Abstract The paper discusses why the Cyclops is renowned to be a horrible monster, but is represented in the text as a lovable shepherd and guardian. In order to solve this problem, the paper delves into Greek values and social status. It offers an extensive look at how the polarities in Homer's narrative are representative in many ways of the opposing lifestyles and expectations of the elite upper-classes and the working lower-classes in Ancient Greece.
From the Paper "The way in which the Cyclops interacts with Odysseus is further evidence of what was truly monstrous to the elite Greeks. When Odysseus is caught by the Cyclops, he attempts to convince the creature to be kind to him and not harm any of his men by appealing to the will of the gods. Zeus, says Odysseus, takes travelers into his protection, and so should the Cyclops. However, Polyphemus responds defiantly. "Talk to me, indeed, about fearing the gods or shunning their anger? We Cyclopes do not care about [Zeus] or any of your blessed gods, for we are ever so much stronger than they." (Homer, Book IX) The fact that the Cyclopes do not fear and worship the gods, and believe themselves to be stronger than the gods themselves, is presented as monstrous behavior."
Abstract The paper analyzes "The Odyssey" a poetic play written by Homer. It shows how important relationships with the gods were to the central character, especially the relationships with the gods Poseidon and Athena who play the parts of good and evil.
From the Paper "Poseidon is vengeful and full of hate for Odysseus. In the end, he is the god who is not successful, for he does not keep Odysseus from completing his journey. Athena is still friends with Odysseus, and at the end, we are left to think that she will continue to play an important role in his life, and in that of his son. Therefore, without the gods, Odysseus might never have completed his journey, but he also would not have learned more about himself, and his strengths and weaknesses. The gods were crucial to the story, as crucial as Odysseus himself."
Abstract The paper shows that Homer's "Odyssey" makes clear the place food and eating have in the world of the ancient Greeks and also hints at deeper metaphorical meanings of eating and drinking. It discusses that of the myriad roles food and drink serve in the Odyssey, festivity and friendship remain the most salient.
From the Paper "Book 7 of Homer's Odyssey offers a different insight into the role of food in ancient Greek culture. Food and drink are clearly offerings to the gods here as acts of devotion. The Lotus Eaters are a prime example of the spiritual nature of food. In Book 9, the Lotus Eaters provide metaphorical meaning to eating: the flower on which they feast is esoteric. It is like a drug and induces delirium and forgetfullness. Eating the lotus is not so much an act of devotion as it is an act of avoidance here. Ulysses, grounded in his journey, moves swiftly away from the mysterious Lotus Eaters, who enchanted many of Ulysses's men."
Abstract This paper reviews the classical Greek literary work, "The Odyssey" by Homer. The paper focuses on portraying the message that personal growth is achieved by learning from the different tests and experiences thrown one's way. The writer describes the journeys of the main character, Odysseus, illustrating how he grows spiritually with each hurdle that he overcomes.
From the Paper "Particularly, in Homer's Odyssey, the outstanding character with his loyalty, bravery, and cleverness has found the path for his personal growth. Odysseus has to pass several quests during his way back home, for the example, the Circe, land of Cyclops, and Sirens. Throughout the testing by the gods Odysseus grows spiritually and proves to be a smart and powerful opponent. During every journey, Odysseus grows stronger on the inside, where it counts the most."
Abstract The paper focuses on the theme of revenge as a moving force in the world of Homer. Several examples listed such as the Trojan war as an act of revenge, Odyssey ending with an act of revenge, gods' revenge on each other,gods' revenge on men and men's revenge on each other.
From the Paper "The world of Iliad and Odyssey? was the world of multiple standards and values of diversified permissions and prohibitions?(Finley 86). Notions like themis, xenos, obligation of hospitality were of extreme importance and determined the line of behavior. Violation of such norms almost invariably resulted in revenge, since public institutions responsible for dealing with various violations of order simply didn?t exist. Vengeance was normal and common. M. Finley in The world of Odyssey noted that ?many primitive societies are known in which it is not possible to find any "public" responsibility to punish an offender. Either the victim and his relations take vengeance or there is none whatsoever.?(88) Vengeance was the only way for a person to restore justice, protect his honor, and compensate the damage caused to him or to any of his relatives."
