The+Odyssey





http://library.thinkquest.org/19300/data/homersgreece.htm __**Great site for information about the Odyssey.**__

__The epic is generally defined:__ A long narrative poem on a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race. The traditional epics were shaped by a literary artist from historical and legendary materials which had developed in the oral traditions of his nation during a period of expansion and warfare (//Beowulf//, //The Odyssey//, //The Iliad//). Epic Conventions, or characteristics common to both types include: Aristotle described six characteristics: "fable, action, characters, sentiments, diction, and meter." Since then, critics have used these criteria to describe two kinds of epics: When the first novelists began writing what were later called novels, they thought they were writing "prose epics." Daniel Defoe, Henry Fielding, and Samuel Ruichardson attempted the comic form. Yet what they wrote were true novels, not epics, and there are differences.
 * 1) The hero is a figure of great national or even cosmic importance, usually the ideal man of his culture. He often has superhuman or divine traits. He has an imposing physical stature and is greater in all ways than the common man.
 * 2) The setting is vast in scope. It covers great geographical distances, perhaps even visiting the underworld, other wortlds, other times.
 * 3) The action consists of deeds of valor or superhuman courage (especially in battle).
 * 4) Supernatural forces interest themselves in the action and intervene at times. The intervention of the gods is called "machinery."
 * 5) The style of writing is elevated, even ceremonial.
 * 6) Additional conventions: certainly all are not always present)
 * 7) Opens by stating the theme of the epic.
 * 8) Writer invokes a Muse, one of the nine daughters of Zeus. The poet prays to the muses to provide him with divine inspiration to tell the story of a great hero.
 * 9) Narrative opens //in media res//. This means "in the middle of things," usually with the hero at his lowest point. Earlier portions of the story appear later as flashbacks.
 * 10) Catalogs and geneaologies are given. These long lists of objects, places, and people place the finite action of the epic within a broader, universal context. Oftentimes, the poet is also paying homage to the ancestors of audience members.
 * 11) Main characters give extended formal speeches.
 * 12) Use of the epic simile. A standard simile is a comparison using "like" or "as." An epic or Homeric simile is a more involved, ornate comparison, extended in great detail.
 * 13) Heavy use of repetition and stock phrases. The poet repeats passages that consist of several lines in various sections of the epic and uses homeric epithets, short, recurrent phrases used to describe people, places, or things. Both made the poem easier to memorize.
 * **Serious Epic**
 * fable and action are grave and solemn
 * characterrs are the highest
 * sentiments and diction preserve the sublime
 * verse || **Comic Epic**
 * fable and action are light and ridiculous
 * characters are inferior
 * sentiments and diction preserve the ludicrous
 * verse ||

“//An extended narrative poem,//
 * **The Epic**
 * oral and poetic language
 * public and remarkable deeds
 * historical or legendary hero
 * collective enterprise
 * generalized setting in time and place
 * rigid traditional structure according to previous patterns || **Comic Epic**
 * written and referential language
 * private, daily experiencer
 * humanized "ordinary" characters
 * individual enterprise
 * particularized setting in time and place
 * structure determined by actions of character within a moral pattern ||

//usually simple in construction, but grand in scope,//

//exalted in style, and heroic in theme, often giving expression to the ideals of a nation or race. ”//


 * Sidelight:** Homer, the author of //The Iliad// and //The Odyssey//, is sometimes referred to as the "Father of Epic Poetry." Based on the conventions he established, classical epics began with an argument and an invocation to a guiding spirit, then started the narrative //in medias res//. **In the middle of Odysseus's story.** In modern use, the term, "epic," is generally applied to all lengthy works on matters of great importance. The Rhapsodoi, professional reciters, memorized his work and passed it on by word of mouth as part of an oral tradition.

[|Philip V. Allingham], Contributing Editor, Victorian Web ; Faculty of Education, Lakehead University (Canada)
[[|Home] —> [|Authors] —> [|Genre, Technique, and Style]]

Primary or Folk Epic

 * No single author (each is a product of the oral tradition)
 * Written down after centuries of oral transmission — e. g., Beowulf and the Iliad

Secondary or Literary Epic

 * A single, gifted poet such as Virgil or Milton composes a work that imitates a folk epic. The Æneid and Paradise Lost, for example, involved considerable research and have the style of earlier epics (particularly in setting, dignified speeches, and extended similes.

General Characteristics
1. Primary epics were originally intended to be sung or recited to music: "Sing, Muse . . . ."

2. In primary epics, deities and other supernatural agencies are often involved in human affairs: "What god was it . . . ?" asks Homer in the famous epic question that opens the Iliad.

3. The poem often has national interest and has a national bias: "and brought low the souls of so many Acheans" ( Iliad, Book I).

4. Primary epics seem generated by periods of upheaval, of struggle and adventure, such as the Trojan War for Homer's epics and the Moslem invasion of Europe in the Song of Roland.

5. Often, the principal characters are larger-than-life demigods (descendants of deities) or heroes of immense stature and strength. They represent such cultural ideals are endurance and cunning (Odysseus), all-round virtue or arte (Achilles), fair play and selflessness (Beowulf), chivalric self-sacrifice (Roland), or Christian love (Adam).

6. In both kinds of epic, single combat is a common plot device; if the warriors are equals, such as Achilles and Hector, they fight with sword and spear; if the adversaries are not equally heroic, as in the case of Odysseus and the suitors, the protagonist may use lesser weapons such as a bow. The hero often has a special weapon (e. g., Achilles' Pelian ash spear) or quality (e. g., Odysseus's ability to adopt disguises).

7. The subject of the poem is announced in the opening lines, in an invocation (in which the poet calls for divine assistance to tell his tale) and epic question in classical epics.

8. As opposed to the epyllion (such as the 892-line "Sohrab and Rustum" and Paradise Regained ), the true epic is long (the Iliad and the Odyssey each contain 24 books) and dignified (courtly address and epithet are common).

9. Geographical and temporal settings are wide: the action of the Odyssey, for example, occurs across all of the known world of the Greeks over a twenty-year period. However, the action may be compressed into a matter of days (as in the case of the Iliad ) or even hours (as in the case of the Song of Roland ). The Odyssey takes roughly forty days.

10. Such great issues as the founding of the Roman race and the state (the AEneid ) are at stake.

Elements of the Epic Style
1. Repetition: directions and reports are repeated, later incidents seem to echo earlier incidents; stock epithets are constantly applied to certain proper nouns such as "rosy-fingered Dawn" and "horse-taming Hector." Names are symbolic: e. g., Odysseus = "Man of Woe," for he both gives and receives suffering.

2. The Epic or Homeric Simile is a protracted comparison beginning with "like" or "as"; the figure, loaded with description, often holds up the action at a crucial point to produce suspense. There is a general absence of this device in Beowulf, but later English writers such as Milton and Arnold have deliberately incorporated such protracted comparisons into their works to give them weight and dignity.

3. Long, formal speeches such as challenges, inset narratives, flashbacks, and points of debate occur within the midst of the action; characters are commonly revealed in dialogue.

4. Speeches are often followed by such phrases as "thus he spoke" to emphasize that the words are those of a character and not of the narrator.

5. Elevated, literary language is the norm-even servants speak in dignified verse.

6. The manner of address between characters is circumlocutious and courtly; characters often address one another in patronymics such as "Son of Peleus" (Achilles).

7. The pace is stately, the rhythm ceremonious. Catalogues (lengthy lists, particularly of leaders and their military contingents) create a sense of grandeur.

8. Epic machinery includes bardic recapitulations (e. g., the Phaeacian poet Demodocus in the Odyssey recounts the story of the Trojan Horse), a chief god's balancing the scales of fate, a long and arduous journey for the hero, weapons of supernatural origin (such as Achilles' shield, fashioned by Hephaestus, smith of the gods), a descent into the Underworld, and nephelistic rescues (from "//nephele//" [Greek, "mist"] in Greek).

9. The opening of the epic will involve an invocation and an epic question. The poet opens in the midst of the action ("//in medias res//") rather than at the beginning.

10. Epic conventions include the simile, the in-medias-res opening, the invocation, the epic question, the epithet, the climactic confrontation between mighty adversaries, and hand-to-hand combat; these were established by Homer and emulated by Virgil.

11. Since epics were composed to honour the deeds of heroic ancestors, such poems often have an aristocratic bias: peasants and servants (unless of aristocratic birth) are insignificant. For example, the churl who discovers the Firedrake's cave in Beowulf is unnamed and is given no dialogue.

12. The action occurs in an heroic past, generations earlier, when deities freely interacted with humans. The events of the poem permeate the national consciousness —everyone in the audience already knows most of the details of the story.

13. In the time of Homer, emotions and great natural forces are personified as deities.

Characteristics of the Epic Hero
The form of the poem suggests that the material dealt with should be "events which have a certain grandeur and importance, and come from a life of action, especially of violent action such as war" (see C. M. Bowra, From Virgil to Milton, p. 1).

1. The hero is introduced in the midst of turmoil, at a point well into the story; antecedent action will be recounted in flashbacks.

2. The hero is not only a warrior and a leader, but also a polished speaker who can address councils of chieftains or elders with eloquence and confidence.

3. The hero, often a demi-god, possesses distinctive weapons of great size and power, often heirlooms or presents from the gods.

4. The hero must undertake a long, perilous journey, often involving a descent into the Underworld (Greek, "//Neukeia//"), which tests his endurance, courage, and cunning.

5. Although his fellows may be great warriors (like Achilles and Beowulf, he may have a commitatus, or group of noble followers with whom he grew up), he undertakes a task that no one else dare attempt.

6. Whatever virtues his race most prizes, these the epic hero as a cultural exemplar possesses in abundance. His key quality is often emphasized by his stock epithet: "//Resourceful// Odysseus," "//swift-footed// Achilles," "//pious// AEneas."

7. The concept of arete (Greek for "bringing virtue to perfection") is crucial to understanding the epic protagonist.

8. The hero establishes his //aristeia// (nobility) through single combat in //superari a superiore//, honour coming from being vanquished by a superior foe. That is, a hero gains little honour by slaying a lesser mortal, but only by challenging heroes like himself or adversaries of superhuman power.

9. The two great epic adversaries, the hero and his antagonist, meet at the climax, which must be delayed as long as possible to sustain maximum interest. One such device for delaying this confrontation is the nephelistic rescue (utilized by Homer to rescue Paris from almost certain death and defeat at the hands of Menelaus in the Iliad ).

10. The hero's epic adversary is often a "god-despiser," one who has more respect for his own mental and physical abilities than for the power of the gods. The adversary might also be a good man sponsored by lesser deities, or one whom the gods desert at a crucial moment.

11. The hero may encounter a numinous phenomenon (a place or person having a divine or supernatural force) such as a haunted wood or enchanting sorceress that he most use strength, cunning, and divine assistance to overcome.

Notes on Epic Poetry
An epic or heroic poem falls into one of two patterns, both established by Homer: the structure (and allegory to life) may be either war or journey, and the hero may be on a quest (as Odysseus is) or pursuing conquest (as Achilles is). Features of legend building evident in epic include the following:

1. the hero's near-invulnerability (Achilles' heel, the spot on Seigfried's back);

2. the hero's fighting without conventional weapons (as in Beowulf's wrestling Grendel);

3. the hero's inglorious youth (again, Beowulf affords an example);

4. the hero's auspicious birth (for example, Christ's or Buddha's), an attempt at the reconstruction of the early life of a notable adult (ex., stories of Jesus' childhood);

5. transference of the deeds and events associated with one hero to another of similar name (for example, Saint Patrick and Sir Gawain). Such events would include the gods' arming a hero (a metaphor for wondrous strength so great it must have seemed to have divine origins) and the hero's descending to the Underworld (a metaphor for facing and overcoming death);

6. historical inclusiveness: the poem presents a whole culture in microcosm —although the action is localized (for example, Troy and its environs in Homer's Iliad ), flashbacks and inset narratives widen the epic's geographical and chronological scope to include the whole of that race's world and culture heroes;

7. the hero is a dramatic protagonist in each scene of a play (notice the emphasis on dialogue and set speeches) that is too big for any stage.

Milton employed the epic machinery of Homer and Virgil while attempting to redefine their heroic ethos from that of the man of action to that of the man of patient endurance and love. In attempting to make this shift Milton was recognizing that the heroic poem is essentially non-Christian since it is based on the deeds of a man of physical action, a warrior and military leader. Although an epic may be either a folk original (primary), passed on for centuries through the oral tradition, or imitative and literary (secondary, it must be unified in plot and action, and not episodic like Dante's Commedia.

