Penelope as Heroine
While today we primarily read the works of Homer for the eloquence and literary skill of this great Greek poet, we may also examine his texts for the clues that they provide to a deeper understanding of Greek society. For we must recognize that every text is both a product of the time and place in which it was created as well as a portal to that place, a means of transport to a world marked by its particular set of values and visions. The Odyssey was recognized by the Greeks not only as a great epic, marked by a superb literary style, but also as something far more than merely engaging tales. This story of Homer's was also a tale about virtue and heroism: Not only that of Odysseus, or even primarily that of Odysseus. For the story, while celebrating virile virtues, is actually more Penelope's story than it is that of her husband. She is Homer's heroine, especially in the second book of the epic but also throughout the poem.
The stories were for the ancient Greeks themselves a venerable source of lessons about morality, about the nature of heroism and about the proper ways in which a society should be structured. Given the value that the Greeks placed on these stories as exemplars of the values of Hellenic society, we can do the same by looking to the texts to help us understand how the Greeks understood their world. This task is, however, a difficult one because our own worldview is so fundamentally different (because based on such different life experiences) that it is often hard to know if we are experiencing a story like the Odyssey in anything resembling the ways in which the Greeks themselves understood it. However, a careful reading of the text allows us to understand the importance of the role that Penelope has.
This is not to say that Odysseus too is not also a hero. In Odysseus - who is known in English as Ulysses,...
Comparing the divine world in the Iliad and the Odyssey, Wolfgang Kullmann emphasizes that unlike in the Iliad, in the latter, "men themselves, not the gods, are responsible for their sufferings beyond their destined share. Gods, on the contrary, guarantee "poetic justice" when they warn men against doing evil." As Kullmann points out, the mortals in the Odyssey are less likely to act as mere objects of higher powers that manipulate
There it is called the underworld and truly reminds one of the subconscious in many ways. For the Greeks, this is just one aspects of life after death.. In some sense it seems more closely associated with the Christian idea of limbo. Heaven has its counterpart in the Elysian fields. In the Inferno hell is again representing the subconscious, but in it's more visceral and active and judgmental aspect.
Although each of them has a different method of enticement, they all have the same goal: to hinder him in his way back. Even if he does not have prior knowledge of their powers he does not give in to temptation, he has the power to fight them even if curiosity, one of his major "faults," is the root of all his problems (he insists on hearing the Sirens
Moral Perfidy in the Odyssey In The Odyssey, Homer utilizes the lie as a motif, and in so doing, he establishes a moral dichotomy. The Odyssey is populated with lies and with liars, but the liars operate differently from one another. Indeed, when vocalized by some liars, the lies become virtuous necessities or demonstrate superior intelligence. Other liars prove themselves to be base and without morals as they lie to manipulate,
Homer What is the proper relationship between the Gods and Humans according Homer? "These are not poems about Gods, but about human beings. These human beings inhabit a world of which the gods are an unquestioned part."[footnoteRef:1] For Homer, the gods are indispensible parts of literary structure and narrative form. It impossible to imagine a Homeric world without gods. From a purely cosmological standpoint, the gods add structure, meaning, and order to
For the most part women in the Odyssey are essentially one of three things: sexualized monsters, in the form of Circe, Calypso, the Sirens, and even Scylla; asexual helpers and servants, in the form of Athena and Eurycleia; and finally, seemingly helpless damsels, in the form of Penelope. To this one may add what is essentially the lowest of the low class within the poem, those women who are sexually
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