Tags: achilles, agamemnon, athena, cyclop, orestes, poseydon, scield, troy, zeus
Abstract There are many similarities between Gilgamesh, the legendary Babylonian king, and Odysseus, the Greek warrior famous for his cunning and fortitude. The paper shows that both characters' stories are told in poetic epics ("The Epic of Gilgamesh" by an anonymous author and ancient Greek writer, Homer's "The Odyssey"). The paper shows how both characters are engaged in quests - Gilgamesh, who is partially divine, does not wish to die and searches for a way to achieve immortality, whilst Odysseus is fully human and even rejects an offer of immortality in order to continue his struggle to return home after the end of the Trojan war. Both epics also feature the interference of the gods who encourage, assist, or thwart the two heroes and debate among themselves about the courses they should take in regard to the relatively insignificant human beings. The paper shows that the endings of the two epics are different--as might be expected from the differences in the two characters' goals. However, the basic themes of the endings have much more in common than might be expected. Gilgamesh is eventually convinced that immortality is something reserved for the gods. His partially mortal parentage means that he must die and that he should, therefore, take pleasure and pride in what is best about life rather than worrying about living forever. The paper shows that Odysseus is also intent on restoring order by returning home and in doing so, he makes the best of life, accepting fate and eventual death.
From the Paper "The episodes involving the offers of the goddesses also provide similarities and differences. In the case of Gilgamesh Ishtar "looked with longing" on his beauty and begged him to be her "bridegroom" (6.6-7). But Gilgamesh boldly rejected her, despite the list of beautiful things that she promised him, because he was aware of the sad histories of all the men and animals that she had taken for her lovers in the past. In the case of Calypso and Odysseus, however, the goddess is not accused of falseness and her offers of everything wonderful are quite serious. She does indeed want Odysseus to remain with her forever and makes the offer of immortality. He would be ageless and would "preside in our house with me / and be immortal"."
The paper analyzes Odysseus, the main character in Homer's "The Odyssey" and looks at the important characteristics that make him the epitome of Greek society in the Homeric period.
Abstract The paper examines the use of symbolism by Homer to depict Odysseus as the embodiment of the various attitudes, behavior and stature present in the Mycenaen society in which Homer lived. The paper then explores the three prevailing symbolic themes reflected in Odysseus' qualities that depict him simultaneously as father and husband, warrior, and human/mortal.
From the Paper "Another proof of male dominance in "Odyssey" is through Odysseus? character, as he introduced himself to a special gathering organized by King Alcinous. In introducing himself, Odysseus says, ?I am Ulysses son of Laertes, renowned among mankind for all manner of subtlety, so that my fame ascends to heaven.? His self-proclaimed greatness illustrates the male dominance of his society. Odysseus deems it proper to introduce himself in terms of patriarchal lineage, while simultaneously praising himself through his ascendancy and popularity as a warrior."
Abstract "The Metamorphoses" by Homer portrays a different side of Odysseus as a character, which is entirely different from the Odysseus that readers were acquainted to in "The Iliad" and "The Odyssey" by Homer. While Odysseus is portrayed as a courageous and intelligent warrior in "The Iliad" and ?The Odyssey,? Ajax in "The Metamorphoses" is illustrated as a coward and a brilliant schemer in order to fool the people in believing that he is the rightful heir to the title of Achilles as the great warrior of the Achaean/Greek society. This main difference between Ovid and Homer's works is the focus of this paper.
From the Paper "Ovid, on the other hand, portrays a different and more critical picture of Ulysses (Odysseus) as warrior in the Roman literature. In an article by James Hunter, Odysseus? character is similar to Ovid's portrayal in ?The Metamorphoses,? wherein he is known to be a cunning and treacherous warrior who would rather find ways out of a problematic situation than to fight bravely towards solving the problem (Hunter 2003). In fact, in W. B. Stanford's analysis of Odysseus character in the ?The Ulysses Theme,? he discusses the criticism of Ovid and other Roman literary writers in the portrayal of Odysseus in the ?post-classical tradition.? "
Abstract This paper will discuss the importance of the communities that were structured by Homer that brought to life the mission of Odysseus when he struggled to get home. The story of the Cyclops in the odyssey will be examined to show how community was more important that any wealth that Odyseus might have found in his adventures. This theory will be proven by Homers usage of Greek life, as way to make the superiority of Greek culture represent Odysseus's longing to go home.
Abstract This paper briefly looks at the plot of the epic saga, "The Odyssey". It examines the plot, which is about Odysseus, a clever and often an arrogant old soldier who fought in and won the Trojan War. He undergoes twenty years of an epic journey to return home to his wife and son. On way, he encounters a plethora of challenges, including a monstrous cyclops who devours men and many other incidents.
