Focus Questions Reading Guide for Odyssey 16-20

Total Page:16

File Type:pdf, Size:1020Kb

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. 6. Wicked Goatherd Notice the juxtaposition of Eumaeus’ care in outfitting Odysseus and Melanthius’ abuse. What fate does Melanthius predict for Odysseus at the hands of the suitors (the footstools will be significant later in the story). What happens when Melanthius attempts to push Odysseus off the path? If you are familiar with the myth of Oedipus, this scene should remind you of a critical moment in that story. Why doesn’t Odysseus kill Melanthius? 7. Dogs (make me sad) As Odysseus and Eumaeus are about to enter the palace, they encounter Odysseus’ dog Argus (“Swifty”), who is lying on a pile of filth outside of the palace. What is significant about his reaction to the arrival of Odysseus? How does Odysseus react to seeing Argus? Think about how this scene relates to the trials Odysseus has endured, his status as he returns to his household, and the state of Odysseus’ house. 8. Lying Tales When Odysseus addresses Antinoos, he fabricates another tale about how he became a beggar. What does Odysseus say that provokes Antinoos into hurling the stool at him? What effect does this have? (Compare this to Melanthius’ assault on the road. ) Who do the suitors fear the beggar may be? Does this affect their culpability? 9. Battle of the Beggars Why does Irus assail Odysseus? How does Odysseus respond? Note how Odysseus’ response is more appropriate to an aristocratic host than a destitute beggar. Why is this a dangerous moment for Odysseus? Compare to the competitions in Iliad 23 and Odyssey 8. Do you see any similarities between Polyphemus the Cyclops and Irus the beggar? 7. In what ways can you connect Odysseus' disguise as a beggar with the themes of "a man" and re-establishing his name and fame? In what ways can you connect his disguise with the themes of "the book of the belly"—gifts, greed, hunger, eating? 10. Penelope Compare Penelope’s appearance before the suitors in Book 18 to Helen’s appearance on the wall in Iliad 3. In Book 19, notice the contrast the narrator establishes between Penelope’s reaction to the mention of Odysseus–illustrated by a rare simile–and Odysseus’ internal and external reaction to her grief. Does Penelope know or suspect that the beggar is Odysseus? What do you think? Would she have proposed the test at the end of Book 19 if she did not think Odysseus had returned? 11. Suitors Misbehaving When Eurymachus insults Odysseus, what trials does Odysseus propose? Notice how he moves from the domestic to the martial. Odysseus’ mention of war is important: remember that the suitors know nothing of true battle. 12. Eurykleia In Book 19, why does Odysseus request an old maid to bath him? Does he know that Penelope will select Eurycleia? Remember that Eurycleia helped to raise Odysseus. Does Odysseus make a mistake here? Note that Eurycleia already notices a resemblance between the beggar and Odysseus (lines 393f.). Why does the narrator include the story of Odysseus and the boar? Key Characters Athena Telemachus Peisistratus Menelaus Helen Theoclymenus Eumaeus Odysseus [Book 16] Antinous Amphinomus Penelope Eurymachus Melanthius [Book 17] Irus [Book 18] Eurynome Melantho Eurycleia [Book 19] Philoetius [Book 20] Ctessipus Agelaus Theoclymenus.
Recommended publications
  • Open Skoutelas Thesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF CLASSICS & ANCIENT MEDITERRANEAN STUDIES THE CARTOGRAPHY OF POWER IN GREEK EPIC: HOMER’S ODYSSEY & THE RECEPTION OF HOMERIC GEOGRAPHIES IN THE HELLENISTIC AND IMPERIAL PERIODS CHARISSA SKOUTELAS SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Classics & Ancient Mediterranean Studies and Global & International Studies with honors in Classics & Ancient Mediterranean Studies Reviewed and approved* by the following: Anna Peterson Tombros Early Career Professor of Classical Studies and Assistant Professor of Classics and Ancient Mediterranean Studies Thesis Supervisor Erin Hanses Lecturer in Classics and Ancient Mediterranean Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT As modern scholarship has transitioned from analyzing literature in terms of its temporal components towards a focus on narrative spaces, scholars like Alex Purves and Donald Lateiner have applied this framework also to ancient Greek literature. Homer’s Odyssey provides a critical recipient for such inquiry, and Purves has explored the construction of space in the poem with relation to its implications on Greek epic as a genre. This paper seeks to expand upon the spatial discourse on Homer’s Odyssey by pinpointing the modern geographic concept of power, tracing a term inspired by Michael Foucault, or a “cartography of power,” in the poem. In Chapter 2 I employ a narratological approach to examine power dynamics played out over specific spaces of Odysseus’ wanderings, and then on Ithaca, analyzing the intersection of space, power, knowledge, and deception. The second half of this chapter discusses the threshold of Odysseus’ palace and flows of power across spheres of gender and class.
