The Anatomy of a Complex Astronomical Phenomenon Described in the ODYSSEY
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Reading Penelope and Molly: an Intertextual Analysis
Reading Penelope and Molly: An Intertextual Analysis A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors By Michelle L. Mitchell May 2004 Oxford, OH ii Abstract Reading Penelope and Molly: An Intertextual Analysis by Michelle L. Mitchell This thesis takes an intertextual approach to Homer’s Odyssey and James Joyce’s Ulysses. Intertextual analysis goes beyond examining the ways Joyce adopts Homer’s themes and characters in his own modern epic to also consider the ways in which a reading of Ulysses can affect one’s understanding of the Odyssey. Examining the reader’s role in the production and consumption of texts allows for a more realistic examination of how texts are actually processed. The focus of my interetextual analysis of both works is on the representation of women, particularly Penelope and Molly Bloom. iii iv An Intertextual Analysis of the Representations of Women in Homer’s Odyssey and Joyce’s Ulysses by Michelle L. Mitchell Approved by: _____________________________________, Advisor Judith de Luce _____________________________________, Reader Madelyn Detloff _____________________________________, Reader Kathleen Johnson Accepted by: _____________________________________, Director, University Honors Program v vi Acknowledgements Many thanks to my advisor, Judith de Luce, for her encouragement and guidance. Thanks also to Madelyn Detloff and Kathleen Johnson, my readers, for their suggestions. I would also like to thank the Office for the Advancement of -
Penelope, Odysseus, and the Teleologies of the Odyssey
Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey Emily Hauser Helios, Volume 47, Number 1, Spring 2020, pp. 39-69 (Article) Published by Texas Tech University Press DOI: https://doi.org/10.1353/hel.2020.0001 For additional information about this article https://muse.jhu.edu/article/765967 [ Access provided at 28 Dec 2020 07:35 GMT from University of Washington @ Seattle ] Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey EMILY HAUSER Abstract Book 1 of the Odyssey presents us with the first bard-figure of the poem, singing what in many ways is an analogue to the Odyssey with “the return of the Greeks”; yet when Penelope appears, it is to attempt to put an end to his song. I use this scene as a starting point to suggest that Penelope is deeply implicated in narrative endings in the Odyssey. Looking at the end or τέλος of the poem through a system- atic study of its “closural allusions,” I argue that a teleological analysis of Penelope’s character in relation to endings may both resolve some of the issues in her inter- pretation thus far, and open up new avenues for the reading of the Odyssey as a poem informed by endings. I. Introduction Penelope’s first appearance in the Odyssey (1.325–144) is to make a request of Phe- mius the bard, who is singing the tale of the Greeks’ return from Troy, the Ἀχαιῶν νόστος (1.326). Phemius’s song of the Greek νόστος (return), of course, mirrors the plot of the Odyssey itself, which has opened only a few hundred lines before with the plea to the Muse to sing of Odysseus and his companions’ return (νόστος, 1.5) from Troy.1 Penelope, however, interrupts the narrative flow and asks the bard to cease singing because of the pain his tale is causing her (1.340–342): ‘ταύτης δ᾽ ἀποπαύε᾽ ἀοιδῆς λυγρῆς, ἥ τέ μοι αἰεὶ ἐνὶ στήθεσσι φίλον κῆρ τείρει . -
Inspiration and Τέχνη: Divination in Plato's
AARON LANDRY | 85 Inspiration INTRODUCTION and Τέχνη: In Plato’s Ion, inspiration functions in con- Divination in tradistinction to technē.1 Since Ion’s rhapso- dic expertise does not stand up to Socrates’ Plato’s Ion epistemological critique, his performances of Homer cannot stem from knowledge, but from elsewhere, from divine inspiration. The two are presented as a strict disjunction. Yet in both cases there is an appeal to divination. If rhapsody, and poetry by extension, cannot synthesize the two, why does Socrates seem 2 Aaron Landry to think that divination can? This puzzle has Humber College caused quite a bit of consternation about the 3 [email protected] value and subject matter of the dialogue. In particular, it is unclear what Socrates thinks about the nature of poetic and rhapsodic ins- piration. In this essay, I will argue that divi- nation constitutes an alternate, and improved, framework for Ion to model his expertise on. By clarifying the role and scope of divination in the Ion, I aim to show that Socrates’ disjunctive account – inspiration or technē – can actually be integrated. In so doing, I argue that there are in fact positive philosophical theses latent ABSTRACT in the dialogue. In part I, I rehearse the contrasting accoun- In Plato’s Ion, inspiration functions in ts of divination in the dialogue. In the first argumentative exchange, divination is refe- contradistinction to technē. Yet, paradoxically, in both cases, there is an appeal to divination. renced as a paradigmatic technē. The seer is I interrogate this in order to show how these best equipped to speak about the contrasting two disparate accounts can be accommodat- depictions of divination given by Homer and ed. -
