Odyssey Exam Questions

Total Page:16

File Type:pdf, Size:1020Kb

Odyssey Exam Questions Odyssey Exam Questions 1st Trimester 1. What ancient culture did the story of Gilgamesh come from? 2. What was the capitol of this culture? 3. Why does Gilgamesh have to row Urshanabi’s boat by himself? 4. What is not so impressive about Gilgamesh & Enikidu’s slaying of Humbaba? 5. What does Shamhat do to civilize Enkidu? 6. Before he was civilized, how was Enkidu annoying the local hunters? 7. Who wins the Enkidu/Gilgamesh wrestling match? 8. What is one of the rules imposed by Gilgamesh on his city that annoys the citizens? 9. What does Enkidu die of? 10. When Gilgamesh first tries to live forever, what is the task given to him by Utnapishtim? 11. How does Utnapishtim show that Gilgamesh failed at this task? 12. What is Gilgamesh told to retrieve that will make him live forever? 13. Who winds up benefiting from this item? 14. Why was Utnapishtim made immortal? 15. What did Ea do that saved mankind? 16. Who lives in the Cedar Forest? 17. Why does Gilgamesh reject the goddess Ishtar? 18. What does she send to kill him after this rejection? 19. When Gilgamesh goes to see Utnapishtim, he travels through a tunnel that is usually traversed by what? 20. Name one way in which the god Shamash helps out Gilgamesh? 21. What do Gilgamesh and Enkidu do that would look odd to most people today? 22. Who tries to stop Gilgamesh from going into the Cedar Forest? 23. What is the job of the High Priestesses of Ishtar? 24. When does Gilgamesh decide that it is time to bury Enkidu’s body? 25. Which god sends the Great Flood to destroy mankind? The Odyssey Chapter 1 & 2 1. Who is Telemachus? 2. What is he told to do by Athena? 3. Which god is currently angry at Odysseus? a. Zeus c. Poseidon b. Apollo d. Hera 4. Which Greek king does Telemachus visit first? a. Nestor c. Diomedes b. Menelaus d. Agamemnon 5. What is the name of this king’s home? a. Lesbos c. Cyprus b. Ithaca d. Pylos 6. Who is Pisistratus? a. Telemachus’ brother c. A suitor b. Nestor’s son d. Menelaus’ father 7. What is the name of Odysseus’ wife? a. Clytemnestra c. Hermione b. Helen d. Penelope 8. What is the name of Odysseus’ home? a. Lesbos c. Cyprus b. Ithaca d. Pylos 9. What is the current problem plaguing this island? a. Disease c. It is sinking into the ocean. b. Foreign invaders d. Suitors trying to marry the queen. 10. Who wrote the Odyssey? The Odyssey Chapters 3 – 6 1. Nestor tells Telemachus which thing about his father? a. He thinks Odysseus is dead c. He tells him that he’s trapped with Calypso b. Odysseus went home at a different time d. He lost Odysseus while sailing home 2. Nestor tells Telemachus to go visit who? a. Hector c. Menelaus b. Aeneas d. Ajax 3. What happened to Agamemnon? a. He died in the war c. Poisoned to death b. Murdered by his wife d. Killed by the gods 4. Who was Agamemnon’s son? a. Neoptolemus c. Pyrrhus b. Pisistratus d. Orestes 5. Who sails with Telemachus to Sparta? a. Neoptolemus c. Pyrrhus b. Pisistratus d. Orestes 6. On Ithaca, Penelope learns what? a. That Odysseus is alive c. That the suitors are planning to leave. b. That Telemachus found his father d. That the suitors are planning to kill her son 7. Which god convinces the others to let Odysseus go home? a. Athena c. Zeus b. Ares d. Thetis 8. Which god is conspicuously absent during that meeting? a. Apollo c. Hades b. Artemis d. Poseidon 9. What does Calypso say when she is forced to let Odysseus go? a. Sure, I don’t love him c. I’m going to kill him b. It’s not fair d. I want him to be happy 10. What is the name of the island Odysseus lands on after he leaves Calypso? a. Phaeacia c. Lemnos b. Pylos d. Thebes 11. Who is the princess of that island? a. Hermione c. Electra b. Helen d. Naussica 12. What does she do for Odysseus? a. Gives him a boat c. Scares him away b. Tells him how to talk to her parents d. Gives him food and shelter for the night The Odyssey Chapters 7-10 1. Which of the following is not a member of the Phaecian royal family? a. Alcinous c. Demodocus b. Arete d. Nausicaa 2. What does Odysseus confess to the king and queen? a. That he is Odysseus c. That he is a spy b. That their daughter assisted him d. That Athena helps him 3. The king likes Odysseus so much that he… a. Offers his daughter to him c. Trick question, he is suspicious of him b. Gives him armor and weapons d. Lets him sleep in the royal chambers 4. Who might Demodocus be in actuality? 