**screenshots and dialogue**

http://carlos.emory.edu/ODYSSEY/GREECE/home.html http://jc-schools.net/tutorials/Eng9/homer.html http://www.temple.edu/classics/odysseyho/index.html Role of Women in Ancient Greek Art http://www.fjkluth.com/amaz.html
 * Excellence Resource Sites **
 * __The things that you must investigate:__ **
 * What messages/themes/ideas are conveyed in the poem and film?
 * What literary devices/patterns are used in the poem and how are these are depicted or evoked by the film?
 * What cultural expectations and codes of behaviour for Homeric Greek culture are depicted in the poem and the film; when and how are these depicted?
 * who is the intended audience?
 * What role did the gods play?
 * What are the relationships between the main characters?
 * How does the character of Telemachus, Odysseus and Penelope develop?
 * What are the ideas and values of the Classical Greek world seen/emphasised in both poem and film
 * What are, and what are the reasons for, similarities and differences between the film and the poem?
 * What are the limitations of the primary source evidence
 * What are the limitations of the secondary source evidence

**Detail these one at a time and then compare the way the film treated/depicted/illustrated/evoked these themes/messages/ideas with how the book treated/depicted/illustrated/evoked them.**  **CHOOSE FOUR. EXPLAIN THEM, ONE AT A TIME. PROVIDE EXAMPLES FROM THE POEM AND THEN THE FILM. Then compare your findings and make a judgement.**

<span style="font-family: 'Comic Sans MS',cursive; font-size: 120%;">**Guest Friendship** <span style="font-family: 'Comic Sans MS',cursive; font-size: 120%;">

http://en.wikipedia.org/wiki/Xenia_%28Greek%29 __**<span style="font-family: 'Comic Sans MS',cursive; font-size: 120%;">CULTURAL EXPECTATIONS FOR YOU TO COMMENT ON: **__

THE OIKOS and WHAT WAS CULTURALLY ACCEPTED AND EXPECTED OF MEN, WOMEN, CHILDREN.

An //**oikos**// ancient Greek: οἶκος, plural: οἶκοι, is the ancient Greek equivalent of a household, house or family. An //oikos// was the basic unit of society in most Greek city-states, and included the head of the //oikos// (usually the oldest male), his extended family (wife and children), and slaves living together in one domestic setting. Large //oikoi// also had farms that were usually tended by the slaves, which were also the basic agricultural unit of the ancient economy. The Greek //oikos// when referring to the house had very distinct male and female spaces. The first part of the house consisted of a //gynaikonitis// (γυναικωνῖτις, "women's gallery"), or peristyle (περιστύλιον), with the //oikos// proper, the center of domestic activity, beyond. This latter area consisted of bedrooms and dining rooms. The second part of the house, the //andronitis// (ἀνδρωνῖτις, pl. ἀνδρωνῖται), was the focus of male activity. There one could find more dining rooms, guest suites, and libraries. Although men were part of both the polis and //oikos//, women had a role only in the //oikos//. WOMEN AND THE OIKOS As depicted in Homer's poetry, female characters of the upper classes led a relatively independent life. Although women were technically of citizen status, they had no rights of citizenship. Women had no political rights and could not take part in government. They had no more rights than slaves. They could conduct only limited business and hold and inherit limited property. All business was conducted on a woman's behalf by her husband or father. Women rarely received inheritances, since the law of inheritance was through the male line. Written wills were only allowed at Athens only if there was no son. At Sparta women were able to own and inherit property.

Marriages were arranged for a woman by her father or male guardian. In the home women were kept segregated [separate] in their own quarters, called //gynaikonitis//, and were virtually unseen. This is not what we see in the Odyssey movie.

They were responsible for the total control of their //oikos//, including the slaves, children, cooking, cleaning, caring for the sick and making clothes (from spinning wool to finishing the garments). Much would be done by female slaves under the supervision of the mistress. Women rarely left the house, and even then would be accompanied by female slaves. Eg Nausicaa. Women did go shopping and to the wells to fetch water, but this was done mainly by slaves and by poorer women without slaves. Older women and widows had more freedom, as did Spartan wives. Wives in Sparta were also permitted to drink alcohol, which was forbidden in most other city-states. It should be noted, however, that, as evidenced in the literature of the time, this standard was rarely observed. Poorer women undertook work, including selling goods in the market, spinning, making bread, agricultural laboring, acting as wet nurses [breast-feeding] or working alongside their husbands. It was not possible in such households to segregate men from women. Poorer widows often had to work, if they had no means of financial support. __In terms of religion and religious observances [prayers and sacrifices] women did play an important role__, such as a dominant role at funerals, weddings, and a large number of public festivals. There were many priestesses, and women also had their own festivals. At some festivals, though, it is believed that women were not present; nor may they have attended associated performances at theaters.

MEN AND THE OIKOS
A man was the head (KYRIOS, κύριος, "master") of the household. In this sense, he was responsible for representing the interests of his //oikos// to the wider polis and providing legal protection to the women and minors with whom he shared his household. Initially the //kyrios// of an //oikos// would have been the husband and father of offspring. However, when any legitimate sons reached adulthood the role of //kyrios// could, in many instances, be transferred from the father to the next male generation. When a son was given his portion of the inheritance, either before or after his father had died, he was said to have formed a new //oikos//. Therefore new //oikoi// were formed every generation and would continue to be perpetuated through marriage and childbirth. The complex relationship between father and son was also bound intrinsically to the transfer of family property: a legitimate son could expect to inherit the property of his father and, in return, was legally obligated to provide for his father in his old age – As Odysseus had been caring for Laertes before the suitors arrived. If a son failed to care for his parents he could be prosecuted and a conviction would result in the loss of his citizen rights.However, fathers could also be prosecuted by their sons for maltreatment if they prostituted them or failed to provide for them. Furthermore, the heir to an inheritance would also be required to perform burial rites at the deceased's funeral and continue to provide annual commemorative rites. This would have been an extremely important consideration for the Athenians Greeks.

Childbirth took place at home, with all the women of the household in attendance. [we see this in the movie but do not read it, or wouldn't have it told to us, in the poem]
===A female midwife maia may have been present, and a male doctor called in if complications arose, but virtually no information on midwifery exists. Childbirth was regarded as polluting so was not allowed to take place on sacred ground. At birth the guardian (usually the father) had to decide whether to keep the child or expose it. If it was kept a purification ceremony took place on the fifth or seventh day after birth.=== It was the mother's duty to breadfeed their children, but wet nurses were employed, and pottery feeding bottles are also known. There is evidence from Greek vase paintings of cradles made from wickerwork and wood. From the 4th century BCE children appear much more in artistic representations. Children played a number of games, and evidence of toys comes from Greek writing, vase paintings and surviving examples of the actual toys. It was customary at various festivals to give children toys. When girls were about to marry and when boys reached adolescence, it was customary for them to dedicate their playthings to deities. Male children were favoured for many reasons. They perpetuated the family line and family cult, cared for parents in old age and arranged a proper funeral for deceased parents. Sons could inherit their mothers' dowry. Boys were raised in the female quarters until about the age of six, when they were educated in schools, but girls remained under the close supervision of their mothers until they married. They rarely went out of the women's section of the house and were taught domestic skills at home, though they did attend some religious festivals. In Sparta, Greek boys were removed from their families at the age of seven to be reared by the state.

Adoption and the Oikos
In order to continue the family it was possible for a man to adopt a son, although the adopted son did not have as many rights of inheritance as a birth son. It was usually a method of providing a man with an heir. By the 4th century BCE in Athens, adoption could be inter vivos (adoptive father and adopted son both alive), or a son could be adopted after a man's death through a will, or assigned to the family after his death if none was mentioned in a will and there was no heir.

Pets and the Oikos
Some animals were kept in the home from at least the time of Homer, and he mentions dogs. The most popular pet was a small dog, often represented on 5th-century BCE Attic gravestones.

Adultery and the Oikos
There were a number of reasons for which men often carefully guarded the faithfulness of their wives. Illegitimate children were deprived of many rights in most Greek city-states; should a man's heirs' legitimacy be questioned on grounds of his mother's chastity, his family could end. Illegitimate children could also be a considerable economic drain on their family, while giving little back. Another cause of fear was the threat of an outsider gaining access to the oikos, either through the woman he was sleeping with, or their child. Presumably, the fear of adultery is linked to the ban on women's consumption of alcohol, as evidenced in Greek plays. These fears were intensified by the nature of marriage in Ancient Greece. Marriage was arranged by the bride's father, and many men did not have a close relationship with their betrothed before the marriage.

THE OIKOS IN TODAY'S WORLD.
The term //oikos// is contemporarily used to describe social groups. Several dozen to several hundred people may be known, but the quality time spent with others is extremely limited: only those to whom quality (face-to-face) time is devoted can be said to be a part of an //oikos//. Each individual has a primary group that includes relatives and friends who relate to the individual through work, recreation, hobbies, or our neighbours.

The modern //oikos//, however, includes people that share some sort of social interaction, be it through conversation or simple relation, for at least a total of one hour per week.

__**CULTURAL EXPECTATIONS AND CODES OF BEHAVIOUR CONTINUED**__ **LAST TIME WE TALKED ABOUT XENIA AND PHILOXENIA** __**This time it's Kleos**__ __**Kleos is a term used in epic poetry that means immortal fame**__, but can also mean rumor or renown. A Greek soldier can earn kleos through his courage. A monument can bring kleos, as can reports of one's offspring's virtuous deeds.

//**Kleos**// (Greek: κλέος) is the Greek word often translated to "renown", or "glory". It is related to the word "to hear" and carries the implied meaning of "what others hear about you". A Greek hero earns //kleos// through accomplishing great deeds, often through his own death. //**Kleos**// **is invariably transferred from father to son;** the son is responsible for carrying on and building upon the "glory" of the father. This is a reason why Penelope puts off her suitors for so long. //Kleos// is a common theme in Homer's epics, the Iliad and the Odyssey. the main example in the latter being that of Odysseus and his son Telemachus, who is concerned that his father may have died a pathetic and pitiable death at sea **rather than a reputable and glorious one in battle**. The //Iliad// is about gaining ultimate //kleos// on the battlefields of Troy **while the** //**Odyssey**// **is the ten-year quest of Odysseus'** //**nostos**// **(or return journey)**. **Telemachus fears that he has been deprived of** //**kleos**//**.** This links to hereditary //kleos//. //Kleos// is sometimes related to aidos - the sense of duty. As the polis emerged during the classical period of Greek history after the so-called "Dark Age" of 1000–750 BCE, the Homeric warrior ethic transformed into an ethos with the city-state replacing the individual at the top. **Shifting emphasis away from individualism, the goal for a polis hoplite [soldier] became to win** //**kleos**// **for his home city, reflecting honor onto his family in the process.**

When we consider the Hero in ancient Greek culture, from the start we must 'de-familiarize' our notion of what a hero is. The ancient Greek concept of a hero was different from our own culture's. First and foremost, the ancient Greek hero was a religious figure, a dead person who received cult honors and was expected in return to bring prosperity, especially in the form of fertility of plants (crops) and animals, to the community

The hero is also a literary figure, of course, but here, too, we need caution so that we do not misapply our own cultural ideas and standards to the ancient Greek hero. A key part to the narrative of the hero's life is that s/he undergoes some sort of ordeal. The hero, who is //**mortal**//, not immortal like the gods, must suffer during his or her lifetime, and, significantly, must die. Only after death can the hero receive immortalization in cult and in song. The hero must struggle against the fear of death, in order to achieve the most perfect death. Such a perfect moment must be recorded in song, **kleos. Kleos** means 'glory, fame, that which is heard'; OR, 'the poem or song that conveys glory, fame, that which is heard'). To say it another way: this word **kleos** was used to refer to both the medium and the message of the glory of heroes. It is a historical fact that the ancient Greeks worshipped heroes throughout the period starting already with the Homeric //Iliad// and //Odyssey// (the oral traditions that culminated in these epics were beginning to crystallize around the eighth century BCE) and ending with the //Heroikos// of Philostratus (around 200 CE).  For a working definition of ancient Greek "religion," I suggest simply: __the interaction of ritual and myth__. <span style="color: #ffffff; font-family: verdana,arial;">**OS**- glory, often implying fame and immortality (in the memory of others), achieved as a result of one's //time// (acts of excellence meriting honor).

