...According to Karen Hunter, in 1949, Joseph Campbell published “The Hero With A Thousand Faces” which is a book that introduces his creation of the monomyth (Hunter). A monomyth is the concept of a single tale or story. The tale or story represents a mythological adventure being magnified in the rites of passage. Also, the myth goes around in a cycle and is repeated with different social and cultural references throughout the world. Furthermore, Leeming explains that, “the monomyth itself is an expression of the journey of the hero figure, of our journey through physical and psychic life, and of the evolutionary path of humanity to full consciousness” (Leeming). Homer’s use of Joseph Campbell’s monomyth in the Odyssey seen with Odysseus, the hero and main character, provides a great structure throughout the epic in several ways. To begin, the monomyth in the Odyssey can be divided into 11 stages of the hero journey. The first stage that structures Homer’s epic is birth or the ordinary world. Odysseus is born to his father Laertes in Greece under no distinguished ancestry to boast of. Rasovsky stated, As Odysseus grew to be a young boy he showed signs of his talents which included archery (Rasovsky). Going further on with Rasovsky’s findings, Odysseus was intelligent, clever, and exhibited strength through his appearance (Rasovsky). In the Odyssey, Odysseus’s ordinary world is on the peaceful island of Ithaca. Odysseus is the well-loved and respected king of the island. He has...
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...The Essential Role of Goddess in Homer’s The Iliad and The Odyssey Just as women were viewed as inferior to men during Homer’s era, a first glance at Homer’s epics The Iliad and The Odyssey portrays goddesses as inferiors to gods. Despite the era’s bias to men, the goddesses are of equal importance to the plot of his stories as the gods. The goddesses play vital roles as either helpers or nightmares to men by often determining the results of an action. Homer did not establish the goddesses in his epics merely as minor structures to blend in the background. Rather, he established dynamic goddesses who were both powerful and intelligent. In fact, in many ways the goddesses controlled the gods by having an influence in their decisions and actions through manipulation, persuasion and guidance. By influencing the gods, the goddesses also played a large role as shepherds for human fate. The goddess’s constant intervention in the mortals’ lives was driven by favoritism, love or sexual desires, and their pity for the weak. Although the goddesses are often restricted from doing as they wish by the gods, they have proven, in many occasions, to overpower the gods through manipulation. Goddesses were often told what to do by the gods. Tasks such as delivering messages from Zeus were often carried out by Athena. Just as Hector told his wife, “Go home, attend to your own handiwork at loom and spindle, and command the maids to busy themselves, too. As for war, that is for men, all we...
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...For years, heros have been thought to be superhuman- only strengths but no weaknesses. However, Homer’s Odyssey proves otherwise. Homer’s Odyssey is the epic poem about Odysseus's journey back to Ithaca after winning the war against Troy. The epic poem explains that to be human means to have weaknesses. Odysseus’s biggest flaws is that he is proud and curious. Homer uses characterization to show that humans have weaknesses. One of Odysseus’s main weakness is that he's proud. Throughout the books, he tries to prove that he is invincible, and no creature can outsmart him. Earlier in Book 9, when Odysseus and his men had just reached the Cyclops’s home, his men pleaded not to go to the Cyclops, he still wanted to “ find out what the mainland...
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...In The Odyssey, Homer tells a tale about the main character Odysseus as goes through many trials and tribulations on his journey home. Homer’s tales shows many important things about the Greeks and their views about life. One of things he shows through his story are the qualities of leadership. The Odyssey shows many important qualities of leadership, three of the most important qualities of leadership are determination, courage and intelligence. The Odyssey shows that one of the most important qualities of leadership is the ability to be determine and not let the bumps in the road stop you from reaching your goal. In book 5, although Odysseus has been stuck on a beautiful island with a beautiful women he still longs to go home. “Yet it is true, each day I long for home, long for the sight of home,” replied Odysseus to Calypso. Calypso tried her best to try and convince Odysseus to neglect his goal, but Odysseus stayed strong and kept his goal in sight. This is an important quality for a leader to have, because a leader must be able to keep his men strong and help them remember why they are still working. A leader has to be able to stand firm even if his men begin to give up hope. The Odyssey show what a determined leader looks like through the character of Odysseus....
