninsula. By the middle of the II millennium BC. their culture became so strong that they began to actively colonize the Eastern Mediterranean, and not least the Troad. Ironically, the Trojan War turned out to be the eve of the collapse of this civilization: the Balkans were invaded by new Greek tribes - the Dorians - as wild as their predecessors were a thousand years ago. But the culture of the Achaeans, including their epic, was adopted by the Dorians. On the illustration: the world in the view of the ancient Greeks (image from wikimedia.org).

Despite all the logic of such a version, no actual evidence of the historicity of the epic has yet been found, and scientists have even stopped arguing about the real foundations of the Homeric poem due to its apparent, it would seem, allegorical nature.

What were the main doubts?

Firstly, there is still no generally accepted date for the fall of Troy - even ancient sources differ in their estimates, sometimes by 200 years. In general, this event can be attributed with a sufficient degree of certainty only to the XII-XIV centuries BC.

Secondly, unlike the Iliad, the very composition of the poem about the return of Odysseus home is looser and less epic. It does not have such a thickening of actions, interweaving of plot lines, dynamics.

The land located in the north-west of modern Turkey, in Asia Minor, constantly attracted the attention of the Achaeans, and campaigns were equipped more than once to the main city of this land - Ilion or Troy. These events could not but be reflected in the epic.

Odysseus' journey home took 10 years (illustration from classics.upenn.edu).

But with the wanderings of a lone hero - a completely different story. Tales of this kind could only contain a centuries-old tradition of folk art (with instructive stories, with the interpretation of life experience) and, in general, be a kind of collective unconscious.

Thirdly, at least 400 years have passed between the adventures described in the Odyssey and the time of writing the poem: most researchers date it to the 8th century BC.

However, all these arguments did not confuse Marcelo Magnasco (Marcelo Magnasco), head of the laboratory of mathematical physics at Rockefeller University (Rockefeller University), and Constantino Baikouzis from the astronomical observatory in La Plata (Observatorio Astronómico de la Plata). They decided to once again carefully study the Homeric text and found in it indications of previously unnoticed (or seemingly insignificant) astronomical phenomena.

The scientists were not embarrassed by the allegorical nature of the story, but they approached it with a sufficient degree of seriousness and skepticism. For example, the mention of the "sharp argoslayer Hermes" and its possible connection with the apparent movement of Mercury (this, we recall, the Latin version of the god's name) were analyzed not only through astronomical calculations, but also from the standpoint of historical and textual analysis.

The table shows the days before the massacre of the suitors and solar eclipse, as well as the astronomical phenomena mentioned by Homer and calculated from the chronology of the narrative in two ways. The fact is that in epic poetry, simultaneous events can be presented as following one after another - the ancient authors did not have modern ideas about dramaturgy. The same, for example, we meet in the ancient German epic - "Beowulf" or "Elder Edda". But the specific number of days for the calculation is not critical - the ratio between the time intervals is important. And it turned out to be almost identical (illustration by C. Baikouzis, M Magnasco/MEMBRANA).

The general idea of ​​the work is this: let's try to forget about the controversial eclipse and try to reconstruct the rest of the chain of phenomena in the celestial sphere, one way or another mentioned by Homer.

A study of other ancient sources showed that the Greeks were very serious about the movement of the planets and such observations could well act as a frame for the story.

The American and the Argentine managed to identify five new astronomical events. According to the calculations of the motion of the orbits, all the observed phenomena should have occurred at certain time intervals, and in that rare sequence, which was dictated by the position of the planets precisely in the year of a total solar eclipse.

In the time interval plus or minus 100 years from the generally accepted date of the fall of Troy, only one such date was calculated - 1178 BC.

And here is how the coveted Ithaca (now Ithaca) looks like today (photo from the-greek-villa.com).

“If we assume that the suitors of Penelope really died at the hands of Odysseus on the day of a total solar eclipse, then the previous part of the poem also corresponds to the real course of time, that is, it coincides with the movement of celestial bodies,” says Dr. Magnasco.

According to legend, Penelope wove a carpet, the end of which was supposed to symbolize her willingness to forget her missing husband and choose one of the suitors. Every evening she unraveled part of the carpet - this theme also became a classic in the European cultural tradition, and the Queen of Ithaca herself - the embodiment of a faithful wife and strong woman(photo from wordpress.com).

Nevertheless, the researchers emphasize that there are a lot of assumptions in their calculations and it is too early to say that Odysseus is a real historical character.

So, for example, the Babylonians began to associate gods with planets, and this happened about a thousand years before our era. Even if we assume that the tradition took root instantly among the Greeks, it will still be later than the events of the Trojan War. How fairly accurate astronomical observations could reach Homer in the oral epic is also not entirely clear.

The authors of the study are right or not - who knows. But the results obtained, in any case, should revive the scientific debate on the Odyssey (it seemed, already irrevocably covered with chronological dust) and stir up interest in the poem of ordinary readers.

Let's hope it will be so, because all European literature originates in the Iliad and the Odyssey. The Byzantine historian Michael Choniates wrote back in the 13th century: “Just as, according to Homer, all rivers and streams originate from the Ocean, so any verbal art has its source in Homer.”

Path of Odysseus. Thousands of books and articles have been devoted to Homer's poem, dissertations have been written, but no one, I repeat, no one understood what this text is about. Many people read the adapted version in childhood, some, especially stubborn ones, read the full text, everyone watched the wonderful film by A. Konchalovsky, but what is this story about? It is clear that it is about the Eternal Wandering, it is clear that it is about the Return, it is clear that it is about Loyalty, and you can say a dozen more words with a capital letter. Many believe that this is just such an adventurous poem with elements of fantasy, written to entertain guests at symposia, others believe that this is a real story in which the ancient Greeks recorded their vision of the then Oikumene and therefore they are still trying to trace the route of Odysseus along real map. Still others, more thoughtful, find some philosophical overtones. All of these versions are correct and incorrect. It is also doubtful that Homer is such an ancient Greek illiterate Boyan, a representative of the oral tradition, who sang a poem by heart to the accompaniment of a lyre, and then, de, it was collected and written down by descendants.

This is not an oral tradition and, in general, this is not folk art. This is not an epic about the hero of the Trojan War. Or, so to speak, not quite epic.

This is not the main point of The Odyssey. The Odyssey is the main text of our human civilization, it is more important than the Bible, the Vedas, the Mahabharata, the Avesta and the Koran. This is the most esoteric text I have ever read, and believe me, I have read a lot of esoteric texts. I repeat, this is the most important literary text of our civilization. So what is the Odyssey? Are you intrigued?

"Odyssey" is a detailed instruction about the wandering of Man through the Worlds, and, moreover, it does not mean geographical space, but Cosmos, it is a detailed, scrupulous pilot, which describes all the dangers and traps that can await a Man during his Path, and given ways and methods of avoiding these deadly traps, this is a fundamental textbook, which describes not particulars, but reveals the deepest secrets of the Universe.

The Odyssey was written by the greatest Initiates of our civilization, people who saw both the past and the future, they were hierophants, mystagogues of the Orphic, Samothrace and Eleusinian mysteries, these were sages who themselves were Odysseys, that is, they went through all their many lives in all ways, visited all the worlds, gained a unique experience, and this experience was left to us. So, the poem was not written by Homer? Homer. He was one of them. So why didn't Odysseus exist? Odysseus was. IT'S YOU!

A presentation on the topic Odysseus's Way Home can be downloaded absolutely free of charge on our website. Presentation subject: History. Colorful slides and illustrations will help you to interest your classmates or audience. To view the contents of the presentation, use the player, or if you want to download the presentation, click on the appropriate text under the player. The presentation contains 12 slides.

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Odysseus' way home

The student of the 5th "B" class of secondary school No. 40 Kostyushkina Liza completed the work on history

The Odyssey tells about the return to the homeland of one of the heroes of the Trojan War, Odysseus, full of dangers and adventures. The name Odysseus means "unloved by the gods", that is, a person who is destined to experience many hardships and hardships in life. Despite this, the gods still occasionally provided assistance to Odysseus, but for the most part he had to rely only on himself and extricate himself from complex alterations only thanks to his own courage and enterprise. The epithet of Odysseus is "cunning". Odysseus went home on twelve ships loaded with rich booty after the Trojan War

Odysseus arrived on the island where the Kikons lived - civilians. His warriors attacked and robbed them. Having arranged a drinking bout on the shore, they fell asleep, forgetting to put out sentinels. The Kikons attacked the sleepers and killed more than seventy people. The wars of Odysseus hastened to sail away from the island. The next stop was an island where a peaceful tribe of lotophages lived, eating the fruits of the sweet lotus. The lotus had a magical property, the one who tasted it forgot his homeland and indulged in pleasures.

Lost on a moonless night in the fog, Odysseus was forced to moor to the island, where deep caves lived one-eyed giants-cyclops. They raised sheep and herded their flocks in the mountains. Once in the cave of one of them, they fell into a trap. Cyclops Polyphemus ate several warriors. To avoid death, Odysseus and his comrades blinded the Cyclops, and fled from the cave hiding under the sheep.

The next time they stopped on the island of Aeolia, where the god of the wind Eol lived. Eol received the heroes and presented them with a gift: a bag in which all unfavorable winds could be enclosed. Leaving them only a fair wind, which will quickly drive their ships to Ithaca. But due to the stupidity and greed of some warriors, the bag with unfavorable winds was opened and the winds carried them far, far away, to a land where the sun never sets and it is always light at night.

In that land lived the giants-lestrigons. Seeing the approach of the ships, they began to throw fragments of rocks at them. All ships were destroyed, only one survived.

On the same ship, Odysseus and his comrades got to the island of El - the possession of the beautiful and insidious sorceress Circe, who was said to be able to turn people into animals. So she did with the heroes, turning them into pigs. Odysseus was saved by the herb given to him by the god Hermes. On the advice of Circe, Odysseus visited the realm of the dead. Where he talked with the heroes who fell in the Trojan War and with his mother.

On the way the heroes met the island of sirens. Sirens-half-maiden-half-birds lured seafarers to the rocks with their singing and smashed the ships. The ship of Odysseus fell into a narrow strait between two monsters, the six-headed insatiable Spilla and the ferocious Charybdis.

Tired sailors moored to a deserted island where bulls grazed, which belonged to the sun god Helios. Odysseus warned the soldiers that it was impossible to touch the bulls, but they again did not obey him, the punishment was not long in coming. They just went out to sea god Zeus threw his arrows at the ship. All died, only Odysseus remained. He was thrown onto the island of Ogygia, where the nymph Calypso (the one that hides) lived. The nymph fell in love with the hero and kept him for seven years. Only the goddess Athena begged Zeus to order Calypso to release the hero. The next island was Scheria, where Odysseus met Nausicaa, the daughter of the king of the Theacs, Alcinous. It was the last island of the traveler, the next was the motherland.

Composition

The problem of Odysseus is “hated by the immortal gods”, as Aeolus calls him. Why hateful? Perhaps because he placed himself on the same level as the gods? The conflict with Poseidon and his son Polyphemus is a conflict of a person with a ruthless and cruel natural element, much stronger and more unpredictable, and a dull unfair force and a limited, almost undeveloped mind. At the same time, a person is constantly trying to prove his strength, endurance, superiority in the world around him. The main conflict of Homer's poem "The Odyssey" can be defined as the confrontation between Man and Nature on the way of man's knowledge of the surrounding world and awareness of his place and role in the universe. What do you think stopped Eurylochus from visiting the sorceress's house? At first, the warriors heard “melodious singing” (“she weaved at a large loom”), the singing was enchanting, for men a woman or goddess who had such a wonderful voice seemed safe.

For the most part, they are accustomed to accepting the challenge of a cruel, brute militant force (remember that our travelers had to go through great trials in the bloodshed of the Trojan War, in confronting the elements of the sea). Singing and weaving Kirkei are perceived as a kind of network, the web with which she entangles, like a spider, her victims, makes them imprudent and weak-willed. The next step - the sorceress appears as a hospitable hostess. Nevertheless, the signs of her deceit were already visible - these are “lions with mountain wolves spellbound by an evil potion”, to which only Eurylochus paid attention and, “feeling slyness, stayed behind”.

For Kirkee, it is important to gain moral power over a person, to show his helplessness (it forces creatures that have retained a human mind to lead an animal way of life and realize their hopeless situation, “always wallowing in the mud”), it leaves them tears and suffering. This amuses the sorceress, she receives satisfaction from this as a hunter whose prey has fallen into a trap. There is indeed something spidery in the actions of the sorceress. For what purpose Homer almost literally repeats the situation of misfortune that befell the heroes, through the mouth of Eurylochus. This is one of the most important methods of Homer's epic - the use of repetition in order to slow down the action.

The state of Eurylochus, his tears, crying, the loss of the opportunity to speak for a certain time only emphasize the level of danger in which Odysseus's companions fell. We have already noted in the verses of ancient Greeks the omnipotence of Fate. Possibly, Kirkeya is also under the power of Destiny. From the Theban seer Tiresias, whose spirit was tormented by Hades, Odysseus learns about the causes of his misfortunes associated with the blinding of Polyphemus, the beloved son of the god of the seas Poseidon. But the reason for the trials is not only in the wrath of God, but also in the people themselves. Tiresias warns that Odysseus himself and his companions must restrain their desires, not carry out crazy deeds. The seer tells Odysseus about the island of Trinacria, where the sacred bulls of the sun god Helios graze, it is to him that the ships of Odysseus should moor.

The path to Ithaca will be filled with dangers, but everyone will get to their homeland alive if they don’t raise their hands on the sacred animals of Helios, if not, then all the hero’s companions will die, and he himself will never have happiness and peace, even returning to the shores of his homeland. And the end of suffering will come only when Odysseus meets people who have never seen the sea and take the oar that he will carry on his shoulder for a shovel. Hecatombs in honor of Poseidon must reconcile the all-powerful god with Odysseus, and then he will live to a ripe old age in honor, wealth and peace. To the prophecies of Tiresias, Odysseus replies that he will accept everything that is intended for him by the gods. In Hades, Odysseus meets the soul of his dead mother and many heroes of the Trojan War. It is surprising that they recognize him and enter into a conversation only after drinking the blood of sacrificial animals slaughtered by Odysseus in honor of Hades and Persephone.

The path of Odysseus from Hades lies to the island of Ei, where Kirkeya warns him of the dangers that await him on the island of the Sirens and near the deadly rocks of Skilla and Charybdis. But the return is also connected with the need to bury Elpenor, who imprudently stumbled and broke his neck after the release of Odysseus's companions from the spell of Korka (this episode clearly shows the observance of the traditions of the last tribute to the dead). A person by his own strength is not always able to resist Fate, he becomes doomed.

But the tears of Odysseus are not a manifestation of cowardice, but rather evidence of loyalty to the family and homeland, evidence of inexpressible mental suffering, which are known only to mortals. Divine intervention is needed to change the situation. And indeed, Pallas Athena asks her father, the Thunderer Zeus, to help her pet. The will of Zeus is announced to the nymph Calisto by Hermes. Hermes again! The will of the gods is done! The nymph Calypso releases Odysseus, and before reaching the promised land - the island of Scheria, where the feacs dear to the gods live, Odysseus again falls into the traps of Poseidon, who cannot calm his anger.

So, in the end, the noble feaks help Odysseus get to the shores of his native Ithaca, although they themselves were swallowed up by the depths of the sea for this. At present, the suitors are planning evil against Telemachus, and Penelope decides to stop the ruin by arranging a competition among the suitors in Odysseus' archery. For many days and nights, the suitors devastated the wealth of Odysseus' house and forced his wife and son to endure unspeakable suffering. Odysseus orders his servants to lock all doors and gates, as well as lock all entrances and exits to the women's quarters, and orders his nurse, Eurycleia, to ensure that all women in the house are very quiet.

Odysseus sets a trap for suitors, he closes the space so that there is no way to escape punishment. In the translation of V. A. Zhukovsky in Russian, we read: “He, as long as there are still arrows, hit one of the enemies with each arrow without missing ...”. After the bloody feast, Odysseus orders his servants to remove the corpses and wash everything in the house, which was covered in blood. But he was not satisfied only with cleanliness, but also carried out fumigation with cleansing sulfur. The space of the hall between Odysseus and Penelope symbolizes the distrust of the heroine. Odysseus has been away from home for so long, his fate has been shrouded in mystery for so long, that Penelope is afraid of even greater disappointments if the traveler really turned out to be one of the gods.