> **Xenia is the Greek word for "foreign" or "strange"/"stranger", or of foreign origin.** > **The concept of hospitality, or generosity and courtesy shown to those who are far from home is "philoxenia"** > **The word "philos" means "friend" and the word "xenia" means "stranger", therefore philoxenia means "friend of the stranger" in Greek.** > <span style="font-family: Arial,sans-serif;">** PHILOXENIA is often translated as "guest-friendship" (or "__ritualized friendship"__) because the rituals of hospitality created and expressed a reciprocal relationship between guest and host.** The Greek god Zeus is sometimes referred to as Zeus Xenios, meaning he was god of, among other things, travelers. **This created a particular religious obligation to be hospitable to travelers**, but **guests also had responsibilities, beyond reciprocating (giving back) hospitality.**
 * 1) <span style="font-family: Arial,sans-serif; font-size: 21.3333px;">__**Guest Friendship or Xenia. Or Friend of Stranger**__

**Philoxenia consists of three basic rules:** > > <span style="color: #008000; font-family: Arial,sans-serif;">Philoxenia was considered to be particularly important in the ancient times when people thought gods mingled amongst them. If you had played host, and performed poorly, you would incur the wrath of a god. It is thought that the Greek practice of theoxenia may have been the antecedent of the Roman rite of Lectisterniuim, or the draping of couches. <span style="color: #008000; font-family: Arial,sans-serif;">The policy of Philoxenia also includes the protection of travelling bards. They would receive hospitality in the form of a place to sleep, food, and often an assortment of gifts in turn for entertainment and news from other parts of the ancient world. The safety of these bards was believed to have been secured by the aegis-wielding Zeus, and any violation of Philoxenia would put the violator at the mercy of either Zeus or any lower god that he saw fit to enforce the unwritten code.
 * <span style="color: #008000; font-family: Arial,sans-serif;">The respect from host to guest. The host must be hospitable to the guest and provide them with food and drink and a bath, if required. It is not polite to ask questions until the guest has stated his/her needs.
 * <span style="color: #008000; font-family: Arial,sans-serif;">The respect from guest to host. The guest must be courteous to their host and not be a burden.
 * <span style="color: #008000; font-family: Arial,sans-serif;">The parting gift (xenion, ξεινήιον) from host to guest. The parting gift is to show the host's honor at receiving the guest.


 * __ Themes in the Odyssey __**

__**Themes in the Odyssey**__

**There is a strong theme of homecoming (**//**nostos**//**)** in the //Odyssey//, because Odysseus is on a journey home after the Trojan war has finally ended. **The theme of temptation as a psychological peril** is portrayed by the sirens who lure sailors to their deaths by seduction. They represent the ideal audience—they sing about the most glorious moment of your life, thus tempting you to stay the hero or warrior they are portraying you as. Your own weakness makes you vulnerable; your greatest weakness comes from inside you. **Another significant theme is that of disguise**, in the case of the gods; they disguise themselves so that they can interact with mortals. Athena in particular assumes many disguises including a shepherd, a girl, Telemachus, and Mentor. Odysseus is also able to disguise his identity, though not physically, by telling Polyphemus his name is ‘Nobody’ so that he will not be identified as the one who blinded the Cyclops. He also disguises himself as a beggar when he returns to Ithaca to protect himself from being killed by the Suitors. **Hospitality (**//**xenia**//**) is also a recurring theme as fundamental as the heroic code in the** //**Odyssey**//. [yes it is also one of the social expectations so you can discuss it twice] During that time, beggars or travelers often knocked on a stranger’s door in hopes of procuring a place to stay. There are specific steps for proper hospitality beginning with the feeding of the guest, which is of utmost importance since food is rare at that time and beggars beg for food, not money. Before the food is given, a bath is offered to the stranger, done by a woman or a servant—often different depending on the status of the visitor. After the food is given, the beggar is asked who he is and where he is from and stories are exchanged. Next, they are offered a bed to sleep on and it is understood that that they can stay overnight and at the most another night. When the beggar is leaving, there is an exchange of gifts, if the beggar does not have a gift to give, they will still be given one. **Identity** is another important theme. Think of all the ways that Homer finds to describe and identify a character in his oral poem. Epithets, long titles given to characters [ so and so's son]. Find examples for your study. **Relationships and loyalty**

__**The Odyssey**__ <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;">Xenia is an important theme in Homer's The Odyssey. Every household in the epic is seen alongside xenia [with xenia in mind]. <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;"> Odysseus's house is inhabited by suitors with demands beyond the bounds of xenia. [eating drinking fornicating, taking advantage of] The Suitor Ctesippus mocks Xenia by hurling a hoof at the disguised Odysseus as a 'gift'. When he is speared by Phileotius, the cowherd claims this avenges his disrespect. <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;">Menelaus and Nestor's houses are seen when Telemachus visits. <span style="color: #008000; font-family: Arial,sans-serif;"> There are many other households observed in the epic, including those of Circe, Calypso and the Phaeacians. ** The Phaeacians, and in particular Nausicaa, were famed for their immaculate application of xenia **, ** as the princess and her maids offered to bathe Odysseus and then led him to the palace to be fed and entertained **. It should be noted, however, that because Odysseus was indirectly responsible for Poseidon's sinking one of their ships, the Phaeacians resolved to be less trusting of subsequent travelers. <span style="color: #008000; font-family: Arial,sans-serif;"> However, ** Polyphemus showed lack of Xenia despite Odysseus reminding him of it and refused to honor the traveler's requests, instead eating some of Odysseus' men. ** <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;">Book 3 Lines 70-80 shows xenia shown to Odysseus' son, Telemachus. <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;">Book 1 has Telemachus showing xenia to the disguised Athene. <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;">Eumaeus the Swineherd shows Xenia to the disguised Odysseus, claiming guests come under the protection of Zeus. <span style="color: #008000; font-family: Arial,sans-serif; font-size: 21.3333px;">When leading Suitor Antinous throws a stool at the disguised Odysseus and strikes his right shoulder as he asks for food, even the other Suitors are worried, saying Antinous is 'doomed' if the Stranger is a disguised God. <span style="color: #008000; font-family: Arial,sans-serif;"> ** Whenever Homer describes the details of 'xenia' he uses the same formula every time, for example the maid pouring wine into the gold cups, etc. **

<span style="font-family: 'Comic Sans MS',cursive;">**WOMEN IN GREEK SOCIETY** http://www2.cnr.edu/home/sas/araia/worlds.html

http://www.mythweb.com/odyssey/background.html
 * AN EASY TO READ ODYSSEY**

<span style="font-family: 'Comic Sans MS',cursive; font-size: 120%;">**Structure**

The //Odyssey// opens //[|in medias res]// (in the middle of things), meaning that the plot begins in the middle of the overall story, and that prior events are described through flashbacks or storytelling. This device is imitated by later authors of literary epics, for example, [|Virgil] in the //[|Aeneid]//, as well as modern poets such as [|Luís de Camões] in //[|Os Lusíadas]// or [|Alexander Pope] in //[|The Rape of the Lock]//.

In the first episodes, we trace [|Telemachus]' efforts to assert control of the household, and then, at Athena’s advice, to search for news of his long-lost father. Then the scene shifts: Odysseus has been a captive of the beautiful nymph [|Calypso], with whom he has spent seven of his ten lost years. Released by the intercession of his patroness [|Athena], through the aid of [|Hermes], he departs, but his raft is destroyed by his divine enemy [|Poseidon], who is angry because Odysseus blinded his son, [|Polyphemus]. When Odysseus washes up on [|Scherie], home to the [|Phaeacians], he is assisted by the young [|Nausicaa] and is treated hospitably. In return, he satisfies the Phaeacians' curiosity, telling them, and the reader, of all his adventures since departing from Troy. The shipbuilding Phaeacians then loan him a ship to return to [|Ithaca], where he is aided by the swineherd [|Eumaeus], meets Telemachus, regains his household, kills the Suitors, and is reunited with his faithful wife, [|Penelope].

All ancient and nearly all modern editions and translations of the //Odyssey// are divided into 24 books. This division is convenient but it may not be original. Many scholars believe it was developed by [|Alexandrian] editors of the 3rd century BC. In the [|Classical period], moreover, several of the books (individually and in groups) were given their own titles: the first four books, focusing on Telemachus, are commonly known as the //[|Telemachy]//. Odysseus' narrative, Book 9, featuring his encounter with the cyclops Polyphemus, is traditionally called the //Cyclopeia//. Book 11, the section describing his meeting with the spirits of the dead is known as the //[|Nekuia]//. Books 9 through 12, wherein Odysseus recalls his adventures for his Phaeacian hosts, are collectively referred to as the //Apologoi//: Odysseus' "stories". Book 22, wherein Odysseus kills all the Suitors, has been given the title //Mnesterophonia//: "slaughter of the Suitors". This concludes the Greek [|Epic Cycle], though fragments remain of the "alternative ending" of sorts known as the //[|Telegony]//.

This //Telegony// aside, the last 548 lines of the //Odyssey//, corresponding to Book 24, are believed by many scholars to have been added by a slightly later poet. Several passages in earlier books seem to be setting up the events of Book 24, so if it were indeed a later addition, the offending editor would seem to have changed earlier text as well. For more about varying views on the origin, authorship and unity of the poem see [|Homeric scholarship].

Geography of the //Odyssey//
Main articles: [|Homer's Ithaca] and [|Geography of the Odyssey]

Events in the main sequence of the //Odyssey// (excluding Odysseus' embedded narrative of his wanderings) take place in the [|Peloponnese] and in what are now called the [|Ionian Islands]. There are difficulties in the apparently simple identification of [|Ithaca], the homeland of Odysseus, which may or may not be the same island that is now called Ithake. The wanderings of Odysseus as told to the Phaeacians, and the location of the Phaeacians' own island of [|Scheria], pose more fundamental problems, if geography is to be applied: scholars, both ancient and modern, are divided as to whether or not any of the places visited by Odysseus (after [|Ismaros] and before his return to [|Ithaca]) are real.

__**LESSON POWERPOINTS**__

Friday March 16th 2012

<span style="font-family: 'Comic Sans MS',cursive; font-size: 120%;">**Summary** http://www.youtube.com/watch?v=BCXRxD85Xc0 Video SparkNotes: Homer's The Odyssey summary http://www.youtube.com/watch?v=kj0K8OpuK0I&feature=relmfu Video SparkNotes: Homer's The Odyssey summary, part II http://www.youtube.com/watch?v=d8XKXsnmqS4&feature=relmfu Video SparkNotes: Homer's The Odyssey summary, part 3 http://www.youtube.com/watch?v=0A8IVRRNS_s&feature=related http://www.youtube.com/watch?v=m93WOeOZTl8&feature=related http://www.youtube.com/watch?v=PI_zp55fTC0&feature=related

http://www.youtube.com/watch?v=VQQsReRrA8s&feature=related http://www.youtube.com/watch?v=d8XKXsnmqS4 video SparkNotes: Homer's The Odyssey summary, part 3

Anatolia where Troy was situated and the influence of the adjacent Hittite Kingdom Awesome Map of Homeric Greece that also shows where the characters came from

__**HOMER'S**__ //__**ODYSSEY**__// **General Introductory Notes** __**ORAL EPIC**__ The //Odyssey,// like the //Iliad,// is an epic poem (Greek //epos// = verse). It was composed to be recited to the accompaniment of a lyre to a listening audience, not written to be read out or by them. It is characteristic of oral poetry in its constant repetitions, both of phrase and line //(formulae)// and whole scenes //{typical scenes/themes).// These are the building blocks of the oral poet/bard in his recitation, enabling him to compose on the spot, although not without prior knowledge of these linking repetitions, e.g. //resourceful// Odysseus, //thoughtful// Telemachus. Because of this, the __epithets__ applied to people may not always be appropriate to the context - they assisted in composition of poetry written in __metre__ (dictated by syllable length and number of syllables). __**COMPOSITION**__  The //Odyssey// was composed by a Greek living in Ionia (w. coast of Turkey) probably during the late 8th. Cent. BC. We do not know how or when it came to be written down, who Homer was or whether he was also the poet of the //Iliad,// as is traditionally thought. Both //Iliad// and //Odyssey// are set in the __Mycenaean Bronze Age__ (c. 1600-1100 BC). From 1000 BC onwards, iron became the predominant metal in the Greek world, but Homeric armour, etc. is always of bronze. We assume the 8th. Century for composition of the epics because there are so few post 8th. Cent, customs, practices and artefacts referred to in the poems (e.g. writing, which is never mentioned in the //Odyssey).// The //Odyssey// is 12,110 lines long and would have taken c.20-25 hours to recite – so possibly intended in serial form. It is divided into 24 books, one for each letter of the Greek alphabet - probably a later division since 'Homer' probably did not write. The //Odyssey// as we have it falls into six four-book groups, a possible clue to its recitation units.  Only by the 6th. Cent, was there a written text of the //Odyssey,// and our earliest ms. dates from the 10th/llth. Cent. AD.  __**BACKGROUND TO THE STORY**__  Odysseus, King of Ithaca, son of Laertes, husband of Penelope and father of Telemachus, had gone off to the Trojan War twenty years previously, when the //Odyssey// begins. The War lasted for ten of these years; the remaining time has been spent by O. in trying to return home. In his absence, various suitors for his wife's hand have recently been constantly hanging about in his palace, no one knowing whether he will return. Book 1 opens prior to his return, when O. himself is with the nymph Calypso on her island where he has been for seven years. __**SOME IMPORTANT TECHNICAL TERMS/THEMES**__ //**xenia.**// "guest-friendship' - shown by exchange of gifts/goods/services between individuals from different places; it involved the correct treatment of strangers and the duties of hospitality; a //xenos// (plur. //xenoi)// was a 'guest-friend' but can also mean ' foreigner'," stranger'. //**kleos**// 'reputation'/'what people say of you' - how people will remember you after your death. A noble //kleos// is the hero's consolation for dying. The Greeks' value-system put more emphasis on successful performance and reputation in the eyes of others than on an inner consciousness of right and wrong. //**dike**// 'characteristic behaviour' 'way in which people should behave' and occasionally 'justice' in the sense of judgment or principle of law.

