Why has the Odyssey continued to change for almost 3,000 years?

The epic attributed to Homer was born from a tradition of oral storytelling and has been re-adapted in each generation. Dr. Teddy Fassberg of Tel Aviv University explains why Christopher Nolan's film does not break the tradition - but continues it

Almost 3,000 years after it was composed, theOdyssey Continues to be passed down from hand to hand, from language to language and from one medium to another. The ancient Greek epic was first told orally, then written down, translated into dozens of languages, and spawned novels, plays, musicals, and films. Now it is once again coming to the big screen in Christopher Nolan’s adaptation, starring Matt Damon as Odysseus.

The film, which opens in Israel on July 16, 2026, is the latest installment in a long tradition of retellings. Nolan's choices—in language, accents, casting, and how the ancient world is portrayed—have already sparked debate. But according to Dr. Teddy Fassberg From the Department of Classical Studies – Greece and Rome BTel Aviv UniversityThe very nature of the controversy is well-suited to the nature of the work: The Odyssey was not created as a closed text with a single version, but rather grew out of a dynamic tradition of performance and adaptation.

A journey home that became a universal story

The Odyssey is an epic poem attributed toHomer, probably composed in the late 8th or early 7th century BC. While the Iliad focuses on the Trojan War and the events leading up to it, the Odyssey follows the long journey of Odysseus, king of Ithaca, on his way back to his wife Penelope and son Telemachus.

During his journey, he faces storms, mythological creatures, hostile gods, and temptations that delay his return. However, beneath the adventures lies a human idea that is easy to recognize even today: the desire to return home after years of separation.

According to Fassberg, the epic continues to interest readers and creators, in part because of its preoccupation with "themes that are more universal about home, and the attempt to return to it." The Odyssey also presents a more diverse social world than the Iliad. Alongside kings, warriors, and gods, it features women in key roles, servants, shepherds, slaves, and members of various classes.

This diversity allows each generation to find different focuses in the story: journey and adventure, longing for home, loyalty, identity, the power of a story, relationships between parents and their children, or the price paid by a person's prolonged absence from their family.

Before the book, there was a storyteller.

The Odyssey was not originally intended to be read silently from a book. It grew out of a long tradition of oral poetry. Bards performed the stories to an audience, relying on linguistic formulas and repetitive patterns, and adapting the length and details of the performance to the circumstances.

This does not mean that the bard invented a completely new story each time. The plot, characters, and central events were familiar, but the way they were presented could vary. One number might extend a description of a battle, another emphasize a conversation, an encounter with a god, or a moment of tension.

The work attributed to Homer is also, according to Fassberg, an adaptation of narrative traditions that preceded it. While putting the epic in writing stabilized a certain form, it did not stop the process of interpretation and adaptation.

Interestingly, even within the epic Odysseus himself, he is a skilled storyteller. He is not just a hero whose stories are told by others, but a man who knows how to present his stories to different audiences. He chooses which details to reveal, when to pause the story, and how to arouse curiosity or sympathy. Fassberg calls him, with a touch of humor, a "marketing man": a hero who understands that the way a story is told can have a practical effect on listeners.

Every generation and its odyssey

The characteristics of the oral tradition explain why modern adaptations are not necessarily a departure from the Odyssey. In a sense, they continue the path of the ancient poets: preserving a familiar core, but presenting it in language and form appropriate for a new audience.

The Coen brothers’ film “Brother, Where Art Thou?” moved the structure of Odysseus’s journey to the American South during the Great Depression. Author Margaret Atwood gave Penelope and her maids their own voices in the novella “The Penelopeade.” In 2017, Emily Wilson published the first English translation of the Odyssey by a woman, and her linguistic choices opened up a new discussion of the characters, power relations, and violence in the epic.

Each of the adaptations emphasizes a different aspect. Some present Odysseus as a resourceful hero, while others focus on his lies, the women left behind, or the price paid by those around him. The ability to bear opposing interpretations is one reason the work has remained alive.

Homer, Nolan and the Language of the Audience

Nolan's adaptation has garnered attention even before it was released. One notable casting choice was the casting of rapper Travis Scott as a bard in Odysseus' palace. The choice bridges the gap between the ancient world's performing poet and a contemporary artist who uses rhythm, rhyme, and vocal performance to convey a story to an audience.

Another discussion concerned the use of American accents and everyday language. Tom Holland, who plays Telemachus, and Robert Pattinson, who plays Antinous – one of Penelope’s suitors – are British actors, but in the film they use American accents. Contemporary words like Dad and Daddy also drew criticism from viewers who thought they sounded foreign in the ancient Greek world.

Nolan explained that he wanted to use language that would carry direct emotional meaning for the audience, rather than theatrical, high-pitched dialogue that would create distance. Here too, a connection to ancient tradition can be seen: the bards did not attempt to recreate an ancient language from their time, but spoke to the audience sitting in front of them.

Fassberg believes that the Odyssey itself justifies adaptations that take artistic liberties. He says that Homer might have identified with Nolan because Odysseus also uses narrative devices throughout the epic designed to hold the listener's attention.

A work that never stops arguing with itself

The various adaptations do not erase the ancient epic. On the contrary: they demonstrate that the story is still capable of raising questions about home, family, loyalty, power, and identity. Each adaptation also reflects the period in which it was created and the issues that preoccupy its creators and its audience.

The debates surrounding Nolan’s film – what counts as faithful to the source, what language is appropriate for the characters, and who is allowed to portray them – are a continuation of an ancient debate about the meaning of the story. The Odyssey has survived not because it has been preserved unchanged, but because it has repeatedly emerged as a work capable of change without losing its core identity.

Questions and Answers

When was the Odyssey composed?

The epic attributed to Homer was probably composed in the late eighth or early seventh century BC, based on earlier narrative traditions.

How is the Odyssey different from the Iliad?

The Iliad focuses on events from the Trojan War, while the Odyssey describes Odysseus' journey back to his home in Ithaca after the war.

Why does The Odyssey continue to gain new adaptations?

It deals with universal themes such as homecoming, identity, loyalty, and family. In addition, it originates from an oral tradition, where the story has been repeatedly adapted to the audience and circumstances.

How does Christopher Nolan's film continue the ancient tradition?

Nolan uses language, accents, and casting that speak to a contemporary audience. In doing so, he acts in a way that is reminiscent of ancient bards, who adapted the way they told stories to their listeners.

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