On a Mission: Heroic Quests

Total Page:16

File Type:pdf, Size:1020Kb

On a Mission: Heroic Quests On a Mission: Heroic Quests Annabel Orchard Perseus and Medusa: Script and Animated by Square I for the Australian Broadcasting Coorporation: www.wingedsandals.com. Image from Uninews, University of Melbourne, UniNews Vol. 13, No. 21 15 - 29 November 2004 : http://archive.uninews.unimelb.edu.au/news/1923/ RECAP: Themes and patterns in heroic biography • Close to the gods • Living on the margins • Quest pattern • Rite of passage • Confrontation with death Types of quest narratives Individual, e.g. • Perseus’s quest to behead Medusa • Telemachus’ quest to learn about his father Collective • Jason and the Argonauts • The Trojan War RECAP: The quest pattern • Typical element of hero myth • Journey over land or sea/ journey into unknown • Often sent on journey so that they will be killed • Face danger, monsters etc. • Bring back object, person, knowledge Perseus • Prophecy • Unusual conception Danae & the Golden Shower, Athenian • Son of a god red-figure krater C5th BCE, State (Homer, Iliad Hermitage Museum, St Petersburg. Cat. No. ST 1723: 14.319-20) http://www.theoi.com/Gallery/K1.12.html Perseus • Threatened in infancy • Sent on quest Danae and Perseus set adrift in a chest. Attic Red Figure Hydria Attributed to the Gallatin Painter. ca 490 BCE, Museum of Fine Arts, Boston, USA, Cat. No.: Boston 13.200: http://www.theoi.com/ Gallery/H1.4.html Perseus: divine accoutrements * Winged sandals * Cap of invisibility * Pouch *Adamantine sickle- unbreakable Perseus beheads Medusa. Attic Red Figure Hydria Attributed to the Pan Painter, ca 500 - 450 BCE, British Museum, London, UK, Cat. No.: London E181: http://www.theoi.com/Gallery/P23.7.html Perseus: rite of passage • Rescues, marries Andromeda Andromeda, chained up as a sacrifice to the sea monster, the ketos. Perseus fights the ketos, here ridden by Eros. Apulian Red Figure amphora ca 325 BCE, J Paul Getty Museum, California, USA, Cat. No.: Malibu 84.AE.996: http://www.theoi.com/Gallery/P28.3.html The Quest of Perseus • Perseus and the Gorgon • http://www.abc.net.au/arts/ wingedsandals/storytime1.htm Perseus and Medusa: Script and Animated by Square I for the Australian Broadcasting Coorporation: www.wingedsandals.com. Image from Uninews, University of Melbourne, UniNews Vol. 13, No. 21 15 - 29 November 2004 : http://archive.uninews.unimelb.edu.au/news/1923/ Collective quest narratives Jason boarding the Argo with the Argonauts, Attic krater, 5th c. BCE, Museo Jatta, Ruvo di Puglia, Italy: http://www.mlahanas.de/Greeks/ images/ArgoShip.jpg Suggested literary source: Apollonius of Rhodes, Argonautica: for the Sirens, see Argonautica 4. 892 ff Rite of passage? A narrative representation of a ‘coming of age’? • Heroes usually young males • Hero faces death, overcomes it: death to childhood, rebirth as adult • Sexual maturity: hero rescues/ abducts/ destroys females Rite of passage? • Homer’s Odyssey • A return, or homecoming tale , a nostos (pl. nostoi) e.g. Nostalgia • Also a journey through life? • The ‘Telemachy’, books 1-4: a rite of passage or coming of age story Telemachus and the ‘rite of passage’ • Paideusis=transition form childhood to manhood Penelope and Telemachus await Odysseus' return to Ithaca. Detail of an Attic Red-figure skyphos, 440 BC, from Chiusi, by the Penelope Painter. IMAGE SOURCE: http://www.utexas.edu/courses/mythmoore/imagefiles19/images19/telemachus.jpg Telemachus and the ‘rite of passage’ • Books 1-4 and Book 15 • Athena = ‘Mentes’ (at house) • Athena = ‘Mentor’ (on voyage) Athena (in the form of Mentor) and Telemachus. IMAGE: http:// www.mlahanas.de/ Greeks/Mythology/ Images/ FlMentorTelemachus.jp g Telemachus in Pylos • Nestor and his son Pisistratus • The practice of xenia • Building his own guest-friendships and reputation • Travels to Sparta with Pisistratus Telemachus (left) arrives at the house of Nestor( centre), Red-figure South Italian vase of 3rd or 4th century BCE. http://www.angelfire.com/art/archictecture/odyssey/images/telemachusnestor.jpg Telemachus in Sparta • Preparations for a wedding feast (cf. Ithaca) • News of Odysseus • The tale of Melelaus Jean-Jacques Lagrenee, Helen • The tale of Helen Recognising Telemachus, Son of Odysseus (1795) http://www.arthermitage.org/Jean-Jacques-Lagrenee/ Helen-Recognising-Telemachus-Son-of-Odysseus.jpg Coming up • Next lecture: The Underworld Quest • Next week: The Quest of Odysseus .