5. Which athletic competition does Odysseus win? a. Discus c. Javelin throw b. Footrace d. Wrestling 6. Demodocus sings a song about the love of…. a. Menelaus and Helen c. Hera and Zeus b. Pyramus and Thisbe d. Ares and Aphrodite 7. Where did Odysseus and his men become drugged? a. On the Cyclops island c. At Troy b. On the Lotus-eaters island d. On Calypso’s island 8. What is the name of the Cyclops? a. Briareus c. Polyphemus b. Megarea d. Typhon 9. Odysseus told the Cyclops that his name was… a. Hector c. Apollo b. Mentor d. Nobody 10. Aeolus is the god of what? a. Earth c. Water b. Fire d. Wind 11. What are the Laestrygonians? a. Giants c. Wolf-people b. Dragons d. Gorgons 12. What does Circe do to Odysseus’ men? a. Kills them c. Puts them in a cage. b. Turns them into animals d. Seduces them The ‘Good Guy’ Odysseus Quiz 1. Which of the following IS NOT a compliment about Odysseus? a. He’s a great strategist c. He’s handsome b. He’s well spoken d. He’s a best friend 2. Where is Odysseus from? a. Argos c. Mycenae b. Ithaca d. Sparta 3. What is the name of Odysseus’ son? a. Telemachus c. Pisistratus b. Orestes d. Neoptolomos 4. Who tells Odysseus’ son to go looking for him? a. Athena c. Hector b. Nestor d. Achilles 5. What is the name of Odysseus’ wife? a. Clytemnestra c. Hermione b. Helen d. Penelope 6. What is Odysseus’ favorite disguise? a. Trojan c. Egyptian b. Beggar d. Tradesman 7. When Telemachus goes to look for his father, where does he go first? a. Circe’s island d. Calypso’s island b. Nestor at Pylos d. Menelaus at Sparta 8. Which of the following people does NOT live at Sparta? a. Helen c. Menelaus b. Hermione d. Pisistratus 9. What did Agamemnon and Menelaus get in a fight over? a. Helen c. How to get home b. When to go home d. Splitting up the treasure 10. How did Agamemnon die? a. In battle c. Murdered by wife b. Shipwrecked d. Old age 11. Which of the following characters is an old man? a. Nestor c. Orestes b. Pisistratus d. Telemachus 12. When Helen talks about Odysseus, she told the story where he… a. Retrieved Neoptolemus c. Stole the Palladium b. Retrieved Philocetes d. Created the Trojan Horse .
Recommended publications
  • Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
    STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • A Level Classical Civilisation Candidate Style Answers
    Qualification Accredited A LEVEL Candidate style answers CLASSICAL CIVILISATION H408 For first assessment in 2019 H408/11: Homer’s Odyssey Version 1 www.ocr.org.uk/alevelclassicalcivilisation A Level Classical Civilisation Candidate style answers Contents Introduction 3 Question 3 4 Question 4 8 Essay question 12 2 © OCR 2019 A Level Classical Civilisation Candidate style answers Introduction OCR has produced this resource to support teachers in interpreting the assessment criteria for the new A Level Classical Civilisation specification and to bridge the gap between new specification’s release and the availability of exemplar candidate work following first examination in summer 2019. The questions in this resource have been taken from the H408/11 World of the Hero specimen question paper, which is available on the OCR website. The answers in this resource have been written by students in Year 12. They are supported by an examiner commentary. Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible mark/level for each response, when marking these answers in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the marks/levels awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board.
    [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]
  • 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.
    [Show full text]
  • The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting
    The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting. Volume One of Two Submitted by Ioannis Souris to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Performance Practice In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death.
    [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]
  • Summer Assignment / Edith Hamilton's MYTHOLOGY
    Summer Assignment / Edith Hamilton’s MYTHOLOGY English I Honors (Grade 9) Many times, the terms “folk tale,” “fairy tale,” “legend," and “myth” are used interchangeably. Folk tales or fairy tales are usually purely imaginative, fictional stories intended to amuse, entertain, or teach. Legends are usually true stories of events in history but exaggerated for dramatic or humorous effect. Myths are imaginative stories resulting from man's attempt to understand the phenomena of nature or to explain cultural customs and rituals. Mythology is a way to explain things in the world that had no explanation before. Your summer reading assignment is Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes (1942). The book is long, but the reading is not difficult. It has been established as a popular classic, a valuable tool, and a necessary reference work that is essential for any well-read student. Much of the literature you will read in school will contain allusions to Greek, Roman, or Norse mythology. For example, a character in a novel may be described as narcissistic, as an Adonis, or as undertaking Herculean tasks; all of these are references to Greek myths. Recognizing the myth leads to greater understanding of the character. As Western culture traces its political, philosophical, and social roots back to Greek culture, mythological stories also serve as the subject for works of art, commercial products and advertisements, comic books, and much more. REQUIRED ACTIVITIES ¨ Reading Guide: Character Chart ¨ Short-answer Responses ¨ Creative Writing: Poetry ¨ “Magical Musings: Harry Potter in Greece?” and Open-ended Response ¨ Literary Crossword Puzzle READING GUIDE: CHARACTER CHART OLYMPIAN GODS & GODDESSES Greek name Roman name Realm SymboM T Facts / Characteristics Zeus Hera Poseidon Hades Athena Apollo Artemis Aphrodite Hermes Ares Hephaestrus Hestia Demeter Dionysus SHORT-ANSWER RESPONSES .