The introduction by Peter Jones in the 1991 ed. of the Penguin translation also establishes a number of these points. Other books should also be consulted - do not rely solely on the Penguin, especially for essays. **Information to find out:** i) background to the Trojan War - clues: Paris, Helen, Agamemnon, Menelaus, the Judgment of Paris  ii) the fall of Troy - clues: the wooden horse, length of the war iii) the Curse of the house of Atreus - clues: Thyestes' banquet iv) Aegisthus and Clytemnestra - clues: Agamemnon, Orestes __Odyssey ~ Book 1__ **RECAPITULATION:** 1-25 O.'s present condition 26-79 Council of gods: Zeus decides on O.’s safe return 80-96 Ath. goes in disguise to Ithaca 97-155 O.'s palace: the suitors 156-320 Ath. tells Tel. to prepare to make a journey for news of O. 328-364 Pen. enters to find Tel. with new strength & willpower 365-420 Tel. rebukes the suitors & their reply 421-end Tel. goes to bed & thinks about Ath.'s advice. **POINTS TO NOTE**: __**1-25 Introduction**__ (PROEM') - its MORAL use: O. was not responsible for his companions" deaths. He is the last of the heroes to return from Troy: Poseidon is his main enemy. The //Odyssey// opens with O. about to return home after 10 years of wandering after the end of the war. __**29-95 Meeting of the Gods**____:__ note the mention of Agamemnon's murder on his return at hands of his wife & her lover & his son's vengeance of this murder: should Tel. seek similar vengeance & how significant to the theme of the Od. is this story' Unlike suitors, who should be punished for their uncontrolled behaviour. O. is held up as a model of respect for the gods (66-7). Ath.’s arrival in the palace gives Homer the excuse to provide an update of the sit. there.  __**96-324 Athene meets Telemachus**____:__ note the imp. theme of XENIA (see intro. notes on Od.) Contrast Tel.'s treatment of Ath./Mentes with that of the suitors, who ignore her. Tel. is despondent & young but maturing rapidly: he knows how to treat a xenos. The suitors almost never acknowledge the gods in their feasting with the customary libations, etc. Ath. ominously advises Tel. to kill them if all else fails (295-6) O. does not appear until Bk 5 but he dominates Tel.'s thoughts: we are given an idea of his greatness & importance & the need for him to return. Ath. speaks of remarr. of Pen. but why does she suggest Tel. kills suitors after the marr.? - to stir him to act by presenting horrible scenarios to him ? __**325-444 Telemachus and Penelope:**__ "Tel. s emergence into manhood brings about a confrontation with the suitors & an abrupt change in his relationship with his mother. To them he is now a menace: to her he is suddenly the man of the house. &. as such, something of a surprise." (G.S. Kirk) Note the common pattern of PEN.'s ENTRANCES: appears veiled & with servants (328-35): makes a complaint (326-44); is rebuked (us. by Tel. - 345-59); retires, causing a fuss (360-6). Note TENSION between Pen. & Tel. (e.g. 249-51); he often seems to go out of his way to rebuke/embarrass her in public. Pen. is continually trying to intervene in Tel.'s & the suitors' world, but is always frustrated. The veil & sen ants suggest her modesty & chastity TELEMACHUS: his new behaviour becomes full of confidence. At 358-9 he asserts his mastery over the house. At 397-8 he states that he will fill O.'s shoes. Notice his guile & trickery (both features of O.) in replying to Eurymachus at 412ff. The introduction of the more loyal nurse. EURYCLEIA at 429ff is a brief character sketch & desc. of Tel.'s bedtime - good example of H.'s attention to detail & his celebration of ordinary/everyday life. //**Why does Homer start the story where he does?**// i.e. after O. has been wandering for 10 yrs.. by concentrating on Tel., not O.. for the first 5bks __Odyssey ~ Book 2__ **RECAPITULATION:** 1-79 Tel. at the assembly of suitors which he summoned to voice his complaints 80-128 Antinous blames Pen. 129-207 After Tel. speaks, Zeus sends an omen: the suitors ridicule its interpretation 208-59 Tel. demands a ship; assembly dismissed 260-97 Ath. appears to Tel. & offers support 298-381 Tel. rebukes Antinous & has Euryleia prepare provisions for his journey in secret 382-434 Tel. sails for Pylos in one of Ath."s ships **POINTS TO NOTE:**  __**1-259 The assembly**__ of suitors fulfils Ath. 's words of 269-92. but fails to move the dispute into the PUBLIC sphere: it remains a matter between Tel. & the suitors.  WHY do people in general not take a stand on the destruction of O.'s house/kingdom? cf239-41  Suitors" character(s) given more depth: undeniably selfish/evil; violent (198-207); arrogant (244-51); ruthless. People often come across them playing, drinking or eating e.g. 1.106-112 299-300: H.'s implication is that they deserve their bloody fate. Note the OMEN at 146ff - first of a number indicative of O."s return (often with violent birds in them). __**Development of Telemachus**__ __o__ver Bks 1&2: the Greek word for "reputation' is KLEOS (lit. "What people say of you") It represented your legacy after death & was of great importance. As Bk 1 opens, Tel. is despairing & despondent (1.114-8), cannot bring himself to believe that he is O.'s son (1.215-220) & wishes that he had been son of a diff. prosperous father or one who had died gloriously in battle( 1.234-243). Ath. helps him in this 'identity crisis' by telling him how like his father he is (1.207ff). telling him to abandon childhood (1.296-7) & pointing out how Orestes. Agamemnon's son. had taken revenge on Ag.'s killers (1.291-302). In Bk 2. Ath. glorifies Tel. & he makes his first public address confidently (to start with) - but then he admits he doesn't have the strength/authority to expel the suitors (60-79) & finishes in tears & a tantrum. Halitherses interprets Zeus' omen in his favour & Tel. announces his decision to travel. He still has some way to go in establishing his authority & kleos. __**Penelope's Character**____:__ we see that she is more clever than many heroines of the past (115-22 ) & cunning (the shroud. 93ff). Note that O. was famous for being cunning. She is not just the timid little stay-at-home she may have seemed in Bk 1. __**260-434 Telemachus prepares to travel**____:__ what precisely is the suitors" aim now? Merely for one of them to marry Pen.? Note their talk of dividing the property up between them if Tel. dies at sea (335); hence the advice of Eurycleia to stay at home & guard his property (367). Tel. seems to know his own mind: he rejects Antinous' suggestion quite forthrightly at 309ff & prepares to DECEIVE (O.'s favourite word) Pen. about travelling without her consent. Ath. has urged him to be like his father (270ff) & to seek kleos through WORDS & DEEDS (272). Tel may finally be realising his potential BUT note the contrast between youth & inexperience & adult potential. From 382 -434 observe his apparent authority - with ATH.'s GUIDANCE e.g. she leads & he follows at 405 & 416. However, divine help often enhances a hero - & so Tel. is WORTHY of Ath." s support. //**Questions to ponder....**// > explicitly, in the divine assembly (1.76-7). __Odyssey ~ Book 3__ **RECAPITULATION:** 1-66 Tel. arrives at Pylos: finds them engaged in sacrifice to Poseidon: is well received 67-101 At Nestor's request. Tel. reveals his name & his purpose in visiting 102-329 Nest, tells of the Greeks' fate in returning from Troy & advises Tel. 330-372 The disguised Ath. talks with Nest. & departs in form of an eagle 373-497 After rest, sacrifice & meal, Tel. sets off for Lacedaemon (Sparta) **POINTS TO NOTE:** __**Nestor:**__ Tel. 's first contact, in the story-, with the outside world - note the differences from what he has left. It is a world of heroes returned from Troy (Nest. Bk 3. Menelaus Bk 4). The gods are revered (e.g. 430ff - the most detailed sacrifice in Homer, underlining Nest.'s piety) & the plans of the gods are understood e.g. at 375ff where Nest, sees Ath.'s transformation into an eagle as an important sign of Tel.'s 'kleos". In contrast to Ithaca. STRANGERS are welcome (xenia) e.g. 3.3 Iff. Nest, is the oldest & wisest of the Greek heroes: no wonder the young Tel. is hesitant to talk to him (22-4) - a test which will bring him kleos'? Nest, is portrayed as kind & generous, but vague & prone to waffle (witness his meandering speech 102-200 where he mentions O. only briefly at 163 & leaves Tel. none the wiser). He says that O. returned to Ag.. but not WHY - after Ag.'s dire fate, this can only serve to make Tel. despondent(205ff). __**Athene**__ She is an important part of this episode for Tel. By the time she leaves so dramatically, he is more confident & can build on the "kleos' that Nest, has given him: the eagle episode gives Nest, proof that Ath. is honouring Tel. as much as O. Nest.'s son, PEISISTRATUS. will now accompany Tel. & encourage him further e.g. 4.156. Compare the travels of O. & Tel.: Tel. LEAVES Ithaca to est. his identity, O. must RETURN there to do so. __Odyssey ~ Book 4__ **RECAPITULATION:** 1-119 Tel. & Peisistratus reach Sparta; welcomed by MENELAUS 120-167 HELEN identifies Tel. & Peis. says who they are 168-264 Memory Lane: Hel. puts a soothing drug in the wine & talks about O.'s daring 265-305 Men. talks of the Wooden Horse; bed 306-332 Tel. asks about O. 333-440 Men. predicts death for suitors & tells of his travels in Egypt, aided by the divine Eidothee 441-592 Men. encountered Proteus, who desc. homecomings of other Grks 593-624 Tel. stays for a banquet 625-741 Ithaca: suitors plan ambush for Tel: Pen. finds out & is very upset 742-end At Eurycleia's insistence. Pen. prays to Ath.;Ath. sends Pen. a reassuring dream **POINTS TO NOTE:** __**1-624 Telemachus. Mend**__ __**jus**__ __**& Helen**__ Tel further maturing: identified as O.'s son by Hel. at 140-54 without formal identification - increases his "kleos". Unlike Nestor. Men. has personally experienced loss (Ag. & O. 90ff). Men. is renowned for his wealth (he admits as much 78ff) which he acquired AFTER his Trojan adventures, esp. in Egypt - gained by guest-gifts (xenia) or raiding, NOT trade. In Egypt section, note fabulous encounter with Eidothee & Proteus: prepares way for O.'s tales of wanderings in Bks 9-12. N.B. Od is full of tales /stories within a stor.. Again, news of O is thin & late in coming (555-60): Proteus says he is stuck on Calypso's island, but NOT whether he will return. Helen: self-critical (145) & 'wifely' (e.g. spinning, 131-5). Her Trojan War anecdote (244ff). nowhere in the //Iliad.// emph. O.'s DECEPTIVENESS. Men.'s (265ff) his ENDURANCE. __**625-847 Penelope**__ //__**&**__// __**the suitors/the 'Telemachy'**__ Abrupt return to Ithaca: we pick up Tel. again at Bk. 15 Thus H. creates impression that O.'s adventures in Bks 5-14 happen at SAME TIME as Tel.'s wanderings in the Peloponnese. Here is a reason why O.'s return is so badly needed. Note the murderous intent of the suitors, esp. the horrible exchange at 768-77. Penelope: for entry, rejection, departure in tears cfl.325ff. Stress on her weakness/helplessness at 727ff: she even thinks the people are against her family. DREAM WORLD is her only escape from reality & pressure (793ff). but even in her dreams O. belongs to the PAST (814-6). Only Tel. is left to her. & even he is a child (818), not old mature enough to be a hero yet. Ath.'s reassurance is for her & for US (825-9). __Odyssey ~ Book 5__ **RECAPITULATION:** 1-20 Ath. at 2nd Council of gods asks about O. again 21-42 Zeus sends Hermes to order CALYPSO to send O. from her island (Ogygia) 43-115 Hermes flies to Ogygia & delivers his message 116-191 Cal. reluctantly submits & tells O. to build raft, reassuring him against trickery 192-227 Cal. & 0. spend their last eve. tog. 228-270 0. builds boat' & departs 271-332 Before reaching land his boat is destroyed by Pos.’s storm 333-375 Sea-goddess Ino/Leucothoe saves him with her scarf 376-493 Pos. calms storm; O. finally reaches the coast, enters mouth of a river & falls asleep **POINTS TO NOTE:** __**Change of location**__ right from start: the "real" world of Ithaca ... the gods ... the fabulous" world of O.'s travels. BUT note how Homer blends the human & divine/supernatural worlds without difficulty eg 192ff ("With these words...") - O. is living with the semi-divine Cal.. although the diff. bet. mortals & immortals is stressed at 209. __**Second Proem**__ at lines 1-20 (cf 1.1-21): no real need for 2nd meeting of gods (Ath. has already suggested that Hermes advise Cal. to free 0 at 1.84). However this divine 'recap." helps emph. the concern for O. from (some of) gods & also allows oral poet to remind listener of general plot outline & what is to come (at 25-42).