The openness of society as a sign

civilizedOsti

The episode of Odysseus' stay in the country of the Cyclopes is not just entertaining story about the victory of the cunning traveler Odysseus over the bloodthirsty Cyclops Polyphemus. There is a deep rooted in their conflict. philosophical meaning. What kind of society should be: "open", benevolently accepting newcomers (if they naturally come with good intentions) or "closed" in itself, fenced off by an "iron curtain" from the rest of the world? The philosophical position of Odysseus lies in a positive assessment (of the Cyclopes absent in the country) ... artisans experienced in cunning construction Strong ships, of which each, flowing around the sea, He visited different peoples of the country, as it happens that xOdyat People by sea, getting to know other people in a friendly way. The philosophical position of the Cyclops Polyphemus is directly opposite to the beliefs of Odysseus, to whom and his companions Polyphemus addresses the question: Strangers, who are you? Where did they come from by the waterway? What is your business? Or wandering around without work. Back and forth across the seas, like free miners, rushing, Playing his life and adventuring troubles to the peoples? How to explain Polyphemus' dislike for aliens? The fact is that there was a prediction from the oracle to Polyphemus that the Alien would offend him "coolly". Although Polyphemus was not afraid of anyone - even the gods (he considered himself equal with the gods), however, a subconscious fear of the Aliens settled in his soul. It was this fear that formed in the mind of the Cyclops a philosophical position of dislike for aliens, which in modern historical terminology is called the "model of a closed society." The fear of the “backward” centers of civilization before the invasion of the “advanced” (namely, those, and not the “backward”, which there is nothing to be afraid of, is meant by civilizations living in anticipation of the Aliens; although it is known that the “refined” in cultural traditions The ancient Roman Empire was destroyed precisely by the "barbarians"), their desire to "preserve traditions" and follow the "precepts of their ancestors" can be explained, because the "advanced" inevitably made changes to the "way of life" of the "backward", which deprived the "elite" of the "backward" "civilizations of her privileges. Odysseus disrupted the habitual life of the Cyclops Polyphemus. The same consequences are recorded in modern "fantastic travels" and in the story of A.N. Tolstoy "Aelita", and in the novel by I. Efremov "The Hour of the Bull", and in the novel by A. and B. advanced" of the planet Earth, the first thing they did was to change the social structure of local intelligent beings at the "landing" site. This problem of the legitimacy of an invasion of a foreign, albeit backward, civilization is posed in I. Efremov's novel "The Andromeda Nebula". And before him, some cultural figures tried to present the "opposite", so to speak, side, in particular, art historians, in the picture of Jordans on the plot of the meeting of Odysseus with Polyphemus, they find signs that differ from the "tonality" that Homer himself gave to this plot: the artist emphasizes strength in Polyphemus, the artist’s love of depicting rural life is expressed in the picture, the fluffy crowns of trees, the brilliance of clay utensils, the beauty of fat cattle are shown with great skill - and as a result, the dramatic moment of the release of Odysseus recedes into the background before the triumph of nature. However, in most cases, the actions of the "advanced" centers of civilization in relation to the "backward" ones are due to " negative characteristic", which is created by the "advanced" themselves: A.N. Tolstoy, I. Efremov, A. and B. Strugatsky have the same thing as Homer, who makes Odysseus say about Polyphemus that the Cyclops "Do not drive with any of the otherslsya", was unsociable, ferocious, "... knew no law", and generally speaking, "the sight and growth of miraclesOcherry" was like a mountain, not like a man. And this position found followers in the visual arts, in particular, Turner in his painting "Ulysses mocks Polyphemus", in which, as art critic E. A. Nekrasova points out, "... a barely distinguishable, huge figure of Polyphemus, merging with the mountain and smoke, according to the description of Pop, for whom the Cyclops is a" monsterschny growth on a lonely gOre..." It is clear that from the point of view of the Cyclopes, the "Odyssey" characterization would have caused "an uproar in the press." Which of the opponents is right, what is the truth, - Homer left it to the very development of the plot, the ups and downs of Odysseus' combat with the Cyclops Polyphemus. In the era of Homer, this plot was expressed by the aed at the same time in a musical, poetic, and plastic form. In our time - separately, by type of art. There are many illustrations and drawings by artists. In music, this plot is reflected in D. Bononcini's opera "Polyphemus" (1702, Berlin), in Rameau's play "The Cyclopes". As in illustrating contemporary novels, novels and stories written in the genre of "fantastic journeys", the artists throughout the centuries-old existence of the "Odyssey" chose the most dramatic episodes in its plot. What, perhaps, was the effect of the transformed property of the human psychophysiological structure, which prompts a person to excited speech and gestures (and, in general, to plastic arts that express form: ballet, dance, painting, sculpture) at the most dramatic moments of his life. The Cyclops Polyphemus knew (from the oracle's prediction) his fate, that his eye would be gouged out. And in this his situation is similar to the same "knowledge of fate" in the heroes of the novels by F. Dick "Stigmata of Palmer Eldritch" and by K. Simak "There and Back Again". However, unlike the heroes of F. Dick and K. Simak, Polyphemus did nothing to influence Fate. The fact is that Polyphemus was sure that only that “form of life” in which he himself was clothed, that is, not “small and feeble” Odysseus, but “huge”, like Polyphemus himself, could threaten him. Fortunately, modern humanity is not threatened with death from this "Polyphemic complex", because both science fiction writers (for example, V. Emelyanov in the story "Confessed Eternity") and scientists (for example, L. Gindilis) predict the possibility of the existence of the most unthinkable at first glance "forms of life". It can be assumed that the struggle of Odysseus with Polyphemus is the struggle of the "rational", which increasingly increased in volume in the inner world of Odysseus, with the "emotional", which Polyphemus conservatively kept. According to the observations of the literary critic Stahl, Polyphemus was a representative " the first or third generation of heroes" - their pathos was war. And Odysseus represented the "fourth generation", whose pathos was peaceful deeds. And in this modern humanity late XX - early XXI century, it seems, is becoming similar to the generation of Odysseus. Both we and Odysseus are travelers in a vast space; our 20th century is the century of the biggest wars in history and the awareness of the senselessness of wars caused by them, the century of heroic work aimed at building spaceships for travel to the planets of the solar system. Although Odysseus himself claimed that the “prophetic heart” (that is, foreboding, intuition) helped him in many ways to avoid danger, however, Odysseus’s victory is, first of all, a victory for reason, reason of a higher level of civilization. One after another, Odysseus took three prudent steps, and in this planning in advance to get out of possible extreme (“abnormal”, as the cosmonauts say) situations, the “Homeric” text probably anticipates the instructions of the Yu.A. Gagarin? The same need for modern "fantastic travels", and especially contrasting ability for "contingency survival" is shown in "Inhabited Island" by A. and B. Strugatsky. So, three prudent steps of Odysseus at the beginning of his "physical-ideological" battle with the Cyclops Polyphemus. Firstly, the entire squadron was left in the "waiting orbit" (on the island of Goats), - Armstrong and his companions did the same during the first flight to the moon; so do the aliens in Roland Emmerich's Independence Day. However, other science fiction writers predict landing on the planet not of a "descent vehicle", but of the entire starship - I. Efremov "The Bull's Hour" and "Andromeda Nebula", A. and B. Strugatsky "Inhabited Island", A.N. Tolstoy "Aelita". Secondly, the only ship that "landed" in the country of the Cyclopes was left on the shore along with most of the travelers, and Odysseus headed to the cave of Polyphemus at the head of a small "capture group" (which included "the most courageous and reliable"). Thirdly, a fur with miraculous wine was taken, it was it that turned out to be the decisive condition for a future victory. At first glance, it seems that, with all his foresight, Odysseus made a mistake by not heeding the convictions of his companions to steal what they could in the cave until Polyphemus returned, and sail away. But by letting the plot develop along this (apparently more realistic) channel, Homer would have missed the opportunity to show the drama of the situation in the literary sense, and in the philosophical sense the proof of the superiority of the "open" structure of society over the "closed" one would have disappeared. Therefore, Homer makes Odysseus believe his own hope that Polyphemus "... treat us, give us a gift", - which is typical for the arrival of travelers in the possession of an "open" society. The plot forces Odysseus to commit a not entirely rational act - to wait for the arrival of the Cyclops Polyphemus in his cave in order to get an "external" reason for reprisal against Polyphemus, which has a "philosophical-transport" reason in the depths of the situation from the system of evidence of the advantages of an "open" society. And such an "external" occasion was not long in coming. In an illustration by V. Vlasov in one of the editions of the Odyssey, the moment is recorded when Odysseus and his companions are hiding in a cave, and against the background of a huge entrance, an equally huge figure of the Cyclops Polyphemus appears. Despite the fact that from the first minutes of their meeting, Odysseus hurried to explain to Polyphemus his "philosophical" system about what he was supposed to "... us, the homeless, to be friendly to him and give us a gift, which he always put on at parting guestsIyut...", informs Polyphemus that otherwise "... avenges the aliens outrageouslynnyh strictly heavenly Kronion", Cyclops Polyferm in a few seconds and will give Odysseus an "external reason" for philosophical and physical reprisals. And at this stage of their struggle, the agricultural mind of Odysseus will be higher than the cattle-breeding naive cunning of Polyferm, for to his question : "... where is the ship on which prAnddid you come to us? Is he far or near from here?", Odysseus instantly used the technique from the sphere " information wars "(the appearance of which S. Lem will predict much later): they say that the ship was destroyed, few were saved. This "misinformation" provoked such a brutal act of Polyphemus that his description allows us to consider Homer a pioneer not only in the written versions of the genre of "fantastic travels", but also in the genre of "horor" ("literature of horrors"): the huge hands of the Cyclops, raising Odysseus' companions and beating them to the ground, brains splashing from broken skulls onto the walls of the cave, jaws grinding bones, absorbing bodies without a trace. In the picture of J. Jordaens, this " the horror "scene is framed softer: the Cyclops bent over his sheep. But the realities of Homer's plot cannot be avoided: his hands are covered in blood, near his feet is the head of one of Odysseus's companions, his victims, and Odysseus himself and the survivors stand behind - on the right. Scenes " eating" is also present in modern "fantastic travels". In B.D. Clark's film "Galaxy of Terror", astronauts who find themselves on an alien planet after an accident are eaten by monsters one after another. in its depth, a philosophical and transport reason, the same "relationship" as in Larry Naven's story "The Fourth Profession", in which aliens offer earthlings two options for action: either they will build a "launching laser" necessary for the start of aliens, or they, considering earthlings - animals that have not managed to rise in their development to a decent technological level, and therefore not intelligent beings, therefore, the "launching laser" will be replaced by an explosion that destroys their Sun. As you can see, Homer tried to describe the act of Polyphemus in such a way that it looks quite brutal, and therefore, for Polyphemus personally, Odysseus also "put out the Sun": he gouged out his only eye. The description of this stage of the "proof" of the physical-philosophical correctness of Odysseus made it possible for Homer to most clearly show the superiority of "reason", a higher intellect (or what some call "cunning"). At the same time, Odysseus struggled with "emotionality" not only personified in Polyphemus, but also in himself. After all, the first movement of Odysseus after Polyphemus brutally killed his companions, disgustingly ate and fell asleep right on the bare ground in his cave, was to pierce his chest with a sword. But then the mind "worked", and Odysseus realized that then, in the event of the death of Polyphemus, no one would be able to push back the huge rock with which Polyphemus closed the entrance to the cave, and they would be walled up alive. By the way, this situation: when the hero wants to kill the enemy, but cannot, because the situation is so interconnected that the death of the enemy will inevitably entail the death of the hero, has " structural function", is also reflected in other works of the "fantastic travel" genre, for example, in Murray Leinster's story "This land will remain free", where aliens from the star Antares cannot destroy the natives on planet Earth, since in this case they themselves will die, and are forced to go Odysseus also came up with a cunning plan. While Polyphemus was grazing his goats and sheep, Odysseus, imprisoned in his cave, cut off a piece from the hefty club of the Cyclops with a sword, which was then planed and sharpened, burned on coals and hidden under a dunghill. And again Homer forces his hero to do what is necessary not so much for the physical, but for ideological victory First of all, an act. This act helps Homer to emphasize the nobility of Odysseus, who, having already prepared everything for the massacre of Polyphemus for the brutal death of the members of his expedition, nevertheless warns once again that his unbearable ferocity and ruthlessness will lead to the fact that everyone, having heard about his lawless deeds, refuse to visit. But it was all in vain. Flaxman's drawing shows the following moment of the implementation of the ingenious plan: a seated Cyclops holds a cup in his hands, where Odysseus pours prudently captured miraculous wine from a jug. Then, as shown in the figure by L. G. Sklyutovsky, Polyphemus drinks this wine. In response to the insidious (but not dangerous for a higher-level intellect) trick of Polyphemus, who suggested that Odysseus give his name, Odysseus's "move" follows, he prudently misinforms that his mother and father were called "Nobody". And Homer makes Polyphemus, in addition to atrocities, also demonstrate ingratitude: for delicious wine, he promises Odysseus to eat it last. So, all the preliminary justifications for the next stage of the implementation of the cunning plan of Odysseus, fixed on an antique black-figure vase (kept in british museum in London), on an antique amphora from Eleusis (found in 1953), on the Argos crater from the workshop of Aristonophus (VII century BC), on the illustration by E.I. Datsko and on the stylized engraving of P.A. his companions gouge out the eye of the Cyclops Polyphemus with the pointed end of a log. This "Homeric" description also "begs" for the pages of a modern story in the style of "horor": a stake that pierced the eye and is turned in the eye; a bleeding eye, smoldering eyelashes, flaming eyebrows, a bursting eyeball, an eye spattered and hissed in the fire, and - a wild howl of a cyclops! - wow, it's time to stop and take a break, well, who among the modern ones will create a "horor" "cooler" than Homer ?! In vain, Polyphemus, pulling the stake out of his eye, appealed to other Cyclopes: about his offender Odysseus, he could only say ambiguity, misinformation thrown by Odysseus: "No one", and the Cyclopes dispersed. Then Polyphemus moved the rock away from the entrance to the cave and felt the sheep, hoping to catch the members of the expedition. And from this extreme situation, Odysseus's intellect found a way out, which inspired artists to fix the rational superiority of Odysseus over Polyphemus: on the ancient Greek olp, Odysseus sits next to a sheep, apparently at the moment when he clung to her belly. The same moment - and in the painting of the red-figure kilik "master Pamphay" around 510 BC. (which is kept in Rome in the Villa Giulia Museum). And in the picture of G. Fuseli (which caused an assessment from the art critic E.A. Nekrasova: "... almost Goy's grandiose image of the blind Polyphemus" ) and illustrations by A. Shurits Odysseus is already hanging under the belly of a sheep, safely avoiding the hands of the blinded Polyphemus. So Odysseus won a physical victory. Maybe it looked like in F. Preller's drawing, where the worst is already behind: the Cyclops Polyphemus is alone in the middle of the picture, close to the viewer a group of satellites drives a herd of sheep (they will be loaded onto ships), and Odysseus himself is a little behind, but he already at large, outside the walls of the cave. It would seem that you can easily swim away. But the general interest in the "Homeric" text, both on the part of fans of a purely dynamic plot (thirsty to plunge into adventures), and on the part of "philosophizing intellectuals" comes from the properties of this text, which carries two layers: eventful and philosophical. Therefore, the plot at this point in the Odyssey is turned by Homer for the sake of the goal: to show the superiority of Odysseus's "transport philosophy" over Polyphemus' "home-station beliefs" (and his like-minded people who still ask: "Why? Why spend money on space exploration? Wouldn't it be better sit at home and spend the money on something else, more important?..."). "Transport" (and therefore advocating for "open" societies, complacently related to travelers) Odysseus defeated the "home-grown" (and therefore adhering to a "closed" society, wary and hostile to strangers) Polyphemus. And this "double combat" will be repeated every century - the "Odysseys" will defeat the "polyphemes" in the era of Columbus, having built caravels to discover America, they will win in the era of the astronaut, sending a ship with people from this mainland to the neighboring planet-satellite Moon and returning them back, - because the "Odysseys" ruled and ruled this world. Will it always be like this? Judging by the fact that modern science fiction writers send ships to all the planets of the solar system, and to the stars of our Milky Way Galaxy and to neighboring galaxies, and even to neighboring universes, this will be a long, very long time ... Maybe Homer foresaw it? That is why he makes Odysseus not silently move away from the blinded, but still fraught with danger, Polyphemus, but to proclaim that not only a physical, but to a greater extent a moral and philosophical victory has been won. This episode inspired the artist Turner to create the painting "Ulysses taunts Polyphemus". When his ship sailed from the shore, Odysseus laughs at Polyphemus, urges him to observe the "laws of hospitality", convinces him of the superiority of his ideology, his "philosophy of transport", despite the huge stones thrown into the sea by Polyphemus, and threatening to destroy the ship. Although V. Tokarev believes that it was not Polyphemus who threw stones, but a volcanic eruption, but according to the "Homeric" text, the moment was very dramatic, which led to its fixation in stylized drawings by R. Masautov, D. Bisti, realistic illustrations by V. Vlasov , V.V. Pertseva, engraved by G.D. Epifanov. But it's all in vain, in vain. Emotions will never win the mind. Although I. Efremov poses this problem in his own way, and in his novel "The Andromeda Nebula" the former head of external stations Mven Mass even writes a book about the growing role of emotions in the era of flights to the stars. But according to other authors, in the future, the mind will generally refuse emotions, and their expression - the usual human body, which gave so much to art (this quintessence of the emotional), - and the body will be replaced by an "ethereal shell" according to the forecast of K.E. Tsiolkovsky, or chitinous high-browed head according to the forecast of F. Dick in the novel "Stigmata of Palmer Eldritch". That is why Polyphemus and I remain blind, in any case, seeing in the space surrounding us, much less detail than our "rationalized" descendants will see, and it is to them, flying, according to the forecasts of modern science fiction writers, to the stars of our Galaxy " Milky Way", to neighboring galaxies and universes, and not to Polyphemus, the cry of Odysseus is addressed: Listen to the merciless Cyclops, forward defenseless goWithtey you In your deep grotto do not destroy and do not eat ... You, wicked, dared foreigners, visit your houseVShih, Brutally devour - punished you and Zeus and others Gods blessed...

The role of the discipline of expedition participantsAndtions

in The Odyssey and Modern Fantastic Journeys"

For three thousand years (starting with Homer's poem "The Odyssey"), the authors of the archaic and modern forms of the "fantastic journey" genre have been trying to emphasize the role of the discipline of the expedition members for the successful implementation of the journey (which, by the way, is a useful feature for real travel ...). Lack of discipline can lead to an unplanned and dramatic change in the route of the expedition - this is what immediately catches the eye of a reader familiar with Homer's poem "The Odyssey" and I. Efremov's novel "The Andromeda Nebula" (for good reason, apparently, in his novel "The Labyrinth of Death" by F. Dick for such a distant era that, it would seem, would be quite enough time to "correct", predicted the presence of a prison in the design of the starship? After all, Odysseus, after dramatic, with human casualties, clashes with the Kikons and the Cyclops Polyphemus, but in general, retaining the main composition of the expedition , I have already seen, as they say, with the "naked eye", my native Ithaca: "... already the shores of the fatherland appeared: we even distinguished the fire of those who bred nearby" ("And the smoke of the fatherland is sweet to us, etc.Andyaten", - we recall the lines of another great poet. There was wife Penelope! The son of Telemachus was there! He hadn't seen them for over ten years...). The main thing is that there was a full guarantee that he would see them, and soon. Aeolus pulled the fur with the winds tightly with a silver thread. Durable bovine fur. "So that no breath of wind could be small". Only Zephyr was commanded "breath accompanying us in ships on the waters of prOdrive". But indiscipline, fueled by greed, an exorbitant craving for wealth and envy of someone else's well-being (for the umpteenth time in the entire past, present and future history of mankind?) ruined everything! But ... this is according to the plot invented by Homer. The art of Homer lies in the fact that it seems to the reader that Odysseus's satellites really unleashed the fur with the winds of Aeolus, but the art of Homer is also in the fact that nothing in the "Homeric" text contradicts the attempt to move the actions of the satellites from reality into the sphere of Odysseus's own imagination! Homer points out, but makes imperceptible to the reader excited by the dynamic plot, the fact that Odysseus fell asleep near Ithaca. Running ahead of the plot, let's say that at the end of the journey, already in Ithaca, Odysseus woke up there (he, sleeping, was taken out of the ship by the feacs and laid on the surface of the island). It can be assumed that it is from this moment (and not from those pointed out by other researchers) that the fantastic adventures of the hero of Homer's poem begin. To overcome points: Troy -> about. Tenedos -> Troy -> Ismar -> forced landing -> near about. Kiefer -> about. Lotofagov -> about. Koz -> about. Cyclopes -> o.Koz -> o. Aeolia -> near Ithaca- Odysseus spent no more than a month, which is a very real time for artificial vehicles in the space of that era (and Menelaus, Nestor and Agamemnon returned to Greece). But Odysseus took 10 years to get to Ithaca! So all these 10 years are fantastic! Odysseus - in a dream and knowing the manners of his companions - suggested that they would break the Aeolian ban and untie the fur with the winds. (By the way, after Homer in fiction description of dreams took place in a huge number of works). Further, in a dream, Odysseus plays all possible options for “horrors” and a way out of this extreme situation: the winds bring him to those places of the Mediterranean coast and the Atlantic Ocean, where the Greeks in the era of Odysseus had not yet been (at least regularly). Did Homer, talking about the fabulous creature Polyphemus, about Circe, about lotophages, about Eol, understand that he was telling a fairy tale, or did he believe that this was a reality that was possible somewhere very far, far from his native Ithaca? It seems that this is a property of human thinking in general, because even in our time, science fiction writers inhabit neighboring stars and galaxies with various "miracles": a "blue bottle" on Mars, smelling the neck of which people disappear (R. Bradbury's "Blue Bottle"); on the same Mars - a kind of "superweapon" in the form of a huge mouth that eats weapons and all matter in general (R. Sheckley's "Absolute Weapon"); in the same place on Mars, natives-"Martians" are able to cause hallucinations in astronauts arriving from Earth (R. Bradbury "The Martian Chronicles"). And in deep space, the crews of spaceships either die or lose their minds after meeting with a certain "phenomenon" perceived by people (and cats, which becomes the basis of the plot) in the form of a "rat-dragon" (K. Smith "Playing with a rat-dragon"). In a word (such is the specificity of the genre), "bare", so to speak, miracles are enough in modern "fantastic journeys" and in the "Odyssey", in which the punishment of undisciplined companions is also from the sphere of miracles: the winds fly out of Eol's untied bag and, like people, human heads without a body, puffing out their cheeks, blow on the ships of Odysseus. Although the moment is “wonderful”, it is quite dramatic, capable of arousing emotions in the artist’s soul, for example, D. Bisti painted a stylized illustration with huge waves raising three ships with oars and sails on their crests, and three human heads of the gods of Eol. So, even 3 thousand years ago Homer in his "Odyssey" clearly demonstrated the perniciousness of the actions of violators of discipline and the "wonderful-terrible" punishment for this. And what worked? Unfortunately no. And in the future, according to the forecast of I. Efremov, in the novel "The Andromeda Nebula" violators of discipline will definitely appear. This is astronavigator Pel Lin and astronomer Ingrid aboard the starship Tantra. They will violate the order of the head of the 37th stellar expedition Erg Noor - they will not wake him up in the dangerous region of our Milky Way Galaxy, as a result of which the Tantra starship will fall into the sphere of attraction of an invisible "iron" star, will make an emergency landing on the planet where the astronauts will be attacked by local creatures unusual for earthlings ("crosses" and "jellyfish") and mortally wound the astronavigator Niza. Yes, discipline is needed. But, as the saying goes: "There is no evil without good" And "All goes to good". After all, on the one hand, the change in the route put a number of extreme situations before the expedition of Erg Noor on the spaceship "Tantra". On the other hand, this change made it possible to meet the lost starship "Sail" (and through its video to learn the truth about the star Vega), to meet the disk starship from the Andromeda Nebula galaxy. Similarly, in the Odyssey - although the change (after Aeolus, near Ithaca) of the route caused Odysseus's immeasurable physical and spiritual suffering and the death of all his companions, the longing of Penelope and his son Telemachus, the dramatic "readaptation" of Odysseus in Ithaca, however, made it possible Homer to make a magnificent gift to world culture. And in general, if you take a closer look, the whole culture and science seems to have been created precisely by violators of discipline: the head of the external stations, Mven Mas, and the physicist Ren Bose will open new law nature, which allows, using a kind of "null-space", to reduce the travel time to the same extent as the ten-year return of the Vostok spaceship, the first cosmonaut of the planet Earth Yu. A. Gagarin, would have shortened Odysseus, flashing from Troy to Ithaca in one minute .

