A Character Analysis of Penelope in the Penelopiad
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Odyssey Glossary of Names
GLOSSARY OF NAMES GLOSSARY OF NAMES [Note, the following is raw output from OCR software, and is otherwise unedited.] (First appearance noted by book and line number.) Achaeans (A-kee'-unz): General term used by Homer to reFer to Greeks. 2.139 Acheron (A'-ker-on): River in the Underworld, land of the dead. 10.537 Achilles (A-kil'-eez): Son of Peleus and Thetis. He is the heroic leader of the Myrmidons in the Trojan War and is slain by Paris. Odysseus consults him in the Underworld. 3.117 Aeaea (Ee-ee'-a): Island on which Circe lives. 9.34 Aegisthus (Ee-jis'-thus): Son of Thyestes and Pelopia. He seduces Clytemnestra, wife of Agamemnon, while Agamemnon is away fighting the Trojan War and helps her slay Agamemnon when he returns. Orestes avenges this action years later by murdering both Clytemnestra and Aegisthus. 1.35 GLOSSARY OF NAMES Aegyptus (Ee-jip'-tus): The Nile River. 4.511 Aeolus (Ee'-oh-lus): King of the island Aeolia and keeper of the winds. 10.2 Aeson (Ee'-son): Son oF Cretheus and Tyro; father of Jason, leader oF the Argonauts. 11.262 Aethon (Ee'-thon): One oF Odysseus' aliases used in his conversation with Penelope. 19.199 Agamemnon (A-ga-mem'-non): Son oF Atreus and Aerope; brother of Menelaus; husband oF Clytemnestra. He commands the Greek Forces in the Trojan War. He is killed by his wiFe and her lover when he returns home; his son, Orestes, avenges this murder. 1.36 Agelaus (A-je-lay'-us): One oF Penelope's suitors; son oF Damastor; killed by Odysseus. -
Another Penelope: Margaret Atwood's the Penelopiad
Monica Bottez ANOTHER PENELOPE: MARGARET ATWOOD’S THE PENELOPIAD Keywords: epic; quest; hybrid genre; indeterminacy; postmodernism Abstract: The paper sets out to present The Penelopiad as a rewriting of Homer’s Odyssey with Penelope as the narrator. Using the Homeric intertext as well as other Greek sources collected by Robert Graves in his book The Greek Myths and Tennyson‟s “Ulysses,” it evidences the additions that the new narrative perspective has stimulated Atwood to imagine. The Penelopiad is read as propounding a new genre, the female epic or romance where the heroine’s quest is analysed on analogy with the traditional romance pattern. The paper dwells on the contradictory and parody- like versions of events and characters embedded in the text: has Penelope been the perfect patient devoted wife, a cunning lustful pretender, or the High Priestess of an Artemis cult? In conclusion, the reader can never know the truth, being tied up in the utterly puzzling indeterminacy of meaning specific to postmodernism. The title of Margaret Atwood‟s novella makes the reader expect a rewriting of Homer‟s Odyssey, which is precisely what the author does in order to enrich it with new interpretations; since myths and legends are the repository of our collective desires, fears and longings, their actuality can never be exhausted: Atwood has used mythology in much the same way she has used other intertexts like folk tales, fairy tales, and legends, replaying the old stories in new contexts and from different perspectives – frequently from a woman‟s point of view – so that the stories shimmer with new meanings. -
The Penelopiad
THE PENELOPIAD Margaret Atwood EDINBURGH • NEW YORK • MELBOURNE For my family ‘… Shrewd Odysseus! … You are a fortunate man to have won a wife of such pre-eminent virtue! How faithful was your flawless Penelope, Icarius’ daughter! How loyally she kept the memory of the husband of her youth! The glory of her virtue will not fade with the years, but the deathless gods themselves will make a beautiful song for mortal ears in honour of the constant Penelope.’ – The Odyssey, Book 24 (191–194) … he took a cable which had seen service on a blue-bowed ship, made one end fast to a high column in the portico, and threw the other over the round-house, high up, so that their feet would not touch the ground. As when long-winged thrushes or doves get entangled in a snare … so the women’s heads were held fast in a row, with nooses round their necks, to bring them to the most pitiable end. For a little while their feet twitched, but not for very long. – The Odyssey, Book 22 (470–473) CONTENTS Introduction i A Low Art ii The Chorus Line: A Rope-Jumping Rhyme iii My Childhood iv The Chorus Line: Kiddie Mourn, A Lament by the Maids v Asphodel vi My Marriage vii The Scar viii The Chorus Line: If I Was a Princess, A Popular Tune ix The Trusted Cackle-Hen x The Chorus Line: The Birth of Telemachus, An