Recommended publications
  • Homer's Odyssey and the Image of Penelope in Renaissance Art Giancarlo FIORENZA
    223 Homer's Odyssey and the Image of Penelope in Renaissance Art Giancarlo FIORENZA The epic heroine Penelope captured the Renaissance literary and artistic imagination, beginning with Petrarch and the recovery of Homer's poetry through its translation into Latin. Only a very small number of humanists in the 14'h century were able to read Homer in the Greek original, and Petrarch's friend Leontius Pilatus produced for him long-awaited Latin translations of the Iliad 1 and Odyssey in the 1360s • Profoundly moved by his ability to finally compre­ hend the two epics (albeit in translation), Petrarch composed a remarkable letter addressed to Homer in which he compares himself to Penelope: "Your Penelope cannot have waited longer nor with more eager expectation for her Ulysses than I did for you. At last, though, my hope was fading gradually away. Except for a few of the opening lines of certain books, from which there seemed to flash upon me the face of a friend whom I had been longing to behold, a momen­ tary glimpse, dim through the distance, or, rather, the sight of his streaming hair, as he vanished from my view- except for this no hint of a Latin Homer had come to me, and I had no hope of being able ever to see you face to face"'. The themes of anticipation and fulfillment, and longing and return that are associated with the figure of Penelope coincide with the rediscovery of ancient texts. To encounter Homer for the first time in a language with which one was 3 familiar was as much a personal as a literary experience • As Nancy Struever observes, Petrarch's Le Familiari, a collection of letters addressed to contemporary friends and ancient authors, values friendship and intimate exchange because 4 it leads to knowledge and affective reward • Books on their own (Le Familiari, XII, 6) constituted surrogate friends with whom Petrarch could correspond, con­ verse, exchange ideas, and share his affections.
    [Show full text]
  • Odysseus and Feminine Mêtis in the Odyssey Grace Lafrentz
    Vanderbilt Undergraduate Research Journal, Vol. 11 Weaving a Way to Nostos: Odysseus and Feminine Mêtis in the Odyssey Grace LaFrentz Abstract. My paper examines the gendered nature of Odysseus’ mêtis, a Greek word describing characteristics of cleverness and intelligence, in Homer’s Odyssey. While Odysseus’ mêtis has been discussed in terms of his storytelling, disguise, and craftsmanship, I contend that in order to fully understand his cleverness, we must place Odysseus’ mêtis in conversation with the mêtis of the crafty women who populate the epic. I discuss weaving as a stereotypically feminine manifestation of mêtis, arguing that Odysseus’ reintegration into his home serves as a metaphorical form of weaving—one that he adapts from the clever women he encounters on his journey home from Troy. Athena serves as the starting point for my discussion of mêtis, and I then turn to Calypso and Circe—two crafty weavers who attempt to ensnare Odysseus on their islands. I also examine Helen, whom Odysseus himself does not meet, but whose weaving is importantly witnessed by Odysseus’ son Telemachus, who later draws upon the craft of weaving in his efforts to help Odysseus restore order in his home. The last woman I present is Penelope, whose clever and prolonged weaving scheme helps her evade marriage as she awaits Odysseus’ return, and whose lead Odysseus follows in his own prolonged reentry into his home. I finally demonstrate the way that Odysseus reintegrates himself into his household through a calculated and metaphorical act of weaving, arguing that it is Odysseus’ willingness to embrace a more feminine model of mêtis embodied by the women he encounters that sets him apart from his fellow male warriors and enables his successful homecoming.