Divine and Human Action in Euripides' Helen
DIVINE AND HUMAN ACTION IN EURIPIDES’ HELEN Eleni KornaroU Hellenic Open University [email protected] ABSTRACT This article discUsses the interplay of divine and hUman action in EUripides’ Helen . DUe to their limited Understanding and the deception of the gods, mortals are often led to miscalcUlations and errors. Yet this does not mean that they cannot act as free agents. The plot of the play indicates t hat within the limits of their hUmanity, men can determine their fortUnes by their own decisions and attitUde to life, despite the fact that the motives and the natUre of the gods remain ambigUoUs. KEYWORDS : EUripides’ Helen , divine - hUman action, illUsion - reality. ACCIÓN DIVINA Y HUMANA EN LA HELENA DE EURÍPIDES RESUMEN Este artícUlo discUte la interacción hUmana y divina en la Helena de EUrípides. Debido a sU limitada comprensión y al engaño de los dioses, los mortales a menUdo son llevados a conclUsiones erróneas y a errores de jUicio. AUn así, esto no significa qUe no pUedan actUar 3 8 con libertad. La trama de la obra indica qUe dentro de los límites de sU hUmanidad, el hombre 2 4 pUede determinar sU sUerte por sUs propias decisiones y actitUd ante la vida, a pesar del hecho 9 2 de qUe los motivos y la natUraleza de los dioses sigan siendo ambigUos . - 3 8 2 PALABRAS CLAVE : Helena de EUrípides, acción divina - hUmana, ilUsión - realidad. P P , ) 2 ( 0 EUripides’ Helen mUst have made a striking impression on its aUdience in 2 0 2 412 B.C., as is made evident in its extensive parody in Aristophanes’ Thesmophoria- ; 1 2 3 zusae , which was prodUced the following year . -
Julia Roberts- Mythomemology for the Odyssey
Julia Roberts Epic Mythomemology (The Odyssey) Book 1 of The Odyssey The book starts with an invocation of the Muses. All the survivors from Troy return home safely, expect Odysseus. Trapped in the cave of the nymph Calypso, the goddess keeps Odysseus hostage longing for him as her husband. All the Gods has empathy for Odysseus. but Poseidon is enraged by Odysseus for killing the Cyclops Polyphemus . The God’s assemble in meeting, (except Poseidon who travels to the Ethiopians) and Zeus finds issue with the way the mortals always blame the Gods. Athena tells Zeus to let all those mortals die, but to help Odysseus, the man with a cursed fate. Zeus decides to work out a plan with the Gods to bring Odysseus back- disregarding the anger of Poseidon. Athena proposes for Hermes to go to Ogygia Island to the nymph Calypso and release Odysseus, while she goes to the house of Telemachus to send the young prince off to learn more about his father’s journey home. The Gods agree, and Athena goes off to the home of Telemachus disguised as Mentes, an old friend of Odysseus. Athena, as Mentes, makes a prophecy to Telemachus that his father is really alive and making plans for a journey home. Telemachus tells Mentes of the misfortunes of his family and the suitors who are trying to court his mother. Mentes tells Telemachus to drive the suitors out of his home, send his mother to her father’s home to arrange a new marriage (if she wishes), and to sail out in quest to find news of his father. -
Toward an Ethnopoetically Grounded Edition of Homer’S Odyssey1
This article belongs to a special issue of Oral Tradition published in honor of John Miles Foley’s 65th birthday and 2011 retirement. The surprise Festschrift, guest-edited by Lori and Scott Garner entirely without his knowledge, celebrates John’s tremendous impact on studies in oral tradition through a series of essays contributed by his students from the University of Missouri- Columbia (1979-present) and from NEH Summer Seminars that he has directed (1987-1996). http://journal.oraltradition.org/issues/26ii This page is intentionally left blank. Oral Tradition, 26/2 (2011): 299-326 Toward an Ethnopoetically Grounded Edition of Homer’s Odyssey1 Steve Reece My contribution to this Festschrift for Professor John Miles Foley has its origin in an experimental course on comparative oral traditions titled “The Singers of Tales” that I have taught three times in quite different formats, once at Vanderbilt University and twice at Saint Olaf College. I began envisioning this course at the 1992 NEH Summer Seminar on Comparative Oral Traditions administered by Professor Foley in his capacity as the director of the Center for Studies in Oral Tradition at the University of Missouri. The seminar was one of the most pleasant, productive, and pivotal experiences of my academic career, largely because of the warm collegiality of my eleven colleagues and the generous mentoring of Professor Foley, and it continues to this day to have an effect on both my teaching and research. In the most recent incarnation of “The Singers of Tales” I decided, at great risk to my reputation as a traditional teacher and scholar, that the form of the course should match its content—that is, that the entire course should be conducted whenever possible without the aid of reading and writing. -
