...In Homer’s The Odyssey, Homer presents a perplexing and complex dilemma revolving around the ambiguity and problematic language used to describe the ideology of justice and vengeance. Moreover, it is the returning of equivalent harm for harm that seems to run through the heart of the archaic Greek culture that allows for crimes to merge with and become their own punishment. The relationship between crime and punishment is a tight linkage that seems to be arranged by Homer in an attempt to justify the moral positions as well as the actions of many major characters throughout The Odyssey. Distinctively, the role of justice and vengeance can be exhibited in the interactions between Polyphemus, Odysseus, Poseidon and the suitors. The conflict...
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...Through The Odyssey, the theme of hospitality is extremely important. In Grecian culture, being is a good host is highly valued and expected by guests. Hospitality was one of Zeus’s ground rules of ancient society. It is a crime against Zeus to commit an offense against a host or guest. Hospitality is an honorable characteristic. It was believed that not being hospitable would result in punishment from the gods. Throughout the Odyssey, three distinct events show the importance of hospitality during the Homer era. The first is Odysseus and the Phaeacian’s who are honorable hosts. The next is the suitors occupying Odysseus’s house, who are shown as horrible guests. Lastly, Odysseus is the guest of Polyphemus, who is an awful host. By comparing and contrasting these three events, one can show the importance of hospitality. The fear of Zeus compels the characters...
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...Reid Christensen Cohen English 1EP-2 November 2, 2015 Quotation Explication Telemachus, in Homer’s Epic poem The Odyssey, calls an assembly to express his animosity towards the prolonged stay of the suitors. Telemachus will “have to pay” the high price of his mother and himself being forced to evacuate the palace if he is unable to persuade the suitors to leave the house. (2.147). Telemachus’s speech portrays the horrid consequences he will have to pay if he and his mother succumb to the requests of the suitors. Lamentably, the suitors stand their ground and refuse to leave Telemachus’s home at the same time telling he and his mother that they should just leave. Telemachus exclaims to the unyielding suitors “[do] you have [no] shame in your...
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...“Telemachus” from The Odyssey, Athena’s influence on Telemachus has caused him to grow up and become more confident. Homer’s use of dialogue and punctuation are very important to Telemachus’ development throughout the passage. In the passage you begin to see the first signs of Telemachus growing up by the way he starts to talk to his mother. It starts with him saying, “So, mother / go back to your quarters. Tend to your own tasks. . .” (lines 1-2) This dialogue is something never seen in Telemachus before Athena’s influence got to him. He is starting to exert his force and power over his mother by bossing her around. It is necessary for him to show maturity especially with the fact that his father is gone. The way Telemachus spoke to his mother not only was shocking to Penelope, but also the...
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...Divine Destiny Free will, man’s right to choose his own path. While clearly present in The Odyssey, it is through Homer’s writing that we begin to see the underlying belief, in ancient Greek culture, of divine intervention and the gods’ power to control and shape man’s destiny. Their influence is evident in determining the outcome of every adventure and obstacle that the hero, Odysseus, faces during his lengthy, perilous journey home following the events of the Trojan War. Man’s free will is overshadowed throughout this epic poem by the use of prophecy or the direct influence of the gods to ultimately foretell and decide the outcome. The choices Odysseus makes may have direct consequences and influence on his life, gaining or denying him favor with the gods. He cannot; however, change his fate or escape their will. The influence of the gods is shown early on in The Odyssey during a meeting of the gods where they decide amongst themselves that the time for Odysseus to return to his home in Ithaca has come. At the time of the meeting, Odysseus is trapped in a suspended state of inactivity on the island Ogygia with the goddess Calypso. No matter the remarkable wit and cunning the hero is shown to possess, it is the decision of the gods at this meeting to send Hermes to pave the way for his release from the island. Zeus to Hermes: “Hermes, you’ve been our messenger before. / go tell that ringlet nymph it is my will / To let that patient man Odysseus go home. / Not with an...