    [Show full text]
  • An Education Program for Improving Knowledge of Experienced and Aspiring Mentors Joy-Marie Quiambao Calunsag Walden University
    Walden University ScholarWorks Walden Dissertations and Doctoral Studies Walden Dissertations and Doctoral Studies Collection 2019 An Education Program for Improving Knowledge of Experienced and Aspiring Mentors Joy-Marie Quiambao Calunsag Walden University Follow this and additional works at: https://scholarworks.waldenu.edu/dissertations Part of the Nursing Commons This Dissertation is brought to you for free and open access by the Walden Dissertations and Doctoral Studies Collection at ScholarWorks. It has been accepted for inclusion in Walden Dissertations and Doctoral Studies by an authorized administrator of ScholarWorks. For more information, please contact [email protected]. Walden University College of Health Sciences This is to certify that the doctoral study by Joy-Marie Calunsag has been found to be complete and satisfactory in all respects, and that any and all revisions required by the review committee have been made. Review Committee Dr. Edna Hull, Committee Chairperson, Nursing Faculty Dr. Barbara Gross, Committee Member, Nursing Faculty Dr. Tracy Wright, University Reviewer, Nursing Faculty The Office of the Provost Walden University 2019 Abstract An Education Program for Improving Knowledge of Experienced and Aspiring Mentors by Joy-Marie Q. Calunsag MA, Angeles University Foundation, Philippines, 1996 BS, Angeles University Foundation, Philippines, 1994 Project Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Nursing Practice Walden University August 2019 Abstract Using a staff development approach, this doctor of nursing practice project addressed the preparation of nurses who serve in the role of mentors. Developed and carried out in an American Nurses Credentialing Center Magnet-designated hospital, the primary aim of the project was to develop and implement a staff education program for mentors focusing on best-practice strategies for mentoring new nurses.
    [Show full text]
  • Summary Ng from the Homecomi Homer Od from the Not Recognize His Father
    Name Date from the ODYSSEY: PART 2 Summary THE HomecomiNG FROM THE ODYSSEY Homer Setting: Islands in the Mediterranean Sea, possibly around 1200 B.C. Book 16: Odysseus returns home dressed as a beggar. He meets Eumaeus, the faithful swineherd. Then he sees his son, Telemachus. Telemachus does not recognize his father. When Odysseus removes the disguise, Telemachus thinks he is a god. Finally, Telemachus recognizes his father. Father and son weep to be together again. Book 17: Odysseus returns to his palace still disguised as a beggar. Outside, he sees his dog, Argus, who has been treated badly while he was gone. Odysseus is angered by the dog’s poor condition. Book 21: Odysseus discovers that many suitors are at the palace. They want to marry Penelope. She has given up hope that Odysseus will return. She plans a contest. She will marry the winner. The men must string Odysseus’ bow. Then they must shoot an arrow through the holes in 12 ax heads. No one can string the bow. Still dressed as a beggar, Odysseus completes both tasks. Book 22: Odysseus takes off his disguise. He kills Antinous, the leader of the suitors. The remaining suitors decide they must fight with Odysseus. Telemachus and two servants join Odysseus in the fight. With the help of these men and Athena, Odysseus kills all the suitors. Book 23: Penelope is not sure the man is really Odysseus. She asks a servant to put his bed FROM outside his bedroom. Odysseus says that the bed cannot be moved. One of its posts is the from the trunk of an olive tree.