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...Homer’s The Odyssey is important to the history of literature, but there is one part of Odysseus's adventures that have interested readers since the book was released, the part where Odysseus encountered the sirens. These interested readers often make different versions of this excerpt, from books to short stories to movies. In this essay, though, the focus is going to be purely on a single poem by Margaret Atwood, “Siren Song”, and how this poem and the original text comparably convey the sirens. The tones expressed to the reader from Odysseus’s poem is desperation. Odysseus’s heart “throbbed to listen longer” (20) to the siren’s “ravishing voices” (19). Odysseus was desperate to be released for the ropes that bound him to the boat so that he could go to the sirens. The tone used in “Siren Song” is misery. The siren notes how she doesn’t...
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...Liminality | Victor Turner, “Forest,” T 417-429 | W. Oct. 17 | Demeter & Ritual | Hom. Hymn to Demeter, T 430-448 | M. Oct. 22 | Tricksters: Prometheus | T 381-383, 396-402, 27-29, 38-41Review Lévi-Strauss, T 280-294 | W. Oct. 24 | Tricksters: Hermes | Hom. Hymn to Hermes, ACM 187-197 | M. Oct. 29 | Dionysus: Myth & Bacchae | T 495, 509-514Euripides, Bacchae (44-83) | W. Oct. 31 | Bacchae | ACM 21-22 (D1), 47 (M2), 48 (M4), 212-213 (Ode 2.19), 394 (1130) | M. Nov. 5 | Exam 1 | Odyssey Books 1-8 | W. Nov. 7 | Hesiod Theogony 1 | Hesiod Theogony ACM 129-160 | M. Nov. 12 | Hesiod Theogony 2 | Same | W. Nov. 14 | | | M. Nov. 19 | | | W. Nov. 21 | Hesiod Works and Days | Hesiod “The Ages of Man” T 41-44 | M. Nov. 26 | | | W. Nov. 28 | Enuma Elish | T 61-81 Mesopotamia: Enuma Elish | M. Dec. 3 | Heracles 1 | | W. Dec. 5 | Heracles 2 | Apollodorus ACM, pp. 33-45 | | Xmas Break | Xmas Break | M. Jan. 7 | No class—classics conf. in Seattle | | W. Jan. 9 | Epic 1: Epic as Source for Myth | No new reading | M. Jan. 14 | Epic 2: Epic as Source for Myth | Proclus ACM pp. 378-382 | W. Jan. 16 | Epic 3: Epic as...
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...5. A Wonder Book for Girls & Boys: Hawthorne, Nathaniel, and Walter Crane. A Wonder Book for Girls & Boys. New York: Oxford UP, 1996. Print. Nathaniel Hawthorne retells a number of well-known Greek myths specifically for children and captures the fantasy and horror in an intriguing manner. One of the most compelling tales Hawthorne illustrates is Pandora’s Box. The story of Pandora’s intense curiosity leading to the unleashing all of the evils in the world is especially applicable to children. Pandora can’t help herself even when everything and everyone is attempting to convince her otherwise. In the end, the lesson is that curiosity can be dangerous. Children have and will always be curious and explore things they should not. But curiosity comes at a cost. There is a deeper message in the famous tale. There was something else in the box along with the disease and problems; it was Hope. The one thing needed to combat all of the horrors that were released is Hope. The story teaches that no matter how bad things get, there is always something to fight for, and that is a much more important...
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...Necessary” 1 In The Odyssey of Homer, disguise plays an influential role in the development of the plot and Odysseus’ return to Ithaca. In Book 1 of The Odyssey, Athena uses disguise to influence Telemachus. Athena comes to Ithaca disguised as Mentes, an old friend of Odysseus. Mentes convinces Telemachus to go search for his long lost father (1:271-279).1 Athena’s use of disguise in the opening book puts faith in Telemachus that his father may still be alive; this is very important for the development of the plot because Telemachus was on the cusp of giving up hope that Odysseus would never return home. The departure of Telemachus also reveals the character of the suitors as they plan to murder him upon his return to Ithaca. The suitors have already been characterized as greedy and disrespectful but their plot to kill Telemachus is evidence of how despicable they truly are. In Book 6, Athena uses disguise to persuade Nausicaa. Athena visits Nausicaa while she is asleep disguised as “the daughter of Dymas, famed for seafaring, a girl of the same age in whom her fancy delighted” (6: 22-23). Using this disguise Athena urges Nausicaa to wash clothes the following day (6: 25-31). Without Athena stirring Nausicaa in her sleep, her and Odysseus would not have been acquainted. Athena also persuades her to have a favorable opinion of Odysseus by making him appear more handsome and favorable than he actually is (6: 223-231). Athena’s use of disguise in this book of the epic is significant...