Penelope and Her Guest (Pg
Wells English 09 The Odyssey, Book 17: Stranger at the Gates (pg. 354-374) Book 18: The Beggar-King of Ithaca (pg. 375-389) Book 19: Penelope and Her Guest (pg. 390-409) Book 20: Portents Gather (pg. 410-423) DIRECTIONS: Below are summaries of Books 17-20 of The Odyssey. You are not required to read these books, although you should read the following summaries as we will resume with Book 21: Summary: Book 17 Telemachus leaves Odysseus at Eumaeus’s hut and heads to his palace, where he receives a tearful welcome from Penelope and the nurse Eurycleia. In the palace hall he meets Theoclymenus and Piraeus. He tells Piraeus not to bring his gifts from Menelaus to the palace; he fears that the suitors will steal them if they kill him. When he sits down to eat with Penelope, Telemachus tells her what little news he received of Odysseus in Pylos and Sparta, but he doesn’t reveal that he has seen Odysseus with his own eyes in Eumaeus’s hut. Theoclymenus then speaks up and swears that Odysseus is in Ithaca at this very moment. Meanwhile, Eumaeus and Odysseus set out toward town in Telemachus’s footsteps. On the way they meet Melanthius, a base subordinate of the suitors, who heaps scorn on Eumaeus and kicks his beggar companion. Odysseus receives a similar welcome at the palace. The suitors give him food with great reluctance, and Antinous goes out of his way to insult him. When Odysseus answers insult with insult, Antinous gives him a blow with a stool that disgusts even the other suitors. -
Focus Questions Reading Guide for Odyssey 16-20
Reading Guide for Odyssey 16-20 Reunion. Man’s Best Friend. Swineherd & Goatherd & Beggar. (In)active Penelope? Gathering Allies. Setting(s): Ithaca Focus Questions 1. Temptations Consider the representation on female characters (mortals, divinities, and monsters) in the first half of the Odyssey. Are there consistencies among the different categories? What temptations and assistance do they offer Odysseus? In what why do you think they prepare for how we are to understand the events on Ithaca in the second half of the Odyssey? Washing of Odysseus' feet. Detail of an Attic 2. Noble Swineherd How did Eumaeus come to be a slave? Note those moments Red-figure skyphos (440 BCE) when he serves as a surrogate father for Telemachus. 3. Dogs (are outstanding) Notice how the dogs react to Telemachus when he approaches Eumaeus’ hut. How did they react to Odysseus? This is a subtle point but it introduces a highly charged scene in which Odysseus must witness his own son treating one of Odysseus’ slaves as a father, while Odysseus must look on silently. Note the simile used to describe Eumaeus when he greets Telemachus? This description, of course, is apt for Odysseus, who, like the reader, must simply observe the touching scene. 4. Plotting Vengeance Why is Telemachus reluctant to accept Odysseus into his house? Read Odysseus’ response carefully. How close does he come at this point to revealing that he is Odysseus? 5. Revelation When Odysseus tells Telemachus that he is his father, notice exactly the way he describes himself. How does Odysseus convince Telemachus that he has come home at last? Notice the simile used by the narrator to describe the tears of the father and son: it is another example of a reverse-simile. -
Erin Daly Mythomemology for the Odyssey
Erin Daly Odyssey Book 1: The Boy and the Goddess The poem begins with the invocation to the Muse. Zeus is in his palace with the other gods- except Poseidon- and Athena lobbies for Odysseus to be sent home. Zeus agrees and sends Hermes to Ogygia where Calypso lives to tell her to let Odysseus go. Athena then devises a plan to raise Odysseus’ son’s spirits by posing as a guest-friend, Mentes. Telemachus speaks to her about how his mother Penelope’s suitors are eating their food and never leaving. Athena as Mentes tells Telemachus his father is alive and then flies away like an owl. Telemachus gains new courage from his meeting with the divine. The poet Phemius sings a sad song about heroes never making it home and upsets Penelope. She tells him to sing another song and Telemachus rebukes her. She leaves and Telemachus addresses the suitors. He plans a meeting with the suitors for the next day and two of the men question him on whom he was speaking to earlier. This quote shows how the suitors’ behavior and overstay are worrisome and uncomfortable. “The gods have given me so many other troubles. All the chiefs of Same, Zacynthus, Dulichium, and local lords from rocky Ithaca, are courting Mother, wasting our whole house.” Odyssey 1.244 ff Homer. The Odyssey. Translated by Emily R. Wilson, W.W. Norton & Company, 2018. Book 2: A Dangerous Journey Telemachus calls a meeting and speaks to the high-ranking men of Ithaca. He tells of the wrong- doings he’s been inflicted with by the suitors. -
Euripides' Helen Tells an International Story, Set at the Mouth of the River