The problem of the existence of the soul without its body

in "Odyssey"

The path of Odysseus from the island of Eola, through the country of the Laestrigons, to the country of Circe is of interest, first of all, as Homer's choice of approach to another important problem - "Soul without its Body", which is also encountered in modern "fantastic travels". It is precisely because of the "problem" that Homer's poem "The Odyssey" has been read and commented on with enthusiasm for 3,000 years. There are two reasons for this. Firstly, apparently, all these 3 thousand years, people in their psycho-worldview qualities do not differ much from each other. Secondly, people of different eras, of course, have differences, but Homer's poem "The Odyssey" tends to provide "food" for interests specific to a particular historical era specifically. What is the interest of our historical epoch in which we live now? Our era has put forward many problems, but the main one is that mankind, having built the Vostok launch vehicle, thereby invented a way to penetrate into the "other world" (which in ancient times was considered the sky with the Moon and stars), put itself on the threshold of a huge space that attracts travelers. Scientists do not have time, of course, to build real ships for flights to the same Mars, for example, and even more so to other planets, stars and galaxies, and therefore science fiction writers send their heroes to fly there. In the course of these fantastic flights, almost the same "problems" arise that Odysseus faced during his return from Troy to Ithaca. Homer needed to "rebuild" the plot in order to smoothly transfer the reader's interest from the "intellectual topic" to the "dynamic plot" ", during which there is an external tracking of the plot, and internally, subconsciously - comprehension of the previous "intellectual theme", and then - to a new "intellectual theme": "Soul without its body", solved in the episode of Odysseus' stay in the country of Circe. This "perestroika" was started by Homer, when Odysseus "abnormally" returned to the island of Aeolus, driven by the winds, due to the indiscipline of the expedition members, who flew out of the untied fur of Aeolus. At that moment, Odysseus even had the thought of suicide. Well, right folk omen, not recommending "returning from the road": Eol decided that the gods were unfavorable to the "returned" Odysseus, and refused to help. This gave Homer the opportunity to show Odysseus' subconscious fear-fantasies when he fell asleep near Ithaca, to talk about how far the winds could blow the ship due to the indiscipline of the expedition members who unleashed Eol's fur. To confirm these fears, Homer plunges Odysseus into another "horror" - this time in the country of the Laestrigons. Although the country of the Laestrigoges was the first point of the already openly fantastic stage of Odysseus's journey from Troy to Ithaca, we have the opportunity to report at what point on the planet Earth they tried to localize this country.
Indeed, in the era of Homer, the space of the planet Earth was perceived the way science fiction writers now perceive the space of at least our galaxy "Milky Way", and even our entire Universe, and fantastic "planets" imply astronomical "opportunities" now, and in the era Homer - geographical "opportunities". Researchers' opinions differ. S.Osherov, I.V.Shtal - place the country of the Lestrigons to the north of Ithaca. A.F.Losev and some other authors point to the island of Sicania - Sicily. V. Berar localizes the country of the Laestrigons on the northern coast of Sardinia. K.E. points to the Crimean coast of the Black Sea, Balaklava Bay. von Behr, P.A. Shuisky and L. Collins. V. Tokarev reports that, according to the Wolf brothers, on the eastern coast of Sardinia, archaeologists discovered the settlements of cannibalistic lestrigons, and in the ashes of their fires there were carefully crushed bones of people, of course, the remains of Odysseus's companions. V. Tokarev also reports on the calculations of Piyo, according to which the country of the Laestrigons is localized to the west of the coast of Ireland. In any of these places indicated by Homericists, astronauts could see the country of the Laestrigons, looking from the window of the international orbital station "Alpha" at the planet Earth, including the island of Sicily, but on the other side, opposite to the land of the Cyclopes. There was nothing new for Odysseus in the land of the Laestrigons. He had already met such cannibalistic giants as the lestrigons in the country of the Cyclopes, everything is the same with them, representatives of the "backward" centers of civilization, "There were no bulls to be seen anywhere, no workers in the field". Meets here, as before, Odysseus and "nice harbor". He already met (in the same Troy, for example) and "single-level" centers of civilization, where, as in the country of the Laestrigons, the natives lived in "multi-gate" cities and used the means of transport (smooth road and wagons delivering firewood to the city from the surrounding mountains). As near the country of Polyphemus, in the country of the Laestrigons, Odysseus will arrange something like a "waiting orbit": he placed his ship at a distance from the others. Yes, Odysseus already had all this. Is it only that Homer combined two types of centers of civilization in one: "backward" and "single-level", and it was new - the country of the Laestrigons. And the rest is all the same: again asking for the genre of "horor" and taken from the "Polyphem" episode, the scene of devouring the satellites of Odysseus by the Laestrygonian king Antiphatus, and the "Polyphemian" throwing of Laestrygons "through the power of lifting stones" and the crash of ships. However, the losses of Odysseus's expedition in the land of the Laestrigons turned out to be so great that these were not relatively minor "tactical" dramas, as in the possessions of the Kikons, the Cyclops Polyphemus, but a "strategic" tragedy: the entire squadron and personnel died, with the exception of the ship of Odysseus and his companions! Of course, such a tragedy could not but evoke a response in the hearts of artists. This episode is reflected in a fresco found in one of the houses on the Esquiline hill near Rome, dated 50-40. BC. (Kept in Rome in the Vatican Library). The country of the Laestrigons was the eleventh "landing" of Odysseus, the ninth extreme situation in which he found himself, and, according to the forecasts of science fiction writers, travelers of the future will fall into this type of extreme situations. If we take narrowly, only the "Lestrigon" death of ships at the hands of the natives, then we can name the novel "Inhabited Island" by A. and B. Strugatsky (although there was an unintentional destruction of a starship), and in a broader sense, "shipwreck" in the genre of "fantastic trips" happen from "bad weather" - sea storms near Homer, meteorite impacts, a sudden increase in the gravitational field - among modern science fiction writers (A. and B. Strugatsky "The Way to Amalthea", I. Efremov "The Andromeda Nebula"); from fighting with opponents (F. Dick "stigmata of Palmer Eldritch"; the film "Star Wars"). From the land of the Laestrigons, Odysseus made the twelfth "start", then the twelfth "landing" followed, and Odysseus arrived in the country of the nymph Circe - on the island of Eya. There are different opinions about the location of this island. I.V.Shtal places it in the extreme east. S. Osherov points to West Coast Italy. R.V. Gordesiani believes that the island of Circe was located in the Black Sea basin, on the territory of Colchis, and I. Martynov specifies - near the Colchis river Fasis. V. Tokarev reports that, according to A. Vuchetich, the kingdom of Kirk (Circe) was not far from Scylla, a day's sail from the kingdom of Hades. Vuchetich placed the possessions of Circe on the island of Korcula. Huge hewn stones "... Circeinus is a house piled up of tessncanoes..."), left from the walls of the palace of Homeric times, and now lie on the island. There are forty small towns around the island, and in translation from ancient Greek name Circe means forty! From Cape Circe, which according to legend is considered the habitat of Circe, to Sicily is 88 kilometers. In addition, V. Tokarev informs that, according to the Wolf brothers, Circe's possessions are the island of Ustica in the Tyrrhenian Sea; according to another assumption - this is the Hebrides. Well, some of the above points will undoubtedly be chosen by cosmonauts for their post-flight vacation, often, as journalists who observe the planet Earth from the windows of the Mir space station or from the Alfa international space station (when it is built in five years) report. . It probably could have happened that Circe's place of residence was the island, which in our time is called Corsica. Here, the expedition of Odysseus was overtaken by another extreme situation, which consisted in the fact that the travelers were in danger of being turned into pigs by the goddess Circe. This extreme situation was so dramatic that it could not fail to evoke a response from composers and artists. Composers D. Zamponi, P. Ciani, M. Charpentier, G. Purcell, K.F. Pollarolo, K.A. Badia, D. Cimarosa, F. Paer. O.Vernitsa's opera "Ulysses and Circe" (1619) is well-known; R. Kaiser's opera "Circe" (1734, moreover, part of this opera was written by Vinci and Hasse); K. Gluck's opera "Telemachus, or the Island of Circe" (libretto by C.S. Capeche in the processing of M. Coltellini, it was staged by the "Burgtheater" in Vienna in 1765; L. Cherubini's cantata "Circe" (1789); " Circe and Ullis" - the music of the Russian composer A. Titov to the melodrama of A. Knyazhnin (1802); and in 1949 the German composer V. Egk wrote the opera "Circe" (libretto by the composer based on the drama of Calderon). The viewer can see Circe on illustrations by F. Preller; a painting by Dosso Dossi (kept in Washington at the National Gallery); etching by DB Castiglione; illustrations by M. Miturich. Circe's unprecedented ability to turn Odysseus' companions into pigs influenced art for three thousand years. But Odysseus himself did not immediately Landed on the steep coast of the island of Eia, his ships then secretly entered a quiet harbor. Odysseus saw Circe's dwelling behind a wide overgrown forest, but again intuition told him not to go there immediately. It was a blessed corner, unlike our hills and valleys where deer can only be found in the zoo. Odysseus, with a throw of a spear, killed a deer, which the whole expedition was treated to all day, drinking wine. The next day, Odysseus divided his companions into two squads. The lot was cast, and the group of Eurylochus appeared in the dwelling of Circe, where they were quite friendly met by lions and wolves, which became so tame under the influence of the drink prepared by Circe. After Homer in science fiction, the description of animals that have become "tame", in particular, lions, not as a result of circus training, but with the help of exposure to "substance" ("magic potion" by Circe), the reader meets in A. Belyaev's novel "Lord of the World" (transmission thoughts at a distance using electromagnetic waves). Odysseus learned about what happened next only thanks to the super-vigilance of Eurylochus, who, like the others, did not enter the house of Circe. It was he who told Odysseus that she gave them a "magic potion" that takes away the "memory of the homeland", after which she turned the travelers into pigs with a blow of the wand. The dramatic moment is reflected in the illustration by O. Blaschuk; an unknown master of the first half of the 16th century, using a drawing by Parmigianino, depicted Circe with the companions of Odysseus on a chiaroscuro of three boards; on an Etruscan scarab from the 5th century BC - one of the companions of Odysseus, turned into a pig by Circe. The motif of the transformation of people into animals and the existence of "centaurs" (half-human, half-animal) is found in subsequent literature and painting after Homer: centaurs are horses with human heads; in the same Odyssey, a little further along the plot, Odysseus will meet Sirens - birds with women's heads. In Horace Gould's story "A Matter of Form", the surgeon Moss turns the unemployed Wool into a dog, not using the frankly fabulous "magic potion" and "wand" like Circe, but by transplanting the "pineal gland" from under the human brain into the brain of a dog. This example of a science fiction writer is already very close to the reality of modern medicine in terms of replacing worn-out "parts" in the human body: kidney transplantation (1980 - Belarusian Center for Kidney Transplantation); in a clinic in Miami (USA), surgeons transplanted kidneys, pancreas, stomach and intestines from human donors in 36 hours; transplantation of animal organs into humans: baboon heart (1984, Dr. Leonard Bailey at Loma Linda University Hospital in California); implantation of artificial organs into the human body: heart (1982 - Medical Center of the University of Utah in the USA); pancreas (1981 - in the hospital of the American city of Minneapolis); lungs (1980 - 40 patients in Japan); Terry Hembrecht's group in the US has implanted electrodes in the brain that partially replace the eyes. But why did Circe in Homer's poem "The Odyssey" turn travelers into pigs? Is it not a hint on the part of the mysteriously informed Homer that this is most easily accomplished because of the great similarity between the organs of the body of pigs and people? And now, after 3000 years, confirmation of brilliant conjectures (or knowledge? ) author of the Odyssey. Thus, Academician of the Russian Academy of Medical Sciences V.I. Shumakov, who heads the Research Institute of Transplantation and Artificial Organs, believes that the pig is most suitable for solving the problem of "xenotransplantation" (that is, transplanting organs from animals to humans). In the United States, three biotechnological companies are involved in the problems of transplanting pig organs to humans: Imutran (Cambridge), Alexion (New York), and Nextran (New Jersey). David Sacks from Harvard University and Fred Sanfilippo from Johns Hopkins University are working to ensure that the human immune system does not reject pig organs; and in England, David White of the University of Cambridge; for the same purpose, Japanese scientists from Nagoya University pour human blood into pig veins and arteries (not without reason, apparently, R. Kipling of the heroes - man and animals - in his, in principle, fantastic story "Mowgli" forced them to say to each other: "We are of the same blood - you and I"). At Duke University Medical Center (USA), Dr. Jeffrey Platt is working on transplanting a pig's heart into a human; In India, a pig's heart was transplanted into a human. All these successes of modern medicine, linking man and pig, encourage us to recall Homer again, as the author who was the first to say this. And - to ask the question: was it just a "device" in a work of art, or - a prediction? But this episode of Odysseus' stay in the country of Circe is interesting not only as a possible medical prognosis, but also as the first attempt to pose the problem of the existence of the Soul without its Body, which is found in subsequent fantastic fiction. The companions of Odysseus, turned by Circe into pigs, retained their human mind (Soul), and lost only their human body. At the same time, fantasy knows the existence of a human head without a body at all: in the same poem by Homer "The Odyssey", the winds of Aeolus are depicted in illustrations as "bodyless" human heads; in A. Belyaev's novel "Professor Dowell's Head" the body is generally replaced by "devices". However, we can assume that the soul of Professor Dowell remains in his body (here the body that contains the soul becomes the head itself, without the torso, legs and arms). The motif of "transmigration of the soul" is widely used in human culture. This is the religion of Buddhism. This is John Campbell's story "Who's Going?", where the "soul" of an alien moves into a human body. In appearance, a person remained a person, and, moreover, a living one, having the same colloquial speech, character, actions, but in fact his whole body turned out to be an "eaten" alien, composed of protoplasm and nuclei that controlled this protoplasm, the human body. The transmigration of a human soul into a dog's body with the help of a surgical operation occurs in Horace Gould's story A Matter of Form. In F. Dick's novel "The Stigmata of Palmer Eldritch", K. Simak's novel "There and Back Again", V. Emelyanov's story "Confessed Eternity", the former human soul seems to "move" into a new body, "remade" by the inhabitants of the 61 Cygnus star system and others. It can also be assumed that the Soul is a system of super-weak electromagnetic fields that exist around a system of super-weak electric currents in human brain . When the body cuts off the blood supply to the brain, the super-weak electrical currents in the brain stop, and the brain stops holding the Soul around. But since the soul has a billion times less mass (and therefore less inertia) than the body, the gravity of the "black hole" located in the center of our Milky Way Galaxy acts on the Soul a million times stronger than on the Body. And the Soul begins: firstly, to "lag behind" the Brain, and secondly, it begins to move towards this "black hole". But both in the past (according to Homer), and in our time (which Homer predicted and which has come now), and in the future (which K.Saimak predicts), from the position of a person exposed to external influence on the "Soul", a problem arises (if this person does not "resettle" of his own free will, as the worshipers of the religion of Buddhism): how to resist this violent "knocking out" of the Soul from his own Body? In Homer's poem, the actions of the god Ermius and Odysseus himself are subordinated to protection from the violent "transmigration of the soul". Hearing the terrible news from the lips of Eurylochus, Odysseus rushes to Circe, but halfway, fortunately, the god Ermius managed to meet him and offer a method for saving the Soul: firstly, an "anti-Circeian" potion; secondly, when Circe touches him with a rod, he must frighten her with a sword, and then agree to share a bed with her. All this was accomplished by Odysseus, as a result of which his companions regained their human form. But a dramatic conflict led to this happy end, which had an emotional response in the hearts of the artists. On a skyphos from the sanctuary of the Kabirs in Thebes, 4th century BC. e. (Kept in London in the British Museum) Circe brings Odysseus a magical drink, Odysseus' friend turned into a pig near the loom; Odysseus threatening Circe with a sword dominates the ancient bas-relief and modern illustration by V. Gamayunov; and in the illustration by L.G. Sklyutovsky, Odysseus already orders Circe to “magic” his companion from a pig back into a man. Like Odysseus, heroes of modern fantasy have the ability to prevent outside influence on their Soul. Especially if we allow the understanding of "forced transmigration of the soul" in general, as part of the possible violent actions on the soul, including with the help of sleeping pills, drugs, and the like. And in A. Belyaev's novel "Lord of the World", in order to protect his brain from external influences, Stirner put on an iron cage connected to ground; had "built-in protection" of his brain and Asher Sutton from the novel by K. Simak "There and back". But the natives who inhabited a distant planet in the novel by A. and B. Strugatsky "Inhabited Island" did not have protection from the "psychic waves" emitted by the towers built by the leading elite of this civilization. More broadly, in terms of the influence of one "thinking system" on another system, there was no protection against a "computer virus" in Rolland Emmerich's "Independence Day" video. In contrast to the "Odyssey" situation, the Extraterrestrials did not provide for measures against someone else's penetration into their "computer soul", for which they paid with the death of the "bodies" of all their starships, safely destroyed by earthlings under the leadership of the President of the United States. Thus, in the episode of Odysseus' stay in the country of Circe, Homer managed to raise a problem that has been worrying artists and scientists for 3,000 years.

Odysseus at the edge of the universe

In Homer and in modern "fantastic journeys"

Seized with pity for Odysseus's companions, who had thrown off the body shell of pigs from their souls, Circe offered to drag the ship ashore, after which the expedition stayed on her island for a whole year. But, despite the excellent meat, sweet wine, a year later, the companions demanded that Odysseus think about returning to Ithaca. But Circe announced to Odysseus that before sailing from her island towards Ithaca, his expedition should visit Hades in order to find out from the soul of the deceased prophet Tiresias about his future fate. Establishing the location of Hades would be important for finding out: how far into the space of the Universe the gaze of mankind began to penetrate now, in comparison with how Homer's contemporaries imagined the World, what sizes and what components. Although, it should be noted that the World (Universe) in the era of Homer was, of course, smaller than now, because, according to the theory of the Big Bang, all 3 thousand years that have passed since Homer created the poem "Odyssey", has been continuously expanding since at a speed of 300 thousand kilometers per second and was 27,975,600 billion kilometers less than now. Circe herself, sending Odysseus to Hades, reported that the way there on a sailing ship leads through the Ocean, behind which is a low-lying coast and a grove of Persephone with black poplars and barren willows. Sailing here, according to Professor Karl Bartholomeus, Odysseus reached the Atlantic Ocean. But R.V. Gordesiani believed that the country of the Cimmerians (that is, Hades) was not very far from the island of Circe - in the regions of the Sea of ​​\u200b\u200bAzov, and denies that the Cimmerians lived on the ocean. THEM. Trotsky placed them in the far north, and I.I. Shits to the extreme west. V. Tokarev informs about such an opinion that Hades was located at the Pillars of Hercules - Gibraltar; or (opinion of the Wolf brothers) - the area near Palermo. Some researchers, who tried to geographically localize the route of Odysseus, placed Hades on the territory of ... the United States of America! And, perhaps, this is the most productive opinion.
From the height of the near-Earth orbital station "Alpha", or returning from other planets, astronauts through the windows will see the path of Odysseus along Atlantic Ocean from the island of Circe to the shores of the American continent, to Hades. Hades was perceived in the era of Homer as a very remote place, one that a person is simply physically unable to reach. The proof of this is Odysseus's reaction to Circe's proposal to visit Hades: he "Life has become disgusting" and he "he didn't want to look at the sunlight", sobbed for a long time, and finally declared: "No one has ever been to hell with a shipmforeign". This place is not for life, but it is here that the shadows of the dead (including the purpose of Odysseus' journey there - the prophet Tiresias) can meet and talk with a person. Although this is fantastic in itself, it seems to be less than the beliefs of modern spiritualists, who are still in late XIX century in Great Britain there were several million, and in the USA - over 10 million, and who followed the theorists of spiritualism, the American A.J. Davis and the Frenchman A. Cardin, in Russia - behind the magazine "Rebus" (1881 - 1917), and which, despite the fact that in 1871 it was created at St. Petersburg University at the suggestion of D.I. The Mendeleev Commission recognized spiritualism as superstition, and F. Engels called "...the wildest of superstitions" , in the XX century was cultivated by the American National Association of Spiritualist Churches, the English National Spiritualist Union, the International Spiritualist Federation. Modern spiritualists believe that communication with the souls of the dead using, for example, table-turning, is possible right at home. Still, this is more fantastic than Homer's opinion three thousand years ago that for the same purpose Odysseus must sail very, very far, to where people cannot live, beyond the Ocean that surrounds the entire Earth - there is Hades . By the way, according to science fiction, chronologically close to the movement of spiritists of the 19th-20th centuries, one can come to the conclusion that one can meet the soul of the dead not during the "turning tables" in one's apartment on planet Earth, precisely at a great distance from the Earth. So, in the novel "There and Back Again" by K. Simak, Dr. Raven informs Asher Sutton about the legend of an African tribe: as if every person on Earth has a double on another planet, and even indicated this star in the sky. Why, Raven had no idea that Sutton himself has a "double" of his soul (whom he calls "Johnny") originating from the 61 Cygnus star system. Although according to the prediction of modern science fiction writers, it is a place of a possible meeting with the soul-double of the deceased (or living) in the system of the star 61 Cygnus, beyond which there is still a huge space where galaxies move, according to the ratio of distances, according to Homer's prediction, the meeting place with the souls of the dead Hades - it's not the farthest place. The dimensions of the world, according to the ancient Greeks, were limited from above by the "sky", and from below - by "tartar". If you know the speed of the fall of the copper anvil, then you can calculate the distance from the "sky" to the "earth", where the anvil will fly for nine days. She will need the same amount to fly from the "ground" to the "tartar". and "Hades" was between "earth" and "tartar". Tartarus is the lower sky, Olympus (where the gods live) is the upper sky, and "Hades", therefore, is the same "earth", only from the "other side"? As A. Tomilin recalled, according to Thales of Miletus, the universe was a flat disk of the Earth surrounded by an ocean. This whole structure was enclosed in a celestial sphere, which rotated around fixed points-poles, carrying fixed stars. Although only the shadows of the dead could live in Hades, Homer points out that it was possible to get to Hades with the help of an ordinary earthly ship, while it is impossible to get into the "other world", the sky - Olympus, where the gods lived, on any earthly ship . From there, the goddess Athena and the god Ermius descend to Earth, putting on special golden soles, and Homer emphasized the high speed of their movement. And for 3 thousand years, people could not guess that a rocket could give such a speed to a person. The ancient Greeks saw the sky (stars and the moon) in front of them, but did not realize that they could be reached, that is, to perform a material action. And now? Do people see what is beyond the boundaries of our universe (but do not realize that this is already a "different world", a world of another, larger scale level)? Hades is that "earth" (America), having discovered which humanity learned the true appearance of "Universe 1" (that is, planet Earth). What kind of "land" will people (more precisely, intelligent beings) have to open in the distant future (after intelligent beings have learned to fly to neighboring galaxies) in order to find out the true appearance of "Universe 2" (that is, "our Universe") - fly to the neighboring universe, as does the hero of V. Emelyanov's story "Confessed Eternity"? Just as we, people of the era of flights to the moon, have yet to discover the true appearance of "Universe 2", so Homer (and his hero Odysseus) for many centuries one would have to live to discover the true appearance of "Universe 1" (that is, the planet Earth). But Homer correctly noted that in order to reach Hades, the speed available to the gods (and rockets) is not needed, the speed of the ship of Odysseus is enough. Applying literary analysis text of the "Odyssey", L. Collins back in 1876 tried to substantiate the idea that Odysseus (unsuccessfully, with a fatal outcome for himself) tried to do something that could only be done 23 centuries after his death by Christopher Columbus - a trip to America. V. Tokarev believed that the storm in the Mediterranean Sea, which carried the ships of Odysseus away from Ithaca, was just a trick of Homer, poetic device. And Odysseus ended up in Atlantis not at all by the will of the good and evil gods. And what if Homer described not the forced and spontaneous ten-year wanderings of Odysseus, but a research expedition? - suggested V. Tokarev. - An expedition to search for tin (without which it is impossible to melt bronze, weapon metal) and gold. (It was gold that Columbus later found in America...). Other researchers also adhered to the "metal" version: Severin (although, according to A.F. Losev, he meant iron, not tin), A. Bonnar. But even in our time, scientists and astronauts have the goal of obtaining metals under weightless conditions (although it’s not so much a matter of the “amount” of space - the distance from the Earth’s surface to near-Earth orbit is, in principle, comparable to the distance from Troy to Ithaca, but in " quality"). Metal is the goal of future astronauts as well. So, in the novel by I. Efremov "The Andromeda Nebula" the captain of the spaceship "Tantra" Erg Noor recalls that an expedition to a planet in a double star close to the Sun in the direction of Theta Wolf discovered "monstrous bOwealth of platinum, osmium and iridium". So, metal is the reason for long expeditions for all eras, but for the era of Homer, this expedition of Odysseus (and, probably, other travelers) resulted in the opening of a new space for the creation of "ecumene". And after a while, a stormy stream of colonists will pour to the west from the cauldron of Greek cities, - S. Osherov emphasized - Greek colonies will begin to appear in Italy and Sicily. It really was, but Homer's imagination sent Odysseus even further, to the "edge" of the universe, to a seemingly completely fantastic country, Hades, but she was, was there, beyond the Ocean, and that was America.