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...Theme of Revenge in Homer's Odyssey Homer’s The Odyssey is not just a tale of a man’s struggle on his journey home from the Trojan War, but of his struggle from the consequences of revenge. The Odyssey weaves in different characters’ tales of revenge from the gods and what impact revenge actually had on those characters. Revenge is an important underlying theme in The Odyssey because, in essence, it explains why Odysseus’ journey was so prolonged and treacherous. A few examples of revenge in the poem include Orestes’ revenge on Aegisthus, Zeus’ revenge on Odysseus and his men, and Poseidon’s revenge on Odysseus. These different examples of revenge in The Odyssey show the importance of the gods’ revenge in the epic journey of Odysseus. Orestes’ revenge is the first important example of the gods’ revenge in the poem. In Book 1, Hermes told Aegisthus, “’Don’t murder the man,’ he said, ‘don’t court his wife. Beware, revenge will come from Orestes…” (Homer 260). King Nestor delivers the story of Orestes’ revenge to Odysseus’ son Telemachus, while Telemachus is visiting Nestor to discover answers about his fathers’... The Character Medea's Revenge in Euripides' Medea Medea is a tragedy of a woman who feels that her husband has betrayed her with another woman and the jealousy that consumes her. She is the protagonist who arouses sympathy and admiration because of how her desperate situation is. I thought I was going to feel sorry for Medea, but that quickly changed as soon...
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...Every mythological hero seems to be on a journey in search of the thing he desires most in the world. The two heroes who stood out to me were Gilgamesh, and Achilles. Gilgamesh’s greatest fear was death, while Achilles feared his legacy being lost and forgotten. Technically their desires are different, but their journey share many similarities, and in the end, boils down to the same thing. Each man in his own way, both Gilgamesh and Achilles desired immortality above all else. Though immortality takes on very a different meaning for Gilgamesh, as it does for Achilles, every decision as well as all the sacrifices they make, are based on their fear of death and dying. Gilgamesh’s journey for immortality begins with the death of Enkidu. Gilgamesh’s heart breaks when he had to watch his brother die, which made him consider the prospect of his own mortality and inevitable death.(1) Gilgamesh fears his own death so much that he seems to be willing to risk everything including death, for a chance at an immortal life. Gilgamesh does not know what the future holds for him, or whether his journey for immortality will bear fruit. But Achilles on the other hand, was given all the information he needed to make an informed decision before his journey even began. His mother Thetis told him of his fate. If he chose to go to Troy, he would die in in battle and his name would be forever remembered. If he chose not to go to Troy, he would live a long life and have many children who would honor...
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...Taylor Hurford Dr. Dionne Felix Eng 271 July 12, 2017 #2 Throughout many centuries, a multitude of stories, legends, and myths of grand heroes who have outlasted the wrath of gods and goddesses, river monsters, beasts and even spirits of the underworld, have been to passed on and told to all the generations. Many of said stories came from pieces of literature that have been translated multiple times over the years. Examples of such works include Homer’s The Iliad and The Odyssey as well as Virgil’s The Aeneid. While each hero in each stories encounters his own journey, there are common stages that they all go through to reach “heroism.” What defines an epic hero is someone who is wise and noble in counsel action or war. The epic hero has to have a semi-divine spirit and a god as a parent (Barua, Page 1). Achilles was a hero in each and every form of the word. He was extraordinary and is said to be one of the greatest heroes of Greek mythology. He embodied all the great values that made up a superhuman. Achilles was strong, courageous, and loyal but he was also just a man-A man with a grave weakness and without the love, fear and sacrifice of his mother, he would have surely met an earlier end. When he was just a boy, his mother, Thetis, did everything to make sure her son was immortal. She would burn him over a fire every night, then dress his wounds with ambrosial ointment and then finally dunked him in the River Styx (History.comStaff). The river’s waters were said to...