Idyll xi Helen Ruins My Life xii Waiting xiii The Chorus Line: The Wily Sea Captain, A Sea Shanty xiv The Suitors Stuff Their Faces xv The Shroud xvi Bad Dreams xvii The Chorus Line: Dreamboats, A Ballad xviii News of Helen xix Yelp of Joy xx Slanderous Gossip xxi The Chorus Line: The Perils of Penelope, A Drama xxii Helen Takes a Bath xxiii Odysseus and Telemachus Snuff the Maids xxiv The Chorus Line: An Anthropology Lecture xxv Heart of Flint xxvi The Chorus Line: The Trial of Odysseus, as Videotaped by the Maids xxvii Home Life in Hades xxviii The Chorus Line: We’re Walking Behind You, A Love Song xxix Envoi Notes Acknowledgements Introduction The story of Odysseus’ return to his home kingdom of Ithaca following an absence of twenty years is best known from Homer’s Odyssey. -
Ovid's Wife in the Tristia and Epistulae Ex Ponto
OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN (Under the Direction of T. KEITH DIX) ABSTRACT Augustus exiled Ovid to Tomis in AD 8 in part, the poet says, because of his carmen, the Ars Amatoria. Ovid presents the misfortunes of exile in two collections of elegiac epistles, the Tristia and Epistulae ex Ponto. As the recipient of nine epistles, Ovid’s wife is his most frequent addressee. Other poems throughout the two works also mention her. Ovid models the persona of his wife in the exile poetry on characters he developed in the Amores, Heroides, and Ars Amatoria. She appears initially as an abandoned heroine, then as a beloved from whom Ovid seeks fulfillment of his needs, and eventually becomes a pupil in imperial courtship. The resulting “conjugal love elegy” does not replace his earlier erotic elegy but recasts it as a means for Ovid to lament his misfortunes, present a new image for his poet-narrator, and immortalize his genius. INDEX WORDS: Augustus, Coniunx, Elegy, Epistolary Poetry, Epistulae, Exile, Latin, Livia, Ovid, Ovid’s wife, Tristia OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN B.A., The University of Minnesota, 1996 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Amy Nohr Petersen All Rights Reserved OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN Major Professor: T. -
Fahrenheit 451 by Ray Bradbury These Texts Can Be Signed out in Ms
9 Honors Summer Reading We Have Always Lived in the Castle by Shirley Jackson As you read the novel, take notes, using the rubric to guide you. These notes will be collected and graded one day during the first week of school. They will help you with our class discussions and in-class assignments. Consider and take notes on the following as you read: • Setting: What is the setting? How does the impact the plot and characters? How does it further the themes? • Characters/Character Traits: Identify the character traits for each of the main characters. What do you like or dislike about the characters? Are they dynamic or static? What are the characters’ motivations? • Conflicts: What are the central conflicts in each piece? Consider both internal and external conflicts. Are they resolved? • Quotes: Identify and explain the context and significance of quotes that you feel are important or interesting. Cite page numbers. • Literary Style and Technique: What do you notice about the author’s style and/or use of literary elements? (Foreshadowing, irony, imagery, symbolism, metaphor, etc.) Provide examples and explain how they add to the meaning of the text. • Topics for Theme (Reminder, a topic is a subject that is discussed throughout a piece of literature, and the theme is the claim that the author makes about the subject.): What themes can you identify? What was the author’s purpose in writing the book? • Questions: What questions do you have as you read? 9H Summer Reading Notes Rubric 4 3 2 1 Content - all notes are relevant -most notes are -
Symphony Hall, Boston Huntington and Massachusetts Avenues
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 toe Bymmpltoey Orchestra INC. SERGE KOUSSEVITZKY, Conductor FORTY-FOURTH SEASON, 1924-1925 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1924, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT ERNEST B. DANE . HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN ARTHUR LYMAN E. SOHIER WELCH W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager 505 — THE INST%U£MENT OF THE IMMORTALS IT IS true that Rachmaninov, Pader- Each embodies all the Steinway ewski, Hofmann—to name but a few principles and ideals. And each waits of a long list of eminent pianists only your touch upon the ivory keys have chosen the Steinway as the one to loose its matchless singing tone, perfect instrument. It is true that in to answer in glorious voice your the homes of literally thousands of quickening commands, to echo in singers, directors and musical celebri- lingering beauty or rushing splendor ties, the Steinway is an integral part the genius of the great composers. of the household. And it is equally true that the Steinway, superlatively fine as it is, comes well within the There is a Steinway dealer in your range of the moderate income and community or near you through 'whom meets all the requirements of the you may purchase a new Steinway modest home. -