future prediction

in the "Odyssey" and modern "fantastic journeys".

A science fiction writer does not necessarily have the goal of predicting the future. This forecast somehow comes naturally to him, because, sending the hero, let's say, not far, to start with Mars, the writer cannot write off, for example, the landscape of the cosmodrome, from where the Martian ship starts, from today's real cosmodrome. After all, the Martian ship has not yet been built. And when it is built, the cosmodrome will probably change, it will become somewhat different. And the farther from the start is the finish of a fantastic journey, the more similar to the forecast, the prediction of the future, the writer gets a landscape against which the heroes of his work fly to the intended goal in a spaceship. But besides his own role as a prophet, which the science fiction writer plays regardless of his will, undertaking to describe the journey of his heroes to distant "other worlds", many writers do not resist the temptation to make the prophet one of the characters in their work. This was already done by Homer in the poem "Odyssey", in which he himself predicted the future development of the planet Earth and where the shadow of the deceased prophet Tiresias and the nymph Circe acted as predictors. The question arises: why did Odysseus have to sail so far - practically to the very edge of the “Universe 1” (planet Earth) known to him, in order to receive the prophecy of Tiresias? But even after coming here, "to the deep-flowing waters of the Ocean, where the Cimmerianethe starting area, covered with moist fog and haze of clouds, and where the face of the radiant Helios never shows the eye of people ", Odysseus did not immediately gain access to Tiresias. First, he dug a hole with a sword, made a libation with a mixture of honey, fragrant wine, water, sprinkled everything with barley flour, promised the shadows of the dead to sacrifice a cow when returning to the house, slaughtered a ram and a sheep over a pit into which blood had poured, and with a sword drove away flocked to the blood of shadows, let her in and spoke first with the shadow of Elpenor (he promised to perform a funeral rite with his body), and then he made contact with the shadow of Tiresias. And so the predictions of Tiresias turned out to be so far looking into the future that, indeed, not on every corner there is an opportunity to receive them, and it was quite worth it, to calm the soul, to climb to the "edge" of the Universe. Tiresias prophesied Odysseus for the rest of his life: both a prosperous (for him personally, but not for his companions) "landing" on Ithaca, and a prosperous "readaptation" familiar to astronauts of the present and future (consisting of two periods: "stormy" - reprisals against suitors of Penelope, and "calm" - a long journey with a ship's oar on his shoulder to those parts where people "they do not know the sea, they do not salt their food, and the oar is revered as a shovel"), and, finally, a worthy bright old age and death surrounded by relatives, friends and happy people. Odysseus did not miss the opportunity to learn from Tiresias a way to talk with other shadows of the dead, in particular, with his mother Anticlea. These "shadow conversations" were a method devised by Homer to enable Odysseus to make a mental journey through time (past and future) and space (he did not have the means of transport to travel personally to Ithaca, but his mother, who died many years after the start of Odysseus from Ithaca, she told him about his wife Penelope, waiting for his return, about his son Telemachus, about his father Laertes, who moved from the city to the field, where he sleeps in poverty with slaves "on the floor by the fire"). Homer led Odysseus, and readers with him, into the deep past - after all, after his mother, Odysseus talks with the shadows of great women: Tiro, Antiope, Alcmene, Megara, Epicaste, Chloris, Leda, Ifemidia, Ariadne, Moira, Clymene, Erifil , their names are associated with more or less popular participants in ancient Greek mythology: Persephone, Salmoneus, Crepheus, Aeol, Enipeus, Poseidon, Pelias, Neleus, Zeus, Aeson, Feret, Amifion, Asop, Diy, Zephos, Hercules, Creon, Oedipus, Cadmus , Hades, Erinyes, Amphion, Nestor, Chromium, Periklimen, Pera, Iphicles, Hora, Tyndar, Castor, Polydeuces, Aloy, Otos, Ephialtes, Orion, Latona, Minos, Theseus, Bacchus. In addition, from the shadow of Agamemnon, whose fate turned out to be connected with the names of Priam, Aegisthus, Cassandra, Clietmnestra, Helen, Odysseus received a prediction - advice to hide his return and enter the Ithaca harbor with the ship inconspicuously, not relying on the loyalty of his wife Penelope. Then the shadows of Achilles, Patroclus, Antilochus, Ajax took part in the journey of Odysseus into the past, and the names of Telamon, Peleus, Thetis, the shadows of Minos, Orion, Titius, Tantalus, Sisyphus, Heracles are mentioned and Gaia, Pythia, Hebea, Hera, Ermius are mentioned, Athena. All these conversations with the shadows of the dead in Homer were a way that gives the same effect that later science fiction writers, not satisfied with the naivety of "shadow conversations", achieved with the help of the so-called "time machine". This method will be exchanged by Homer for organizing the journey of Odysseus in three times at once: past, present and future, heroes of three times meet in one plot action of a fantastic work at once, just like in K. Simak's novel "There and Back Again", where a man of 7980 A. Sutton is talking with a man of 8386 A. Dean, and at this time a man of 1987 D. Sutton is approaching them along the hill. In addition to the predictions of Odyssey future actions from Tiresias and Agamemnon, Homer considers it necessary to provide Odysseus after his return from Hades back to the island of Eya and committing funeral rite over the corpse of Elpenor, a prediction from Circe herself. In the picture of the future life of Odysseus, created by the predictions of Tiresias, and the advice of Agamemnon, Circe adds details of future extreme situations that Odysseus will fall into near the island of the Sirens, "wandering" cliffs (only the ship "Argo" under the leadership of Jason managed to swim safely near which, and this the path apparently led to the East, and Odysseus took advantage of the right of choice given to him by Circe and sailed to the West), the rocks of Skilla and the rocks of Charybdis, on the island of Helios; and the actions that Odysseus will have to take in order for Circe's prediction about a safe way out of these extreme situations for Odysseus to come true. Thus, according to the plot of Homer, at a certain point in space (it was reached by Odysseus in the country of Circe and near Hades), a person can acquire the opportunity to get a forecast of his future. The paradox of all forecasts is that knowledge of one's future does not save Odysseus from active actions. The future will come to Odysseus only if he acts, and, indifferently, according to the forecast (which does not belong to him personally, but was made for him by other intelligent beings: Tiresias, Agamemnon and Circe) or contrary to the forecast. Homer's Odysseus sometimes acts contrary to predictions. Action contrary to the forecast is also allowed in the novel of science fiction writer K.Saimak "There and Back Again". Actions performed according to the forecast, this is what in the novel by K.Saimak is called the term "Destiny". But if Homer's "fate" is drawn in terms of the duration of the life of one person - Odysseus, and only for one person - for the same Odysseus, then K. Simak's "fate" is intended for all living beings in the Universe and for millions (if not billions ) years in the future. Perhaps none of the science fiction writers (beginning with Homer) and, so to speak, "just prophets" (who were interested in predictions in themselves, and not as something incidental to the creation of fiction), did not create a larger-scale "teaching about fate", the teaching about following the forecast of the future than K. Simak in the novel "There and Back Again". Just over ten years into the future, the prediction of Cassandra, who warned Paris against the abduction of Helen, which led to the Trojan War, looked into the future. Three hundred years after Homer created the images of the prophets Tiresias, Agamemnon and Circe, the so-called "biblical prophets" (Elijah, Elisha, Amos, Hosea, Isaiah, Micah, Jeremiah, Zephaniah, Nahum, Habakkuk, Ezekiel, Haggai, Zechariah) predicted the future , When people "reforge mechi on plowshares". Since now swords still remain such, we can consider this prediction to have a "length into the future" of at least 3 thousand years. However, disarmament is a philosophical question, and then the time of the forecast of the "biblical prophets" is not limited by anything, but still "shorter" than the forecast of K.Saimak (in fact, people will not clutch their weapons forever ...) . Temporal restrictions are also characteristic of the so-called "Sibyls" mentioned by ancient authors, of which the Sibyl from the city of Cuma (Italy) is the most famous, according to legend, she collected her predictions in collections (the so-called Sibylline books). Approximately a hundred times deeper than Homer looked into the future in the middle of 68 and the beginning of 69. (shortly after the death of the Roman Emperor Nero) the Apostle John the Theologian in his "Apocalypse", for it predicts the alleged upcoming struggle between the "host of heaven" and the Antichrist, the "end of the world", the "Last Judgment" and the "thousand-year kingdom of God" on Earth, which other prophets relate to the year 7000. But John the Theologian's "end of the world" was localized and concerned only the planet Earth, while in the novel "There and Back" by K.Saimak it is about the fate of all living beings in the Universe. Much wider than Homer's (but already Saimakov's) was the scope of the window into the future in the teachings of the Jabarites (in Islam, VIII-IX centuries), because it was predicted about the future life of not one Odysseus, but all people and not one generation ahead. Forty times deeper than Homer, Michel Nostradamus looked into the future. Nostradamus himself indicated that his predictions were brought up to 3797, but then he speaks of "court neba", upcoming "thousands in the seventh number" , while K.Saimak describes the future of 8396. The book of the famous French scientist Charles Richet, The Future and Prediction of the Future, published in 1931, does not go beyond the "Saimakov's" "doctrine of Fate"; the world federation of futures studies, which has existed since 1973, which includes a number of predictive scientific societies, including the Research Committee on Futurology of the International Sociological Association; Roman club. Thus, before Homer, and in Homer's poem "The Odyssey", and after Homer up to the present day, and in the future, as science fiction writers predict, there was, is and always will be a place for prophets. What forms will the prophets take, or will it be an enlarged continuation of today's prophetic organizations, as in the novel by I. Efremov "The Andromeda Nebula", in which the Academy of Stochastics and Prediction of the Future operates in the era of flights to the stars, or will it be a peculiar way of predicting the future and following fate, which is created in the novel by K.Saimak "There and Back Again". What is the difference and how is the "fate" of K.Saimak similar to the "predictions" and "fates" of Homer and other prophets? In order to know this, one must first of all answer the question: is there any "destiny" at all; weigh the pros and cons". The question is: is there a destiny, - this means, is it possible to take on the prediction of the future at all, - after all, in this case, a situation arises when already in the present you can find out that path, future position, appearance, form, actions, words, thoughts, self-awareness of an individual and humanity as a whole, and the state of nature surrounding man and mankind. All this is covered by the term "fate". To the question: is there a fate, K.Saimak's answer in the novel "There and Back Again", as in Homer's poem "The Odyssey", is unequivocal - of course there is. According to the researchers, the ancient Greek philosopher Posidonius was led to the doctrine of the universal law of nature and fate by the Stoic idea of ​​the all-pervading world fire and the universal cosmic “sympathy” associated with this, the presence of everything in everything. In fact, both the creators of utopias (as well as anti-utopias) and the bearers of the "fatalistic" worldview recognize "fate". What is "fate" in the interpretation of the prophets of all times and peoples? If "fate" exists, then what is it - just an "ideal model" that exists in the human brain, or something (material or ideal) that exists outside the body (and brain) of a person? For K.Saimak, "fate" is not only the content of the prediction itself, but also a real force (almost a living being) that exists independently of a person. Homer's Odysseus also almost always had the "voice of fate" "at hand" - these were the "tips" of the goddess Athena who patronized him (in addition to the "one-time", so to speak, forecasts received, as we said above, from Tiresias, Agamemnon and Circe) . There were special goddesses of fate called "moiras" (they are also "parks" in ancient Rome), and throughout the vast ancient Greek mythology, which included Homer's poem "Odyssey" as an integral part. These three daughters of Zeus and Themis might not live "inside" a contemporary of Odysseus, like "Johnny" - an alien creature from the planet Sigma near the star 61 Cygnus. But they had a guiding effect on a person's life, directing him in the direction that his fate suggested: Clotho spins the thread of life, Lachesis distributes life's lots, Anthropos cuts the thread at the appointed hour. In contrast to the ancient Greek Clothos, Lachesis and Anthropos, which regulated the life of a person regardless of the desire of a person, and therefore his life, without any deviations, turned out to correspond to his fate; in Homer's "Odyssey" the goddess Athena and in K. Simak's novel "There and Back Again" Johnny intervene in the life of their "carriers" only as a benevolent "advisor" (consultant). And for K. Simak, his hero Asher Sutton, by his actions, rarely, but caused a discontented grumbling of his "fate" in the face of his alien-Lebedian Johnny, and for Homer, Odysseus often "shocked" his high-ranking patroness Athena with his emotionality. If Anthropos at the hour appointed not by the man himself, but by someone "from above" "cut the thread" of his life, then death for Sutton at K.Saimak, firstly, was practically impossible for him (since he possessed two "systems of life" at once "in one body: "earthly" and "Lebedyanskaya"), and secondly, Johnny was not the initiator of the death of his ward. The solution to the question: is there a destiny? also depends on how it is understood. Experts note that three different types of people - fatalists in their worldview, understand "fate" in their own way: either as an irrational dark fate (mythologically philistine fatalism), or as the will of an omnipotent being (theological fatalism), or as an inexorable combination of causes and consequences within a closed causal system (rationalist fatalism). How to know destiny? Various methods were proposed theoretically and used by almost many prophets, soothsayers, sorcerers, fortune-tellers, oracles, and astrologers. For example, with the help of a mantika (fortune-telling), Posidonius proposed to find out the future, but in general they tried to guess on coffee grounds, on cards, and along the palm line. They tried to penetrate into the future and know fate with the help of astrology - the same Posidonius, among many others. Nostradamus admitted to using astronomical calculations. At the same time, the location of the heavenly bodies was taken into account: the Sun, the Moon, Mercury, Venus, Mars, Jupiter and Saturn, - based on their relative position and position relative to the twelve "dovs" (constellations) and parts of the horizon at the time of a person's birth, a horoscope was compiled that determines the fate of a person , or determining the moment of the intended action (for example, a battle). A complex of several ways suggested using Nostradamus for predicting the future and knowing fate: through the eternal God and good angels; make a prediction in the days and hours of insights; firstly, to have an innate talent inherited from ancestors; secondly, to be able to harmonize innate instincts with the art of lengthy calculations; use a variety of "teachings"; use the fact that there is an eternity that does not know the division of time into the past, present and future, as well as does not know the end and beginning in space; during predictions, the prophet should try to permeate the present with the past and the future and take into account how events will develop in all countries; one must have the ability to go beyond the ordinary boundaries of time and space into boundless eternity; at the moment of the process of predicting, the prophet must have great peace of mind, predisposing to divination, the state of mind and the release of the soul from all worries and worries; and, finally, Nostradamus considered it necessary to use a bronze tripod. Another way to know Destiny is to follow Laplace's advice and make a prediction from an exhaustive knowledge of the action of the forces of nature at the present moment. Some scientists in the XV-XX centuries. proposed to deduce consequences from certain laws, according to pre-established rules, containing information about the properties, relationships and other characteristics of these phenomena; others suggested the use of deterministic and probabilistic schemes; still others used probabilistic-statistical methods; the fourth - the basic laws of functioning and development of social systems discovered within the framework of historical materialism; the fifth emphasized the need to observe the accuracy and completeness of the initial empirical information describing the initial conditions of an event; members of the Club of Rome in the 20th century used computers. Another way to "know fate" is to predict the future is widely used by science fiction writers who are able to describe the actions of heroes (and the landscape against which this action takes place) on planets, stars and galaxies remote from the Earth. And the greater the distance from the planet Earth, the deeper in time the science fiction writer's forecast will be. The farthest forecast in this sense is in the story of V. Emelyanov "Confessed Eternity", the hero of which penetrates into the neighboring universe. K. Simak in the novel "There and Back Again" elects original way"know fate" About whether his action corresponds to Fate, the hero of the novel Asher Sutton learns from the thoughts of his "double" Johnny, who has been living in his brain since intelligent beings from the planet Sigma near the star 61 Cygnus reanimated his body after his death on this planet. Can "fate" be avoided? Some say "No", others say "Yes". Let's give the floor to "optimists" (those who say: yes). The ancient Greek philosopher Posidonius believed that although fate is omnipotent, the wise man, through knowledge and virtue, can rise above it. Trevor - the head of a powerful "corporation" under K. Simak - also tried to divert humanity from its "destiny" discovered by Sutton. Through the "war in time" predicted for the year 7980, the political groupings of Adams (head of the Space Administration of the Galactic Empire centered on planet Earth), Trevor (head public organization - "corporations"), Morgana and androids are trying to avoid "fate" (in which K.Saimak predicts the victory of terrestrial androids led by Herkimer and Eve and the alien civilization of the planet Sigma near the star 61 Cygnus in the face of Johnny - the second half of Asher's body and soul Sutton). The possibility of "war in time" could easily be deduced from the methods that Nostradamus suggested for "knowledge of fate" - from his hypothesis about the "simultaneity" of the past, present and future. A.S. Pushkin's poem "Song of the Prophetic Oleg" shows how Prince Oleg tried to avoid his fate - death from his own horse - predicted by the sorcerer. In general, when actions are taken in the present to prevent the future from happening or to change the future. Having received information from the sorcerer about his Destiny (prediction of the future), Prince Oleg took action in the present (got rid of his horse) in order to change his future, to prevent his death in the future. In this sense, V. Emelyanov's idea that information from the future flows into the present fits this circumstance. The same is the case with the revolutionaries - utopians. Namely, based on their forecasts of the future, revolutionaries - utopians and revolutionaries - Marxists (communists) plan their actions (revolution) in the present. Arriving from the future to the planet Earth and aliens in the novel by K.Saimak "There and Back Again". That is, fate has already happened, the future has come, but those who are interested in changing fate come from the future and make a change in the present. Contrary to fate, Odysseus often acts in Homer's poem, as literary critics pointed out: if the Gods delay with the help of Odysseus, he will be freed from the captivity of Calypso and arrive in Ithaca against the will of the gods, that is, contrary to fate. Many people believed that fate could not be avoided. In ancient Rome, it was believed that it was also impossible to get away from "fatum" - fate, as from the administration of Rome. Followers of theological fatalism believed that even before birth, God predestined some people "to salvation" and others to "death" - this is what the followers of Islam think (especially the followers of the Jabarite doctrine of the 8th-9th centuries). Connoisseurs believe that fatalists exclude free choice and chance. C. Lombroso believed that there is a fatal predestination of a person to criminal behavior, if this person has an appropriate hereditary biological structure. Nostradamus considered the content of his prophecies to be inevitably fatal - concludes M. Genin from the fact that Nostradamus did not warn King Henry II of the danger that threatened him. The plot of the novel "There and Back Again" by K. Simak also confirms the inevitability of fate, for Asher Sutton expressed in the fact that he, one of all living beings in the universe at all times of its existence, had to characterize fate, and for this - to write a book "This - fate". Asher Sutton received a prediction about his destiny in the form of a "double" ("Johnny"), introduced into his brain by intelligent beings of the planet Sigma near the star 61 Cygnus. Sutton is destined to write a book that will be beneficial not to humanity, but to androids and related sentient beings 61 Cygnus; having written a book, he will commit a betrayal in relation to his kind - humanity, but despite his own mental anguish and Trevor's moralizing monologues addressed to him, Sutton (unlike Odysseus in Homer's poem) does not find the strength to go "against fate", although every person in such a case has a choice: Sutton could commit suicide. At the same time, Homer made it easier for Odysseus to avoid fate, his death or life, although it was connected with the upcoming dramatic events of his readaptation in Ithaca (murder of suitors, unfaithful servants, civil war), but it was still connected with the local space - in total only with the island of Ithaca. For K.Saimak, Asher Sutton's decision will affect the dynamics of the entire universe. So, predicting the future is an inevitable element as real history humanity, and plots of works written in the genre of "fantastic journeys", starting from Homer 3200 years ago and ending with K.Saimak in the 20th century. It is likely that science fiction writers will use the element of predicting the future in fantastic travels that they will come up with in the 21st century ...