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... Many later epics imitate these earlier works and may use similar literary conventions, depending on the culture. Early poems based on oral traditions are often called primary epics, while the later works are called secondary or literary epics. (The longman anthology of world literature: Compact edition, 2008). The ancient peoples of Mesopotamia, Greece and India produced several important epics that have continued to influence the development and study of literature for thousands of years. The ancient epic poem first emerged as an oral tradition to be re-told by storytellers throughout a culture. The development of writing in these areas allowed these stories to be written down and preserved for later generations. The Iliad and The Odyssey are early examples of the epic poem. Later Roman and other civilizations continued this literary tradition through the rest of the classical era. (http://ancienthistory.about.com) Pre-classical or ancient period hero; “The Aeneid is epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans under whose name Aeneas and his Trojan followers are destined to be subsumed”. (The longman anthology of world literature: Compact edition, 2008). “The hero Aeneas was already known to Greco-Roman legend and myth, having been a character in the Iliad, composed in the 8th century BC. Virgil took the disconnected tales of Aeneas'...
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...his thirties, the blame of the affair falls onto the young girl. Similar to Abigail, seductresses have often been blamed for the downfall of man, used a shield for men to hide behind and a figure to which they assign responsibility for misdeeds. Temptress are common in mythology and legend, strengthening the severely negative and misogynistic view of feminine sexuality. The Sirens of Greek mythology, often depicted as prepossessing women, lured sailors to their deaths with their enchanting voices (Hamilton 48). Similar to the Sirens is Die Lorelai, a beautiful woman whose song lures men’s ships into the rocks, drowning them. Circe, “a most beautiful and most dangerous witch,” would seduce men and lure them ashore (Hamilton 294). In Homer’s Odyssey, Calypso tempts Odysseus into staying with her as “a virtual prisoner on [the] island” that she ruled over (Hamilton 305). Future societies would draw on these mythological tales and the negative portrayal attractive women and their sensuality. Many female figures in religious texts have been associated with lust and temptation in order to demonize them and assign blame. Lilith, she-demon and first wife of Adam, has epitomized the dangers of female sexuality for centuries. In the Alphabet of Ben Sira, although believed to be satirical in nature, Lilith leaves Adam because she is treated as his inferior. However, Lilith was not seen as an enlightened female figure to the ancient societies and religions that regarded her as real. As early...
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...Demeter Mother goddess; goddess of marriage, sacred law and the harvest Consort Iasion, Zeus, Oceanus, Karmanor and Triptolemus Parents Cronus and Rhea Children Persephone, Despoina, Arion, Plutus, Philomelus, Eubuleus, Chrysothemis and Amphitheus I Roman equivalent Ceres Festivals Thesmophoria In ancient Greek religion and myth, Demeter (/diˈmiːtər/; Attic Δημήτηρ Dēmētēr. Doric Δαμάτηρ Dāmātēr) is the goddess of the harvest, who presided over grains and the fertility of the earth. Her cult titles include Sito (σίτος: wheat) as the giver of food or corn/grain[1] and Thesmophoros (θεσμός, thesmos: divine order, unwritten law) as a mark of the civilized existence of agricultural society.[2] Though Demeter is often described simply as the goddess of the harvest, she presided also over the sanctity of marriage, the sacred law, and the cycle of life and death. She and her daughter Persephone were the central figures of the Eleusinian Mysteries that predated the Olympian pantheon. In the Linear B Mycenean Greek tablets of circa 1400–1200 BC found at Pylos, the "two mistresses and the king" may be related with Demeter, Persephone and Poseidon.[3][4] Her Roman equivalent is Ceres.[5] Etymology Didrachme from Paros island, struck at the Cyclades and representing Demeter Demeter's character as mother-goddess is identified in the second element of her name meter (μήτηρ) derived from Proto-Indo-European *méh₂tēr (mother).[6] In antiquity, different explanations were already...
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...The Dominance of Fate Fate was of great concern to the Greeks, and its workings resonate through many of their myths and texts. We see countless characters who go to great lengths in attempts to alter fate, even if they know such an aim to be futile. The inability of any mortal or immortal to change prescribed outcomes stems from the three Fates: sisters Clotho, who spins the thread of life; Lachesis, who assigns each person’s destiny; and Atropos, who carries the scissors to snip the thread of life at its end. These three divinities pervade all the stories of Greek myth, whether they be stories of gods, goddesses, demigods, heroes, or mortals and regardless of the exploits recounted. Nothing can be done to alter or prolong the destiny of one’s life, regardless of the number of preparations or precautions taken. This inflexibility applies just as much to Zeus as to the lowliest mortal, as we see in Zeus’s hounding of Prometheus to divulge the name of the woman who will bear the offspring that one day will kill him. Though this lesson is somewhat consoling—the way of the world cannot be bent to match the whims of those in authority—it is also very disturbing. The prospect of free will seems rather remote, and even acts of great valor and bravery seem completely useless. The myths provide an interesting counterpoint to this uselessness, however. In virtually all the stories in which a character does everything in his power to block a negative fate, and yet falls prey to it,...