The World of Odysseus M
THE WORLD OF ODYSSEUS M. I. FINLEY INTRODUCTION BY BERNARD KNOX NEW YORK REVIEW BOOKS CLASSICS THE WORLD OF ODYSSEUS M. I. FINLEY (1912–1986), the son of Nathan Finkelstein and Anna Katzellenbogen, was born in New York City. He graduated from Syracuse University at the age of fifteen and received an MA in public law from Columbia, before turning to the study of ancient history. During the Thirties Finley taught at Columbia and City College and developed an interest in the sociology of the ancient world that was shaped in part by his association with members of the Frankfurt School who were working in exile in America. In 1952, when he was teaching at Rutgers, Finley was summoned before the Senate Internal Security Subcommittee and asked whether he had ever been a member of the Communist Party. He refused to answer, invoking the Fifth Amendment; by the end of the year he had been fired from the university by a unanimous vote of its trustees. Unable to find work in the US, Finley moved to England, where he taught for many years at Cambridge, helping to redirect the focus of classical education from a narrow emphasis on philology to a wider concern with culture, economics, and society. He became a British subject in 1962 and was knighted in 1979. Among Finley’s best-known works are The Ancient Economy, Ancient Slavery and Modern Ideology, and The World of Odysseus. BERNARD KNOX is director emeritus of Harvard’s Center for Hellenic Studies in Washington, DC. Among his many books are The Heroic Temper, The Oldest Dead White European Males, and Backing into the Future: The Classical Tradition and Its Renewal. -
The Classicist President
the Classicist President Book Review: by Susan Ford Wiltshire The Penelopiad by Matthew Clark n September 20, 1863, the last Oday of the Battle of Chickamau- Margaret Atwood. The Penelopiad: The ga, a thirty-one-year-old Myth of Penelope and Odysseus. Alfred A. brigadier general from Ohio – already a Knopf, Canada (http://www.random- classics professor, college president, and house.ca), 2005. Pp. xv, 199. Hardcover newly elected to the U. S. Congress – left the retreat of Union General William $17.95. ISBN 0-676-97418-X. S. Rosecrans, whom he served as mili- tary chief of staff, and rode under heavy argaret Atwood’s The Penelopiad: fire to the side of General George H. MThe Myth of Penelope and Odysseus Thomas, still standing his ground against is one volume in a series of retellings of the Confederate troops on another front. The professor’s detailed battle reports to myths from around the world by various Thomas strengthened Thomas’ resolve modern authors. Thirty-one publishers are to fight on and helped save the Union participating in the project; other writers Army of the Cumberland. In time, the contracted to produce versions include professor’s action that day helped take Chinua Achebe, Donna Tartt, and A. S. Fig. 1. James A. Garfield, major general him all the way to the White House. Byatt; Karen Armstrong has written a gen- James Abram Garfield, the only pro- in the Union Army during the Civil War, fessional classicist ever to serve as Presi- 1862. eral account of myth (A Short History of dent of the United States, was born in a Garfield had little more to learn from the Myth, 2005) to accompany the series as a log cabin in northern Ohio on Novem- resources of Hiram and began to teach whole. -
Unique Perspectives in Etruscan Mythology — Concerning the Causes of the Trojan War