    [Show full text]
  • The Monomyth Today: the Journey of the Mythological Hero in Catching Fire, by Suzanne Collins’
    Morais, G. A. L. F. de. (2018); ‘The monomyth today: the journey of the mythological hero in Catching Fire, by Suzanne Collins’ Rosetta 22: 40 - 64 http://www.rosetta.bham.ac.uk/issue22/Morais.pdf The monomyth today: the journey of the mythological hero in Catching Fire, by Suzanne Collins Guilherme Augusto Louzada Ferreira de Morais UNESP/IBILCE – FAPESP Proc. nº 2015 / 23592-4 Abstract In this article, my objective is to analyse and revise the classical hero model, based mainly on The Hero with a Thousand Faces,1 a theoretical apparatus of great importance with regard to the characterization of mythological heroes. Concurrently, I will demonstrate, from Campbell’s theory, how Suzanne Collins, Catching Fire’s author,2 performs in her work the monomyth, and how she inserted the model of the classical hero into the narrative road of her main character, Katniss Everdeen. Keywords: Joseph Campbell; Classical hero model; mythological hero; Suzanne Collins; Katniss Everdeen. 1 Campbell 2004. 2 Collins 2009. 40 This work proposes to analyse and revise the classical hero model in the novel Catching Fire, by the American author Suzanne Collins. Joseph Campbell’s The Hero with a Thousand Faces3 will be the most important theoretical apparatus of this essay. I use, as a source of the classical myths, authors such as Homer and Ovid, but I also use The Concise Dictionary Of Classical Mythology, by Pierre Grimal, a French historian, classicist and Latinist. Campbell analyses the exploits of heroes from various narratives, not sticking merely to the classics (namely the most well-known myths, such as Perseus, Heracles, etc.), and uses hero narratives to suggest that humanity has always had the same dreams and fears.
    [Show full text]
  • 4. Barsine, Daughter of Artabazus
    Alexander’s Lovers by Andrew Chugg 4. Barsine, Daughter of Artabazus Barsine was by birth a minor princess of the Achaemenid Empire of the Persians, for her father, Artabazus, was the son of a Great King’s daughter.197 It is known that his father was Pharnabazus, who had married Apame, the daughter of Artaxerxes II, some time between 392 - 387BC.198 Artabazus was a senior Persian Satrap and courtier and was latterly renowned for his loyalty first to Darius, then to Alexander. Perhaps this was the outcome of a bad experience of the consequences of disloyalty earlier in his long career. In 358BC Artaxerxes III Ochus had upon his accession ordered the western Satraps to disband their mercenary armies, but this edict had eventually edged Artabazus into an unsuccessful revolt. He spent some years in exile at Philip’s court during Alexander’s childhood, starting in about 352BC and extending until around 349BC,199 at which time he became reconciled with the Great King. It is likely that his daughter Barsine and the rest of his immediate family accompanied him in his exile, so it is feasible that Barsine knew Alexander when they were both still children. Plutarch relates that she had received a “Greek upbringing”, though in point of fact this education could just as well have been delivered in Artabazus’ Satrapy of Hellespontine Phrygia, where the population was predominantly ethnically Greek. As a young girl, Barsine appears to have married Mentor,200 a Greek mercenary general from Rhodes. Artabazus had previously married the sister of this Rhodian, so Barsine may have been Mentor’s niece.