The influence of space on the psyche

travelers

in "Odyssey"

and modern "fantastic journeys".

At certain moments of the path, space has such strong impact on the human psyche, that his further journey is possible only in "automatic mode, excluding the influence human feelings to the traffic control system. So it was (in Homer's poem "The Odyssey"), so it is - during the flight of modern astronauts; and so, according to the forecasts of science fiction writers, it will be in the era of expeditions to planets, stars, galaxies. For a safe arrival at the intended goal, in addition to the automatic mode of movement, a special training of human feelings also helps. In The Odyssey, Homer took these factors into account and combined them. The prediction of Circe prepared Odysseus to meet the peculiarities of the island of the Sirens, not only in the sense of a plan of action, but also protection from unexpectedness, detrimental to the psyche, when perceiving their singing. However, Homer would have gone beyond the bounds of artistic truth, and his Odysseus would not have turned out to be Odysseus if he had not tried to satisfy his main passion: to knowledge. Therefore, he solved the problem of movement in automatic mode not by simply suppressing feelings (this would be boring and trivial, good in real swimming, but not interesting for artwork), but the separation of emotions and reason. When, after a successful launch from the island of Circe, the ship "... fled, obeying the helm and the wind...", Odysseus outlined to his companions the prediction of the goddess Circe and how they would have to act so that fate would come true. The ship approached the island of the Sirens. Many researchers then tried to find this magical place on planet Earth. G.B. Fedorov pointed out the assumption that this is the island of Capri. Without any objections, V. Tokarev recalls the opinion of the Wolf brothers about the "sirenity" of the islet of Puntadelfaro. The cosmonauts will definitely look out the window of the Alfa OCS in order to chart a tourist route to Siren Island somewhere in the Mediterranean Sea for their post-flight vacation on planet Earth. But 3000 years ago, near the island of the Sirens, Odysseus and his companions had no time for frivolous dreams. Suddenly the wind calmed down and "Silence reigned over the sea." The sailors unhooked the sail from the mast and laid it on the deck and moved on with the help of oars. Odysseus crushed the wax with his sword, kneaded it with his palms, and with this wax, moreover, heated by the rays of Helios, he covered the ears of his companions. And the satellites carried out their part of the plan to transfer the ship to the "automatic navigation mode", which found expression in the illustration by A. Shurits: they tied Odysseus to the mast with a rope, and again took up the oars. And then came the most dramatic moment: the ship of Odysseus caught up with the island of the Sirens. More than one artist was inspired by this scene: a drawing on a red-figure vase of the 5th - early 4th centuries. BC.; 3rd century AD mosaic (kept in Tunisia, in the National Museum of Bardo); illustrations by D. Bisti, L. G. Sklyutovsky, I. Arkhipov, O. Blashchuk, E. I. Datsko, engraving by G. D. Epifanov. The fact that birds with female heads are mainly depicted is explained by the artists' ideas about phenomena that act "bewitchingly": female beauty is therefore a female head; and singing (usually associated with birds, and there is a comparison: "like a nightingale"). This is the opinion of artists about the nature of the Sirens and their "bewitching singing". But didn't the artists follow the external signs of the Sirens (birds plus women) without delving into the description of Homer? What exactly do the Sirens sing in Homer : "To us, God-equal Odysseus, the great glory of the Achaeans, Come to us with the ship; enjoy the sweet song of the sirens, Here no sailor passes with his ship, Without listening to heart-sweet singing in our meadow; Whoever heard us returns to the house having learned a lot. We know everything that happened in the Trojan land and what The fate, by the will of the immortals, befell the Trojans and Achaeans; We all know that in the bosom of the earth is a multi-talented TVOrushes." Musicians, by their very nature, are better than artists in explaining the above lines of Homer, the nature of the Sirens' bewitching singing, because music physically (through the hearing aid) affects the consciousness, the human psyche. Musicologists have long noticed that slow music has a hypnotic effect. Music affects a person through meaningful and specially organized sound sequences, consisting mainly of tones (sounds of a certain height). Musicologists note that each of the musical sounds can cause a physiological sensation of pleasure or displeasure, excitement or calm, tension or relaxation, as well as synesthetic sensations (heaviness or lightness, heat or cold, darkness or light). Specifically, among the composers whose music had something like hypnosis, we can name Alessandro Stradella (1644-1682). The legend assures of the miraculous power of his music, conquering even intruders. And the very singing of the Sirens in musical form was expressed by the Polish composer Karol Szymanowski. Written in 1905, his third piece "Sirens" from the poem for piano "Metopes" partly, apparently, follows the artists' ideas about the bewitching action female beauty, - this was expressed even in her dedication to a beautiful woman - Lola Rostishevskaya. And from the musical means capable of conveying the singing of the Sirens in Shimanovsky's play, which Odysseus could hear, and which can have a bewitching, hypnotic effect on a person, the musicologist N. Kotler, for example, pointed to the sound of individual intonations - calls, and there is no long melody at the beginning. The texture here is very pictorial, which unusually brings together with the Impressionists, especially with Debussy. But then a long melodious melody appears (the sweet singing of sirens), which distinguishes Shimanovsky's style from the Impressionists, N. Kotler pointed out. At the beginning of the piece nonchords and undecimaccords, typical of Szymanowski, are used. But already in the first bar, two nones form an incomplete whole-tone scale, which, as you know, forms the basis of a double-augmented mode. The overlay of seventh chords, intonations - the calls of sirens, accompanied by various harmonic complexes, parallel non-chords lead to the second theme (side party) cantabile. It precedes growth. At the moment of the climax, both non-chords and whole-tone sounds and a pronounced polytonality are given (from bar 60 to Tempo I). Immediately before the climax in the bass, fff chords follow - non-chords with a raised fifth from e, fis, as. They also form a whole-tone scale. A small reprise with short chants - the calls of the sirens and parallel non-chords, the melodious second theme and the es-moll "-th seventh chord with introductory tones (and to b and g to fis) complete the piece. The island of the Sirens" echoes with Scriabin's poems, - considers N. Kotler. The reason for the bewitching, hypnotic effect of the singing of sirens on the human brain helps to understand, in addition to N. Kotler's reflections, and the analysis of the play "Sirens" by K. Shimanovsky by musicologists E. Volynsky, I. Belza (who emphasized that in "Sirens" the composer's impressions from various types of art - sculpture and literature were reflected: reading the poem "Odyssey" and seeing metopes (bas-reliefs on the Doric friezes of ancient buildings) in the Palermo Museum, the plots of which were drawn from ancient Greek myths), Yu. Khominsky (who noted that in the play "The Island of the Sirens" Shimanovsky uses the piano tremolo in various registers in combination with an increase or weakening of the sound strength). The musicological analysis of the reasons for the hypnotic effect of the Sirens' singing, interpreted by K. Shimanovsky in the play "The Island of the Sirens", is probably confirmed, so to speak, empirically, when listening to it by at least a part of those present in the hall (for some listeners, the play may not produce not only hypnotic, and generally no effect, that is, not to please). So, the play by K. Shimanovsky "Sirens" and music in general can in principle hypnotically act on the human brain, but something stronger than the singing of the Sirens fell on the brain of Odysseus. It was not a human creation (with the help of a voice or fingers plucking the strings), but something superhuman, nature itself. Cosmonauts encountered similar natural forces when, at the end of the 20th century, they embarked on journeys in the space of the solar system that were approaching the duration of ten years of Odyssey. Many researchers have observed how the psyche of travelers is deformed under the influence of space flight factors. American astronauts during the flight on Apollo 11 to the Moon, and while on its surface, experienced visual illusion sudden flashes (whereas some scientists associate this phenomenon with the influence of radiation on the visual analyzer of astronauts, the Vavilov-Cherenkov effect. On the surface of the Moon, astronauts observed an illusion in the perception of space. Ch. Konrad noted that the small height of the Sun above the horizon (approximately 5.1 degrees .) distorted the nature of the slope of the crater, and it seemed to him that its steepness was 30-40 degrees and it was impossible to descend into the crater. However, when the Sun rose 15 degrees above the lunar horizon, the astronauts determined the steepness of 12 degrees, and it was possible to descend. that at an altitude of 12 km above the surface of Venus, the carbon dioxide atmosphere will refract light so that the astronauts will see themselves in the back! Space can distort not only the psyche, but also the worldview. This was noticed by A. and B. Strugatsky in the novel "Inhabited Island", where the natives of a distant star system, due to the peculiarities of the planetary atmosphere, did not see the stars, and therefore could not find out the location of the planets in their star system and its place in the galaxy. When entering weightlessness, an untrained person feels, along with disorientation in space, a violation of the perception of the “body scheme”, feels as if the head begins to swell and increase in size, and the body slowly spins in an indefinite direction. Some experience a feeling of mental helplessness, insecurity, and even an illusion of falling, a feeling of horror (a similar feeling of the "end of the world" is found in mentally ill people on the surface of the Earth). Just as Odysseus switched himself to the "automatic mode" of navigation (turned out to be tied to the mast - and could not influence the movement of the unirema; and his satellites with the help of wax in their ears turned out to be isolated from the harmful effects of space), the designers of the first near-Earth spacecraft "Vostok" provided for the possibility of its transfer to the "automatic mode" of flight, if the assumptions of some physicians come true, and it turns out (after checking with a special test) that the psyche of the first cosmonaut of the planet Earth, Yu.A. Gagarin, is deformed by the space into which he was taken out by the spacecraft. But it turned out that a trained person is able to independently resist psychic attack from near-Earth space. Therefore, the force of the psychic influence of the near-Earth space, like the force of music, is not quite the force that actually affected Odysseus when sailing near the island of the Sirens. It is possible that psychic forces similar to those mentioned by Homer lurk in a space remote from the planet Earth at a greater distance than astronauts can now fly. You can learn about hypotheses about the nature of such forces from stories, novels, novels by science fiction writers, and films by various directors. These forces, as it turns out, act on the very first steps from the planet Earth into the distant depths of the Universe. Already on Mars, science fiction writer Ray Bradbury in the novel "The Martian Chronicles" settled aborigines capable of telepathically causing hallucinations in them upon arrival of earthly astronauts. In a Martian insane asylum, earthlings see a man in front of them, from whose mouth a blue flame escapes, taking the form of a small naked woman. It turns out that these Martian lunatics telepathically transmit their delusions to the astronauts' brains. At another point on Mars, where the next expedition arrived, the natives influence earthlings with such hallucinations that could be used to explain the effect of the Sirens' singing on Odysseus in Homer's poem: the astronauts see their own memories from their biography, their brothers, wives, parents, friends. That is, it turns out a kind of "telepathic echo" of a person's own thoughts. The same move by Ray Bradbury, but already taking its effect from Mars to the distant stars of our Galaxy "Milky Way", is used by P. Anderson in the story "Queen of Winds and Darkness". But P. Anderson differentiates the Bradbury invention: he already has not only immediate relatives - Barbro, hallucinated by the natives, sees his little son, but all of humanity inhabiting the alien planet Roland sees "materialized", so to speak, with his own eyes, fairy-tale characters of his own folklore , telepathically recognizable by alien scouts both from conversations and directly from the brains of earthlings, and then by "telepathic echo" in the form of hallucinations returned to the brains of people, settlers on this distant planet. The physical explanation of this phenomenon by P. Anderson has the same basis as that of A. Belyaev in the novel "Lord of the World": as if "... the human body produces long-wave radiation that can be modulated by the nervous system ..." And then P. Anderson all this is tied to telepathy, which allegedly became the direction of development of a certain "non-technical" civilization, natives on the planet Roland, capable of causing hallucinations in settlers from planet Earth. But again, as in the case of Odysseus near Siren Island, with the pre-launch training of cosmonauts of the twentieth century, P. Anderson (continuing the line started by R. Bradbury, who forced his astronaut to logically analyze the origins of his own hallucination: and F. Dick gave his Leo Bulero in the novel "The Stigmata of Palmer Eldritch" a way of logically combating drug visions) through the lips of Sherrinford will inform Barbro and all of humanity that it can resist the illusion if it guesses that it sees a mirage in front of it. Well, and, of course, technical means: a special electronic shield - a field. Technical protection from the mental pressure of space - special space suits (as well as training) - is provided by I. Efremov for his astronauts in the novels "The Hour of the Bull" and "The Andromeda Nebula". But I. Efremov's space either makes a person lose his will and obediently follow forward, to Death, sending hypnotic radiation (this befell Erg Noor), or in general, like Chedi Daan, to lose consciousness. Homer has Odysseus without any negative emotions handed over his consciousness to the magical singing of the Sirens. So the "Ephraim" influence of space does not fully explain the text of Homer. Something about the mental impact of space on a person can be gleaned from the stories of A. Yakovlev "Long-distance communication" and K. Smith "The ship was golden, oh golden!" and "Playing with the Rat Dragon". Of course, there are other works related to this topic. And yet, P. Anderson and R. Bradbury's description of the properties of Siren Island by Homer is closer to the true interpretation of the description of the properties of the Siren Island by R. Bradbury: "telepathic echo". After all, in Homer, what do the Sirens sing when they see Odysseus' unirema? We have already heard these lines in our article: "God-equal Odysseus comes to us, the great glory of the Achaeans ...", - and so on. This "telepathic echo" brought back to Odysseus what he had always said to his numerous listeners. Odysseus did not suffer from excessive modesty, and it turned out that he was always right, otherwise the gods would not have allowed him to return to Ithaca. Siren Island is a place where the effect of "telepathic echo" is possible. A person cannot live without the certainty of the need to continue living (and for this he convinces himself that he is basically doing everything right, that he is on the right track). No wonder A. Camus considered the question of substantiating the need to continue life as the main question of philosophy. And if this main thought of a person, continuously emitted by his brain, stumbles upon the screen, then upon return, this echo acts super-hypnotically on the human brain, completely "turning off" him from reality, and then he, not noticing the stones, approaches the source of the "telepathic echo" , and the surf breaks it on the rocks and throws it ashore. For any creator (poet, musician, artist, dancer, sculptor, composer, writer, as well as for philosophers, politicians, scientists, businessmen and all others) it would be good luck to find this point of "telepathic echo" on planet Earth, which amplifies weak signals brain, returns them back to the brain of the creator, and talented music, poetry, a philosophical system, a wise political decision, a good deal are born. A. Yakovlev and L. Gumilyov have ideas that there are such special places on Earth that influence creativity, worldview. A. Yakovlev in his fantastic story "Long-distance communication" hypothesized that it was precisely because of the presence of oil that Islam took root in the respective territories. L. Gumilyov has a theory of "passionarity"; entire nations become a creative monolith. A. Yakovlev predicts that in the era of flights to the stars, somewhere in our Milky Way Galaxy, people will find the planet Sonora, whose quasi-magnetic field greatly enhances the telepathic abilities of people. Therefore, you need to search. While on Earth. We invite readers in search of the "telepathic echo", the island of the Sirens, to make a trip in the Mediterranean along the route of Odysseus from Troy to Ithaca. Fortune helps those who are on the road. Good luck to you!

ship cost

Odyssey and modern fantastic travelers.