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...MYTHOLOGY IN MODERN SOCIETY [pic] [pic] [pic] |Mythology is everywhere! Daily you run across instances of words, city names, companies, | |literary allusions - and even planets and constellations - that take their name or borrow | |their theme from myths. Because of your many requests, I've provided a couple of thousand | |excellent examples to help you get started in your research. Remember, you're surrounded | |by mythology in today's society, whether you realize it or not! | Mythological Influence on Modern... |[pic]Companies & Groups |[pic]Planets & Constellations | |[pic] Words & Expressions |[pic]Literary & Pop Culture | [pic]American Cities Named From Mythology [pic] COMPANIES & GROUPS |Mythology is everywhere! There are hundreds of companies, groups and corporations that take their name, logo or theme from ancient mythology. | |I've provided a variety of examples to help you in starting your research. Some are well-known international companies, others are of a more | |local nature. | |Aegis - Zeus and Athena's protective shield; modern group of insurance companies (The Aegis Group). | |Ajax - Greek warrior in the Trojan War, who "cleaned up" in...
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...Aphrodite (Ἀφροδίτη, Aphroditē) Goddess of love, beauty and desire. She was married to Hephaestus, but she had many lovers, including Ares, Adonis and Anchises. She was depicted as a beautiful woman and often naked. Her symbols include roses and other flowers, the scallop shell, and myrtlewreath. Her sacred animals are doves and sparrows. The Roman version of Aphrodite was Venus. Apollo (Ἀπόλλων, Apóllōn) God of light, healing, music, poetry, plague, prophecy, and more. He is the son of Zeus and Leto, and the twin brother of Artemis. Apollo was associated with the Sun; while Artemis was the Moon. Both use a bow and arrow. In the earliest myths, Apollo fights with his half-brother Hermes. In sculpture, Apollo was depicted as a handsome young man with long hair and a perfect physique. His attributes include the laurel wreath and lyre. He often appears in the company of the Muses. Animals sacred to Apollo include roe deer, swans, cicadas, hawks, ravens, crows, foxes, mice and snakes. Ares (Ἄρης, Árēs) God of war and bloodshed. He was the son of Zeus and Hera. He was depicted as a young man, either naked with a helmet and spear or sword, or as an armed warrior. Ares generally represents the chaos of war in contrast to Athena, who represented strategy and skill. Ares' sacred animals are the vulture, venomous snakes, dogs and boars. The Roman version of Ares is Mars. Artemis (Ἄρτεμις, Ártemis) Goddess of hunting, wilderness, animals and childbirth. In later times she became...
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...White Man’s Burden (Handout) Summary & Annotation: A straightforward analysis of the poem may conclude that Kipling presents a"Euro-centric" view of the world, in which people view society from only a European cultures point of view. This view proposes that white people consequently have an obligation to rule over, and encourage the cultural development of people from other ethnic and cultural backgrounds until they can take their place in the world by fully adopting Western ways. The term "the white man's burden" can be interpreted simply as racist, or taken as a metaphor for a condescending view of non-Western national culture and economic traditions, identified as a sense of European ascendancy which has been called "cultural imperialism". A parallel can also be drawn with the charitable view, common in Kipling's formative years, that the rich have a moral duty and obligation to help the poor "better" themselves whether the poor want the help or not until according to Europeans, "they can take their place in the world socially and economically." The term "white man's burden" is a phrase that became current in the controversy about the United States acquisition of the Philippines after the Spanish-American war of 1898. It was a concept that was the responsibility of white Europeans to bring "proper" European civilization to the nations (mostly brown, black, red or yellow) that did not have it. The underlying thought was that Europeans were correct in their beliefs and...
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