    [Show full text]
  • 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
    [Show full text]
  • Mentors and the Environment of Research
    Mentors and the Environment of Research Alan Dardik, MD, PhD, FACS Section of Vascular Surgery Yale University School of Medicine Disclosure • Nothing to disclose 31 postdoctoral fellows 5 medical student M.D. theses 4 masters M.H.S. theses 4 graduate Ph.D. theses 12 vascular surgery fellows The Balance of Life Youth time strength Old Age money Middle Age The environment of research • University • Quality of research • Industry space • Private institutions • Colleagues – Hospitals • Effective work – Foundations environment • Job satisfaction and performance • Branding • Efficient use of resources Structure of University Research InstitutionPI’s lab Section Department Institution Resulting Forces Family Lifestyle Section Head Other Faculty resources Clinical Work / On Call InstitutionPI’s lab Chairman Overall Career Planning Section Protected Time Administrative Support Department Institution Location Academic Potential Salary / Benefits Congratulations! • You have a –First position –New position You want to succeed But what is success ?? www.speakingchannel.tv pro.corbis.com Failure Problems Solutions • Not being true to yourself • Know thyself – Know what you want – Spend time thinking, talking – Know what you need – Spouse, peers • Accepting a poor position • Investigate (negotiate) well • Not having advice • Find mentors What is a mentor? • Greek mythology • Mentor (Μέντωρ) – son of Heracles and Asopis • Friend of Odysseus – When Odysseus left for the Trojan war, he placed Mentor in charge of his son Telemachus – Athena disguised herself
    [Show full text]
  • Mentoring Toolkit
    1 Mentor Tools and Tips for a Positive Mentoring Experience SEAS Center for Women in Engineering Spring 2020 What is Mentoring? Mentoring is a structured and trusted relationship. It is an intentional relationship established for a specific duration around mutually agreed upon goals of guiding, supporting, and encouraging the development of the mentee. The word “mentor” has its origin in Greek mythology. Mentor was the son of Alcimus. Mentor was a close friend of Odysseus. As Odysseus went off to the Trojan War, he asked Mentor to guide Telemachus (Odysseus son). So, does a mentor have to be a male? No, a female can be a mentor too, as evidenced by Athena, Goddess of Wisdom, even if she disguised herself as a man and took on Mentor’s form when she, too, spoke to Telemachus. A mentor, an experienced and trusted advisor, serves as a professional colleague. The best mentors encourage their mentees, serve as supporters, motivators, advocates, role models and even friends. While some suggest a mentor is a coach, there is a distinction: A mentor is the ‘wise’ teacher who is there to support, rather than someone who is constantly on the sidelines suggesting new behaviors or actions. Mentors also discover challenges and rewards in the relationship. In addition to the satisfaction mentors get from working with a mentee, mentors can develop their own leadership and communication skills through the relationship. Mentors who approach the relationship with an open mind also gain new perspectives and new ways of thinking about challenges through discussions with mentees. As a mentor, it is up to you to maintain the structured and trusted relationship.
    [Show full text]
  • New Member Mentor Guide
    New Member Program Mentor Guide Faculty Association Suffolk Community College Southampton Bldg, Room 224J Selden, New York 11784-2899 (631) 451-4151 www.fascc.org The Story of the Mentor The story of the Mentor comes from Homer’s Odyssey. When Odysseus, King of Ithaca, leaves to fight in the Trojan War, he entrusts his household to Mentor, who serves as teacher and overseer to Odysseus’ son, Telemachus. After the war, Odysseus is condemned to wander vainly for 10 years in his attempt to return home. In time, Telemachus now grown, goes in search of his father. Athena, Goddess of War, patroness of the arts and industry, assumes the form of Mentor and accompanies Telemachus on his quest. Eventually, father and son are reunited and together they cast down would-be usurpers of Odysseus’s throne and of Telemachus’s birthright. In time, the word mentor became synonymous with trusted advisor, friend teacher, and wise person. History offers many examples of helpful mentoring relationships such as Socrates and Plato, Haydn and Beethoven, and Freud and Jung. Mentoring is a fundamental form of human development where one person invest time, energy and personal know-how assisting the growth and ability of another person. History and legend record deeds of princes and kings, but in a democracy each of us also has a birthright, which is to be all that we can be. Mentors are the special people in our lives who, through their deeds and work, help us to move toward fulfilling that potential. (Adapted From Mentoring, Gordon F. Shea) 2 Faculty Association of Suffolk Community College New Member Mentoring Program Statement of Purpose The New Member Mentoring Program focuses on identifying professional and work-related needs of new members by pairing them up with faculty members who will serve as positive role models, guides, and supports.