From the point of view of a man of the space age (who acquired such a point of view either because of his position in the already existing space infrastructure of mankind, or because of philosophical convictions), the main thing in the segment of the path of Odysseus from the island of Sirens to the island of Calypso is the problem of the ratio of the cost of the ship, economic the technical potential of mankind and the ability of an individual to acquire a ship (planet, starship or galaxyship) in his personal property. And if in the previous segment, during the exit of Odysseus from an extreme situation near the island of the Sirens, art and thought merged in a single impulse, now the interests of art and philosophy diverge for a while. The extreme situations reflected in art continue to pass Odysseus from hand to hand, but thought is waiting, waiting for the main thing. After the island of the Sirens, Homer brought Odysseus into another extreme situation near the island of Scylla and Charybdis. Where could this place be? Is it the steep coastal cliffs, which, according to V. Tokarev, according to the centuries-old tradition in the town of Scilla in southern Italy, are shown to tourists, claiming that Scylla was just here, and Charybdis is the village of Carridi on the other side of the Messinian Gulf . By the way, the place is the narrowest, according to the Wolf brothers. 7 km, - correspondent G. Zafesov noted, stating that the movement of ships here in our time, like cars on the street. Between Sicily and Italy placed Scylla and Charybdis I.Martynov, L.Collins, I.Shitz. According to Schitz, Scylla is a high cliff protruding into the sea off the Bruttian coast against Sicily. According to Martynov, at the foot of this cliff there are many sharp rocks, they look like barking dogs ; water, through the surf, makes a noise similar to barking. Whether it's not off the coast of Sicily at all, but somewhere near Scotland. And if you agree with A. Vuchetich, this is the island of Korcula, just fifty kilometers from the dangerous straits of Mali and Veliki Vranich. Their shores are similar to the Homeric descriptions of Scylla and Charybdis. Somewhere, let the astronauts see Scylla and Charybdis from the porthole of the Alfa OKS, or returning on a Martian ship. Maybe where our scheme points... Wherever the place of this extreme situation, because of its proverbial emotional expressiveness ("between Scylla and Charybdis", - they say since then about a difficult choice), she gave a powerful impulse to fine arts (mosaic of the 2nd century; Flaxmann's drawing engraved on wood by J.E. Conden; illustration by O. Blashchuk), and possibly music (if we talk about it, for example, the operas of Theobald and J.M. Leclerc). An equally powerful emotional impulse to art was given by the next extreme situation - on the island of Helios. Where could one geographically localize this place, so important for Art? This island was called Phrynakia, Trinacria - having three capes: Pelor, Pachin and Lilivey. S.Radetsky, I.Martynov, I.M.Trotsky, P.A. Shuisky, S.Osherov localize it in Sicily. From the board of the international near-Earth orbital space station "Alpha", which is now being created by the joint efforts of many states, the land of Helios is visible in Sicily between the land of Scylla and the land of the Cyclopes. To depict the deadly fate approaching Odysseus's companions here, Homer uses a technique no worse than those found in modern fantastic "horrors": the skins of killed bulls and rams from the herd belonging to the god Helios crawled, and the meat made a plaintive roar. Art (for example, the relief found by G. Schliemann; apparently, the overture of the Danish composer K. Nielsen "Helios") also captured the image of Helios, at the request of which the god Kronion destroyed the ship, and only Odysseus remained alive. This very dramatic moment, when, against the backdrop of a sinking ship, Odysseus is swimming, grabbing onto the wreckage, is embodied in the illustrations by V. Gamayunov, I. Arkhipov. An endless mass of expressiveness, so desirable for art, was introduced by Homer into the next segment of the journey, where Odysseus, jumping from a ship wreck, rushing into the mouth of Charybdis along with a stream of water, hangs on the branches of a fig tree. Only good physical preparation and the ability to instantly make the right decisions in extreme situations (and doctors still take these qualities into account when selecting astronauts) allowed Odysseus to stay alive. And now, after all the dynamic scenes, the reader takes a breath and thinks: for Odysseus is already on the island of the nymph Calypso, and it will be here for 7 years, there is enough time for reflection. Where, in what place did Odysseus plunge into a bitter thought for a long time? As V. Tokarev reported, in the cool green valley of the island of Gozo, the curious are shown the remains of the grotto of the nymph Calypso. Ogygia Island, owned by the nymph Calypso, S. Osherov, N.A. Kun, I.M. Trotsky is placed in the extreme west of the Mediterranean. It is possible that the cosmonauts through the porthole of the international near-Earth station "Alpha" will see Calypso Island in the Adriatic Sea above the island of Corfu. It is not so far from here to the island of Ithaca, but here is a clear demonstration of the dependence of everything on the presence or absence of means of transport. Without them, Ithaca, which really exists at, in fact, a close distance in space, turns into an unattainable dream for Odysseus. Odysseus on the island of Calypso found himself, as modern space travelers say, in the "captivity of the orbit", without means of transport. All three thousand years after Odysseus up to the present day real life and plots of literary works put travelers in similar extreme situations. In the era of Columbus, it was the hero of the novel by Daniel Defoe "Robinson Crusoe". Cosmonauts A. Leonov and Belyaev in 1965, as well as their colleagues L. Demin and G. Sarafanov, N. Rukavishnikov and G. Ivanov, were in danger of remaining in captivity of the orbit due to technical malfunctions of the Voskhod spacecraft and perishing. It looks like, if you believe the forecasts of science fiction writers, and the upcoming, how many of them there will be, thousands of years of "captivity of the orbit" will be a typical extreme situation for space travelers. In I. Efremov's novel "The Andromeda Nebula" a similar thing happened to the spaceship "Sail" and almost happened to the spaceship "Tantra"; only a miracle allowed the heroes of A. and B. Strugatsky's story "The Way to Amalthea" to get out on the photon ship "Tahmasib" from the hydrogen depths of Jupiter. And in the novel by A. and B. Strugatsky "Inhabited Island" the natives of the planet in one of the star systems of our galaxy blew up the ship on which the hero arrived here. Homer successfully contrasts the psychological severity of the captivity of the orbit by enumerating the benefits, despite the provision of which by Calypso, Odysseus does not get out of the deepest depression. He is offered life on an island smoked with the incense of the cedar and the tree of life, among the singing of birds, in a place where the immortal god would be amazed and joy would enter his heart. He is offered abundant food, Calypso's love, and, finally, immortality (that's what Senator Leonard from K. Simak's story "Lost Eternity" would seize on!). However, all seven years of stay on the island of Calypso "... my tears flowed unceasingly..." For Odysseus understood how vast the space between him and his native island of Ithaca had become at the moment when his ship was smashed by the gods. It was a transportless melancholy in front of the vastness of space. The vastness of space evokes a feeling of despair and protest among the heroes of modern "fantastic journeys" (for example, in I. Efremov's novel "The Andromeda Nebula", A. Tolstoy's story "Aelita"). However, the immensity of the space of our Universe that opened up for human perception after the astronomical discoveries of the 19th-20th centuries is clearly shown in T. Mann's realistic novel "Doctor Faustus" in principle, where composer Adrian Leverkühn and Ph.D. where the composer has a descriptive role, the doctor - an evaluative one. The hero of T. Mann draws attention to the fact that for all the vastness of the Milky Way Galaxy, which includes the Solar System together with the planet Earth, one cannot avoid the word “ours” that gives comic intimacy, because the Milky Way galaxy (T. Mann sets out in detail the views astronomers on the structure of the galaxy: "a rotating disk composed of concentrated masses of stars...", and so on) is just one of the billions of galaxies in the part of the universe accessible to human observations! The hero of T. Mann evaluates the opened distances as "from the realm of the monstrously inhumaneCzech". Yes, a person may be offended that, in principle, everything is possible, everything is available: any planet in the solar system, any star in our Milky Way Galaxy, any galaxy in our Universe, any of the neighboring universes, but not to him, to man , but to mankind as a whole, after his, an individual person, death. Here it is, the eternal conflict of the drama: personal (and, yes, finite, the existence of a person, and therefore he, like the hero of T. Mann, is vectorized inside himself, into his own soul) or public (it is also verbally formulated by people, but vectorized into the external world). So, planets, and stars, and galaxies are available to mankind, provided, of course, that the birth of mankind took place under a lucky star, and therefore has a happy fate, and if humanity finds leaders for itself who will lead it according to fate, or without leaders it will follow fate. Although in the same "Andromeda Nebula" I. Efremov depicts two points of view on the "mankind - space" system. The captain of the Tantra starship, Erg Noor, assures the astronavigator Nisa Krit that the space available to mankind's starships is tiny in comparison, firstly, with the space occupied by the community of intelligent beings included in the Great Ring, and secondly, and even more , with the rest of the Universe (or even universes), outside the zone of the Great Ring. From another point of view, the ultimate vastness of space follows - in the perception of Mven Mass, who even clenches his fists due to the fact that right now, during his lifetime, it is impossible to communicate without delay with the inhabitants of the Epsilon Tucana star system and neighboring Galaxies. The historian Veda Kong, in The Andromeda Nebula, expressed exactly the same emotionally strong annoyance on the same occasion. "Where are you, Aelita?" - the engineer Elk will be doomed to ask fate, separated now, without his ship, from Mars by the space instantly increased for perception. This is from the unforgettable story of A.N. Tolstoy. Odysseus, Mven Mass, Veda Kong, engineer Elk - these fictional characters were given to feel: how hopelessly space and time separates them from their favorite point in space, where they would like to be now! In describing the extreme situation on the island of Calypso, Homer brought together the interests of thought (ratio) and the interests of poetry (emotion). The emotional intensity of the situation created by Homer for this stage of the return of Odysseus from Troy to Ithaca naturally attracted the attention of artists. In the visual arts, these are excellent illustrations by I. Arkhipov, V. Gamayunov; painting by A. Becklin (1882, kept in Basel); in music - M. Stabinger's opera "Calypso Abandoned" (1777, Milan, La Scala), J.F. Lesuera's opera, K. Szymanowski's poem for piano "Calypso" (1915) Reflected by art, the emotional side of an extreme situation, in which Homer plunged Odysseus on the island of Calypso, and has a huge underwater, so to speak, part of the iceberg, information for reflection that Odysseus (and his literary brothers Mven Mass, Veda Kong, engineer Los) had no opportunity, no means transport to connect with your favorite point in space, that is, with a dream. This is, as it were, the basis of a universal principle, although their dreams are different: love (engineer Los), communication with brothers in mind (Veda Kong, Mven Mas), family and home (Odysseus). In this situation, the means of transport is not just a ship, a steam locomotive, an airplane, a starship, but a means of turning dreams into reality! And in what way (whether to create a sufficient voltage of the electromagnetic field, like I. Efremov's; to build a raft, like Homer's, or in some other way) to create such a transport, the writers have a wide choice. Transport is not just a "ship". It is the measure of possibility and impossibility. The wall is for a person (the same as death). Erg Noor at I. Efremov tells Nize Krit that the loss of speed as a result of a starship engine breakdown means for the astronauts the loss of the opportunity to return to Earth, in fact, death. Transport is a movement in time and space from reality (present) to a dream (future). You can live without a dream, just move in space without a goal, dreams ahead of you. This is what it means to be happy every day, not to desire, to be in nirvana all the time, in a trance. However, in most cases, the human brain is arranged, so to speak, critically, it tends to evaluate the reality in which a person is currently located as unsatisfactory. And then a person has either a dream (Odysseus basically always lived with a dream), or a desire for suicide (once Odysseus had the thought of suicide, when, after the island of Eola, his companions untied the fur with the winds). Space and time exist between dream and reality due to lack of means of transportation. Methods - the technology of building starships by I. Efremov, the raft by Homer - these are methods for making dreams come true. The dream is many-sided. Odysseus, Mven Mass, Veda Kong, engineer Moose had their dreams, but a person can have any dream: to become president, to write a brilliant novel, and so on. But for the realization of each dream, for moving from a dream to reality, depending on the dream, a person can, in addition to the usual horse, plane, starship, serve as a transport, a means of transportation and be used (interpreted) as a transport, talent, luck, perseverance, purposefulness. Paradoxically, the most exotic mode of transport for a person is not the one with which he overcomes the breathtaking distance from the planet Earth to neighboring galaxies, but the one that is commonly called talent. It is talent that is the way to achieve such a dream of many people, how to become brilliant poets, writers, artists, musicians, scientists, chess players, but you never know. Some literary heroes for the opportunity to be creators, that is, to acquire talent, sold their souls to the Devil. But, perhaps, genetic scientists (by cloning or in some other way) will learn in the distant future to build such a type of transport as talent? Hard to say. In general, the dream stimulates the creation of new modes of transport. First of all, this backlash, the gap between the dream (Odyssey - about Ithaca) and reality (Odysseus, on the island of Calypso, crying that he will never return to Ithaca), dramatic and even tragic, but forcing a person to live, to act. This is the necessary condition for the realization of any dream. It was the fantasy, the desire of Mven Mass to overcome space that became the reason for the discovery (in the novel "The Andromeda Nebula") of the principles of building starships of the direct beam (which will already fly in the novel "The Hour of the Bull"). As soon as people find out that there is a space that they did not know about before, then people immediately begin to gnaw at the melancholy that they do not have the means of transport to get into this unknown space. And people immediately begin to think: how can they build such a transport to fly far, far away, where no one has been before? The emergence of a dream stimulates the creation of means of transport capable of achieving this dream. That is how Mven Mass's dream to reach the beautiful lady in the Epsilon Tucana star system as soon as possible prompted him to implement the risky experiment of physicist Ren Bose, who discovered the principle of construction of the necessary transport. I. Efremov shows that Darr Veter, whose dream was here nearby, on planet Earth, in the person of his beloved Veda Kong, would not have given Ren Bose the opportunity to make this discovery. This is how Odysseus' dream allowed him to wait 7 years, but wait for the decision of the council of the Gods to allow him another start, this time from the island of Calypso. However, building a means of transport to turn a dream into reality is not such a simple matter, it is not given to everyone, sometimes it is not given to an individual; sometimes - not even given to the state. Apparently, to show the difficulties in building transport, Homer designed such a plot where Calypso, only after two councils of the gods, where Athena raised the issue of Odysseus' launch, through Ermia receives an order from Zeus to organize Odysseus' launch from the island of Ogygia. Why did Calypso keep Odysseus on her island? Yes, Homer writes so directly that Calypso kept Odysseus by force. But something else can be found in the text of the poem. Calypso herself assures Odysseus that she does not have an iron heart, informs him of the difficulties after the start. God Ermius Calypso speaks of the impossibility of safely reaching Ithaca without a ship and crew. Why didn't Homer prompt the gods to give Odysseus the divine (inherent gods) ways of moving in space? What would it cost Athena or Hermias to lend Odysseus their golden soles for a while, on which they themselves descended from Olympus to Ithaca and to the island of Calypso? All the gods gave Odysseus was the ability to build a raft. Odysseus himself took this as a step towards death. For sailing on a raft from the island of Calypso to the island of Ithaca would be tantamount to sending the modern OKS "Mir" on a flight to Mars. Wouldn't have flown. There would not be enough resources. To fly to Mars you need a planetship, to sail to Ithaca you need a unirema. It is possible to form a logical construction: a raft - OKS, a unirema - a planetary plane. And to take for structural comparison with the "Odyssey" the novel by I. Efremov "The Andromeda Nebula" (Although here we are not talking about a planetary ship, but about a starship, but this is permissible). Why are the descriptions of the construction of the raft and the OKS by Homer and Efremov so similar, primarily in their detail? Although there is, of course, a difference. Both from Homer Odysseus and from Efremov Darr Veter assembled a raft and OKS from its components: Odysseus - from twenty logs chopped by him with a double-edged copper ax in the grove indicated by Calypso; Dar Veter - from blocks, assemblies and parts delivered by rockets from the Earth; (in the same way, OKS "Alpha" will be assembled from blocks made by different states); Odysseus fastened the components of the raft with bolts and spikes that Calypso brought him; Dar Veter - with cables, screwing parts, welding. This basic similarity - the assembly of components, is complemented by differences: Odysseus was building on solid ground, and after finishing it he pushed it into the water - the medium of movement; OKS Dara Vetra has been in motion since its birth, and as it turns around the planet, the Earth acquires new details; Odysseus with his own hands, using an ax, a drill, - Calypso's tools, built a raft; Daru Vetr, on the contrary, according to the safety rules, was supposed to use physical efforts as little as possible, but only verbally guide people who collect OKS; during the construction of the raft, Odysseus was not threatened by any dangers, they will begin later, when the raft starts moving; Daru Vetra, with each day of the construction of the OKS, increased the danger of being killed by a meteorite and other dangers of near-Earth space. However, the main thing is the quite accessible, familiar construction environment of both a raft and an OKS. A starship (and, probably, a unireme) is a completely different matter; for I. Efremov himself predicted at least a little about the technology of building a starship, then Homer limited himself to a couple of phrases about the design of the unireme, while, for example, in Dietmar's book we will see that the design of the unireme was very and very difficult, all the same, that a starship is for a person of the era of flights to the moon, that a unirema is for a person of the era of stone axes). Apparently (besides being useless in the plot), both Homer (more precisely, those ancient oral Aeds who lived before him, whose creations he remembered and dictated to scribes, when the ancient Greeks, in addition to navigation, adopted writing), like Efremov, simply did not know the technology construction of unirem. It was fantastic in his time. It’s not that Homer himself didn’t know the technology of building a unirem (in the era when Homer dictated his poem, the ancient Greeks already knew how to build a unirem), but he simply used the plots of earlier ancient Greek legends of the period when their ancestors just went to the sea in his poem and began to learn navigation from the Cretan-Mycenaean civilization? In addition to knowledge, a person may not have enough strength to build the necessary transport (including in such an exotic form of transport as "levitation" and "teleportation" in space according to the story, for example, Yakovlev's "Long-distance communication" and from the conversation of Evda Nal and Mven Mass in the novel by I. Efremov "The Andromeda Nebula"), tools, money, finally. The cost of a ship is not just dry money, bank accounts, accounting. This is a measure of the possibility of a dream come true, a measure of the ability of a person (or humanity) to create transport for the realization of a dream. The issue of equipment, tools for building transport is, ultimately, a matter of money. In our time, there is equipment with which a person from the lowest strata of society, if desired, can independently build a rather large sailing vessel (a yacht, for example), which in the era of Homer only the basil Odysseus could afford. However, only such an association of a huge number of people as a state, and not even one, but the union of several large states (USA and Russia) can build a spacecraft for flying to the planet Mars! As for forecasts for the future, in R. Sheckley's fantastic story "Me and My Spies" the hero - a simple worker - has enough money to buy a starship, on which he reaches the surface of a planet in another star system. And in Lester Del Rey's story "Wings of the Night" former writer and a former subway cleaner jointly buy a rocket that transports goods along the Earth-Mars highway. Here it is observed interesting property, by which it would be possible to more or less reliably determine to which era of the chronicle of the future this or that fantastic story (story, novel) belongs. Who is able to build a means of transport: an individual or humanity as a whole (or a state) determines the chronology of a fantastic story, novel, novel: if humanity, then the action takes place at an early stage of the development of the planet (star system, galaxy), if a person, then at a late stage. From this point of view, the fantastic story of the future exploration of our galaxy will first be realized based on the novel by I. Efremov “The Andromeda Nebula”, and then only based on the novel by A. and B. Strugatsky “The Inhabited Island”, K. Smith “There was a golden ship, oh golden !", K.Saimak "There and back". But there are examples of violation of this rule: mankind has not yet collected either scientific and technical discoveries or economic funds for the construction of a planetary aircraft for the first flight of people to the planet Mars, and in A.N. martian ship. And that's when we find out by the "value attribute" that the events, for example, in the story of K. Smith "The ship was golden, oh golden!" take place later than the events of the novel by I. Efremov "The Andromeda Nebula", we stumble upon a paradox: people in K. Smith are not at all as "improved" (and seemed "cold" to B.N. Strugatsky), as in I. Efremov, but practically the same as now, in the twentieth century. Could this be in the future? Why not? After all, if we recall the personality traits of Odysseus himself and the people around him, then aren’t they similar to us living in the 20th century, although three thousand years have passed since then and a person has learned to build ships from overcoming the space of the planet Earth to overcoming the space from the Earth to the Moon ?

landing rehearsal

in the "Odyssey" and modern "fantastic journeys".