[Some argue for this being the beginning of a version which did not contain Bks 1-4] __**Odysseus**__: our first sight of the hero confirms Proteus' desc. of him at 4.556 - helpless, tearful, trapped & mistrustful eg 1" 1-9 on Cal.'s island; despite this he continues to sleep with Cal.. albeit unwillingly'! His GOAL remains Ithaca, no matter what (219-24); note that a man's loyalty to his household is unaffected by affairs with foreigners/slaves (women do not enjoy the same ideal/privilege). O. s CHARACTERISTICS: stubborn endurance (151-8): self-reliance eg during the storm 324ff and he has to build "boat" himself (234ff) altho. Cal. provides favourable wind (268): calm & rational - weighs up the alternatives eg 354.408.465: although various gods are on his side eg Ath. & Leucothoe. O. is unaware of this, so he has to rely on himself. He also experiences frustration that he can only prove his heroic status by performing glorious deeds in sight of his peers - hence his wish that he had obtained his KLEOS by dying at Troy (306-12). Note also how often O. has to CONCEAL lus identity even when he reaches land: Nausicaa (Bk 6). Cyclops (Bk 9). in Ithaca (Bks 13-22). The new heroic quality we see Homer delivering here is SELF-CONTROL. __**Calypso**__: from Greek kalupto". "I conceal". She has kept O. for 7 YEARS. This allows Tel. to grow up & be finding his real identity & kleos in Ithaca. Cal = daughter of Atlas (1.52) but is NOT an Olympian - in fact she resents the divine interference in her life (118ff). She seems v. affectionate towards O. & is persistent - her last appeal to him is in offering lum immortality (hers to give?... 203). Note the 'comedy of manners' bet. Hermes & Cal. - she omits proper XEN1A by questioning him before offering food (86-90) : her anxiety' It then takes Hermes 15 lines to deliver his message & even then he puts the responsibility on Zeus (112). but note his stern threat at 146-7. HERMES is a god of TRANSITION (Greek "hermia" = "boundary-marker') & of exchanges & transfers. __**Leucothoe**__ = Ino: Homer using myth creatively - mortal (Ino) was changed into sea-goddess (Leuc.) & so is sympathetic to O. bee. she was once mortal: BUT. as with Cal. (176ff). O. is suspicious (356ff). Note also the reappearance of ATH.. helping her favourite (382ff) - reminder of the divine plan for O. __**Style**__: note H.'s use of DOUBLETS in Bk 5. O. is wrecked by Pos. twice: has 2 monologues, two helpers, & climbs back onto his boat twice. Compare this with the two suitor-spokesmen Antinous & Eurymachus & compare Cal. with Nausicaa in Bk 6. SIMILES - Iliadic technique of clustering round exciting scene: here, the storm (wind at 328 & 368. sickness at 394. octopus at 432. fire at 488). __Odyssey ~ Book 6__ **RECAPITULATION:** O. has reached Scheria, land of the Phaeacians. 1 -47 Ath. visits the princess Nausicaa in a dream & tells her to go & wash clothes at the river 48-84 N. is given leave by her father, sets out in mule cart with attendants 85-109 They wash clothes, eat & play ball 110-48 They wake O.: he decides to ask for help 149-250 O. speaks to N.; she gives him clothes & food 251 -315 N. asks O. not to accompany her back to city for fear of scandal, but to approach the Queen alone 316-331 When they reach the city. O. remains outside in Ath. 's grove. **POINTS TO NOTE:** Initially, it seems that O.s troubles are over (Pos. has vowed to leave him alone 5.288-9). PHAEACIANS seem respectful of strangers (208): they revere the gods properly (12-18) despite being far away from civilisation (4, 8, 204ff) & their nation is unwarlike (202-3). DANGERS? N. 's apparent attraction to O.: never defined by Homer, always vague (eg 239); stress on her marriageable age (25ff &282-4); there are unpleasant gossips around (274) & people have connections with Pos. & Cyclops (5 & 267). BALANCE: Ath. has a sacred grove there (291-2) & appears to N. (24ff) - Ath. is in control of events (1 lOff) altho. O. does not know this (326). __**Odysseus**__ : naked, begrimed, rugged hero of the Trojan War who has nothing but his wits to rely on to win the confidence of N. who is exposed & vulnerable (138ff). Contrast his relationship with the regal, bashful & endearing N. with the devious & stubborn Caypso: Cal. feeds O. (5.196). bathes him (5.264) & sleeps with him (5.226-7); N. orders the servants to bathe him (210). feed him (246) & merely admires him from afar (237). N. remains practical, folding clothes etc. in O.'s presence (252). but hints very strongly at 276ff that he would be pretty much her ideal husband! Book 6 gives ample illustrations of qualities O. now needs to survive (cf Iliadic skill in battle): tact, courtesy, careful handling of sits, (eg 118 &141); his problem is that he is still an "Homeric hero' & his concealment must be thrown off at some point to be his true self - but when9 __**Nausicaa**__ : portrayed sympathetically; practical (252-3), crafty/wheedling (56-65), has courage to stay to face  naked man at 139 & also at 199ff. fun-loving (99ff). cautious (209-10). flattering (276-84). & commanding (tells  O. to wait in Ath.'s grove 255ff).  Marriage is on her mind (239-45) - with 0° (276-84) - but her instructions to O. to kneel before the Queen are with  his eventual return home in mind (313-15).  Her speech at 57ff is a masterpiece of wheedling, appealing to the needs of her father & brothers, never once  mentioning her dream of marriage: note also the closeness of father & daughter here. The preparations for her washing trip (71ff) enable Homer to celebrate the ordinary (cf Tel. going to bed 1.45 Iff). Like Pen. (1.328-35). N.'s reputation & person are protected by maidservants & veils (100); protection will soon be removed when she is unveiled & servants flee at approach of O. (138). **Supplication** : (142ff) Usually a Greek disarmed & threw himself upon the mercy of another by clinging to the supplicatee's knees - the position indicated complete surrender. O. decides against this method because it might be misunderstood as a potential threat to her. Hence his first words to her are tactful, reassuring (149-61) & emphasise the value of chastity. __**Homeric Technique**__ : note device of anticipating/preparing listener for what will happen shortly - see lines 25-40 (Ath. tells N. to wash clothes) & 112ff(Ath. arranges for O. to awake & see N.) cf 5.28ff & councils of gods. To help listener to keep grip on plot? Simile: O. 'like a mountain lion' (130) - also used of warrior advancing in Iliad 12.299f & so amusingly out of context here (O. nakedly advancing on vulnerable females). __**To ponder...**__ Why does N. play little part after this when it looks like it could develop into quite a romance? Why the suggestion that O. approach Queen Arete, as if there is a crucial role she is to play in the proceedings (310) but in Bk.7 she seems to play little or no part at all9 __Odyssey ~ Book 7__ **RECAPITULATION:** 1-13 Nausicaa reaches home 14-77 O. is directed by Ath. to palace of Alcinous, King of Phaeacians 78-132 Palace & gardens described 133-66 O. begs for help from Queen Arete 167-227 He is hospitably received & promised convoy home 228-97 Arete questions O. & he describes how he came to Scheria 298-347 Ale. reassures O. of his goodwill before all retire for the night **POINTS TO NOTE:** __**Scheria**__ DIVINE /MYSTERIOUS connections: 92-4. 199-206 HOSTILITY TO STRANGERS: 16, 32 LOVE OF SHIPS: 325-8 KNOWLEDGE OF RIGHT & WRONG: 164-6, 315-8 UTOPIAN IDEALS of palace: 8 Iff __**Odysseus**__ Still cared for by Ath. (14. 40-2). continues to CONCEAL IDENTITY (helpless stranger. 22-6 & needy beggar. 215-21). He is complemented (226, 311-5) & accepted into palace. His self-presentation + Nausicaa's hinting in Bk 6 re. marriage cause .Ale. to offer her in marr. to O. (though he doesn't insist!) The uncertainty of the sit. enables H. to develop theme of O.'s mastery of his circumstances. __**Queen Arete**__ Name = "prayed to' in Greek. At 6.310-5. she is suggested (by Naus.) as vital to O.'s welfare (& by Ath. at 7.47ff) but it is Ale. who takes over (155ff) after O. has supplicated her; she asks only 2 qns.. one of which is 'Who are you?' and this remains unanswered & is not pursued. WHY? Is it evidence for multiple authorship of Odyssey? -further development of Arete in another version? Or is it more a qn. of O. having to remain incognito at pres. because he needs to know them better: would a people who apparently live so far from human soc. have even heard of him'.7 He needs to be sure they would believe him too - & he is at pres. completely destitute. .Arete delays questioning for the sake of \enia & allows him to eat; her role is small but pan of the importance of their hospitality. She is approached by O. as one who is respected & admired for her good sense & ability to arbitrate in disputes (69ff). __**Homeric Technique**__ Common feature of how heroes in need are helped by gods in disguise (18ff). Ath. will also help O. with a mist at 13.187ff in Ithaca. Note how women hold the key to O.'s survival in the early bks: Calypso, Ino. Naus.. Arete. Circe. Ath. - unusual sit. for Iliadic hero. O.'s version of events at 244ff shows how the oral poet can compress series of events (he omits Ino episode, noise of the girls who woke him & -wrongly- says Naus. bathed him). __Odyssey ~ Book 8__ **RECAPITULATION:** 1-54 Phaeacian assembly agrees to send O. home by ship 55-82 Princes go back to palace; bard Demodocus entertains 83-130 0. weeps; Ale. introduces athletics contest 131 -64 0. challenged to compete & taunted 165-233 O. hurls discus beyond others & issues ou~n challenge 234-65 Ale. introduces some dancing 266-369 Demod. sings of the affair of Ares & Aphrodite 370-448 Dancing; gifts brought to O. 449-68 0. bathes & bids farewell to Naus. 469-520 Feasting & song 521-86 O. weeps again at the song; Ale. qns. him about himself **POINTS TO NOTE:** __**Theme**__ __of__ __**Book 8**__**:** Gradual est. of O.'s identity & heroic stature until finally confirmed at 9.19 Book carefully structured with repetition for emph. - 3 blocks of entertainment, each broken by song, O. weeping at 1st & 3rd sessions, to prompt Ale. to ask "Who are you?' etc. at the end (548-86). __**Scheria**__  H com. to build on pic. est. by earlier bks.; hostility of Euryalus (159ff) is made up for by Ale. (235ff) & repentant Euryalus at 400ff. Phaeacian friendliness & generosity (39ff. 392ff) & love of ships again at 48-55 & 556-63. Note how they CRAVE luxury (248, 368), not like O. (altho. he likes possessions) - but unlike suitors, they know right from wrong.  __**Alcinous**__  Generous (7.186ff. 8.388ff); wordy - likes own voice!? (eg 550-86 just to ask "Who are you & where from9'); he likes praise (381-8) & proud of his people (7.317ff; 8.244. 252); he is tactful when O. weeps (93ff) & is willing to admit wrong (396-7); observes xenia. __**Demodocus**__ Comparison with H? The poet's art gives lasting glory because it ensures that a memory of events/people is saved (579-80) & reinforces heroes' glory. The Achilles-Odysseus quarrel at 75ff is recorded nowhere else in Grk. lit., but serves here to emph. greatness of O. as man of cunning par excellence. Song of Ares & Aphrodite (267ff) - unusual for other gods to be seen condoning adultery, but Zeus the overseer of morality (and serial adulterer himself!) is kept out of it & the adultery is punished by CUNNING not force (331) - the quality of O. It is also just a good laugh. __**Odysseus**__ His heroic authority increases with the athletic contest; one should not trouble a xenos with enough trouble of his own to have to defend his honour - O."s tact (207) & charm (170) are missing from the conduct of Euryalus & his rude challenge at 159ff. By 237 his status & authority are acknowledged by Ale. & he seals their xenia with gifts of grt. generosity at 389ff. thus publicly acknowledging O.'s kleos.  Demod.'s songs place O. in context as hero of Troy; simile touching as O.. the sacker of cities, weeps at the memory of it like a woman who has lost a husband in battle, enduring her loss & her fate - poignant moment which O. can only find hard to share with his hosts in their celebratory mood.  __Odyssey ~ Book 9__  **RECAPITULATION:**  1-38 0. reveals to Phaeacians his name & country  His adventures:  39-61 attack on the Cicones  62-104 Storm & encounter with Lotus Eaters  105-51 Landing near country of Cyclopes 152-230 Discovery of a Cyclops' cave 231-98 Arrival of Polyphemus, who devours some of O.s men 299-402 O s successful plan of revenge 403-72 Tricking of other Cyclopes, escape from cave & flight 473-542 O. taunts blinded Poly. & is cursed 543-566 Departure from land of Cyclopes **POINTS TO NOTE** : __**Books 9-12**__ Adventures of Bks. 9-12 last 3 yrs. (O. away from Ithaca for 20yrs. - ref. 2.174: 10 yrs. of Trojan War + 7 yrs with Calypso - ref. 7.259). Remember these stories are being told to Phaeacians. Elements of MAGIC/FANTASY in O.'s adventures: contrast real' world of Phaeacians. However, H. wishes to show human side of his heroes & even humanises' the most incredible monsters eg Poly. We may wonder whether O. exaggerates his tales to gain kleos or sympathy from his hosts, esp. bearing in mind his famously cunning nature. However he repeats the tales to Pen. when under no such obligations to exaggerate his greatness or that of his perils/adventures (23.306ff). Just as Bks. 1-4 help assert Tel.'s identity, so 9-12 offer confirmation of O.'s identity as the cunning hero, courageous & versatile.
 * 1) he can show the plight of his kingdom, palace, family & how much they long for his return: it also shows the challenges he faces if he returns
 * 2) the sit. in Ithaca is made more complicated/interesting by the tension between Tel. & Pen.. & Pen. with the suitors. Bks 1-4 give H. the opportunity to build on the charac. of Tel. into a son worthy of O. - hence his travels & meetings with old heroes in Bks 2-4. This will bring him face to face with his own potential
 * 3) the scene is set for O. to stop in the land of the Phaeacians in Bk 6 &, as their xenos. to relate the story of his travels (Bks 9-12) in the 1st person (I...), making them more personal & interesting.
 * 1) If the suitors were so ruthless, why didn't they kill Tel. & seize O.'s property at once?
 * 2) Why does Ath. encourage Tel. to travel when she knows all along that O. is about to return0 Zeus said so