    [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]
  • 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 .
    [Show full text]
  • The Role of Emotions in Modern Receptions of Homeric Epic
    Tales for All Time: The Role of Emotions in Modern Receptions of Homeric Epic Karen Anne Possingham January 2021 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Karen Anne Possingham 2021 All Rights Reserved 1 This thesis is the original work of the author. Word count: 98,683. 2 Acknowledgements First of all, I would like to acknowledge that this research was supported by an Australian Government Research Training Program Scholarship. My primary supervisor, Elizabeth Minchin, the Best of the Homerists, whose inspiration, support, and dedication helped bring out the best in my work. My secondary supervisors Greta Hawes and Lucy Neave for their sound advice, scholarship and kind encouragement. To my children Nick and Alex, their partners Steph and Tiah, colleagues at ANU and friends for seeing the world through Homer with me for the last four and a half years. Finally, my husband Hugh for his continued patronage of the Arts and for his pithy and witty remarks on the content and progress of this thesis. 3 Abstract The poet we call Homer stands at the intersection of a long oral tradition and the emergence of literacy. The poems associated with his name have exercised a continuing appeal, across time; and yet they can also be unsettling, challenging our ideas of Ancient Greek values and expectations. This has had an impact on the reception of the poems from antiquity to the present day. I have argued in this thesis that, in the cases I have studied, Lorna Hardwick’s idea of ‘faultlines’ in Homeric epic can be adapted to examine the powerful, often contradictory, emotions portrayed in the Iliad and the Odyssey: namely personal and place attachment, grief, and the anger that can lead to acts of retribution or to acts of mercy that rely on the emotion of pity.
    [Show full text]
  • 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.
    [Show full text]
  • The Anatomy of a Complex Astronomical Phenomenon Described in the ODYSSEY
    6_PREKAS2_Layout 1 31/12/2013 9:04 πμ Page 1 Mediterranean Archaeology and Archaeometry, Vol. 13, No 2, pp. 69-82 Copyright @ 2013 MAA Printed in Greece. All rights reserved. ThE AnATOmY Of A COmplEx ASTROnOmiCAl phEnOmEnOn DESCRibED in ThE ODYSSEY St. p. papamarinopoulos1, p. preka-papadema2, p. Antonopoulos3*, h. mitropetrou1, A.Tsironi1 and p. mitropetros2 1University of Patras, Department of Geology, 26504 Rio Patras, Greece 2University of Athens, Department of Astrophysics, Astronomy and Mechanism, Faculty of Physics, 15784 Athens, Greece 3University of Patras, Department of Physics, 26504 Rio Patras, Greece Received; 1/6/2012 Corresponding author:[email protected] Accepted: 28/11/2012 AbSTRACT An intense meteor shower is described as dove’s feathers falling down during the Telemachus’ arrival in Ithaca mentioned by the Homeric epic. Additionally, in the next days, there are some other descriptions which are regarded from us as meteor activity (bolides, a meteorite, many erupted meteors in the atmosphere, and a glimmering in the sky due to intense dust). In accordance with the proposed by us new astronomical dating of Odysseus’ return to Ithaca (25 October 1207 B.C.), this meteor shower occurred in the last days of October 1207 B.C. The radiant point was near to Pleiades nebula of Taurus constellation. Consequently, two astronomical phenomena (a solar eclipse and a meteor shower) were hidden in the two Theoclymenus’ prophecies, marking clearly, the Odysseus’s return to Ithaca. KEYWORDS: Homer’s Odyssey; Theoclymenus’ prophecy; Meteor Shower 6_PREKAS2_Layout 1 31/12/2013 9:04 πμ Page 2 70 St. P. PAPAMAriNoPouloS et al 1.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 RICHARDS, FRANCESCA,MARIA How to cite: RICHARDS, FRANCESCA,MARIA (2016) `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11522/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘Dangerous Creatures’: Selected children’s versions of Homer’s Odyssey in English 1699–2014 Abstract This thesis considers how the Odyssey was adapted for children, as a specific readership, in English literature 1699-2014. It thus traces both the emergence of children’s literature as a publishing category and the transformation of the Odyssey into a tale of adventure – a perception of the Odyssey which is still widely accepted today (and not only among children) but which is not, for example, how Aristotle understood the poem.
    [Show full text]
  • 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 .