ONYAKEDMCHCH NYARYUMovka Odysseus, in the country of the feacs, which preceded the finish at Ithaca, to some extent can be considered proof that the whole journey from Troy is nothing but a dream, and the island of the feacs is the culmination of sleep before waking up, a hidden "sleepy thought "Odyssey about his upcoming real and very difficult readaptation in Ithaca! Homer builds the path of Odysseus just like according to the outline of the physiological description of the human YAYNTSN YAMYU: OEPBYU TYUGYu - LEDKEMMSHI YANM BNYAONLKHMYUMKH N YANASHRKHJU LKHMSBIETSN DM - DNYARYURN¤MN PEYUKHYARKH¤MSHE ANKH NDHYAYAYAYA MYU¤YUKYU YYHYNMYULKH, GYUREL Y KEYARPHTSNMYULKH, MS, X ME RYUYHE SF ANKEKHE ¤ I DO B YARPYUM PRINTYUGNB, WITH ZHHYKNONB, X MU NYARPNBE shNKYu. x BONKME PEYUKEM YAPNY OPEASHBYUMH on the way (from Troy to Aeolus) - only a month. The second FYUGU - ASHYARPSHI YANM - YOKNMSHE ¤I DO X OPHYKCH¤EMHЪ. rSR BNGLNFMNYARH TYUMRYUGKHPNBYUMKh tsNLEP HYAONKEGSER DK OPNTsnoza, more precisely, Homer fixes the predictions of oral storytellers who preceded him about those future discoveries on planet Earth when people learn to build such ships as the Unirema Odysseus, and even more perfect. The biggest miracle-collision on the island of feaks. The episode of Odysseus's stay on the island of feaks, with its brightness and brilliance, especially fits the structure of the so-called "rapid sleep" before waking up. The island of feaks is a training double of the upcoming NDHYAYACH PEYUKEMNI ONYAYUDYH X PEYUDYUORYUZHKH MU HRYYYE happening in a dream. The fact that everything happens with Odysseus in the feacs as if in a dream, Homer underlineKHBUER, BN-OEBPSHU, S¤YUYMMSHL (ON YAPYUBMEMKHCH, MYuOPKHLEP, YANASHRKHLKH B YARPYUME ZHYKNONB) HMSH BSHUNDSH HG YAKEDSCHYKHU one after another extraLYUKEMSHU YAKHRSYUZHHI, BN-BRNPSHU, TSNLEP SLSHKEMMN ME DUER DNYARYURN¤MSHU DNYUGUREKEYARB BNGLNFMNYARH OPNHYAUNDYETSN (HLEMMN RYU SHCHRN X ASCHBYuER BN YAME), ¤RN NANPYU¤KHBYERYAJ MENASH¤YUIMNI KETSYNYARECH, I YNRNPNI NDHYAYAYEI MUUNDHR AKYUTSNONKS¤MSHI BSHUND HG N¤EPEDMSHU SCHYARPELYUKEMSHU YAKHRSYUZHKHI. In the events on the island of feaks, the reader finds that RPEMHPNBN¤MSCH KETSYNYARE ON YAPYUBMEMHCH I FEYARYNYARECH PEYUKEMNI PEYUDYUORYUZHHH MYU HRYUYE, N YNRNPNI X OPHMIRN TsNBNPKhRE: YUY BN PIT. Surviving with such ease in those extreme situations that Odysseus met with the feacs is possible only in a dream. SHRYU KETSYNYARE MU¤KHMUERYAY Y YAYULNI ONYAYUDYH MYU NYARPNB TEYUYNB. Although the raft built by Odysseus by the will of the gods, on which he started from the island of KYUKKHOYAN, X ONGBNKKHK ELS NYYUGUREYAYA B GNME BHDHLNYARH NYARPNBY TEYUYNB, MN TSNLEP ME NRYUGSHBUERYAY BBEYARH B YANM SCHKELEMR NOYYAMNYA RH: ANC ONYAEIDNM OKNR PUGPSUER. This dramatic episode, when Odysseus among the huge waves on a raft with already oAKNLUMMNI LU¤RN, GUTHYAHPNBYUM B HKKCHYARPYUZHKHH x. yPUKHONBYU. On the engraving by A.A. Shilingovsky and illustrations by L.G. The Sklyutovsky raft is not visible, although it was precisely when Odyssey EIE ASHK MYu OKNRS, HGNAPYUFEMMYU USDNFMKHYULKH ANTSKHM KEBYNREY BPS¤HKYU ELS YAOYAHREKEMNE ONYPSHBYUKN. The illustration by V. Gamayunov reflected the following extreme situation, when nPYEYARPNBYU OPEKCHDKH - YYUMRYURYU m. It was the surf, according to Homer, that killed the travelers. MN B OPHHAN BNGKE NYARPNBY TEYUYNB TSNLEP ONGBNKER NDHYAYACH YAOYARHYAE. in SDEYAMNE YAOYAYEMHE, YUY BN PIT. I wonder if the astronauts will draw from the experience of their own flights, confirmation of the plausibility is typical male sleep , when Homer (to be more precise, his interpretation in the illustrations RPYUZHKHYU by Yu.Yu. Shilingovsky and L.G. SklyutovsYNTSN) SPS, SHRN MHLTYU KEBYNREY, OPNRTSHBYUCHYU ELS YAOYAHREKEMNE ONYPSHBYUKN. And Odysseus will fall asleep on the shore of the island of feaks, so that, upon waking up, he will see a beautiful reality, nearby, it will be a beautiful Navzika. But where is the country of the feacs? Pillo, I. Martynov, L. Collins, S. Radetsky, I.M. Trotsky, S. Osherov otozhdesRBKЪCHR BKYUDEMHЪ TEYUYNB I NYARPNBNL yNPTS B khNMHIYAYNL LNPE. In the windows of the international orbital station "Alpha" or when returning from SCHYAOEDKHZHHH MY LYUPYA, YNYALNMYUBRSH SBKHD'R SHRNR NYARPNB yEPYHPYU. A happy coincidence, like in a dream (Homer creates it by introducing B YACHFER ANTSHMH yUTHMSH, BMSYUCHYEI MYUBGHYYUE IN HER PIT, YUY MU HKKCHYARPYUZHKHH b. TSYULYUCHMNBYU) OPEDKNTSNL YARHPIYH NDEFDSh) B RN FE LEYARN, CDE, H B RN FE BPEL, YNTSDYU GDEYAE BSHYAYUDKHKYAY NDHYAYAE. Homer quite plausibly pogruFYUER NDHYAYAYE B YANM - EYAREYARBEMMSHI ONYAKE YARKE FEYARYNI, YUY TSNBNPIR YNYALNMYUBRSH, ONYAYUDYH MYU NYARPNB TEYUYNB. BONKME OPYUBDNONDNAMN TSNLEP OPKHBNDKhR B SHRN FE LEYARN X SHRN FE BPEL MYUBGHYUCH - EYAREYARBEMMN, ¤RN MENAUNDHLN ASHKN ONYARKHPYURE NDEFDS. mN RSR LNTSKYU B YACHFERE OPNKHGNIRH MYUKYUDYU: ONOPNYARS NDHYAYAEI LNTS OPNYAOYURE, BYARPE¤YU YA MYUBGHYYUEI LNTSKYU ME YANYARRNЪREYA. In a dream, this situation, which often happens in reality, is impossible. Homer introduces the goddess Athena into the plot, who not only telepathically inspired Navzikaya to throw the ball at her servants, MN X KH¤MN NRPYUGKHKYU L¤ RYUY, ¤RNASH NM SOYUK B LNPE, HG-GYU ¤ETSN, YUY H OPEDONKYUTSYUKYU ANTSKHM, YAKSFYUMYH B YAYPH¤ YUKH, HU-RN YPHY and woke up Odysseus. Why didn't Homer take a shorter route - didn't force Athena directly RBEMMN, Yu ME ¤EPEG APNYYUMKHE LЪ¤YU H YPHYKH YAKSFYUMNY, PYUGASDKhRE NDHYAYAYE B MSFMSHI LNLEMR? The logic of sleep... In the illustration by E.I. Datsko the beginning of the acquaintance, awakened by NDHYAYAEI NAPYUYUERYA Y MYUBGHYYUE, YNRNPYU ME SAEFYUKYU, YYUK servants in the painting by P. Rubens. Again, Homer introduced the goddess Athena into the plot so that she instilled courage in Navzikaya. In the painting by S. Rosa, the maids are already handing clothes to Odysseus (and then Homer introduces the goddess Athena into the plot so that she raises Odysseus with a camp, makes her body fuller and twists his curls with thick rings). So, the logic of sleep from DBSU YAYULNYARNREKEMSHU DBHFEMHI: MYUBGHYYUH H NDHYAYAE, YASLLHPSER NDMN, DBHFEMHE Y DNLS YUKYHMN, N¤PEDMNI YUTS Y ONKS¤EMHCH YNPYuAK, NASYAK NBKKHBYUCHYETSN BNGBPYUYEMHE MU HRYUYS. The procession of Odysseus following the chariot of Navzikai to the palace of Alcinous turned out to be very inspiringCHYKHL DK HGNAPYUGHREKEMNTSN HYAYSAYARBYU: HKKCHYARPYUZHKHH b. tsyulyuchmnbyu, k.ts. YAYKCHRNBYAYNTSN, d. AHYARH, L.O. SIYAYNI, c.d. eOHTYUMNBYu, YUPRHMYU b.y. JEPNBY. eYARE X LSGSHYU: ONSHLYu DK TNPREOKHYUMN th. uHLYUMNBYAINTSN, NOEPYu Fr. jHLLEPLUM. yu RUYFE BNNAIE ON episodes with the participation of Navzikai and Odysseus, the fine arts of P. Lastman, T.A. Bruni, A. Blumart, J. Jordans, I. Tishbein. Easily, as in a dream, thanks to the fog that the goddess Athena enveloped him (again called by Homer to this place in the plot), Odysseus entered the house of Alcinous. He became invisible to the guests, and something similar will not be in the training room, like in the feacs, but in his real readaptation on Ithaca: he will not be recognized until the first arrow is fired at the suitors. Unusually, as in a dream, Odysseus easily managed to bow down at the feet of Queen Areta (illustrated by L.G. Sklyutovsky), start a story about himself (illustrated by M.P. Shuiskaya) to Athena and Alkinoi (such as in the portraits of M. Miturich), who easily, as in a dream, they believe him. However, the ability to speak beautifully, to convince, will also be necessary for Odysseus in a real landing and readaptation in Ithaca, where he will have to convince Telemachus, his father, Penelope of his "authenticity". Although more than the ability to speak, Odysseus will then need the ability to wield weapons. Only in a dream, the interlocutor speaks out ER RBNH YANAYARBEMMSHHE LSHYAKH: ONSCHRNLS TSNLEP YARYUBKHR NDHYAYAE OEPED YUKYHMNEL, HGPEYUCHYHL RS YOYULSCH THKNYANTHCH N ONKEGE AKYUTSNAYKNMMNTSN NRMNYEMHY Y OSRMHYYUL, YNRNPSCCH YAYUL NDHYAYAEI DN SCHRNTSN AEG BYAYNTSN SIAOEUI OSHRYUKYa BMSKHRE ZHHYKNOS ONKHTELS. Extraordinary lightness, as in a dream, and necessary to ensure this lightness, enterEMKHE tsNLEPNL B YACHFER ANTSKHMKH UTKHMSH, YABNHLKH BMSYEMKHLKH ONASFDYUCHYEI TSEPNEB YANBEPIYURE ONYARSOIKH, ONLNTSKH YADEKYURE BYAE MENAUNDHLNE DK O NDTSNRNBYKH YARYUPRYU NDHYAYAYE: YANGBYURE ANTSYURSHU TEYUYKHIM MU OKNYUDE DK MYU¤YUKU YANPYU ONDYUPYNB: MU OHPS (BNYAOERNL B LSGSHYE L. APSUYU "SKKHYAYA" OPHBKE¤E BMKHLYUMKHE YUKYKHMN Y FEYARS NDHYAYAE, GYUPSHBUBYETSN LYUMRKHEI TsNKNBS B LNLEMRSH, YNTSDYU DELNDNY OEK N rPNYAMYA YNI BNIME (HKKCHYARPHPNBYUKH tKYYYALYUM, k.c. YAYKCHRNBYIKHI, l.o. . eOHTYUMNB); X Y NYARPNBS TEYUYNB (KHKCHYARPHPNBYUKH b. tsYuLYUCHMNB X l. lHRSRX¤). ¤EMHЪ NDHYAYAEEL YNPYuAK NOHYASHBUER, YUY Yaon, but also the journey itself on this ship.In the end, Homer does not put Odysseus on the ship to start in the direction of Ithaca, namely, he puts Odysseus on a soft-wide carpet and closes Odysseus's eyes. Odysseus falls asleep. Why couldn't Homer let Odysseus reach zryuykh b pefkhle ANDPYARBNBYUMKH, Yu RNKEIN BN YAME? lNFER, RSR, BN YAME, NDHYAYAEI, OEPED HRYUINI, BYAONLMHK that he will arrive in Ithaca in a dream, PRNYAMERY RYUL, ¤RN NM, ON-MYYARNYELS, GYUYAMSK BNGKE NYARPNBY SHNKYU, X - GYuYAMSK (BRNPKH¤MN ) B LNLEMR YARYUPRY I NYARPNBY TEYUNB? dYu and not a simple ship Homer gives Odysseus, who sails, obeying the oars and the sail, but controlled by thought. In exactly the same way that the hero of the novel "There and Back Again" by K. Simak, Asher Sutton, controlled the starship, returning from civilization near the star 61 Cygnus. A thought-controlled ship is already a super-civilization! The final touch, although Homer is without tNTsN NOHYAYUK TEYUYNB, YUY YARPYUMS HGNAKHKEMEIISCCH, ON¤RKH YARPYUMS ¤SDEYA, BNGLFMSHU RNKEIN BN YAME: MU RNPTSNBNI OKNYYUDH BNGKE UPYULYU ONYAEIDNMYU - HGNAHKHE Y NPYUAEKEMSHU YAMYUYAREI, Gapas of sails, ropes, oars; the feacians do not need weapons at all, their concern is about ships; the feacians are not famous for fisticuffs and wrestling, but they run fast, love luxurious dinners, singing, music, dancing, freshness of clothes, voluptuous baths and a soft bed; in the palace of King Alcinous there are copper walls, golden doors; near the palace - a luxurious garden and vegetable garden. And with all these miracles of super-civilization, Homer endows the country of the feacs with the most archaic feature: Areta is actually the head of the feacs. For the combination in the description by Homer stPYUMSH TEYUYNB ¤EPR BSHYANYNI ZHKHKHGNBYUMNYARH H YUPYUKH¤EYNTSN LYURPHYUPYURYU NAPYURKHK BMKHLYUMKHE y.ya. GUAYUPHKN. According to I. Trotsky, the mythologists of EYAYNI NYAMNBNI YYUPRKHMSH YYYYARKHBNI of the country of the Feaks are ideas about the other world, a blissful paradise country and about shipbuilders of death who transport the dead on their high-speed ships that do not need a rudder and understand the thoughts of their shipbuilders. According to the hypothesis of E. Drerup, the historical features of the culture of Crete, the pre-Homeric civilization, were reflected in the Homeric island of the feacs. All this is proof of the sleepy fabulousness of the episode among the feaks, that this epiGND BGЪR tsNLEPNL EIE HG DNOKHYAELEMMSHU YAYYUGYUMHI. So, Homer built the plot in such a way that the psychological, spiritual rehearsal of his OPEDYARNЪI ONYAYUDYKH X PEYUDYUORYUZHHI MYU HRYUE NDHYAYAYEI OPNBNDHR BN YAME - MU NYARPNBE TEYUYNB. THGH¤EYAYNI ONDTSNRNBYNI Y PEYUDYUORYUZHKHH MU HRYUYE TSNLEP ME GYUYARYUBKK NDHYAYAYE GYUMHLUREYAY, N¤EBKHDMN, SYAKNBKH OSREYYARBKHH YYULKH ON YAEAE MEOPEPSHBM YU THGH¤EYAYYU RPEMHPNBYU. SNM, YUY OYAKHUNKNTSKH¤EYAYYU PEOERKHZHHHH ONYAYUDYKH, BSHAPYUM tsNLEPNL, BNGLFNFMN, OPNPN¤EYAYKH. MN BYUFEM H YAYUL TUYR, ¤RN TSNLEP OPHGMYUBYUK MENAUNDHLNYARE PEOERKHJKHI OEPED ONYAYUDYNI, OEPED OEPEUNDNL NR PEFHLYU DBHFEMHJ Y PEFHLS ONYN. Recognize this need and modern kNALNMYUBRSh. nMH TSNRNBRYA - RPEMHPNBYKH MU BEKNSCHPTSNLERre, special suits, medicines to keep calcium in the bones during the flight, so that the bones do not lose strength, were ready to meet gravity on planet Earth. You can read about this, for example, in the book by A.V. Seregina "The Path to Space", many other books and articles. However, something did not come across a book about the modern cosmonoBRHYe, TsDE PE¤E BEKYUYAE N ONUNFEI MU TSNLEPNBYAYSC OYAKHUNKNTSH¤AYINI ONDTSNRNBYE GELMSHU YNYALNMYUBRNB Y BNGBPYUYEMKHCH. OPYUBDYU, YOYULSHI ANKE'NI YAPNY - BYAETSN 1 TsND 2 LEYAYJYU (form. onkyynb) YAYEI¤YUYA BNGLNFMN NRYASRYARBHE astronaut on Earth, short flight duration, little will change on Earth during this time. Therefore, mentally at the Yu.A. Gagarin Cosmonaut Training Center they do not prepare cosmonauts for separation from their humanity, their state, their production team and their family. But why ME PEOERHPSCHR (MH DK REKYU, MX DK DSUYU) ONYAYUDYH B YANBPELEMMSHU "TYUMRYYARKH¤EYAYKHU OSREEYYARBKHU"? KERR YAEAE B ONDMEAYAYAEE - NR OKYUMERSH GELK Y DYUKEYHL OKUMERYUL, GBEGDYUL, TSYUKYURHYUL TSEPNKH y.rNKYARNTSN ("yuschKHRYU"), y. X a.yARPSTSYUZHYHU ("OSRE MYU LYUKERECH", "YARYUFEPSH"), d.LKHZHYU ("BEDELSH YUPPEYAYU"), b.LHUaMNBYAYNTSN ("NYN BYAEKEMMNI"), d.dFEPPNKDYU ("yARPYUMYARBKHJ "gBEGDMNTSN BNKYU"), Yu. yuGHLNBYU ("yNYALKH¤EYAYHI YARPYUMMKHY", "ynKEJYU YURSPMYU"), l.KEIMYAREPYU ("yNYALKH¤EYAYKHE OKHPYURSH", "hyayakeDNBYUREKAYAYHI NRPPD"), y.mNPRNMYU ("yaYUPgassy in space", "Plague ship", "Planet of Witchcraft ", "Stamped with stars"), A. Clark ("City and Stars", "Date with Rama"), G. Dixon ("Soldier, do not ask!", "A Born Commander"), K. Bulychev ("Efforts of Love "), E. Russell ("Abracadabra"), R. Sheckley ("Absolute Weapon", "Me and My Spies"), D. Bilenkin ("Power of the Strong"), and in their thoughts they do not have an inevitable landing. Apparently , about the physical training of the body for landing, many (but not all, for example, A. and B. Strugatsky in the story "Interns" forcedKH-RUYKH ANPRKHMFEMEPYU fKHKHMYU RPEMHPNBYUREY) OKYUMERNKERYUU X GBEGDNKERYUU "HYAYSAYARBEMMSCCH" RFEYARE". But the duration of the flights is long. And the conditions outside the solar system are koYALKH¤EYAYNTSN OPNYARPYUMYARBYU - MEONMRMSH. х gelk - HER YANZHHYUKEMNE SARPNIIARBN, LHPNBNGGPEMKHE - LNFER HGLEMHREYAY. There is, for example, an interesting article by D. MotovilNBY. OPNTSMNGKhPSERYA, ¤RN ONKER Y Ђ TSEMRYUBPYU H NAPYURMN MU GELKCH GUILER 20 KER. b YMHTSE "YNYALNYA - GELKE" l.h. rREPM OPNTsMNGHPSER, ¤RN GU BPEL ONKERYU Y YANYAEDMEI TSUKYUIRHYE SRLYUMMNYARE UMDPNLEDSH MU GELKE OPNIDER 750 RSHYA. KER (MU YAYULNL GBEGDNKER - BYAETSN 9 KER). In the book "Space Odyssey" S.P. Umansky predicts that at a speed of 20 km / s to the star Alpha TsenRYUBPYU KERERE 66 RSHYA¤ KER, MN OPH BSHYANYNI YAYNPNYARH - 12 KER. All these predictions are based on A. Einstein's book "To the ElEIRPNDKHMYULKHYE DBHFSYKHUYA REC" published in 1905. And the cosmonauts themselves can change during this time: either they just get old, or after contayryu I HMNOKYUMER'MYULH HGLEMHREYA' REKNL H DSNI, YUY B PNLYUMYUU th. yaYUILYUYU "RSDYU X NAPYURMN" X t. X gelk LNFER HGLEMHREYAYA (and thus IGLEMHRE YABNE NRMNYEMKHE Y YNYALNMYUBRYUL); MYUOPKHLEP, PYUGKCHAKHRE, YUY BEDYU YNMC PYUGKCHAHKYU SHPTSYU MNNPYU B PNLUME x. ETPELNBYU "rSLYUMNYARE UMDPNLEDSH". xKH ONREPYRE HMREPEY Y PEGSKARYURYUL LEFGBEGDMNTSN ONKERYU. with ¤EKNBE¤EYARBY BNGMHIMSR ANKEE MYuASYMSHE OPNAKELS. Or there will be a psychological barrier between those who returned to Earth "do not compose" YNYALNMYUBRYULKH X HU DYUKEYHLKH ONRNLYYULKH (OPNTSMNG c. KhUNYEPYARMSHU). Or an Afghan-Chechen-Vietnamese syndrome will arise (article by A. Vasilyev, story by T. Zan "Johnny returns I BNIMSH"), FMNYARE PEYUDYUORYUJHHH B NRE¤EYARBE, CDE FHGME RPEASE LHPMSHU YU ¤EYARB NR ¤EKNBEYU. But the most terrible thing for which, psychologically and physically, kNALNMYUBRSH, ONYYUGYUMN B PYYAYAYYUGE yu should prepare. AEKRCHYNBYU "ONYAKEDMKHI OKHKNR": GU BPEL ONKERYU YNYALNMYUBRYU GELKME MU¤KHMYUCHR YA¤HRYURE YNYALNMYUBRHYS NOYYAMNI DK GELKH, H TSNRNBYRYA HGNNKHPNBYURE MU L YUPYAE, I¤HRYURE BYAEU YNYALNMYUBRNB - YASLYUYAEDDHLH! bNR RYUYU OEPAOYERHBYU ... pH, ¤RN science fiction writers in their novels, as a rule, do not depict a landing rehearsal, just confirms the nature of fantasy, where everything happens as in a dream, without relying on the experience of reality, classic fantastic travels in dream. This sleepy fantasy was created by Homer in the episode of Odysseus's stay on the island of feaks. And Homer put the problem PEOERHZHJHI ONYAYUDYH. ME YARNHR KX OHAYUREKL-TYUMRYURYUL BBNDKhRE B REYYAR YABNKHU "GBEGDMSHU" OPNKHGBEDEMHI ¤RN-MKHASDE SHCHDUYNE, TKHKNYANTYAYNE, ONLNTSYUCHEE HU TEPNL, ONYAKE MEOPEYPYU YYUCHYKHUYAY B ONKERE PEOERKHJKHI, BYAE-RYUYKH BNGBPYURKHREYAYA HG ONKERYU, YANBEPKhRE L'TSYSCH ONYAYUDYS X SYAOEIMN PEYUDYUORKHPNBYUREYAYA?