__**Adventures of Book 9**__ CICONES: O. is at mercy of the winds (39) - unlike the Phaeacians. The behaviour of his MEN & their foolishness (45ff - they want to stay & drink & eat) - 1st example of this: it is their own fault, not O.'s (see proem). O. had 12 ships (159) & c.60 men per ship - 72 killed here (6 from each ship – line <span style="font-family: Arial,sans-serif; font-size: 9pt;">59**).** THE LOTUS EATERS: note O.'s loyal determination to rescue all his men (100-2) THE CYCLOPS: Lack of civilisation in their lifestyle (112ff). no laws etc. Poly, ignores all conventions of xenia. altho. he's aware of them (356) but chooses to ignore them (273-9) to the extent of performing a mocker, of xenia (369-70) in offering to eat 'Nobody' last. Poly lacks intelligence to contrast with O.'s cunning: -Nobody is killing me' (408). Note PUN of METIS (cunning) & ME TIS (no one). There is. however, a sense of PATHOS in the blinded Poly, taking comfort in his ewes, treating them with care (220. 307 & 447) - aaah! __**Odysseus**__ Man of intelligence/cunning working at full-stretch, constant decision-making eg cannot kill Poly, in cave because of entrance stone. Where violence alone rules, as with Cyclops so with suitors, only the one who can OUT-THINK the others can prevail, the man of METIS. O. is here, essentially, the man of deception, adapting to circumstances, always looking for possible moments of advantage. __**Style**__ Notice the points of Homeric preparation evident in this book in the telling of the story in readiness for what will happen eg Poly living alone (188). mention of the wine (197), the fire (251). the goats (168). This preparation of the details could possibly be extended to cover themes too. e.g. O.'s deception & concealing of identity as with suitors later. **Consider...** Why does O. reveal his real identity to Poly at 5006? Poly can now curse him & this is the curse which dogs him all the way home. …..Is O. concerned that the kleos gained by his skillful deception & conquest over Poly, will go unrecognised if a mere nobody blinded him? O. is also in control of when he reveals his identity whenever he does so (to Phaeacians, to Poly, to Eumaeus. to Suitors, to Pen. etc.) __Odyssey ~ Book 10__ **RECAPITULATION:** 1-16 Arrival at island of Aeolus, King of the winds 17-33 O. well received & sent away after a month with all winds (except favourable one to Ithaca) tied up in bag 34-79 O.'s men open bag. with disastrous results 80-132 Loss of crews of 11 ships in attack by Laestrygonians 133-55 0.. on his 1 remaining ship, comes to Aeaea. island of Circe 156-86 0. kills lrg. stag & all eat 187-229 Scouting party is sent out to explore 230-60 Circe turns them into pigs, except Eurylochus. who reports back to O. 261-405 O. goes to rescue his men & succeeds, with help of Hermes 406-79 All are entertained at Circe's & stay for a year 480-540 O. asks Circe that they be allowed to leave & she agrees, advising that a visit to the Land of the Dead is necessary & giving directions 541-74 They set out, altho. Elpenor dies accidentally **POINTS TO NOTE:** __**Pattern of Book 10**__ cf Bk 9 - two shorter incidents (Aeolus + Laestrygonians) followed by major encounter (Circe). Note development of imp. themes from Bk 9: tension bet. O. & his men (32,41.419) & certain negative aspects to O. eg he seems keener to stay with Circe than his men (469ff), altho. she doesn't obstruct him like Calypso does. __**Adventures of Book 10**__ AEOLUS: fully humanised Olympian god - H. plays down the fairytale idea of folk law & legend. Note O. 's despair at his men's folly (5 Iff) - lack of metis1 His decision to endure is another aspect of his metis. LAESTRYGONIANS: note civilised aspects of their lives, considering their behaviour: road building for wood collecting (103). glorious houses (111). assemblies (115). living in communities (118ff).Note O.'s decision to have to abandon rest of his men, saving those he can. CIRCE: (compare &) contrast with Calypso - Cir.'s palace full of drugged animals(211). Cal.'s orderly garden(5.55ff): Cir. seems greater threat by dabbling(!) in magic, etc. but has O.'s best interests at heart in the end. yet it requires divine intervention to make Cal. let O. go. Both live alone on wooded islands, both weave & sing & have strange powers (Cal. - 5.268): both are untrustworthy (5.173ff: 10.336ff& 378-87): Cal.= daughter of Atlas (1.52): Cir. = daughter of Sun (10.138). Note the sexual duelling from both. **CONSIDER....** Look at how H. uses typical/formulaic scenes in this book (eg 13-18 as xenia sequence: 87-102 - cf 9.88-90 - as desc. for sending men inland: 148 - cf 9.165-7 - for seeing smoke rising in distance) to open up new adventures. Why is Elpenor left unburied? __Odyssey -Book 11__ **RECAPITULATION:** 1-50 Journey to entrance to Hades & blood offerings to dead 51-224 Meetings with Elpenor. Teiresias & Antikleia (O.'s mother) 225-332 Meetings with a catalogue of women - histories of divine heroines 333-384 "Intermezzo": King Alcinous & Queen Arete make O. cont. the tale 385-567 Meetings with heroes: Agamemnon. Achilles & Ajax 568-635 Rewards & punishments given out to various heroes & villains 636-640 The return journey **POINTS TO NOTE:** __**Problems of authenticity**__: Some believe that this book gives stronger indication of multiple authorship due to inconsistencies - __**Book 11 & its purpose**__ Note emph. on O.'s bravery etc. in being prepared to go to Underworld, which elevates him above ordinary men. O/s emotional responses show diff. side to him (eg with his mother). O. refuses to maintain past grudges with Ajax - a superior heroism? Catalogue of women shows how even the greatest of women can be corrupted - warning for 0? In heroes & heroines section, we see JUSTICE at work among the dead. __**The Dead**__ In H.. souls of dead are without substance, thought & speech & powerless to intervene in human affairs from Underworld. Libations soak into the ground & were thought to nourish the dead. BLACK animals were sacrificed to gods of Underworld. Normal mortals can only hope their name will live on after death by their deeds, etc. & H. makes it clear that this can also be through poetry. __**Antikleia**__ O. asks her about Pen. - 1st mention of his wife since Bk 5. Seems to think of her primarily in terms of her being the guardian of his kingdom, but H. shows good understanding of the human condition by making Antik. answer in terms of the stress, etc. which Pen. is under. There is a haunting melancholy in the cause of Antik’s death - she died of a broken heart. __**Odysseus' Meetings with Heroes in the Underworld**__ Note horror of Ag.'s death, which has been repeatedly referred to before this point, & that it was at a celebratory time (415): O. will slaughter suitors at a feast of 4pollo in Bk 22 when they, too. will least expect it - BUT he has good cause. O. is mistrustful of women (eg 436-9) after his encounters with Cal.(Bk 5) & Circe (Bk 10). Achilles has a deep hatred of death & is deeply unhappy, longing to be alive even as a serf rather than as king of the dead (489-91); his qns. centre on the living - his son. Ajax refuses a reconciliation with O despite O.'s attempts. Note his magnificent silence at about 563-4. Heracles (60 Iff) is one of v. few mortals who became gods on account of their valour; he too completed a successful descent to the Underworld. __Odyssey ~ Book 12__ **RECAPITULATION:** 1-15 0. & men ret. to Circe's & bun Elpenor 16-141 Circe welcomes them & warns O. of other dangers on voyage home 142-200 O. & men set out; they safely pass the sirens 201-59 They avoid the whirlpool Charybdis but the monster Scylla kills 6 men 260-373 They reach Thrinacie- island of the Sun god; against O.'s warnings, men eat some of the god's cattle 374-90 The Sun god learns of the sacrilege & demands vengeance, which Zeus promises 391-425 After 6 days, they sail on: ALL except O. are drowned in storm 426-53 O. manages to escape Charybdis a 2nd time & reaches Calypso's island (Ogygia). End of his story- to the Phaeacians. **POINTS TO NOTE:** __**General Pattern**__ Same as Bks 9 & 10: two shorter incidents [ i)Sirens ii) Scylla & Charybdis] followed by longer adventure [arrival on Thrinacie cattle, loss of men]. Circe gives O. imp. advice & warnings about what lies ahead in his journey & what to do to avoid disaster (37-150): this enhances his status as a hero since he is to be considered worthy to receive such aid from superior powers/beings (cf Calypso & Ino Bk 5). However, he is v. much on his own in the actual dealings with these dangers, fighting his own battles^ there is a distinct lack of gods, notably Ath., in the narrative (apart from the odd unspecified ref. eg 169 "some power lulled the waves'). __**Odysseus' Men**__ Their destruction has been awaited since its mention in Bk 1 (line 7). As for their "guilt", they were warned (264-70). swore an oath (303). were aware of the risk of disobeying O.'s orders (343-51) & did not have the proper resources for a sacrifice (358): they were not even put off by the slaughtered cattle's revival on the spits (395). A parallel may be drawn with suitors in their behaviour & feasting: their fate is in their own hands & yet they bring destruction upon themselves.  __**Odysseus in Books 9-12**__ These bks enable us to see the characteristics he will need to exploit to the full to return to Ithaca & defeat suitors: INTELLIGENCE/CUNNING - Cyclops; ENDURANCE -Aeolus: WILLINGNESS TO TAKE ADVICE - Circe: SELF-CONCEALMENT - Cyclops: RESPECT FOR GODS - Sun god: BRAVERY - F/ACING Scylla/Charyb. & visiting spirits of Underworld. There is tension & mistrust bet. O. & his men & he will have to be careful about his CHOICE OF HELPERS in Ithaca. The adventures have also taken place in an atmosphere of xenia/its failure. & anticipate the suitors treatment of O. in Bks 13-22. __**The Adventures**__ __of__ __**Book 12**__ CIRCE'S ADVICE/SIRENS (1-200): as at 10.480ff. she tells 0. everything in private & leaves him to pass on what he thinks nee. to his men - at 222-5 he hides info, on Scylla (sensibly?) & never says what they can expect if they eat the cattle. Circ. acknowledges his strength in battle in Iliadic terms (an aspect of him we do not see much of in these episodes). Why does O. insist on hearing the Sirens? They offer the truth about the past (189) - and one as ceaselessly curious as O. could hardly refuse. SCYLLA & CHARYBDIS (201-59): Note O.'s Iliadic gesture of putting on armour (almost defiance) at 228 in the face of hopeless odds. It is also a decision-making moment for O. (to lose 6 or risk all his men). The appeal of the 6 doomed men is personal (257) & their deaths drawn out. THRINACIE/THE CATTLE OF THE SUN GOD (260-453): Awkward that it is not Pos.. O.'s great enemy, but the Sun god should be responsible for the ultimate destruction of all O.'s ships & men. Thrinacie could mean "island of the trident' - is this to make a connection with Pos? Also note that it is Zeus, not Pos.. who sends the final storm of destruction (386-8) - Zeus is the watcher of moral behaviour eg 1.32-4 & it is men's disobedience & own behaviour that is to blame, not die gods. **ponder...