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...Name: Period: Odyssey Test Review Sheet Date: . . Answer these questions on a separate piece of paper. Use your notes and the text to help you answer these questions and comment for the Know, Identify, etc. statements. General knowledge: 1. List the characteristics of an epic. 2. List the epithets found throughout the story, know what each epithet describes, and know the effect of including epithets in the piece. 3. Know the places that Odysseus visited throughout the story (look at your map). If Odysseus had a specific obstacle or triumph at those places, you will need to know the details behind the events. For example, if Odysseus has to fight off a monster, you would need to recognize exactly how Odysseus escaped and won. List specific events from his journey here or on the map. If you are making notes on the map, simply write “see map” for this question on the review. There is no need to write the same information twice unless you care to. 4. Know what a Homeric simile is, identify Homeric similes found in the story, know what the similes are comparing, and the effect of including the Homeric similes in the text. 5. Know what an allusion is and be able to identify allusions mentioned in the text. 6. Know the characters listed below. You need to know what role each character has played throughout the story. Aeolus Athena Eurymachus Menelaus Calypso Helios Poseidon Agamemnon Alcinous Cicones Hermes Tiresias Antinous Circe Laertes Telemachus Ancient Greece and Background...
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...Intertextuality is the shaping of a text meaning by another text. Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody.[1][2][3] An example of intertextuality is an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term “intertextuality” has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As philosopher William Irwin wrote, the term “has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence.”[4] Contents [show] Intertextuality and poststructuralism[edit] Kristeva’s coinage of “intertextuality” represents an attempt to synthesize Ferdinand de Saussure’s semiotics—his study of how signs derive their meaning within the structure of a text—with Bakhtin’s dialogism—his examination of the multiple meanings, or “heteroglossia”, in each text (especially novels) and in each word.[5] For Kristeva,[6] “the notion of intertextuality replaces the notion of intersubjectivity” when we realize that meaning is not transferred directly from writer to reader but instead is mediated through, or filtered by, “codes” imparted to the writer and reader by other texts. For example, when we read James Joyce’s Ulysses we decode it as a modernist literary experiment, or as a response to the...
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...Luke Barkowski 9/20/2012 ENCC-102-HN Professor Valovcin Religion and the Role of the Gods Religion has always been an important part of culture, in present times and even dating back to the times of the Trojan War and before. No matter what religion a person practices or believes in the role of the certain gods believed in has always been important. In three separate pieces we have read we have seen the importance of the gods, or God, play a key role in the development of the literature. In Homer’s epic poem The Odyssey, the gods are key in Odysseus’ return to Ithaca after twenty years. Whether it is helping Odysseus or delaying him, they play a major role in the development of the story. In Psalm 139, the scripture passage taken from the Bible, God is a very obvious factor. Even in the poem by William Owen “Dulce et Decorum Est” God again plays a major role once we dive deeper than the words are saying. The role of the gods, or singular God in Catholicism, plays a key role, sometimes unspoken, part. In The Odyssey we see in the first book three major gods that make an immediate impact on Odysseus’ journey home. Zeus, Athena, and Poseidon all are important in their own way in either helping Odysseus or trying to stop him. Zeus, king of the gods, is characterized as a mediator between Athena and Poseidon, the former helping Odysseus and the latter trying to stop him from reaching home. Athena does all she can to help out the mortal Odysseus, even appearing to him and his...