Readaptation

in "Odyssey" and modern "fantastic journeys"

YAPYUBMHBYU YANGDYUMMSHE MU OPNRFEMMHH RPEU-¤ERSHPEU RSHYa¤ KER OPNHGBEDEMH B FYUMPE "Tantastic Journeys" and looking for common features, the building blocks of their structure, folded into a narrative about the launch, movement and landing, it is impossible to bypass the problem of readaptation. The traveler gets used to, adapts to the movement so much that, upon returning, he cannot immediately stop, readjust, get used to living in a motionless world. Homer was the first to notice this fact, he is also confirmed by the flights of modern astronauts; universes of our world. Whatever happened to Odysseus before he landed on Ithaca, various miracles at the start and movement. Yes, and his landing on Ithaca itself took place in a dream, his feacs carried the sleepy out of the ship and laid it on the shore; this episode inspired L.G. Sklyutovsky and V. Gamayunov. In a word, sheer fantasy, where often events, as is customary in dreams, do not need justification. But Homer describes his readaptation in his homeland with striking details of numerous extreme situations, the realism of which is not shaken by the fantastic intervention of the gods in the plot. The first extreme situation - he did not recognize Ithaca! Odysseus exclaimed: "Woe! What kind of people have I gone to!" YAN BPELEMEL NYUFERYA, ¤RN TsNLEP AShK OEPBSHL B PJDS YUBRNPNB FUMPYU "TYUMRYYARKH¤EYAYKHU OSREEYYARBHI", YRN B YACHFER YABNKHU OPNKHGBEDEMKHI BBNDKHK SCHKELEMR "SGMYUBYUMKH P" NDKhMSh". RUY FE ONYAKE METSN ONYARSOYUKH X YANBPELEMMSHHE OHAYUREKH-TYUMRYUYARSH. n¤ME BShPYUGHREKEMN SCHKELEMR SGMYUBYUMKH PNDHMSH OPHLEMKHK y.m. RNKYARNI B ONBEYARH "YUSCHKKHRYU" (OPNMGKHREKEMYU YAZHEMYU, YNTSDYU YPYYYAMNYUPLEEZH TsSYAEB, B ONKER I LYUPYAYU, MYUAKCHDYUER B TSKYUGNY X YPKH¤KHR HMFEMEPS knyach: "She, by God, she is!", and in iKKCHLHMYURNPE "in the black darkness, a silver-bluish ball shone warmly", and a little further in Teilhard: "In the darkness hung aboutGrum water ball... The birthplace of mankind!.."); PRNZHEYAYA "SGMYUBYUMKH" B PYYAYAYYUGE "dFNMMKH BEPMSKYAYA BNIMSH" r. GYUM, RYU FE, YUY H TSNLEP, HGNAPYUFYUER YANYARNYYHL HG DBSU SHRYUONB: YAMYU¤YUKU dFNMMH, YYU H NDHYAYAEI, ME SGMYUER PNDHMS (REL ANKEE, r. GYUM ME GYuASHK SONLMSRE, ¤RN GU SCHRH MEYAINKEIN KER ONKERYU dFNMMH B ECN TsNPNDYE LNTSKH ONBKHREYAY H ORE-YEYARE MNBSHU GDYUMHI, MEYAYNKEYN DEPEBEEB X YSYARYUPMHYNB), MN ON YUYNI-RN OPHLERE OPNHYAUNDHR SGMYUBYUMHE. mN YAKH dFNMMH YAYUL BYAONLMHK SCHRH OPHLERSH ( "the sweet and sour smell of the forest and the valley"), then for MYUMHOSKJHI I YANGMYUMHEL NDHYAYAE (BYAONLKHMYUCHRYA TSPNR, TsNPYU MEPHNM, LYUKHMYU) tsNLEP, YUY BYAETSDYU, HYAONKEGSER ANTSHMCH yUTHMS. YANBPELEMMSHL YNYALNMYUBRYUL, BEPMSBKHLYAYA KSMSH HKKH LEFDSMUPN of the Alfa Orbital Station, the MCC (Mission Control Center) simply will not let you forget the Earth, - TV and radio communication sessions (we don’t know, however, how it will be with the real one, - there have already been quite a few fantastic ones, - expedition returning from Mars...). According to the signs that Athena reminded Odysseus, the Homeric scholars tried, are trying, and, most likely, will continue in the future, lokYUKKHGNBYURE hryuys mu TSENTSPYUTKH¤EYAYNI YYUPRE. b PYUGKH¤MSHU HGDYUMKHJU "NDHYAYAEH" HG OPHLE¤YUMHI X YAKNBYUPEI h.e. rHLNEMEIN, H.LUPRSHMNBYU, I. puDEZHYNTSN, x.x HRZHYU, o.yu. siyayintsn, i. NEPNBY LSH ​​SGMYUEL, ¤RN HRYUYU - MEANKENI NYARPNB, KEFUYHI B khNMHIYAYNL LNPE MEDUCAYNE Nt of the western coast of Greece. But still, it is impossible not to mention the analysis of V. Tokarev that the location of the kingdom of Odysseus is still controversial. It is difficult to say how reliable the message of Simeonglu, a professor at the University of Washington, that he managed to find the birthplace of Odysseus near the town of Aetos. It is very possible that the cosmonauts from the board of the international station "Alpha", or, returning from the Martian expedition, will see Ithaca. So, first of all, according to Homer, the traveler must get to know his homeland, that is, make sure that he arrived exactly at the place he dreamed of. After that, he can afford to start readaptation. Homer also discovered the following law of constructing a work in the genre of "fantastic journeys": readaptation, as a rule, consists of two parts: preparation for the readaptation of the landing site and the actual readaptation of the traveler. However, this law is taken from life, and not only contemporary to Homer, but also Homer's prediction three thousand years into the future, that is, modern astronautics. The Mission Control Center (MCC) and the search and rescue complex, in fact, are in a state of readiness every minute for the return (scheduled or abnormal) of the astronauts, and when the descent from near-Earth orbit immediately begins, it monitors the flight and landing of the astronauts. Homer describes the preparation of Ithaca for the landing and readaptation of Odysseus, and it is not clear why A.Taho-Godi considers songs I-IV "Side Line, BEDSIEIIA AEGPEGSKERYURMN, BME TSKYUBMSHU YANASHRHI X BME ONK DEIYARBHI NDHYAYAE" ? BEDE HGNAPYUFEMMNE B SHCHRHU OEYAMYU I-IV OSREYYARBHE REKELYUY Y JJUPCH MEYARNPS B OHKNYA H Y ZHUCH LEMEKYUCH B YAOYUPRS, YUY PYUG KH EYARE SCHKELEMR "ONDTSNRNBYKH Y ONYAYUDYE", YNR New Homer made necessary for the genre of "fantastic journeys". As in the "Odyssey", preparation for landing in modern "fantastic journeys" consists in dividing the finish line into friends and enemies of the traveler making the landing, but the enemies are different: like KCHDH (in the "Odyssey" in the novels by K. SaimYUYU "RSDYU X NAPYURMN" , t. tsPYUBHRYUZHKH - EDHMYARBEMMSHI BPYUTS WITH YANBPELEMMSHU YNYALNMYUBtov, and the travelers in the story of A.N. Tolstoy "Aelita", but the writer avoided describing the preparation for landing, it happened suddenly for earthlings. Another is the novel by I. Efremov "The Andromeda Nebula": the landing site (planet Earth) is inhabited exclusively by friends of travelers. Contrary to I. Efremov, A. Beltyukov in the story "The Last Pilot" inhabits the Earth only with the enemies of a traveler going to land, during the flight of which the worldview of earthlings turned sharply 180 degrees. YOY YONYAYUDYE YNYALNMYUBRYU: TSNRNBRYA ETSN HGNKHPNBYURE MU LYUPYAE B YASLYYAYEDYEL DNLE. YAMYU¤YUKYU HRYUYU ASHKYU YANBEPIEMN ME TSNRNBY Y BNGBPYUYEMKHCH NDHYAYAYE - DN RNTsN LNLEMRYU, YYU YUTKHMYU ME YAOSYARKHKYYAE YA nKKHLOYU MU GELKCH, MHYRN ME BEPHK (YPNLE Al HTEPIYU), ¤RN NDHYAYAEI FHB, - MH ONREMZHUKEMSHHE DPSGEI (REKELYUU, OEMEKNOYU, EBPHYKEY, EBLEI , KYUSCHPR), MKH SBMSHE BPYUTSKH (FEMKHUKH). b "nDHYAEE" LNTSKH ASH ASHRE DBYu RNKYNBYUMHH ONDTSNRNBYH ONYAYUDYH, OPNBEDEMMNI REKELUUNL, - Depending on whether Odysseus is recognized as alive (and then, according to the plot, Homer gives his way from Troy to Ithaca as a fantastic interpretation, in general, a real journey ), or dead (and then Homer writes a purely fantastic journey from Troy to Ithaca only for the ideological support of the "killer", in modern terms, prepared by Menelaus and Nestor after meeting with Telemachus to kill suitors). Which version to choose? In favor of the fact that Odysseus was really the murderer of the suitors, neither his fantastic movement from Troy to Ithaca, nor signs (a scar on the leg - for Eurycleia, a bed on the root of a tree - for Penelope, the number of trees in the garden - for Laertes) can testify, which Menelaus and Nestor could hear from Odysseus during the 10 years of the siege of Troy and stuff the killer with them, just as in the intelligence schools of the twentieth century they supplied their spies with a "legend". Homer did not forget to insert a detail into the plot confirming that Odysseus really arrived in Ithaca, and not the killer: the dog Argus, whom Odysseus personally raised before leaving for Troy, recognized him (and died immediately). However, did Homer exaggerate the age of the dog? Odysseus has not been to Ithaca for 20 years, and the maximum age of the dogs is 17 years... In the preparations for Odysseus's landing on Ithaca depicted by Homer, there is one more "hook" for posing the problem. Menelaus informed Telemachus, who specially sailed for information, the exact location of Odysseus - the island of Calypso. Why didn't Homer force Menelaus to send a messenger to Penelope, thereby saving her from mental anguish? LNFER, TSNLEP YA¤KHRYUK, ¤RN DK SHRNTSN in that era, Menelaus did not have a techKH¤EYAYKHU BNGLNFMNYAREI? VEKNBASE uu BEYU, HLECHYELS BNGLNFMNYARE B KCHASCH LHMSRS ¤EPEG YAORMHY YABGUREYAYA KCHANI RN¤YNI GELMNTSN YUPYU, RPSDMN SHRN OPEDYARYUBHRE. UNR ¤EKNBE¤EYARBN NKN Y HMTNPLUZHHNMMNLS HGNAHKHCH uu BEIJU 3 RSHYA¤KH KER: not so daBMN ONBHKHYAE YANBPELEMMSHHE yalh (B 1665 TsNDS AShK BN tPYUMZHKHH BSHOSYEM OE PBSHI FSPMYUK), ON¤RYU (BYAETSN 9 ON¤RYUKENMNB B 1711 TsNDS NAYAKSFHBYUKH LNYAYBS), REKETSPUT (B 1794 TsNDS LEFDS oYUPHFEL X kHKKEL), REKETNM (B 1878 TsNDu in the city of New Haven). Menelaus could not tell Penelope the location of Odysseus, and not only because of the lack of technical capabilities, but also for some reason. Many questions are raised not only by the fantastic journey of Odysseus, but also by preparations for landing. But in any interpretation, Telemachus' trip is not a side move, as A. Tahoe-Godi seems, but a necessary element by which Homer provided the transition to the next stage of the plot, characteristic of the "fantastic journeys" genre: direct readaptation. POGDYU REKELUYU ONLNTSKYU ONDTSNRNBKhRE Ithaca for landing HY LNFER ONAEDHRE X PEYUORHPNBYUREY. tsNLEP OPEDSYALNRPEK YARPSYRSPS BNNAOYE BYAYNI PEYUDYUORYUZHKHH, regardless of the distance from which the traveler returns: from a neighboring island in the Mediterranean Sea, like Odysseus, or from a neighboring star in our Milky Way Galaxy, like the crew of the Efremov spaceship "Tantra", This law says that the readaptation of a traveler consists of two phases: rapid readaptation and smooth. Just like modern astronauts, although the content of readaptation is different: the astronaut adapts his body to the conditions on Earth, Odysseus changes the conditions on Ithaca. It is possible to check the applicability of the readaptation formula discovered by Homer to the eras of modern astronautics and stellar-galactic flights and with the help of the human factor. Most likely, Odysseus would have withstood everything that is included in the readaptation of an astronaut in the first phase at the Cosmonaut Training Center. Yu.A. Gagarin or at the Baikonur Cosmodrome. As a result, 2-3 weeks after landing, he would have had an adaptation to a vertical posture, restoration of orthostatic stability, and adaptation of the cardiovascular and neuromuscular muscles. OPH SYAKNBKHH, YNME¤MN, PYUZHNMYUKEMNTSN PEFKHLYU ANDPYARBNBYUMKH H YAMYU, OHRYUMKH; PETSKYULEMRYUZHHH PEFHLU DBHTSYUREKE-MNI YUIRHBMNYARH (UNDEASH); LUYAYUFU; KE¤EAMNI TSHLMYYARHYKH In the hall and in the VNDE, ONYAREOMME BBEDEMKHE SOPYUFMEMHI I NRTSNIEMKHLH; MEOPEPShBMNTso of medical control, - in a word, everything that is mentioned in the article by T.I. Vasilyeva and B.I. Fedorova, as well as in the article by Yu.V. Stupina, V.V. Bogomolova, T.D. Vasilyeva. Odysseus would undoubtedly have withstood all this, for Homer, as if counting on his descendants, underlined YAREYARBEMMN): YUY HGSLHKHYAE FEMHUH, YNTSJU OEPED YSKU¤MSHL ANEL I hPNL nDHYAYAYEI YAMK PSAHYE X NAMYUPSFKHYAE "... strong thighs, SHHPNYKHE OKEKH, RBEPDYU TsPSDE, FHKNBURSHE PSYH..." ; and medium OPHLEPNB THGKH¤EYAYKHU MYUTSPSGNY, YNRNPSHE LNTs BSHDEPFYURE NDHYAYAEI: ONAEDIU B JSKYU¤MNL ANCH I YAHKYU¤NL tHKNLHKEDNL MU NYARPNBE KEYAANYA; OPSHFNY I APEBMYU H BHYAEMHE MYU PSYUU MYU YALNYNBMHZHE BAKHGH uYUPHADSH; OKYUBYUMKHE X MSHPMKHE, YNTSDYu BNKMSh YaAP They sent him from a raft not far from the island of feaks; record throw of a large stone on the island of feaks; pulling a bowstring on a bow, which none of the suitors could do, and well-aimed shooting from it. And how would the cosmonauts act at the computer console with the program "Odysseus readaORKhPSERYa MYu hryuye"? VSHBEKH ASh NMH YAEAY YMNOYULKH HG REU SHYARPE-LYUKEMSHU YAKHRSYUZHKHI, B YNRNPSHU NDHYAYEI BSHFHK X ONAEDHK Y ONLNYECH THGH¤EYAYNI BSHMNYAKHBNYARH, LE¤YU, KSYU, YNOE Kommersant X, YNME¤MN, LNGTSYu? bNR RUYHE YAHRSYUZHKHH OPEDKYUTSYUERYAY YNYALNMYUBRYUL OPNKHTSPYURE MU YNLOECHREPE: what should be the arrival of Odysseus to Ithaca: secret or public? (yes, no) could death near Eumeus' house prevent Odysseus from readapting? (yes, no) should the swineherd Eumeus confess that you are Odysseus? (Not really); Will Penelope, Telemachus, Eumeus, Eurycleia, Laertes believe the news that Odysseus FHB X BEPMER? (Not really); try KH REKELUUS DNYUGUREKAYARBY, ¤RN OEPED MHL - NDHYAYEI? (DU, MER); ASDSR KKH NDHYAYAE NYAYNPAKERE FEMHUH? (DU, MER); OPEDKNFHR KH OEMEKNOYU FEMHUYUL YANPEBMNBYUMHE B YARPEKEAE HG KSJU? (DU, MER); OPHGMYUERYAK KH NDHYAYAE OEMEKNOE before the fight with the suitors or after? (before, after); should Eurycleia see the familiar scar on Odysseus' leg? (Not really); from what place in his house will Odysseus start shooting at the suitors? (the place where Odysseus sat in the form of a beggar; the seat of the king and queen); did Odysseus have to close the slaves in their chambers at the beginning of the battle with the suitors? (Not really); after the massacre of the suitors, will Odysseus remain in his house? (Not really). If you answer all these questions correctly (although the text of the poem is not fully covered by them, of course) questions, RN AKYUTSNONKS¤MN choose HG KYUAHPHMRYU YACHFERYU, YNRNPSHI ONYARPNKhK tsNLEP, H BYUYU PEYUDYUORYUZHKH MYU HRYUYE YANYARNHRYA. bSH ME RNKEIN PEYUORKHPSEREYAE, EYAKH S BUYA BYAE YANBOYUDYUER Y NRBERYULKH TSNLEPYU, MN X YANUPYUMKHRE KHMREPEYA ¤KHRYUREKEI Y YABNHL NRBERYUL LKHMHLSL MU OPEDYARNYKHE RPKH RSHYa ¤X KER! For GNLEP - BEKHIKHI ONSCHR, X S METSN EYARE ¤ELS ONS¤KhREYAY YANBPELEMMSHL OHAYUREKL-TYUMRYUYURUL! schLNZHHNMYUKEMYU MYYASHYYAMNYARE YACHFERYU TSNLEPYU NRNGBYUKYUYAE B YAEPDJYUU LMNTSKHU RBNPZHNB HGNAPYUGHREKEMNTSN HYAYSYAYARBYU H LSGSHYKH: HKKCHYARPYUZHKHKH k.ts. YAYKCHRNBYAYNTSN, x. yUPUKHONBYU, AHYARKH village, O. Blashchuka, mosaics, frescoes, vase paintings of the ancient PE¤EYAYKHU LYUAREPNB, BNYAYNBSE AYUPEKEETSh t.o. RNKYARNTSN, SCHAYKHG b.b. BEPEYUTSHMYU; LSGSHYUKEMSHE OPNKHGBEDEMKH y. lNMREBPDH, a. tsYUKSOOKH, m. oX¤¤HMMH, c. tNPE, p. KHAEPLYUMYU, y.a. fSPAHMYU, I. bshyaomyagogo. Homer, I. Efremov naturally saturate the second phase of readaptation with a much smaller amount of extremeness (Odysseus in a brief prediction of Tiresias, which he received in Hades, makes a journey with an oar on his shoulder in search of a non-seafaring people), as this stage occurs in reality, in modern astronautics (stay in a sanatorium - and the crew of the fantastic spaceship Tantra, and modern astronauts). In the novels of K. Simak "There and Back Again", F. Dick "Stigmata of Palmer Eldritch", M. Bradley "The Sword of AldoMEYAYU", PYYAYAYYUGE yu. Beltyukov "The Last PKNR", b. GUMYU "dFNMMH BEPMSKYa BNIMSH" OHAYYUREKH ME HGNAPYUFYUCHR BRNSCH TYUGS PEYUDYUORYUZHHH, ONYAYNKEYS HL ON YACHFERS ONMYUDNAKHKNYAE OPHDYURE MEONAEDHLNYARE YAHKYUL, OPNRHBN DEYYARBSCHYHL ONYAYUDYE. bNNAYE-RN tsNLEP OPEDSYALNRPEK DK of the genre of "fantastic travels" and such an element of the plot. Let's call it motion sickness. And let's say that it's not even just an element of the plot, but rather an element of the philosophical system. The whole poem of Homer's "Odyssey" is a work about returning to his homeland, its pathos is movement, but not anywhere, but return: Odysseus leaves the lotophages (although there was an opportunity "to stay to pick up a delicious lotus"), Calypso (and she promised immortality), feaks (he could marry the twenty-year-old princess Navzikaya and half of S¤KhRE ANTSYURYARBN), MN - "Home! Home! HN¤S DON'T!"х BYAE FE TSNLEP MEDIUPNL GUTHYAHPNBYUK, ¤RN NDHYAYAEI BN BPEL ONYAKEDMETSN AN I TSPUFDYUMYULKH HRYUYKH YYULNYARRNEKEMN OPEYPYURKHRE ANI, YADEPFYURE YAEAY, NYAR YUMNBHREYA ME LNTs, ECN NYARYUMNBHKYU UTKHMYU. х MEDIUPNL TSNLEP BBEK B It is the prediction of Tiresias about the new journey of Odysseus after the massacre of the suitors. Readaptation failed, sufficient deceleration did not occur, and therefore the heroes of T. Zan's story "Johnny returned from the war", K. Simak's "There and Back Again" start from the Earth again, Odysseus leaves Ithaca again in Homer's poem. And if they don't fly away, they die, like Palmer Eldritch in F. Dick's novel "Palmer Eldritch's Stigmata", an old cosmonaut in A. Beltyukov's story "The Last Pilot"; or doomed to eternal longing for the space where he is no longer there, like the engineer Los in the story by A.N. Tolstoy "Aelita". Apparently, the “sickness of motion” in the poem “Odyssey” is a “virus” introduced by Homer into his text when processing oral, to written ancient works of the genre of “fantastic travels”. On the other hand, now Homer, with this element, possibly predicts a new onset of a spiral turn, similar to the era when these oral "fantastic journeys" were created, predicts the same thing that I. Efremov predicted three thousand years later, depicting in the novel "Andromeda Nebula" the eternal wanderer Erg Noor, who was born not on Earth, but in a starship, and goes on a journey to the star Archenar - without return! Thus, modern science fiction writers will apparently be able to build their "fantastic journeys" to the planets, stars and galaxies according to the schemes developed by the old Homer for a long time to come.... 45