    [Show full text]
  • Helen of Troy: She Was Not a Dumb Blonde
    HELEN OF TROY A HEROINE IN A MAN’S WORLD! Katerina Ladianou, Classics, OSU Helen is a beautiful woman, some say a Goddess, others say a whore because of her adulterous ways, and she is pursued relentlessly by suitors from all over the ancient world. Homer, Euripides, and Stesichorus all narrate her story, but Homer is the original source in his 2 epic poems, the Iliad and the Odyssey. The fairest woman in the world is Helen, the daughter of the King of Sparta Tyndareos and his wife Leda. Their other daughter Clytemnestra is married to Agamemnon. Such is the fame of the beauty of Helen that every young prince craves to marry her. Superhero Theseus abducts her first, but her brothers Castor and Pollux, [both Argonauts, who sailed to Colchis through the Hellespont with Jason on the Ship Argo to get the Golden Fleece], get her back home. So, when suitors from all over Greece assemble in Sparta to ask for her hand, her father Tyndareos, fearing another abduction makes them take an oath to defend whomever he chooses for her husband, and, moreover, that they collectively would punish anyone who tried to abduct Helen. Then Tyndareos chooses Menelaos and he makes him King of Sparta. In the meantime, Goddess Aphrodite sends an image of Helen to Paris of Troy who at the time is out in the fields shepherding his father’s goats; he falls madly in love with Helen, and the rest is history, for love is the strongest force in the whole world! In the Iliad, Paris, a prince of Troy, a city that has accumulated enormous wealth by controlling the flow of merchant shipping through the nearby Hellespont [in what is now NW Turkey; the Dardanelles], abducts Helen.
    [Show full text]
  • Clytemnestra and Penelope in the Odyssey
    Δολόμητις Πηνελόπεια: Clytemnestra and Penelope in the Odyssey This paper re-examines the motif of the nostos of Agamemnon in Homer’s Odyssey in terms of the relationship between Penelope and Clytemnestra. It has often been recognized that the story recurs with surprising frequency and in bewildering variation in the Odyssey, but earlier scholarship tended to read Agamemnon’s nostos as a straightforward foil for Odysseus’ that emphasizes the contrast between their fates (e.g. Macknail 1936; D’Arms and Hulley 1946; Clarke 1967: 10). More recent scholarship, however, has questioned this view and shown that the text uses the story of Agamemnon and Clytemnestra to raise doubts about Penelope’s fidelity and ability to resist the suitors (Murnaghan 1986: 107-108; Olson 1990, passim but esp. 62-65; Katz 1991: 29-53; Felson-Rubin 1994: 95-107). In this view, the specter of Clytemnestra lurks behind Penelope throughout most of the poem until the shade of Agamemnon himself resolves the comparison between the two women with an exoneration of Penelope as Clytemnestra’s polar opposite. This interpretation takes Agamemnon’s conclusion at face value, but in this paper I will quetsion that assumption by showing that the relationship between Clytemnestra and Penelope is not as antithetical as Agamemnon claims and that the poet resolves the narrative tension between the two characters more subtly than has sometimes been supposed. As Olson has shown, the texts depicts Odysseus and Telemachus as potential re-figurings of both Agamemnon and Orestes, returning home either to meet death by ambush or to avenge themselves on the traitors (1990, passim but esp.
    [Show full text]