Euripides’ Helen tells an international story, set at the mouth of the river Nile, but in its triangular psychological geography linking the three continents of Africa, Europe, and Asia. It touchingly reunites a famous Greek husband and wife, separated for more than a decade, while she has been in Egypt and he faraway in Asia, fighting before the walls of Troy. The international dimension is appropriate to a play about the peerlessly beautiful Helen, Spartan princess, wife of Menelaus, and alleged cause of the war when she eloped with the Trojan Prince Paris. For Helen was so famous that the ancient Egyptians themselves liked to think that she had spent time in their country, and their temple historians were probably the ultimate source for the myth that Euripides the Athenian playwright dramatised in his dazzling Helen of 412 BCE. Euripides was already at least seventy years old and experimenting with plays involving exotic locations, surprise, suspense, and emotionally sophisticated relationships. No wonder he was attracted to this version of Helen’s tale, in which she never went to Troy at all; Zeus’ winged son Hermes had instead taken her, wrapped in a cloud, to stay with the Egyptian King Theoclymenus. The intention was to keep her safe in a secret location. The Helen for whose sake the Greeks and Trojans massacred one another was merely a phantom, a divinely created ‘double’ so lifelike that even her lover had been deceived. But in this play the real Helen, who has remained faithful to Menelaus, sees her virtue rewarded as they are joyfully reunited and escape, with the divine blessing of Helen’s winged brothers Castor and Pollux. -
Prophecy and Persons: Reading Character in the Odyssey
Reading Character in the Odyssey 3 PROPHECY AND PERSONS: READING CHARACTER IN THE ODYSSEY JOHN PERADOTTO But for its outrageous alliteration, this essay should perhaps be titled “Prophecy, Persons, Plot, Penelope, and Postmodernism.” I shall indeed be touching on all these topics, and the real focus of my remarks will be Penelope; in particular, why we don’t know what she will do until she does it—in a story where everyone else’s moves are forecast long before the event. But in what sounds paradoxical, but is only apparently so, I shall not have much to say about Penelope in detail. That is largely because a number of people have done that admirably and in considerable detail, three of whom are contributors to this volume: Lillian Doherty (1995), Nancy Felson (1997), and Sheila Murnaghan (1987, esp. 118–47).1 My remarks here are but modest reflections on theirs, what I would call a frame designed to set off their work with some more general considerations about the way we read character in and into fiction. And that will allow me to make another quick pass at a topic that has haunted my entire scholarly life, the relation between fiction and so-called real life, that is, the relation between literary text and non-literary context, both at the front end—the context of verisimilar con- straints on the artist’s production, and at the back end—the context of belief, behavior, and worldview shaped anew by the text as model. In my study of the way in which prophecy is used in Greek narrative, what has become a dominant theme is the intimate connection between prophecy and character. -
The Play of Emotion in Euripides' Helen
The Play of Emotion in Euripides’ Helen Two major strands in scholarship on Euripides’ Helen downplay its emotional aspects for different reasons. On the one hand, emphasis on the play’s engagement with philosophical issues privileges intellectual over emotional effects (Solmsen 1934, Segal 1971, Downing 1990), and on the other hand, attention to its tragicomic or melodramatic qualities privileges plot over character (Kitto 1961: 311-29, Arnott 1990, Pucci 1997). I argue that, while Helen is indeed both exciting and thought-provoking, emotion is central to its design. Helen’s misery and her feelings of loss and abandonment motivate and sustain the action from her opening lines through her successful escape from Egypt. In the prolog, Helen describes how the machinations of Hera and Aphrodite led to her likeness being abducted to Troy while she was brought to Egypt, with the result that she is doubly reviled for adultery and for causing the Trojan War. Adding insult to injury, she is being pursued by the tyrant Theoclymenus and has taken refuge at his father’s tomb. The opening scenes only multiply her misery. Her posture is that of an abject suppliant, sleeping outdoors on straw beside the tomb. Teucer arrives to heighten her objective misery by reporting her mother’s suicide, her daughter’s plight, and the apparent deaths of her brothers and husband. He also heightens her subjective misery by mirroring, in his exile and mistreatment by his father, Helen’s own banishment and false condemnation. She is joined by a chorus of Greek women who sing with her a long lyric lament, she then bewails her monstrous life (τέρας γὰρ ὁ βίος 260) and sings a monody longing for death.