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...Thomas Jefferson Curtis Barganz 1BC “A Decalogue of Canons for Observation in Practical Life: 1. Never put off to tomorrow what you can do to-day. 2. Never trouble another with what you can do yourself. 3. Never spend your money before you have it. 4. Never buy a thing you do not want, because it is cheap, it will be dear to you. 5. Take care of your cents: Dollars will take care of themselves. 6. Pride costs us more than hunger, thirst and cold. 7. We never repent of having eat too little. 8. Nothing is troublesome that one does willingly. 9. How much pain have cost us the evils which have never happened. 10. Take things always by their smooth handle. 11. Think as you please, and so let others, and you will have no disputes. 12. When angry, count 10. before you speak; if very angry, 100.”...
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...Plato and Play Taking Education Seriously in Ancient Greece Armand D’Angour In this article, the author outlines Plato’s notions of play in ancient Greek culture and shows how the philosopher’s views on play can be best appreciated against the background of shifting meanings and evaluations of play in classical Greece. Play—in various forms such as word play, ritual, and music—proved central to the development of Hellenic culture. In ancient Greece, play (paidia) was intrinsically associated with children (paides). However, both children and play assumed a greater cultural significance as literacy—and, consequently, education (paideia)— developed during the classical age of 500–300 BCE. Uniquely among ancient thinkers, Plato recognized that play influenced the way children developed as adults, and he proposed to regulate play for social ends. But Plato’s attitude toward play was ambivalent. Inclined to consider play an unworthy activity for adults, he seemed to suggest that intellectual play in some form, as demonstrated in the dialectical banter of Socrates, could provide a stimulus to understanding. Key words: education in ancient Greece; play and child development; play and education; play and Plato; Socratic dialectic Among various plausible misquotations that surface from time to time is a piece of popular wisdom attributed to Plato to the effect that “you can discover more about a person in an hour of play than in a year of conversation.” It was quoted by Alaska Governor...
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...Samuel Taylor Coleridge: A Spiritual Connection Between “The Rime of the Ancient Mariner” and the Holy Scripture. Donald McCoy Liberty University September 15, 2014 Many authors attempt to convey some sort of message in their writings, whether it be that of Romances’ by Shelley, the plight of women in the writings of Wollstonecraft, or the political satire behind Jonathan Swift’s works. It can even be said that some essays have been written to bring across a moral lesson to the reader. Homer’s epic poem “The Odyssey”, in which the main character is rescued by the Greek gods and then embarks on a journey to return to his homeland, all the while facing obstacles that test his faith, loyalty, and solidify his virtues and beliefs. Few authors have had the success Homer gained in his grand tale featuring the main character, Odysseus. Arguably, even fewer authors have tried to emulate the Christian faith within their works with much success. Mr. Samuel Taylor Coleridge is one such author. Coleridge’s lyrical ballad “The Rime of an Ancient Mariner” is one in which numerous religious themes are adequately complimented. Most notable of the comparisons is that of the Albatross and how it symbolizes Jesus Christ. In the ballad, Coleridge writes, At length did cross an Albatross, Thorough the fog it came; As if it had been a Christian soul, We hailed it in God’s name. (Mariner, Line 65). In the ballad, the men on the ship had become lost, with mist, snow, and ice converging...
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...The Voyage of Argo was written in the middle of the third century BC by Apollonius of Rhodes who was the pupil of Callimachus, another great poet. There are many reasons why an epic is written, as a history like Homer’s Iliad tells of the Trojan War or as a way a poet can demonstrate his intricate literary abilities. The reason why Apollonius of Rhodes wrote the Argonautica is not clearly known but many scholars say it was closely associated with Homer’s Odyssey and Iliad. As a librarian Apollonius may have come across works by other epic poets and picked up some elements of epic which he used as a guide for his poem. Such elements include the use of similes, digression, epithets and exceptional characters. The importance of these characters is reflected in the roles and traits that are assigned to them. This is because the plot is developed by the distinctive character traits displayed. In the poem Jason and Medea turn out to be the main characters whose roles are very crucial to the development of the plot. This write-up would therefore try to bring out the distinctive similarities and differences in character traits of Jason and Medea both in deeds and words of Apollonius Voyage of Argo. Typical of all mythical heroes, both Jason and Medea are of royal blood. Jason is a prince whose father, Aeson is the rightful king of Iolcus until the usurpation of his power by Pelias, Aeson’s half-brother a very power-hungry man who wishes to gain dominion over all of Thessaly. Jason is...
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