From the Paper "The Odyssey is not a "novel". Had it been one, it would not be the "first novel in history", since it was predated by the Iliad, which was also not a novel. The Odyssey is a work of primary epic, such as Beowulf, Chanson de Roland and the Norse sagas (Hooker, World Cultures). It was composed in the 8th Century B.C., before the written alphabet had been introduced in Greece. As these facts are grasped, the way is clear for a true appreciation of exactly why this writing has gone on to become the most influential work of literature in all human history (Hooker, World Cultures)."
Abstract Uses concise examples from Homer's text to illustrate what fidelity meant to the characters of Odysseus and Penelope in "The Odyssey" and parallels that to modern society.
From the Paper "In contemplating the question of fidelity between Odysseus and Penelope in Homer's The Odyssey, one relentlessly sails into the questions of definition and perspective. The concept of fidelity in twentieth century society may carry very different connotations than it did in ancient Greek literature, but then again parallels can be seen. Twentieth century connotations aside, the word fidelity means different things in different languages, and judgments of fidelity must be adjusted accordingly. Fidelity, the word, carries overtones not just of faith, but of trust and belief. A tribute to the similarities between the two characters, Odysseus and Penelope both fail to meet these standards. Neither character has a great deal of trust or faith in anything. The ultimate destination is knowledge of the two characters amidst a great span of time and language, and all understanding is tempered by perspective. One must explore all channels of possibility to arrive, exhaustingly, at a compromise of ideas."
Abstract This paper looks at specific fossil and archaeological evidence and specimens as possible sources for ancient Greek myths. It explores specific fossil bed sites and their relationship to the ancient world, as well as possible theories of how the ancients must have come across and created legends for various species of pre-historic creatures. The paper includes photographs.
From the Paper "The ancient scholar Pausanias described some of these bones as "enormous but apparently human" when he visited the sanctuary of Askiepios, a rich fossil bed. Many fossils were claimed by the ancients to be the bones of local heroes, since many of these heroes were said to be of extraordinary height and stature. When these bones were found, they would be reburied in a ceremonial fashion and placed inside large coffins. These sites were then lost to the local's knowledge; so later in time Greeks would dig up large coffins with bones in them and then reclaim to have found the buried remains of local heroes."
Abstract Despite the fact that Homer's gods and goddesses often behave like petty, vindictive, and spoiled men and women, Homer's Olympian deities remain powerful beings who play a critical role in shaping human destiny. The paper shows that Homer's Olympians are not more moral than their human counterparts in terms of their actions and various types of involvement over the course of the story line of the epic poem "The Odyssey." It shows, however, in the face of the gods' tendencies to play favorites amongst humans and to manipulate the fate of mortals, human hubris is powerless. Fate, or the will of the gods may be cruel and unfair, but it is inexorable.
From the Paper "The tale's stated reason for Odysseus' extensive wanderings lie in the fact that the hero has offended the god of the seas, whose favor he requires so he can return home via boat. Odysseus was trapped in the lair of the man-eating Cyclops, and cleverly blinded the beast so he could escape. One might say that it was fair that Odysseus committed such an action. If he had not, he would have sacrificed not only his own life, but also the life of the other sailors in his care. "Eater of guests/under your roof! Zeus and the gods have paid you!'" cries Odysseus. (9:522-523)"
Abstract This paper introduces, discusses, and analyzes the film "O Brother, Where Art Thou" and the book "The Odyssey" by Homer. Specifically it discusses the Homeric parallels found in the film as compared with the book.
From the Paper "From the opening of this unique film, there is something magical and mythical about it, from the three men's escape from the chain gang through a hazy, golden field of corn, to their eventual success as the Soggy Bottom Boys. Several characters (in quite different forms) make their way from the book "The Odyssey" into the film, and one of the first is the Blind Seer, who the boys encounter on a hand cart after they attempt to jump a train to make their escape. The Blind Seer is based loosely on the Blind Minstrel of Homer's work, who first portends Ulysses (Odysseus') eventual efforts to make his way home (Fitzgerald 127-130). The seer prophecies the men will "See a cow on a roof," and many other seemingly impossible wonders, but they all come true, a testament to the magic of the seer and his abilities. In the book, Homer portrays Ulysses as a very learned and erudite man, intent on his nostos, or "homecoming," and, although it is not clear at the start, this is Ulysses purpose in the film, as well. He tells his friends the reason is a great treasure, waiting for pick-up before the flood, but in reality, he knows his wife is going to remarry, and he will do anything to stop that, even break out of prison. Thus, both stories are tales of homecomings and happy endings, even though they take some convoluted paths to reach these conclusions."