Unique perspectives in Etruscan mythology — concerning the causes of the Trojan War Updated 1.28.13 by Mel Copeland (From “Etruscan Phrases” (http://www.maravot.com/Etruscan_Phrases_a.html) The Etruscans were experts in telling their mythology through murals in their tombs, and the mirrors used by their gentry, sold throughout their known world, from the interior of France to the coasts of the Black Sea and North Africa. Etruscan mirrors were beautifully engraved, recalling details recorded in Greek mythology; however, the Etruscans had a unique view of certain stories, particularly those involving Helen of Troy, with many mirrors devoted to the Trojan War and its heroes. Murals in Etruscan tombs tended to show situations of the underworld, such as the appeal of the three- headed giant Geryon (Etr. Cervn) to the god of the underworld, Hades (Etr. AITA). Seated beside the god is the wife whom Hades abducted, Persephone (Etr. PHERSIPNEI), who is allowed to return to earth once a year, as a herald of the coming of spring. This mural from the Tomb of Orcos shows the three-headed giant Geryon (Etr. CERVN) appealing to AITA (Latin Pluto) on the complaint that Heracles (Etr. HERKLE) had stolen his cattle. The theft was the 10th Labor of Heracles. The names of the characters are important in this mural, particularly that of PHERSIPNEI. We note the suffix “EI” in her name that is also one of two suffixes used in Helen of Troy’s names (ELINAI and ELINEI). The common declension to ELINEI and PHERSIPNEI helps us understand the application of the “EI” suffix, since we can see CERVN is appealing to PHERSIPNEI. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
O Oceanids (Ὠκεανίδες). the 'Holy Company' of Daughters of *Ocean and *Tethys, and Sisters of the River-Gods. Their N
O Oceanids (Ὠκεανίδες). The 'holy company' of daughters of *Ocean and *Tethys, and sisters of the river-gods. Their number varies, but Apollodorus names seven (Asia, *Styx, Electra, Doris, Eurynome, *Amphitrite, *Metis) and Hesiod forty-one, including, in addition to those mentioned by Apollodorus, *Calypso *Clymene and Philyra. Most of those named mated with gods (Amphitrite with Poseidon, Doris with Nereus for example) and produced important offspring (Athena was born from Metis and Zeus, Philyra mated with Kronos in the form of a horse and produced the centaur Chiron, Clymene was the mother of Prometheus, and also bore Phaethon to Helius the sun-god.). The sons of Ocean were the fresh-water rivers, but some of the daughters were sea-nymphs, others spirits of streams called after a characteristic of their water such as Ocyrrhoe ('swift-flowing') or Xanthe ('brownish-yellow'); Styx, unusually, was a female river deity, personifying the river of Hades. Calypso ruled over the island kingdom of Ogygia (but her parentage as a true Oceanid is disputed). Metis had the ability, common to sea-gods, of being able to change her shape, although she was little more than the personification of wisdom, swallowed by Zeus in order to absorb that wisdom and to contain any threat from the child with whom she was pregnant. Oceanids feature as the chorus in Prometheus Bound, a tragedy which is set at the north-eastern edge of the known world, and at a time before Zeus had consolidated his power. The Oceanids were part of the older, pre-Olympian race of gods, who had a role as consorts or mothers of other divinities, but were more often viewed anonymously as belonging to the vastness of the sea, to be placated in times of storm and turbulence. -
Prof. Thomas Hubbard Office: WAG 9 Hours: M-‐F 1:00
Prof. Thomas Hubbard Office: WAG 9 Hours: M-F 1:00-1:30 Phone: 471-0676 E-mail: [email protected] SYLLABUS – CLASSICAL MYTHOLOGY (CC f303 - #82242) The purpose of this course is to familiarize students in depth with the major myths of Ancient Greece, which have proven so influential on art, literature, and popular imagination in Rome, Renaissance and Baroque Europe, and even the contemporary world. We shall examine the various cultural influences that shaped and transformed these stories, as well as the way that gods and heroes were embedded in religious cult and ritual. Students will also be afforded the opportunity to learn about major theories of interpretation. The format of the course will center around daily lectures, but questions and discussion are encouraged. PART ONE: THE OLYMPIAN GODS June 5 - "The Nature of Myths and their Interpretation: The Case of the Greeks" June 6 - "Who Were the Greeks?" Reading: Csapo, Theories (pp. 1-36) June 9 - "Zeus and the Establishment of Power" Reading: Hesiod, Theogony; Handbook: Zeus, Prometheus, Typhoeus, Lycaon, Baucis and Philemon, Deucalion June 10 - "Hera and the Preservation of Marital Order" Reading: Handbook: Io, Europa, Antiope, Leda, Semele, Ganymede, Thetis, Hera June 11 - "Poseidon and the Realm of the Sea" Reading: Handbook: Poseidon, Nereus, Nereids, Amphitrite, Amymone, Melanippe, Polyphemus June 12 - "Hades, Death, and the Underworld" Reading: Handbook: Hades (1) & (2), Persephone, Sisyphus, Tantalus, Ixion, Tityus, Danaus, Charon, chthonian deities, Erinyes, Fates June 13 - "Demeter