    [Show full text]
  • 23 Hero-Without-Nostos.Pdf
    1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science +Business Media Dordrecht. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Int class trad DOI 10.1007/s12138-014-0367-6 ARTICLE A Hero Without Nostos: Ulysses’ Last Voyage in Twentieth-Century Italy Francesca Schironi © Springer Science+Business Media Dordrecht 2015 Abstract The article reviews the reception of Ulysses’ last voyage in twentieth- century Italy. Ulysses’ last voyage is used by Italian authors to discuss different and often opposing views of the ideal human life as well as the intellectual and exis- tential angsts of the twentieth century. In addition, the Italian twentieth-century Ulysses becomes part of a metapoetic discourse, as going back to the Homeric and Dantesque myths of Ulysses for an artist also means interrogating oneself on the possibility of creating something new within a long tradition. This metaliterary dimension adds to the modern Italian reception of Ulysses, making it a unique case of the intersection of many different layers of reception both in chronological and thematic terms.
    [Show full text]
  • In Moments Like These, We Need Mentors April 26, 2010 the SYDNEY MORNING HERALD
    In moments like these, we need mentors April 26, 2010 THE SYDNEY MORNING HERALD The young man's home is besieged by rude, crude, older men all trying to marry his mother, who is locked in her room. His father has been abroad for 20 years. His mother's suitors pillage his home and insult him. He protests, but no one listens. He's not confident and he's inexperienced. Who can help? This is the mythical story of Telemachus, the son of Odysseus. The goddess Athena takes the form of Mentor, an old man of Ithaca, to assist Telemachus. Mentor urges Telemachus to go abroad to find news of his father; to seek the counsel of kings and soldiers - an act of intelligence and insight that enhances the boy's independent spirit. His name has passed from ancient Greece to us, yet mentors can be all too rare at work. Many people enter adulthood without any guidance in private life. Younger workers may miss out because of short-term contracts, high staff turnover or competition for advancement. And professional mentoring can easily decline into formalised, cynical or clumsy networking. At best, mentors are vital for development - particularly in families like Telemachus's, where parents cannot help. They stop us from squandering our gifts and impoverishing our minds. The word is important because it reminds us of the mentor's distinctive role: not simply teacher, role model or friend, but something singular. The job of a teacher is chiefly to relay information; to teach skills, or pass on facts. The best teachers do more than this, and even to achieve the basics they need to be aware of the student's character; to adjust lessons and goals to the vicissitudes of a child's psyche.
    [Show full text]
  • Troy Myth and Reality
    Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition.
    [Show full text]
  • TLS Spr 19 Notes 13
    Barry Stocker Department of Humanities and SocialScience [email protected] Faculty of Science and Letters http://barrystockerac.wordpress.com SPRING 2019 TOPICS IN LITERATURE AND SOCIETY NOTES WEEK THIRTEEN EURIPIDES ORESTES In Orestes, Euripides returns to a story that Aeschylus deals with in The Oresteia, which we discussed in the first three weeks of the course. He gives a very different version of the story, as is normal in the way that ancient Greek writers used the tradition of stories and myths, know to all, in their own ways in new versions of an old story which had alway s been changing according to who was telling the story. In the ancient people’s ideas of religion, history and religion all come from retelling and reinvention of stories in accordance with the mind of the writer, the events of the tine and all the ways that context changes. One thing that distinguishes the context of this play by Euripides from Aeschylus (Oresteia first performed 458BCE) is that Euripides is writing (408BCE) in the context of the Peloponnesian war (431-404BCE). This is the war between Athens (with allies) against Sparta (with allies) for domination of the Greek world. In Orestes, the Spartan King Tyndareus is presented in a negative way, or at least is placed as opposed to the Athenian oriented resolution of the story. The story, as in Aeschylus has its background in the return of Agamemnon, King of Argos, from the Trojan War. His wife Clytemnestra and her lover Aegisthus murder Agamemnon in the the royal place immediately after his return.
    [Show full text]