    [Show full text]
  • Tying up Loose Ends: the Metapoetics of Closure in Odyssey 22’
    Beck, B. (2013) ‘Tying Up Loose Ends: The Metapoetics of Closure in Odyssey 22’ Rosetta 13: 1-15. http://www.rosetta.bham.ac.uk/issue_13/beck_metapoetics.pdf Rosetta 13. http://www.rosetta.bham.ac.uk/issue_13/beck_metapoetics.pdf Tying Up Loose Ends: The Metapoetics of Closure in Odyssey 22 Bill Beck University of Pennsylvania When we read Book 22 of the Odyssey we feel that we have reached an end-point.1 Just as the narrative of the Iliad seems to move inexorably toward the highly-anticipated meeting between Hector and Achilles in Iliad 22, so too our anticipation of Odysseus’ triumph over the suitors – the moment he reclaims his oikos – provides the momentum that propels the first twenty-two books. But insofar as it is a climax it is also a deflation. As W.B. Stanford notes, in Books 23 and 24 ‘we are made to feel that the supreme crisis is past: the turbulence is only such as follows a storm.’2 Book 22 (the Mnesterophonia) occupies an awkward place in the narrative; it is an end-point but it is not the end of the poem. I argue that the poet, mindful of Book 22’s narrative weight, calls attention to an end that is not The End and in so doing calls attention to the poem’s persistent resistance to closure, even in a book that is preoccupied with the very idea of closure. In this paper I demonstrate how, in anticipating the end of the Odyssey, the poet (1) represents binding and other acts of tying, closing, and delimiting as parallel with the process of concluding a poem; (2) connects narrative space with physical space; and (3) poses epic poetry as an art without end.
    [Show full text]
  • The Return of Ulysses ‘Only Edith Hall Could Have Written This Richly Engaging and Distinctive Book
    the return of ulysses ‘Only Edith Hall could have written this richly engaging and distinctive book. She covers a breathtaking range of material, from the highest of high culture to the camp, cartoonish, and frankly weird; from Europe to the USA to Africa and the Far East; and from literature to film and opera. Throughout this tour of the huge variety of responses that there have been to the Odyssey, a powerful argument emerges about the appeal and longevity of the text which reveals all the critical and political flair that we have come to expect of this author. It is all conveyed with the infectious excitement and clarity of a brilliant performer. The Return of Ulysses represents a major contribution to how we assess the continuing influence of Homer in modern culture.’ — Simon Goldhill, Professor of Greek Literature and Culture, University of Cambridge ‘Edith Hall has written a book many have long been waiting for, a smart, sophisticated, and hugely entertaining cultural history of Homer’s Odyssey spanning nearly three millennia of its reception and influence within world culture. A marvel of collection, association, and analysis, the book yields new discoveries on every page. In no other treatment of the enduring figure of Odysseus does Dante rub shoulders with Dr Who, Adorno and Bakhtin with John Ford and Clint Eastwood. Hall is superb at digging into the depths of the Odyssean character to find what makes the polytropic Greek so internationally indestructible. A great delight to read, the book is lucid, appealingly written, fast, funny, and full of enlightening details.
    [Show full text]
  • 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.
    [Show full text]
  • Notes Jan 19
    How much humor has there been so far? Isn’t epic Serious Business? What does laughter mean in epic? Has Telemachus come of age yet? What does a Greek child do to become an adult? How are different social classes portrayed? What is The Plan? What are its pitfalls? Is Odysseus a good person? Ὀδύσσεια 17 time to get the plan moving Odysseus sent to town to beg Telemachus goes home Ὀδύσσεια 17 Eurycleia greets Telemachus Penelope greets Telemachus T: I brought a stranger home. Ὀδύσσεια 17 the second assembly Spear in hand, Telemachus strode on through the hall and out, and a pair of sleek hounds went trotting at his heels. And Athena lavished a marvelous splendor on the prince so the people all gazed in wonder as he came forward. χάρις — charis — grace The swaggering suitors clustered, milling round him, welcome words on their lips, and murder in their hearts. Piræus: what about the stuff? Ὀδύσσεια 17 The Stranger goes home with Telemachus Penelope debriefs Telemachus “I will tell you the whole true story now.” “The lord of the warcry, Menelaus, asked at once what pressing need had brought me to lovely Lacedæmon.” Odysseus is alive but trapped Calypso will not let him leave Ὀδύσσεια 17 The Stranger prophesies “I swear Odysseus is on native soil, here and now! Poised or on the prowl, learning of these rank crimes he’s sowing seeds of ruin for all your suitors. So clear, so true, that bird-sign I saw…” Ὀδύσσεια 17 meanwhile the suitors… And so the three confided in the halls while all the suitors, before Odysseus’ palace, amused themselves with discus and long throwing spears, out on the leveled grounds, free and easy as always, full of swagger.
    [Show full text]