** Do we feel sympathy for his men? They are in a desperate plight, forced to survive on fish; there seems sincerity in Eurylochus" prayer & vow to Hyperion (Sun god) at 346 to build him a temple if they survive - BUT the sacrifice is not complete (no barley, 358 or wine. 362). __**Odyssey-Book 13**__ **RECAPITULATION:** 1-80 O.s tale to Phaeacians has ended & a further day is spent in prep, for his departure, giving of gifts. 81-92 Phaeadan crew & 0. set sail. ¦ 93-125 Arrival in Ithaca with O. still asleep - they leave him there like this. 126-186 Council of gods bet. Pos. & Zeus; Pos." punishment of Phaeacians. 187-286 O. wakes up. does not know where he is until he meets Ath. in disguise: O. tells first of his lying tales to Ath.  28'7-441 Ath. reveals herself & helps O. plan for his return to the palace, disguising him(396f); she goes off to fetch T. from Sparta, where we left him in Book 4.  **POINTS TO NOTE:**  **Theme****.** The epic takes on a new form now. O. finally returns to Ithaca after 20 yrs' absence. It is now not just a tale of RETURN but one of REVENGE. The time with Calyp. & Phaecns. was somewhat removed from REALITY; now he is back to the real world. O.'s sleep & Phaecns.' dep.. tog. with the mist thrown over Ithaca by Ath.. help emph. his awakening from the 'dream' of the magical worlds into reality.  __**Function of Book 13**__ i) re-introduces the ITHACA Tel. left in Bk 4. Wickedness of suitors restated (375-8); their punishment is not just duty of O. but also the concern of Zeus (see 213-4); Pen.'s desperate sit. (336-8): Tel.'s //kleos// makes him ready to prove himself as son of O. (421-4) ii) re-establishes HARMONY bet. O. & Ath.. despite O. telling her off: she was not seen. in Bks 5-12 where O.'s INDEPENDENT HEROISM had to be established. Ath. sees //METIS// ("cunning") as the quality both she & O. must employ above all. iii) FALSE TALES are imp. weapon in O.'s armour of disguise & self-preservation but also an Homeric device to increase pathos, tension or dramatic irony at times of recognition. (The tales often feature Phoenicians & Cretans - poss. reflecting the ever-expanding contemp. trading world of 8th Cent. Greece.) __**Odysseus**__ The means to his victor, will not just require VALOUR but CONCEALMENT /DISGUISE/ DECEPTION as well as the qualities we've seen in him since Bk 5: self-control, endurance & heroism. __**Eumaeus**__ His invention is technically useful in allowing O. to gain info. & watch sit.; also allows reunion with Tel. in safety. __Odyssey ~ Book 14__ **RECAPITULATION:** 1-44 O. arrives at Eumaeus' hut: description of the place 45-112 Eumaeus' xenia toward O. & his desc. of suitors & his master 113-185 O. inquires more about himself & attempts to reassure Eum. 186-359 Lying tale of O. (Troy - Egypt - attempts to enslave O. - Thesprotia - escape while near Ithaca after another attempt to enslave him) 360-409 Eum.'s sympathy for his guest, but won't trust travellers' tales re. O. 410-456 Return of other swineherds 457-end Lying tale to test kindness of Eum. **POINTS TO NOTE:** __**Disguise**__**:** subtly diff. in Bks 13-22 from that of 5-12; in earlier bks it was a calculated response to difficult situations; it is now IMPOSED upon O.. together with the necessary humiliation it entails. H. exploits the potential for IRONY & PATHOS eg lines 32, 36, 396. __**Purpose of Book 14**____:__ seems long-winded, with O. "s endless false tales, his preoccupation with food, exploitation of the good Eum. (457ff). etc. But we must remember that O. is PLAYING A PART as the beggar & trying to be convincing in this (note his occasional slips eg 315. 440. 443) - people loved to hear a traveller's stones of where he had been & to hear news; O. must have had such people at his palace before & listened to them himself. __**Morality**____:__ there is a move away from epic style in considering Eum. & his attitude/morality - note his perfect xenia. trust in the gods, honest generosity. This helps to establish a sense of ORDER & how palace used to be run by seeing Eum. upholding the old ways even now. as best he can. & so helps us become more convinced that the suitors will be JUSTLY punished.  __**Odysseus**____:__ note how he becomes increasingly in command as part of the restoration of order, even in Bk 14, with Eum.'s growing sympathy for him. __**Eumaeus:**__ worthy (3). faithful (4). does not take advantage of O.'s absence (9fF). receives O. as courteously & lavishly as he can (45ff). H. enjoyed this character (55). Eum. lives simply, aware of right & wrong & his duty to the gods (eg405ff): but he is no fool (121-33); he cares deeply for O. & O.'s family! 140-6: cf 16.12-22) A __Odyssey ~ Book 15__  **RECAPITULATION:**  1-42 Athene goes back to Lacedaemon to fetch Telemachus. 43-184 Tel. takes his leave of Menelaus: giving of gifts; omen (160ff) of O.'s return. 185-219 On their way back to Pylos (& Nestor), Tel. & Peis. stay a night at Pherae as they had on the journey out (3.488) & then Tel. goes straight to his ship in Pylos. 220-300 About to sail. Tel. encounters Theoclymenus (who goes with him. 280). 301-495 Cut to O. at Euinaeus" (two days have passed): Eum. tells O. the history of how he came to Ithaca & was bought by Laertes, their talk lasting until the following morning. 496-end Tel. arrives in Ithaca (but not the main port) & entrusts Theoclymenus to Peiraeus" hospitality: he himself goes on foot to Eum.'s whilst the crew sail round to the city's port. **POINTS TO NOTE:**  __**9-42**__ Note how Ath. plays on Tel.'s fears/anxieties: his house & property, mother's faithfulness, suitors. Tliis is all to achieve her purpose of ensuring his return & her priority is to reunite Tel. & O. (37). It has its desired effect (43-6 & 198-209).  __**68-85**__ Menelaus' awareness of duties of xenia - if ever we were concerned/confused about O.'s preoccupation with receiving gifts, this section should convince us of its being the proper way to behave (cf Peisistratus 48-55). Tel.'s kleos is also being re-established by this wealth (since this is often measured by other heroes' reception of you. eg 4.589ff). __160-179__ Omen of return of O. cf 2.147ff. 19.535ff. 22.302f. __**30Iff**__ O. becomes more aware of Eum's closeness to his family (362-79). esp. during Ms absence, & learns his history (401-95) - giving impression of their growing relationship & winning of Eum.'s confidence by O.  __**525-534**__ A second omen in this book - giving confidence to Tel.  __**Timescale**__ This book brings tog. the adventures of O. & Tel., as promised by Ath. at 13.404-15, in preparation for their reunion in Bk 16. H. often narrates diff. events as if they were taking place simultaneously, without regard for actual time - as here, since we might ask what Tel. has been doing during the 29 days or so it took O. to leave Calypso & return to Ithaca; also, why has Ath. taken a whole day (the day of Bk 14 - O. & Eum. - Ath. absent after end Bk 13) to reach Lacedaemon/Sparta, since she promised in Bk 13 to go to Tel.17 The temporal interlocking of Tel.'s & O.'s stories helps juxtapose & compare the two characters. __**Thenclymenus**__ It is hard to reconcile the detailed treatment he receives in the gning of his background. He will be useful, however, as a prophet/interpreter as the doom of the suitors draws nearer. He could have been introduced to carry a more expansive role in another version of the story.  Odyssey ~ Book 16  **RECAPITULATION:**  1-129 Tel. arrives at Eum.'s farm, meets O. (as beggar)  130-153 Tel. sends Eum. to inform Pen. of his return  154-224 Ath. instucts O. to reveal himself to Tel., which he does (186ff)  225-320 0. tells Tel. how he got to Ithaca & they plan their attack on the suitors  321-451 The sit. in the palace  452-end Eum.'s hut, O. & Tel. informed of events re. the (failed) attempt to ambush Tel.  POINTS TO NOTE: __**Structure**__ H. manoeuvring the pieces skilfully into position (in Bk 17 all will be brought tog. - O.. Tel.. Pen., suitors. Eum.) Carefully organised mvt. of the story from the countryside to the palace, O. being present virtually throughout - he is at the CENTRE & the unknown guiding force of the action. __**Reunion of Odysseus**__ //__**&**__// __**Telemachus**__ i) 11-129 Look for poignancy in the details, esp. O.'s silence. ii) 156-320 - of obvious importance: O. is in no doubt that Tel. is of an age to help him effectively Oho. Ath. has to remind him of this at 20.34-5). O.'s challenge to Tel. is to perform in the way O. himself has had to - ENDURE, keeping IDENTITY of O. SECRET, even under duress eg attacks on O. at 17.462. 18.394, 20.299.  When we see the suitors" attitude to Tel., they will be deceived by him in thinking of him in the same way as BEFORE he went to Pylos & not in Ms NEW role (only Antinous seems wary at 364f - but he is ignored).  __**Revelation of Odysseus to Telemachus**__ //__**&**__// __**other recognition scenes**__  For other recognition scenes to compare, see: 17 301 (Argos): 19.467 (Eurycleia): 21.207ff (Eumaeus & Philoetius): 22.45. presumably (the suitors); 22.498 (the household): 23.205 (Penelope): 24.345 (Laertes: 24.391 (other servants).  Note the following COMMON ELEMENTS in most of them: testing comment supportive response, "I am he", proof, examination, embrace, tears, element of doubt. __Odyssey ~ Book 17__ **RECAPITULATION:** 1-165 Tel. goes to palace & speaks with his mother; Theoclymenus is received as a guest 166-181 Suitors relaxed & enjoying themselves 182-259 0. & Eum. make their way to the palace & O. encounters abuse from the shepherd Melanthius 260-327 0. & Eum. arrive at palace: Argus greets O. & dies 328-481 0. enters hall at mealtime: he begs & is assaulted by Antinous 482-end Pen. sends for O. (as beggar) to tell her of any news of O. but he declines; Eum. leaves POINTS TO NOTE: __**The action**__ from now on takes place in O. 's palace
 * 1) Circe sent O. to ask Teiresias about his ret. to Ithaca (10.538), but Teir.'s reply is barely sufficient (11. lOOff) & Circe seems far more informative later (12.37ff)
 * 2) The "intermezzo' section pointlessly extends O.'s stay with Phaeacians another day
 * 3) The catalogue of women: no connection with O. & just a series of tales
 * 4) The closing scene of heroes & villains in Hades (568ff) presents a diff. pic. from the earlier dignified portrayal of the women, heroes, Teir. & Antik.

