...Legend of Troy). In Homer’s the Iliad it takes place in the tenth year of the Trojan War....
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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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...Odysseus’ Journey: A Path to Redemption In Homer's The Odyssey, the protagonist Odysseus sets off on a 10 year journey to reclaim his throne as king of Ithaca after the Trojan War. Throughout his journey, Odysseus constantly struggles with temptation. Odysseus faces the challenge of overcoming his weaknesses to obtain redemption from the gods. Odysseus' chances of returning home are compromised by his flaws and those of his crew; however, Odysseus possesses the necessary virtues and qualities needed to reclaim his throne. One flaw that dooms Odysseus is hubris. When Odysseus and his crew become trapped in the Cyclops’s cave, Odysseus uses his intelligence and cleverness to escape. After the escape, Odysseus brags and reveals his real name to Polyphemus, yelling from his ship “…if any man…should ask you who blinded you, shamed you so—say Odysseus…he gouged out your eye” (Homer 9.558). Polyphemus is enraged and curses Odysseus' name to Poseidon, praying that his father will delay Odysseus’ return. Poseidon curses Odysseus and his men by causing storms and winds to prevent him and his crew from returning home. If Odysseus didn’t let his pride influence him in this instance, he may have returned to Ithaca earlier and saved the lives of many of his men. Another example of Odysseus’ pride compromising the success of the journey was when the crew was facing the Sirens. The Sirens are dangerous sea enchantresses that lead sailors to their deaths through song. Instead of putting...
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...In the words of George Elliot, “It is a narrow mind which cannot look at a subject from various points of view.” In the case of Homer's two epics, this quote holds true. It shows how Homer is able to present many points of views. Both the Iliad, and the Odyssey show how the lives of Achilles and Odysseus represent the crucial differences between a true hero, and a strong soldier. He shows their different views on honor, and how they view the society they live in. In these two epics, Homer uses specific events in the story to define the characters' views of their humanity as exemplified by their actions. Stereotypical heroes are thought of as being perfect beings. Yet, all heroes are flawed. The sign of a true hero is one who overcomes adversity,...
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...come from us, but it is they, rather, who by their own recklessness win sorrow beyond what is given.”(Odyssey 1. 32-34) These words are spoken by Zeus at the beginning of Homer’s The Odyssey as he explains that it is not the gods who are responsible for the suffering of mankind, but that these hardships come from one’s own choices and character flaws. Homer begins The Odyssey with this dialog to inform the reader that the fate of Odysseus, his ten year long journey home, is the result of his own choices and flaws rather than portraying him as a victim of the gods. Although Odysseus is certainly a great hero, Homer makes it clear from the beginning, through that quote from Zeus, that...
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...The classic tragedy, as defined by Aristotle, has six major parts. These parts include a plot, characters, theme, melody, spectacle, and language. All stories, according to Aristotle must have a beginning, middle, and end, and must follow a logical sequence according to these six elements. The plot is the series of events, or sequence in which the action of the play occurs. Plot must follow a cause and effect relationship, which follows a logical pattern. Characters are the people in the play, who have certain qualities that can be determined by what they say, do and what others say about them. The theme of the play is the general feeling or statement made by the author that presents an observation or thought to the audience. Melody is the musical quality of the play, which includes a change of pitch by the voice, musical instruments , and also includes the high and low points of the play giving it an overall melodic quality. Spectacle includes the visual elements of the play, anything that is observed by sight. Often in modern movies and plays spectacle can be overdone, especially if a reason for the spectacle cannot be found. Language is the dialog or speech that makes up the story, and is used by characters to present the play to the audience. Aristotle lays out a very specific definition of what a tragedy should include, and how each element should be presented. He tells us that the tragedy must include these six elements and that they must be laid out in a logical manner...
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...CORC 1110 Paper # 1- Character Analysis of Odysseus’ Godlike/Human Status Homer’s The Odyssey may feature several heroes, but none are as prevalent as Odysseus. Odysseus has proved himself to be a magnificent hero in various ways. He has shown the heroic traits of courageousness, loyalty, and he saved thousands of innocent lives. However, Odysseus is not necessarily a godlike figure. He is in fact a role model, with a goal to reach his home through resisting temptation and using his intellect and physical strength. While he is brave, clever, and demonstrates self restraint the faults in Odysseus’ character bring him back to being a mortal man. Odysseus is godlike in both a physical and spiritual sense. Physically, he was created handsome as his creation is described: “Then Athena, born from Zeus, made him look taller and more muscled, and made his hair tumble down his head like hyacinth flowers…So Athena herself made Odysseus' head and shoulders shimmer with grace” (6.236-244). Aside from his godly physique, Odysseus is physically strong and capable as he overcomes the extreme dangers that occur throughout the journey and comes out alive after it all. Being able to face dangerous people and creatures is evident that he is a courageous man given that any mortal man wouldn’t have been able to survive a journey after so many challenges. From the spiritual aspect, Odysseus demonstrates godlike behavior by remaining faithful to his wife and family during the voyage. Remaining...
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...work a feeling of transcendetality. Two great authors from the Western civilization that take part of a modern literary culture that is characterized for its epic stories and epic characters that follow along the definition of an epic hero. An epic hero is a brave and noble character in an epic poem, admired for great achievements or affected by grand events. Dante’s Aligheri’s Inferno and Homer’s The Odyssey respectively have two characters that fulfill what is like to be recognized as a brave and noble character. Throughout both poems, we can see how each character has unique qualities that make them outstand and set them up as a leader, but at the same time, they have the flaws of any human being. It is clear when a character overcomes the status of any human being and sets the lead as a hero. An important trait of an epic hero is the fact that starts a journey; it may be of a personal matter, such as Dante, or of societal matter, like Odysseus. In The Odyssey, Odysseus is a war hero travelling home after a period of twenty years. In this epic, Odysseus is brought out as a hero with superhuman courage. In most cases, he has been shown fighting with supernatural forces. One characteristic of this journey that is different from Dante is that the hero in this epic fights against external forces. Odysseus faces many challenges while traveling home. To begin with, he is cast on an island that is surrounded by waters. Some situations appear to have no immediate solution as one is...
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...be Penelope, wife of Odysseus since she is a mother, but while Odysseus is gone, and when suitors come along, in a way she tempts them in terms of power (of the role of king) and as a woman, but she actually never gives in to any of the men. The purpose of women was mainly to lament the losses for their men and also persuading for their safety. Criticism- Homer had written the Odyssey with a bit of over-the-top reiteration, along with the missing component of a sense of unity. However, even when Odysseus wasn’t on a scene, the lines of the story still indicate that he is...
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...The saga of Odysseus’ journey exposes the reader to the darkest and lightest aspects of human nature, all set in the larger than life world of the gods. When a man takes an act of revenge, it is on a small scale. When a god takes a similar action, the consequences are massive and can rock the entire ocean with waves or mountains with earthquakes. While the scale of the anger is greater, the passions are the same. Love, lust, and anger are all presented on godlike scale in these first two books because of their argument over Odysseus. The tale to one that offers a comprehensive platform from which to educate an adolescent learner as the symbolism between the trials and tribulations of the immortals can be easily drawn to mortal life in our modern...
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...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, we see that his efforts to subvert...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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