__**Tensions**__ //__**&**__// __**ironies**__ arise in a situation where opposite themes combine: ignorance & knowledge deception & honesty hostility & sympathy youth & experience hope & despair appearance & reality loyalty & hypocrisy EXAMPLES: Feasting of suitors to accompaniment of lyre & song (261-70 & 604-6) is like that of epic heroes; but they are hypocrites (66. 403, 454). The suitors have a deleterious effect upon some of those in contact with them eg Melanthius & Argus. O. begs for his own possessions/food in his own house. O.. who has been tested so much on his travels NOW TESTS THE SUITORS. __**Abuse of Odysseus**__ is typified by his reception by Melanthius (212ff). There are also FIVE ASSAULTS on O. by foot/chair/fist/hoof. The basic pattern is: i) abuse of O.: ii) attack on O.: iii) defensive reaction against attacker: iv) further threats. Note also the common elements in verbal abuse eg beggars as 'plate-lickers at the feast". __**Argus**__ - touching scene as first "member' of palace to greet O. His poor state of health reflects much about the way things are there. __**The two sides**__ are contrasted and built up eg Eumaeus (& also Eurynome at 495) contrasts with Melanthius: Antinous contrasts with Tel./Pen. __Odyssey ~ Book 18__ **RECAPITULATION:** Same evening as Bk 19. which carries on directly from this book. 1-110 Appearance of Arnaeus/Irus who fights with O. (& loses) 111-158 O. gains respect for this from suitors 159-304 Pen., beautified by Ath., extorts gifts from suitors 305-339 O. tests the maids & is insulted by Melantho 340-end Suitors cont. their insults against O.: he responds to provocation from Eurymachus, who throws a stool & misses O.; Amphinomus calms the sit. & they leave. **POINTS TO NOTE:** __Assaults__ //__&__// __abuse of Odysseus__ Irus 1-157 Melantho 304-45 Eurymachus 346-428 O.. through these, intangibly asserts his authority, even when suffering the worst of insults for a Greek - being laughed at. esp. by a woman. __Penelope__ Important scene 158-303 1.) PROBLEM - Does she mean it when she says she's going to remarry? Remember she's said it before (eg Laertes' shroud 2.89ff) & response of O. indicates how we should take it (he thinks she's cleverly getting gifts from suitors with ulterior motive - 281ff); also remember that Ath. has motivated this scene (158ff) & evidence/rumour of O.'s return is mounting eg Bkl7 lines 152-61. 522-7 & 541-7. ...OR is she just being practical? - the bow & axes trial is in her mind: this would make her quotation from O. to be free to remarry when Tel. is of age a real quote (259ff) & she has certainly seen him changing of late & being his own man. The irony of this is that it is all working not toward a remarriage but toward the reunion with O. & Ath. KNOWS THIS.  2.) PROBLEM? - Why are we given no insight into O.'s feelings on his first sight of his wife after 20 yrs.. esp. in her beautified state? i) focus is on Pen. & suitors' reactions ii) 0 needs to remain incognito - altho. no reason why we can't be told his inner thoughts lii) in another version of the story, O.'s identity may already have been revealed to Pen. - perhaps this causes some of the unanswerable difficulty of problem 1. above. __Odyssey ~ Book 19__  **RECAPITULATION:**  1-52 In the evening, O. & Tel. remove all weapons, etc. from the hall  53-317 Pen. & O. in the hall talk for 1st. time. He tells of his travels, a mixture of truth & lying tale;  she believes what he tells her. •  318-392 Pen. orders Eurycleia to wash O.'s feet  393-467 Digression on cause of O.'s scar  468-507 Euryc.'s reaction to seeing the scar & O.s warning to say nothing  508-569 Pen. resumes talk with O. & asks him to interpret her dream  570-end Pen. tells O. of her intention to remarry & her plan to test the suitors by the trial of the bow.  **POINTS TO NOTE:**  __**Odysseus**__ Contrast the care & restraint with which O. approaches his encounter with Pen. (107-22,165-7, 209-12. 336-48") & the instant mastery he shows over Euryc. when she recognises him <span style="font-family: Arial,sans-serif; font-size: 9pt;">(479-502).  __**Psycholog**__**y** Beware of applying modern psychology to ancient fictional characters. Pen.s decision to remarry does present her with psychological difficulties, but of greater importance to H. are the situations for dramatic tension & irony this can present.  __Odyssey ~ Book 20__  **RECAPITULATION:**  1-56 O. tosses & turns in his anxiety of how to deal with the suitors. Ath. reassures him  57-91 Pen. is also sleepless & close to despair  92-122 O. receives a favourable omen as Dawn appears  123-162 Tel. speaks with Euryc. who keeps her silence over recognising O.; preparations are made for  the festival that day  163-231 O. encounters Eumaeus & Philoetius. whom he judges loyal  240-286 Further omen deters suitors from their plan to kill Tel. Feasting begins in palace. 287-344 Ctesippus assaults O. & Tel. rebukes him for this 345-end Further omens foretell the doom of the suitors, interpreted by Theoclymenus who then leaves. **POINTS TO NOTE:** __**Doubt**__ //__&__// __**confidence:**__ OF ODYSSEUS - doubts: 1-56; confidence 226-34. Understandable anxiety before the great undertaking; he needs the reassurance of the gods; he also gains reassurance/knowledge of the sit. by his encounters with other characters, both loyal (Philoetius 185ff) & disloyal (servants 5-13) as well as further evidence of the wickedness of the suitors. OF TELEMACHUS - his confidence has increased now as he deals with the suitors (257-76) and in speaking with independence & being an authority figure (303-21). __**Omens**__**:** Lines 101-22; 240-6; 347-9 The omens are increasing. At 19.535ff. Pen. had recounted a favourable dream; O. receives 2 omens from Zeus early in Bk 20 (101-22 & 240-6) & Theocl.'s vision (347ff) is the most powerful foreshadowing yet of what is to come. Wickedness & divine judgment make an irresistible case against the suitors. __Odyssey ~ Book 21__ **RECAPITULATION:** 1-99 Pen. brings the bow & axes to the suitors & issues her challenge 100-135 Tel attempts to string the bow but is stopped by O. 136-188 The suitor Leodes fails to string the bow 189-244 0. reveals himself to Eumaeus & Philoetius & proves it by his scar 245-273 Suitors continue but contest is postponed by Antinous with the excuse to feast 274-375 O requests a go at stringing the bow, both Pen. & Tel. say yes to this - for a diff. prize than her hand; Pen. withdraws & Tel. takes control 376-end 0 has the entrances/exits locked & then strings the bow & fires arrow thru" axes. He then gives Tel. the nod... **POINTS TO NOTE:**  __**The Book of the Bow**__  The bow's pedigree is est. & Pen. sees it as her memory of O.. attached to his heroic past; in handing it over she seems to be bidding her final farewell to O.  Note the movement of the bow thru" the hands of the loyal & faithful (Pen.54 > Eum.80 > Tel. 124), then to the enemy, and finally, via Eum. (with Tel."s encouragement) 359-79 to O. (379). __**Ominous words of suitors**__  e.g. Antinous 90; Leodes 154-5  __**Revelation**__  The revelation of himself by O. to Eum. & Philoet. is closely comparable to that with Laertes (24.226ff) but has elements common to the recognition scenes elsewhere (see notes on Bk 16).  **L**__**apiths**__ //__**&**__// __**Centaurs**__  Ref. lines 295-310: The Centaurs desc. in H. are not necessarily the half-horse half-man of later tradition. The were invited to the wedding of the Lapith King Peirithous. but the drunken Eurytion tried to rape the bride Hippodameia & was punished for it. Both the Parthenon & the Temple of Zeus at Olympia carried scenes from the battle bet. Lapiths & Centaurs, which symbolised the clash bet. civilisation & barbarism.  Observe the irony of Anunous' comparison as he clearly thinks that the suitors = heroic Lapiths, enjoying a peaceful celebration in the palace of a forthcoming marriage (thus Hippodameia = Pen.) but disturbed by a drunk (Eurytion = CO who receives a punishment. It is. in fact, the suitors who are the barbarians & Melanthius will receive a punishment almost exactly the same as Eurytion's (in the next book: 22. 473-6). __Odyssey ~ Book 22__ **RECAPITULATION:** 1-33 Immediately following on from Bk 21: O. takes another arrow & shoots Antinous; suitors think it is an accident. 34-87 0. reveals himself to the suitors: Eurymachus speaks out & is killed by O. 88-115 Amphinomus is killed by Tel. who then fetches armour & more weapons from store-room 116-202 O. continues to kill suitors with arrows but Melanthius fetches weapons for suitors from the open store-room: he is then caught & tied up by Eum. & Philoet. 203-329 Ath.. as Mentor, comes to O. s assistance to encourage him & the battle continues 330-380 Phemius the minstrel & Medon the herald are spared by Tel.'s intervention 381-479 O sends for Eurycleia & has the servant-women clean up: they are then hanged //en masse// by Tel.;, Melanthius is also killed. 480-end O. purifies the hall before Euryc. fetches Pen. & her maids. **POINTS TO NOTE:** __**'Aristeia'**__ : heroic feat of arms against powerful enemies, such as that of Diomedes & Agamemnon at the start of Bks 5 & 11 (respectively) of the //Iliad.// The typical elements of an Iliadic "aristeia' are: divine exhortation & inspiration of the hero, arming, enthusiasm for battle, the advance of the hero thru" the ranks, single combats, counter-attacks, a moment of danger or weakness (often a wounding), a grand duel and. finally, victory with ntual boasting over the slain man; similes (sometimes multiple ones) & divine interventions during these events cause the hearer to dwell upon certain moments. LOOK FOR THESE THINGS, whilst, of course, bearing in mind that the circumstances are different: it is not a battlefield, subterfuge & surprise are the imp. elements - no battle is expected: also remember that the BOW is not the weapon of Iliadic hand-to-hand combat. The SIMILARITIES that exist, however, set it in the heroic world: it is the differences which mark it out as Odyssean eg moral judgments, good triumphing over evil - reminding us of the moral programme H. set out at the beginning of the epic of how men choose to behave the way they do & their deaths are justified. __**At the end of Book 22**__**.** all is restored to order - except for the reunion of Pen. & O., which H. has deliberately delayed (eg 430 "Don't wake her yet" says O.) __**Eurycleia**__ : note how O. continues to speak to her/treats her. WHY? eg 390-435, 480-end. __Odyssey ~ Book 23__ **RECAPITULATION:** 1-84 Eurycl. tells Pen. of O.'s return but Pen. cannot bring herself to believe it 85-110 Pen. enters the hall but cannot accept O.: she decides to test him on things only he & she would know 111-152 0. & Tel. plan how to prepare for the reaction of the suitors' families to their sons' deaths 153-204 0 bathes & is beautified by Ath.; in speaking to Pen., he is tested by a trick by her re. their bed, which is unmoveable. 205-296 Pen. realises it is O., they are reunited & after much talk they go to bed 297-end O. recounts his adventures to Pen. until he falls asleep! On waking, he sets off with Tel., Eum. & Philoet. to see his father, Laertes. **POINTS TO NOTE:** __**Penelope and the Bed**__ Reunion of Pen. & O. is arguably the climax of the epic. It has been criticised: that Pen. has to test O. (1 lOf) before accepting him, that Pen. is ignored whilst O. & Tel. discuss their plans (111-152), that his beauty treatment from Ath. (153f) does not have the desired effect. These all, however, typically for H.. help build up the tension & make the bed episode all the more imp. & symbolic - the bed is the enduring, firm symbol of their living love. __**Homeric problem**__ Did the //Odyssey// end at 23.296?.... __Odyssey ~ Book 24__ **RECAPITULATION:** 1-15 The souls of the suitors are escorted to Hades 16-97 Achilles' & Agamemnon's ghosts consider each other's greatness & deaths 98-204 Suitors' ghosts tell Agamemnon & Achilles how they have come to be here with a summary of Bks 14-22. 205-314 0. (+ Tel.. Eum. & Philoet.) reaches Laertes' house: O. tells his father a lying tale of who he is. 315-4110. reveals his true self to Laertes & they eat (with Dolius & sons) 412-471 People by now have heard of suitors' deaths & gather at the palace. Antinous' father urges revenge. Mentor says a god killed their sons. Halitherses says the suitors were to blame. The majority decide on revenge. 472-488 Council of gods: Ath. asks for an end to the strife & Zeus agrees. 489-end O. & the others prepare for battle. Ath. urges Laertes to cast the 1st. spear & the fighting ensues, she then stops it with a great cry: the Ithacans flee & O. is about to pursue but Zeus intervenes & Ath. tells O. to stop & establishes peace between the two sides. **How do you view this final book as an ending to the** //**Odyssey?**// **Read Peter Jones' introduction to the Penguin translation and consider the group of works** **known** as **'The Epic Cycle'.**

Thoughts and theories about Odysseus Homer - go to this page to hear the story being read

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